Brand · Partnerships · Speaking
Before the systems, there were audiences. The discipline is the same one.
Partnership marketing and brand experience across more than twenty brands in sports, entertainment and media, sponsorship and growth strategy for NIL companies and emerging sports businesses, and the live-production habits that now shape how I design AI systems.
I speak to executive teams and operators about governing brand voice at machine scale, building AI systems an organization can actually trust, and the live-production habits that make both hold up.
For leaders and teams whose experience looks like a detour and is actually a through-line, and for organizations trying to see that in the people they already employ.
Rehearsal, cue sheets, failure drills and the human who holds final authority. Live production solved these problems decades before anyone called it governance.
Governing tone across thousands of automated interactions, and how to make quality reviewable by someone other than the person who built the assistant.
Making value legible to both sides, and designing the operating rhythm that keeps a partnership working after the announcement.
Partnership marketing, brand experience and talent-facing campaigns across professional sports, entertainment and national media.
Four strands of work: brand marketing, celebrity and talent, video, and social. The full visual portfolio lives in Adobe.
Brand marketing
Strategic partnerships and creative campaign development across sports and entertainment, including sustainable marketing and negotiation-led sponsorship work with partners such as Miller Lite and Coors Light.
Celebrity and talent
Talent-facing brand work spanning WWE Hall of Fame productions, NFL Hall of Fame inductions, and campaigns involving artists and athletes across music and sport.
Video
Music industry pieces, athlete promos, media clips and YouTube campaigns, including work that reached more than four million views.
Social media
Social programs that outperformed their category, and brand identity work for organizations including the Houston Texans Cheerleaders and the 5678 Foundation.
This is not a second career with no relationship to the first. These are the same four habits, applied to software instead of to a show.
The sequence holds
Live production runs on knowing what happens, in what order, owned by whom, and what must be true before the next stage begins. That is the core of every agentic workflow I design.
Rehearsal is an evaluation loop
You run it again until it holds under pressure. Structured scoring and failure drills are the same instinct, written down so someone else can apply them.
Tone reaches everyone at once
A single off-voice moment in national brand work reaches millions before anyone can correct it. Governing brand voice across automated interactions is that problem again.
Someone has final authority
On a live show there is always a person who can stop it. I build the same checkpoint into the systems rather than discovering afterwards that nobody had one.
A Houston Texans Cheerleaders alumni piece I produced. It is still playing, and still counting, on a channel I do not control.
My contribution was choreography, talent coordination and production. The video was uploaded in 2007 by a third party and lives on their YouTube channel, which I neither own nor administer. It is embedded here through YouTube's public player.
That is also why the number means something. Nobody has been in a position to prop it up.
Creative and brand work I produced, now hosted here rather than in a reader. The original publication remains available as an archive.
Partner activations and seasonal creative built with the Houston Texans Cheerleaders program, plus convention and event promotion.
Identity and brand systems built for organizations I worked with directly.
Marks are the property of their respective organizations and are shown as work references
Content systems that outperformed their category, run across the accounts I managed.
“A hub for everything cheerleaders, and now has more Twitter followers than two NFL teams.”Jayme Lamm, on the account program
Campaigns I ran that were picked up by national outlets. The segments belong to the broadcasters, so they are credited here rather than replayed.
View the original publication archive
On the imagery. What is shown above is work I produced or commissioned. Magazine covers, broadcast segments and talent photography from the original publication belong to the publishers, networks and performers involved, so they are credited rather than reproduced here.
The audience, the format, and what you need people to walk out believing. For partnership and sponsorship work, tell me what the deal is genuinely for.