10 Questions with ... Gary Gorman

NAME:Gary Gorman TITLE:National Director Rock/Alternative Promotion COMPANY:Atlantic Records FORMATS:Rock/Alternative LOCATION:Los Angeles, CA BORN:Yonkers, NY RAISED:Yonkers/Carmel, NY

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

Hopefully, I had the same reason that gets everyone into this business: a real passion for music. I don't think there has ever been one single thing that has moved me more than the way music has. I've always believed that if you can make your passion your vocation, you're doing better than most. In that regard, I've been doing pretty well.

I started as an assistant music director at Ithaca College's WICB. During my senior year, I headed to L.A. to intern for Reprise's college promotion guy, Jay Harding, through our satellite school program. After I graduated from Ithaca, Harding got me an interview with Gary Smith over at Fort Apache in Boston who, among other things, managed Reprise recording artist Belly and Atlantic's Juliana Hatfield. See where this is going? A few years doing college promo for Fort Apache led me back to N.Y. for Atlantic. I handled the college/metal promo for a bit, then regional duties in Pittsburgh and New York. Last January, I went back to L.A. to do Rock and Alternative for the Atlantic Records -- coincidentally, right across the street from my original internship at Reprise. I was really lucky to have some great mentors along the way. Atlantics' Andrea Ganis, Mark Fritzges, Ron Poore, Wind-Up's Drew Hauser, IDJ' s Rob Stevenson, Music Syndicate's Jon Landman. Great people, great friends.

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?

Well, the best-case scenario is that you have all of them -- AND some type of viral and TV campaign. Of course, you almost never have all of it, so you make due with what you have. If I had to choose, I'd take sales or Big Champagne numbers. It's still the most accurate form of research I know of. Oh, yes. It also helps if your song doesn't suck ... unless you had the Colbert Report, in which case, you need nothing else.

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?

Coming from the field, I have a great amount of respect for everyone who "carries the bag." Those who are good locals know it's an incredibly challenging job. I think you have to empower the staff. They are the front line. Convey your passion. Load them up with the plan and set them loose. Keep information flowing constantly. Strategize with them daily.

4. Things are changing rapidly in our business. Were it up to you, what would you change in our "system" to give your bands a better shot?

I'd get the PPM down to the size of a computer chip that the sample listener would place inside their ear. Also, there might be some type of "scanners" reaction if you got caught listening to, say, Yellowcard for more than a minute. Seriously, I think we are getting into a better place as far as measuring listenership, but there is still some way to go. I also would love to see more chances taken out there. People need to have fun once in a while; it shows in the final product.

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?

Guess what? It's at 200 spins and 70% have been in the overnights. That's not a shot. You have to choose your partners wisely.

6. Repetition breeds familiarity. How does your label increase exposure of your artists outside of traditional radio promotion?

Viral marketing, TV campaigns, online content. Personally, most of my day is spent trying to figure out how to get all my artists "The Colbert bump."

7. 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?

Sinomatic?! New American Shame?! Those were good regional acts that should have worked, but never connected. I really liked the first Billy Talent record, too. Billy Talent was probably always going to be a tough radio record, though. Canadian import didn't make it easier.

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

Ummm ... "What is, All Access?"

9. 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?

It matters more than ever. Certainly, as major label conglomerates continue to adapt and morph, AD is at the forefront. 360 deals will help get us back to the basics, hopefully helping to foster great content and brands that last. In sharing more in the brand than ever before, we are able to forge stronger partnerships with our artists and their visions. Paramore has been the poster child of the deal for Atlantic, and Lava has done an amazing job at bringing that one home at radio. We have partnered with our band Operator as well, who continue to grow every week.

10. What current-based rock artist do you see having the ability and skills to stick around for several records in today's instant gratification-oriented society?

I am of the opinion that there is still a lot of great music being made out there. I think Interpol is doing some great things. Arcade Fire as well. Against Me! wrote a great record this year. Avenged Sevenfold isn't going anywhere.

My CDs:
Faith No More: Angel Dust
REM: Murmur
Radiohead: OK Computer
Afghan Whigs: Gentleman
The Pixies: Doolittle

Movies:
The Usual Suspects
Donnie Darko
Star Wars
Arrested Development Season 1-3
True Romance