Omar Jones, better known as Nothing_Neue is a Brooklyn-based musician who has built his career completely independently. From booking his own PR, to managing his own social media and event logistics, Omar isn’t just a talented musician – he is a brand. On today’s episode, Jenn and Kalli chat with Omar about how artists can build and maintain their own personal brand, what it takes to balance creativity with a solid business strategy, and other lessons professionals and aspiring musicians alike can learn from Omar’s DIY approach. You don’t want to miss this one!
imPRessions S3 EP 13 Transcript
Jenn
Happy Wednesday, Kalli.
Kalli
Happy Wednesday, Jenn.
Jenn
So, do you know anybody that markets themselves, basically like they’re their own marketing brand manager?
Kalli
No, I actually don’t.
Jenn
Well, today’s guest does just that. He is super cool. He is an artist who is known as ‘Nothing Neue,’ based in Brooklyn, and essentially, yeah, he’s like a one-man show. He is his own PR person, he does his own social media, he does his own outreach, he does his own scheduling, he does his own everything. And, I think it’s a really interesting topic, just because we can kind of talk to somebody that is their own brand and is their own marketing person today, because there are… it’s becoming a more popular thing. So, I think it’s something that us and our listeners would really get a lot of knowledge out of.
Kalli
Amazing. Yes, that sounds great. I love it.
Jenn
Great. Let’s welcome Omar. On our show, we’ve had the pleasure of interviewing a variety of notable C-suite executives from all different types of companies. Today’s guest is a little bit different. Omar Jones, also known as ‘Nothing Neue,’ is a Brooklyn-based musician who captures a unique blend of hip-hop, house, and neo-soul styles. He has performed all over the US, has built a loyal social media following, and has been featured in top music press — and has done it all on his own. Omar not only creates incredible music but has successfully managed his own brand. Today we’ll talk about how an artist can market themselves as well as Omar has for almost a decade. Hey, Omar.
Omar
Hey, what’s going on? Thanks for having me.
Kalli
Of course, it is our pleasure. So, let’s start kind of at the beginning and learn a little bit more about you as a musician, you know? How did you get started with your love for music and decide to become an artist?
Omar
So, music was always around in the house when I was growing up. Both of my parents were musicians, and they came from pretty musical and creative families themselves. And they played in a band together, and they were blessed enough and fortunate enough to be able to purchase a brownstone in Brooklyn and kind of fix it up. So, they had access to this big space where they would have band practices and bring in all sorts of musicians, and as a result, I had access to kind of a DIY studio in the basement where I could pick up an instrument and learn it. And the first one that they put me on was the drums. I feel like it was because my dad played the bass, and my mom played guitar, and they didn’t have anybody to kind of back them up on the drums. And that just led to a lifelong kind of love for music and learning more about music and musical instruments and just kind of diving in. And my family was in agreement with that kind of a singular focus. You know, they really wanted to see me dive into that. They really supported that. They that really opened the house up for my friends growing up to have their first experiences, like formative experiences with music. So, that’s carried in my career, and it’s carried across how I address the world; that’s the best way to put it. It’s how I kind of navigate the world, just with this lens of, you know, we should be providing people opportunities to engage with music in real, worthwhile, and valuable ways.
Jenn
Absolutely. And do you want to talk a little bit about your career on the music side? Because for our listeners, I worked with Omar in the music industry. Omar was a graphic designer, I was in marketing, we became friends. How did kind of working as a professional in the music industry kind of shape your music as an artist?
Omar
So, to backtrack, my parents, they didn’t get to like a major label deal or anything, and they ended up becoming working professionals while still pursuing music on the side and raising a family. So they really imparted upon me, like, the value of learning another set of skills that could work in tandem with playing music. So, my mom had initially worked as a word processor, which is kind of an antiquated job now, they don’t exist anymore. It’s just people that type. And she saw that field was closing and starting to be outsourced to other countries, and she picked up graphic design and web design, and I think she was, later in life — I’m not going to give away my mom’s age — but later in life, and she rebranded and learned all this stuff. So, she kind of imparted that wisdom to me to pick up design, kind of retooled things. Because I went to school for cartooning but I was obsessed with graffiti, so she had me really take that and break that down for a love of the letterforms and putting words together and designing things and putting spaces together. And that led me to being a graphic designer at Korg, where I kind of learned the the unspoken things and being a professional in the music industry, like how to write a good email, or the value of a pitch deck, or, just how to learn how to market yourself. I think, like, thankfully, we were allowed a lot of access to different tools that trained me up. One of those things was, I think, I was given time to learn social media marketing and brand marketing and influencer marketing, like pretty early on, before it really blew up over the pandemic. I was able to learn what it took to be a social media influencer and do influencer marketing, and a lot of people looked at me for doing that, and they thought that it was kind of counterintuitive or, like, a sellout thing to what music is all about, because they didn’t want to be influencers because they thought of that as cringey. But I understood from just working in the in the MI and in the music instruments industry… I learned the value of that because the people that were getting the opportunities were really well presented. They had their analytics put up front, they had all their socials together and they were able to write, like, a good, well thought out email that was quick and to the point. So, yeah, it really informed like how I operate in professional spaces.
Jenn
Yeah, that’s a really, really great point. And, I was actually — side note, Nick was looking for potentially a job with the lieutenant governor. And, you know, he’s a videographer and they required, like, writing samples, and he’s like, “What? Why the hell do I have to provide writing samples? I’m a video guy.” And, like, because, in this day and age, no matter what your forte is you still have to, like, know how to write an email. You still have to have some type of, like, communication skills. So, I think it’s just awesome that you sort of learned that, at least that part, to really, like, shape who you are as an artist. And your stage name is ‘Nothing Neue,’ and for our followers, it’s @nothing_neue, so, if you look up Omar social media… Can you tell us, like, where this name comes from and how it reflects your identity as an artist?
Omar
It’s interesting because the name wasn’t something that I put very much thought into. I had been playing in bands growing up. People that know me know the story pretty well. I was in a lot of bands, heavy metal bands, playing the drums. I had gotten to a point with my band where our guitarist, who wasn’t working at the time, he was playing one of his favorite guitars while we were practicing one day, and he dropped it, and the guitar broke in half. And suddenly, like, he didn’t have a guitar and he didn’t have a job to pay for a new one. So, he kind of just decided that, like, that was it for him. He was going to go work or go back to school or make money. And when he did that, I had realized that through doing that, I lost the ability to express myself through music, because I was depending so much on a guitarist and a bassist and a vocalist to form ideas around and work with. And, through being in DIY spaces in the heavy metal scene, I was exposed to a lot of people building studios — a lot of my friends building recording studios — and I started seeing what production looked like, and I remember it pretty vividly. It was August, I want to say 2012. I had graduated college. I was sitting on my bedroom floor. It was hot, and I had just gotten an iPhone 4, maybe 4S. I was broke, but I definitely got an iPhone of some sort for my first time. And, I was looking for an app to make beats on, and I found this thing called Nano Studio, and I started making beats on it. And I just thought like, oh, a cool name for like a project that I would do with my friend who was a rapper, and me on the beats, and another friend who played guitar… I’d call it ‘Nothing New,’ spelled Nothing N-E-W. And, we did a couple things… It didn’t really come into fruition, but I kept the name, and when I went to go make a Facebook account ‘cause I was like, all right, let me turn this into a production handle, I couldn’t get that name by itself. It was just a name that popped up in my head. Like, I think I’m a person that’s pretty religious and faith-based in a lot of my decisions. I think that God speaks through whispers, and if you believe in the universe, that’s cool, too. The universe also speaks through whispers, little things that kind of push you into a direction. So, one of those whispers was towards “Nothing New.” I couldn’t get it the way that I wanted it to. So, I put on, like, my advertising, marketing brain because that’s what I went to college for. And I was like, okay, how do I get the branding for it so that no one else will have this name and I can keep it? You know what I mean? It’ll be mine. So, I put the underscore in it and spelled it that funky way. It’s really “noy-yay,” I think. People correct me all the time, and I’m like, yeah, but that’s not what I was trying to do with that name. You know what I was trying to do with that name.
Jenn
What, do they really think that you just, like, misspelled it?
Omar
Yeah.
Jenn
Oh my God.
Omar
Or mispronounced it. They’re like, “Yeah, that’s not how you pronounce that.” I’m like, “Yeah, I know. Maybe that’s not how you pronounce my name. Maybe you’re wrong and I’m right.” But I didn’t realize it at the time that I was learning how to utilize SEO by trying to pick a name that would stand out that no one else claimed. So, now my SEO — when you Google my name, like, it’s pages upon pages upon pages of things that are only related to what I’m doing. So, I think like it was a really quick lesson in SEO that became a quick lesson in branding that’s carried me throughout my career.
Jenn
Yeah, exactly right. And, the whole point of today’s conversation is like, you’re your own brand, right? So you’re your own marketing manager, essentially. So, it’s really interesting kind of just to hear your side on that because you do have to kind of balance the two. But, has there been a specific partnership or, like, moment that you saw, like, that took off and, like, really helped your career? And I think I know what it is, but tell me… go for it, I don’t know if I’m right.
Omar
There’s a few. I’ve had a couple that… it’s interesting because everything is small steps that lead to big distances, you know. And, I think, like, I’ll unveil myself a little bit here. Like, when I worked at Korg, I had access to a lot of things, you know. And, one of the big ones for me was being able to combine… actually, you know what? That is the one. Yeah. It is the Korg one.
Jenn
Oh, that’s not what I was gonna say. But okay.
Omar
Yeah. I mean I didn’t think it was going to be it, but I’m thinking about it right now, out loud, and I’m kind of verbalizing it. But, it was the block parties that we threw at Korg. So, I grew up in Brooklyn, born and raised. I literally have no idea what it’s like to live anywhere else. I couldn’t relate, I’m sorry. But, my parents, like I said, they had bought a brownstone when brownstones were still accessible. Like, I didn’t come from a whole bunch of money. They just caught a good deal. And, they fixed it up slowly. But we were part of this block that would have block parties. And that’s back when your neighbors would still talk to you, you know? And, because my parents were in a band, they were responsible for the music at the block parties because they had speakers and everything. And, while I was playing in bands, my neighbors would ask me, “Okay, well, when are you going to do it?” I’m like, “Never.” This is a heavy metal band. I’m not scaring all my neighbors for no real reason other than just to get a quick look. But as I started working at Korg — ‘cause that was out in Long Island — I had felt this pull, right? And, it was a disconnect. It was… we’re so close to the hub of all of this amazing music. Because I was going to all these beat shows at the time and meeting all these producers and DJs, and I’m like, “Oh, yeah, these are all people that could be linked to this brand, like forever, because we’re right there. How do I kind of bridge that and create, like, a working relationship between that community and, you know, what we had at Korg?” So, I took the block party — because I was still living at home, at the time — and I pitched it to the block and I said, “What if I brought some speakers from my job and drove them back from Long Island, set them up and invited some of the DJs and producers that I know, and threw a block party with my job?” So, we did the ‘In Plain Sight’ block party. That was our… That’s the name of the collective that I’m running. And, we saw so many people kind of show up, and it went over so well that we did the second one, and for the second one, Korg was more involved. They decided, like, “Okay, let’s put synthesizers in the street.” So, now the whole community has access to synthesizers, right? And, they still have access to… They gave me a budget to start booking people outside of New York and flying in some people that I was a fan of and I knew would, you know, generate some buzz. And we did it for two more years after that, before the pandemic. And, I think what that did for me is it taught me the value of community kind of immediately. People came back to me consistently every year, like, “When’s the next one? When’s the next one?” I actually can’t go too far, current day, without people bringing up the block party. And the reason why it’s one of the big moments for me is because I’ve seen those things transform into other people creating shows, transforming into careers blowing up. There are people that are, you know, critically acclaimed, that got their start on my mom’s stoop eating chicken with my aunts, you know what I mean? Like, it’s not lost on me, the value of that. And there’s been plenty of other brand opportunities, like I had a big one with Roland recently that was huge and formative, and it was kind of the fruits of the labor that came from the block party. I’ve been deejaying with Arc’teryx for the last year. Almost. I’m deejaying with them today, as we speak, and that was through community. So I think, like, once I learned the value of that word and learned how to operate within that space with, like, the peak of my authenticity, it opened these doors. And when you do that, when you are yourself and you do lean into a community that’s filled with like-minded people, when you say that word, it’s almost like a magic word, like doors will open, people will understand, like, okay, you really do this thing for real. And even down to my current job, I’m an artist relations representative at Serato, which is like a DJ and producer brand… They hired me because of the work that I was doing in the community. They saw the value of that and they offered me a job to which I’ve never had any formal experience at, and they said, “I think you’ll be good at it.” And when I started, I was nervous. But my partner Chenoa had told me, “What are you talking about? Why are you nervous? You’ve done this your entire career. You just didn’t know.” So that’s what that block party kind of did for me. It taught me how to be who I am.
Kalli
That’s really amazing. And I love the stories like that, when you’re, like, not expecting it and you’re like, “Actually, I landed exactly where I’m supposed to be.” And I love that you were talking about community and how important that is, but I kind of want to flip it around a little because you are doing a lot of self-marketing. So kind of curious, like, how is that different? And like, what does a week of self-marketing look like for you? Like, are there routines or rituals you follow? Because it’s obviously very different than, you know, when you are working with a lot of other people and you have that community behind you, when you’re doing it yourself.
Omar
Yeah, so, I’m going to flip it back. I learned a lot about self-marketing when I first started, and a lot of it was scheduling. A lot of it was saying, okay… I had a series called ‘Mangled Mondays’ on my Instagram, and that was the first time that I ever did regular content. One of my homies — ‘Stolen Drums,’ that’s like my mentor and one of my OGs — he had told me, like, “Just put out regular content of you kind of using your gear so people can see the music on Instagram and then you can point them to where the music lives.” So, I started doing that, and I put it on Mondays because I wanted to make sure that people knew it was going to show up on a certain day at a certain time. So when I did that, I would get repeat engagement, and I could kind of monitor that and compare it against the days where I wasn’t doing that and say, okay, I’m getting traction on this day specifically, so let’s use that to promote forthcoming releases, right? Then I took it and I took it a step further and came up with this thing ‘Fully Fridays,’ which is where I would use Instagram’s… they have a questions, I guess, feature in your stories. And I would go on Tuesday after I got my first push from ‘Mangled Mondays,’ and I would, you know, ask the community around me, like, “What do you want to see me make a beat out of? What random object do you want me to make a beat out of?” And I’d get all these submissions which generated more traction and activity. Then I’d have three days to go and make a beat out of the things they were telling me to do. So I’d get things like pickles, blinds. I’ve gotten toilet flushing like a million times. And it was part of the burnout with it. I was like, “I’m not making beats for me. It’s not fun for me.” And it was a fun, like, experiment, but it was more about just making content, like endlessly making content and less about making music. And those ‘Fully Friday’ things turned into drum kits, which I would sell to people, so I’d make money back on it and I’d put that back into marketing. So, it was always making money, putting it back into ads and then, you know, making more money off the ads because the ads would point to my drum kits. So, I think a big hack for, like, DIY producers is really, like, if you’re going to put money towards brand campaigns or social media campaigns, if you don’t have, like, a funnel to kick everything back to where you’re making money and making an ROI — yeah, return on investment. I had to make sure the acronym was right — if you’re not making a point back for an ROI for you, then you’re kind of wasting your money. You’re just getting clicks. And clicks are great for the algorithm and for the app, but it’s not really great for you. Then I ended up taking that one more time and doing ‘Saturday Swatch,’ which would be my monthly DJ series where I would do an hour mix and I would DJ a lot of the people from the community’s music, tag them in it, so I’d generate more traction. So, every week I was pushing out things and getting engagement and kind of scaling this operation, but I was doing it at the cost of kind of my own love for music. So the reason why I wanted to flip it back to the community is because one thing that I noticed working with the brand was… the brand would be quiet, it’d be dormant for like a stretch of time, right? Then there’d be a new release. And through the new release, you’d be in meetings where it’s like, okay, well, how do we reengage the community and get them excited about this new release? And I would always say, like, “If you’re engaging in the community every single day, you don’t need to get them excited about a new release. You’ve already had them on your side, and if you do it in ways where you show up for them authentically, you don’t have to convince them to buy your product. They’ll buy your product because they want to support what you’re doing.” And that has, again, that’s really guided a lot of what I’m doing currently. Like, I don’t do very much music marketing for myself. I do a lot of marketing through ‘In Plain Sight,’ my collective, and that’s providing other people a platform to kind of build off of. And because it’s involving other people, by default, it generates traction and buzz. And because I took the time to kind of build my own career first a little bit before I got too burnt out doing all this engagement stuff, now I’m at a place where things kind of just happen naturally, And if I get like a good boost of energy from a brand campaign or like an opportunity on my page, it’ll lift ‘In Plain Sight’ up by default. And then on the flip side, if ‘In Plain Sight’ is doing really well. I’ll start to pick up a little bit, too, so it’s like rising tide lifts all ships. And that’s kind of how I look at it. But one of the tools I would say people really sleep on is a calendar. I was really bad with keeping a calendar and now everything is calendared and everything is scheduled. I have reminders for things to make sure that I’m on top of things, and that’s mostly because like, if you’re not calendaring things, you’re spending a lot of time and energy storing all of these appointments and things you need to do on your brain. I have like “move my car” on my calendar. I have “water my plants” on my calendar so I can keep all that brain space for being creative. And that goes into marketing campaigns, that goes into music, that goes into figuring out new opportunities to pitch myself. So, yeah, it’s like trying to make sure that you protect some real estate for your mind to kind of wander and ideate and come up with things that’ll help push your brand.
Jenn
And what about when you’re dropping new music? Because I think that’s all great. And I know you’re kind of, like you said, you’re kind of just marketing for ‘In Plain Sight’ right now. But when ‘Nothing Neue’ is going to drop a new album or a new collaborative with somebody, what is your process for that rollout? Do you think visuals first? Do you think PR first? Like, how do you put that process together, for maybe some advice for somebody who’s listening that is an artist themself or a musician and kind of wants to build their own brand? What comes first in that rollout?
Omar
I think that number one, rollouts are career-long. I disagree with people that believe that, okay, I’m going to roll out a project because what that does is it trains you to stop promoting. Like, okay, here’s a 30-60-90. I’m done. And for those that don’t know what a 30-60-90 is, I picked that up from working at brands, right. Like, you want to schedule things 30 days from the release, and then you want to schedule things 90 days out the release, or you can even flip it so it’s 30 days before the release. Then 60 days after that point, then 90 days after that point. What do these things look like, right? So for me, first things first, once I start realizing that I have a project going on, I tried to start drumming up buzz just through socials. I start posting snippets of things, I start incorporating newer songs in my live sets and in my recordings so people start seeing things. So, I do a little bit of PR for myself. I have a list of different outlets that I reach out to when I have something to push, but I try to make sure that I’m, like, 30 days out from that. I think a lot of people try to push two weeks before they’re going to drop something, or they push too early, and you lose the interest of it, and it doesn’t fall in line with like a promotional campaign, right? So, I think one of the things that helps in terms of just long-term is going onto social media and finding writers, people who are in your network. If you have a good network of people… and it’s good to follow people that are like at your level, and then also follow people that are just a step above your level because you’ll start to see them post resources — not on purpose, a lot of times they’re just sharing articles that were written about them. But then, from that, you can see who they’re tagging, who they’re working with, and you can create, like, a database of different press publications, of different writers that you can follow and engage with on an authentic level. Because, again, like, it’s one thing to pitch when you have something, but it’s way easier to pitch when you have a relationship with people. I’ve had writers that are hip to what I’m doing, and when it was time to drop, I was able to pitch to them. Some of them came back with opportunities, some of them didn’t. And I think a piece of free game for people that are trying to do this DIY is to understand that, like, writers don’t have the final say as to whether or not they can write about you. They still have to get the publications ‘OK’ to write about you, and they can be super excited about you, but they might not have the opportunity. They might be pushed in a different direction to promote, like, overall initiatives from the publications. So, I try to have like my publication stuff ready to go once I know my project is done. That’s part of the 30 day rollout, like, it’s 30 days from when the project is done: what am I going to do? So the first thing I’m doing at the, let’s say, the first of the month, is reaching out to publications to see if I can get any hits on that. Then it’s reaching out to blogs. I do a lot of reaching out to just small, indie blogs because they’re really accessible. And again, that comes with checking your network, checking your resources there to find people that are reviewing music. When your friends are getting music reviews, take note. You know what I mean? Write that down, so you can contact those people later. I’m also headed to radio shows. There are plenty in New York. That’s part of what ‘In Plain Sight’ was built for, because I realized that there were radio shows for hip-hop artists and electronic artists, but there weren’t many radio shows for producers, so I built that so we could teach our our producer communities how to roll out a project. So, again, in that 30 day, you know, I’m doing radio appearances, I’m playing shows, I’m doing interviews with great people such as yourselves, and I’m talking about my project so people start to understand, okay, there’s something on the horizon. I might do, like, an ‘ask me anything’ on my socials to start getting people to find out about the project, or to ask questions about the process behind things. I like to film behind the scenes while I’m writing the music, so people know that I’m writing something new. Then once it’s out, it’s shows, you know? And again, like, during that 30 day period leading up, I would say, like, spend some time going to your community, finding shows, going outside of your community, make sure that you’ve built relationships with show-runners. A lot of show-runners talk with people out of state. They have access to other people that you can set up tours with. I know that from experience, I have a large web of people that I can send artists to for touring opportunities so that 60 days after the project is done, like, I’m spending that next 30 on the road, I’m playing shows, I’m selling merch, I’ve got visuals lined up. But for me, because I’m doing production, most of my visuals are… ‘beat videos’ are what we call them. It’s just me playing a beat on Instagram, and how I’ve kind of navigated that is shooting a long 30 minute video at the top of the month, and then chopping that down to bite-sized pieces and continuously pointing back to the long video so people can keep on running up the numbers on that. But I’ll still have content to run for that first 30. Then, hopefully within that time, I’m starting to get some press things rolling out so I could use those as a part of the promotional rollout as well. And then the last 90 I’m always pretty bad at, but I try to engage my fans with remixes, with behind the scenes things, I try to do thank yous. For me, one thing that’s really helped is staggering releases so my Bandcamp people get my releases first because they will pay money for it. They’re my super fans. Bandcamp gives you a mailing list that you can, like, communicate with people directly. I’ll communicate with them first and then maybe like two, three weeks after that process, it’ll be on streaming for, like, official streaming release. And that’s another way to reengage the algorithm. So, that’s kind of some of the ways that I’ve done it. And, thankfully now I’m signed to a label that handles some of that as well, so, they’ve got their own ways of kind of handling things. And, it’s all about really setting a schedule ahead of time once you know that the music is done. Also, I think, like, going to market with half your physicals instead of saying, like, “I have 100 copies of something,” you could say, “I have 50 copies of something,” so there’s a sense of urgency to things. And then, that’ll push people to buy that first 50 up, and then, you know, 30 days, when you’re in the 90s… so when you’re in that 90 period, you know, you can actually start saying, “Okay, I have a re-up of that initial run. So, now you can buy the re-up of that.” Also deluxe editions help with that, too. So having, like, your physicals, having extra songs, extra contents, instrumentals if you’re working with a rapper or something… all these things add up to different ways you can continue to reengage the algorithm and your fanbase.
Kalli
Thank you for sharing that process. You know, there’s definitely a lot that goes into it. So, you know, obviously the process, everyone can kind of tailor that a little bit. But you still like do want to be original, and so how do you stay in a space that, a lot of times, rewards the trends over originality of your project and your work and your music?
Omar
I think, the last question, I had a really long-winded answer. For this one, it’s a much shorter one. If you are operating outside of your lane, that means your lane is open for someone else to operate within, which means you’re competing in someone else’s territory while your lane is wide open, right? So, everybody’s running a race at their own speed and at their own time. And, the break happens at different points for each person. If you’re willing to stick out your lane, you’ll be rewarded with things that are tailored to what you specifically see for yourself as an artist. But if you are chasing the trend, not only are you not going to get what works for you specifically, but you will be running the risk of being unseen because there are so many people chasing that trend already. So, I think creative careers, they really reward people who are true to themselves with opportunities that match. So you really have to be intentional with, like, what you want out of your career. And, I think, I learned for myself that I’m going to be doing this forever. So, what I really want is sustainability, and sustainability for me means I don’t betray myself, I don’t do something that doesn’t fit what I want to do or what I see for myself as an artist, and I only engage and the things that make sense for me. There’s plenty of things that I might not want to do but have to do, but I don’t want that to be the output of music that I make, or the shows that I’m on, or the opportunities that I do with brands. I don’t want those to be colored by things that I don’t want to do, but have to do. I’d rather that be in other places, if that makes sense.
Jenn
It makes a ton of sense. Everything that you said today has been completely spot on. I’ve had the pleasure of working with you, Omar, and thankfully, also being your friend. And, I think our listeners today also have truly understood what makes you so special, and honest, truly, thank you for being on the show and talking about your music and your expertise in marketing. It’s a pleasure, as always, to chat with you.
Omar
Thank you for having me. This has been great. It’s been succinct and to the point, I love it. You guys do a great job. Thank you so much for having me.
Jenn
Thank you. Thank you, truly. All right, well, if you have a guest in mind or a topic to our followers, you know where to find us on the Pollack social channels or send us a note at imPRessions@pollackgroup.com. Bye for now.
