Creating Motion: HowJoshua Mead Turned Theater Roots into a PR-Driven Platform

BY: HANNAH SIMON
Published: 1.24.26

Read time: 12-15min

B

efore a moment becomes a headline, it’s a strategy. Public-facing success is designed by storytellers who build worlds around talent, brands, and ideas. This interview is part of CGR’s exploration into the people who move culture behind the scenes — shaping narratives, building trust, and

creating motion with intention. In this installment, we sit down with a rising force in public relations to trace his journey, unpack his process, and understand how he builds momentum by design.

Joshua Mead

Celebrities carry the glitz and glamour — but it doesn’t come out of nowhere. Behind every headline and viral moment is an ecosystem of people and companies shaping the spectacle of entertainment.

And it starts with people like Joshua Mead.

A Temple University alum and rising PR practitioner, Joshua is making waves within the media industry. Last fall, we sat down with him to talk about his journey, his process, and the moments that shaped his path.

A devoted dog dad and innovative thinker, Joshua shared insight into his approach to storytelling, entrepreneurship, and relationship-building — and how trusting his instincts has powered some of his biggest moves.

This is his story.

And how he became Joshua Media — an orchestrator of moments and partnerships with the likes of Cardi B, Paige Hurd, Jordyn Woods, and Jodie Woods.

As you read, press play on Today I Did Good by Gunna and step inside what it really takes to build motion in media.

You started in theater. How did your early connection to performance and storytelling shape your creative and public relations eye?

J: That’s really where everything started for me. In high school, I always knew I wanted to be behind the scenes. I was involved in theater, but not on stage — I was focused on set design and the actual building and designing of the environment.

My high school offered a tech theater course, and I ended up pulling three or four friends into it with me. It was a really cool experience because a lot of us didn’t fit the typical theater crowd. Through that, I got deeply involved in lighting, sound, set design, and stage work.

What I loved most was understanding the story of a play and figuring out how to translate that into physical elements that really resonated with the audience. The smaller, intentional details — not just “we need a house on stage” — were what pulled people in. That depth really stuck with me.

Did you ever consider pursuing theater professionally?

J: I did seriously consider working in theater as a career at one point. When I was applying to colleges, I looked at schools with strong theater and set design programs. But even then, I kind of knew that theater itself wasn’t the final destination for me — it felt more like a catalyst.

I didn’t get into the schools I originally wanted, like USC, UCLA, or UCSD, so I applied locally and ended up at Temple. Once I got there, I realized the coursework leaned more toward audio, film, and lighting rather than the set design work I was most interested in. That forced me to pause and ask myself what I actually wanted to be doing long-term.

What clicked for you between set design and public relations?

Manny L. and his Mother (Marilyn) 1998

M: It was the unorthodox style - on both ends. Like wrestling, each artist had their own character, their own vibe, and that made them stand out. I was drawn to the flows and all the little sound effects you could catch tucked into the beats. It was those moments in a song that make you stop and say, ‘Damn, that was crazy’ — the details that make you fall in love with it.

M: I was a kid, so I wasn’t really interested until high school. I always used to make beats, but it started out as me just drumming on desks before I actually learned how to make music. My first real beat was definitely in high school, but knowing me, I probably didn’t like it because it felt hard. Back then it was mostly me just playing around with my friends, rapping and not taking it too seriously. That didn’t really shift until college. I ended up dropping out—I was studying forensic science—and that’s when I started leaning into music full-time.

How does that curiosity show up in your work today?

M: Spaceboy, for sure. Before that, me and my boy Tsan dropped an EP called Farewell, and that really built a lot of momentum for me. I always knew I could do this—I just wasn’t sure how far I wanted to take it.

Do you remember a specific ad or piece of media that impacted you growing up?

M: Once I knew I wanted to do music in college, it stopped being just a hobby—but it also wasn’t like, “okay, I need to be the best at this.” It felt more like playing a video game to me. I wanted to get good at it and do well, and that’s what made it fun. To this day, I still see it the same way—I do music for fun, not for the money. It’s never been about that. Honestly, I’ve spent way more investing in my music than I’ve ever made from it. In the beginning, I had to buy software, hardware, plugins—everything just to make beats. I even took piano classes in 2023 so I could understand music better. It was boring, but now I can read music, and that was the whole reason I pushed through it.

I don't think I needed though...I don't believe in music theory or that a certain key makes a hit. All the music I make is in C major. I guess it's my accidental signature.

Featured: Manny L. and Friend

When learning how to produce, did anyone teach you?

M: Nah, I’m a self-taught producer. I don’t believe there’s a right or wrong way to make music—everyone has their own thing that works for them. With synthesizers, I got good because I was messing up, playing them the way they weren’t “supposed” to be played, but sonically it stood out. I like throwing weird sounds and instruments together, colliding them all in one—and that’s not something you can really be taught.

How do you see the entertainment industry differently than the public?

J: The entertainment industry by nature, is extremely performative and meticulous. When people talk about artists “paying for streams,” I remind them that record labels have always invested money to push records, create perception, and spark interest.

If millions are invested into a project, the business makes sure the numbers reflect that investment so the public buys in. Most people take things at face value and don’t understand the matrix behind it all

You graduated during COVID. How did you stay motivated and afloat?

J: It was a really strange time. School came naturally to me, I had solid internships — including one with NBC — and I had a clear plan after graduation. Then COVID hit, everything shut down, and graduation didn’t even happen.

While a lot of people were relaxing or traveling, I spent over a year applying to more than 400 jobs. It didn’t lead anywhere, but it pushed me to realize my worth and stop waiting for corporate validation.

You didn’t wait for permission — you started building. Tell me about the decision to launch your first agency, Elevate X Media, what that experience taught you, and how its eventual ending shaped the way you approach collaboration today.

J: Since jobs weren’t happening, I started an agency with two friends. We got clients, made decent money, and even produced a Puma event around the NBA Draft. It was a huge learning experience.

Eventually, my partners got full-time jobs, and misalignment started to show. We ended up dissolving the company, which was hard, but it forced me to get clear about what kind of business I wanted to build and how I wanted to work with people moving forward.

Featured: Manny L. in Promotional Photoshoot

What was your first time in the studio like?

What are one or two tips you'd give to an aspiring producer or artist to help them along in their journey?

J: Since jobs weren’t happening, I started an agency with two friends. We got clients, made decent money, and even produced a Puma event around the NBA Draft. It was a huge learning experience.

Eventually, my partners got full-time jobs, and misalignment started to show. We ended up dissolving the company, which was hard, but it forced me to get clear about what kind of business I wanted to build and how I wanted to work with people moving forward.

After that period of reflection and uncertainty, you decided to go all in on yourself. What finally gave you the clarity — or courage — to launch your own agency independently, and how did you define what you wanted it to stand for?

J: After taking some time to reflect and still not landing a job, I decided to go all in on myself. In January 2022, I launched my agency (The Meadia Agency) and honed in on the services I knew I was actually good at.

Looking back, not getting a job was a blessing. If I had gone the traditional route, the growth I've had probably would've taken twice as long.

Manny L. and his Mother (Marilyn) 1998

Trusting your gut seems to be a recurring theme in your journey. Was that something you had to learn over time, or did it come naturally? How has intuition guided some of the biggest decisions — and risks — you’ve taken so far?

Manny Laurenko’s story is still unfolding, but what’s clear is his foundation: resilience, faith, and a love for creating sound that hits deeper than the surface. From drumming on desks to shaping tracks for some of hip-hop’s biggest names, he’s proof that raw talent paired with persistence can carve its own lane. Independence hasn’t just given him freedom—it’s given him character, vision, and a blueprint that goes beyond music.

The beats are only the starting point for Manny. Here’s the wisdom he leaves behind for every creative chasing their own vision:

Creating Motion: HowJoshua Mead Turned Theater Roots into a PR-Driven Platform

BY: HANNAH SIMON
Published: 1.24.26

Read time: 6-10min

B

efore a moment becomes a headline, it’s a strategy. Public-facing success is designed by storytellers who build worlds around talent, brands, and ideas. This interview is part of CGR’s exploration into the people who move culture behind the scenes — shaping narratives, building trust, and creating

You didn’t wait for permission — you started building. Tell me about the decision to launch your first agency, Elevate X Media, what that experience taught you, and how its eventual ending shaped the way you approach collaboration today.

Trusting your gut seems to be a recurring theme in your journey. Was that something you had to learn over time, or did it come naturally? How has intuition guided some of the biggest decisions — and risks — you’ve taken so far?

J: Trusting my gut became everything. I really believe there’s always a 50/50 chance something works out — but if you don’t take the risk, you’ll never know which side you land on.

A lot of my opportunities came from cold emails and intuition — reaching out to publicists, taking chances on clients, and stepping into spaces that felt unfamiliar. Even working with nonprofits was a gut decision that ended up bringing a lot of meaning into my work.

Curiosity feels like one of your biggest drivers. How does that mindset show up in the way you lead projects, guide talent, and think strategically about PR — especially when you’re stepping into something new?

motion with intention. In this installment, we sit down with a rising force in public relations to trace his journey, unpack his process, and understand how he builds momentum by design.

Joshua Mead

While a lot of people were relaxing or traveling, I spent over a year applying to more than 400 jobs. It didn’t lead anywhere, but it pushed me to realize my worth and stop waiting for corporate validation.

Celebrities carry the glitz and glamour — but it doesn’t come out of nowhere. Behind every headline and viral moment is an ecosystem of people and companies shaping the spectacle of entertainment.

And it starts with people like Joshua Mead.

A Temple University alum and rising PR practitioner, Joshua is making waves within the media industry. Last fall, we sat down with him to talk about his journey, his process, and the moments that shaped his path.

A devoted dog dad and innovative thinker, Joshua shared insight into his approach to storytelling, entrepreneurship, and relationship-building — and how trusting his instincts has powered some of his biggest moves.

This is his story.

And how he became Joshua Media — an orchestrator of moments and partnerships with the likes of Cardi B, Paige Hurd, Jordyn Woods, and Jodie Woods.

As you read, press play on Today I Did Good by Gunna and step inside what it really takes to build motion in media.

Did you ever consider pursuing theater professionally?

J: I did seriously consider theater as a career at one point. When I was applying to colleges, I looked at schools with strong theater and set design programs. But even then, I kind of knew that theater itself wasn’t the final destination for me — it felt more like a catalyst.

I didn’t get into the schools I originally wanted, like USC, UCLA, or UCSD, so I applied locally and ended up at Temple. Once I got there, I realized the coursework leaned more toward audio, film, and lighting rather than the set design work I was most interested in. That forced me to pause and ask myself what I actually wanted to be doing long-term.

efore a moment becomes a headline, it’s a strategy. Public-facing success is designed and constructed by storytellers and architects who understand how to build worlds around talent, brands, and ideas. This interview is part of CGR’s ongoing exploration into the people who move culture without always standing at the center of it. The ones who build worlds around talent, shape narratives before they hit the public eye, and understand that timing, trust, and vision are just as important as visibility.

In this installment, we sit down with a rising force in public relations to trace his journey, unpack his process, and understand how he creates motion — not by chance, but by design.

You work across artists, brands, nonprofits, and campaigns of all sizes. When a new project lands on your desk, how do you reset your thinking and approach each brief with fresh eyes instead of defaulting to a formula?

J: I approach every project with fresh eyes. While certain tactics repeat on smaller projects, bigger campaigns need a completely custom approach.

Each client has a different goal, audience, and context — and I think it’s important not to default to a formula just because something worked before.

Your path hasn’t been linear — there have been setbacks, slow months, and hard lessons. How have those moments reshaped your understanding of value, both in terms of what you charge and how you see your worth?

J: A lot of my growth came from uncomfortable moments — slow months, deals falling through, and times where I had to question whether I was doing the right thing. Those experiences forced me to get really honest with myself.

Early on, I tied value to visible effort — how many emails I sent or how much time I spent on something. Over time, I realized clients aren’t paying for the labor alone; they’re paying for access, trust, and years of relationship-building that allow things to happen quickly and seamlessly.

There were moments where I could confirm something with a major outlet in just a few emails, and a client would think it was easy. What they didn’t see was the years it took to build that relationship. Understanding that shift changed how I viewed my worth.

Setbacks also taught me not to lowball myself. I don’t regret doing free or underpaid work early on — it helped me learn and prove myself — but there’s a point where undervaluing yourself limits your growth. If you don’t respect your work, other people won’t either.

I also had to learn the realities of money in this business. One good month doesn’t mean you’ve made it — that check might need to stretch across slower months. Separating emotion from income was key to sustainability.

Most importantly, I learned not to tie my self-worth to individual outcomes. A slow month doesn’t mean I’m failing. Setbacks didn’t stop me — they refined me, and they taught me how to move with confidence, patience, and intention.

As you look toward what’s next — both for your agency and for yourself — what feels most exciting right now? What kind of impact do you hope to be making as you continue to grow?

J: What excites me most right now is the balance I’m starting to find between growth and intention. I want to continue scaling the agency — working on bigger campaigns, building stronger brand relationships, and solidifying what we’re known for — but not at the expense of authenticity or impact.

I’m also really interested in creating access where it doesn’t exist yet. There’s a huge gap for emerging and mid-tier artists who have talent and momentum but don’t yet have the infrastructure or relationships to take the next step. Long-term, I want my network and experience to be able to help bridge that gap in a real way.

Another thing that’s become more important to me is purpose. Working with nonprofits and community-focused organizations has shifted how I think about success. Being able to move between entertainment, brand work, and work that directly impacts people’s lives has made the work feel more full-circle.

Ultimately, I want to build something sustainable — not just financially, but creatively and emotionally. I want the work to feel aligned with who I am now and who I’m becoming. If I can keep growing, stay curious, and create opportunities for others along the way, that’s the kind of impact I’m aiming for.

For anyone reading this who’s in a season of uncertainty — building something on their own, questioning their timing, or wondering if they should keep going — what words of encouragement would you offer?

J: After my first semester, it became clear that the major I started in wasn’t for me — but that’s when things really clicked. I started seeing how much overlap there was between what I loved about set design and what exists in PR, marketing, and communications.

In theater, if there’s nothing on the stage, the audience doesn’t understand what’s happening. Dialogue can help, but without a built environment and a clear narrative, it doesn’t fully land. That’s exactly how I see PR.

PR is the narrative amplifier. I think about the set as the public and the actors as the artist, brand, or talent. You’re building the world around them so people can actually understand who they are and what they stand for. Once I realized that, changing my major to media communications with a minor in marketing felt like a no-brainer.

I’d say trust yourself more than the noise around you. It’s really easy to look at where other people are and feel like you’re behind, but everyone’s path is different — and timing is everything.

There were so many moments where things didn’t work out the way I planned, and in the moment it felt discouraging. Looking back, those moments were actually protecting me and pushing me toward something better aligned. Just because something hasn’t happened yet doesn’t mean it won’t.

Stay consistent, stay curious, and don’t let a slow season convince you that you’re failing. If you know you’re putting in the work and moving with intention, trust that it’s building toward something — even when you can’t see the full picture yet.

J: I don’t remember one specific ad or piece of media, but I do remember always watching things differently. When I watched movies or commercials as a kid, I wasn’t just consuming them — I was thinking, how is this happening?

I was focused on the mechanics of it all: how many people it took to make a single scene work, how lighting or sound shifted the mood, how everything came together. That mindset connects directly back to tech theater — being part of a process where there’s pressure, expectations, and a need to make everything click at the right moment. That curiosity never really left me.

J: One of my biggest goals now is pulling back the curtain. People look at artists like Nicki Minaj or Cardi B and think things just magically happen. But there’s an entire machine behind them — stylists, publicists, managers, brand teams — all working together.

Those behind-the-scenes people are really the playmakers. Without them, the public-facing success wouldn’t exist. It’s the same idea as theater or film: the audience sees the final product, but the real work happens offstage. That perspective has shaped everything I do.

You graduated during COVID. How did you stay motivated and afloat?

J: Trusting my gut became everything. I really believe there’s always a 50/50 chance something works out — but if you don’t take the risk, you’ll never know which side you land on.

A lot of my opportunities came from cold emails and intuition — reaching out to publicists, taking chances on clients, and stepping into spaces that felt unfamiliar. Even working with nonprofits was a gut decision that ended up bringing a lot of meaning into my work.

Curiosity feels like one of your biggest drivers. How does that mindset show up in the way you lead projects, guide talent, and think strategically about PR — especially when you’re stepping into something new?

J: Curiosity is honestly the foundation of how I operate. I don’t like moving blindly, and I don’t like jumping into something without really understanding what we’re trying to achieve. For me, leadership starts with asking the right questions before trying to provide answers.

The first thing I always want to understand is the end goal. Are we trying to drive sales? Create awareness? Shift perception? Reintroduce someone to the public? Once I’m clear on that, I work backward and start mapping out how we get there in a way that actually makes sense for that person or brand.

Curiosity also shows up in how I lead talent. I spend a lot of time listening — understanding what they care about, what they’re nervous about, what they don’t want to do, and what feels authentic to them. I don’t believe in forcing people into trends or copying what someone else is doing just because it worked for another artist.

A big part of that is trust. I want clients and collaborators to feel like they can be honest with me, even if that means saying, “I don’t like this,” or “This doesn’t feel like me.” My job isn’t to override that — it’s to guide them toward something that aligns with who they actually are while still achieving the goal.

Curiosity also helps me navigate uncertainty. A lot of the work I do doesn’t come with a playbook. There’s no guarantee something will work. Instead of panicking, I get curious: What resources do I have? Who do I know? What angles haven’t we explored yet? That mindset keeps me solution-oriented instead of reactive.

At the end of the day, I see leadership less as having all the answers and more as being willing to explore, ask better questions, and stay open. That curiosity keeps the work fresh, keeps the relationships real, and allows me to build strategies that feel intentional instead of forced.

You place a strong emphasis on authenticity, especially when it comes to brand partnerships. Why do you think genuine alignment matters more than ever, and how do you spot what feels real versus forced?

J: Authenticity is everything. When talent actually uses and believes in a product, it shows — and audiences can feel that.

Some of my best partnerships have come from paying attention to small, real details; Like looking in their medicine cabinets, finding out their favorite foods, places to go, spying crocs in the background of a facetime, etc. Those genuine moments make campaigns work better and feel less forced.