Our Industry Focus series spotlights the hardest working people in the industry and this week we focus on a bright, brilliant, and forward thinking individual who supplies us with valuable insight from behind the scenes. One thing you have to know is that Christina Boemio is one badass chick. Currently she's the exclusive publicist for Buygore. On top of that she recently started working for a company that manages many leading international artists. You would think that would be enough to keep her busy, but she's an ambitious woman and co-founding Nap Girls Int'l was something the industry dearly needed. The collaborative organization whose mission is to connect and empower women by nurturing creative and professional growth is leading the charge for progression in the music industry. With all that in mind, it seems like there's nothing Christina can't do.
So, what fuels her to continue to influence the industry and culture? From quitting her corporate 9-5 job in Texas to working for an internationally touring DJ, Christina's story is one filled with hope, passion, and following your dreams. Plus she has great advice for anyone looking to get involved in the industry, but we'll let her tell you more about that below.
How did you start your career in the music business?
I graduated college with a job already lined up at an IT recruiting firm back home in Houston, because it was the “right” thing to do. Good job, move home with my Dad, save money, etc. Didn’t take me long to realize the whole “corporate life” wasn’t for me and that I needed something more than just a monotonous, safe routine. Literally after a solid four months, I couldn’t take it anymore so I quit my job on a Tuesday. I always wanted to live in New Orleans and had some friends who were promoters out there so I packed up my car and by that weekend I was calling NOLA home.
I started promoting shows on the side and soon realized that working in this scene is what I wanted to do. I began to do artist relations as well as promote, all while bartending and working as a waitress just to pay my bills. The scene in New Orleans is so small, but I knew it was worth the hustle.
Fast forward a year and I did the same “pack up and move” maneuver out here; networking as much as humanly possible all while working on the Venice Boardwalk to pay the bills. One of the very first people I met out here was Liz Garard. Literally one of my first friends and couldn’t be more grateful; she was introducing me to anyone and everyone she knew, one of them being Abi Getto, and slowly the Nap Girls movement began and spread like wildfire. Simultaneously, I began writing for TrapStyle (thanks to Andrew Sierra) all while networking, networking, networking. I eventually met the Buygore Label Manager Steven Pahel, I finally got the courage to e-mail him my resume & some pieces I've written for TrapStyle and the rest is history. I literally get to go to my dream job every day and couldn’t be more grateful.
Can you describe what it was like discovering the electronic music that lead you to the industry?
I was sitting in my friend's dorm in 2010 when he showed me Rusko’s 'Woo Boost' and I was like... what the fuck is this. Mind you, I grew up in Katy, Texas - so I've been to a plethora of country music shows and that’s all we would blare - but electronic music was nowhere to be seen. Up until 2011, I was blasting Rusko & Bassnectar like it was my job to inform everyone at LSU of their existence. Then my boyfriend at the time took me to my first show... Bassnectar at the Sugar Mill in New Orleans and to be honest I haven’t looked back. In 2012, I literally went and saw Flux Pavilion eight times. Needless to say, I’m still an abnormally huge dubstep fan, makes sense why I work at a predominate dubstep label doesn’t it? So in a way I just fell into the business aspect. Like I said before, I just really hated the corporate life, and having friends who were promoters and throwing events really opened up my eyes to a whole new light and industry I never even fathomed working in. I’m still really new in the scene too - so still learning different aspects of the business side of things.
What is the best part of the business?
The best part about this business is that you’re never actually “working", that is, if you’re doing it right. The term “work” can have such a negative connotation and people can have such bitterness when speaking about their job and can’t wait for the weekend, but to be honest, I never get that irritation or longing for Friday night. I live for constant learning, discovering new artists, going out to shows every night, meeting new people, networking. The switch doesn’t just turn off, but that’s the best part. You’re constantly doing something you love and with people who are as passionate, determined, and motivated as you are. “Work” in this business turns more into a lifestyle, and personally, I wouldn’t want it any other way.
What are the biggest challenges?
One of the bigger challenges is trying to sway those who have a one-track mind or idea and have them look at the bigger picture. There are some who are so glued to old fallacies, whether it be for other genres, artists, production techniques, labels, what have you - these people are hindering growth for not only the scene because we can be a unified front, but themselves as well. People can be too quick to judge sometimes, and believe that their one technique, thought process, whatever - should be praised and noted the most.
Also, dating in this industry. It’s safe to say I've been refreshing the “Pets” section on Craigslist weekly.
Where do you see the most innovation?
I see the most innovation definitely in the music. These up-and-coming young producers are mental. They're making melodies and putting together sounds I would have never fathomed. Mixing genres left and right - the inspiration these days is limitless. There’s some really sick, weird, stuff out there that’s still yet to be discovered.
Also, with electronic music being so heavily saturated and so many producers trying to be the next Jauz or Flume or Snails - the ones who make it out alive are the ones who do something so completely outrageous and mind-blowing that you’re listening to their track with the thought, “how is this sound even possible,” running through your head. That’s why we have Jauz, and Snails, and Flume, Mr. Carmack, Ta-ku, and so many more insanely talented artists - they broke the mold given to them and sprinted with it, not caring if people were going to follow because it’s what they felt was right to them as an artist.
It’s a really cool time to be in the scene if you ask me; as cliche as it is, the possibilities truly are endless.
What career advice would you recommend to someone just starting in the industry?
I’ve said this before, but one thing I still, and always will have in the back of my mind is, “Every person you don’t speak to is a missed opportunity.” This is something literally anyone can use, no matter what industry you’re trying to pursue. I first heard this when I was bartending and it struck a chord. You don’t know who you’re speaking to, or who they may know. Also to go with that, I'm from the South and manners are a huge thing to me. Always be respectful, courteous, and nice - literally “please” and “thank you” can go so much further than you know.
As the EDM industry continues to grow, what do you think the secrets to longevity in this business will be?
Don’t be set in your old ways and be welcoming of change. This scene and industry are constantly evolving and at a ridiculously rapid rate. If you stay in your old ways for too long, by the time you attempt to change and keep up, you're two steps behind the curve and have to fight even harder to stay relevant. Plus, change is cool. The more you change, the more you learn, and learning’s tight.
If you weren’t in the music business, what would you be doing?
I actually got a Bachelor of Science degree in Fashion Merchandising with a Business Minor. My dream job was to actually live in New York and be a celebrity stylist. Safe to say if I wasn’t in music, I'd most likely be in fashion.