If you were to ask me,” Who’s the coolest person you know ?” I wouldn’t even have to think about it. Kristen, by a mile. A damn mile. She’s one of the most honest, prone, and self-possessed beings I have ever matched, full stop, which — of course — intends “thats one” of my favorite occupation profiles we’ve done on the site.

From imaginative writing, to journalism, to procreating it in a male-dominated field, Kristen has so much insight to share. Predict on for her take over working at The Everygirl, transitioning professions, and dominating respect as a young professional — gradual snap for literally everything she says about how she’s gave versus her male peers and her personal mantra on addressed with sexism in the workplace. Plus, some earnestly badass music recs along the way.

Name: Kristen Mitchell, Manager, Music Operations and Creative — SPACE& Out of SpaceAge: 30 Location: Evanston, IL Education: BA in Creative Writing and Spanish( DePauw University; Greencastle, Ind .), MFA in Writing( Northwestern University; Evanston, IL ).

What was your first undertaking out of college, and how did you shore it?

My first chore out of college was in the marketing and communications department of a nonprofit women’s society. I graduated with a liberal arts stage and, unlike many of your best friend, I didn’t have “one true calling” — I actually had too many moves I was enthusiastic in pursuing: writing, editing, movie, music, swine. I knew I didn’t crave my first task out of college to pigeonhole me into a super specialized area, and I didn’t want to work in a totally corporate surrounding.

So, when I got an email through our alum database about this nonprofit opportunity, it seemed like a step in the right guidance. To be transparent, it wasn’t one of those, “I really property my dream errand! ” situations, but I knew I would enjoy the work and the people, and those have always been the top things I evaluate in a workplace. In retrospect, I’m very grateful my career started in the nonprofit sector. Staffs are much smaller, which conveys bureaux aren’t as siloed and you’re being allowed to dip your toes in a lot of different ponds. I had a boss who was super are used in her employees’ professional rise, so she feed me to learn HTML and Adobe Creative Suite, even if they are my unit was in writing. Eventually, the Editor in Chief of our quarterly periodical publishing left, and I articulate my call in the hat. I ended up staying in that character until I was about 26 and took the publication through an entire redesign.

I learned a ton about editorial etch, design, and product and was very grateful for its own experience, even though it’s not the field I currently work in. While wielding that job, I also interned at a venue( SPACE) to get my live music give. I attended a reveal there one nighttime after employ, fell in love with the whole vibe of the place, and decided I wanted to be a part of it. I would go to my epoch job from 9-5 and move over to the venue to make pictures a few nighttimes a week from 5 until close. There were some periods I left my accommodation at 7:30 am and didn’t get home until midnight, but I was so mesmerized by the live concert know and was learning so much that I didn’t think twice about it. SPACEeventually hired me on part-time as a production auxiliary and I continued to work displays on the weekend and outside of my regular hours for a few years.

There were some daytimes I left my accommodation at 7:30 am and didn’t get home until midnight, but I was so fascinated by the live concert know-how and was learning so much better that I didn’t think twice about it.

You directed as an Assistant Editor with The Everygirl back in 2016. How did you decide to apply?

I cherished my work in photograph, but with the ever-expanding digital macrocosm, I wanted to dive in deeper and explore online editorial. I grew up in the same township as The Everygirl cofounder Alaina Kaczmarski and followed her personal blog before that, so I was emphatically a book and a fan of the contents. As a millennial woman, everything on the website felt like it was speaking immediately to me. I know many other women felt the same, which is why the site changed so rapidly and successfully.

I often browsed TEG’s job board for freelance opportunities and part-time arrangements to facilitate pay off grad school indebtednes, and one day, the helper writer rank sounded up. It was one of those “ah-ha” minutes. The opportunity to expand into digital — taken together with the facts of the case that it was for a successful, women-driven website with material I actually helped about — made applying definitely sounds like a no-brainer. I instant felt a connection with the staff and a joy for what they were doing, which was a nice extension to my previous nonprofit work.

What was a great big takeaway from is currently working on Everygirl HQ?

So many things — it’s hard to select precisely one. First and foremost, working at The Everygirl strongly reinforced my belief that the women working together is one of the most powerful things on countries around the world. Much of the media I grew up on portrayed female working relationship as cut-throat and competitive, and I judge a lot of women have been mode expressed the belief that another female’s success will result in her los, or that we need to “one-up” each other to get ahead. My professional experiences have proved to me over again that this is not the case. The only mode we’re going to challenge the patriarchal organizations in place — which currently regulate women’s merit in the workplace — is by empowering one another and proving that we deserve to sit at whatever table we want. Or in the instances of The Everygirl, starting our own damn counters that procreate content and infinites that price and speak to women.

Working at The Everygirl likewise proved to me that you don’t have to act like a soldier to be “successful” like a guy — you are able to embracing your female characters of empathy and sense and still kill it at your work. Lastly, I filled some of my very best friends through working at The Everygirl( Caitlin Brown and Kelly Etz, I’m lookin’ at you !). There’s something about the working conditions that curates close and meaningful rapports — it’s the best.

Working at The Everygirl strongly reinforced my belief that the women working together is one of the stronger things on the planet.

Less than a year into your position with The Everygirl, you made a huge decision to pursue your indignation for music. How did you tackle making this decision?

It was one of the hardest decisions I’ve ever stirred. I was super fortunate with my persona, enjoyed my coworkers, and heard a long-term future with the company. I kinda had the best of both macrocosms — toiling part-time at SPACE was scratching my itch for live music, and I was pursuing my obsession for writing and revising the working day. I had resigned given the fact that music would be a feature bustle, as full-time venue possibilities are few and far between. When that opening presented itself, I certainly had to consider the impact of doing health professionals 180. Not exclusively was I totally changing industries, I’d likewise be working totally different hours and transitioning from a female-dominated workplace to a male-dominated one.

At the end of the day, I had to go with my intestine, which told me that I needed to challenge myself. Countenancing this profession would make me to expand professionally, utilize different skill sets, and is understood upper-level management.

You’ve always had a cherish for live music, but employment opportunities in service industries can be incredibly hard to come by. How did you combat that?

Intern, intern, intern! Most beings I know directing full-time in the music industry started off in an overdue persona and use their direction up, especially on the venue surface. Since I wasn’t making money, I knew I had to capitalize on job opportunities in other courses: I performed sure to constitute meaningful professional alliances, ask tons of questions and consistently show up with my best good paw forward.

As a woman working in a male-dominated environment, what has your experience looked like?

I can’t speak for all sides of the industry, but on the venue and production area, there aren’t a ton of women in the field. It’s rare that an all-female ensemble comes through with a female expedition overseer and female audio engineer, and I’ve heard from a lot of touring musician love that on-site managers are generally mortals. It still has a sons’ sorority vibe, but that’s definitely changing and shifting with one tonne of kickass female negotiators, label principals, and talent customers. In terms of boots-on-the-ground venue operations, I haven’t observed many other venue overseers who are women. That can be isolating, but I’m luck to have supportive coworkers who I feel pleasant approaching with workplace issues and challenges.

The truth is that the behavior I show up for work to manage is a very different ordeal than that of my male peers. Because I’m a young-looking female, I have to put on my recreation face and give the ensuring compliance with customers, safarus managers, strips, and audio operators in ways that my male coworkers simply don’t because of their senility and gender issues. One hour I pioneered myself to a band member saying, “I’m Kristen, the manager.” He said, “Oh, Christian is the manager? Can I speak with him? ” Another season I had to cut a purchaser off at the bar, and where reference is asked to speak with the manager, I told him I was the manager, to which he replied, “You’re cute. I don’t care who you are.” These knows tend to be certain exceptions , not the norm, but they can still take a fee on your confidence in the workplace if you don’t step back for some position. Instead of be concentrated on those micro-moments and misfortunes, I have to look at the bigger image: if I give up or back down, they win. I want to see more women in this field, so I’ve got to stick it out, raising my -Agame and is an indication ready to prove that I deserve to be working this racket and that I do a damn good activity at it.

Most beings I know succeeding full-time in the music industry started off in an unpaid persona and operated their direction up, including the venue side.

You’re the only full-time female work at your venue. How did you manage that when you two are made the number of jobs? How has your view changed after is currently working on SPACE for over two years?

It was a hard-handed swap going from working with all women to all men — not because my male coworkers aren’t amazing, but because there are just fundamental differences in the way women and men give and operate. I’ve ever felt cozy expressing my needs, though, and they’re particularly aware and sensitive to the challenges I face that they may not. That’s half the clash right there. Mansplaining , no more!

Do you have any opinion for women suffering slight — and not-so-subtle — sex discrimination in their workplaces?

I came up with this personal mantra only a few years ago: kill’ em with kindness, but don’t be afraid to stomp your boots. It’s admirable to show the people around you( coworkers, purchasers, etc .) perseverance and charm or give them the benefit of the doubt, but know when they’re crossing the line and put your foot down. Preaching for yourself and your needs does not see you a bad person; it establishes self-respect. I also interviewed your best friend and musician Liza Anne for The Everygirl, and we chatted about not being afraid to take up space in a male-dominated manufacture. Realizing you are enough — and not relying on outside generators to confirm that you’re able to do your job — is one of the most advantageous things you can do for yourself and your career.

You wear so many hats — did your position ever allow for that or have you expanded on your persona?

When I was hired, it was mostly in an operations gumption — to supervise ticketing, succeed the office/ organization, and close registers. But the opportunity presented itself to get more engaged in artistic — and there was a big need for it when we launched our outdoor time sequence, Out of Space — so design and social media marketing naturally fell down my sip. Again, I experience working with small teams for this reason. New an important opportunity to growing commonly present themselves, so you don’t ever feel depressed or bored.

Realizing you are enough — and not relying on outside generators to confirm that you’re able to do your job — is one of the most advantageous things you can do for yourself and your career.

Made us through a era in the life of managing a music venue. How do you unionize your daytimes?

I don’t, ha! My epoches emphatically unionize me. Time isn’t undoubtedly “yours” when you cope a venue. I learned this very quickly and contended with the remaining balance at the beginning. It’s distinct from editorial exertion where you’re at a desk and working( principally) independently on writing articles or forgery editing. Much of managing is gratifying to the needs of staff and purchasers — as it should be — so any time I envision I’m going to check things off my to-do index, I get pulled in a different direction. I have to be very intentional about my go and think of my responsibilities in two kind of “modes.”

There’s “venue mode, ” where I’m organizing a see and scarcely have time to sit down and devour — walkin’ a thousand gradations in my boots, lading in the band, fixing sure they’re take good care in the greenroom, ensuring the staff is joyful and put up for success, checking that customers are experiencing themselves, originating sure that the register goes off without a hitch.

Then there’s “desk mode, ” which consists of me in my position hammering out our design, scheduling social, supervising ticketing, and helping ensure a successful substantiate market cycle for creators. We do more than 300 substantiates a year at SPACE, so having what we call a “dark day” with no show is the exception , not the norm. That makes “desk mode” is super prized. We’re a really small team with only four full-time hires, so our hours don’t always overlap, intending communicating via email — and sometimes at odd hours — is par for the course. These two most varied places of my work maintain me on my toes and I rarely feel like 2 day are ever the same.

Your undertaking means you work quirky hours, including late darkness. How did you adjust to this schedule? What are the best — and worst — parts of it?

I used to go to bed at about 9pm and judged I was an early bird. Periods have emphatically changed. Parties ever ask what my “schedule” is and I tell them I don’t have one. In information, I often don’t know what days of the week it is. I know in advance when I’m going to be organizing at the venue and what nights I’m off, but that changes week to week and month to month based on establish necessities. Some weekends we’ll have two sold-out depicts, so even if they are I’m not scheduled to be at SPACE, I’ll come in later and abide past normal 9-5 hours to help the other manager kick things off. On the nighttimes I shut, I’ll generally act from dwelling for one of the purposes of the day and come in early-to-mid afternoon before the band and staff members gets there. Then, I’m on-site until the last banding representative moves out the door.

The flexibility my job earmarks is huge, but not having a consistent schedule can also take a fee on your mental health issues and your relationships. It’s a common concern in the music manufacture — the employ we do is fun, so it can be hard to to distinguish between enjoying yourself and overworking yourself. Prompting myself to check in, take a step back, or take a day off is important. Likewise, finding ways to create compatibility in my epoches — even small things like ruminating for 10 times or having a cup of coffee at my desk — fixes me feel more grounded. Oh, and while I don’t desire having to work on the nights my friends are often off, I DO I desire being able to go to Trader Joe’s mid-day and not wait in line. It’s the small things, ya know?

You multitude live interviews with strips on Audiotree. How do you prepare for interviews? Is there trade secrets to inspiring good speech with musicians you haven’t met before?

Interviewing bands live is one of my favorite things, and Audiotree has exposed me to a lot of artists I’d never heard before. Having cameras around lends pressing, but I try to think of it less like an interview and more like a casual conversation between new friends. I make an effort to chat with the artists as they’re loading in, ensure they feel comfortable, and get a feel for their personalities.

My biggest “secret” to precipitating convos is not querying anything I can find out through a Google search. Musicians are numb to questions like, “So, how’d you get your start in music? ” or “What does your banding reputation want? ” or “How would you describe your chime? ” For the most part, those will result in a unusually pre-rehearsed rebut. I prefer something like, “What’s the least rock-’n’-roll thing you’ve done in the past week? ” It catches them “off ones guard” and some of the the responses are pretty funny.

The flexibility my job permits is enormou, but not having a consistent planned can also take a toll on your mental health issues and your relationships. It’s a common topic in the music manufacture — the duty we do is fun, so it can be hard to to draw a distinction between enjoying yourself and overworking yourself.

Outside of music, you’re also a talented columnist and graphic designer. How do you flex these innovative muscles?

I wish I had more is now time to flex these in a freelance faculty, but my hours don’t actually allow for it at the moment. Luckily, I’m able to use my writing and blueprint abilities in the inventive market parcel of my work so I don’t get rusty.

Where do you see yourself and your occupation in five years?

I love this question because I have absolutely no suggestion. If you had asked me this five years ago, I certainly wouldn’t have said working at a venue. The whole way I’m living my life now wasn’t part of the “plan, ” and I try to remind myself of this on dates when I get too worried about my future or whether I’m participating in the right professional steps. I do know this: I cherish the music manufacture, I affection SPACE and the ways in which we are expanding and developing, and I adoration the people with whom I direct. So, if my next 5 year are as unreliable and exciting as the last 5 have been, then I think I study I’m in for a good move. More tangibly speaking, I’m looking forward to expanding our summertime series.

Learning the ins and outs of producing larger-scale outdoor depicts is such a cool challenge, and the imaginative possible is inexhaustible. More room intends more ways to fill it with unique facilities, firebrand activations, and more. Between June 21 and August 26 of last year, we displayed 11 dates of outdoor concerts in unique Evanston orientations. More than 20,000 beings came out for sold out proves with musicians like Mavis Staples, Indigo Girls, Shovels& Rope, The Lone Bellow, the New Pornographers, Dinosaur Jr ., and many more. We’re hopes to be able to get it on even more significant this year.

What’s something you wish more parties knew about working in the field of the music industry? About being the only full-time female staff member at a company?

It’s not as cool as it looks from the outside — I promise! Yes, service industries is an extremely enjoyable one, but it’s a lot of “hurry up and wait.” Most circles follow a quite lackluster planned day-in and day-out — they wake up in a new city, drive nonetheless many hours to the next gig, figure out how to fit their too-big van and trailer into a too-small parking place, load-in, wait around until soundcheck, soundcheck, wait around until showtime, represent the see, consignment out and do it all over again in the morning.

The same travels for working at a venue. There are perks like satisfying new and interesting beings every day and picturing appearances almost every night, but it’s likewise a lot of picking up empty-bellied glasses and throwing out pizza chests and erasing down counters and cleaning up spilled beer. Concertgoers identify the final product, but they’re not exposed to the pre-show or post-show office where we’re getting our hands soiled. After the band loads out and the staffing requirements has departed, my workplace thoroughly changes from a raucous room of people into a entirely still and placid room. That ended juxtaposition can be jarring and frankly a little lonely. It’s a bizarre lifestyle fit new people every night, get a little slice of their world-wide, transmitting them off to their next municipality, and being the last one to turn off the illuminations. But then you recollect you get to do it all over again the next day, and a little one of the purposes of you comes energized. That’s the whole reasonablenes I got into music growing up. I recollect leaving concerts and being so sad when they were over. I never required those darkness to point. Now it’s my whole life.

I retain leaving concerts and being so sad when they were over. I never missed those nighttimes to aim. Now it’s my whole life.

What opinion do you have for anyone who wants to take a big career jeopardy?

Think long and hard about why you want to take the risk. What outside factors or beings are forcing your decision? At the end of the day, if the choice isn’t 100 percent influenced by what you require or feel in your mettle is freedom, then take a step back. I knew when I swopped manufactures that there was a very real chance I’d think, “Nope. Not for me. I built the erroneous choice.” BUT I prompted myself that I was making this risk for myself and myself alone. There was no one sit behind me pushing me to hop , nor was there anyone with a safety net below. If you rush and fall flat on your face, at the least you know it was conducted in accordance with what you demanded and not someone else telling you what is necessary or shouldn’t do.

What advice would you give to your own 18 -year-old self?

Easy: Don’t date musicians — even though they are they send you blooms and write you a love song.

Kristen Mitchell is The Everygirl …

Favorite song on your Spotify rotation? “High Expectations” by Valley Queen, aka the hymn for single maidens everywhere.

Go-to late-night food order? Pizza from Union, the restaurants sector is connected to SPACE. Too, my beloved for hummus is a rolling joke at SPACE. My coworker got me a family-sized bathtub and pouch of pita chips 1 year for my birthday. They were extended in approximately two days.

Instrument you’ve always wanted to learn to play? I’m learning guitar right now. My digits are calloused and I know about three chords. But hey, I’m trying.

Author you re-read every year? Amy Hempel. “In the Cemetery Where Al Jolson is Buried” is a beautifully written piece of short fiction.

If you could have lunch with most women, who would it be and why? Emmylou Harris. She was — and still is — a trailblazer for women in music. Throughout her entire vocation she has played by her own the regulations and braced her foot singing with male musicians like Gram Parsons. And she’s got a knot of Grammys to support how much of a badass she is.

Listen to her curated playlist of female artists below!

The post This Former Everygirl Editor Did a Career 180 and Now She’s Tackling a Male Dominated Industry emerged firstly on The Everygirl.

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