Take a pencil, paint on a stick, draw with a brush,” he said. “It’s a way to express art, and I’m not trying to say that all men don’t do this, but in general, I can’t imagine that there’s anybody who does it as much as I do.”
It wasn’t just haircuts; Poulin was drawn to his work. As he put it: “It was my dream to be able to draw something that I liked and make it available; someone would have seen something and said, ‘I know what a good idea this idea is.'” In fact, he found a way to distribute the idea.
One day while driving, he pulled up to a local restaurant in the mid-’00s and asked to speak. “And as soon as the waiter said hello, I said, ‘Oh, my God, that’s you.'”
The waiter recognized him right away, and asked “how you doin’? What are you doing that we can see you doing?” Eventually, he started sending Poulin pictures of his ideas and asked for feedback, and by the time of that conversation, the ideas Poulin was working on had become a part of the world of hip-hop. “That was kind of like an organic process I suppose, because I had enough of a body of ideas that I could keep pushing them,” he said.
His work has been described as “rap-raps for the 21st century,” which, to some, may seem like a stretch; Poulin’s work has often been called a “disservice to rap music” by critics. But the hip-hop world has embraced Poulin’s work, too, and on the Internet. In fact, Poulin is part of HipHopDX.com, an online destination where hip-hop artists discuss projects like The Chronic, the mixtape he’s released under the pseudonym, Stickee Monsta. (He prefers to call the project “Stickeeboy,” because, he said, “this is a better album.”)
In 2011, Poulin got a call from a producer named RZA when he was performing at a concert. But the musician was busy, and RZA asked Poulin if he would do the lead on the track “Don’t Get Your Wings,” which is featured on the documentary The War Within, which premiered at SXSW this year.
Poulin obliged. “I
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