Leading writing and editor on arts and culture. Known for insight, curiosity, honesty, eloquence and discernment. Have uniquely broad range and depth of experience. Talent for writing for varied readers and editing to a writer’s best and truest voice. Excellent collaborator and leader. Proven skills and experience in crafting press releases, marketing copy, style sheets, and in developmental editing, copy editing, and proofreading for business and private clients.

As a freelance writer, I contribute regular to numerous print and web publications, including: Financial Times, The Wire (UK), New York Classical Review, Bandcamp, The Brooklyn Rail, WQXR, Time Out New York, Ruch Muzyczny (Poland), Hubodnÿ Život (Slovakia), Budget Travel, et al.• First to report on the pandemic move to virtual concert halls, and to cover possible futures for venues (VAN Magazine, March 2020)• Monthly columnist for the Red Hook Star-Revue• 20+ entries in the Grove Dictionary of American Music, 2nd Edition• Library of Congress National Recording Registry contributor for Kind of Blue

Proofreading white papers, reports, RFPs, decks, research papers and recommendations. Conforming text to AP style and American English. Working remotely as part of a team.

Furthered the magazine’s critical perspectives on culture, society, and politics by engaging new writers, topics, and readers:• Managed diverse roster of writers and added new voices• Created, produced, and hosted Rail Tracks podcast, featuring interviews with innovative artists• Scheduled and supervised all content in print and on web• Created and curated event listings and music playlist for each issue• Broadened range & scope of genres to more POC and LGBTQ/non-binary artists

* Founder and Editor in Chief, the Big City Blog* Blogger at Classical.TV* Blogger at Sequenza21* Blogger at Music Web International* Wordpress and self-hosted Wordpress CMS expertise

I've been a professional musician and composer for over thirty years. Playing professionally means that gigs in pit bands for musicals, in classical chamber ensembles and playing jazz at weddings and parties finances, meagerly, the opportunities to play exploratory post-bop, post-WWII experimental classical music and cross-genre improvisation, where ever the gigs may be. And they have been at Carnegie Hall, Café du Nord, the (original) Knitting Factory and places that exist only in memory, like CBGB and Lunch for Your Ears.Being a composer means writing music for orchestras, chamber groups and soloists, working with acoustic instruments, notation on paper (and in Finale and Sibelius) and the world of electronics and software; Buchla modular synthesizers, Yamaha DX-7s, Oberheim Matrix-12s, analog and digital tape recorders, software synthesizers, DAWs (Logic, Reason, Ableton Live), Max/MSP/Jitter, Csound. What does all that produce? Music for dance and theater (with Dawn Saito and Tai Dang), songs from found text and jazz poetry, chamber orchestra pieces, operas about Sacco and Vanzetti, spaceships and the zombie menace.

Freelance copyediting and proofreading program annotations, artists' bios and letters, sidebars, and galleys for CMS concerts. Managed interviews and produced and edited transcriptions. Contributing annotations, sidebars, and other written content. Handling writers' and production schedules.

An on-going critical experiment created with Robert Elmes; critical thinking about Galapagos, not just what I think of what happens on stage, but how it fits into the direction of the Art Space, where they're headed, and should they be pointed that way? Follow it as it goes ...

Unsilent Night is a Christmastime participatory music composition that manifests itself as a pedestrian parade, with sound, through a city's streets. It's been held in New York since 1992, and with increasing frequency in cities around the globe. Using twitter, Facebook and and an iPhone app developer, I enlisted new organizers around the world, organized cities and schedules -- 30 in all -- and helped increase participation, fees paid by institutional organizers and, perhaps, quality.

I managed the content and the social media tools for this spectacular, all-day, all-outdoors, all-over-New York City Summer Solstice music festival. I contributed dozens of articles to the MMNY blog, including previews of special events and interviews with musicians, and served as Editor-in-chief for the roster of bloggers. I wrote and manage the MMNY twitter feed, administered the Facebook page, created and managed a tumlr site to gather media collected throughout the day of performance, and drafted e-mail blasts to volunteers, participants, subscribers and the media.

I'm a professional and expert problem-solver, with the analytical ability to discern the exact nature of each problem and the technical skills and experience to created and execute the appropriate solution. I recovered a defunct database -- one without any quality control -- and ported it to an enterprise software package for the NYU Medical Center; designed and installed an entirely new network, with associated hardware, for the Riverside Symphony; did LAMP development for LMG Digital Media; and determined the value of frozen Auction Rate Securities for the institutional clients of Invest by Design.

From the middle of graduate school to the time when a merger eliminated my responsibilities, this was my job, and it was a good one. I began by creating automated report and Visual Basic enhancements to Excel, and moved on analyzing and reporting on institutional portfolios, modeling equity and fixed income securities, including a broad range of asset-backed instruments. I implemented a data warehouse, ported out of our portfolio management software, and populated it with massive, vital detail. I developed an in-house data dictionary and, using SQL back-end and Access front-end, created sophisticated and flexible automated report. As a boutique firm, our calling card was complete customization of analysis and booking, and that information architecture not only made that possible but also productive, scalable and reliable.I eventually directed operations and managed the entire technology infrastructure, hiring, training, supervising and collaborating. I constantly refined best-practices, contributing to everyone's productivity, confidence and peace of mind, and satisfied our regulatory audits of technology, procedures, sources and uses. I also was a direct and primary contact with out clients; treasurers, investment committees and boards of directors, meeting with them on a quarterly basis to present portfolio analysis, answering their questions and offering them possibilities.