Today we’d like to introduce you to Rachel Citron.
Hi Rachel, it’s an honor to have you on the platform. Thanks for taking the time to share your story with us – to start maybe you can share some of your backstory with our readers?
I moved to Austin in the summer of 2007 to attend grad school at UT. I hadn’t spent any time in Texas before this move, and I wasn’t sure how long I’d be sticking around. At the time, I was pursuing a Master’s degree in Women’s and Gender Studies and had plans to make a career in the non-profit, activist, or social work sphere. But finding work in 2009 was a struggle, and instead of landing the dream job I’d been imagining, I got hired on as a Receptionist at a local animation studio where a friend of mine was working. Much like my time in Austin, I expected my tenure at the studio to be fairly brief—something to keep me busy while I continued my search for a gig in the non-profit sector. However, I ended up falling in love with the company pretty quickly, and instead of continuing my job search, I decided to turn my ‘just for now’ job into my dream job. I’ve been at Powerhouse Animation now for 11 years, and I think it’s the happiest accident I could’ve imagined for myself. While my various roles at the studio over the years have all been on the business side of the company—in project coordination, sales, business development, or account management—it’s been a joy to do work that supports art and artists every day for the past decade. Meanwhile, as I was working at Powerhouse (you might know us from the Netflix Original Series Castlevania, Seis Manos, or Blood of Zeus) and building a career there, my social life was revolving around the Austin music scene. Since I got to Austin, the vast majority of my friends have always been involved in the local music industry—either as musicians, promoters, bookers, venue owners, bartenders, engineers, or just devoted fans that I would see over and over again at shows. It was through these connections that I was first approached by a (remarkably talented) songwriter friend about the possibility of managing his music career. That first venture into working with musicians started in the Spring of 2016, and while I felt woefully unprepared for the incredible responsibility of representing someone’s art in that way, in many ways, it also felt like a natural progression of the type of creative management and business development work I’d been doing for years in my day job. The first few months of this new project were overwhelming as I tried to navigate the rules and lingo of an industry that I had only participated in as a spectator in the past. However, as I learned the ropes, I started to experience the same highs as I did in my animation job. As someone who’s skill set does not include creative pursuits like animation or music, there are few things more rewarding than helping to elevate an artist, advocate for them, and then witness the results. I have always loved the experience of live music, but the thrill of playing a role in a show or performance and then seeing it succeed was something I knew I needed to keep in my life. Now, I get to work with some of the most talented people in town, many of whom I consider to be my closest friends. As an added bonus, I get to be a part of the team—to share in the excitement of a major booking, a new album or single being released into the world, or a great live show. GOSH, I REALLY MISS LIVE MUSIC.
Would you say it’s been a smooth road, and if not what are some of the biggest challenges you’ve faced along the way?
Nothing worth doing is easy; is it? My early days as a band manager were filled with self-doubt and hampered by a constant, nagging sense of imposter syndrome. And while I wish I could say that this has dissipated over time, those doubts still linger, even nearly five years later. Another challenge for me, as a woman, has been the ongoing struggle to be taken seriously, especially in an industry that is dominated by men in almost every way. Most women working in music can probably relate to the frequent assumptions, always undermining and condescending, that my role as a manager can only be explained through my relationship with one of the male band members I represent. I remember one SXSW volunteer who asked me repeatedly while helping a band load-in for a show ‘who I was with,’ and when I stated and then reiterated over and over that I was the band’s manager, I was only met with confusion as he then insisted ‘no, which one are you dating?’. Casual sexism, y’all.
Thanks for sharing that. So, maybe next you can tell us a bit more about your business?
My band management company is called Jet or Not Management, a name that came out of a conversation I had with my first client back in 2016. He mentioned to me that a local artist we knew was going out on tour with a large national act and that they’d probably be traveling by private jet—to which I responded ‘jet or not,’ and then inserted something I don’t remember now, but which I’m certain was incredibly powerful and inspiring. Either way, ‘jet or not’ became a sort of mantra between us and always represented a grassroots-style approach to this work—which suited us well since we were very limited on resources but had plenty of enthusiasm that we hoped would make up for it. Since 2016 I have worked with and managed a number of Austin-based artists—songwriters and bands alike—including Ben Ballinger, Mike Schoenfeld, Belcurve, Cari Q, Otis Wilkins, Christy Hays, The Sideshow Tragedy, Harvest Thieves, Western Youth, and Quiet Company.
We’d love to hear about how you think about risk taking?
I often refer to myself, only somewhat in jest, as a ‘type A nutjob.’ As such, I wouldn’t necessarily say that risk taking is a huge part of my professional (or personal) brand. However, I definitely have a history of saying YES to opportunities when they arise, even when I feel unsure of my capabilities. With band management, I always want my artists to know that I take this responsibility very seriously. I understand that artistic expression, whether through music or otherwise, is extremely personal and requires both courage and vulnerability on the part of the artists. They are the ones taking risks in this business, and my approach has always been to acknowledge that and to try to be clear about expectations from the jump. I usually start any conversation with a potential new client by letting them know that it’s impossible for me to guarantee a certain level of tangible success. At the same time, what I do feel comfortable guaranteeing is that I will be a tireless advocate for their music and that I will use my skills to do my best to lift them up however I can. Trusting someone else to represent you, especially as a creative, is always a risk. I hope I’m doing them justice.
Contact Info:
- Email: rachel@jetornotmgmt.com
- Website: https://www.jetornotmgmt.com/
- Instagram: @jetornotmgmt / @the_citch / @powerhousecreative
- Facebook: https://www.facebook.com/jetornotmgmt
Image Credits
Photographers include: Letitia Smith (White Light Exposure), Ashley Bradley, and Kate Hellenbeck
