Reputation and Boundaries in Music Publicity

Powerhouse Publicist/Golightly Media Owner Lily Golightly achieves outstanding placements for artists of any level in any genre, and she has the track record to prove it.  Having shed bright lights on some of New York’s hidden talents and having worked with highly successful acts like Flogging Molly and Katy Perry, Lily constantly has her pulse on what it takes to garner great results for just about musician.. In this post, she shows us how to navigate the tricky boundaries of the Music PR world–a collision of industries not always known for their ethics. A former mentor of mine and an inspiration to women in music PR and entrepreneurism everywhere, we are privileged to have her as a guest on The Sound Off.  Be sure to visit her website, like her on Facebook, and follow her on Twitter!

When I was seventeen, all that I wanted to do was go to shows. I was in several bands and decided that my dream job would be working in an environment that allowed me to see rock bands night after night, moshing, drinking, being silly, and besties with everyone in the “scene”. Throughout college, I desperately tried to turn this dream into a reality. When I wasn’t analyzing ticket counts for my touring class or burying myself deep in legal entertainment and accounting books for my music industry major, I was playing punk clubs, rubbing elbows with bands (that are now at the height of fame), and partying like it was my job- thinking that eventually it would be!

I’ve been working tirelessly in the music industry for about six years- bouncing around boutique agencies and moving from being an assistant (a terrible one at that), to a publicist, to a director, and now a business owner. Some people ask me what the hardest part of my job is. The hardest part is not securing clients, it’s not getting press, and it’s not even waking up early to get to the office to pitch morning shows. The hardest part of the job is what I was looking forward to the most in my teen dream – the sometimes too friendly nightlife aspect.

Drawing boundaries in the music industry is a topic that really needs more attention. Let’s pretend your reputation is an expensive and gorgeous new hair cut with short bangs (because you read the last issue of NYLON). Now imagine the music industry is a six year old chewing ten pieces of bubble gum at once and giving you the stank eye. One wrong move and that kid will throw that sticky gum at your hair and you’ll have to shave your precious locks. Weird analogies aside, what I’m saying is that bad reputations are sticky as hell, and once they are stuck on you, they are SO not cute.

Example #1: At South By Southwest a well known booker cheats on his fiance, displaying some intense PDA at day parties. Of course we all know about this and don’t say anything, but the girl that he hooks up with is an intern at a music agency. Soon everyone is talking about it, and in turn, he looks like a scumbag and she has a hard time getting hired.

The music industry is small. We are all constantly watching to see what everyone else is doing. If you are at a music conference where you will be among industry veterans as well as potential clients and possible mentors, draw the boundary. Do what you choose in your personal life, but make sure that people at conferences are talking about you for the right reasons.

In certain respects, the industry is like high school. Some of us still dress the same, we all know who is hooking up with who, and there is TONS of gossip! For example- right now I know about an illicit office affair that’s happening at a completely different PR company. My friends who are magazine editors know it, too!

Think about it like this: Would you be ashamed if other people knew about the shenanigans you are pulling? …Yes? Then stop!

Example #2: A publicist gets too drunk at a client’s show, locks herself in the bathroom, and the venue manager has to retrieve her from the bathroom, with all of the writers, label execs, bookers, and clients watching as she stumbles out of the venue.

This publicist was working, which means it’s her responsibility to draw this boundary.  I tell all of my employees that on our client’s time we should limit ourselves to two alcoholic beverages per show- if that!  Personally, I don’t drink at shows at all anymore. Working with a clear head and avoiding potentially embarrassing situations is crucial in letting me effectively do the work that my clients trust me with.

Example #3: An assistant publicist becomes friends with the band that she is working with. The guitarist often texts here and begins to drop flirtatious messages. Flattered, she meets him when the band has a show in New York and they hook up.

This one is tougher. I know people who have fallen in love this way and who have gotten married. I won’t forget though- at the first job I ever had my boss told me that if I dated any of the clients, client’s managers, bookers, or anyone that I met through the job, I would be immediately terminated. It’s also tough because boys and girls in bands can be really hot and the thought could be very tempting! However, when your boss finds out that you’re shtupping their client, they will be less than pleased.

The best way to handle a situation like this is to immediately tell your boss that you are receiving inappropriate messages from the band and to stop flirting with the band member. If your crush cares about you, they will understand that you need to maintain your reputation as a hard worker and not be labeled a groupie. If something happens in the future, I guess that means it was meant to be.

I cannot stress enough how important drawing boundaries is when you are working in an environment like the entertainment industry. We all love gossiping, we all have to be competitive just to be in this industry, and whatever actions you take will follow you around like you are still in high school. It’s that serious folks!

Nikki and Macklemore: A Love Story

Nikki is back! She follows up her last post with an in-depth look at Macklemore’s “The Heist” through the eyes of an avid music fan, but not necessarily the world’s biggest rap enthusiast. Her analysis of the lyrics, hip hop scene, and production quality view this album through a unique lens of a musician, PR student, and an every day 18-year-old .

If you know me, you know I don’t typically listen to that much rap. I don’t dislike rap, I’m just selective about who I listen to. Macklemore is the newest addition to my “selected few”.

I was a skeptic when I grabbed my headphones to listen to his latest project, “The Heist,” but converted to a total fan by the end of my first listen. The album has an even mix of “feel good” songs while also covering some serious topics. It has something for everyone, and because of that Macklemore is the first unsigned artist in over a decade to hit #1 on the U.S. charts.

First off, let’s just talk about what everyone else is talking about, “Thrift Shop”. It’s no surprise that it went viral because it has all the right ingredients: A quirky intro, outrageous music video, and funky sax loop. You name it, it’s got it. The lyrics stray from “Your Standard Rap Song.” How often does a rapper talk about saving money? He discovers the best way of saying that the economy is crap, but you can still look fresh without emptying your pockets. His verses are full of quick and smooth puns that vary in subtlety. I was still digging up new kicks to the industry’s shin on my 5th and 6th listen as he makes the rich culture in rap look completely ridiculous, mocking mainstream brands and sarcastically spitting, “that’s $50 for a t-shirt.”

On his track “Wing$,” Macklemore continues to stick it to a major brand with a more serious overtone. The song is a monologue telling of his childhood obsession with Nike shoes, and how this shoe lust lead to theft and violence in urban settings. Macklemore’s narration is so incredibly vivid and passionate that it’s as if you’re witnessing how everything went down alongside him, and in real time. His killer vocal tone and dynamic expression translate his emotions clearly throughout the song. His raw creativity is also highlighted in this track as he alternates between “spoken word” and straight forward rapping, a combination we hear too rarely in today’s rap scene.

People could probably argue that Macklemore is unoriginal and raps about the same topics that mainstream rappers do, which is true, but he has radically opposite perspectives. His gutsy approach calls out a lot of the messages delivered on today’s radio. For instance, he addresses homophobia within in the rap community in his song, “Same Love” which is something no one in that genre has touched with a ten foot pole (except Eminem’s PR agent). With his educated and eloquent lyrics, Macklemore makes homophobia obsolete in today’s hip hop scene by drawing on personal experiences even though he’s straight. He also tackles his difficulty with getting clean. He never pretends it was a walk in the park, and he really opens up of his failure, success, and constant struggle. I would so much rather listen to an authentic story like that than the latest hot rap track glorifying codeine and soda, unsurprisingly a drug of choice for middle school D.A.R.E. students.

I couldn’t say I’ve covered all the reasons I love this album without mentioning Ryan Lewis. He produced, recorded, engineered and mixed the music on “The Heist”. Lewis uses a combination of both retro synth and entirely new, more modern sounds. The production quality is really clean throughout the entire album. What’s really great is that unlike a lot of rap albums, it never sounds over-produced, so it never detracts from Macklemore’s accessible style. The only song that I’m not completely thrilled about the production on is Jimmy Lovine. The synths are pretty generic and it sticks out like a sore thumb compared to the other tracks. But if one track out 15 disappoints me, so be it. Throughout the album, Lewis creates this quirky vibe that almost sounds indie on some tracks. He applies many unique vocal filters tailored to suit each featured vocalist on every chorus. Lewis plays an essential part in why the album is widely appreciated among different types of listeners. He mixes a variety of influences to give the album a distinct new sound.

I would suggest “The Heist” album to anyone that loves great instrumental backgrounds and appreciates a creative rapper. In a sea of artists who seemingly have forgotten the content of their message anymore, it’s great to see someone who does care make it. His fluid style is so slick that you almost forget that he’s constantly refuting the mainstream culture, so he avoids seeming preachy.

If the rap industry had more artists like this, I would be a huge rap fan in a heartbeat, but for now I’ll stick to the few that make the cut.

-Nikki