You might know Dante Foley as Square Cymbals, the social media drummer who talks about news and history, or you might know them as the drummer for the music collective Mourning [A] BLKstar. Soon, you will also know them for Upfront w/Black Punks.
Upfront w/Black Punks examines the intersectional experience of Black punks from the 90s to present thru a collection of artist interviews. By looking at the intersections of race, gender and class, the film encapsulates how alternative communities have changed, and also stayed the same. And thus, it exists as a testament and celebration of Black artists who dare to challenge the status quo and express themselves differently.
I caught up with Dante to talk about all of these projects and more. In keeping with their friendly and inquisitive nature, Dante actually asked the first question…
Dante: How’s the day been?
Lainie: It’s…I’ve been working all day and, You know. How about yours? Your day has probably been better than mine.
Dante: Kind of the reverse. I was working earlier today, and then I went over to a friend’s house, uh, because she has a washer dryer. So I was able to do laundry when we watched a weird movie, and now I’m back at home and just doing work. So it’s pretty boring over here.
Lainie: What weird movie?
Dante: Lurker, which came out last year and I really wanted to see it, but it had like a really limited release. Do you know Zach Fox? He’s a comedian, a pretty solid one, but he was in it and it just like, I love a good old indie film type thing. This is right up my alley. It’s a strange film about this guy who somehow gets access to like an inner circle of a famous musician, and he becomes obsessed with staying within that inner circle at all costs. it’s kind of creepy, but like, it’s very much an obey or like a, you know, the talented Mr. Ripley type beat.
Lainie: Okay, I’ll have to check it out. For sure. I’ll add it to my movie list. You know, that sounds like a pretty actually good day.
Dante: I’m saying. I know, I’m getting so much done, but now I’ve just been editing for the past 3 hours after going on a run. So that’s been cool.
Lainie: What are you editing right now?
Dante: So I’m still working on the film. I’m just finishing up the sections, getting all the clips that I want in order. Almost there, you know, 2/3 of the way finished. I should be done by later this week. This section that I’m doing now is mostly about how black punks interact in punk communities and experience racism. So, like…lots about that.
Lainie: I want to hear more about this project, but maybe we should start by you talking a little bit about who you are. I want to hear what you think is really important for everybody to know about who you are, first. Is that too broad?
Dante: No, no, it’s fine. I just like don’t see myself as that important of a person. Um, but yeah. My name is Dante. I am a self-taught DIY musician from Cleveland, Ohio. Grew up in East Cleveland and just went to open mics until, you know, I had skills that were transferable to other projects. Then from there, did the whole band grind thing, after art school, you know, after failing at art school. I was able to be a part of a group that has actually done a lot of extensive touring and recording and traveling and yeah; it’s been an interesting creative path. Just playing a lot of songs, seeing the world in a way that I didn’t think was possible.
And from there, uh, along with just reading a lot, and absorbing a lot of information about race, class, and gender, I have been able to build a vast network of different people who exist at the intersection of a lot of different races, classes, and genders, and kind of synthesize experiences around what it means to be a person within the alt community space both from my generation before and I guess beyond.
So, the documentary that I’m working on now encapsulates that experience of knowing all these people and we’re telling all these stories that you would think would be extremely different, but it seems like we all had very similar experiences, be it somebody who, experienced the punk community in like the early 90s or someone who experienced punk communities in the 2010s.
There are a lot of throughlines that we all have inter-generationally, and telling those stories in a format that is tangible and doesn’t shy away from those things, is kind of what I’m looking at in this project.
Specifically with the middle section, examining how race and gender intersect with your punk experience, and what it’s like to kind of find like-minded people that can help you grow and further develop your politic.
That is what the documentary is about, and I’m really proud of how it’s going so far. It should be done pretty soon, and we’re premiering it at a local art space on the 26th of this month. Then I’ll probably do some other screenings in the other cities.
A lot of the people that I interviewed, some of them are from Cleveland, where I grew up, a few are from Columbus, a decent amount of them are from Philly. We got some people in Chicago. We got some folks in New York. So, You know, it’s regional. I feel like it was unintentional, but I’m glad it worked out that way because Ohio, Illinois, New York, and parts of Pennsylvania have a really interconnected punk scene. So it all kind of worked out that way.
I think with the younger of the interviewees, I think the work of cataloging and building has made it possible for there to be more action and a more radical next generation.
Thankfully, I am both the progenitor and the beneficiary of that, which has been really nice. Where there are folks who I interviewed, who kind of paved that path for me, and I’ve been able to kind of pave that path for someone else.
Lainie: Did you talk to any zine people for this project?
Dante: That’s another really interesting throughline and it continues to evolve and expand. Two of the interviewees who are huge part of this, Reagan Buchanan, and Frank Lawson (I think? He goes by Southside Frank) have this drawing series called Poctober, which mainly started because I think one of them wanted to draw BIPOC punk people, and just like wanted to make a whole event out of it. But now they have numerous contributors from around the world who are eager to both participate in an art community and celebrate black and brown punks from around the world.
So they’re really developed and fully illustrated and colorized, but they categorize it as a zine series just to help bolster that DIY element because they have contributors that aren’t necessarily full-time artists or illustrators.
I’m hoping with the next installment, because this is being pushed to be a series, I’m able to talk to more organizers. I would love to engage with theory and how industry engages with black identity and commodification. There is a little bit of that in this installment, but it’s something that can be expounded upon.
Lainie: At what point did you go “I’m going to do this!” Was there something that actually sparked the beginning?
Dante: There were two things. One thing was I made this video about Chappell Roan last year, and it ended up popping off. In one of the sections, I just interviewed a lot of my friends who are also touring musicians about what tour life is like and what the economy around that is, because a lot of people think that, oh, just because you’re a popular musician or whatever, you must be rich and loaded and you have all this free time to engage with and learn about whatever the topic of the day is. Folks just, generally, when it comes to music labor, are so disconnected from how tangible and hard it is to work within the music industry because we don’t really see art as labor in the first place.
So, in demystifying that, I interviewed, I want to say like seven or eight of my musician friends of all our different levels of success or, you
know, capital success, I guess, and time within the trade, with it being like between like 5 and 30 years. And then from there, I was able to broaden the conversation. So that kind of got my interest in interviewing people and telling stories that way instead of writing video essays, which is what I normally do.
And then my friend, who I mentioned earlier from the Poctober series, Reagan Buchanan, had already done an unconventional book tour around her book, The Secret History of Black Punks, in which she writes blurbs and includes that with illustrations of black punks throughout history. I had the idea of, what if I kind of combine those two ideas where I can take both the previous and current generation and tell a story more or less about like what the punk experience is.
Lainie: So adding another dimension to what she was doing already. That’s really great. I love hearing people collaborate.
Dante: Exactly.
It’s important for us to like, I don’t know, I feel like within society, we atomize ourselves and are told to push individual ideas as to like how one can build and maintain a creative identity when that’s not necessarily how the arts function. We’re all always being inspired by each other, and in order for the culture to proliferate and for us to catalog and build a tangible library of what’s happening, we all have to inspire ourselves to create and be a part of community in the first place.
Lainie: Was there anything that surprised you about what ended up happening as you did these interviews?
How I conceptualized the project was pretty loose. I was able to do this because I got a grant in collaboration with Spaces in the Andy Warhol Foundation. They had something called the Satellite Fund, which was an art grant that I applied for, thinking not much of it, more or less like, I don’t know, I don’t usually have luck in that arena. But I had a clear pitch already and I’m like, you know what? Let me take a shot. And I applied, and then made it to the next round where I had to give a
presentation about what the event was and what the project was. And I somehow got it. So then I was thinking, okay, well, now I have to get gear and just hit the road and see who I can interview.
I guess the hardest part of that was just working with artist schedules because they are known for being extremely chaotic and hard to pin down. There were so many people who just didn’t make this round of interviews because of just scheduling conflicts. And then when I was traveling, in order to have longevity and not go over budget when traveling, I would try to do it as cheaply as possible. I wanted to hit LA initially, but then there was a lot of uncertainty around flying as soon as I was getting into that chapter of it.
And then later, the more the year went on, things just got more and more expensive. So I couldn’t make it happen fiscally, because that was the roughest part. Within the interviews, I didn’t necessarily prepare any questions other than like, these are people that I kind of know or I, you know, observed. I was more interested in what their story was. I think from that, I was able to glean a lot of throughlines within both my own and what the regions are saying.
Lainie: When you’re done with this project, what will success look like to you?
Dante: Ah, that’s an interesting question. I mean, I don’t know. I don’t think about being perceived in that way or whatever. Even with the screenings, it’s going to be really rough being in a building with a bunch of other people looking at something I made. Like, I like to just make the thing and then walk away. But it is important just to have more honest stories about what life is like for us that doesn’t kind of commodify and aestheticize it to fit a weird apolitical, universal message. I embrace the hard edges of how sexism and capitalism and racism and transphobia engage with a space that I’m proud to be a part of. I feel like there isn’t a lot of work that does that, so as long as I can add something to that conversation in a way that’s honest and lets people tell their stories, I’m happy.
Lainie: Yes! I’m really excited to see what you what you’ve created. I really want to hear more about Square Cymbals, as well.
Okay, uh, well, Square Cymbals was my IG handle initially, um, I think it still is. I don’t really feel like changing it, mainly because I didn’t have social media until like 2016, 2017. My friend, Mallory, you know, we’ve been like, cosmic life friends since the mid 2010s, and she inspired me to put myself out there more and promote projects because when you’re a drummer in a city that doesn’t have a lot of drummers, you just join too many bands. That’s how I kind of found Mourning [A] BLKstar, and from there it’s just been like nonstop creating, meeting other creatives, and continuing to challenge myself in what I can do.
That’s kind of where Cymbals comes from. It’s something cute that was drum related. Um, and then when COVID lockdown first happened, I went from 100 to 0, I guess. I was always going out to other people’s shows. I was working at an office job at the time. And four or five days out of the week I’m jumping on the train to go to the other side of town to like hit a show or something like that. So, I was always so busy, and for the first time I had to kind of slow down and stop and reflect on what my creative ambitions were because through playing music I’d already achieved so many of my goals and I didn’t really know where to go. I felt a little bit aimless, and I just started examining why I played music at all.
So then Square Cymbals as a YouTube channel project kind of thing happened because I was already playing, I played one cover a couple years ago – someone that I toured with had offered me a cymbal endorsement or whatever. I’m like, I’ve never gotten one of those before. So I got these new cymbals during lockdown – they sounded great, and I kind of learned that like, oh, I kind of don’t know how to engage in a simple sound that well. My approach to playing needed a lot of work, so I just started recording covers from my bedroom. And through lockdown and over the course of like four or five years, I built a library of like, 200 plus songs that I played. So that’s where the YouTube channel started.
And then halfway through that journey, I was just deep into both reading and watching political education content. And the more that my knowledge grew in that realm, the more I felt like I should be saying something, because there aren’t like a lot of musicians who engage in a political space at all, um, for, you know, a collection of business reasons. So I thought, “You know what? I hate having money. Let me do that myself.” And I just started writing about how politics and culture engage and interact with the music space.
It started off like, low hanging fruit; talking about country music and country musicians and dog whistles, and how that relates to a political past steeped in the Reagan administration. But the more stuff that happened, and like, you know, I love hip hop, I love jazz. I love indie rock. I love all these other genres and I have a good framing of history around how politics have shaped those spaces. So, you know, it became more interesting to tell stories about that.
So then I started making long form stuff, and got to the point where now I’m like, you know, interviewing my friends for like cultural documentary work. So I guess that’s where it started, if that answers the question.
Lainie: I found you on TikTok first. I can’t remember. Was it Instagram?
Dante: Could have been either. I got a lot of attention on TikTok from posting Tyler the Creator covers, and I think, um, that MF Doom cover, because white boys love Tyler Creator and MF Doom.
And then I think the thing that went viral on Instagram was probably, uh, I played Supervillain’s name by MF Doom. So I guess it’s like that thing again. I just like, I should just play MF Doom. And, you know, I would be way more successful at the end of the season I’m actually playing.
Are you self-taught in political theory?
I mean, it’s a lot of different things at the same time. I haven’t been as avid a reader as I’d like to be, but I’ve always read a book or two every now and then I’d like get through like four or five of them a year. I think that kind of started in the mid 2010s where, I was dating some lady and I was a little jackass. It was 2014, and she’s like, “I’m a feminist,” and I’m like, “I’m learning more about gender from reading these books,” and I thought I was trying to be cool. So I started reading those books, and I’m unpacking a lot of stuff that I needed to work on myself. And these friends were challenging me in a way that I haven’t really been challenged before because I was a little know it all. And then from there, certain stuff would cross my path that I was really interested in. I think around the same time, maybe two or three years later, Ta-Nehisi Coates Between The World and Me came out.
And then there were other things, you know, later going into lockdown I got really into Mark Lamont Hill and like Progressive Except Palestine, I think had also come out or something like that, and I was learning more about that. Watching more documentaries. I’ve always been a documentary watcher. When I was a depressed teenager, I would just go to sleep in my mom’s room and then not have the energy to get up, and I would just like watch TV to whatever channel I could find that just had something on, and Sundance and IFC used to have really cool documentaries. So I just had a taste for watching informational stuff from there, and I’ve always had friends who were politically active.
The second half of 2010 my friends were organizing and, you know, talking about organizing their workspace and advocating for labor rights and for fair transit laws and expansion of those things and doing a lot of work and they were reading stuff and recommending stuff, you know, and doing poetry. So my community was just like, on a level where I had to kind of engage with that kind of stuff or be left behind, and it made me a more curious person who, I’m like, oh, yeah, I need to listen to that album or I need to read that book or I haven’t seen that speech or talk yet. So that’s what they were talking about, and still, to this day, one of my longest friends , who works at a bookstore is always talking about what she’s reading. So, I guess that’s where it comes from. And then from there the political space is interesting because I was just growing a lot post 2021 and just reading more and
more theory and at first, you know, aligning with anarchism and then the more I read about anarchism and communism, I started aligning more with communism. That is pretty recent, I guess, like at least over the past like 5 or 6 years.
Lainie: It feels very vulnerable to me for you to be up there playing the drums, writing about politics. Has it been a good experience? What is the response to your writing and playing?
It’s been interesting. I’m going to try to do more drum political posting soon. I mostly do essay stuff now, but it’s just like with that kind of writing, I had a lot of feels about it. I do like current events. It challenged me to read more articles because I would wake up and I’d have coffee and I’d read the news and try to synthesize what I’m understanding it to be.
But as things like violence against people in the SWANA region or across Africa, became more prevalent, seeing a lot of people treat informing people about these things like content felt icky because I’m writing about an article that’s linked, but it’s also decontextualized. I’m not one of the people invested, and it seems like it’s being done for clout, and I don’t really want to be one of those people who’s extracting from pain and suffering in order to make myself seem more important.
It is something that I’ll probably do more of in the future, but it is something that I have to kind of check myself on what is the morality and the efficacy of constantly just informing people on stuff that they’re probably embracing and reading themselves in a creative way where I’m like we do need people to spotlight, but at what point is it exploitative? Would it be more effective just to spotlight the people actually affected by it? I guess that’s where I’m at now where I’m like, I don’t know how to feel about this. And also that kind of writing can be a little restrictive too, where I have to synthesize so much information. And what, like, 1800 characters on Instagram? They have a caption limit. So I’m like, yeah, I’m not gonna, bring up how Israel’s destroying both land in Africa and across the greatest wine region so that they can
like do more biomedical or biofood engineering. That’s something that needs to be synthesized the right way.
Lainie: Do you ever feel conflicted about using social media & making money for Mark Zuckerberg?
Dante: That’s a whole thing. Well, at the very least, I’m not really paid by Instagram or like, barely TikTok either. I mean, TikTok only pays you if you have a video that’s over a minute long, so my 15-20 second drum clips aren’t really scratching that. And I don’t think outside of having memberships, I’ve ever received much from meta, and it makes sense. Meta hates me more than any other platform, which is so funny.
I’m shadow banned out the ass. It is funny. I’m trying to compare like how shadow banned I am on TikTok versus how shadow banned I am on meta. It’s around the same where people who really like to see my stuff can see it, but I’m not being discovered anymore, which is great. Now I can just kind of shit post, which is fun. I don’t really have to worry about maintaining anything. I just mostly kind of keep those channels and connections open because I like the people that I interact with on the space to begin with. I’m like, oh yeah, these people are cool. I made some nice friends, and it’s good to be in community with them.
Lainie: Yeah, I think that’s the way to take social media in general is just take what you can and leave the rest.
Dante: It’s bad. I’m not trying to go to Coachella being sponsored by like, you know, Raytheon. That’s not my…It’s not my bag.
Lainie: Mm-hmm. I’ll know you’ve changed when that happens for sure. You’re being held hostage!
Dante: Exactly. Like I was hacked, actually.
Lainie: Do you want to talk a little bit about your band?
Oh yeah, it’s been a lovely journey. Um, So I joined Mourning [A] BLKstar I want to say around the beginning of 2017. This is actually a wild story because I’m like, so much shit happened and I finished folding my laundry, which is great.
Lainie: I love wild stories.
Dante: So the person I mentioned earlier, Mallory, close friends. We used to date, but people break up and we were still navigating what it meant to be friends around this time. I’m going to a Women Who Rock show in Cleveland, Ohio at the Grog Shop, and it was like, I think our breakup was still a little bit fresh around this time. Early February.
Um, I go to the show. Great show, and I’m talking to my friend who works at the bookstore and she’s like, you gotta party, you got to go hard. You gotta do one more shot with me. So I do the shot. I’m like, fuck it. And after that shot, I don’t know what happened, but something changed. I wanted to party more, so I went downstairs and they were having an Emo Night, but Mallory, my friend, was going to that Emo Night. I go down there. I’m having a good time seeing some other friends. I’m dancing around. I’m smiling. I’m drunk as hell. It’s amazing. Uh, they’re having mosh pits. I have a glass beer bottle in my hand.
Someone falls out of the mosh pit onto me. I fall on the ground directly onto the glass bottle, burst my hand wide open. You know, cut my life into pieces. It, it was, it could have been my last resort. It was really bad. So I get up. There’s blood all over the guy who fell on me. Blood, pouring out of my hand because like literally I drank so much that my blood is like really thin.
And I go over to Mallory and she’s like, what the fuck? We got to go get you to the hospital right now. So I’m, we leave, get in our car. She’s driving me down the street. I have to hold my hand outside of the window to like not get blood everywhere. Uh, and she takes me to the hospital, get my hand in the cast, stitches or whatever. And I can’t play for a couple weeks. This will all make sense and be applicable to the story in a couple minutes. So, you know, I’m out of commission. I think I played a show that weekend, though, with like one hand, which was fucked, but so much fun.
But I’m on the mend, and during that rehabilitation period of not being able to use my left hand, (which is the hand that I write with, by the way) I saw Mourning play at a museum, and I, Did I know their drummer? I don’t think I did. I don’t think I knew the drummer, but I knew Toy, who’s one of the vocalists in Mourning [a] BLKstar, and I’m like, this band is so fucking cool. These guys are so dope.
Anyway, I’m finally on the mend and I’m trying to play more, because I had like two or three projects that I was working on some stuff with, and I want to say towards the end of when I’m getting ready to get my cast off towards the end of March. RA calls me and he’s like, hey, our drummer is having surgery. He’s going to be out for a couple weeks.
Uh, can you like sit in for a couple of the gigs that we have coming up? And I’m like, Oh wow, super sweet. Yeah, totally. I can like come through and play some some shows with y’all. And then that’s where it started. I came to practices and after the 1st practice – because I’ve never been able to play in a group with all black musicians – it just felt so different. We synced really well, in a way that I haven’t really synced with any of the other people that I’ve played with so far. So it just felt so, so amazing.
The show was in May. Played the show. We smashed it. It was great. We had a really good time. So much fun. And then I thought like, yo, I’m not leaving. So then at that time, Mourning just had 2 drummers. We toured as 2 drummers for a couple years, and I think P, the original drummer, had some nerve damage in his arm so he transitioned to guitar and keys, which is what he plays in the band currently. But that’s basically how it started.
Started with 2 injuries and… It will continue regardless.
Lainie: That’s a great story. I love it.
Dante: And we recorded a bunch of records, literally that summer, and then after that summer, we had a…Do you know the band Algiers? You would love them. They combine punk, electronic, gospel, like a lot of different elements into something that’s super amazing, super political.
Very, very heartfelt, dope group of people. I was obsessed with this band since like 2015, and I think in maybe like late summer, I found out that they were playing our local venue and I’m like, we got to open for them. We got to find a way to open them. So, we found a way to open for them, and the show went really, really well. We had a lot of fun. We invited them back to our practice space to drink and we just became really, really close friends.
Then literally a couple months after that, They had asked us if like, hey, we have some shows on the road near you. Do you want to open for us? We did that. We did like a small little tour with them. And then like, I think a year later, they were like, hey, we have some dates in the south. You guys want to hop on those? So we went down to Georgia, did like five days with them there and throughout the south and, long story short, like five or six years ago, their drummer’s partner had a baby, and they couldn’t do couple of tour dates. So then I had done some
fill-in dates with them too, and we’ve played shows with each other ever since then. It’s just been a nice relationship.
So part of the story is you don’t, you never really know. It’s just like, oh, it’s always how you build relationships and whatnot.
Lainie: Yeah, it sounds like that’s kind of your whole thing, right? You keep going back to building relationships.
Dante: I’ve been very lucky. I’ve just been able to make some really solid people. So I’m just happy that that happened. I mean, yeah, you know, life is hard and we’re kind of saddled in a system that forces people to be cold to each other. So it’s just it’s really. It’s really easy to be jaded and disaffected. And I try to stay connected.
Lainie: Have you ever felt competition in music in a negative way?
Dante: I mean, I used to be like a little bit like a, uh, what is it? Like, I used to peacock it out a little bit. Like it was, you know, the performative aspect of it. And I don’t know, the more I invested in being a student of both the experience and what my craft is, the less
the competition aspect crept in. You know, you have good gigs, you have bag gigs.
But regardless of that, um, consistently showing up to the space and listening to the people that I’m playing with, and interacting with that space with compassion and grace and making space for other people has gotten me further than being the best at anything else or like being the best at doing what I do. And I feel like that compassion and offering that space for people to make something collectively is what has propelled me further, and also helped me meet some people that I really admire and talk to them. And when I talk to them, they’re normal people and just nerds about drums. And it’s like, oh, wow, you’re just like, yeah, you really want to just talk about nerds and artisanal coffees. We love that.
I think post 2019, my mind has kind of changed because I don’t really think that I’m that good at what I do. A lot of times I’m just happy to be there.
Lainie: What are some totally random things about you? Totally random, like you like eating cold spaghetti…
Dante: Ooh, I don’t. I do like cold chicken though. Cold fried chicken is good.
I can’t bowl without jamming my fingers, no matter what size ball I use, and I don’t like it.
Lainie: Ouch. That just made my fingers hurt.
Dante: It’s bad. Another random fact: one of my favorite soapboxes to derail parties is to talk about how Scar was right in the Lion King.
I think it’s because like the Lion King was like the first movie I remember seeing in theaters. I was like probably 4 or 5 years old, and it was the loudest thing I’ve ever experienced in my life, and it made me cry because I was like, I didn’t know movie theaters were so loud. I’m a 4 year old. Why would you bring me here with no like prior reference?
Lainie: I want to hear this theory…
Dante: Scar was right. First off, Scar was gay. I don’t know why they they retcon that in the sequel. In the original fucking Lion King, Scar is very much, you know, a dark skinned queen with a shady past. So just get that straight, first off.
Second, Why is Scar darker than his brother? That’s never really explained. We don’t know who the parents are. I guess it’s cut for time, but they didn’t really think about it that much because it’s a Disney movie and I understand that. And then Scar, like, with the collaboration of the hyenas, seemed to decimate the pride, or whatever Mufasa’s kingdom was.
But it doesn’t make sense in the fact that like, the circle of life should include scavengers.
The added effect that the hyenas are all like dark skinned and black. Like, I don’t know why that’s, you know, no one ever talks about that. I’m like, yo, why are all the hyenas the darkest of the animals in the animal kingdom, and they aren’t allowed to partake in the circle of life because they are scavengers? Kind of fucked up. Scavengers are a very important part to the of the decomposition process and of the food economy of a specific biome.
So why are we cutting them out of the food source, Mufasa? Mufasa was wrong. It doesn’t make any sense. Mufasa was wrong. Scar was right. He shouldn’t have killed his brother. That was wrong. That was bad. Don’t kill your brother. But and politically, Mufasa was a bad leader. I’m over-examining a movie that is at this point 30 years old, but I’m pretty sure Jesse Jackson watched Lion King and walked out mad. (RIP)
Lainie: Thanks so much for taking the time to chat about all the cool stuff you’re working on, Dante. Can you please give us some photos and links to information about your projects, bands, friends, anything else you think is important.
Cleveland event link for the screening of Upfront w/Black Punks: https://upfrontwblkpunkcle.eventbrite.com/
Square Cymbals YouTube: https://youtube.com/@squarecymbals? si=b1QcZxg_3kWrj5-_
Square Cymbals Instagram: https://www.instagram.com/ squarecymbals?igsh=M2c3em12MnJzOGQ5
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