10 Questions with ... Victor Lentini

BRIEF CAREER SYNOPSIS:

• 78-80 WLTL/LaGrange, IL
• 80-85 WIDB/Carbondale, IL
• 81-82 WDCD/Glen Ellyn, IL
• 84 WCIL/Carbondale, IL
• 86-88 Passport Records
• 88-91 Chrysalis Records
• 91-93 Elektra Records
• 94-96 Motown Records
• 96-06 Universal Records
• 06-present Hollywood Records/Disney Music Group

1) What led you to a career in the record business?

I've always been into music. I had an older brother and aside from me being in the Monkees fan club, I had his albums as my first albums (King Crimson, CSN&Y, Steppenwolf, Hendrix, Ten Years After, etc). So from an early age, I got the music bug. I also had my tape recorder and would interview my family members. That's the kid part.

My high school had a radio station, WLTL so it was there I did specialty shows on artists (history/bio/discography) and landed my first interview with Jim Peterik. This was after Ides of March and Jim Peterik Band and just prior to his Survivor project. He lived nearby and was gracious to grant some kid an interview at his house. After high school, I went to Southern Illinois Univ. and continued my radio career at WIDB/Carbondale and did a year at community college, which had a radio station! I walked into WDCD and told the guy, Mark Ruffin (current: Real Jazz SiriusXM PD) I wanted to work there. It was a public station with a focus on Jazz. Mark basically handed me a show -- Jazz, Blues, Fusion. I didn't know much, just artist names, and started playing records, learning on the fly. Both WDCD and WIDB really shaped my connection to radio, management and artists.

Being at PD/MD at WIDB, I had record reps calling me (John Sigler, Keith Altomer, Karen Glauber, Jim Strait, Mike Scheid) to promote their projects. I still have The Nails promo pen Sigler sent, did a cool Breakfast Club promotion with Altomer, and got to see Prince at the Checkerdome thanks to Jim Strait!

While at WIDB, I went over to the dark side -- Top 40 radio! Tony Waitekus gave me a "shift" board op'ing Adult Top 40 with Kasey Kasem. That went fine for about four months when Tony didn't have an air shift for me and I fell asleep between AT40 segments (they were on vinyl then). The Production Director woke me up after the record ended (dead air). I quit the next day because I told myself if I cared enough I wouldn't have let that happen. Hey, I was a college kid getting up at 5a on a Sunday? Yeah, no. After college and college radio, I submitted some demos/resumes to radio job postings. That was filled with many rejection letters or an offer to work at an AC station in Ripon, WI for 13K. I opted to for about 8 months in Chicago working at Dr. Wax Records and spun at legendary club NEO.

With some radio, club and record store experience, I took a shot and went to L.A. with $1,000 in hand, stayed with my sister and called all the people I knew from records and said, "I'm here now; can I work at your label?" In 14 days, the late Jim Snowden at PARAS group said I could come by for some part time work. I did but stayed full time hours. I created my value and position by taking on task. PARAS then merged with Passport Records. Suddenly, there was an influx of more than jazz releases. It was rock and alternative. So I compiled all the trades (R&R, Album Network, FMQB, Hard Report, Scotts Tissue) and made a call list. I was an instant National Promotion person! I made some nice connections in radio (Lin Brehmer), which helped me land a regional rock gig back in Chicago with Chrysalis. The trajectory was set. With other labels to follow ... Elektra, Motown, Universal and now Hollywood Records and the Walt Disney Company.

Fun fact: While I was PD at WIDB, Bob Odenkirk started his Sunday night comedy show, "The Prime Time Special."

2) What has been your most rewarding project to work?

Uh geez, many. These are like your kids, ya know? Currently, Morgxn's "Home" has really rallied beyond what I thought it was going to do. I'm glad because the infusion of success with the track has enabled him as an artist to simply blossom and gain a stronger confidence. It has made him more comfortable and find his swagger.

I'd say those Chrysalis years sure were fun ... Slaughter, Sinead, The Pursuit of Happiness. Elektra ... breaking Metallica's "Enter Sandman" and the Snakepit tour was a lot of fun, even though Harvey Kojan and Heidi Hess kicked me out of WNOR because I left some unpleasant comments on their weekly add line. They were the last station! Heidi and I still laugh about it.

I could go on but I'd say the earlier years were a blast in your 20s and it was a different time.

3) What's been the most frustrating?

When you let a hit slip away. Also, sometimes you're dictated on how the chart stacks up. Sometimes you catch a break, but other times you don't want to end a single run at #2, #6 or #11!

4) What's the worst excuse that you've ever gotten from a programmer?

Usually a "too much horns," "too Country" or "I don't like the way the drums are mixed."

5) What has been the most fun that you ever had doing a promo run with an artist?

Sometimes it's a prank. Or sometimes it's the gleam in their eye when they hear their song on the radio. A lot goes into a promo run because as any regional knows, we're the first up and often times the last to go to bed when you have to do a recap report. It's rewarding when the week goes by and you knocked out six to eight station lounges/visits, driven 1,200 miles and the artist is singing for their supper, if you will, and the promo rep making sure everybody is happy ... artist and radio. You do get a lot of personal time and get to know these artists pretty well. A friendship begins and you don't want to disappoint.

6) Is the ability to close more science or art?

It's both. The science comes in the form of data/research/metrics. The art comes in to when to know how to apply those valuable stats in a sellable form. It's really knowing your stations and programmer to provide them what they're looking for and knowing when to lean in.

7) Hypothetically (of course), what is the craziest thing that ever ended up on an expense report that you submitted?

This is easy. Blow-up doll! I was working the Stage Dolls at Chrysalis, nice Norwegian boys, and we were at a Conclave in our Chrysalis Suite. What better way to bring attention to our new rock band! I had one blown up and affixed to the wall and made it an "add board" where programmers' call letters were written down the leg. Yeah, that didn't last a night before it made it into the pool a few hours later. I'm not sure where that ended up and I probably don't wanna know.

8) In your long and storied career, what is the best show that you ever were at by one of the bands/artists that you were working?

Again, these are tough questions to single out. And I can't pick one, but what pops into mind is Metallica. To this day, they still bring it. Godsmack, The Waterboys, Mars Volta, Curve ... to name a few.

9) Sweet home Chicago ... what makes being a part of the music scene in one of America's greatest cities so special?

Chicago doesn't play trends nor really creates many. We're in the middle and pretty honest about our music. Historically, Blues has been well attached to us but there has always been a strong Jazz community. With many great rock bands going back to Wax Trax days, we're as proud of our artists as everyone everywhere else is. A lot has to do with the live shows. Chicago audiences are very generous and kind to well-performing artists and can have a home here on every tour.

Live shows wouldn't be possible without the great concert promoters such as Jam Productions (Jerry, Arne, Nick, Andy, Dave and others) and Joe Shanahan of the Metro, Joe Segal's Jazz Showcase and many independent clubs. Without their vision and support, the Chicago music scene would not be even on the map today. I don't think there would be a Lollapalooza here if they hadn't shown the world we take and support our live music seriously. In more recent years, House of Blues (Yerke, Bourjaily, Reens) and later LiveNation have kept Chicago on the map. And c'mon on ... Lollapalooza. As far as festivals go, a live festival with the backdrop of the city skyline with hotels and the best restaurants in the world ... please.

10) Who would you say that your mentors were?

In radio, Dan Manella and Mark Ruffin encouraged me. Records, Jim Snowden for giving me a shot and getting me started, then Greg Thompson -- he was in Chicago when I arrived for Chrysalis and Kevin Sutter. They gave me the guidance and walked me through at the beginning. Monte Lipman and Val Delong, though tough at times, made me a better promotion person.

When all is said and done, who would you say has had the better run ... S. Finck or W. Disney?

Sorry Scotty, but Walt's got you on this. Otherwise you wouldn't be up snooping around in his office! Besides, you say run like it's complete. Scot is not done writing his story!

The legacy and vision that Walt has brought to entertainment and joy to kids and adults is unmatched. It's his vision that drives The Walt Disney Company to be as complete as possible. Always striving for the best engagement and customer experience. This leadership hold true today with Bob Iger at the helm. What he has achieved is also brilliant and admirable. Arguably, not a better, more trusted brand in the world.