Strategic Communications

STATION DC

STATION DC is a 700+ member national-security and dual-use technology hub in Washington. My current role positions me daily next to government leaders, private capital, and industry: I lead programming, partnerships, media, and organizational structure, the visibility engine for the member companies, defense startups selling into defense and government markets. The real work is daily and deliberately quiet: connecting customers and capital to member companies, one introduction, stage slot, and dinner seat at a time. This is the web at working scale: I know which agency buyer, prime, and investor belongs in which room, and I build the room.

• Flagship programming: “How We Win” is a recurring conference series I produce at STATION DC. Each edition takes one hard defense-industrial problem (munitions production this past June; nuclear energy policy this September) and puts founders on stage next to the primes, Hill staff, and agency buyers who can act on it, underwritten by sponsors like Baker Botts and Deloitte. Alongside it: deep-tech, space, and hypersonics programming that keeps the community on stage year-round.
• Customers and capital, connected daily: the membership itself is the market. The 700+ member community is dense with the founders member companies need to meet, and the investors who back them, and I have direct access to all of it: every one of those founders and funds is a relationship I already hold personally. My daily work is matchmaking inside that pool: founders to capital, companies to buyers, the right people into the same room. It is the quiet, compounding work that turns a community into a pipeline.

The strategy behind it: the stages and rooms above exist because I built them on purpose, aimed at where member companies’ future customers and investors already spend their time. That is the same judgment I bring to directing a company’s narrative: precision over volume, every placement earning its keep.

On the panel: “The Discovery Problem: How DoW Finds Innovation It Doesn’t Know Exists,” as Head of Programming, STATION DC.

RADIAN FORGE

Radian Forge is building large-scale additive manufacturing capability for critical defense parts in Hampton Roads, Virginia. They came to me with serious infrastructure, a compelling founder, no brand, and no customers. I direct their PR and market development strategy, building their customer base and capital relationships from zero. This is the power map earning its keep: every move below was made where the influence actually sat, and aimed at a named customer or a named check.

• Launch: invitation strategy and guest lists for the facility grand opening and invite-only private dinner (April 2026, Virginia Beach): operators, partners, and senior Army civilian leadership in one room, plus Hill engagement and media outreach around the launch.
• Capital & voice: I help shape Radian Forge’s brand voice around the CEO’s preferences, reviewed the investor update before it reached investors, and made the warm introduction to the venture investor now leading their round.
• Customers: built the eight-workstream customer pipeline and opened 10+ curated introductions that became meetings (Carahsoft, Community of Smalls, SOF Week Tampa). Built their path to the Navy and the other service branches: a curated dinner, a mainstage slot at the Maritime Industrial Base half-day conference, and a Radian Forge–led additive-manufacturing roundtable with naval program managers in the room. Every one of these puts Radian Forge in the greenroom with the customer: no cold calls, no booth.

The pattern: most companies start where Radian Forge started: real infrastructure, a compelling story, no brand. The 90-Day Plan brings the same discipline to the operating spine first, the story built on top of it.

Narrative & Film

I produce documentary film. The discipline is the same one a brand needs: character, stakes, and proof, told to the right room at the right time. Original video storytelling, the most expensive line item in most PR budgets, is a capability I bring in-house, a piece most agencies simply cannot put on the board.

And producing a film is building a business: raising the financing, hiring the crew, running the schedule and the vendors, delivering the product, and finding its audience. Every production is a company with a beginning, a middle, and a clean close. That is why the film work belongs in this portfolio twice: it proves the storytelling, and it proves the operator.