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| Tanya Silverstein, Burns Entertainment and Sports Marketing |
I recently sat down with Tanya Silverstein, Vice President of Entertainment Partnerships at Burns Entertainment and Sports Marketing. You know when you see a celebrity photo where that celebrity is using a branded product of some sort? That's her job. She makes that happen, from facilitating the pairing of the celebrity with the brand to hiring the photographer and getting the magazines to print the photo.
I was so fascinated to hear more details about this process, as well as about how she got into this highly competitive field and what it took to advance to her position. Read on to learn more about the ins and outs of entertainment/sports marketing, from what those luxury gifting suites are really trying to do, what "influencer marketing" means, and how someone like Michael Strahan ends up getting photographed holding ten 7-Eleven coffee cups.
ES: Hi Tanya! Why
don’t you tell me your title and a little about what you do?
TS: My
title is Vice President of Entertainment Partnerships. I work at Burns Entertainment and SportsMarketing. We’ve been around for almost
43 years now, and we are one of the premier talent negotiating/entertainment
marketing companies in the business.
Most of what we’re known for is hiring celebrity experts on behalf of
corporations and brands.
So the same way a talent or celebrity would have an
agent, we are the agent for corporations.
A corporation would come to us and say, “We want someone who fits X, Y,
and Z qualifications. We have this much
budget. These are the services we
want. This is the target demographic we
want to reach out to.” We bring them a
list of people and negotiate on their behalf and act in their best interest in
the negotiation process.
Mostly what we’re known for is talent negotiations,
which we do on a global scale, but we also have a Speakers department, a Music
Licensing department, an Estate licensing department, an International
department, and within the Endorsement department, there’s a Public Relations
department who does PR campaigns and an Advertising department that does ad
campaigns.
In addition to working in talent negotiation, I
also run an integrated marketing and influencer marketing department, so I run
all of our celebrity gifting. When a
brand wants to bring a product to market and they want to mail it to a bunch of
celebrities, or they want to be reactive because they see that someone carries
a product in their purse and they want to say, “Thank you for carrying our
product in your purse, and here’s more of it,” or they want to be backstage at
the Emmy’s, that’s something that my department arranges for them.
ES: Wow,
that’s a lot of information. There are
so many things I want to talk about.
Have you always been in this particular area within the company or have
you held any other roles?
TS: I’ve
been at Burns now for the past 5 years.
Before that, I lived in New York and worked at what is now MSL Group and
before that, I was at Ketchum Entertainment Marketing which is now KetchumSports Entertainment. I was working both
on the PR side doing brand “pitch & place” as well as talent negotiations
and a little bit of gifting, but a lot of entertainment PR. But for the past 5 years, I’ve been doing
what I’m doing now at Burns. I took a
lot of my PR background to bring it to Burns and work with the PR agencies.
ES: So,
when you see something in the fashion part of US Weekly and it’s like, “Katie
Holmes has been seen carrying Burt’s Bees lip balm,” is that what you’re
involved with?
TS:
Yes. Maybe 50% of those are true, and
probably 75% of those are paid for. So
if you see a picture of Denise Richards putting cat litter into her trunk in
the parking lot, that cat litter company paid her to do that.
ES:
Wait, I thought the stars were just like us!
TS:
Exactly. There was a photo the other day
in US Weekly I think of Michael Strahan carrying those Obama/Biden cups from7-Eleven. I don’t know if you saw
it.
ES: I
did see that actually, and I specifically noticed it because I remarked to
myself, “what a bipartisan group of friends or employees he must have,” given
he had an equal distribution of red and blue cups in the carrier. It actually seemed staged simply because it
was so implausible to me that he would have that many Republican friends, but
the fact is I noticed it and thought about it, and now we’re talking about it
so I guess it was money well spent by 7-11!
TS:
Well, that was a paid placement.
7-Eleven or their PR agency or someone, somewhere down the line called a
photographer and said, “take this picture” and then they pitched it to the
magazines.
ES: So,
they paid Michael Strahan to get the coffee, and then arranged with this
photographer to take a photo at a specific time?
TS: It’s
called a setup shot. Whoever reads this
will be disappointed to know that so many of these things really aren’t true.
ES: I
think we all know that deep down…
TS: It
makes you very cynical working in this industry.
ES: Well
this is great because I think we all know that this happens, but I’m curious
about the actual mechanics of how it happens.
And of course you don’t have to get specific about dollar amounts, but
any information on this is enlightening.
TS: Sure
– people can get paid anywhere from $1,000 to $20,000+ for a photo depending on
who they are and what they’re doing. It
can be something as simple as someone wearing a certain type of blue jeans
walking down the street, and the magazine saying “so and so’s wearing this
brand.” Or a purse, or a watch. It can be as simple as that, or it could be
like Michael Strahan carrying coffee cups.
ES:
There were a lot of coffee cups in that picture. And they were perfectly divided between red
and blue. I mean, come on. So are you always combing through magazines
keeping track of these mentions so that you can stay on top of what’s going on?
TS:
Well, part of my job, and sometimes it can become redundant unfortunately, is
to read a lot of the gossip blogs and the weeklies, literally with a
highlighter, and highlight paid placements so that we can put it in our
database that this person was paid by this product or company.
Then, let’s say for example that Starbucks calls us
and they want Michael Strahan, this way we can say, “by the way, do you know
that in November 2012, he did this for 7-Eleven coffee?” And they might say, “Oh that’s no problem,”
but this way they know. That’s one
reason clients come to us – because we have a lot of this information and we
keep track of it.
In addition to going through that, we also put if
someone’s seen on a shoot – if someone’s done a commercial, been named a
spokesperson, has an ailment. I think
Brooke Burke announced today that she has thyroid cancer. I think she put it on a YouTube video today
in the afternoon sometime. It’s a pretty big deal, so the first thing we do
is go through our system to see what pharmaceutical companies we work with, to
see, would they be interested in this news?
We reach out to them and say, “did you know XYZ was happening? This was just announced.”
ES: So
how does your day to day job go? Do you
know you have to do certain things every day at a certain time, or certain
magazines come out on a certain day etc.?
TS: Well
in New York, the magazines hit store shelves on Wednesdays, but in Chicago we
don’t usually get them until Fridays, and sometimes depending on the mail, we
won’t get them until Monday. So
sometimes we’re a little bit delayed but if we’re looking for something specific
that we know is going to hit because we have a placement in it, we’ll call
people in New York or L.A. and say, “can you pick up this magazine for us?”
ES: So
usually you need your hands on it quickly if you’re looking for something
specific that you organized, but the combing through to fill in your database
isn’t as time-sensitive?
TS:
Yeah, and 99% of what’s in the magazine is going to be online.
ES: Do
you know if certain features are or aren’t online so it would be worth more to
get featured in a certain part of the magazine that would also get covered
online, or not really?
TS: Not
really.
ES: So
what’s your day like?
TS: I
usually get into the office around 8/8:15 and I think unfortunately, or
fortunately depending on how you look at it, the outcome of our job is a lot
more interesting than doing the job itself.
Of course that’s the case for a lot of jobs. It’s different every day. It depends on who’s doing what.
Right now I’m working a lot with overseas, so I
might have a call with Europe first thing in the morning, or with Africa first
thing in the morning, or at night – tonight I had a call at 7:30 with Singapore
on a project. Most people are really
considerate of time zones. Sometimes
they’ll take late nights and sometimes we’ll take late nights.
Very rarely will you have a call in the middle of
the night but I was on one project with teams in Africa and Asia so we did have
to do a middle of the night call. So if
I have international calls, I’ll do those first if it makes the most
sense.
Then any research we’re working on, any contracts
that have to get out that day, any emails that came in overnight from overseas
– I’ll deal with all that stuff. It
always changes, but most of my day is taken up doing New York calls in the
morning and L.A. calls in the afternoon.
ES: What
are you working on overseas?
TS: The
same things. We don’t do a lot of
gifting overseas because the traditions and cultures are just different, but
there’s definitely a lot of international talent negotiations. Burns does a lot for Unilever. South Africa is my market and I do a lot of
the South African local talent, as well as international talent.
Depending on what it is, sometimes there’s an
agency that says, “We want this person” and then we go out and get them, or
sometimes they’ll say, “This is the type of person we want. Find us a local person.” And then we have people in local markets
around the world who will help us source those people.
Personally, I couldn’t tell you who the celebrities
are in the Philippines, but we have a person in Asia who is very familiar with
all of the Asian markets and can just pick that out, just like we can do in the
US or in the UK.
ES: So
you have consultants around the world who can help you with that type of
request and handle those negotiations?
TS: Depending
on who the person is, and depending on the program, and whether the contract is
written in English or not… If the
contract is written in English, then usually we’ll do it out of Chicago, but if
the contract is written in the native language, then usually our consultant
will write it and we’ll assist them in the negotiations. Sometimes it’s a partner company, sometimes
it’s a freelancer. It depends where they
are.
ES: So you’re engaged in getting these athletes or
celebrities to do all kinds of different things from the photo placements to
being spokesperson and attending events or speaking on behalf of these
companies?
TS: Yes.
ES: So
is it ever the case where an athlete or celebrity might not work out as well as
you would have hoped?
TS: I
think it can be the case that you might not get the results that you’d want,
but I think that’s part of the vetting process, part of having a good agency to
make sure that whoever you’re contracting will fit within your needs. Not every single program’s goal is to get
media, and not every program’s goal is to raise awareness. So long as the talent is reaching that
specific goal, no matter what it might be, then I think it’s a successful
program.
Sometimes clients may be disappointed, and
unfortunately there are some times that we do tell the client, “you know what,
maybe you should think about X, Y, and Z because this person can be very
difficult to work with,” or their lawyer’s going to be very difficult to work
with, and then they miss all their deadlines because the lawyer is, in fact,
very difficult to work with but the client wouldn’t listen to us.
Part of the reason why companies hire us is because
we do have that insight. What makes us
different than our competitors is that we do have excellent customer service
and we understand our clients and look at them as partners.
At the end of the day, we’re not going to make or
break our business, and I’m not going to make or break my year, on one
job. I mean, it could be a fabulous job
and it could truly make your year, but this business is relationship based, and
we need to make sure that we have a great relationship and are able to get a
referral from someone and they come back to us for their next job.
ES: I
think that’s true for just about any business.
It’s so important. Now, thinking
about the gifting aspect of your job, what is your goal? Like, when you’re part of a gifting suite for
an awards show or something… You hear
about celebrities going into these gifting suites where they can just grab
anything. Are they just giving it to
their friends or housekeepers, or…
TS: Sometimes. I mean, I think that you need to make it
appealing to the talent. You’re not
going to win over big if you don’t have the right packaging. And when I say packaging, I don’t mean what
your actual package of your product looks like.
I mean your display, the people presenting it, the way it’s
presented.
It’s what I was saying before. You can have a gifting suite where, entering
in, your goal doesn’t always have to be publicity. Your goal can literally just be awareness of
a new product. Or, it can be 100% publicity. Totally depends on what your expectation is
out of the lounge or out of the gift.
Maybe you don’t care if it gets printed up in a
magazine. Now, it’s always a bonus to be
able to get both, I think, for anyone.
But there are a lot of brands that have the awareness, that don’t need
the awareness, that are totally okay with not having the media and just making
sure that they have that touchpoint of putting it in that person’s hands. Or maybe they do just want that photo.
Next week is the American Music Awards. They’re doing a big gifting suite backstage,
and it’s going to be open during rehearsals, it’s going to be top-of-the-line
people. You’re going to have all of the
presenters and performers that are going to be back there.
Depending on what it is, you might say, I just want
to get a picture with the celebrity, and as that person, hypothetically, let’s
say Taylor Swift, walks through the lounge and picks something up from each of
those places, maybe the goal for the particular company backstage is to improve
their social media. So, they’ll take a
picture and put it up on Twitter or Instagram or whatever they have, Pinterest
even, and say, “Look – Taylor Swift is with our blah blah blah.” That’s all they wanted. They don’t care if it’s in US Weekly because
if US Weekly picks it up, that’s great, but for them they needed social media
and needed something to interact with their fans.
Now, for something else, they don’t need social
media, they’d much rather get that one hit in Us Weekly or People or whatever,
and they’d much rather have that photo with the caption, “Taylor Swift is
backstage at the AMAs taste-testing blah blah cookie, or whatever.”
ES: How
is it determined what that goal really is?
And is that something you guys help develop or is it the kind of thing
where the marketing department of that brand comes to you and is very specific
about what they need?
TS: It varies brand to brand. And it’s a little bit of both. Sometimes we’ll work with a company that
says, “We’re not really sure what we want to do. We have $30,000. Tell us what we can spend it on most
effectively.” And we’ll come up with
what they can do to spend the budget.
And some campaigns cost $5,000 and some cost $1 million.
Sometimes it’s the end of the year and the brands
have a “use it or lose it” attitude. If
a brand has a little bit more money and there’s a way for them to make a little
more of an impact, and that way they can guarantee that that money is still
there for them next year… On the other
hand, they could just use it for advertising.
Also, there are a lot of terms out there like “hard
dollars” and “soft dollars” and “above the line” and “below the line”, and
different companies measure them differently.
I do know that “Working dollars” refers to something that you can define
and is very quantitative, like, “I can put this print ad in this magazine and
it’s going to be seen by this many people and based on statistics, my coupon is
going to be redeemed a certain percentage.”
“Non-working dollars” is stuff like gifting, PR and
influencer marketing. There’s no
guarantee that it’s going to go in the media, it’s more risky, and harder to
measure but you can potentially get more bang for your buck.
Companies put a lot of formulas around it, and
every company measures it differently.
ES: It
sounds like “Working Dollars” is more conventional marketing and it’s more
expensive but there’s an almost guaranteed “payoff”, while “Non-working
Dollars” is the less expensive, new media stuff that’s not guaranteed but costs
less. I guess you have to get really
creative with the way you stage a photo so that it’s more likely to get that
big pickup.
TS: You’ve
got to work with good agencies. That’s
why we work with PR agencies and creative agencies. Sometimes our job at Burns is to execute the
whole thing soup to nuts, and sometimes our job is just the celebrity component
and the PR agency organizes everything.
We would never execute a PR campaign – that’s not
what we do – but when it comes to a staged photo, that is what we do. So sometimes we will place the whole thing, soup
to nuts, or sometimes we’ll just hire the celebrity and the PR agency, or
Social Media agency, or whatever agency is doing the hiring that we’re working
with, will do the placement, will hire the photographer, will do everything
else.
ES: What’s the time frame for the staged
photos? Do you make all the arrangements
within like a week, or do these things sometimes take months to organize?
TS: It’s
within a week. You work with the
photographer, and every single magazine has different dates that they close
certain pages on. Hypothetically, one of
the magazines might close all of their photos on a Friday because they print on
Saturday.
They close certain pages on certain days, the book
closes on Monday, they go to print Tuesday, and then they come out on
Wednesday, which is what most do. But
Features close earlier than your “Seen and Heard” columns. Those you can usually get in last minute, but
it also depends on how good your placement actually is.
ES: Sometimes you see the same photo in Life &
Style, and Us Weekly, and People. Is
that like your dream, to get into all of those with your placement?
TS: Yes. I mean, for a company that’s doing a staged
photo, absolutely that’s the best.
ES: As a
reader, it’s annoying, but of course it’s drilled into your mind and that’s
what the advertiser wants. From what
I’ve heard, sports/entertainment marketing is a such a tough field to get
into. Is it something you targeted and
worked for throughout your career or did it kind of just happen for you?
TS: I
just ended up doing it. I knew I wanted
to work in entertainment marketing and when I worked in PR, I put a lot of my
focus on the entertainment side of it.
It’s all about relationships and I think it’s like that in any
business. It’s all being in the right
place at the right time and finding the right connections, networking, meeting
the right people and staying in touch with them. You don’t have to be friends with everyone,
but in the entertainment world, everyone knows everyone. As big as it is, it can feel small that way
like a lot of industries. You can’t ever
escape that everyone knows everyone.
ES: So when you’re trying to reach out to a
celebrity for the first time, how is it known who their “people” are? How do you reach them?
TS: I
think you just know, or you ask someone that you work with in the
industry. We have a lot of that
information in our database. There’s
also a lot of websites that have the information on them that you can buy
subscriptions to. For the most part,
it’s creating relationships with the agents and managers and they’ll tell you
who they represent. They tell you who
you can reach out to them for. It’s also
just knowing who’s out there and the other companies that are out there. You create a rolodex over your years of
working.
ES: So when you hear that Brook Burke has cancer,
you know who her agent is and reach out to them?
TS: Well, her manager – I don’t know if she has an
agent but she has a manager – I actually did a deal with her for Suave Body
last year or two years ago, and you just become friendly with people. I called her rep out of the blue and
identified myself, and since Burns has a lot of respect in the industry and
we’re a major buyer, the agents and reps want to work with us. We represent a lot of different brands and
companies and if maybe their client doesn’t work for one of our programs, they
might work for a different one. It’s all
based on relationship and power in mass buying.
ES: Do you find that celebrities are pretty open
to doing all this stuff or are they ever wary of “selling out”? I mean, the reality stars certainly seem open
to anything but some more serious actors might turn up their noses at getting
paid for photos I would think.
TS: It
depends on the person. Some people don’t
like to do it at all, and we know that, unless it’s the absolute perfect
program. Some people are notoriously difficult
to work with and we also know that. And
some people are really wonderful to work with and will work on products and
programs that they really believe in.
And some people will just work on whatever to stay relevant and make the
money.
Without going into specifics, over the years, I
think there’s a lot of brands who’ve made poor choices in the talent that
they’ve used, but I think there’s a lot of brands who’ve made excellent choices
in talent. It just goes back to what
your goal is. If you could get the same
job done with someone who’s half the price and have a bigger reach, is that
more efficient than getting that huge name, paying them double, and not having
them do as much work? It really depends
on the brand and what it is.
When you’re looking at advertising, advertising is
very solid, and someone’s appeal in-store when they’re walking past a counter,
or flipping through a magazine, is going to be very different from watching
someone on the news. Just because
someone is the right target for your brand, and is the right name for your
brand in-store, doesn’t mean that the media is going to care about them. It depends on, is it a PR program, is there a
charity involved, does it have a call to action?
We’re working with Rachael Ray and Ziploc right
now. It’s a perfect fit because she uses
Ziploc, she’s been a huge Ziploc fan for years, and it just makes sense. She’s an iconic brand, Ziploc is an iconic
brand, and it makes sense that she would use the product. What doesn’t make sense is when you have a
supermodel selling a vacuum. Do you
really think that person is vacuuming their house? Probably not.
ES: I
don’t know that you’re involved with this so much, but sometimes you’ll see a
celebrity going to a restaurant or club…
Do you get involved with that at all?
TS: We do appearances. We’ll hire celebrities to walk a red carpet
or to attend an event or a store opening or something along those lines. Not everyone’s paid. Usually a couple of them are paid and then
everyone else follows. You wonder when
you’re looking at the photos, are these people really friends or are they just
posing for a photo? Sometimes
celebrities literally meet 5 minutes before that photo is taken and then you
see them partying and dancing on a dance floor.
ES: I’m always pretty suspicious of that. Sometimes it just seems so fake.
TS: But
you still look at it, and you still know which clubs they’re going to, which
means whoever put them there is doing their job.
ES: It’s
such a huge business now because of the Internet and all the weekly magazines.
TS: The
Internet made it so much harder for the weeklies to do their job, because they
used to be the one stop shop for getting content out there, and now on the
Internet something can get out immediately.
And a lot of the weeklies are competing against their own online
publications.
ES: And
I guess they don’t want to publish a photo in the print edition that might be
old news already from being online. I
really don’t care though. I’m constantly
scavenging for a recent Us Weekly or People at the gym or as I leave the
airplane. I feel like it’s a major score
if I get a relatively current copy that’s lightly used.
TS: It
really does keep consumerism alive.
People can say what they want about consumerism, but it keeps a lot of
people in jobs, it keeps a lot of magazines on shelves, and it makes the world
go round.
ES: It
reminds me of processed food that way.
Not necessarily good for us, but it’s a major pillar of our economy and
it employs a lot of people on so many levels.
TS: I
think about all the people I work with, at all the different agencies, at all
the corporations, and then you have to think about all the plants… I just work with the marketing and business
development teams, and then they have their packaging people, and their bosses,
and their bosses’ bosses. Across the
board, there are hundreds and thousands of people relying on a shampoo bottle
going out and selling.
ES: That
makes it even more crazy when there’s a flop – it’s like, how did this
happen? It’s gone through a hundred
different people. How did this thing end
up getting made that doesn’t work or breaks?
There are committee decisions getting made and the best product doesn’t
always get executed. I worked in
marketing consulting right out of college and it was really easy to see how
ideas get watered down during the research phase if a focus group doesn’t like
something.
TS: And
sometimes it comes down to cost – something might cost two cents extra to
improve, but two cents over millions of bottles is a whole lot of money.
ES: Can
you think of any funny/weird matches of products and celebrities? Like you said, supermodel and vacuum –
anything that’s rubbed you strangely?
TS: Well,
I’m sure there’s something I could think of but I don’t necessarily want to
call out some of my fellow marketers.
But without doing that, I think there truly needs to be a lot of thought
put into what you were saying before about, how does it go through so many
people and still be such a bad idea? How
can you put millions and millions into a Superbowl ad and still have it
suck? You need to qualify your choices
and make sure that whatever your goal is, it’s reached.
For example, a lot of people might have thought
that Charlie Sheen, or Jennifer Lopez, and Fiat – I mean, do they really drive
Fiats? But people know that ad, it got a
ton of awareness, it broke into the market when Fiat was trying to drive
awareness in the US. And that was their
goal. They reached their goal.
So whether it sold any cars because Jennifer Lopez
was in the ad or not, I have no idea. I
didn’t do the spot. But they brought it
to market and people were talking about it.
And if that was their goal, which I’m assuming it was, they reached
it. So whether people think it was the
right choice or not, who knows? But they
were talking about it.
ES: Right
– because ads like the Clydesdales, I don’t know how much beer they sell, but
you kind of say “that’s so cute” and then forget about them until next
year. Then some ads are so bad or weird
that you actually notice them, and that’s probably better even though they
aren’t as pleasant.
Also, the Superbowl’s one thing because it’s live
and most people don’t pre-record it to watch later, but at this point so much
of TV is watched on DVR with people skipping commercials that a commercial has
to be really special to stop someone in their tracks and make them watch.
TS: And
that’s why they’re spending a lot more money to do stuff in-store, a lot more
in print or online and also in influencer marketing or PR. Everything’s becoming much more of a 360
program because you can’t get away from it.
You’ll also see a lot of commercials during FEPs,
or Full Episode Players, when you’re watching TV online. You have those thirty seconds that you can’t
skip. A lot of brands are putting ads
there. It’s cheaper than TV advertising.
ES: Right
– it may not reach as many people, but the people that it does reach are
specifically targeted and they can’t get away from it.
TS: They
know exactly the target that’s going online to watch The Office or Ellen
episodes, and you know those people are actively going online to do it, not
just flipping through channels.
ES: You
mentioned the term “influencer marketing.”
Does that just refer to celebrities being involved with the product?
TS: It can mean a lot of different things to
different people. I use it to mean
non-traditional marketing, so it would be the gifting, the setup shots, even an
event, public relations, where you’re directing your outreach specifically to
the influencer and then it trickles down to the consumer like a domino effect.
Rather than consumer marketing, where you’re
specifically using an ad to target you and me, I’d be using my product or my
execution to target a celebrity, and the celebrity will then target you and me.
ES: You’ve
touched on this a lot already, but what type of person could excel in this type
of job? You’ve mentioned how
relationship-driven it is, but what other traits are important?
TS: You
can’t be star struck, because at the end of the day, you’re not there to meet
the celebrity. Everyone will ask “who
have you met?” – it’s the first question I get asked all the time. But “the talent” are people, and they’re
working, and it’s their job so the first thing is you can’t be stars truck. You can get excited, because of course you
get excited when you go to these things, but you have to realize that the
celebrities and the talent are just doing their job. They have a job to do; they’re in the public
eye.
You have to be really organized. You have to be strategic. You have to be creative. You have to think ten steps further than anyone
else because as we’ve been saying, it’s a cynical world, and if the consumer
can see through it, then it’s probably not a good idea.
You need to understand demographics outside of your
own. At one moment I could be working on
a candy product targeted at 16-25 year olds, and the next I could be working on
a haircare brand targeted towards a 40 year old man, and the next minute I
could be working on a pharmaceutical product for the elderly. So you need to understand the marketplace and
the demographics and be able to put yourself in any of those situations and not
just think about yourself and what you would like to see.
I think it’s common sense, but also it’s knowledge
of the industry. As people, we may be
aware of our generation, then what your parents like, and maybe what your
younger siblings like. But there are a
lot of things I’m still learning about the Disney and Nick crowd.
And then our interns will come in and we’ll mention
someone like Phylicia Rashad, and they’ll be like, “who?” And we’re like, “really?!” It’s such a common name for someone in their
30s and 40s to know, but for someone who’s in their 20s straight out of college
and has never seen the Cosby Show ever, they won’t recognize it. So I think it’s really also important to know
what you don’t know.
At work, they’ll talk about sports day in and day
out and I’ll just have a blank look on my face.
That’s not my forte, but I know it’s not my forte. That’s why other people are hired. But when they talk about celebrities or television,
I can tell you what the episode was, or what the person was wearing. Everyone has their own strengths, and you
need a good team to combine all those strengths.
ES: On
that note, I think it’s time for us to wrap up.
Thanks so much for so much enlightening information about the
Sports/Entertainment marketing world and what really goes into your job. I’m sure we’ll all look a little differently
now at all that celebrity “news” – but that won’t stop me from reading it.
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