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AAPRC Weekly: Special

Inside the Labels Roundtable
What's life like for label publicists during turbulent economic times in the music industry? AAPRC catches up with some of the industry's top African-American publicists: Yvette Noel-Schure, senior vice president of media/urban publicity at Columbia Records; Wendy Washington, senior vice president of media relations at Universal/Motown Records Group; Jana Fleishman, senior director of media and artist relations at Island Def Jam Music Group; and J'ai St. Laurent-Smyth, national director of publicity at Verve Music Group.

The music industry is in a state of constant transition and there's a stream of news about consolidation and layoffs almost daily. As a label publicist, how have you survived and remained steadfast and focused on your job?

Yvette Noel-Schure: I have survived because I believe I have been blessed to work with acts that are somehow always a company priority. In my 11 years at Columbia Records, I have worked Mariah Carey, Da Brat, Destiny's Child, Grover Washington, Jr., Kenny Lattimore, Beyonce, Kelly Rowland, Michelle Williams, Bow Wow, Will Smith, Jagged Edge, Jessica Simpson and now Prince. For some reason, I have always worked the high profile acts. I do not take that for granted and know in a minute it could all change. In fact, I'm anxious for a developing artist. And I never get so comfortable that I have not vaulted a plan B.

Wendy Washington: The music business is going through major transitions, so survival in this climate is not at all a reflection of skill and talent -- very talented publicists and music executives have been let go, so I can't say how I've "survived." I can just say that I stay focused on what I have to do and I don't worry about things beyond my control (i.e. mergers, layoffs). Ultimately power and peace come from a higher source and recognizing this helps me stay focused.

Jana Fleishman: As a label publicist, I try to remain focused on myself as a publicist...My artist projects always come first, however, I never lose sight of the need to make sure my relationships are strong apart from the artists I represent. That way no matter what happens in the industry, you are always more than the label, always more versatile than just being a publicist.

J'ai St. Laurent-Smyth: I have survived through the years at various labels and especially at Verve because of my faith, my family and friends. I have a support group of family and friends in which we pray for each other daily and often. My mom was a prayin' sistah! And I focus on my love of the artists with whom I work and the music that I love –– yes, I know. How very "Hallmark" of me, but I do have a passion for this music and that has sustained my focus.

The rise of radio conglomerates over the past 5 to 10 years have translated into less musical diversity and airplay on popular and R&B radio. How has that affected your overall media campaign and has it made your job more difficult?

Yvette Noel-Schure: I am fully aware that having lots of airplay really adds to a press campaign. But there are plenty of artists on the radio who are not media darlings. I believe there is a lot to be said about getting to know what else makes an artist tick. There are many media opportunities that could widen an artist's reach beyond the entertainment outlets. There are all kinds of special interest magazines. As publicists we need to look at our artists as multi-dimensional people and our goal should always be to broaden their scope.

Wendy Washington: The music business is primarily radio-driven, and magazine editors and TV bookers pay attention to SoundScan (sales) or BDS (radio airplay) to monitor how artists develop. I have noticed that the opportunities for print and radio to break new talent are more limited than they used to be, and it is particularly challenging to break straight R&B artists.

Jana Fleishman: I do not deal with any radio aside from syndicates.

J'ai St. Laurent-Smyth: Since the bulk of my work is a combination of straight-ahead jazz and smooth jazz/urban AC projects, radio comes in to play in different ways. Promoting jazz projects and artists most times requires us to dig a little differently and deeper into the artist and what makes them tick. Our music doesn't get the mainstream attention and support that most of the popular musicians tend to get. Therefore, we have to do special kinds of pitches.

Aside from having a great product, what do you see as the key elements to a successful campaign?

Yvette Noel-Schure: Timing. Sometimes it is just that artist's time. Maybe it's a situation where, at the moment, you are the best thing going. It helps to have an artist with a great personality too. An artist who is likeable and a good person will go further than a person who has a hit, but is just awful. It is still a business and people do not like doing business with negative people. There are too many choices out there now. Just be nice. That goes a long way. Can we say Beyonce?? The nicest girl in the world.

Wendy Washington: Aside from great product, one of the key elements is persistence––repitching and coming up with new angles when there is resistance. I've also found that successful campaigns really start with artists who have a vision for themselves and are flexible, open and articulate. Working with so many diverse, dynamic artists has kept me on my toes and pushed me to grow.

Jana Fleishman: Additional key elements include timing (what other releases am I competing with) and the artist's personality.

J'ai St. Laurent-Smyth: Artist flexibility and open mindedness. Their willingness to work harder and their open-mindedness to try new avenues of promotion. They have to realize and understand that you may have been popular a few years ago but the public is a fickle entity that is always looking for the "next new." We all have to work hard to convince them to spend their entertainment dollars on each and every new recording. Nothing is a given-–and nobody is always going to have a best-selling recording.

From your vantage point, have you seen any major changes in the way media covers black music?

Yvette Noel-Schure: Black music is music. I have seen that mainstream media pays attention much faster now. I used to have to make a lot more calls to mainstream before confirming a cover. Now if you don't lead with the black artists and music that are leading the way, you are definitely not a relevant outlet. Rolling Stone had Usher on their cover just about the time his CD was released. That would have never happened just a few years back. I know.

Wendy Washington: There are definitely more opportunities for hip-hop artists in the mainstream media.

Jana Fleishman: There is still not a fair playing field...rock bands selling 10,000 copies have a better chance of getting covers...however, as the editor-in-chiefs start turning over and get younger, "Urban" artists get larger coverage.

J'ai St. Laurent-Smyth: It appears that the media only tends to cover the same artists over and over again and very rarely opens the doors for someone different and new or legendary (you have to be young and half-way cute). Many of our older legendary artists tend to suffer because they are no longer young and new.

When developing new recording artists, how have your media campaigns been affected with the recent closures of several African-American publications? How are you garnering more media coverage and attention?

Yvette Noel-Schure: You know, there are a wealth of black weeklies and urban regionals that now play a really important role in shaping a media campaign. It is not just about the national publications. It's important to me to start a buzz regionally. New York underground press was talking about Maxwell long before the rest of the country caught on. As black monthlies dwindle, we have to rely more and more on the black newspapers and black regional magazines that remain the heart of our communities.

Wendy Washington: There is definitely a void with the closures or sporadic publishing schedules of national and regional black lifestyle publications. This means that there are fewer opportunities to introduce new talent, so we've had to be more aggressive in pursuing coverage in the existing publications. Now, we sometimes have to settle for an album/single review, when before we could have more of a press campaign that was comprised of more features and profiles that told readers who the artist was. On the upside, there are many good regional magazines and these outlets have been instrumental in breaking our new artists.

Jana Fleishman: Nothing has changed. There are just fewer options. You still pitch with the same type of creativity you should always present.

J'ai St. Laurent-Smyth: By looking outside of the usual press box and using some of the artists' lifestyle activities (such as personal hobbies, family gatherings/interests, recording and charitable events) as catalysts for exposure in different kinds of publications, internet outlets or television shows. Sometimes going in the direction of exploring an artist's personal interests makes the artist appear more human, more of a regular person.

When it comes to working with recording artists, what are some of the daily challenges you face?

Yvette Noel-Schure: The biggest challenge, I hate to admit, is still convincing artists that this is their life, their dream, their job and the importance of being on time. It kills me when an artist keeps a journalist waiting. There are a thousand more artists that this person could be talking to. I loved working with Will Smith, because he was always on time. He treated this showbiz thing like a 9 to 5. Be on time and give it all you have. He was just as excited doing his twentieth interview of the day as his first. The artist has to want this more than the publicist. It's not about us. This is the life you chose. The one your talent dictated. Now straighten up, be on time and be nice about it.

Wendy Washington: The two biggest daily challenges are dealing with smaller budgets (with the same expectations in place) and dealing with the number of projects we are working on.

Jana Fleishman: A daily challenge...artists disappearing when they are supposed to be doing an interview or being in a foul mood when answering questions.

J'ai St. Laurent-Smyth: 1) Giving them a realistic picture of what real media coverage is in the world of jazz, and that most times we will have to come up with and pitch a few different hooks that have absolutely nothing to do with their new project to get coverage in different outlets.
2) Not all mainstream publications and outlets care about covering jazz.
3) The world's perception of jazz is that it is not cool, hip, happening or young––but what can we do to change that perception?

How do you handle dealing with the unrealistic expectations of media coverage by artists, managers and label executives (i.e. new or developing artists that want to be on the cover of Entertainment Weekly)?

Yvette Noel-Schure: I have to be honest about everything. I tell artists, managers and other executives at the label if I believe the goals are unrealistic. You have to crawl before you walk. They all want the covers of Rolling Stone and Vibe as their freshman gifts. No. That's your graduation present. You have to have a story. You have to have recognition factor. It's not just a hit record. And you can't want a cover and have nothing to say. And you have to give the publication access to you to get a real story. That comes with time. If you walk on weak legs, you eventually will fall. If an artist wants longevity, that artist has to know he has to build a number of great works along the way and the press will chronicle that growth for a lifetime.

Wendy Washington: It's useful to share emails and direct feedback from media outlets with executives, managers and artists so that they can have a more reality-based perspective. Every publicist has to remember that all anyone can do is the best she/he can do, and don't internalize others' unrealistic expectations.

Jana Fleishman: Handling unrealistic expectations…I list examples of coverage, types of stories that make lengthy features or covers (if an artist isn't going to give a juicy interview, chances are you're not going to get the same coverage as someone that lets a reporter in a rehab center)…lists of artists who have received coverage and what their past sales history has been.

J'ai St. Laurent-Smyth: By shooting it straight and telling them the truth. Also, letting them know that we will still pitch it anyway, and enlisting the artist's help in working with me in coming up with other cool things they're involved in that may make a good story for other outlets.

Obviously when dealing with established or high profile artists there are more media opportunities available to them. However, how do you handle television outlets that refuse to book them or publications that refuse to grant well-deserved cover stories when your talent has the same or better stats than other recording artists?

Yvette Noel-Schure: I have had few situations where I could not get what I wanted for a high profile artist. Often you realize that that particular magazine hardly ever puts Blacks on their covers. So the question becomes, does my artist really need to be profiled in that outlet? Some things, I have come to know, do not make or break a media campaign. It's nice to have, but not needed. Still, there are those you want to fight for. It took me one year to get Beyonce on the cover of Rolling Stone. Go figure. I had to keep fighting for that, because that is a music magazine and I believe she is an important artist, a producer and songwriter and I believed Rolling Stone was missing out. Turned out that their profile came at the best time. She was on the cover literally the day she won five Grammys. Will I put up the same fight with Vogue, who thus far has failed to see her beauty as cover worthy? Probably not. They will come around in time, because Beyonce is going to be here for a long time.

Wendy Washington: We've encountered situations where outlets have refused to give an established artist the coverage they deserved, but instead offered a "feature" or a "car" piece. Yet that same outlet would call to get quotes or include the artist in round-ups. We handled it by not granting the magazine any access to that artist because it wasn't fair to the artist.

Jana Fleishman: Keep fighting.

J'ai St. Laurent-Smyth: I try to subtly keep sending them updated radio charts, sales figures, new tour dates and high profile charitable, award show and entertainment performances. Slow but steady––pleasant with no hard sell. Either they will get it or they won't––simple as that.

Can you touch on the relationship between indie publicists and label publicists? What's the key to a successful working relationship between the two?

Yvette Noel-Schure: Honesty. Honesty. Honesty. I have had great working relationships with indie publicists and I have worked with the best. Patti Webster, Tresa Sanders, Paula Witt, Cassandra Butcher and Phyllis Caddell. I know their worth and I treat them with respect. I tell them what our goal is and I listen to what they believe is reality and we go. We may double team on some outlets, but for the most part they are on their own. These indies know the business. The only drawback, given the climate of the industry, is that indies cannot commit to anything that the label has to pay for, until I tell them a budget is approved. Sometimes it results in pulling a booking and that damage is always hard. The unfortunate thing is I have had to cut back on indies, because of budgets.

Wendy Washington: As the artist roster increases and the label headcount decreases, we are seeing more of a need for good indie publicists. The key to a good working relationship between the two is communication and respect. Good publicists are by nature territorial because I believe that good publicists take full ownership of their projects. This can be tricky when there is more than one publicist in the mix. I usually communicate what I need from the indie (expectations, procedures, etc.) and we remain in constant communication; in the best scenarios, we are on the same page.

Jana Fleishman: Successful relationship between indie and label: two people that are confident in their positions, know each others strengths and know how to use all contacts to the benefit of the artist…and constant, honest communication.

J'ai St. Laurent-Smyth: Taking great care in choosing an indie that will bring something new to the project and a different vision. Respect on both sides and teamwork and, finally, using an indie that is secure in their own talents (no need to "Willie up"). If the indie wants to be the star and/or drama queen and not a support player which is why they were hired in the first place–-then the working relationship just won't fly. It creates just way too much tension and drama.

What advice do you have for young people that want to get into music publicity? What are some of the dos and don'ts?

Yvette Noel-Schure: My advice to young people is to read everything. They need to know the differences between The New York Post and The New York Times and the subtle differences between Access Hollywood and Entertainment Tonight. Pay attention to the media. It's also important to be good to people, respectful and kind. The PR business is 95% about relationships. It's not about a fancy cell phone, the blackberry and the bling. If you are not gracious with folks, how are you going to get them in a situation where they even want to hear about your artists? Especially your developing artists. Be a good communicator and that means being a good listener and following through. Sometimes it takes one phone call to get something, but usually it takes about forty. Be persistent, without being an annoyance. Be smart. Be kind. Be thorough.

Wendy Washington: I think my background in writing has really helped me out as a publicist. Good writing, reading and analytical skills. Having an interest in and staying on top of plays, music, books and pop culture in general helps prepare you for a career as a music publicist. Anyone who is interested in getting into music publicity should pursue internships to learn the job from the ground up.

Jana Fleishman: For folks getting into the business: (1) Do be honest with editors. They remember and appreciate it later on.
(2) Don't be ridiculously demanding with editors when it is completely unwarranted. Bookers and editors remember when you make their life hell.
(3) Do be creative. Nothing burns someone out faster than doing the same thing for every project. Editors appreciate coverage ideas. Is your artist a daredevil? Have him jump out of a plane with a camera and writer. It makes things easier when the artist is actually doing something they may enjoy instead of sitting in a conference room or at dinner.
(4) Do make sure that you never compromise your artist. Artists' integrity is more important than coverage. Usually publicists and editors can meet on common ground and find a story idea that works for both parties.

J'ai St. Laurent-Smyth: The business has changed so much–-it's no longer any fun–-so find something else you love to do and do it. Quality of life is more important. Finally, don't let what you do for a living define who you are as a person.

Message Yvette Noel-Schure, Wendy Washington, Jana Fleishman, J'ai St. Laurent-Smyth, and the AAPRC and tell them what you think

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