Dec 19, 2018 01:55PM
By Greg Jerrett
Local rapper Brenton Gomez—aka Conny Franko, Conchance, The Wooz, Daddy Woozbuckz, Conny Chrondracula, Chronny, or Econnyome depending on time, place, and project—is a wiry and reflective man of letters with deep roots in South O.
Gomez needs many names to represent the many aspects of his artistic identity. A 31-year-old with world-weary eyes, he carries himself with the quiet energy of stillness before the storm, like a flyweight boxer prior to a fight. Gomez’s best punches are thrown conversationally, philosophically, and intellectually. He can lay down a freestyle critique of commodified American culture and the individual’s role in it that would make C. Wright Mills glad he didn’t go into insurance.
His first real job came at age 10, shining shoes after prom for $5.25 an hour (off-the-books in a tuxedo shop). This character-building experience informed his worldview, education, and artistic messages by awakening his sense of working-class consciousness.
The Millard West and Metropolitan Community College alumnus graduated with honors from UNO with a bachelor’s degree in international studies and a focus on Latin America and business. While business now seems a less-than-perfect fit given his ideology, his side excursions into the social sciences and philosophy seem to have paid off in wise dividends. Art, after all, requires experience, knowledge, culture, and community to thrive.
“If you don’t have something to say, you’re just pissing in the wind,” says Gomez about what makes art meaningful. “If you don’t have a historical context for how things developed and how things were colonized or industrialized then you really don’t have a f***ing clue about what’s going on now.”
A skilled rapper whose heart lies with the DIY community, Gomez thinks of himself principally as a writer with multiple projects going at any one time: zines, chapbooks, poetry, and essays as well as rap. Music has provided an outlet for his American experience since 2000. In 2007, he played the Slowdown.
“The first rap artist to play there was Redman, and then it was me. It just shows that I’ve been kicking rocks around in this city for a long time,” he says of his ascension in the Omaha music scene. “Sometimes people identify with what you’re doing—and sometimes you get stepped on—but I do art because I need to be doing it, not to get some kind of social capital from it, you know what I’m saying? The portfolio of your lifetime is your work.”
Gomez is glad to play any stage, as M34N STR33T (his group with Adam Robert Haug, aka Haunted Gauntlet) or rapping solo alongside local producers Keith “DJ Kethro” Rodger or Juan Manuel Chaparro, aka “DJ Dojorok.” Getting paid is its own reward, of course, but it is not the only reward, especially for a grounded artist like Gomez and his passel of identities.For the sake of his art, he returns to the DIY community to recharge on the culture that motivates his work. Making art and speaking for his community as best he can are personal as well as professional priorities.
“I’m glad to see people be successful, but I also like to see communities respected,” says Gomez of the changing face of neighborhoods like Benson and Blackstone. “It’s always nice to get a check. Money is a variable. I need to get it because I’m in a capitalistic society, so I might as well. But at the same time, there are other things that are important, too.”
For the most part, Gomez says he would rather play the DIY circuit. It is by and for the community (and the kids who consume the music), which in turn fosters the local music scene.
“You do it for the culture rather than for looks and likes and analytics. A lot of times, I just want to make noise about my community and about myself and do it with integrity to art rather than, you know, with some hype,” Gomez says. “I’d rather have something that makes people just listen to it and gain something from it. Sometimes that’s movement, sometimes that’s knowledge and perspective. It’s where I’m seeing my music career going.”
Gomez’s albums with M34N STR33T are available on digital platforms and sold locally at Homer’s and Almost Music. The group’s third and latest album, Don Quixote’s Lance, was released in April 2018.
This article was printed in the January/February 2019 edition of Omaha Magazine. To receive the magazine, click here to subscribe.