Jermaine Rogers never thought his art would take him very far, and for a while he was alright with that.
He was happy enough collecting a check from the Houston planetarium and drawing little flyers for bands on the side. It was the early '90s, and music was changing. The Seattle sound was making its way to Texas, and Jermaine dug it. Club owners hired him to help promote up-and-comers like Soundgarden and The Melvins when they passed through town.
Sure, when he was younger, filling sketchbooks with Optimus Prime and coveting freshly sharpened pencils the way other kids coveted new toys, he dreamed of drawing for a living. But his teachers and other well-meaning adults had shut the door on that dream. The flyers and 'zine covers kept him in touch with his creativity. Besides, he'd get tickets to the shows, maybe 50 bucks, and the chance to be part of something.
"I had no illusions that it would become anything huge," he says. "It was just something that I wanted to do."
Then Jermaine saw a poster by the artist Frank Kozik, and it was the beginning of what you might call his come-to-Jesus moment.