Features

AAPRC Weekly: Gil Robertson

Gil Robertson
Syndicated Columnist
The Robertson Treatment
Atlanta GA and Los Angeles CA


If you think those Horatio Alger stories, the "pull yourself up by your bootstraps" sort, don't happen anymore, then meet Gil Robertson.

In 1992, Robertson, who graduated with a bachelor's degree in political science from Cal State Los Angeles, was working with Possenberger Associates, a Santa Monica political consulting agency. But his heart wasn't in it. Robertson wanted to write and decided he would start as an entertainment journalist, hoping to create a name for himself before making the transition to author. He began making calls to national magazines in Los Angeles and New York that he knew used freelancers. Problem was––this is the "nothing but his bootstraps" part––he had no clips, not one. Needless to say, things didn't go well, but Robertson regrouped and quickly realized he'd have to start with publications outside of the top two media markets.

His first story was published in the Tri-State Defender, the largest African-American newspaper in Memphis. After that, Robertson was able to get regular assignments from national publications like Rap Pages and Class magazine and quickly amassed a file of glossy clips. By 1993, Robertson's byline could be seen in the pages of The Source and Word Up!, and in 1994 he was named urban editor of Cash Box magazine, a music industry trade in Los Angeles. That same year he also took on duties as urban music editor at another trade, Music Connection.

In just two years, Robertson had built a successful career in entertainment journalism, but he still felt he wanted to do more with his writing. Robertson expressed his frustrations to his father. "My father suggested that I start my own column and syndicate it," says Robertson.

The idea had some appeal, and in true Robertson fashion, he simply made it happen. "By that time I had already started attending NABJ conferences and gotten friendly with more than a few editors and publishers," Robertson says. "So, taking my dad's idea, I reached out to those people and they agreed to carry the column. We started in November of 1996 with 12 papers, all of which are still with us today."

The bi-weekly column, which he dubbed "The Robertson Treatment," is an arts and lifestyle piece that today is published in some 30 African-American news weeklies nationwide. Robertson's first column was a profile of the actor Sam Jackson and his role in the film "Eve's Bayou." "The Robertson Treatment" has gone on to feature everything from travel to profiles on artists of color from around the world. "I've always taken it upon myself to not always deliver the most obvious story," says Robertson. "Very often I have featured people who otherwise wouldn't have gotten that level of exposure. Folks like Susanna Baca from Peru…I've done spotlights on several Brazilian and Colombian artists. I mean a lot people don't even know there are Black people in Peru. I've always used my work as a journalist as a way of educating, as well as entertaining. I actually expand people's world."

As early as the mid-1990s, Robertson's own world had begun to expand. While out on the entertainment industry party circuit, Robertson was often approached by publicists seeking his advice on getting their clients more exposure. After awhile he couldn't ignore the fact that he was doling out a lot of free advice. The entrepreneur in him thought it only made sense to get some clients of his own. His first was a rap group out of Sacramento. So, in addition to his job as an editor at Cash Box, Robertson was the head of his own public relations venture.

Robertson Treatment, LLC was formed in 1997 and the company's media relations clients have included Viacom, Clear Channel and Paramount Television, as well as major league baseball's Tony Gwynn, music producer Quincy Jones III, actress Elise Neal and author Omar Tyree. In spite of the fact that he has a foot in two worlds––journalism and PR––Robertson has never felt the two were at odds. "You can count on one hand how many times I've actually written about my own clients," says Robertson. "A lot of people initially were sort of skeptical, and felt that I was treading on some type of impropriety. But I've always kept the two worlds fairly separate."

In 2003, Robertson, with seven years worth of celebrity profiles under his belt, decided the column needed a fresh approach. "Once you've spoken to someone time and time again, it gets to the point where most of your conversation is about their family or about just catching up and not about the project," says Robertson of his years of interviewing celebrities.

Turning on the Robertson ingenuity once again, he made the column a non-profit entity and now shares writing duties with up-and-coming journalists looking to get more exposure––a situation he understands all too well. "I like for them to be young, spirited and energetic. I like for them to have ambition," says Robertson of the writers he works with. "When they're writing a story for us, I work very hands on in making sure they grasp all of the elements of creating a good story and that they include those things in their final draft."

These days, Gil Robertson is a busy man with offices in Los Angeles and Atlanta, where he recently bought a second home. As a journalist he has written more than 50 national magazine cover stories, from publications such as Savoy, Today's Black Woman (TBW), Black Elegance, Entertainment Today, Upscale, Heart and Soul and many more. He is also realizing his dream of becoming an author. The enterprising Robertson has self-published Writing as a Tool of Empowerment, a guide on how to succeed in the media marketplace. Plus, during this month's NABJ conference in Washington, DC, Robertson and fellow publicist Karen Taylor are launching the workshop series "Creating an Independent Brand" at the National Press Club. As a featured expert, Robertson appears regularly on NPR's "Power Point," as well as on "The Tavis Smiley Show" and "E! Entertainment."

Your column, The Robertson Treatment, has actually become a collaborative effort now that you share writing duties with some of the journalists you mentor. What prompted this transition?

Well, Robertson Treatment Syndicated Column (R.T.S.C.) is not exactly a collaborative effort, but represents more of a growth avenue for media professionals. After authoring the column solo for its first five years, I recognized the dual function the column could provide serving as a source of information and entertainment to readers and also a training ground for journalists to expand their abilities as writers. As a lifestyle column, R.T.S.C. provides developing writers with access to A-list talent across a broad base, and provides them with a byline literally seen by millions of loyal readers.

The Robertson Treatment is syndicated in African-American newspapers around the country. Has working exclusively with the Black press been a conscious choice on your part?

Absolutely!!! According to my media partners, R.T.S.C. brings tremendous value to their goals of delivering access to a cross section of interesting personalities. It's very heartening to know that R.T.S.C. brings that level of value that our media partners appreciate.

What are readers getting in your column that they aren't getting anywhere else?

Exposure to the world… From Black Peruvian singer, Susanna Baca and Cape Verdean diva Cesaria Evora, to destinations like Brazil, Figi and Rome, Olympic athletes, political leaders and more, R.T.S.C. expands minds and delivers to its readers the vast possibilities that exist for them in life.

What aspect of your work are you most proud of?

Being able to provide a platform for others is what I'm proudest of…The column has been the source of tremendous opportunity for the more than 50 writers who have used clips from R.T.S.C. to further their careers.

What's been your greatest challenge?

In general I don't see challenges in life, only opportunity…However, some of my greatest headaches are presented by media professionals who place a higher premium on reaching mainstream readers instead of the loyal African-American audience that my column serves.

Are there projects on the horizon about which you're particularly excited?

Many!!! My growing activities as a lecturer presents tremendous opportunities for me to expand and entrench my brand. My growing career in books also keeps things very busy in my offices.

What's a typical day like for you?

Well, I'm usually at my desk by 9:00 a.m. (EST) and begin my day checking emails, banking records and notes from the previous day. The phone usually starts ringing by 9:15 a.m., and after that the day moves along with a constant rhythm that I must admit is addictive. On any given day I will interact with R.T.S.C. media partners on a variety of projects and issues; deal with publicity pitches that come out of my office; coordinate lectures with faculty representing high schools and universities across the country; negotiate with corporate marketing departments over sponsorship activities related to my various academic outreach activities; and deal with pitches from the many publicists seeking placement in my column. My days always deliver a real big buzz.

Is there a professional in journalism or media who has inspired you?

I am inspired by all of my colleagues who each day demonstrate creativity, enterprise and resilience against incredible odds.

You wear a lot of hats in your career––journalist, media consultant, author, workshop leader. What's the ultimate goal?

To helm a viable and sustainable media brand that delivers value to the masses.

Tell us one thing people might be surprised to know about you.

Most people would be very surprised to know that I am very shy and introverted. While I certainly know how to rise to the occasion in order to handle or manage a situation, I really do enjoy my own company and I very often find it difficult to transition into the type A personality that most people associate with me.


AAPRC's Mission
The African-American Public Relations Collective (AAPRC) is an assemblage of professionals who provide communication conduits among clients, journalists, media and our communities. We come together as a collective because we recognize the importance of building those same conduits amongst ourselves.

A great deal of what we do is professional development––updating our skills, keeping pace with technology, refining and streamlining processes, providing a forum to tackle the issues that impact our work environment––but we believe our professional lives benefit most from the forging of effective alliances. Connected to one another, we possess the power of a nationwide body of committed, knowledgeable practitioners with an eye on the future.

As we move into the 21st century at lightning speed, mass media and its potent messages occupy an ever-larger part of our daily lives and our collective psyche. The AAPRC is focused on helping our members gain a deeper understanding of media's force and supporting their growth as powerful participants in the global communications network.

AAPRC's Contact
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New York NY 10019
1212 765 7910
1212 765 7905
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