How is your company coping with the changing music industry?

"As well as any large corporation adapts to change. Slowly. But change is happening — even though oftentimes change means sacrifice. Like, for example, I have this artist who is such a talent — beautiful (not that that should be what’s most important) and smart and insanely promising. So I walked into some meetings with some major fashion publications, and their reaction was sort of shocking. After pretending to listen to the music for 30 seconds, they ask their question: How many Instagram followers does she have. And it’s low — because she’s new and this is her first single and she’s 18 years old...and they’re like, I’m sorry, you can come back when she’s gained more traction. It’s crazy."

Do you interact with talent directly?

"Yes. Usually the people I spend time with one-on-one are new signees — artists who, as a rule, barely even know what they want to do. So we sit down and talk and a lot of it is just getting them to trust me and the company and to show that we care about music— their music. But when we’re meeting with larger acts, I’ll shadow one of the senior publicists. And I’ll chime in when I have something to say but for the most part, I’m quiet."

Most outrageous experience?

"I got put on a project for a rapper’s album. The senior publicist who I was working under had a conflict, so I was covering for him by myself. The shoot was at night — it was supposed to be a club scene with everyone drinking and having fun. And it’s customary that after the shoot everyone goes out together afterwards.

"So as I was about to go to the shoot, the senior publicist who shared the project with me called me, and he was like, look, I wanna be honest with you: Be careful. Don’t speak to any of these guys out of office hours, and I recommend that you leave the shoot after because they can get really wild and I don’t want you to be in an uncomfortable position. And even though I knew that this was coming from a good place, it also felt like this incredibly sexist preconceived notion that I can’t fend for myself. And that I don’t know how to protect myself. Like if men are hitting on me, I won’t know how to resist!

"It was a very eye-opening experience. I just also thought that that kind of dynamic would no longer be a part of the industry, which I’m realising is so totally naive. You spend so much time in college learning about the politics surrounding male and female dynamics but you don’t really know how that will apply to the workforce until you’re in it. And it’s really interesting to see what elapses when you’re not in a safe, academic discussion-based environment — it was kind of a rude awakening! I can take care of myself! And the shoot was fine.

Perks of the job? Pitfalls?

"Let me start with the perks: What I love about this job is that you’re working with so many artists — the range is so diverse. But then, shifting quickly to the pitfalls, there are inevitably so many artists who you don’t and just cannot connect with at all--and then you’re in a meeting, trying to pitch their music, this song that you hate, and you have to pretend that you like it, that sucks. Especially because you have to be convincing about it . You’re basically lying, which can feel particularly draining. But then a song that you love will come out and you’ll be like, fuck yes. This is why I work here.

"This rapper who I’m obsessed with came into the office last week. He went to every desk and said thank you to every employee. So gracious. So important. I mean he’s literally our bread and butter. And so to think that he’s also humble is pretty amazing."

What have you learned there about fame?

"I’ve learned that being famous is really hard. You see a lot of young people who are thrust into the spotlight and who immediately crack. It’s anxiety-inducing and depressing. Being famous can make you really paranoid. And it’s just sad to see these super young people, my age, just losing it. It’s confirmed that I definitely do not have any interest in being famous. There are some people who do it right. I think the key is maintaining a measure of privacy.

"I was listening in on an interview with a big boy band, and they start talking about the election. And it’s my job to be like, nope — you are not qualified to talk about that. Please stop. In publicity you get to see how quickly fame can turn on talent — one misstep and you’re dealing with a media shitstorm. But it’s hard because you want them to be their own person, but if they say some dumb shit, that’s on you! So it’s a difficult balance to strike."

Dream job?

"I guess what it’s always been, which is to run a music blog. A successful one."

Any advice to impart upon a young person entering into the workforce?

"When you’re starting out somewhere just be super humble, ask a lot of questions — be curious! Remember that you don’t know shit. You can love something and study something, but it’s a completely other ball game once you start actually working within the industry. I went into this job thinking I knew everything when in fact I knew nothing. And I just have so much to learn. Oh and get in before everyone gets in and leave after everyone leaves. Prove yourself!"

Do you socialise with your coworkers outside of the office?

"Yes! And it’s weird. It’s a strangely competitive environment. Within the music industry all of your goals are linked — so hanging out outside of that is disorienting. It’s like, what’s our goal here?"

Do you see yourself staying with this industry?

"I dunno! Sometimes I wake up and I want to die at the prospect of returning to Times Square, and then other days I’m like this is so cool and I’m so glad that this is what I’m doing. I’m taking the skills that I’ve been fine-tuning since high school and applying them to a very real job — and that feels fucking good. I feel like I’m in the music journalism world, but I’m also getting paid."