How did you go about getting your job? What kind of education and experience did you need?

I was fortunate enough to live in a college town (What up, Gainesville, FL.?!) that had a solid music scene. It was this diverse, contained playing field that provided plenty of opportunities to dabble in areas of the business and not feel like I was missing anything NYC, LA, Nashville or another major, metropolitan city could provide. I studied public relations so I have some textbook formulas to credit my style to, but I think these fields favor those who are intuitive and street smart, above anything else. 

I kicked off my career with my dream job (which is something I’m eternally grateful for.) I spent my first two+ years of post-grad at Columbia Records and then hopped over to agency life, joining The Syndicate’s new publicity department in the summer of 2015. Perpetually learning a ton about both worlds to this day and finding ways to intertwine the two experiences.

What do you actually spend the majority of your time doing?

Hustling, which boils down to eye-boggling research and savvy pitching. As a publicist, you develop a knack for connecting dots between your projects and become heavily in tune with everything being covered in the media.

In between all that, trying to double and triple my relationships across the industry so the process of keeping these album and tour campaigns afloat becomes more seamless and that much more rewarding.

What misconceptions do people often have about your job?

If I hear the term “people person” one more time…

On the job or even during your boring trip to the grocery store, that grossly misused term literally just means the ability to peacefully co-exist with others, which isn’t all that impressive. The gnitty-gritty and less-than-pretty details of PR are always overlooked, and press is one of the most volatile aspects of a campaign. At the end of the day, you strive for awareness and can’t quantify a go at publicity by a number of articles or mentions. You can’t fabricate objective facts and you can’t force a subjective connection so you try to stay focused on what really matters: creating conversation.  

What are your average work hours?

24/7. This industry is highly reactive and time-sensitive. There’s never a dull moment and that’s all part of the thrill. I don’t think I would be able to function at optimum levels if I wasn’t always functioning at this speed. Whatever concept of an “average” you possess, don’t pay too much mind to it. The work done when you’re technically “off the clock” at a networking event is just as crucial as what you’re able to produce behind your computer screen – and vice versa. They work in tandem and generally rob you of a lot of sleep no matter how you slice it…but you’ll have a lot of fun, too.

What personal tips and shortcuts have made your job easier?

Integrity. And that’s two-fold. Always taking on projects that I’m sincerely passionate about and following through on everything. If you want to rally supporters, be a supporter yourself, Share, encourage, lend advice, open doors for others, respond promptly, give a shit, show face. A willingness to overdose on caffeine is an added bonus.

What do you do differently from your coworkers or peers in the same profession?

Arguably, everything, and that’s not a matter of better or worse, per se. Everyone develops their own methods to the madness, and at least in terms of publicity, a cookie cutter approach is the quickest way to be tossed into the black hole of a trash folder, never to return or be responded to. Ever.

It’s a catch 22 because there’s more than one way to skin a cat, but results are never guaranteed. Outreach, work, effort, communication, tenacity, creativity and a slew of other things are a given, but unfortunately there’s no fool-proof method to publicity. You find your own groove, and find how to present your pitch in a way that makes sense for both you and what you’re working.

Do you have any advice for people who need to enlist your services?

Hire someone who has returning business. They’re in the trenches with their clients. That speaks volumes and trumps any incoming flood of sales leads. It’s about building a machine, not cycling through its moving parts, especially with someone like a publicist, who works so intimately with an artist and its entire persona. If you’re ever going to move forward, you can’t spend that much time starting from scratch. So, choose wisely, otherwise it’s counter-productive.

Above all else, look for someone who gets what you’re trying to do, and at that, is all about it.  There’s no forcing results, you can create freely and you’ll actually, y’know, enjoy working together day-to-day.

You could probably apply this advice to dating as well, but that’s not what we’re here for.

What's the worst part of the job and how do you deal with it?

“Rejection,” for lack of a better term. The media is so over-saturated and that unfortunately means that plenty of newsworthy content doesn’t get its time of day just because of the sheer volume of all the things constantly in motion. Thanks to these age-old stigmas that publicists are bloody bullshitters, it’s easy to feel as if you’re on the defense, as well. We’re aware of all this.  All the more reason to double-down on the hard work and embrace transparency every step of the way. It might take some time, but I think good publicity will prevail evil publicity if we’re aware of what we’re up against and adopt a no-nonsense approach.

What's the most enjoyable part of the job?

Turning people into fans and being a part of a snowballing motion. Sitting back and watching genuine reactions at a show, a.k.a the culmination of your blood, sweat and tears.  It's just as much a shared fascination for everyone involved. The same way you become hooked on something when it’s brought to your attention, completely leaning in to its life and tying yourself to its success, looks very similar to the magic of a consumer’s first-time listen or belly-laugh at a joke.

What kind of money can one expect to make at your job?

It climbs with experience and depends on the capacity of your role and other variables. Bottom line: it’s a tough industry that romanticizes the concept of paying your dues more than other crafts. Have patience to wade through that with professionalism, and you’ll come out on top. Don’t let skill upstage hustle. 

How do you move up in your field?

Leaving no stone unturned for your artists. Form follows function in this instance.  When you’re already doing work that’s well outside of what your role would suggest on paper, you curate your own reality in terms of title, salary and benefits. The key is to be invaluable to your clients, and that occurs when you always considered everything to be on on the table, possible, achievable. Creativity plays a new role in this business in a way that it wouldn’t have decades ago. Ever since the first “actual” time this industry flipped itself on its head, it’s seemed to turn itself over more frequently. It’s this old dog that can’t keep up with its new tricks so I think a little flair can go a long way.

What advice would you give to those aspiring to join your profession?

Earplugs. 

More importantly, recognize that it’s no longer enough to live by “it’s who you know.” A few years ago, a mentor of mine urged that it’s “who knows you”, and at that, what it is you’re known for. Be present and have a reputation that you’re happy to have precede you. Reach a point where you don’t need to introduce yourself as often and have a roster that’s just as proud to work with you. Especially as a publicist. The more your name crops up in conversation, the more your clients’ names will. Power in association.