Limor Tomer shows me a photo of her five-year-old daughter, Amal, sitting on a motorcycle. Pointing to Amal, she says, “I was teaching her never to sit on the bitch seat,” and laughs.

Ms. Tomer, a funky dresser who lights up when talking about her kindergarten student daughter is the Executive Producer for Music at WNYC Public Radio, in New York City. As the Executive Producer, she works on the Evening and Overnight Music programming broadcast daily on WNYC. She also works on programming music festivals, specials, and series features broadcast on WNYC and wnyc.org.

Ms. Tomer started working at WNYC Radio last November. Prior to that she was an Independent Performance Curator, translation at various institutions including Brooklyn Academy of Music (BAM), the Whitney Museum of American Art, and Symphony Space. She translated that to a freelance producer and programmer.

When Ms. Tomer isn’t working hard at WNYC, she works as an adjunct curator for “Whitney Live” programming at the Whitney Museum of American Art in Manhattan.

This past summer, Ms. Tomer worked on an online music festival, about American composer John Cage. Ms. Tomer. She said of her work on the festival, “I thought I knew John Cage—I knew nothing! I learned so much more. So now I feel like I know John Cage, until I do the next round.”

Dressed in a short, tan-colored dress made of soft, fuzzy material. I feel the softness of the fabric, and she says “I feel like a stuffed animal!” and we walk out of her office. We head into a sound studio down the hall. Ms. Tomer greets fellow producer Alex Ambrose who is sitting at the audio controls: buttons, needles, switches, all bleeping, moving, and flickering. He plays commentary by music journalist and critic John Rockwell. Mr. Rockwell is talking about a new opera by Richard Danielpour, called “Margaret Garner.” Mr. Ambrose is editing the John Rockwell commentary for broadcast during Evening Music and Morning Edition.

Ms. Tomer is sitting in a chair, changing positions, looking to the side, or head down, and listening to the commentary. Her legs are crossed, and I notice she is wearing red leather platform shoes, and her toenails are colored with chipping pale-blue polish.

“Toni Morrison — is black!” is heard through the speakers Ms. Tomer laughs. When I ask who is speaking, Ms. Tomer says “Rockwell.” I give her a blank stare.

”John Rockwell,” she says. He is an “important macher that I like,” she explained.

Back in her office, we sit around a round wooden table. She sits comfortably, leaning back, legs crossed. On the table, in front of her, is a red apple, resting on top of a yellow mug, from the public radio program “A Prairie Home Companion.”

I asked her if she ever had any “rock star moments,” when she met musicians she admires. She nearly cuts me off and exclaims “Oh my god, yes!” Her eyes light up, and she tells me about Merce Cunnigham, a dancer who worked with composer John Cage:

“When we did the piece on John Cage, we got to — we went to go have dinner with Merce Cunningham in his house, in his loft. And that was unbelievable! That was very exciting.”

She launches into another story: the night before, she went to see the play “Misanthrope.” After having to find a ticket, and buying a spare from a woman in the lobby, she sat down. She looked to her left, and saw the former Israeli Parliamentary member, and Ratz and Meretz parties founder Shulamit Aloni, sitting next to her, in jeans and sneakers. Ms. Tomer was awe-struck.

She said Ms. Aloni was “This major, important figure that I’ve sort of admired al my life.”

“What do you say, ‘you’ve shaped my political-social-thinking?’ I mean, what do you say? ‘I really admire your work?’ Duh! You hear the words coming out of your mouth and it’s like, ‘oh shit.’”

Ms. Tomer grew up in Israel, in Ramat Hasharon. She lived there until she was thirteen, when her family moved to New York. She was trained as a pianist, and studied music at Julliard for her bachelor and masters degrees.

After a few years as a pianist, she tried to get a job in arts administration.

“Nobody would hire me! …I knew nothing, I had no skills, I didn’t know how to type.”

But she did get hired, at BAM, where she helped to build the performance space BAMCafe, and, she learned to type. That was in 1992, and after fifteen years at BAM, she moved on to the Whitney Museum of American Art in 2005. In 2006, WNYC snatched her up.

She says if you want to get into the music business, as a programmer, an administrator, or a talent scout at a record company, you have to know where you want to work, and get a job there, as anything. Start at the bottom, and work your way up.

She says, “Figure out why you like it, and do different things, as opposed to ‘I want to be a talent scout, there’s at job as a talent scout at Windham Hill, I’ll take it.’”

Currently she is working on a project to be broadcast on wnyc.org, “Ear to Ear,” presented by Evening Music host David Garland. Mr. Garland will interview influential New-York based musicians, including Israeli artist Anat Fort, and Iranian singer Haleh Abghari.

But, she loves the Overnight Music programming. Even though it is on when most people are sleeping, she says it is an important programming block. “Even though there aren’t a lot of people listening, they are the important people –students, artists, cabbies. Those are the people that move culture forward, literally.”