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      <image:title>Selected Writing</image:title>
      <image:caption>Even though we are not yet together, Moses Sumney is with me, booming through the system of my rental at this very moment. The plucking bassline of “Cut Me,” the latest single from his newest album, græ: Part 1, is gently vibrating the car and everything in it as if trying to wake us all from a pleasant slumber. The song is full but spacious, stacked in sonic tiers that overlay one another without overlapping. Brass lines are restrained and muted—more trombone and French horn than trumpet and saxophone—and where other funk horns sting, these do something closer to making a clean incision in the softest part of your flesh. The heat and the concrete and the vast deserted sea of Los Angeles can make you feel crazy. But other times the sun is so imminently hopeful as to make even the act of suffering feel beautiful. That is how this city takes up residence in you. And Moses Sumney is perfect for this vibe. (more…)</image:caption>
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      <image:caption>photo by John Edmonds</image:caption>
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      <image:title>Selected Writing - Samuel L Jackson Operates Like He Owns The Place (He Does) | Esquire July 2019</image:title>
      <image:caption>photo by Marc Hom</image:caption>
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      <image:title>Selected Writing - Where Spirituality Meets Protest: Inside the Activism of Black Lives Matter’s Janaya Future Khan - Vogue 2020</image:title>
      <image:caption>“This is what makes Khan a different kind of activist. They are here to change policies, for sure, but the sermons and talks and writing go far beyond the basic arguments for why there shouldn’t be racism or transphobia, the crisp infographics on how to be an ally. What they are advocating for is a greater sense of wholeness for all people. In Khan’s view this means being prepared to challenge everything we’ve been told. “To assimilate into a system that we didn’t design...is to forfeit a part of yourself,” they tell me as the day stretches into early afternoon. “And I don’t think that people really understand that that’s the trade-off. You can’t fully know who you are if you assimilate and disappear yourself into a set of conditions that you didn’t design. (more…)”</image:caption>
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      <image:title>Selected Writing - You Can't Stop. Collab w Miranda July</image:title>
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      <image:caption>“He’s flawed,” Jordan tells me of the character. “But that doesn’t give anybody a reason to take his life.” Here his voice raises a touch, and I can feel the words coming from a deeper place. “So what, he sold dope? So what, he did that? So. Fucking. What? He still had a right to get home to his daughter.” (more…)</image:caption>
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      <image:title>Selected Writing - Proximity Media for Fast Company</image:title>
      <image:caption>“What we were finding was that every quarter, there was a movie that would beat tracking,” Ryan says, referring to the test-screening scores studios use to gauge wider interest in a film. “People would say, ‘Man, we never saw this coming.’ Get Out is a great example. Crazy Rich Asians is another.” Even Hustlers, Ryan points out, exceeded financial expectations. But Proximity’s founders believe that the success of these films should have been predictable, largely because they have multiple “hooks,” something they talk about frequently. In the case of Hustlers, there’s Jennifer Lopez, con artists and criminals, and Cardi B in a strip club. “These movies made popcorn money,” Ryan says, “but there was still something sticky there, something that challenges you or brings you closer. So we started to wonder if maybe this could be our lane.”</image:caption>
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