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10 Questions with ... Lorraine Caruso
July 30, 2019
Have an opinion? Add your comment below. Working for radio really did prepare me to do promotion. I knew what was important for radios needs; I knew demographics, market competition and all about competitive radio politics; I knew how I liked to do good business with people, I knew from my own experience how I liked to be promoted. Being a person of your word and following up, and being respectful of people's time
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1. What made you want to get into theradio and music business? Were there any early mentors?
I have always loved radio since I was a kid. Growing up in NY, radio was very exciting; I was a total geek. I started out in college radio and got an internship at WNEW. My earliest mentors were Charlie Kendall, Maxanne Sartori, and the legendary Scott Muni. I had blind ambition, not really knowing that I was starting my career in the #1 market, and at one of the biggest, most progressive radio stations in the country. I just wanted to be at the station that I grew up listening to.
2. Early in your career, you worked at the legendary WNEW/New York. What years did you work there and what positions did you hold?
I basically worked for free as an intern making myself available to do anything, starting in the programming department. That was my interest. I got to the point where I was there 30 hours a week ... Kendall started giving me commuting money out of his own pocket. I rose through the ranks, working with many amazing PDs over the years; Mark Chernoff, Ted Utz, Dave Logan... I went from intern to assistant, AMD, MD, MD/APD. It was a magical place; then the station started to lose its focus. I wasn't sure I wanted to be a nomadic PD; that was my next stop, so I started to shift my next chapter working for the music industry.
3. How did working in radio prepare you for doing record promotion?
Working for radio really did prepare me to do promotion. I knew what was important for radios needs; I knew demographics, market competition and all about competitive radio politics; I knew how I liked to do good business with people, I knew from my own experience how I liked to be promoted. Being a person of your word and following up, and being respectful of people's time.
4. Give us a rundown of the record labels and positions you've held over the years.
I clearly remember the day I got a call from Jack Isquith. He was heading Alternative promotion at A&M Records. He said, "How would you like to leave the #1 radio market and work with me doing Alt promotion?" I was very excited about this prospect, as I knew the format was going to explode. In the first year doing promotion, it went from about 15 stations to 80+. I wanted to be a part of its growth, if I couldn't be in radio anymore I wanted to grow and be apart of a burgeoning format. I loved the music; it was an exciting time and amazing place to work. I learned a lot from amazing people at A&M. Al Cafaro, Rick Stone & Lori Holder-Anderson were also tremendous mentors to me ... another magical independent place, which eventually got merged. From there I wanted to know and learn about the big pop machine, and went to Jive Records working with Joe Riccitelli. I learned so much there heading Alternative promotion. From there to Windup Records, working with Shanna Fischer as Sr Dir./Promotion, with main focus heading Alternative, Triple A and backing up the Active Rock formats.
5. How long have you been working for the Mascot Label Group and what are your primary responsibilities for the label?
Time flies; I have been here over five years. This is another great challenge for me. It's a Dutch-based company looking to grow in North America. Ron Burman came over from Roadrunner to be President of North America; he along with the President/owner Ed van Zijl brought me in to be VP/Promotion and Marketing ... We have expanded our team although we are still lean and mean. I am working harder than ever but enjoy getting into all aspects of helping run the growth of Mascot.
6. Along with your Rock projects, you also do Promotion for Alternative and Triple A projects. How does working those formats compare to Rock?
Promotion is similar across most formats. I believe if you are a good programmer you can program any format; if you are a good promotion person you can promote any format. Doing National promotion is strategic; I have always equated it to the game Stratego. You have to think ahead, know where you want to be in advance; know which benchmarks you need to hit to get to the next level, an ultimately try to win the flag.
7. Now let's talk about your Rock projects at Mascot starting with the hot new single from Crobot "Low Life." What's the latest with this project?
I am excited to be working with Crobot again. They were signed to Wind Up and I worked with them a little bit before I left the company. The feedback on this single and album is amazing. This could be the record that takes them to the next level ... The band got caught in the merger with Wind Up and Concord, and were dropped. The video for Low Life is incredible, Brandon owns it. The band deserve a break ... radio seems receptive.
8. What other Rock projects does the label have coming down the pipeline in the future?
We recently signed Otherwise and they made a really solid record coming in November. Also in the studio are Shamans Harvest. 10 Years will also have another record in the new year.
9. As a promotion person, what are the most important tools/resources you use to stay on top of the Rock formats' growth and constant daily changes?
You really have to follow everything, Analytics and consumption has become the new research for everyone. Playlisting on DSPs is important. Radio still moves the needle.
10. Finally, since you had some experience in Rock radio, let's talk about the Rock format as a whole. What's your take on the state of Rock radio today?
There have been some success with Rock radio and the sound has involved somewhat. Bands like Badflower, Greta, Rival Sons have opened up the gates for more diversity. Its fun to see Ed Sheeran have a hit at Rock radio! Crobot sounds different. The format needs to embrace more sounds within the rock format. Its open to a more diverse sound and it seems that programmers are embracing,
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