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PULP Originals

Playing Time with Paul Browning



For college athletes, they have to make every game count, because they never know if they’ll get playing time.

With hopes of going pro, most athletes want to get into division 1 schools, but some things are starting to change, especially for dominant athletes like Paul Browning who go to Colorado State University- Pueblo. Going pro could mean going to CSU-Pueblo.

Paul Browning | Taken by Bill Sabo - CSU-Pueblo Athletics

Paul Browning | Taken by Bill Sabo – CSU-Pueblo Athletics

“No one is going to tell me I can’t make it to the NFL. No one can tell me I can’t do it,” Browning explained. “I just want to be great and I’ll never quit.”

Paul Browning, now moved on with his diploma from CSU-Pueblo, grew up in Colorado Springs and attended Widefield High School in Colorado Springs. Which is also the high school that NFL wide receiver Vincent Jackson attended. Coming from a losing program in high school and only winning one game his senior year, he wasn’t too sure if he’d one day be preparing for the chance at the NFL.

“I didn’t let our record discourage me. Outside of games and practices, I was the only guy in the weight room and I was the only guy running stairs after the game,” Browning said. “Even during the off-season, it was me and my QB out there training, no one else.”

When deciding where he would be going to school, he paid a visit to Pueblo and knew it would be his home for the next few years.

“I took a visit to Pueblo and I loved everything about the program,” Browning said. “CSU-Pueblo football was brand new. I just felt like I could take advantage of the opportunities that Pueblo had to offer, so I took a chance.”

Paul Browning | Taken by Felix Cordova - PULP

Paul Browning | Taken by Felix Cordova – PULP

Browning’s next step was to make the team and that’s exactly what he did. He was redshirted for the 2010 season and earned his way on to the team for the 2011 season. This was his redshirt-freshmen year and it was also his breakout year. He started in all 11 games during the season and snagged a pass in every game. From here, his game would just get better, solidifying his role as a starter.

But it was his 2012 season where he really came into his own and started to capitalize on the open field play. He would more than double his reception yards from the year before, while only catching four more balls than the year before. He was maximizing his productivity.

Then, Browning completely broke out of his shell for the 2013 season, leading his team with 59 receptions. He averaged 96 yards a game, ending the season with 1,155 yards and 11 touchdowns. These numbers look great on his profile, but this season was missing the key ingredient to getting noticed. A Division II National Championship.

After an undefeated regular season, their playoff run would be cut short after a loss to Grand Valley in the second round.

“It felt amazing being a big piece of the offense in 2013,” Browning described. “But we didn’t make it to the last game.”

In 2014, the CSU-Pueblo Thunderwolves football team would go on to win a Division II National Championship, but the playoff process meant a lot more to Browning than it might have for the rest of the team.

Paul Browning | Taken by Bill Sabo - CSU-Pueblo Athletics

Paul Browning | Taken by Bill Sabo – CSU-Pueblo Athletics

Early on in the 2014 season, Browning suffered a torn meniscus during the Sam Houston State game but went on to finish the game with 96 yards and a touchdown. He didn’t realize how severe his injury was and had to have surgery done, leaving him on the bench for four weeks and missing four games. That was four weeks of no practicing and having to watch his team from the sideline.

“This was my senior year. It was supposed to be my year,” Browning exclaimed. “I needed to play all the games that I could.”

He was eager to come back after the injury, but that wouldn’t be the end of his worries. An apprehensive Browning would go on to play a solid game against Chadron State, not knowing what was to come next.

In the next game against Colorado Mines, he would suffer yet another injury. A sprain in that game left Browning out for another four games. That meant, from there on, he could only play in as many games as his team could win in the playoffs.

“Being out and watching my team play really refocused me,” Browning said. “I’m glad my team did well, but it’s crazy how you start to see everything differently when you have something you love taken away from you.”

If Browning’s team couldn’t advance through the playoffs to the national championship, then he would’ve only had about 300 yards for the season and 2 touchdowns. Instead, he was able to play four more games, including the national championship game.

“Going in to the playoffs was crazy, because everything was on the line for me,” Browning pointed out. “It was do or die. We had to play our very best or that was it.”

Pual Browning | Taken by Bill Sabo - CSU-Pueblo Athletics

Pual Browning | Taken by Bill Sabo – CSU-Pueblo Athletics

As Browning returned, the team continued to play great, both on offense and defense. This time around, Browning was coming in with a new perspective on the game. He had to play harder than ever and he had to make every move count if he wanted a chance to go pro.

“My injuries were huge setbacks,” Browning said. “I didn’t have much time, so being able to come back and help my team win a national championship was a blessing.”

Through all the craziness of an uncertain future, he was able to end the season with 636 yards receiving and 6 touchdowns. Browning’s final touchdown catch would end up being the only touchdown scored in the national championship game against Minnesota State- Mankato. It was a story book ending for Paul Browning.

After having a great college football career, things are looking a little brighter for Browning. There was a time Browning was leaving high school unsure of what was to come and now he could very likely be an NFL prospect.

Paul Browning | Taken by Bill Sabo - CSU-Pueblo Athletics

Paul Browning | Taken by Bill Sabo – CSU-Pueblo Athletics

Browning has moved up to Denver, Colorado, training for his chance to make it into the NFL. He will continue to try to elevate his game for the next couple of months at the Steadman Hawkins Clinic, until Pro Day in March. His trainers include Augustine Agyei, who is a former CSU-Pueblo football player; Loren Landow, who is a sports performance trainer that has worked with major NFL players, and Brandon Stokley, who is an ex-NFL player that played with the Denver Broncos as a wide receiver.

“My biggest worry right now is not knowing. You put all of your effort into this and you’re not sure what’s going to happen,” Browning explained. “I’m going to put every last part of me into this, because if I can get a chance in the NFL, I know I can prove myself.”


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  • Bill Moorman

    I’ve known Paul for almost 10 years now, and he is every bit of a great man as he is a great player. Paul deserves all of the greatness he has earned.

  • Richard Spradlin

    Paul is an awesome player and an all around good guy. I met him in Jr High School and he’s always lead the football teams in skill throughout high school. As well as having weightlifting weightlifting class with the dude, you could just tell he had a future

  • christina

    I have known Paul for 17 years. He would always pick me to be on his team because I was the best female player in elementary. I ALWAYS KNEW HE WOULD GO PRO!!! AND HE WILL PROVE HIMSELF HE IS A VERY HARD-WORKING MAN!!!

Arts & Culture

Art is Hard with Pueblo illustrator Riki Takaoka



Takoka, Riki (web)

“I’ve almost quit doing art so many times.”

I’m at a coffee place downtown talking shop with Pueblo artist and illustrator Riki Takaoka. With works currently on display at the Q Pop gallery in Los Angeles, and a recent addition for possible contribution to nationally syndicated contemporary arts magazine Hi-Fructose, (not to mention freelance nominations from Paramount Animation Studios), I figured he and I were in for a quick convo about brushes or pen techniques. I wasn’t expecting that one of the quickest and most accurate caricature artists I’ve ever seen in my life would say he is quitting something he’s clearly great at.

But I was shocked to hear that come from his lips.

Shocked, but sadly not at all surprised. Talk to almost anyone in the so-called creative class, and they’ll tell you a similarly dismal story that usually goes as such;

1) Find something creative you love to do.

2) Take years and years honing and perfecting your craft.

3) Get good enough to be recognized for your art.

4) Ask for compensation for your art.

5) Get chided for daring to ask for said compensation.

image by Riki Takaoka


The worst part about hearing that from him is that the illustration work of Takaoka is flat out phenomenal. Blending playfully bold caricatures with a jagged surrealistic quality, Takaoka has developed a signature style and skill set that stands on its own. A style that he points out he has been brewing since childhood.

“When i was a kid, I would draw and redraw the same cover of PSM (PlayStation Magazine) over and over. I was just obsessed with it. I’ve stayed in my room for days sometimes, just trying to push myselfto do better,” Takaoka said.

But all the talent and hard work in the word can’t guarantee financial success in the art world.

When the topic shifts to art as a means of income comes up, Takaoka offers, “Art is hard. Not hard for me to make. It’s easy to make and I love it. Just hard for me to deal with. Or, I guess live off. Deal with trying to live off it. And it’s frustrating to spend hours making a commission piece for someone and then have to beg them to pay for it.”

Unfair doesn’t seem to do it justice. In no other profession other than the creative field will you hear of such a thing. I’ve never once heard of my food service friends offered to be paid by a future profit share, or my wife the hairdresser and stylist proposed exposure for their work as an alternative to actual money. But every day in creative lines of work, artists are at odds with clientele who want assets for nothing or damn near.

“I get that almost every time, everywhere. It doesn’t matter where I’ve been. I’ve lived in Hawaii, in Texas, here in Colorado.” he said. “Unless you’re a well known artist, people constantly try to get out of paying you for your work.”

“There’s been times where I haven’t drawn for three months straight,” he added, sounding a bit dejected. “Because sometimes it just doesn’t feel worth it. But it’s one of the only things I know how to do well.”

I asked him about his experience living and working out of Pueblo.

“It’s a nice place to live. It’s affordable. I can walk around and not feel stressed out about having to have two jobs to survive,” Takaoka said. “But the problem is no one wants to work with each other. Not everybody, but too many.”

Even though the art scene here is by no means perfect, he was quick to add, “but it is getting better I guess. And bigger. People doing more. Taking chances.”

In any other line of work, the odds of failure facing people would break most people. But not Riki.  At the end of our conversation, I asked if he considered quitting forever, which got a sly grin. “I can’t quit, I guess. Maybe I’ll just stop for a while. But not completely. At this point it’s like handwriting to me. Period. It’s almost subconscious. It’s the way I see the world. And deal with it.”

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Arts & Culture

Land Lines : PULP Artist of the Month



Denver’s Land Lines occupy a truly unique headspace upon listening, which can only be described as “Fresh off the boat from Chilligan’s Island”. The Mile High trio, comprised of Martina Grbac (cello/vocals), Ross Harada (drums) and James Han (electric piano/organ), seamlessly meld vintage-modern baroque music with pop shimmer and gloss, like having a dance party at the symphony. Musically, Land Lines is at times is sparse and introspective, with clever and brooding lyricism, only to then turn that right on its’ ear as with bursts and blooms of  thundering pop force, (which contains equally clever and brooding lyricism). On their newest album “Natural World”, dark and moody synthesizer tones playfully buzz and pulsate to and fro over drums that are the audio equivalent of a saunter and sashay. But the lively pluck and eerie hum of the cello (compliments of Martina Grbac) is what sets this band apart from the pack, providing an melodic orchestral punch that cuts through the dense sonic layers like a Hattori Hanzo sword.


for fans of /// Portishead • Lady Lamb the Beekeeper • Beach Fossils

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The Local : BRIDGES



BRIDGES may easily (and quite erroneously) get lumped in with every other current metal/hardcore band playing out today, but this does them no justice. Shifting between the audible snarl and massive attack of hardcore and metal to delicate and downright pretty alternative minded exalt on a dime, BRIDGES, in a very big sense, play simply heavy music. Not heavy in the classic metal distorted-and-detuned-riffs kind of way, but heavy in perhaps an emotive sense. There are elements of hardcore and modern metal, yes, but the real strength behind this band is that their music largely defies any easy categorization, instead using the 60+ years of combined innovation to bring about one of the most well versed and original bands currently in Colorado.   

On a whim, I asked them to quickly list the bands that they had played in or currently part of. They easily listed over a dozen, with some being short tenures in young acts fresh out of high school with others spanning for multiple years, tours, and record label heat.

But what really amazes me about BRIDGES is their reverence for each other. In all my time spent hanging out with bands (both my own and other), I have never encountered a band which seems to enjoy the presence of each other more. They bring the act of playing music back to a core that often falls by the wayside; Simply enjoying it.

I spoke with BRIDGES on a dimly lit porch, beers flowing, on a windy night Tuesday, November 10th 2015.

PULP/ Your previous bands all kind of sound like a lineage tree of Pueblo metal and hardcore. After hearing all that, how does it feel?


Matt (Herrera/guitar) / I think it’s really cool. I’ve always been fortunate that with all of the bands I’ve been in were with friends. Just playing together, getting along outside of music. And now, we’ve all been in other bands when we were younger. I met Joe and Adam when they were both probably like 14 o4 15, and now I’m playing in a band with them? I never would of thought.


Tyler (Boyce/Vocals) / But I can say that out of all the bands I’ve been in, this has been the most fun to be a part of. On a writing level and on a friendship level. It’s just always good.


In some of your previous bands, there was some label heat and contracts and business stuff. Are you dealing with any of that stuff now?


Tyler/ It’s definitely a lot easier with BRIDGES. With my old band, some of the guys got so sucked into wanting to “make it” that we were writing too fast and putting out stuff that wasn’t ready, and wasn’t as good as it should have been.


Matt /  Well with (previous band) Son of Man, it ended the way it did because by the end of it, it wasn’t any fun. It was all business. I want to try and take a more organic approach with this band. I want to still be busy, but not push anything that isn’t ready or right. Instead of worrying about obligations and the business of it, I want to focus on writing the best music we possibly can. Everything is so saturated right now in our genre. I don’t know exactly what our genre is, but it’s hard to stick out. I’d like to push our own thing, and not falling into a mold. My favorite bands have always been ones that are heavy, bot not in the usual way, you know?


How do you feel like BRIDGES differentiates from other acts out now?


Matt/ Well. Bands have started to, and I even hate saying this, but using dance moves and choreography.  It’s so stupid.


What does that mean? Like dancing with guitars?


Matt /  Yeah, like head banging and spins and stuff. It used to be, when a band was getting into the music, it was just something that happened naturally. In Son of Man, really we were all just trying to keep up with (SOM bandmate) Mo. But I get it, when I was younger and in a band, we did tons of stupid shit. I mean, it was the late 90’s. We all loved Korn and Limp Bizkit, so use your imagination. (laughs) But it totally sucks when people and bands are more worried about a dance move or a look than what they are writing.


Josh (Ewing/bass) / Every time we jam, it’s all organic. (laughs) When you start choreographing it, it seems fake and more like going through the motions than having fun.


BRIDGES has always been a more sonically adventurous band to me. You’re heavy, but it’s more in layers rather than in riffs. Is that something you try to do on purpose?


Matt/ We’ve always made it a point to not write the same way twice.We all love different things; Clean parts, and having melodies and parts that go places, rather than just the same riff over and over. There’s no point in having two guitar players who are playing the exact same thing. We even talked about writing a pretty and clean (guitar tone) song at some point. It’s always better to try and work toward something new. It’s exciting.


Tyler/  And that’s one of the thing that initially interested me about trying out for the band. Like you said, there are layers to it. And it’s very intricate. You can dissect it, and you can find so many different types of music in it.


Joe (Johnson/Guitar)/ It’s just nice to have the people to do it. We’re all open minded.


Do you think Pueblo is hurting for an all ages place to play?


Matt/ Oh, totally. I think it has taken Phil’s (Radiator) being gone, and kind of ripped out without a choice, for people to realize that it is hurting. Sure, they’ve re-opened now, but they’re not all ages. It feels like there’s this big gap, but it’s slowly being filled back up. We played a show at the Daily Grind a while back, and we got to play for a bunch of kids who wouldn’t have otherwise got to see us. There’s an untapped youth market here in town, but there’s nowhere for them to go see bands play.


Tyler/ Another thing, is there are now finally young bands still in high school that are starting to pop up. But this scene isn’t what it used to be. Everyone we know now is older, and no one really kept going. Where are these new bands supposed to go?


Matt/ It’s a bummer because I’ve never even heard of these guys, and there’s nowhere to check them out. We’ve only played Pueblo twice in the last year.


Any reason for that?


Tyler/ It’s hard to find places where you can play. It’s hard when no one wants to invest in Pueblo. Everyone thinks that Pueblo is this s— hole, and it is a small town, but I love it here. I’ve seen and met a lot of cool people, and there’s a lot of cool things happening here. But nobody chooses to get up off the couch to see them. and yet everyone complains that there’s nothing to do. That’s the saddest part.


Josh/ There’s a lot of great stuff here that fails due to lack of support.


Matt/ There’s so much negative stuff being said and reported about our city, it’s just nice when people can get out there to other places and show them that we’re not all gang bangers and drug addicts. I mean, we all make jokes sometimes, but I want to share that there are good people and good things going on here. When bands come down here to play, they all say it’s great, you know?


With the band all coming from such different musical styles, is writing the way you do more difficult?


Tyler/  When we write stuff, we all kind of write with it too. Someone has an idea, and we all try to make it fit with how we see it, and still make it into something we’re all looking for. We all compensate for each others’ styles in that way. It’s a team effort.


Josh/ I think it helps that we all try to have an open mindset with writing. No one ever comes in and says “I have an idea and it has to go exactly like this.”


Do you feel like it makes it more unique that way?


Matt/ It makes it more real, and definitely gives it a more unique identity. It’s great. It makes it so that we can’t make anything cookie cutter. It’s good to be able to do that. More rewarding that way.


Tyler/ I also think it’s maybe why we all get along so well too. There’s never anyone jumping down someone’s throat about not playing something the “right” way. We just want to make something that we like a lot and can be proud to show people. We put a lot of time into it, and when we get any kind of good feedback about it, to say that it gave them some sort of feeling or emotion, that’s the coolest thing about making music. And makes us happy.


Josh/ And it’s totally applicable to anyone doing any kind of art. If you’re doing it the way you want, not under anyone else’s guidelines, and attain results that they’re proud of, especially if it’s someone telling you they love it, definitely makes it way more rewarding.


Is that part of the reason you guys play music to begin with? For that feeling?


Josh/ Oh, definitely. The core factor of it comes down to I love to do it for myself. I love playing music and playing it with my best friends.


Tyler/ Exactly. The best part, is you get to show up, hang out with your best friends, and make music that hopefully you can all enjoy and get behind. If not, why are you doing it?

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