Work

In the order I'd show it. Each piece says exactly what I did and where the numbers come from.

work the 150-word versions; the title opens the piece

1. RxkNephew x Kikoffpaid social, 2025+3,489%^** shares

   

   A thirty-second paid social spot built around RxkNephew, the Rochester rapper whose "American TTerroristt" Pitchfork ranked the second-best song of the 2020s so far. I sourced him through a real relationship rather than an agency, booked him at standard creator rates with perpetual footage rights, wrote the concept, directed the shoot, and oversaw post. The ad ran as a dark post on Meta from August 4 to November 3, 2025, on $14,272 of media, and people shared it anyway: a share rate 35 times that of Kikoff's ten highest-spend ads, 1,776 shares where the account's norms predicted about 92, and roughly 480,000 engagement events at three cents each. In August it produced one in every eight shares across Kikoff's entire ad account on 0.64 percent of the spend, and its launch flight beat the account's cost per customer, $44.50 against $48.87. The only ad in the company's history to go viral.

2. Vacation FundTV and CTV, 2026$53.99 CAC on CTV

   

   Kikoff's first TV spot that was not a customer testimonial. In early 2026 leadership opened the TV plan to narrative concepts. I pitched Opportunity Cost, wrote the script, and directed the messaging on set; production was the video lead's, and we cut the finals together. The idea came from a paid-social hook I had written a year earlier: I could have saved $2,000 if I'd had better credit when I financed my car. On TV it became a rideshare driver with a car full of beach floats, a business traveler in the back, and one last airport run before the driver's own trip. In its connected TV test, April 22 to May 31, 2026, it acquired customers at a blended $53.99 against $76 to $81 for the evergreen testimonials on the same audience: roughly 30 percent lower, and the lowest CAC of any Kikoff CTV asset to date. Both cuts went evergreen on June 1.

3. Kikoff recruiting videoswith Equifax, 2026

   

   Three recruiting films, each a few minutes long, made with Equifax's corporate communications team at Kikoff's San Francisco office in December 2025. I had creative direction on the series and sat on the interviewer's side of the camera throughout, wrote the conversation-starter guides that got engineers and operators talking like people, sourced and contracted the original music, and shepherded the cuts through compliance. Production was Equifax's.

4. Creative toolingsolo, AI-assisted, 2025 to 2026

   REDACTED

   

   a production-fidelity copy of the consumer app, built so the creative team could shoot real UI without live accounts. the client's product is covered. yours could go here.

   Performance creative at volume needs tooling, and a lean team rarely gets engineers for it. So I built the layer myself, with AI-assisted development and no engineering resources. A production-fidelity sandbox of the company's consumer apps let creators and editors shoot real product UI with fully configurable data and no live accounts, which is what made remote creator capture safe. An automated transcript-to-edit pipeline turned interview footage into paper edits. A code-rendered static system produced every variant of a test from one template, including the Catch A/B/C cells. Workflow automations and live dashboards gave the creative org project tracking, work attribution, and bottleneck visibility. The tools are internal, so the sandbox appears here behind bars and the rest is described.

writing the years before the ads. same eye, different listings

1. Personalspoems, a magazine cover, 2018Graphite 9 cover

   

   My cover design for Graphite 9, with the Hammer Museum. Found poems from craigslist, for Amy Gerstler's Hybrid Forms seminar.

2. Total Recallnewspaper column, 2021The Iffy p. 2

   

   The California recall, by way of Lacan and Gavin Newsom's childhood otter. Page two of the first issue of The Iffy, a New York newsprint paper edited by Brennan Vickery, in the same issue as Sam Kriss on the end of genre. Not reprinted here. Ask me for it.