1. THOMAS KENNEDY
3811 N New Jersey St. •
Apt. 2 •
Indianapolis, IN •
46205
812-219-6381• thomas.kenn3dy@gmail.com • LinkedIn Profile
EDUCATION
INDIANA UNIVERSITY, Bloomington, IN
English Literature BA, 2009 (w/’Honors’) 3.48 GPA
• National Founder’s Honors Society, 2006
• Courson Greeves Essay Prize, 2006
• EikonberryScholarship,2003
• Gallagher Essay Prize,2003
SHOWSi
Dec 2015 “Reality TV” (at Tiny IV), Gallery 929.
Forthcoming shows include:
Spring 2016 “My Name is My Name”, Joyful Noise Recordings (Performance Space)
Summer 2015 “Kilgore Trout”, Kurt Vonnegut Memorial Library.
2016 “Paperbacks”, IndyReads.
2016 “You Are Where You Eat”, Bluebeard, Pure etc.
PUBLICATIONSii
Jan 2016 The Weird Redemption of Mike Bridavsky, Joyful Noise Recordings.
Aug 2015 MK Ultralight: “Eels” pt. 1, Animal Kingdom #3.(excerpt)
Oct 2015 Deerhunter Sings The Blues On Fading Frontier, Inquisitr.
Mar 2015 44 Meditations On The Worst Idea Of All Time, Buzzfeed.
Aug 2014 The Late-Adoption/Profitability Paradox, Firebelly.
Feb 2014 The Top 20 Start Ups Of All Time, Verge HQ.
June 2013 Sebadoh Secret EP, Promo Video (featured in Rolling Stone, AV Club, CMJ, NME etc.)
Forthcoming publications include:
MK Ultralight: “Eels”, Animal Kingdom. (full-length graphic novel)
MK Ultralight: “Memorial Day”, Animal Kingdom, StudyGroup Comics, Uncivilized Books. (full-length graphic novel)
The Story of Your Fucking Life, Featherproof.
Skycurser, Griffin Aerotech & “Publishing Partners.”
Joyful Noise Bi-Monthly Tract Series, Joyful Noise Recordings.
“Musica Universalis” appearing in Collection of Adjacent Mythologies (printed guide for the “Museum of Psychophonics”
project currently under development in Indianapolis)
PERFORMANCES/HAPPENINGS
Nov 2015 “How Schindler Got His Groove Back”, New Orleans Fringe Festival AKA Faux/Real (speaker, video etc.)
Aug 2013 Sebadoh Listening Party, Amoeba, Rough Trade NYC, et al., featured in Rolling Stone. (organizer/promoter)
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Sept 2012 “I Have a Depersonalizing Relationship With Franz Kafka”, Indianapolis Toastmasters. (speaker)

2. PROFESSIONAL EXPERIENCE
CONNECTION ENGINE,Indianapolis, IN
Strategist/Partner ( November 2014-Present )
• Lead-generation and market research using iMacros robots to comb LinkedIn.
• Collaboratewithclientsonoutreachandsalesstrategy.
• Exploring D3JS as a data visualizationtool.
FIREBELLY MARKETING, Indianapolis, IN
Digital PR Strategist/Labs Strategist ( December 2013-November 2014 )
• Leddevelopmentofinnovativenewnetworkexpansionproduct.
• Managed and assisted in the execution ofmajorsocialengagementand lead generation
campaign for Fortune 1000 medical technologybrand.
• Producedandpromotedcontentrangingfromvideosandvideogames,toinfographicsand
thought leadership.
• Managed&executedpaidsocialpromotionsforengagementandconversion.
• Managed&executedmediaplacementstrategyforDigitalPRcampaigns.
• Wrote speeches and major presentations for a number of conferences.
• Created sales collateral and assisted at every level in sales process, custom-creating strategies
for new clients.
MINDCONTROL PR,Indianapolis, IN
Strategist, Sole Proprietor (April 2013-December 2014)
• CoordinatedthePRteam’sactivitiestowardasingleobjective:getpublished—attheright
outletforyouraudience.
• Wrote business plan, and presented to potential investors.
• Createdsalescollateralandpitchedtopotentialclients.
• Collaborated on content-production and research.
• Workedwithdesignerandproducertodeveloprotoscopeanimation.
JOYFUL NOISE RECORDINGS, Indianapolis, IN
PR Strategist(April 2013-November 2013)
• Increased sales online by 40%, improving business sustainability.
• Balanced analytical insight with knowledge of existing methods of promotion to sell the
greatestnumberofrecordswiththelowestpossibleoverheadwhilestayinginsidebrand
guidelines and values.
• Secured placements at media outlets to promote artist premiers.
• Promotedcontenttohighly-targetedaudiencesusingavarietyofapps.
• Communicatedwithanddelegatespecifictaskstoartiststoleveragetheir relationship
withtheirfan-
base.
• Producedblogcontentandearnedmediacontent.
• Managed Youtube& Facebook adcampaigns.
• Managed socialmedia content for both the label and individual artists.
• Managed andinstructeduptofourinterns.
• Learnedvideo-editingandaudio-editingforpodcasts&interviews.
• Attended conferences as a label representative.

3. SLINGSHOT SEO, Indianapolis, IN
Search Media Networker (April 2011-April 2013)
• Understood and leveraged skill-sets of team-members to maximum effect.
• Developed salescollateralfornew processes,thatIdeveloped,and gotbuy-in
from clients to execute new,
experimental
strategies.
• Foundleadsforearnedmediaarticleplacement.Innovatednew strategiesfor
lead generation in guest-­‐posting
outreach,
resulting
in
streamlined
processes
for
publication.
• Pitchedarticleideastowebpublishers,emphasizingrelevant,researched,topical
concepts,
increasingrateof publication.
• Workedcloselywithauthorstoensurehighproductionquality,andfactually
accurate, relevant
keyword drops.
• Producedearnedmediacontentinanumberofmediums.
• Helpedinnovatenewstrategiestostreamlineproductionofweb-readycontentat
highvolumes.
• Contributedtostrategiesenhancingthelikelihoodofpublication,increasing
efficiency,andreducing
waste.
• Met or exceeded weekly goals for production.
• Developed strong relationships with team-members, fostering open
communication and collaboration,
enhancingtheoverallqualityandspeedofproduction.
SMALLBOX, Indianapolis, IN
Digital PR Consultant (August 2010-May 2012)
• Developed training curriculum for the—at the time—new PR department.
• Developed earned media strategies forclients.
• Managed client offsite presence.
• Implemented ‘Brand Digital Ecosphere.’
• Composed and optimized content for websites in development.
• Ledinternalcopywriting:composecasestudiesandblogposts,editSearch
Engine Optimization
(SEO)audits,andupdatewebsitecopy.
• ImplementedofbasicSEObestpracticesforclients:keywordresearch,titletag
optimization, maps optimization, press releases and guest-posting, etc.
• Provided copy for marketing department.
CONRAD & SCHERER, LLC, Washington, DC
Research & Administrative Assistant (April 2009-July 2010)
• Performed document review and analysis for an historic international human rights
case.
• Created inventories, study-guides, and case notes.
• Conducted historical and legal research.
• Assisted in the composition of legalbriefs.
• Supported administrative processes in fast-paced, high-stakes office environment.

4. TECHNICAL COMPETENCIES +GEAR
• MicrosoftOfficeSuite
• Google Analytics
• Wordpress
• Squarespace
• CisionPoint
• Salesforce
• Agile Development in Google Docs
• Google Fusion Tables
• Google Analytics
• Google Adwords
• Google Apps
• LinkedIn Recruiter
• iMacros
• D3.JS
• HTML
• CSS
• MOZ suite
• SEM Rush
• Topsy
• Zapier
• BufferApp
• Piktochart
• Camtasia
• Adobe Photoshop
• Adobe Illustrator
• Adobe Fireworks
• Adobe InDesign
• Adobe AfterEffects
• Adobe Premiere
• Adobe Aftereffects
• Audacity
• Reaper
• Scrapebox
• MacBook Pro 2013, Solid State, Retina Screen
• Nikon D90
• Rode NT-1A Condenser Mic
• M-Track Audio Interface w/cables etc.
• Parallels/Windows OS
• Second Screen
• 3animationtables
• 2 projectors

5. CLIENT HISTORY
Some industries where I’ve done c l ient-work in the past
Healthcare
Medical technology
Higher educationBig
data
Cloud computing
Marketing SAS Human
Resources SAS Enterprise
retail
Mid-market retail
Ecommerce
Construction
The MusicIndustry
Health insurance
Travel insurance
Finance
Real estate
Law firms
REFERENCES
Jeb Banner |CEO |Smallbox
(317)201-4339 | jeb@smallboxweb.com
Leah Beatty | Search Media Manager | Slingshot SEO
(317)506-6696 | leah.beatty@gmail.com
Dan Fahrner | Director of Marketing Services | Smallbox
(317) 586-0700 |dan@smallboxweb.com
Phil Golobish | VP of Services |DigitalRelevance
(317) 506-7445 |phil@relevance.com

6.
ENDNOTES
i
ART SHOWS
”You Are Where You Eat” and “Paperbacks” are still in fairly early stages of being negotiated and may or may not actually
end up materializing.
ii
PUBLICATIONS
I’ve written over a hundred articles for any number of content aggregators like Huffington Post, Inquisitr and Buzzfeed and
participated, in various capacities, in the production of—literally—thousands of such articles. 98% of that work was done
pseudonymously, thankfully. It’s not work that I’m generally proud of.
However, the Deerhunter review and meditations on “The Worst Idea of All Time” are examples of instances where I
indulged myself and wrote about one aesthetic artifact or another not because I was being paid to do so, but because I
actually cared enough about those artifacts to give away a day’s labor writing about them while being paid almost nothing for
my effort. Nevertheless, these articles aren’t examples of what I would like to think is “my best writing”—almost all of which
is unpublished. The word count on both aritcles is so high, that I don’t think the editors at either publication ever actually
looked them over particularly carefully—writing at great length and at a high-level of complexity in those venues is often a
way to effectively avoid editorial censure. They just throw up their hands and walk away.
Likewise, I’ve written or otherwise ‘produced’ hundreds of corporate blog posts. “The Late-Adoption/Profitability Paradox”
and “Top 20 Startups” are the only examples of such articles that don’t actually fill me with shame.
“Late-Adoption” is a think piece that is representative of some of the type of “big picture” strategic thinking and market
analysis that I became known for in my tiny corner of the industry. I would imagine that type of thinking is as important in the
art world as it is anywhere else.
“The Top 20 Startups” is actually embarrassing to an extent—I find the whole tone of “tech startup” culture to be mostly
nauseating and frequently malignant—but it is the first & only interactive infographic where I did literally all of the work from
research to design, to promotion etc. It is literally the first thing I produced as a “designer” in a professional capacity—as
opposed to design projects I worked on because I was passionate about the material/mostly hated my actual job working in
PR. I am only proud of the design relative to my personal knowledge of how early-on I was in the process of developing
designer skills in the various softwares I ended up using—and also the thing is fairly deeply researched and better
presented, for the average reader, then information on those companies is presented in venues like MarketWatch (whose
design, I’ll admit, is more functional for actual investors). It was, however, featured in Fast Company, Forbes, Huffington
Post etc. and it doubled the site’s traffic for about three months until the citations to it that I dropped into Wikipedia were
taken down. I’m including it because it’s an example of something I did that was aesthetic and was also successful in
accomplishing its stated purpose, not because I have any interest in doing similar work while in grad school.
I am negotiating to publish “Memorial Day” at either Study Group or Uncivilized Books—a final agreement has not been
reached with either of those publishers. In the event that things don’t work out with either Study Group or Uncivilized Books,
“Memorial Day” will be published by Animal Kingdom.
The Story Of Your Fucking Life is a kind of a high-concept financial trauma “journal” or workbook (which the buyer will
presumably fill out or write in) but it will also feature roughly 30 or 50 pages of introductory material by myself and/or another
(better known) author. It is being “seriously” considered by Featherproof—if it is not published in 2016 (in coordination with
Sanders Iowa Caucus campaign) it is unlikely to ever get off the ground. The work I’m doing for my Joyful Noise show this
spring (“My Name Is My Name”) is in dialog with The Story of Your Fucking Life’s content. The show is most definitely
happening. Whether or not the book happens is another story.
Though at the level of hourly wages I’m still likely to be making somewhere in the neighborhood of minimum wage before
royalties (assuming any royalties ever materialize), Griffin Aerotech has a much larger budget for the Skycurser graphic
novel they’ve commissioned from me than—for example—Joyful Noise. As such, developing a publishing partnership with
companies that have well-honed national distribution and promotional infrastructures in place (IDW, Image Comics) is part of
our plan with the Skycurser. They are (or may be) prepared to pay their way into the system. Whether or not these
partnerships will actually come together, who knows.

7.
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WORK WITH JOYFUL NOISE
The Sebadoh listening party was an event held at 11 of the largest and/or most culturally significant independent record
stores in the US. I pretty much put that event together, managed and promoted it, produced all collateral, provided all
support etc., soup-to-nuts. Attendance, nationally, was probably somewhere in the neighborhood of 1200-1500 people.
Most of what I did at Joyful Noise was highly collaborative. I was instrumental in many album premieres that happened at
places like Pitchfork, Sterogum, AV Club, Spin, Rolling Stone or NPR. I did tour-promotion (the biggest tour I worked on was
My Bloody Valentine’s 2013 North American tour). I produced, and occasionally helped to shoot or edit a slew of videos. I
made a few podcasts. I launched the blog, I consulted on the transition to a new ecommerce platform, I designed work flows
for the team. Yadda yadda. But in almost all of these cases, it would be hard for me to claim authorship—I was a participant,
an intermediary and sometimes an organizer, but I was rarely the executive decision-maker. The executive decision-maker
was my best friend, Karl Hofstetter, who sat about five feet away from me in the office throughout the majority of my working
days at the label. We brainstormed about everything—I had my fingers in every pie, but I wasn’t the baker, so to speak.
Especially due to the fact that Joyful Noise’s success is largely contingent on exquisitely designed, bizarrely formatted
physical media, I feel like this experience has been and will remain important in the way that informs how I think about
sustainability and finances in my career as an artist.