With 15 years of publicity experience in the entertainment industry, Jojo Pada opened up the doors to the newly formed public relations firm, Ignition PR, in 2007. The company goal is to pioneer cutting-edge faith based projects that will spread the Gospel of Jesus Christ to the mass media, through creative ideas, national press campaigns and strategic partnerships with key industry and media outlets.

Previously the VP of Publicity at Light Records and Sr. Director of Publicity at Zomba Gospel, Pada spent 9 years learning, dominating and crafting press campaigns in the Gospel industry. She has worked with a number of superstars such as Donnie McClirkin, John P. Kee, Fred Hammond, marvin Sapp, Detrick Haddon, Judith Christie McCallister, Donald Lawrence, Hezekiah Walker, Virtue, Commissioned, Daryl Coley, Richard Smallwood, Cheryl "Coko" Clemons, Shirley Ceasar, The Clark Sisters and a host of others.

Confession of a Gospel Publicist:

Here’s the thing about what makes public relations and publicity so special. PR is the kind of thing that no one can truly define yet everyone seems to want.

Some think it’s to get you on TV or to get you into P. Diddy’s parties, some think its to write your bio or plan a big event, or even just to run and fetch water after you come off stage. Some think PR is a way to tell your story for you or to help you sound more interesting than the next person. In truth, it’s all that and more.

2010 marks my 15th anniversary as a publicist in the entertainment industry. And I’ve probably have done all of the above and more. Among the many lessons I’ve learned that there isn’t one thing about PR that isn’t true. PR has the power to shape people’s opinions, create perceptions and tell your story.

People either love or hate their publicists/ They love you when they see a 2 page spread in Ebony Magazine, but hate you when the blogs talk about whom you are dating (or not dating). They are thrilled with your work when you get them a performance on a notional TV program but then think you suck when regional cable is all you’ve got. I’ve been reviled and celebrated all in the same day. So trust me I know the ups and downs of being an entertainment publicist!

Unlike advertising - we have to get what we get solely on our contacts and ability to pitch- we don’t just pay $1,000 for a 10 inch column above the fold. So that’s probably why most of us have a chip on our shoulder. Our ‘work

product’ just isn’t tangible like other professions. I don’t know how I can prove to you that I’ve called the booker for Bobby Jones Gospel TV Show 100 times and emailed 100 more. But sometimes, that’s we have and you, as clients have to trust that we really did try. And we really do believe in you vision.

I still love being a publicist. I love the thrill of pitching a producer and getting a booking. I love hearing the words ‘Let’s set up an interview’ I love calling a brand new reporter and seeing if I can still pitch. I love putting together TV performances and planning events. I love to write I know that I’ve been called to be a publicist but have you?

1. Learn how to write. I’m lucky – I actually went to college and got my degree in Public Relations. I was taught how to write for newspapers and news releases; I was taught how to analyze media and media trends and I was taught how to pitch. And I’ve had excellent training. My first real job in the biz was with the legendary Terrie Williams. Ms. Williams was probably the preeminent Black publicist for years. In her heyday she was simultaneously handling Eddie Murphy, Johnnie Cochran and Janet Jackson.

The most important thing that was constantly drilled in my head was LEARN HOW TO WRITE. Writing is our lifeline. Bios, press materials, sales pages and creative copy – it’s all something PR people must know how to do. If you want to work in Music PR, writing bios is probably the best thing to do. For me, when I write a bio, I take the time to interview the artist and listen to the CD over and over. That gives me a hands-on, intimate sense of what the artist likes to talk about as it pertains to that particular project AND what the music really sounds like – both are essential items in being able to pitch the artist and the project to different media.

After I write a bio – I know exactly what the highpoints of the CD’s are, I know what things are important to the artists – I know how to craft what media should ask.

2. Understand the story you’re pitching. One of my strengths is knowing the right story for the right media outlet. I love creating just the right pitch that works. If a gospel client says to me, "I want to be in non-traditional gospel magazines," I have to think of a way to make it work. I wouldn’t pitch Black Enterprise with a new-CD-release pitch; I would find out if the client has a businesses or entrepreneurial ideas that would make sense for a magazine like Black Enterprise.　

3. Know your media (Part 2 of understanding the story). Befriend your media compatriots. Learn their dislikes, likes, when they like to be pitched, when their deadlines are, etc.– it will help make you a better publicist. When I was doing celebrity events for the Motown Café, our job was to bring celebs in and get as much press surrounding their appearance at the restaurant. A good friend Richard Corkery, was THE celebrity Photographer for the Daily News in New York City. We all knew that if he came to one of your events and took pictures, there was a good likelihood the photo would run in the paper the next day. One thing about him is he LOVES to drink Amstel Light. The minute I saw him walk in to the restaurant, I’d have one ready for him. I know it’s a little thing … but he’d always remembered that and made a point of coming to ALL my events. And don’t just reach out to media people just for a pitch. Actually care about their lives outside of "what can you write about this week."

4. Specialize. Create a niche for yourself that makes you the BEST in your area of specialty. Publicity is contact and network-driven. If you start in TV publicity and stay in that field, in a few years you will know all the key players, writers and media outlets. Like in any profession, making a name for yourself is important to success. Once you’ve established yourself as a knowledgeable, experienced publicist in that particular field, your reputation will spread – a publicist’s value is based in what other people (potential clients, press people, artists) think of you.

Also, create camaraderie with other publicists in your area of expertise. So often, people try to pit PR people against each other but you never know when you’ll need to call upon other people for help on a particular project or you might even garner work from another publicist. For example, veteran publicist Bill Carpenter (Capital Entertainment) provides links to different publicists (including me) on his website.

 See page 11  in the March issue