david gorman

I oversaw the creation of all sales and marketing materials for WEA (Warner Music Group's distribution arm), including sales presentations, promotional videos, in-store merchandising materials and advertising. I also managed the national marketing department budgets, even though I went to art school.

The responsibilities of a College Rep were simple: Spend every moment not otherwise demanded of you by school, your other job, and your body's need for sleep to market the everloving life out of then-breaking bands like Pearl Jam, Rage Against The Machine, and, um, Prong.

As Co-Founder and Co-President of HackTone Records, I was directly responsible for the A&R, packaging, production and marketing of all HackTone releases. In its brief but bright lifetime, HackTone releases were praised by Esquire Magazine, Rolling Stone, USA Today, The New York Times, Rolling Stone, Blender, and NPR’s All Things Considered. Features on the label and its curious mission have run in Billboard and LA Weekly. Additionally, The Washington Post wrote that HackTone had “quickly made a name for itself by issuing uncommonly good music” and All Music called the label “aesthetically brilliant.” Our album, Stoned, by Lewis Taylor, was #1 at KCRW for over three months, leading to a live performance on Conan O'Brien and a sold-out show at the Bowery Ballroom in New York. HackTone also released massively acclaimed albums by Mark Olson, The Last Town Chorus, Sterling Harrison, Arthur Alexander, The Dynamics, David Allen Coe, Love Psychedelico and produced the first-ever soundtrack to the legendary documentary Heartworn Highways, which Stereophile named an "album to die for" in 2011.

Trunkworthy is pop culture's first meritocracy. As a source for passionate music, movie and TV consumers with too much choice and not enough time, we aim to answer the deceptively simple question, "what's good?" by highlighting the best stuff you might have missed. Check it out at www.trunkworthy.com

As the president and creative director of HackMart, I maintained the vibe and creative vision of a full-service marketing shop with a unique ability to seek out, speak to, and inspire a brand's most passionate fans. Over 11 years, HackMart curated pop culture with algorithm-trumping expertise for iTunes, YouTube, Google and other companies that define our digital future while simultaneously working in the physical world to create fan-baiting packages for Keith Richards, The Doors, Otis Redding and other legends that have defined our culture. As a polymorphic creative agency, HackMart also created award-winning TV, radio and in-store campaigns for Tower Records, The Coffee Bean & Tea Leaf, EMI Music, Rhino Records, Shout! Factory and other nationally and internationally recognized brands. HackMart's digital marketing and social media clients included iTunes and YouTube, crafting content and developing strategies for their presence on Facebook, Twitter and Pinterest.

Over the course of my involvement with Apple, I worked directly with the iTunes programming, editorial, marketing, social media, and engineering teams to drive discovery and sales of music, apps, movies, books and TV shows. Leading a noble and talented team of curators, writers, editors, marketers, and project managers, I was directly involved in creating and executing a wide variety of regular editorial features across media types on the iTunes store, overseeing the curation of thousands of playlists (with accompanying copy and art), the training of music-discovery algorithms, and contributing posts to iTunes' various social media feeds. I also co-hosted and co-produced 150 episodes of the iTunes Weekly Rewind podcast.

Over my seven-year tenure at Rhino, I grew in to a role overseeing all advertising, branding and merchandising materials, including print, TV and radio. I also led all internal marketing brainstorming meetings, drafted and enforced the label's product quality standards, and enjoyed a three-hour lunch with Solomon Burke. While acting as the Marketing Department's creative lead, I also produced, art-directed, and wrote liner notes for several Rhino releases, and won a Grammy Award for my work on Beg, Scream & Shout: The Big Ol' Box Of ’60s Soul.

1021 Creative remixes, rearranges, recompiles and rethinks pop culture to create new experiences that drive sales and deepen brand loyalty. Whether your content needs curation, your algorithms need training or you just want to speak freak-to-freak with the most passionate media consumers out there, we've got your number. And you should have ours. Our content marketing, curation, and branding clients (alphabetically ranked, as we love them all equally) include Apple Music/iTunes, Co:Collective, Concord Music Group, DMI Music, Google, Sony Music Group, YouTube, and others. Some of our work we can talk about, some we can't. But trust us . . . chances are you've seen it.

I followed my dream of designing automobiles to CCS, as there wasn't a better school for it in the country. 6 months in to their deeply immersive program, I realized that there was more to my life than drawing cars and I left for the more diverse education and opportunities available at the University Of Michigan. Most of the time I believe that to have been the right move. Activities and Societies: When not furiously sketching cars, I spent my lunch hours at the old Motown Museum on Grand Blvd. doing light maintenance and painting, listening to stories, and occasionally meeting the legends who once recorded there.

I followed my dream of designing automobiles to CCS, as there wasn't a better school for it in the country. 6 months in to their deeply immersive program, I realized that there was more to my life than drawing cars and I left for the more diverse education and opportunities available at the University Of Michigan. Most of the time I believe that to have been the right move.

I started college with every intent of being an industrial designer. Then music got in the way. My studies shifted to accommodate my internship with Sony Music. I'd like to think everybody won. Activities and Societies: Invented the Michigan Industrial Design Society of America Review in order to get press preview passes to the Detroit Auto Show — a ruse that continued to work even after I left school and appointed my brother as senior editor of our fictitious quarterly.