CREDENTIALS
After attending Alfred University, I built my skills in pre- through post-production at the Digital Film Academy. At SUNY University at Buffalo, I focused on Digital Media Studies across mediums. Then, I loaned my experience to progressive causes by owning audio on commercial sets for NGOs across New York State.
I've produced, mixed, and mastered every Medusa release, earning >6 million streams on my first album alone. This success afforded me the privilege of producing for other artists, for a total of over 75 unique credits. As Medusa, I am a 2x Showcasing Artist at SXSW, a 2x Wavy Awardee, and NYC Pride performance veteran. My work has been featured in Spin, iHeartRadio, and Them, among others, and I've discussed my process with outlets like GRAMMY.com and Audiofemme.
I've been invited to speak at Berklee College of Music—where I also served as a CareerJam mentor—at Joshua Tree, at Reel Abilities Film Festival, and on behalf of Keychange US at the Wavy Awards. I've written for a GRAMMY®-nominated album about the neurodivergent experience, produced alongside fellow queer artists at the internationally acclaimed Anti Social Camp, attended listening parties at both Tidal and Amazon Music Headquarters, and sharpened my craft songwriting for companies like Netflix through Recording Artists and Musicians with Disabilities (RAMPD).
Two decades of classical training in the performing arts—piano and ballet—shaped not only my knowledge of theory, but the way I experience music itself. I'm able to intuit what different feelings demand of composition, ensuring pieces are both technically correct and emotionally effective.
For emerging artists
For Established Artists
Corporate & NGO(s)
$75
per hour
Professionally driven,
structured creative sessions
NOTE: Artists deserve qualified mental healthcare; our safety depends on it. Because I'm not a therapist or life coach (which are protected credentials), I won't be able to provide that type of support. While art is personal and can be emotional, we'll focus on the creative and strategic work which puts shape to your experiences artistically.
Working alone, you wear every hat: writing, composing, recording, producing, mixing, digital strategy, copywriting, grant writing, videography, art direction, editing. 100% of the process, 100% of the time.
Sometimes we need a body-double to finish our grant application, and maybe give us some pointers on the artist statement.
Sometimes we want a second brain who's as all-in as we are, and who doesn't have to say what they think we want to hear—to call us out on trying to erase the sounds of our own voices, or forcing a lyric that might not fit.
Someone to worldbuild with, who's done this before. A second ear to catch what 400 listens can't. A conversation about a tracklist that reveals the storytelling pathway we're too close to see.
Hourly, capped at 3 consecutive hours per session. Some ways to effectively apply these to your project include:
- concentrated into an intensive
- placed at strategic intervals (e.g. 1 per week)
- deployed as a la carte to address a specific goal
These aren't meetings where we hang out and chat (though we'll still have fun!); each session has an agenda I design—and you approve—based on your project's needs. Example agendas to be added by Feb 22 2026.
Detailed critique:
- evaluating a song's melody against its emotional cues
- polishing existing work for new opportunities
- analyzing an arrangement's efficacy and impact
- discussion of genre adherence versus intentional dissent
- identifying what's working—and what's holding a track back
WRITING:
- writing or changing lyrics
- guided writing exercises
- quick "let's see what comes out" writing sessions
Project development:
- defining an era's visual and sonic identity
- deciding which tracks "make the cut" vs. which are “b-sides”
- concept album worldbuilding & storytelling exercises
- finding aesthetic cohesion, from fonts to LUTs
- sequencing and track order
Press & Pitch Materials:
- artist bios (short-form and long-form)
- EPKs and one-sheets
- grant application narratives and supporting materials
- playlist pitch copy
- festival and showcase applications
Promotional strategy:
- developing content ideas for social media rollout
- building a release narrative
- identifying target audiences and platforms
- release timeline and sequencing
- playlist pitching strategy
Something else:
every artist's needs are different, and sometimes we don't know what they are until we start talking. We can figure it out together, beforehand.
where neuros converge
I'll be straight up: I understand why most of us work alone on what's most important to us. Alone, we don't have to explain ourselves, or contort to make others comfortable. Masking in meetings about our work requires us to distance ourselves from one of the most personal things there is: our art. That can be alienating and exhausting—two things you should never have to feel in co-working sessions about your project.
But it doesn't have to be that way. Neurodivergent people, those with chronic illnesses, and people with disabilities are already doing some of the most inventive work out there. And it's not ‘despite’ our brains and bodies—it's because of them. Living and working in an inaccessible world necessitates constant adaptation, which instills us with uniquely strong abilities in creative problem solving. We carry those strengths into professional circumstances. In my case, being neurodivergent makes me an empathetic powerhouse and a pattern recognition machine. I bring these skills to the table in every meeting. And you bring yours. Now, imagine what we could do together in a setting where we're actually comfortable.
In our sessions,
- The camera is truly optional; no social implications, no stigma.
- Meeting times are flexible, and not just 9-5; we can work with your nervous system.
- Rescheduling is guilt free; migraines, flare-ups, timeblindness are understood.
- Asynchronous communication is cool—and something I love too!
- Split-sessions with breaks are available and don't count against your session time.
- Written summaries both before and after meetings, to stay on track, and so nothing's lost
- Text-based communication is seamless—I type 100-120 wpm & read~1000 wpm, on average.
- Session lengths can be extended to allot enough communication time.
COMPENSATION:
- I'm able to subsidize a small number of projects per year. These slots are reserved for those with fixed incomes, such as the Disability community, and for emerging artists or students of any age. My approach to these projects is as follows: tell me about your project and its budget—I'll help us find the most cost-effective way for me to support you in creating the work you want to make. In the case of low or no-budget projects, I can help provide guidance on fundraising, including crowdfunding, or refer you to other resources to help you complete your project.
- I see myself as being of service to the artists who approach me, and their artistic products as being solely theirs. This is especially important in the case of emerging artists, with whom my goal is to cultivate a zone of trust and security. For this reason, I usually reserve splits for full-scale official collaborations only, and otherwise do not accept portions of rights, royalties, etc, as compensation.
- I am the grandchild of breaker boys, coal miners, members of the International Ladies' Garment Workers' Union, the president of my hometown's United Mine Workers of America; please don't ask me to disrespect their legacies by working without compensation. I am, however, open to donating my time and labor to nonprofits and causes I support, when time and finances permit.