The potato salad part >
The potato salad part >
One of the things that has been most exciting about my role at Flaunt Magazine is the ability to tell full stories here. For 10 years I’ve been interviewing creatives. Over the last four years, I’ve learned how to produce and edit video shorts. And since starting at Flaunt last July, I’ve not only been able to do exhibit the aforementioned skills, but I’ve been producing events that compliment the articles as well.
So far I’ve assisted on a celebration with Prada, led an art installation preview and 10-part video series for with The Broad Museum and recently, spearheaded a project with Nike. Back in November, Nike reached out to me to talk about how excited they were about their 1s Reimagined collection, a ladies-only line of remixed Air Jordan 1s and Air Force 1s. I sent a writer to their Portland HQ to get a sneak peak of the footwear and we shot all 10 pairs in-house here in LA. It was all pretty conventional journalism.
But the part that excited me most–outside of showcasing dope fashion–was the my pitch of putting together a dinner that celebrated a diverse collection of women in several facets of fashion, the arts, and entertainment. Collaborating to accomplish a goal is a winding road. Our ideas took many turns. Revolve entered the mix around January as the space (the roof) where we’d have it.
Long story short, it turned out swell. I had a hand in just about everything–from how we’d title the dishes on the menu to connect to theme of the shoes to flower arrangements on the tables to selecting guests to each person having a hand-drawn sketch to identify where they sit and take home.
To go from one phone call in November to looking at 40 attendees (art curators, designers, models, actresses, influencers…) enjoying themselves on a rooftop dinner in February because of great ideas and teamwork is pretty damn awesome. Looking forward to doing more things like this.
Whenever I interview someone who’s incredibly well known and popular, my goal is an obvious one: Find something new out. Most people know this person’s general life story and highlights.
So my question for you—after you read this interview I had with Kobe Bryant for Flaunt Magazine—is did you learn anything new about him? I think I dug out about–hmmm–three intriguing nuggets. Each third of the story has one.
Talking to Kobe and Disney animation legend Glen Keane (he drew Aladdin and Beauty and the Beast!) about their Oscar-winning short Dear Basketball was a treat. I’m a huge Kobe fan. Players who entered the NBA in the mid-‘90s were the ones I watched bloom into stars and Kobe was my favorite. The skill, the passion, the talent, the Hip-Hop meets Air Jordan 2.0 vibes… He was dope. So much so that I wouldn’t play as anyone but the Lakers on NBA Live or 2K from about 1997 to maybe 2010 or so when I stopped being a consistent gamer.
It was difficult to keep my cool, but thankfully I don’t think they could tell. The interview went well and writing the piece was a breeze. We rapped about Michael Jackson, storytelling, discovering your life’s purpose as a youth and more. Give it a read.
A story about the photo shoot for this Flaunt piece:
During the photo shoot for this interview, I was talking to his Dear Basketball publicist about one of my goals for the new year. We were just days into 2018 and knowing that I closed ’17 eating wild and glorious amounts of food and sweet treats, my goal was to lose 15 pounds in January. Kobe overheard me. About 10 minutes later, he walked over and looked me up and down—sneakers to the longest strand of hair on my head.
“You’re trying to lose weight?” he asked. “Yeah,” I said. I told him that I’d looked up Dwyane Wade’s weight (we’re about the same height), saw that he’s 220-ish and thought I could get there with some discipline. Kobe asked how I was feeling so far. Cutting back on eating garbage is pretty easy, I explained. But the 4-5 gym workouts a week that I had picked up were making me sore and tired as hell.
A smirk crept onto his face as his shoulders shrugged, like a two-piece combo of indifference and hilarity just presented itself. “Your body will get used to it,” he said through a light chuckle. “Yeah,” I responded. “True.” We shook hands. He left. On my way home, I too laughed. That was such a Kobe response.
Kobe probably never complained about the temporary pain he endured during the thousands of hours he’d spent training in gyms, running on tracks and recovering from numerous injuries. He knew it was part of the process. A little work and pain now, a trophy later. That’s a fair exchange. I took it all in while sitting in the back of my Lyft headed home, grinning ear to ear. “Kobe didn’t give a fuck about my gym pain because he’s a bad-ass and bad-asses aren’t trying to hear that shit,” I thought. “That’s why I love that dude.” Then I snapped out of it. Haha, what a nerd I am sometimes.
By the way, I lost that 15 pounds. Again, go read my Kobe story.
I’m all for men being less “manly” and us freeing ourselves of gender constraints as it relates to toughness and not being able to express worries, fears, and internal struggles out loud. More of us need help than don’t. It’s okay. We’re human.
The reviews are in on Justin Timberlake’s Man of the Woods and—whew!—they’re rough. Some are saying Justin, who once was on the pulse of what was sonically new and exciting, has lost a step on his fourth album. Others say it either lacks direction or its moving in an unappealing one. A few more think they were led astray, being sold a deeply personal album and instead getting something with less depth than a puddle. But I think there’s one track we can all agree on being unquestionably good: “Montana” is a pure jam.
Track 12 might be the best moment on Timberlake’s Man of the Woods album. It’s sexy, kind of dangerous. Over a galloping bassline, there’s a sleek Daft Punk-ish future disco feel with a hint of the Knight Rider intro courtesy of resurrected production duo The Neptunes swirled with Bee Gees ‘70s-smooth delivery. There’s also this gentle guitar strum that comes in every five seconds, which makes it old Western gorgeous. I imagine this playing during a scene in Tom Ford film that doesn’t exist, where a grizzled Ryan Gosling skirts off down an empty desert road in a vintage car into a burnt orange sun setting in the lavender sky—escaping a doomed world with a bronze vixen riding shotgun.
“Montana” makes me want to learn about the Northwestern state of Montana. Justin’s making it sound so fly that it’s made it on to my mental Places To Visit with Wifey list. I’ve got to figure out what secret he and John Mayer (who retreated there years ago to repair himself) know about its glory.
In some fantasy world where I help Timberlake make this album, “Montana” is the centerpiece of this MOTW concept record. The plot: A couple madly in love is exhausted with the hectic, troubled metropolis they reside in. When the two have their first child, Silas (whose name means to “Man of the Woods”), they decide—after years of fetishizing the idea of leaving it all behind—to actually make the shift to a snowy haven. Of all places, Montana is the mission. And there, ladies and gents, is my stab at fan fiction.
There’s another convo I want to have with y’all some day about the time I decided spending energy on overwhelmingly negative critiques of art is not for me and when I arrived at the intersection of It’s Wack Being Mean St. & What’s the Point? BLVD. That week was a doozy. My overall feeling nowadays is that if an artist makes something and is pleased with their product, I’m only damning it if it truly causes harm to its audience. But gone of the days of me dedicating 500 words to things I simply don’t like. This album from Justin, admittedly, is my least favorite offering from him. But even then, there’s still a goodie that I’m giving a shout out to from it.
Anyway, agree that “Montana” is flames? Think any other MOTW tracks will become hits or have moments in the sun once the pile-on is over? Time will tell.
It’s pronounced “Versachay.”