Kris Oestergaard explains Transforming Legacy Organizations

Kris Oestergaard’s Transforming Legacy Organizations is a short book brimming over with information. It has an ambitious aim. Oestergaard studies how long-standing companies with deep histories are able to compete with modern start ups if they are willing to embrace innovation, encourage a culture valuing its principles, and commit themselves towards overcoming whatever perils may obstruct their vision for future development. His examination is well rounded. There are no extended sidebars or useless personal reflections. He maintains a conversational tone throughout that makes the book’s ideas accessible for a broad-based readership. Transforming Legacy Organizations is a brisk and informative read.

I found his construction of the book to be one of its strongest components. Oestergaard builds Transforming Legacy Organizations in a coherent fashion by laying out a thesis of sorts and roadmap for readers during the book’s introduction whilst also serving us notice of the general template for what follows. Oestergaard does not fill the book with one pronouncement after another lacking substance to back his assertions but, instead, buttresses his claims and ideas with solid research that never overwhelms the reader. Transforming Legacy Organizations is not a scholarly work, but it is informed by a thorough reading of what has been written about innovation in established companies and advancements made over the last decade. It is current and forward looking throughout the entirety of the book.


The first section of the book concerns itself with what legacy organizations must do to prime themselves for innovation. Oestergaard stresses the need for awareness – even long standing successful companies can benefit from examining what other, perhaps younger and smaller, companies are doing in this realm. Self-awareness is key as well. A clearly delineated purpose is essential for success and defining goals leads to a greater chance for realization. He faces the specter of bias – personal and institutional – and how our predispositions towards new ideas can often subvert our forward progress. Once again, he backs his ideas in this area up with detailed existing examples – his writing on Amazon’s evolution illustrates his ideas in clear fashion.

The second half of the book looks at what Oestergaard deems the “immune” systems in a company’s workforce, overall structure, and societal that can undercut an organization’s efforts pursuing innovation. He acknowledges human nature’s natural wont to embrace stability and the status quo over pursuing innovation and change, better the devil you know than the one you don’t, but Oestergaard sees this as a potential fatal flaw in an organization’s approach. If legacy organizations desire continued growth and relevancy, it is essential they avoid such stumbling blocks. He lays out a clear path for doing so after looking at how these immune systems manifest themselves in a company’s structure.


The final portion of the book begins by revisiting an example Oestergaard writes about near the book’s beginning – the “extra razor” and how it relates to optimizing innovation. Gillette added new razor blades to their shaving products in the belief it provided more comprehensive results for customers who shave, but Dollar Shave Club entered the commercial picture, simplified the product by reducing the number of blades to a minimum and sold their product at low cost to the consumer. Proctor & Gamble responded with their own club, but the belated response came only after they realized they were facing a huge new competitor.

He delves into how companies can augment innovation by exploring digital and emerging AI platforms\ vehicles citing General Electric’s efforts as a prime example illustrative of his point. Organizational culture hacks are also discussed as a critical tool in facilitating augmentation of a company’s innovative ambitions. The third tier in Oestergaard’s discussion of implementing an ongoing vision for innovation is how this aspect of a company’s purpose can benefit from mutation – more specifically, how bold ideas about new company structure and technologies can open up thrilling new avenues of potential. His discussion of the subject is, once again, laden with many well chosen examples illuminating his point. Kris Oestergaard’s Transforming Legacy Organizations has something for everyone interested in the subject and those in business leadership positions will find it rewarding to return to this book again and again.

Kim Muncie

Risk: Living On The Edge by Michael Tenenbaum

The financial information pertaining to risk factors alone are what help pack Risk: Living On The Edge full of vital history in the age of mass data and tells some great stories involving the rise of it all in chapter 3, and that’s one of its more fascinating parts early on for me. The information in the stories are key to getting interested in the following chapters in the book from where I’m standing, and these financial situations involving numbers find the right placing. But there’s so much more to give this book five stars for, chapter 3 is only where it starts to take off.


The adventures of Michael Tenenbaum are another story within the story altogether and that’s where it achieves most of its praise-worthy content once a little prepared for it in the early chapters. This isn’t some quick scan of information, it’s the opposite, filled with a maximum wealth of exciting and informative literature on the subject. And one of first-hand accounts from an actual risk taker of global status. You get just as much on Tenenbaum himself and it’s a long but economical read with an enormously satisfying approach to a subject not everyone thinks about.

I couldn’t set it down once I got into it, but it can be read chapter by chapter like anything else, it’s just worth mentioning that it reads pretty- fast and easy for its length. You never have to back track to guess where something is going, it moves freely through each chapter, so it takes its own risks in that department, but it has no lumps to be found in the process. I could use a whole series of this from Tenenbaum, but it could be asking too much because it really leaves no variable facts uncovered but who doesn’t like updates either.

If that isn’t enough it’s full of ways to stay informed on risk measures of just about any kind while you learn about how and why it’s important to manage risk at any cost and in any situation. It’s a lot of great information and it’s told in a way that takes right inside the mind of the author who’s lived everything he’s written about with Co-Author Donna Beech. You get the accounts of a risk taker himself who shares what he’s learned by way of world travel to some of the most dangerous places and situations to be in. GOODREADS:

You also get the angle of what he’s learned as he’s gone, and that is where Tenenbaum shares a magnitude of unembellished facts that not only entice on the subject but would fascinate the novice or even the curious and send them away happy they read it. This book will please any and every reader who buys it, and you can’t say that about everything going out to shelves and devices these days. Tenenbaum writes a book to be compared to that of any on the dangers and benefits of risk taking for everything it is worth.

Kim Muncie

Paul Jacks is back this summer

Paul Jacks is back this summer with a fascinating sequel to his watershed solo debut Defractor in In Other Words, a record which is literally filled to the brim with elegant melodies that have been shaped into catchy, yet always surreal, soundscapes of the most erudite variety. Right from the start of the tracklist in “In the Late Dark,” Jacks is playing like his life depends on it, and giving up one of the most passionate performances that I’ve personally had the chance to take a peek at this summer. Simply put, In Other Words is the full-color sophomore album that we had all hoped it would be.


The synthesizer’s interplay with the drums in the title track, “Kintsu,” “Draw Upon” and the flamboyant “Anything At All” is simply brilliant. It adds so much aggression where there would otherwise be none in these compositions; it’s refined and yet still viciously raw thanks to the gritty arrangement of the other components in each track. Jacks has found the perfect combination of sugar and spice in In Other Words, and though I found Defractor to be really spellbinding in terms of stylistic fluidity, it lacked the aesthetical diversity that we find in spades on this album.

This master mix adds to the ethereal qualities of the rollicking “Too Emotional,” gothic textures of “On the Tightrope” and hypnotic thrust of “Do What You Will” substantially. Everything here is very deliberately structured as to draw our attention to all of the detail within the instrumentation and vocal, regardless of how subtle or intricately faceted it might be. In Other Words is about as highbrow as alternative music has been in a long time, but there’s not one occasion on which we feel as though we’re listening to an intellectual diatribe, or worse yet, a ten-track stroking of egos.

“Do What You Will,” “Too Emotional” and “Anything at All” are really danceable tracks, and I think that they express a lot more through their defined grooves than they ever do through the sizzling poetry that Paul Jacks emits (which is no small statement to make). Jacks wants us to be completely stimulated by every element of this record, and though he comes close to overdoing it in a few instances, this is by and large a really tight, robust offering from an artist who has clearly come into his own beyond what any of us expected on this second LP.


After a lot of experimentation in his rookie release, Paul Jacks has found his signature sound in In Other Words, and I for one cannot wait to hear what it sounds like in-person. He’s got such an alluring charisma in this record, so much undying passion, and I’m really interested in seeing where it takes his music in the next couple of years. This is definitely a statement album, and what it says about its creator is just as valuable as what it tells us about the future of alternative music, and moreover, the independent artists responsible for keeping it alive in the 21st century.

Kim Muncie

Rebecca Binnendyk returning to the spotlight

Canada has been producing some really exciting talent this year, and among the brightest stars that I’ve had the pleasure of taking a look at lately is none other than Rebecca Binnendyk, the sultry singer/songwriter whose 2016 album, Some Fun Out Of Life, won the hearts of critics and fans across the country and beyond when it first debuted. 2019 sees Binnendyk returning to the spotlight once more with the release of her brand new single, the lovesick power ballad “Brick by Brick,” ahead of the long-awaited follow-up to her acclaimed greenhorn LP. I got the opportunity to give “Brick by Brick” a listen ahead of its premiere recently, and to say that I was impressed with what I heard would be putting it very mildly.

Every component of this track and its music video is used to stimulate the mood created by the harmony between Binnendyk and the foundational piano parts that are beneath her in the mix. From the crumbling bricks that we see on our screen to the supple recoiling of the percussion as the melodic wallop of the other instruments comes crashing through the silence during the chorus of the song, there’s nothing unnecessary or nonfunctional in this recording, and that’s not something that I can say about most of the pop singles that have landed on my desk this month. It’s obvious that some serious work went into making “Brick by Brick” the masterfully produced video (and tightly arranged title track of Binnendyk’s new album) that it is, and I’m not surprised in the least that it’s been garnering the critical praise that it has been this August.


If this song is a fair representation of what we can expect to hear out of Rebecca Binnendyk’s sophomore LP, then I can’t wait to get ahold of my own copy as soon as it comes out. “Brick by Brick” is overwhelmingly multifaceted, and though some listeners might find it to be a bit cerebral when juxtaposed beside the singles that have been gracing the top slots on the Billboard charts lately, I think that’s exactly what makes it such a uniquely fetching listen. Binnendyk’s got my attention, and I doubt that I’m the only music journalist saying as much right now.

Kim Muncie

Caracol releases “Flooded Field”

Caracol’s “Flooded Field” from the album Symbolism is the work of an engaged and top notch recording artist intent on providing listeners with a worthwhile listening experience and abundant entertainment alike. Caracol has enjoyed a career a little over a decade long and, rather than repeating herself with each successive release, This new single continues tilling much of the same fertile ground that has paid enormous dividends for her on previous releases, namely shaping her songs along electronic and quasi-reggae lines, but she is fearless recruiting artists far removed from her wheelhouse, like Detroit hip hop performer Illa J, to reinforce her efforts. These choices help keep her music fresh and moving forward and “Flooded Field” is no exception.


Caracol’s vocals keep you involved from the first and never settle for the lowest common denominator. Instead, I am impressed from the first with how she navigates her way through the verses filling each one with an abundance of emotion without ever slipping into melodramatic filler. Instead, she takes a measured approach from the first and inhabits the lyric with the feeling of someone who has genuinely lived through these experiences rather than someone just trying to interpret another person’s words. Even Illa J’s rap vocal brings an added, if short, dimension to the performance.

The video for the track reflects the same contrasts inherent in the recording, but it is further distinguished by the high sheen finish present throughout each part of the video and how the footage reflects the same emotions present in the song through different means. The use of color and sharp editing help set the video for “Flooded Field” apart from similar efforts and raises the song’s profile without ever overshadowing it in any way. Much like with the song, Caracol obviously went into filming this video with a firm idea of what she wanted to visually convey and does an exceptional job.


Caracol’s “Flooded Field” is musically on point and the only real fault I can find with the track is how the admittedly fine lyrics could be fleshed out a little more with no visible drag on the song. Choosing this as a single is clear indication she regards the track as one of the finest entries on her latest album release Symbolism. Being unfamiliar with Caracol before hearing this song, I can say it impressed me a great deal and prompts me to further investigate her talents.

Ronnue’s Introduction 2 Retro-Funk

With a mild rattle at the center of its rhythmic swing, “Give in 2 Me” is easily one of the more seductive songs for us to behold on Ronnue’s Introduction 2 Retro-Funk, but it’s not the only sexy set of bass-driven beats in this tactful funk twelve-pack. The vintage “You Tried Me (The Man’s Anthem)” and “Do It (The Remix),” the latter of which features Roc Phizzle and Soultry stepping up to the microphone with Ronnue, are just as fun and devoid of the robotic frills that have come standard on records of this kind for far too long now. Introduction 2 Retro-Funk isn’t about trying to meld a bunch of different influences together or simply appealing to as many open wallets as possible – this is Ronnue’s message of funk, and it’s as far away from commercial classlessness as an LP can get.

Other than the humorous skit “Bathroom vs Studio” and intro track “Rated M.A.,” this record is nothing but content, which has become increasingly hard to come by in full-length R&B albums as the 2020s have neared. “I’m a Lesbian” doesn’t repeat the same verse to us over and over in some pseudo-cerebral swirl of textured vocals; it’s a real composition, with a beat, a melody and a heroic harmony that inspires as many slow dances on the dancefloor as it does in the bedroom. Other tracks like “17 Days (The Hood Mix)” employ heavy instrumentals in making an intrepid statement (and further demonstrating Ronnue’s matchless style of play).


While “17 Days (The Hood Mix)” has a stealthy grind, “In Love” is a little more liberal in its stylization and could absolutely make as strong a single as its predecessor in the tracklist, “Something About U (The Retro-Funk Mix),” does. “Something About U (The Retro-Funk Mix)” was my favorite song when I first got a copy of the Introduction 2 Retro-FunkLP, but as I’ve gotten more acclimated to the rhythmic framework of every track here, it’s difficult to give one song more critical favor over another. “Why” (featuring Figuz on guest vocals) is just as hooky and memorable, as is “Be Your Freak” and “If We Stayed 2gether,” the first charismatic tune that we find at the start of the album following “Rated M.A.”.

As an MC, a singer and a songwriter who has yet to slow down since first coming onto the scene nearly five years ago, Ronnue knows no equivalent in the local music culture that has raised him to be the strong sonic titan that he is today, and if we are to take his music in Introduction 2 Retro-Funk at face value, then I believe it is to be interpreted as a declaration of independence from the muted market that he has now grown too big to remain in. An artist of Ronnue’s pedigree doesn’t have to play along with the irreverent bickering of scene politics, but I don’t know the he’s looking to change the system in this LP. He’s making his own way in this world, which in itself deserves to be extolled by everyone who loves rock-hard funk.

Kim Muncie

The music of RONNUE has been heard all over the world due to the radio plugging services offered by Musik and Film Records. Learn more –

Ooberfuse’s “Call My Name”

Remixes, particularly when they’re boxed together in a single disc, allow for us to look at a song from a litany of different angles, but the new extended play centering on ooberfuse’s “Call My Name” composition goes well beyond that. From the abrasive sounds of “The Noise” remix to the fundamentally simple “Hal St John Radio Edit,” each version of “Call My Name” gives us a unique insight into the musicality of this incredibly skilled British duo. Ooberfuse are delivering an electronic/indie pop hybrid for the ages here, and though I’m not typically one to go for this style of music, Call My Name is simply too captivating to be ignored.

The synth parts that we hear in the “Patrik Kambo Radio Edit” aren’t all that different from the ones that we hear in the “Push The Frequency Festival Mix” in that they both utilize textured melodies to create a narrative for us. The lyrics are the same in both versions – though the vocal serenading us with them is a lot more pronounced in Kambo’s cut than it is in the festival mix – but that said, they’re never the main focus here. In essence, it’s all about the instrumental prowess in these two mixes, with everything cosmetic element in the tracks taking a backseat to the grooves themselves.

In Call My Name’s “Paul Kennedy Radio Edit” the synthesizers, percussion and bassline are stoic, colorless and totally blinding in a couple of crucial moments, but despite the dreary backdrop, the consistent crooning of our singer warms up the atmosphere just enough to make it a palatable listen. It’s a rather interesting choice for ooberfuse’s new music video, but I suppose that the contrast in tonality gels with the visual concept better than, say, the passionately dark “The Noise” would have. While I can admit that I don’t completely understand the method to their madness, there’s no debating whether or not this pair clearly know what they’re doing both in and out of the studio.


Hal St John’s mix is the most straightforward of this bunch, but it’s doesn’t play out like a boring radio version of an urbane experimental track at all. On the contrary, the “Hal St John Radio Edit” replaces the crushing blows of the synths with rollicking guitar rhythms and a string melody that complements the vocal in a way that an augmented harmony never could. This is my favorite version of “Call My Name” by far, and it’s reason enough to pick up this awesome mixtape this July.

Call My Name was tailor made for hardcore electronica connoisseurs, but there’s no reason why occasional pop fans shouldn’t also be able to dig its intriguingly experimental foundation, which is derived as much from alternative rock, indie pop and post-punk as it is EDM, house and modern club music. Littered with more sonic sundries than one would expect to find in a five track, sixteen minute long extended play out of the European underground, ooberfuse’s latest record is a lovely listen this summer, and a noteworthy step forward for a duo that has already done so much to impress both critics and fans in the last few years.

Kim Muncie

Nicholas Altobelli delivers an eclectic collection of alternative Americana

In his latest album, the long-awaited Vertigo, Nicholas Altobelli delivers an eclectic collection of alternative Americana via songs like the brilliant “Runaway Trains,” “Red, White, And Blues,” and “Don’t Let the World Get You Down” whilst redefining his artistry with an experimental aesthetic that just wasn’t present in previous offerings bearing his moniker. Altobelli pulls out all of the creative stops to make Vertigo as unflinchingly honest and endearingly melodic as possible, and though it’s definitely got the look and feel of a basement tapes compilation piece, that could be the biggest reason as to why it stings with as much emotionality as it does.

The opening riff in “Runaway Trains” (which we find in a more surreal setting later on in “Trains”), as well as the string arrangements of “Midnight Songs,” “Tell Me What I Got to Do” and “Go to Sleep” provide an unparalleled foundation for every verse that Altobelli sings, and though his words are quite communicative in their own right, the guitar parts in this album are often just as evocative an element. “Look out the Window” features a chilling acoustic melody that, while not quite as bold and flowing as what we hear in “Everybody Knows the Truth” is, significantly adds to the cinematic feel of the LP’s second act, but the same could easily be said for many of its neighbors in the tracklist as well.


“Don’t Let the World Get You Down,” “Look out the Window” and “Go to Sleep” have a really vulnerable lyricism as their primary linchpin, and I think that they show us a side of Nicholas Altobelli that he’s been rather reticent to share with us in the past. You can tell that he’s being completely genuine with us in these tracks, and to some degree, he sounds a little more relaxed and at peace in all of the aforementioned songs than he did in anything on 2015’s Searching Through That Minor Key.

This mix is really well-polished, but there’s never an instance where it sacrifices the raw emotion in Altobelli’s performance in order to live up to some artificially-modeled pop pedigree. Though he’s definitely maturing as a songwriter, and thus adapting his style to suit the direction that he’s going in, I don’t get the impression that this artist is looking to sell out anytime soon on Vertigo; on the contrary, it would seem to me that he’s more committed to the concept of originality now than he ever was before.

Despite spending some time away from the recording studio, Nicholas Altobelli sounds as sharp as any of the stars making headlines in 2019 have been, and I think that Vertigo may well be the most well-rounded album to see widespread release so far in his career. He’s demonstrating a lot of growth in its tracklist, and if he can continue to cultivate his difficult to categorize sound with the same kind of personal touch that he has in tracks like “Thunderstorms” and “Red, White, And Blues,” then I haven’t any doubt in my mind as to whether or not he’s going to continue being one of the most revered singer/songwriters in his scene.


Kim Muncie

Gravity and Friction (LP) by King Ropes

Plunging percussive thrusts are joined by a gush of distorted melodies in “Butterfly Joint,” one of the eight songs comprising King Ropes’ exquisite sophomore album, Gravity and Friction. In “Butterfly Joint,” and really all seven of the tracks that it’s accompanied by on Gravity and Friction, a mind-bendingly surreal soundscape is utilized as a forceful canvas atop which the band can colorize the otherwise simplistic beats. The music is unrepentantly experimental, but despite its grizzly finish (and, more often than not, angular complexities), I think that rockers aren’t likely to find anything as authentic as they will in this stellar new LP.

“California Stars,” the title track and “Brown” possess a dirty, almost blues-rock style grit that’s melded with the atmospheric textures in the bass parts beautifully, while in other songs like the cerebral “Mouth Full of Bees,” King Ropes get so lost in the hypnotic nature of their harmonies that it’s hard to tell whether they were recording a pre-rehearsed composition or simply a flat-out jam session. In either case, I can’t say I’ve heard a record with quite as many unrefined attributes that still managed to remain palatable and, on occasion, even a little bit pop-friendly (the album-closer “These Days”).

The lyrics in Gravity and Friction are pretty enigmatic from song to song, but they’re never so absorbed in provocative poeticisms that we lose sight of the central narrative in tracks like “Giacomo’s Assistant,” “Saint Peter” and the brilliant “Brown.” The first time that I sat down with this tracklist, it actually reminded me of early 2000’s fringe alternative rock, but at this point I would term its sound as being much more eclectic and left-field than anything that era’s mainstream produced. King Ropes aren’t repeating history here, but instead drawing inspiration from the unfinished experimentations of their predecessors.


I absolutely love the guitar tones in “California Stars,” “Butterfly Joint,” the title track and the fiercely balladic “Giacomo’s Assistant,” and I found their warmth to be remarkably refreshing to hear in 2019. So many of rock n’ roll’s most reliable beat-makers have been moving away from the visceral intensity of the genre’s past in favor of embracing something more augmented and aligned with the advent of modern technology, but King Ropes are doing the exact opposite here; they’re using contemporary recording techniques to maximize the effect that their ripping sound can have on listeners, and sounding incredibly inventive in doing so.

True blue rock fans can’t go wrong with King Ropes’ Gravity and Friction, and I think that this album absolutely has the potential to break the band’s music into the mainstream once and for all. This record is a tremendously creative effort that doesn’t remind me of anything else I’ve heard this year, and though their debut LP – 2017’s Dirt – was definitely one of the best records of its kind to see release two years ago, its substance pales in comparison to that of this stunning piece. King Ropes mean serious business with Gravity and Friction, and anyone who doubted their legitimacy is in for quite the wakeup call in its eight intriguing songs.

Kim Muncie

Kendra And The Bunnies and becoming the VOICE you wish to hear on the wind…

Tell us about being a musician in Los Angeles.

Being a part of the creative music scene in Los Angeles is cool. There is a network of us indie musicians that gravitate towards each other in different areas of town. I’ve got my singer-songwriter clan in the Valley, the rock ’n rollers in Hollywood, my EDM & hip-hop crew in K-town, and the chill surfers down in Venice. We all work together to make events happen, support each other during album releases, and press our homies to stretch further for themselves. A good friend of mine who is a producer and sound engineer just finished a festival-house remix of my song, “Sucré Mon Cherí”. He goes by cnotebythelayer. Look for that release on Spotify and in a club near you soon. 

Please explain your creative process.

The creative process right now for me begins with the element of fire. I light the red candle by my desk that I painted the words, “Productive Creativity” on to; I then light some incense. Right now, I am working with Jasmine. Jasmine opens the heart to success in dreams and prosperity. From there, I grapple with whichever aspect of my creative self is pining for expression. Last night, I wrote a few pages for the novel-memoir that I am currently writing. It is titled, “Friend of the Level”. It is my third book. 

What drew you into the music industry?

All the greats. All the characters that spoke to my soul. A big spirit I look up to is Jerry Garcia. He has such a sunny disposition grated with knowing a dark before the dawn. Today is his birthday, July 1. I like looking up to role models that are clearly unique in who they are day in and day out. When I listen to an artist, I want to hear where their soul is singing from. I may hear traces of what legends influenced them, connect the dots, and know where to look next for sonic guidance. 

If you could have your fans remember only one thing about you, what would it be and why?

Cool question. If I could have listeners remember one thing about me, it would be that I care. I compassionately look at life with eyes of grateful service. How can I influence the person next to me, positively? I ask myself how my actions, creations, and offerings are effecting others. I think through everything. What did I mean by that glance to that stranger? What does that mean about my current state of being? How can I compassionately work towards portraying a joyful spirit on a blessed planet? I would like this to be embedded in my lyrical composition. I ultimately want to be remembered for my poetical phrasing. Kind heart, stellar penmanship. 

What is the overall message you want to deliver to your fans?

My overall message plays into my answer previously mentioned. Every one of our actions, even thoughts, create a ripple effect in our environment. When we think of our own character on a grander scale, we become more than an actor in our current scene, we become an agent for positive change in the universe. Who are you? What would you like to bring to the table? How can you adjust to align with where you would like to go? “Be the voice you wish to hear on the wind… Listen.”

Tell us about the NEW MUSIC & New Videos!

I would love to! My first album, “of Vinyl”, debuted on July 5, 2019. This album is about the psychic inner-heartlands of love. Following this is the current EP I am recording. It is titled, “of Always”. It is an ode to my muse in the moon, expressing love, gratitude, and explanation that I will always be my best for them. Following that is my second full-length album that has already been written. That is titled, “of Thank You”. It is a call from the native healer within to take a look at where we are going as a socio-ecological, politically charged society. On the same basis, my first music video was released on July 20, 2019. It is an aestheticly pleasing nature-filled landscape design for my song, “World Peace a Thing”. In this video, I dance my healing dance. It is beauty. 

Please list all links you would like us to share with our readers.

If you want to get to know more about me & stay in touch with my upcoming albums, books, & other projects,

I recommend following me on Instagram. I am @Kenbunny ( Also, My website has all relevant information, show dates, and offerings:

To watch the “World Peace a Thing” music video and other performances of mine, you can visit my youtube channel here:

My debut album, “of Vinyl” is streaming on all platforms like Spotify, Apple Music, Google Play, SoundCloud & more.

You can find links to each platform here:

If you’d like to support the recording of my upcoming EP, check out the books and albums I currently have for purchase at

Thank you!  

Thank you so much for having me!