With Kristin Bell on location at the Edison, Los Angeles, during the filming of Veronica Mars.

See Byron in Philadelphia Weekly!      See Byron profiled at RickyAhuja.com!


Byron M. Kho

762 South 13th St.
Philadelphia, PA 19147
Phone: (215) 732-2176
Cell: (215) 868-2006
Fax: (215) 893-4727

AIM: IDzByron, bmkjack


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August 2001 - May 2005
• Bachelor of Arts in Biology
• Minors in Chemistry and History

May 1999
• Associateship Degree in Piano Performance (ARCT)

Chief Executive Officer and President
September 2005 - present
• Built and developed IDz Media from loyalty website specialization to affiliate network. Guidance of overall business plan, sales strategy, brand development, financial planning and creation and maintenance of proprietary performance-based online advertising platforms. Chief web developer of all online properties, including affiliate network, dozens of content websites, and specialized Content Unlocker technology. Continuous management of thousands of publishers and dozens of in-house and off-site employees, including cross-training for all disciplines and daily customer service. Negotiation of new and continuing contractual agreements with over two hundred advertising agencies and online and offline businesses.
• Extensive knowledge of CPA/CPL/CPM affiliate networks, agencies and software, and general online advertising models. Working knowledge of Web Development (HTML, Flash, CSS, JavaScript), Platform Programming (Ajax, PHP, SQL), Media Placement and Buys, Lead Generation, Campaign Management and Analysis, Creative Services and Path Optimization. Specialization in loyalty marketing business plan and site development, publicity management, and cross-platform programming tools and APIs.

 ByronKho.com is the online home of web entrepreneur Byron Kho. Byron received his undergraduate degree in biology from the University of Pennsylvania, with a minor in chemistry and history. To that end, took intensive survey classes in general biology, immunology, neurobiology, chemistry, biomedical philosophy and ethics, physics, epigenetics, evolutionary psychology and more. As a staff writer for the Daily Pennsylvanian and online blogs and e-zines, he covered science and technology developments. He is an avid reader and film connoisseur, with personal interests in public health and current events.

Building on an active career in musical theater while in college, Byron continues to music direct and arrange for theater productions for college and high school students. He works on and off with area musicians and theatre companies. Ongoing projects include arranging and accompanying all live performances of the 2011 Philadelphia Fringe Festival original folk musical Wars & Whores: A Henry IV Musical, based on Shakespeare's Henry IV Part I, followed by a 2014 cabaret at World Cafe Live downstairs featuring that same music, plus songs from many other Shakespeare-inspired musicals and songs. He holds a Performer Associateship Diploma (ARCT) from the Royal Conservatory of Music in Toronto, whose requisites include competence in Harmony, Music History, Counterpoint, Analysis and professional level performance of Baroque, Classical, Romantic and 20th century works. He has completed masterclasses with James Lent of Yale and Robert Rogers of UBC, and his teachers include Robert Roberson of Messiah College; John Harrison of Elizabethtown College; and Sasha Starcevich, Donna Fishwick and Edward Parker of Vancouver, BC. Performance career includes solo and group performances for the ALCAN Dragon Boat Festival at the Plaza of Nations; Steinway Hall, New York; Jonathan Edwards College, Yale University; ABC27 Celebration of Children; the University of British Columbia; Caldicott School, Cliveden Royal Estates and Eton College, England; Canadian War Museum, Belgium; Brahms Museum, Mondsee, Austria; Esplanade Theater in Singapore; plus hundreds of other venues in cities across the world. Additionally, he can be found singing and accompanying the Orpheus Club, the oldest men's choral singing group in the United States. They perform twice a year at the Kimmel Center, home to the Philadelphia Orchestra; they collaborate with such local area groups as Minas, Drew Nugent and the Midnight Society and Miko and the Musket.

Currently, he is the CEO of IDzMedia, an online marketing agency and network. A major online presence, his company manages affiliate marketing solutions for thousands of advertisers and publishers around the world. With over 1500 offers and personalized automatization tools for offer insertion and lead postback, IDzMedia is a full-service network for affiliates in most major marketing channels. IDzMedia currently maintains advanced expertise in social media and loyalty program management with its revolutionary Content Unlocker technology, which allows content publishers to monetize any kind of content or online interaction - including social network applications, mobile applications, MMORPGs, sweepstakes and casual games, video/music/eBook content and more. Additionally, the company manages its own portals and landing pages; white-label projects with many top-label agencies and networks; private label survey partnership with Toluna; and numerous solo search and email campaigns. All marketing technology in use by IDzMedia, including their versatile and powerful affiliate management software, is developed in-house by dedicated programmers who actively create new solutions for publishers on a daily basis.

 September 12, 2011

I got into Wars & Whores: the Henry IV Musical after Benjamin Kamine, a friend of mine from college, asked me to help out during Philadelphia auditions for the show. All I knew about it was that it was based on Shakespeare's Henry IV Part 1 (which I had not read) and was to contain folk music, most of which wasn’t finished at that point. During Philadelphia auditions, there was one auditionee - however, Ben knew a bunch of people in New York, where he had recently moved from LA to work in the theatre community there as a director. The show was cast in New York, finally.

As Ben and Jeffrey Barg, the composer, worked on getting the show on its feet, they brought in old Penn friends Sally Ollove as the book adapter and Charles Forster as lighting designer, and then somehow managed to corral in Peterson Townsend, the fight director and sometime-consultant for the Metropolitan Opera; Moriah Smith, a costume designer for Drexel and the Walnut Street Theater; several New York acquaintances as assistant directors and producers; and Megan Edelman, a recent Penn graduate, as the Philadelphia producer. I was brought in as keyboardist and Jim Jordan as bassist.

The band was essentially given free rein to do whatever. Jeff gave us lead sheets and we just figured things out as we went along. I was given the accordion and I picked that up, rather quickly, though it was just used in one song (and a few pre-show numbers). We rehearsed in Philly, while the actors and Ben did their thing in New York. I did go up one day to help the actors learn a couple of the numbers; they got some great rehearsal space at Pearl Theaters, a block away from Penn Station.

The show describes Prince Henry's coming of age during an English civil war against his against his father, King Henry IV. The conceit was that this whole thing was taking place in a Western milieu. More Western punk than country yokel was the idea, though my own costume definitely screamed yokel. Blue plaid shirt, suspenders and dark blue jeans with black boots. Our pre-show was a lot of old folk and country tunes: "Dark as a Dungeon" by Merle Travis, "Early Morning Rain" by Peter, Paul and Mary, "Ring Around A Rosy Rag" by Arlo Guthrie, "Wasn't That A Mighty Storm" by Tom Rush, some Willie Nelson, Johnny Cash and even Chris Isaak's "Foolish Games" done up a bit bluegrass-like. By request from donors, we did "Salt of the Eart"h by the Rolling Stones and the Beatles "Can't Buy Me Love." Hootenanny.

So the performance itself: in conjunction with the Underground Shakespeare Company from Penn (who supplied some free food to us, and also did the setup and strike), part of the Philadelphia Fringe Festival of 2011, and done in the Sanctuary of the Rotunda. This building was a former Christian Scientist church, and featured a sloped sanctuary hall with enormous iron chandelier, and a resonant echo throughout the space. The space is beautifully decrepit, with paint chips continually flaking off the walls and ceiling, and the slightest whisper magnified a hundred times. We knew the acoustics would be a problem, so we draped lots of curtains, blankets, canvas and other such items to help dampen the sound. One could not shout, as the echoes generated by shouts would be so muddy to be unlistenable; talk too softly, and nobody would hear either. The trick was to resonate from the center, near the "sweet spot", and direct the waves in the general direction one wanted to speak in at just above a normal conversational level. And then the band had to figure out where to be.

In any case, all that stuff got settled. We had Dave & Gary Kurnov as our Hotspur and Hal (added dimensions considering they are brothers); Ron Bopst as our King Henry (hard to imagine as a serious king until he actually spoke the role); Eric Johnson as Falstaff (looks like a Falstaff); Tommy Crawford as Douglas/Poins (whose girlfriend is the company manager for the Flea Theater in Tribeca); Zane Johnston as Worcester/Bardolph (who looks exactly like the Pacific Northwestern hipster that he is); Jesse Tendler as Sir Walter Blunt (somehow had the easiest voice to hear in the space); and Sarah Levine as our sympathetic and flirty Lady Percy/Mistress Quickly (now off to Merry Olde England to get her MFA).

We raised money for the show through IndieGoGo, was the cover story in the Philadelphia Weekly, was on Gene Shay's folk show on WXPN LIVE, and finally, got an awesome review from the Philadelphia Inquirer's Toby Zinman, a notoriously hard-to-please reviewer. Amazingly, the show sold 450+ tickets in a 4-show run, which means that it was a pretty solid hit during a festival that has 100+ shows going on.

  Technology Policy and the Economic Development of South Korea and Taiwan
Byron Kho

Abstract: The last four decades have seen a transition for most South-East Asian economies from relatively poor and backward states to that of modestly advanced and rapidly developing nations. While not the only factor in the growth of such economies, technological advance has been recognized as the key driving force behind much of economic growth – not only for these so-called Newly Industrializing Economies (NIE), but for economic growth in general. Of the NIEs, South Korea and Taiwan stand out due to their success in tying strong governmental policy to the development of industry. With little in the way of high-tech industry in the 1960s, these two nations have focused on technology in the last few decades as a means for rebuilding their economies. Since then, they have established industrial capacities capable of competing effectively in international markets against more ’developed’ nations. The streamlining of technology licensing and patenting, the focus on education, the establishment of a research infrastructure, disciplined governmental initiation of technological incubation as well as limited institutional support for foreign funding and investment allowed the development and production of a plethora of sophisticated industrial goods into world markets in a timely manner. Most notably, their electronics and related industries have burgeoned in the wake of increased governmental financial and legislative support, as well as a public trend toward national specialization. Though currently at differing levels of economic health, both nations are good examples of the hand-in-hand nature of governmental support and private ambition towards the overall success of developing nations in the world market.

Decreased Chemosensory Function in Renal Disease
Byron Kho and Richard Doty

Abstract: Despite dialysis and drug therapy, various neurological and physiologic effects are still symptomatic in renal disease patients. While the effects on other motor and sensory systems vary in intensity between no damage to total loss of ability, it is well documented that olfactory and gustatory ability generally decreases, even in cases with low levels of kidney impairment. This review examines the current literature to address the extent of possible damage to chemosensory function in renal disease patients, explore possible explanations of causation, and evaluate possible influences and associations, including neural complications, toxin levels and nutrient intake.