The Rise of Sullivan King

Sullivan King marries metal and dubstep to produce a genre-defying sound, forging his own creative space. A graduate of ICON Collective — home of artists like Jauz, Protohype, NGHTMRE and Kayzo — the multi-instrumentalist/producer shuns convention by crafting music mosh pits filled with quick bass music and neck-snapping guitar licks that challenge conventional convention.

Born Keaton Prescott, Sullivan King is making waves in the electronic world- one riff at a time. Conquering dance floors with his infectious bass music while filling stadiums with powerhouse hard rock and metal performances; his live show pushes the limits of modern musical performance.

Like a medieval fiefdom, Sullivan’s organization was run by close family members and trusted associates, much like a medieval fiefdom. He was known to possess unmatched intelligence and charisma; his messages of neighborhood comradery and solidarity delivered in Lower East Side argot stirred both followers and foes alike. Sullivan recognized that running Bowery as a profession relied upon serving its inhabitants; any benefits accruing to him depended upon doing his job well for perceived residents benefit.

Tammany chiefs used their control of police to shakedown illegal gambling establishments, alcohol dealers and brothels – in exchange for a cut of profits – while using inside knowledge to profit off City contracts with exorbitant markups; both methods suited Sullivan well; however he preferred the latter approach.

Tim had expanded his business interests by 1904 when he formed an alliance with John W. Considine to form a chain of 40 mid-sized vaudeville houses west of Chicago that earned $200,000 yearly, as well as becoming an early investor in motion pictures alongside William Fox – the Jewish movie pioneer.

Sullivan King was a powerful force beyond Bowery, yet remained loyal to his extended clan. A devout Catholic, he adhered to its laws regarding divorce but disobeyed its ban on extramarital sex and fathered at least one and possibly two illegitimate children during this time period.

Big Tim focused his final years of life on improving working people’s conditions. In what would become his final legislative session, he made waves by supporting Frances Perkins-inspired legislation establishing a 54-hour work week for 400,000 sweatshop women. In addition, Big Tim established himself as an accomplished promoter – booking concerts by performers like Jack London and Lou Reed among many others – making his mark within his community and leaving it richer as a result of this. He was loved by all who knew him, dying a rich man.