2000 

• Love Lust & Beyond with Dadadah at HERE, directed by Valeria Vasilevski (based on Kitty Brazelton in 3D!!!)

• Kitchen House Blend: curator/composer John King invited to write 20-minute Consider the Carving Knife for a 10-piece house band. Also invited were composer/trombonist Craig Harris and composer/clarinetist David Krakauer.

• Kitty Brazelton & Low brass - I started with an arrangement for voice, tuba, 2 trombones and steel drums of Tracy Nelson's Down So Low for Phil Kline's curation "Your Hit Parade" in March at the New Museum in Soho. I arranged a few more tunes of my own to perform on Frank Oteri's 21st Century Schizoid series in May with the same instrumentation (me singing, Bob Stewart tuba, my beloved Chris Washburne (from Dadadah) and Julie Josephson on trombones, Danny Tunick (also beloved from Bat) on vibes, and Tony Lewis on drums (from the Kitchen House Blend).

• Commissioned through Harvestworks/Studio PASS with public funds from the New York State Council on the Arts, Dafna Naphtali and I (What is it like to be a Bat?) co-composed 5 dreams; marriage as sequel to she saidÑshe said, "can you sing 'sermonette' with me?" (1997)to premiere in early July at Sound Symposium 2000 in St. John's Newfoundland. We brought the 2-piece concert back to the US for the Cooper-Hewitt Smithsonian Museum's Design Triennial towards the end of July. In November we performed the diptych at iEar/RPI in Troy NY and then took both pieces in the studio to lay tracks for a BAT? CD.
• On my laptop, while visiting my mom, I orchestrated and copied for film composer Michael Small's soundtrack for "Endurance" an independent documentary which showed in September at SunDance.
• In September, commissioned by Paula Sepinuck's TOVA and the International Institute of New Jersey I created a soundtrack for "Two Sides of the Moon", living theater based on the actual life stories of Vietnamese-Americans, using "found sound" (bits of conversation, singing, laughter by members of the cast).
• During the fall of 2000, I just about incinerated myself by teaching at 4 schools simultaneously: university-level, high, middle and elementary schools. Nevertheless I used my late-nights and wrote Symphony No. 3 "Native to Where" in which I explore a mix of (integration vs. disintegration, disjunct harmony vs. conjunct timbre) ideas somewhat inspired by my teen-age experience in the highlands of the Maya. I am hoping to find an orchestra brave enough to perform it. To date, to my disappointment, no takers.