On the Streets of any city there's a story to be told. But on the now bustling streets of NYC there's always something new to be said, no matter how old or how many times I've visited those paved pathways, they always lead to that next glorious frame. Kat + KARJAKA explore Soho and the dying of the light, as the blonde bomb causes a spectacle and the two collaborators giggle in the face of a Dylan Thomas poem.

Autumn. Ah. One of the absolute best and most festive times of the year. Leaves falling as they turn colors. Oktoberfest worldwide (not just in Munich, although that IS the epicenter of it all and well worth attending at least once in a lifetime). Commencement of the school year for all kids ~ 4-18 and many more under 22. Horror film festivals and reruns on TV. Football season for many. Halloween. Thanksgiving. Most of the Christmas/Hannukah/Kwanzaa season (very often forgotten is that Autumn/Fall technically runs until midnight, December 20)

n visual art, there is most often a directness of communication to the audience. The painter creates a work, and the audience views the work. By contrast, the composer writes the score, and the audience hears that interpretation. Because the focus is on creating sound, the physical work that I, the composer, create is viewed as a tool to produce art. but I always wondered, why can't the score be the work? Why can't the intricate and detailed notations be appreciated for their visual properties? Why can't the score be notated purely for notation's sake? As a composer, a saxophonist, and a visual artist, my love and distain for the score acts as the catalyst to my Composition series.