Hariz is a young LA-based performer. My idea to use casino and lottery imagery in this song came from the lyrics: “When I feel like I got nothing left / I got you.” I liked the idea of winning a jackpot as a metaphor for being in a relationship that makes you happy.

“Walk Away” was the third video I did for Nancy Wilson’s debut album. It’s a barnburner of a song and Nancy’s only direction was to have fun and not get too literal. I used footage of Nancy and her band overlayed with images and effects. The video got its premiere in Parade magazine.

This was the second video I made for Emmanuelle. The artist had a specific vision, and I worked closely with her to realize it. I used Motion to create some of the effects.

Nina wrote this song to honor her great-grandparents, who wrote letters back and forth while her great-grandfather was fighting in World War II. For the video, I incorporated the actual letters they sent and old photos of the couple along with archival footage of WW2-era paratroopers. To create the footage re-enacting the letter writing, I used a vintage typewriter.

Rhino Records sought me out for the creation of this video for the 40-year anniversary of this classic song. I used visuals of the actual original handwritten lyrics as well as pictures of Richard and the band from the 70s, incorporating both with my original footage and footage from 70s-era PSAs about graffiti and social decay.

“You & Me” was the second video I made for Nancy Wilson. It’s the title track for her debut album, and she wrote it about her mother. “Gravity” is one of the themes in the song; I kept that in mind as I animated the words. I used home movies of Nancy and her sister Ann as kids. The video got a premiere on the homepage of rollingstone.com.

This is the second video I made with Mardoll. For this song, I included GIFs of the artist and used strobe effects and rapid editing to create a feeling of sensory overload.

"Bomb Song" is a sardonic take on a certain ambivalence about living in End Times. I used archival footage evoking the 1950s and early 1960s and that era's seemingly easy co-existence of conformity and anxiety. For the frenetic lyrics, every three frames sees a toggle between fonts.

Nancy Wilson, of the band Heart, asked me if I could make a video for her cover of Bruce Springsteen's "The Rising" that captured both a sense of loss and a sense of spiritual awakening. "All kinds of people coming together," she said, "with an awareness of our common humanity." Made during the pandemic, I reached out far and wide to friends who wanted to help who filmed themselves and their kids (and their friends' kids) singing along to the chorus, and I assembled them all together to make this. The video got its premiere on the homepage for Rolling Stone magazine in October 2020.

Todd originally said he wanted a “retro 90’s vibe” for this song, a cover of the classic song by The Spinners. Upon closer inspection of the references he sent me, however, it soon became clear that he actually wanted a 70s vibe. I took inspiration from animation on old television, like “Schoolhouse Rock.”

“Hollywood Blvd” is an irony-laden song, meant to contrast homelessness and glamour in Los Angeles. I used abstract backgrounds and combined various bits of stock footage to create unique animations. The bright colors I chose were in the spirit of the song's irony.

GD Jones is a retro-soul act based in Brooklyn, NY. The dancer in I used is NYC local artist Jaan Forde, who I superimposed on vintage-looking cityscapes to match the song's retro feel.

This Brooklyn-based band wanted dark colors – reds and blacks – along with some humor – in their video for this song. Amy Winehouse’s and Gin Wigmore’s videos were the visual references they gave me.

(To see the rejected but more inventive version I created, click here https://vimeo.com/388527726/d9bb71d3f4)

Pete is a hedge-fund manager turned singer/songwriter. He knew that a political song like this one might alienate some of his old friends in finance – so we decided to go “all the way” with the imagery and make the political message impossible to miss.

I used a lot of original footage in this one, filming around Brooklyn and incorporating it with archival footage I had, including old 1950s-era PSAs. An artist friend of mine, Ryan Ostrowski, helped out with the part honoring Belgian artist René Magritte.

This was the first video I made with Mardoll. I took inspiration from the graphic artist Saul Bass.

I used a lot of original footage for this video, shooting in swimming pools and on the beaches of New York State.

Paul is an arranger, a producer, a songwriter, and a classical guitarist. For this song, I used old video effects and sounds of vintage projectors to capture the song's classic feel.

"Note to Self" was the third video I made for Emmanuelle. For this video, I used funnel clouds and swirling leaves to evoke the song's teen angst.

For this video, I used fan footage of two separate live performances as a base, incorporating that with original and archival footage.