Is Moses Sumney gay

Is it your belief that romantic love might, in some manner, be a societal imposition? Or, perhaps, is it a subject with which we are unduly preoccupied?

Indeed, do you consider it to be something that is, in fact, thrust upon individuals within the social fabric?

While I lack absolute certainty on the matter, I do strongly suspect that it constitutes a highly anticipated element of our existence, in various respects.

In my estimation, it represents a profoundly suggested approach to life. I contend that any concept presented as normative warrants critical examination; furthermore, there exist countless ways to experience love, and myriad degrees to which one can cherish another person. However, I perceive that mainstream society possesses a tendency to distill and simplify matters for facile consumption, and romantic affection, I believe, is frequently oversimplified and misrepresented—portrayed as considerably less intricate than its actual nature. One need only observe, for instance, animated Disney productions or extensive marketing campaigns, dining establishments, public houses, and even household furnishings; clearly, love serves as a powerful sales driver. I posit that romanticism functions as an extensively leveraged instrument, with numerous industries depending significantly upon it. This, consequently, influences the extent of our yearning for intimate partnerships, alongside the specific characteristics of such connections.

Certainly, without a doubt. This is fundamentally due to its nature as a pervasive societal archetype.

Precisely. Therefore, it proves quite illuminating to trace how the archetypal romantic framework extends its influence even across different generations, diverse gender identities, and various sexual orientations. Even within same-sex relationships, a particular standard often persists, essentially mirroring the heteronormative template which, as you know, typically involves two individuals—like a conventionally masculine and feminine pairing—united in perpetual matrimony.

I particularly appreciate that the album concludes with a track titled Self-Help Tape, a composition notably devoid of extensive lyrical content. Could you elucidate the rationale behind its appellation?

In truth, assigning a title to that particular musical piece proved to be the most formidable challenge. Its designation was altered on five separate occasions, and I finally settled on its current appellation merely one day prior to its submission; it was quite an intense period. As a matter of fact, I recall having already handed it in when the title modification was subsequently performed. I became intensely aware of the album's profound seriousness, or perhaps, how earnestly I might appear to portray myself within its compositions. Through that specific piece, my intention was to acknowledge my own cognizance of the entire project's somber and profound essence. It was my desire to inject a touch of irony or levity. I envisioned the song functioning as a contemplative guide, akin to a meditative session: 'Okay, I can do this, okay, I can fall in love, alright. Repeat after me… Imagine being free, imagine feeling.' The entire endeavor proved to be quite pleasurable.