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SEVENTEEN (Short Film)

Willis Randy Tillman folded the jersey the way his son once taught him—slow, careful, like respect could be pressed into fabric. Vern Vern Williams had been seventeen, the kind of age that still smelled like chalk dust and sweat, the kind that carried a city’s hopes in a gym bag. West Yonkers Chapel knew Vern Vern as a blur of grace, a star who rose above cracked asphalt and sirens, but Willis knew him as the boy who braided his own courage every morning. The night gunfire took him, the neighborhood lights flickered like they were ashamed. Seventeen became a number that wouldn’t let go—on the clock, on the bus, in the quiet between breaths—until grief hardened into resolve.

Willis joined the police force not to chase ghosts, but to stand where his son could no longer stand. He wore the badge like a promise stitched to his chest, a vow to turn mourning into motion. On patrol, he learned the language of streets that raised sons and buried them too soon, listening more than he spoke, carrying Vern Vern’s name like a prayer beneath his breath. In an Afrocentric city that remembered itself through rhythm and resilience, Willis walked the line between law and love, knowing justice wasn’t a siren but a steady hand. Seventeen followed him still—but now it pointed forward, a reminder that protection begins at home, and healing, like legacy, must be fought for every day.

In the closing frame, director Deezie Brown steps away from the story to speak plainly, not as an observer but as someone shaped by the same streets, arguing that guns in the hands of youth are less a symptom of violence than of neglect. He frames technology not as surveillance, but as opportunity—platforms for mentorship, creative economies, digital trades, and real-time access to mental health support—tools that can redirect curiosity into craft and anger into authorship. Brown calls for resources that meet young people where they are: community-funded tech hubs, after-school labs, NIL-style pipelines for creatives, and data-driven intervention that identifies risk early without criminalizing childhood. His message is direct: when we invest in imagination, infrastructure, and care with the same urgency we fund punishment, we don’t just save lives—we give them futures worth protecting.

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HE'S GOT THE WHOLE WORLD IN HIS HANDS (EP)

Geto Gala

Produced by Geto Gala (Deezie Brown & Jake Lloyd), this soundtrack album moves like a time capsule wired to the present—where 70s Afro-punk funk and raw soul collide head-on with the unfiltered gravity of early 80s gangsta rap. Gritty basslines, live drums, and distorted guitars carry the spirit of basement shows and street corners, while cold drum machines and razor-sharp verses cut through with documentary precision. The record doesn’t romanticize violence; it interrogates it, channeling rage, grief, and survival into something kinetic and confrontational. It sounds like protest music with fingerprints still on it—cinematic, unapologetic, and rooted in Black resilience—an album that doesn’t just score a film, but stands alone as a statement of era, memory, and warning.

Release Date Winter 2026
Catalog Fifth Wheel Complex Campus
Format Digital / Vinyl
The Fifth Wheel Complex Campus

In Tokyo's Shibuya, teen music producers Ducati Boy Club bond over their shared love for music and fashion while waiting foran autograph from designer NIGO at BAPE store. Their encounter sparks a partnership blending their unique styles, shaping Tokyo's music scene.

Rideaux