• Throughout my professional life, on a freelance basis, I have been enlisted to perform an eclectic variety of duties, for employers ranging from small startups to major multinationals, assisting teams both considerable and modest.

• Continuing with the themes of diversity and adaptability established in the previous bullet point, my freelance assignments have ranged in length from days to years.

• From July 2014 to July 2016, I freelanced for Sony Music's Legacy Recordings. I generated a large and varied body of social media content, on a monthly basis, that was used on numerous artists' pages, across all major platforms. My content played the biggest role in social media engagement more than tripling for the label by the end of my tenure.

• Samples of, and elaborations upon, some of my freelance work can be viewed by visiting this page.

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• I authored a huge array of copy used by StatSocial throughout the company’s website, flagship platform, and marketing materials, as well as hundreds of articles featured on the StatSocial Insights Blog.

• I was instrumental in the creation and maintenance of StatSocial’s Digital Tribes, the company's proprietary market-segmentation datasets. I made certain that all aspects of the product remained current, and generated all related marketing copy, leveraging the platform's unique analytics—including interests, brand affinities, media preferences, memberships, demographics, and IBM Watson Personality Insights.

• I reported directly and exclusively to the company’s founder and president.

• Samples of my work for StatSocial can be checked out by visiting this page.

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• I created content throughout each day, driving the company’s immensely successful SEO and social media marketing efforts.

• The content I generated was central to the massive web traffic growth that occurred during my tenure, going from 25K daily visitors to more than 300K by the time I moved on from the position.

• I worked closely with the company's PR team to repurpose content for third-party press. My content was featured in hundreds of articles, in such publications and/or blogs as Mashable, Politico, BuzzFeed, and The Huffington Post.

• During the last two years of my tenure, the staff was reduced to only five people. The result of this was an "all hands on deck" environment. I routinely advised on matters such as site functionality, design, SEO, and even the possibility of a significant rebranding and repurposing of the company's chief product.

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• I served a "utility infielder" role for Condé Nast Digital’s Creative Services department. It was a scrappy, young team, with eventually realized ambitions of becoming a full-blown, in-house ad agency. Each role detailed below could easily have been a discrete, full-time job in itself.

• I kept the department's books and served a de facto budget manager role. I tracked and allocated all project and vendor expenses and acted as liaison between management, sponsors, project managers, sales, freelancers, and accounts payable.

• I tracked and reported all traffic and analytics (minisites, ad units, etc.) resulting from the sponsored projects that made up the bulk of the department's output.

• I oversaw the building, set-up, deployment of, and follow-up reporting on, every sponsored email blast sent by Condé over a three-and-a-half year period. During my tenure, hundreds of deployments went out annually, each being sent to hundreds of thousands of recipients.

• I handled all aspects of fulfilling the many sweepstakes the department oversaw annually. Prizes ranged from luxury travel to kitchen remodeling and were frequently very specific and detail oriented.

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• I was the co-founder and co-leader of an ornate, experimental, theatrical, somewhat orchestral, art-rock-pop music project called Vaganza.

• During the act’s lifespan we recorded for Elektra and Geffen (at different times). When we performed live, we did so with a 10-piece ensemble. It was a whole thing and definitely not just another band. You can learn more about it by clicking here.

• I co-produced the act's 1998 self-titled Geffen release.

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• As part of the firm’s legal department’s administrative staff, I was charged with a variety of duties, including processing and allocating the costs of the thousands of invoices the department received each year. I was also in charge of the dedicated file room where these invoices were stored.

• I additionally served as the department’s receptionist, initially for an hour or two a day, and eventually full-time (in addition to my other duties). Each day at least two hundred pieces of mail, or more, would arrive at the desk. I sorted it and alerted the recipients (or their assistants). I also received guests and forwarded calls and all of the things receptionists do.

• I provided general departmental support: Typing, transcription, foot messengering, ordering supplies, and numerous other tasks.

• In the wake of the September 11th attacks, the department was displaced from its Financial District home. Many major law firms, with whom Merrill worked regularly, volunteered empty desks and offices. For the following four months, the entire legal team was dispersed throughout Midtown Manhattan. I received all of the department’s mail, at the Met Life Building location where I wound up, and coordinated and managed the hand delivery of each item, to the many, disparate Midtown locations from where the scattered department was working.

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• I worked as part of the editorial staff of The College Board’s 2001 College Handbook—their annually published, comprehensive directory of every two and four year college and university in America.

• The job entailed calling hundreds of schools, speaking with the staff members of numerous departments within each, fact-checking items, and conducting what were essentially interviews. With this edition, the company intended to have each entry in the book be more comprehensive than ever before and accomplishing this required industriousness and persistence.

• As this was still a bit before the dot-com-bubble-burst, the company was extremely focused on having their many popular guidebooks live online (I believe behind a paywall), and much in the way of time and resources were dedicated to this. While our work was in the print edition, the book’s editors were regarded as part of the then rapidly expanding CollegeBoard.com venture.

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• I was part of the three-person team (two full-time) who assembled the 2000 edition of the CMJ Music Directory. The book was a comprehensive catalog of independent and/or college radio stations, as well as record stores, artist managers, and publications, whose ventures were focused on independent and underground music of all genres.

• The parent company had been operating a successful college radio trade publication since the early 80s and had become even better known for hosting a three-day music conference in NYC each fall. During the time of my tenure, the company had been acquired by a Dallas-based tech startup and was investing a lot of energy toward developing a considerable online presence. This directory was very much being treated as part of that greater plan. (CMJ’s original owners eventually bought the company back, I believe, and like so many intentions hatched during the very early-00s, their ambition of making a big splash in the online space was considerably downsized, or possibly abandoned altogether.)