10 Questions with ... Cheryl Valentine

NAME:Cheryl Valentine TITLE:VP Rock Promotion COMPANY:Reprise Records FORMATS:Active, Modern, Mainstream Rock LOCATION:Sunny and dry Los Angeles, CA BORN:Ohio -just a couple of days ago RAISED:Dayton, baby! Bring on the potatoes... wait, that's Idaho

BRIEF CAREER SYNOPSIS:

I started out at ...do you really wanna go there? CMJ to Metal Blade to Relativity to Mercury to Epic to Tommy Boy, back to Epic and now the best label ever.

1. What made you want to get into the music business? Early mentors? First job?

I wanted to get into this biz because I love music. And you know what? I still do. Even the sourpusses can't knock it outta me. I buy records, T-shirts ... even concert tickets. My first paying job was as Metal Marathon Co-Coordinator for CMJ, then in Albertson, NY (Long Guy-land).

2. Too many records, too few slots. What data seems to be most important to you when jockeying for an open slot on a radio station and why? Ticket sales? Tour info? Prior success? Retail? Other stations?

Sure... along with ringtones, road stories, videos so they understand the imaging of the artist and why they're right for them. Pure stats can get boring, which is why I typically go for the heartstrings moreso and get people INTO the band, their music and what they're about.

3. It seems that set-up is more important now than ever. What do you do to inspire your staff for success in the field on a daily basis with the amount of material that recording companies are releasing in today's market place?

Arm them with information, encouragement, tools, support and let their passion take it to the next level. And always have their back.

4. Who do you consider the current tastemakers in the Rock world?

The programmers who actually love music, embrace it, support it and don't look to a piece of paper for proof before they commit. Great art comes from the heart, so that same organ should be used when making decisions.

5. It has become apparent that in this research-driven time, records are taking much longer to "test." How do you go about making sure that your record will be given a fair shot?

I bitch, moan, complain, cajole, twitch, shudder, drool, foam at the mouth and then fall into a complete mess of a puddle on the floor. By the time the EMTs arrive, we have our rotation back.

6. Every promotion person has a record close to their heart that for one reason or another never broke through, "The One That Got Away"..... What is your "One That Got Away" -- and what did you learn from that record?

If you even bring up 18 Visions to me, I will projectile vomit all over you. I learned that I was completely right all along ; )

7. What are the most important tools/resources you use to stay on top of the rock formats' growth and constant daily changes?

"Constant daily changes" meaning the continual tightening of playlists until they're so boring that no one will listen to the station anymore? Sure hope that morning show's bangin', if ya know what I mean. By growth did you mean the audience potential for the format falling 40% over the last two years alone? I say we give the people what they want: exciting and compelling programming, THEN it actually will grow and flourish. That's just me thinkin' out loud.

8. The lost art of Artist Development. What do you do to ensure your artist is building a career as opposed to just breaking a song? And does it even matter anymore?

Artist development is alive and well from where I'm sitting. It remains a crucial component for turning records and artists into full-blown careers. Hopefully, you've built a base and an artistic essence before you even take a song to radio.

9. Are you finding that today's "baby" bands are getting a fair shot at radio and, more importantly, are they being given the airplay they need to break through to the masses and be recognized?

It really depends. You have to have an amazing plan in place with an entire team that is on point with every level of that plan, constantly backing each other up. I can be pretty thick, so hearing 'no' all the time doesn't phase me and allows me to keep my convictions, which can bleed over onto others. You have to be in it for the long haul.

10. What is the strangest record you ever worked and what ended up happening to the band?

The strangest record was definitely Devilhead, and I have no idea where Brian Wood wound up or if that dude's even still alive. Next best would be Pimpadelic, which was a blast, very memorable and very wrong. They're still at it to this day.