Jackie Martínez Marushka is a Nashville-based veteran entertainment publicist, artist manager and author with over 30 years of experience shaping stories across music and entertainment. Throughout her career, she has worked with artists, brands and organizations to build meaningful connections between creatives and audiences through strategic brand management.

Marushka manages rising Americana Soul artist Kenny Sharp and is the author of the bestselling title The PR Playbook: A Personal Guide to Personal Branding and Public Relations, sharing the strategies and lessons gained from decades in the entertainment business.

In 2019, Marushka founded the Hispanic Entertainment Alliance, the first organization of its kind created to advance Latíne/Hispanic representation within Nashville’s entertainment community, along with the Hispanic Entertainment Alliance Charitable Fund through The Community Foundation of Middle Tennessee. Her global music initiatives include working with Brazil’s country music star Gustavo Mioto as he expands his English-language music career, and her involvement with Ireland’s premier music conference, Your Roots Are Showing, bringing together artists and industry leaders from around the world.

MusicRow: Where did you grow up?

I grew up in a little farming town in northern New Mexico called Velarde.

Tell me a little about your upbringing.

My maternal grandparents were farmers and entrepreneurs. My mom was a teacher, my dad was a director for New Mexico’s Department of Soil and Water Conservation. Because mom and dad worked 9-5, after school I’d ride the bus to Grandpa Mike and Grandma Sylvia’s house which was connected to their general store and Texaco station.

Grandma Sylvia was always making something incredible in the kitchen, tortillas, green chile, beans or she’d be canning jams or fruit, while Grandpa Mike worked on engines, repaired tires or worked on the 18 acre fruit tree orchard and alfalfa field that sprawled across the four-lane highway from their home. It was a family business and somehow those experiences planted an entrepreneurial spirit in me. One thing I recall daily is Grandpa Mike’s reminder to always leave things better than I found them.

What kind of music did you listen to growing up?

In his workshop, Grandpa Mike listened to KDCE, our local Spanish radio station. They played Ranchero music. Los Blue Ventures is a local Northern New Mexico band we’d listen to all the time; they are still the biggest thing in northern New Mexico. I also listened to a lot of country music like Don Williams, The Judds, The Bellamy Brothers, George Strait, Willie Nelson, Kris Kristofferson, Waylon Jennings and John Denver.

Did you go to concerts growing up?

The first concert I went to was headlined by Freddie Fender. It was during a school field trip to the New Mexico State Fair. I realize now just how lucky I was to have seen him in that setting. Living so far from any big city, concerts were not really an option which is why Freddie’s show made such an impact on me.

What did you want to be when you were growing up?

My mom was a teacher, so I thought about going that route. But I was so fascinated with shows like Soul Train, Solid Gold and American Bandstand, I dreamed of working in music or TV somehow. It seemed so close, yet so far away.

I remember watching and thinking: who picks the singers and dancers? Who decides and plans all of this? Who goes on first? Who tells Dick Clark what questions to ask? So even then, unknowingly, I was asking what I now know are basic production questions.

The Beatles also fascinated me. I had a crush on Paul McCartney [laughs]. I wanted to know how he wrote and recorded songs, and how he eventually got to play them on TV. One day, I tried to call him, not knowing that you can’t just pick up the phone and call Paul McCartney. All that amounted to a $12 phone bill which my parents were not at all happy about [laughs].

So you were interested in TV production. Did you go to college for that?

I am a proud University of New Mexico grad. The thing that I connected with the most was the story side of TV. I didn’t want to be on camera. I wanted to learn the run of the show, camera angles, sound check details, on-camera talent introductions and script writing; I was obsessed with everything that made a production happen.

I’m a huge fan of internships. There’s nothing like on-the-job training that helps you learn as much as you can. Some are paid and others aren’t, but the experience is worth its weight in gold.

What were some of the internships that you did?

I interned for two radio stations in Albuquerque: a rock station called KFMG Rock 108 and a country station, 92.3 KRST, which is the biggest country radio station in NM. I also interned in the PR department for the ABC affiliate in Albuquerque, KOAT-TV.

What was your first move after college?

One of promotional clients KRST had was the massive country dance hall called Midnight Rodeo. Its capacity was around 2,500 people and nationally known country artists were booked there all the time.

I applied to work there when I got out of college . In the early evenings and at night I doubled as the coat check girl and took cover-charge during rush hour. During the 9-5 weekday window, I worked as an office assistant at a State Farm Insurance office.

While working at Midnight Rodeo, I met a gentleman named Joe Carter. He managed a major label country act at the time. Through Joe, I met Brian Bateman and Michael Merriman, a producer and director team that had a company called Pecos Films. They had a little office in Albuquerque where they produced and directed music videos, TV commercials and documentaries. Pecos Films hired me as their office assistant.

Eventually, they decided they wanted to move to Nashville and asked if I wanted to come with them.

So to Nashville you went.

I officially moved in November of 1995. It was actually Howard Bellamy of the Bellamy Brothers who encouraged me to take the leap. We were on set for one of their music videos and he said “you may not have this opportunity again. You owe it to yourself to give it a shot.”

What happened after Pecos?

A friend of mine, Melissa Mathews, was a seasoned publicist who came up under the legend, Evelyn Shriver. Melissa hired me part time as a junior publicist. I’ll always be thankful for that opportunity to learn and grow under her guidance.

And that was your first official PR experience?

Yes, eventually Melissa brought me on full-time. Through working with her, I began to understand the story cadence of the industry, I learned what it meant to be part of a PR team from the artist’s side. Several of the acts on her roster were signed to majors, so I got to know several folks at those companies as well.

What was after Star Keeper?

I had a friend who introduced me to the just-hired president of Benson Records, then, part of Provident Music Group. He was building a team and needed a publicist.

I worked with Benson Records for a couple of years. Provident Music Group, which was run by Jim Van Hook at the time, was home to a publishing company and a handful of record labels including Benson, Essential Records and Reunion Records plus a distribution company.

One day Jim’s assistant came into our Benson Records marketing meeting and said he wanted to see us in his office. They informed us that Benson Records was going to be shuttered, but they were going to try and find new roles for the staff.

Jim asked if anyone had any questions. I blurted out, “What’s our story?” He looked at me in a “what do you mean” kind of way, after which he said he wanted to see me in his office the next day.

I thought I was going to be fired immediately, but instead, I received a raise, a corner office and a contract. I was centralized as VP of Comms and PR for all of the labels under the Provident umbrella. I remained in that leadership role for the next 12 years.

What happened when you left?

While I was still at Sony, I got involved in the Americana Music Association by way of my dear friend Jayne Rogovin. While moderating a panel for the conference, I met someone from Shore Fire Media, and told her to keep me in mind if they ever opened a Nashville office.

It turns out they had been wanting to open a Nashville office, but none of her New York staff wanted to move here. So I launched their Nashville office as General Manager.

What was your time like at Shore Fire?

I served that team for three years, oversaw 15+ artists/projects, grew our Nashville team to four staffers and started their internship program. Unfortunately for me, the GM role was much more about building business than actively building campaigns, creative branding or pitching. I wanted to get back to the storybranding that brought me joy.

What happened next?

I had a long, honest call with my mom, who encouraged me to start my own business. I was hesitant. I didn’t know if I could do it. But she reminded me that I’d just spent three years growing a business from the ground up for someone else. That was the exact advice I needed to hear.

So that’s how Marushka Media was born?

Yes! Marushka Media was born on May 16, 2016. I have to shout out to Kris Wiatr and Shaun Melby, who helped me put together my LLC, and connected me with Randy Hulse at Pinnacle Bank.

What were some of those early days like?

They were terrifying. I was building my client base one by one and clients came in the most surprising of ways. For example, one day I was flying back from the Grammys and ended up sitting next to Charles Esten. We ended up chatting the entire flight. A few weeks later, I received a direct tweet from him asking if I could chat with him and his wife, Patty, about PR. He ended up being my first client.

From there I signed Lee Brice, Randy Rogers, Parker McCollum and The Americana Music Association.

How do you take on clients and work currently?

90% of my clients are referrals from colleagues whom I trust, but before agreeing to work with anyone, I like to spend a bit of time with them so I’m confident they’re ready for a branding or a PR campaign. The client has to know who they are, or be open to working toward brand clarity. Also, because I don’t “sign and hand off” clients to a teammate, it’s important to make sure everyone works well together. Chemistry is important.

As to “how” I work, I’m committed to bespoke campaigns and working alongside artists/teams who actively participate in their marketing. No campaign should ever be the same as any other. I’ve worked in the cookie cutter PR world. Typically that kind of work is done to check boxes and move quickly from project to project, making room for another templated campaign. I just can’t do that. Even if it takes more hours to deep-dive into what makes an artist and their project special, it’s worth doing every single time.

Who are you currently working with?

I’ve recently taken the leap into management with Kenny Sharp.

For PR and brand management, I represent Cook Allender, Gustavo Mioto, Keith Stegall, Sharp, MŌRIAH and Russ Lannom.

I also work with the Americana Music Association, Barbecue Country, Billy Blue Records, Celtic Crossroads Brussels, CelticWorld, Get After It Media & The Heartland Network, Music City Irish Fest, the Musicians Hall of Fame & Museum, Whippoorwill Arts, and Your Roots Are Showing.

Looking back on the last 10 years from when you started your company to now, was there a moment that you felt like everything was finally falling into place?

That “falling into place” moment was about trusting my gut. About three months into Marushka Media, I revisited the “12 Stories” campaign I put together and executed for Brandy Clark in 2013. I trusted my gut with that album. I went against what others had wanted me to do and instead, I made her vision, songs, voice and unique style of songwriting the focal point of each of my pitches. That made every difference.

You recently released your first book. Tell me about that.

I wrote The PR Playbook: A Comprehensive Guide to Personal Branding & Public Relations because, after 33 years in the industry, I felt compelled to share what I know with aspiring PR professionals, artists, and managers who want to understand how to build and execute a successful campaign or for artists, especially if they can’t afford to hire a publicist. This doesn’t replace professional PR but is a great starting point if you’re new to the industry or the PR business.

What’s the best advice you’ve ever gotten?

“Fear not.”

What’s a moment from your career that your little kid self would be most proud of?

During AmericanaFest 2019, Danna Strong gave me the opportunity to put together their first Latine panel ever. Then in 2024, Americana’s Jed Hilly and Craig Shelburne gave me the opportunity to host their first Latine showcase, co-sponsored by Hispanic Entertainment Alliance featuring Rico Del Oro, Rachel Rodriquez and Veronique Medrano. Those are the needle moving moments I phone home about.

Who have some of your mentors been?

I feel like I won the mentor lottery because I’ve been embraced and encouraged by so many incredible people. I’ve been at this for a while so there are a LOT of folks to point to including, Steve Rohr, Cindy Watts, Allen Brown, Joe Galante, Ellen Levine, “The Mayor of Music Row” Charlie Monk, Tatum Hauck-Allsep, Benjamin Goad, Scott Igoe, Denise Stevens, Shaun Melby, Beverly Keel, Deb Nathin, Leslie Fram, Gail Gellman, Holly Gleason, Tree Paine, Jennie Smythe, Deana Ivey, Cindy Mabe, Leigh Malleus, Joe Carter, Debbie Carroll, Alecia Davis, Chad Collins, Joel Wertman, Alan Kates, Kai Troll, Vickie Willis and Jimmy Wheeler.