Untitled Document

A Microsoft Paintbrush self portrait of Dawgboy after ingesting three bottles of minty fresh scope during the "SIPPIN LIKE YO MAMA" tour back in 98. The art is reminiscent of a tragic event with UBR's tourbus - aka - "Moth Incubator 3.6" The band's transportation unit lost it's full exhaust system on the Dan Ryan expressway. UBR was fortunate enough to obtain a bottle of "Mr. Nifty's" bubbles in from a local JJ Peppers convenience store, to help bide their time until a rescue unit could come to assist the M.I. 3.6. The history of this portrait is significant because - as it has switched hands over the years from website to website, it has retained all of the qualities of it's original, but it is in fact a mere "Cut & Paste" of Dawgboys genuine Microsoft Paintbrushed self portrait which resides only on his PC screen at home - very few have had a chance to view the original in it's intended monitor's resolution. It has also been rumored that this portrait was going to be a friendship gift from Dawgboy to Jumblo Binley on Kasimir S. Pulaski Day 1998, but there is no real verification of this

This piece is a Unique analysis of Dawgy's perception of his inner self more elaborately explained in the Song "Waste Some Time" by Uncle Binley's Room - off of the album "Sippin from the test tube" It appears that the artist is trying to convey a message that the viewer "can't tell the shivers up his spine - are giving him the signal that it's time for one more try..." One more try for what we might ask? An sinfull act, perhaps a longing to fill in missing pieces of the artist's past? Maybe just some good ole Nooky? It is difficult to pinpoint, but one thing we can deduce is that there is a definite polar diversion within each pixel of this fine Microsoft Paintbrushed Piece symbolizing an angst that can be felt by everyone from time to time.

Jumblo - The other half of Uncle Binley’s Room is the Ying to Dawgboy’s Yang, The Big Mac to Dawgy’s large chocolate milkshake, the psych to the delic, quite simply put these boys together and they are THE men from Uncle!!

We can see here in "Felix", that the works of Dawgboy's "Dirty Chonesance Period" (1996-1997) contain more circular shapes as well as a darker side of humanity. Circle's have become a symbol of darkness or trouble lurking in Dawgy's earlier pieces, connecting fear, confusion, and entrapment. This can be similar to the entrapment of a dog chasing his tail in a circular path, or a boomerang that misapprehends it's target only to create a new unsuspecting circular tragectory nailing you in the melon.

Ahh Yes, in "Jar" or "Jar of Formaldehyde" as it is sometimes refered to by scholars, Our young Protege has used some never before pioneered pixilation stroking techniques which have revolutionized the minds of literally millions of followers. The blue highlights you can see in this mongloidial figure's hair are made in such delicate curves, they have puzzled the masses. Some aspiring followers have gone to the extent of constructing custom made mouse controls in order to reproduce this technique. This piece falls under Dawgboy's "Brew Period"

As mentioned earlier, "Fraunz" validates the reoccuring Circle/Danger theme in Dawgboy's "Dirty Chonesance" period. We imediately see the worry in the aquatic creature's eyes, as well as the menacing stance of his overlooking enemies. This is all amongst the background of random circular patterns. Not enough can be said about this piece, it's perhaps the most important in the collection and several books have been written about it's world of interpretations. Versions and tangental themes of it show up throughout Dawgoy's career. The most well known of these appearances is of course Uncle BInley's second album cover. La Crema De La Muerte.