I’mMichaelMcKinney.Iwearalotofhats,but,ifIhadtoboilitdown,I’mastoryteller,a designer, andawriter.I’mcurrentlybasedinMinneapolis.
Thosewordscouldmeanjustaboutanything,though,solet’sbreakitdown,shallwe?
IstudiedarchitectureandjournalismatIowaStateUniversity.Inmytimethere,Iwentdeepona widerangeofideas:Ihelpedbuildpublicartinstallationsoutoftwo-by-twosandconcreteand plasterandyarn;Iproposedmultiplerenovationsforon-campusarchitecture,workingin harmony(ordeliberatedissonance)withthebuiltenvironment;Icasthundred-poundblocksof concreteinanefforttoexplorehowlightmovedthroughaspace;Idrewuphundredsof iterationsondozensof floorplans.
AfterIgraduatedfromuniversity,Iworkedattwoarchitectural firms.The firstisalarge companywithanofficeinMorrisville,NC;thesecondisanexponentiallysmallerpracticebased indowntownMinneapolis,MN.Atthe first,Iwasneck-deepinarchitecturaldetails,working alongsidedozensofpeopleonpharmaceuticaldesign.Atthesecond,Iworeallsortsofhats:I wasasitesurveyor,afacadedesigner,acodereviewer,acopywriter,oraremodelspecialist— oftenatthesametime.Atonejob,Iwentdeep;andattheother,Iwentwide.Thisofferedmea depthandbreadthofexperienceindesignwork,andIquicklylearnedhowtospeakwith architects,engineers,clients,andmanagementinawaythatisclear,efficientandimaginative.
Forthiswholetime,though,Iwasalsonurturinganothercareer.I’vespentthepastdecadeorso writing, firstrecreationallyandthenprofessionally:aboutarchitecture,art,design,music,and thecommunitiesthatformoutofthoseintersections.Mymainbeat,forthepast fiveorsoyears, hasbeenoncontemporaryclubmusic.Irunacolumncoveringdevelopmentsinthatspace, highlightingcommunitiesandindividualswho,otherwise,mightnotseetheirnamesinlights.
I’vealsointerviewedafewdozenartistsdoingallsortsofcriticalstuff inthosespaces.That writing,whichhaslandedmeoninternationallyrecognizedwebsitesandmagazineslike Pitchfork, ResidentAdvisor, DJMag, Mixmag,andplentyothers,isaboutonecorequestion: Howdoyoutakeanunfamiliarideaoraheretofore-hiddenwayoflookingattheworldandmake itimportanttoanewaudience?Howdoyougetprospectiveclientsinterestedinyourmissionand turnthatintoeyeballs,dollars,andrelationships?Howdoyoutranslateamountainofresearch intosomethingthatyouraudiencecandigestbetweenmeetings? Tobeblunt, I’dimaginethose questionsmightringfamiliarforyourorganization.
Attheriskofsoundingtrite,Iseeaclearlinkbetweenmyworkandyours:it’stheworkof transformingtheillegibleintotheobvious,oftakingthingsfromtracepapertotherealworld,of underliningwhatmattersanddiscardingtherest, and,critically,ofpushingrealchangeintothe world,onetightly-writtenbioatatime.I havepilesofsketchbooksinmyoffice,allloadedwith chicken-scratchdrawings,dead-endnotes, anddiscardedconcepts.Thatmatters.Ideasmatter.But it’showyoutalkabout thosethings,andwhatyoudowiththem,thatmattersmost.Asaseasoned writeranddesignerwithyearsofexperienceineachindustry,IthinkI’dbeawonderfulfitatDrake Cooper.Let’sgettogetherandmakesomemagichappen.
Areyouin?Great.Let’sgo.
Overthecourseofaweek,I filleda sketchbookwithdrawingslikethepairyou seehere.Noneofthemareincredibly detailed,perse,buttheyaren’ttryingtobe photographs.Theyhoneinonthedetails thatmatteredtome:theyhavean unrelentingfocusontexture,shape,and scale.That’sthestoryIwantedtotell,andit wasanorganizingforcethroughoutthe week.Itgavemyworkshape.
WhenIapproachadesignproblem,Iask: “WhatstoryamItryingtotell?”
ThatquestioninformseverythingelseIdo. Ittellsmewhattosubtractfromadesign andittellsmewhattoemphasize;it remindsmetokeepmyaudienceinmind fromthestart;itunderlinestheimportance ofnarrative.Again:it’snotjusttheideas; it’showyoushowandspeakaboutthem.
InpreparationforarecenttriptoUtah,I purchasedasmallsketchbook.I’dbevisiting severalparksinasmanydays,andIwanted torememberthetripaswellaspossible. Photographsare fine,but,sometimes,I find they’vegotabittoomuchinformationto them:it’shardtofocusonwhatreallystands out.SoIsketch:itmakesmeslowdownand reallydistillaspace.Sometimes,Ichallenge myselftoreduceanentireenvironmentin fivestrokesofthepen.It’simpossible,but theexercise—collapsingamillionatomsinto afewlinesonapage—isimportant.
Butit’snotallpen,paper,sand,andwind.
Sometimes,it’slogistics.
MidwaythroughmystudiesatIowaState University,Iworkedonaproposalfora mixed-usedevelopmentinNewYork.It wouldhouseretailspace,amuseum,and severaldifferentapartmentspaces.So:how doyoutellthatstory?
Thisproject—aproposalthattangledup typologies,projectneeds,anddesignideas intojusttwocityblocks—calledfor simplicityandlegibility.Everythingdesign decisionarosefromthatconcern.Each building’sformspoketotheother;each diagramshowedonlywhatwasneeded; andeachformalmovewasconsideredin relationtotherestoftheproject. Somethingthisambitioushadtoworkon boththemicroandmacrolevels.
Butit’snotalllogistics,either.
Neartheendofmytimeatuniversity,Iwas askedtoproposeatwo-partproject.Situated onNewYork’sRooseveltIsland,thiswas equalpartsmuseumandmemorial.Iwas taskedwithmakingabuildingthat respondedtohistories:theislandwas,once, aspaceforinstitutionalization,for separatingthe“sane”fromthe“insane”—or, moreaccurately,theoutcastsfromtherestof NewYork.So:howdoyoutellthatstory?
Whataboutsheerweight?
Theanswerherelaidintheveryarchitectureofinstitutionalization: inmirroringthedarkness,andice-coldlogic,ofthecellsand chambersthatoncecoveredtheisland,theproposalmakesthat realityfartoopresent.
Tounderlinethisheft,the finalpresentationfeaturedafour-byfour-by-fourmodelofagalleryspace,thebeamsandwallscastin concreteandtheexhibits filledwithlightfromwithin.
Butthequestion,ultimately,isaboutscale,isn’tit?
Anystorycanbeenormousifyouzoominenough,andanythingcanbeturned intojustanotherdatapoint.Thethingthatmostacutelydrawsmetowards DrakeCooperisthestoriesyoufocuson—theviewpointsandhistoriesyou emphasize, thefuturesyoupushtowards.
Doingthatworktakesarealcombinationofoptimismandbrawn;ittakes seriouselbowgreaseandanunstoppablebeliefintheimportancethestorieswe tellourselves.
Tobefrank,Iseemyselfinthatidea,oratleastIliketothinkIdo.Ifmyreadis correct,you’reacompanyofstorytellers,criticalthinkers,andfolkswhowantto seetheirideashaverealimpactoutthere.I’dlovetohelpmakethathappen.
Whatdoyousay?
WritingSample#1:AnInterviewWithAkanbi
AndrewAkanbihasbeenthrowingpartiesforoveradecade.Hiseventseries,GROOVYGROOVY, hasasimpleyetexpansiveethos.Tickingeachphraseoffonhisfingers,hegetsrighttotheheart ofit:“Sexyparty;loveparty;friendshipparty;intentionalparty;spiritualparty.”
AkanbiwasborninVirginiabutgrewupinLagos,fallinginlovewithdancingandentering competitionseverychancehegot.Hesmuggledaradiointoboardingschool,listeningtopop stationsandmemorisingtheirplaylists:Akon,50Cent,BlackEyedPeas.Hismothersoldclothes andjewellerytobusinesswomen,andhe’dtagalonginthecar.“Iwastheguyselectingtuneson theradio,”helaughs.“Iwouldn’tletthedrivertouchit.Mymomain’ttouchingit.Iwastheguy.”
Neartheendofhighschool,Akanbiwenttoanearbymarket,grabbedanarmfulofAfrobeatCDs, andmanagedtogetthehousemasters’permissiontothrowaparty:hisfirst,butbynomeanshis last.AftermovingtoNewJerseytostudyengineering,hefellinlovewithclubmusic.He’d regularlytakethetraintoNewYork,anddance“likeamaniac”atpartieslikeGHE20G0TH1K, NightSlugs,andupstatefestivalSustain-Release(wherehemetfounder,AuroraHalal,shortly afterstickinghisheadinaspeaker).
Hewantedtobringthenoisebackwithhimacrossstatelines,soGROOVYGROOVYwasborn.“I wantedtohearthisravemusicIwasgoingtoNewYorktohear,”hesays.“Iwantedtohear techno;Iwantedtohearhouse;Iwantedtohearclubstuff.”Afriendhadapairofdecksand introducedhimtoDJing;together,theythrewtheirfirstbasementparty.Thefirsttwosessions wentwellenough,andattheirthird,therewasalinearoundthehousetogetin.
Tenyearson,GROOVYGROOVYhasturnedintoaNewYorkdancemusicinstitution,andhis ownDJingcareerhastakenofftoo.He’sgotaneverything-goesapproachtothedancefloor, playingjustaboutanythingthatkeepsraversontheirtoes:swelteringbreakbeats,sun-kissed amapiano,zonked-outdub,wigglytechno,brain-bendingdubstep.He’sliabletograbthemic,too, offeringfreewheelingcommentaryduringhissets.“Ican’trap,[and]Ican’ttoast.WhatIcandois acknowledgethevibesintheroom,”hesays,grinning.
Lastyear,AkanbicausedaminorcontroversybyplayingAkon’s‘LockedUp’atBerlintechno institution,Berghain.Hespeaksfranklyaboutitnow,throwinghisheadbackwithamixofjoy andconfusion:“Whywouldyourestrictyourselftothisbam-bam-bam-bamvibe?Motherfuckers reallyarelockedupinhere!
“AsDJs,it’sourjobtogivepeoplethefullrainbow,”hecontinues,expandingonhiswide-ranging style.“That’swhatI’mgettingpaidtodo:causeconfusionandeventuallybringclarity.”In Akanbi’suniverse,it’snotaleftturntodropamapianoatpeaktime,totakehoursgettingto120 BPM,ortoplayAkoninBerghain.Eachofthosemovesrepresentsthesamegoal:totakeraversto somewherenew.
AkanbiisavirtuosicDJandaknowledgeablecurator,buthisgreateststrengthissimplyhis contagiousenergyandboundlessdedicationtodancemusic.Whenhegetsexcitedaboutthisstuff, hehootsandhollers,laughingwithhisfullbody.Inhiswork,Akanbiconveysthisjoy,invitingthe danceflooralongfortheride.Heputsitsimply:“Aslongasyoucomeinwithanopenmindand wanttoshareyourownmagic,let’slinkuponPlanetGroovyandfuckthisworld.”
WritingSample#2:AlookatNonoGigsta’s“Freerotation2024:TheHouseofCrocodilesPart2”
DJingisathingrifewithmythology.Selectorsarecastaspurveyorsofuniverses,seven-inch recordsasfast-trackstoeuphoria,deepdivingassomethingakintoatreasurehunt.Thebeststuff makesallthatfeeltrue.In2024,onesetencapsulatedthosepossibilitiesmorewhollythan anythingelse. Freerotation2024:TheHouseofCrocodiles2 isasetofamillionmiracles:nature documentariescrashingintoLedZeppelin’s“WholeLottaLove”;dubbed-outhornsections slippingawayinthefaceofsoundsystem-meltingbassdrops;shoulder-rollingR&B,somehow, sittingcomfortablynexttovertiginousdubstep;theearly-sessiondiveintojunglismssounding, somehow,lessintensethanwhatevercomesafter.
NonoGigstaspends TheHouseofCrocodilesPart2 pullingoffsomethingremarkablytricky, constructingadreamlogicthatmakesaudacityseemlikethestandardapproachandpushingeven thattoitsbreakingpoint,movingintowilderandwilderterritoriesasiflockedinagameof chickenwiththeaudience.Fortunately,nobodyblinks.MostDJswouldblushataddingoneof theseblendstotheirrepertoire,letaloneallofthem;thisiswild-eyedDJing,thekindof musicianshipwhereyoucanpracticallyseeNonoGigstaflashgrinseveryfewminutes,fullofan unmissablesenseofplay.(Thecrowd’shootsandhollers,preservedintherecording,certainly helpthat.)Bytheend,she’sconstructedanout-and-outsteamrollerofaset,abillion-ton amalgamationofdance-musicidiomsthat,somehow,keepssheddingitsskin,takingonce-familiar idiomsandcatapultingthemintotheunknownagainandagain.
DJing,sothestoriesgo,canbeanything.WithFreerotation:TheHouseofCrocodilesPart2,Nono Gigstamadeallthosewhispersreal.
WritingSample#3:Areviewof
GhostPhonebeganasabitofatrick:SeanKellywantedtobringR&Btothedancefloorshe frequentedbycombiningitwithundergroundhouseandtechnoflavors.Theformulaworked,and nowGhostPhone'scataloguestretchesfromswelteringbreakstosmoggyalmost-garageand pitch-blackdubstep,suggestingarosterof(uncredited)producerswhocoverakaleidoscopicarray ofclubmusicstyles.Butthey'vegottheradioon,too.Sofar,eachGhostPhoneEPhasbeenbuilt aroundwell-wornR&Bandraptracks,whetherthey'redecadesoldorcurrentlylightingupthe airwaves.Thisapproachisbynomeansunprecedented,buttherangeofsoundsmakesit consistentlyexciting—decadesofmusicaltraditionscollapsedintoeachotherthenshroudedina late-nighthaze.
GhostPhone005 openswithoneofthelabel'smostincisivematryoshkadollstodate."Hotline" minesErykahBadu's"CelULarDevice,"whichisitselfaninterpolationofDrake's"Hotline Bling,"anditssoundrecallsbothearlydubstepandbass-blastedbreakbeat.It'sacanny combination:drumsshuffleatopdizzysynthesizers,andBadu'svocalsricochetoffthewallsallthe waydown."Hotline"isbuiltaroundjustafewwords—"youusedtocallme,"repeatedinto infinity—andtherestoftheEPissimilarlyhauntedbymissedandtangledconnections.
"ComeOver"takesalushAaliyahtrack,allunrequitedcome-onsandpleasforcompanionship, andlacesitwithsnappingdrumsanddelicatelylaidsynthpads.TheBrysonTillerflipattheendis aneffectivemirrorimage,aself-laceratingmeditationonafailedrelationshipatopghostly keyboardsandchest-rattlingdrums.(Inthiscontext,"HitDiff"standsout:it'stherecord's clearestnodtowardsthedancefloor,withvocalchopsandjunglistsnaresthatbringtomindNew York'scurrentcropofgenre-agnosticproducers.)Nomattertheform,though, GhostPhone005 is impressive.Eachtrackbalancesthethrillsofananything-goesdancefloorwiththehushed intimaciesofanightin.Theresultisheartrendingandsurreal:fourR&Beditsthatenshroud beatingheartsinawallofsmog.
PleaseseemyLinktree(attachedelsewhereinthisapplication)forlonger-formwriting:profiles, interviews,Q&As,andexplorationsofalltypes.Muchofmywritingaboutdesign,unfortunately,is underNDA;I’msureyouunderstand.
I’dlovetoworkwithyou-tobeblunt,IthinkIcouldbringalottoyourorganization.
Thankyouforyourtime,attention,andconsideration.
Oh:I’veattachedmyresume,too.