Musicians, Agents and Venues
work hand in hand to get their acts the best dates and deliver
the best talent to the venues that hire them to supply talent.
But what do they really do and exactly what should be
expected when working with a talent agent? We have gathered several
of the top agents in the area and asked them to share their thoughts
with us about what really should be expected. Let's hear
what they have to say. Several were asked to participate and
sadly
declined. Many thanks from the music community to
those that took the time to participate and give us a look at
what you do.
(* Agent bios can be found
at bottom of page) Some of the answers may actually
surprise you...
What are some of the things you look
for when taking on representation of an act?
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- RC: When taking on an act, I look
for experience, patience, and the understanding that "making
it" takes
time.
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- VR: 1) Have a great sound 2) Being Professional
3) Dependable
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ER: The
connection with the band and the audience is the # 1
thing for me. Many great bands just
play for themselves. I call it "masturbation." They
play great, but never ever connect with the people in front
of them there to watch and hear them. I look for
talent, charm and showmanship, but mainly they have to
connect with the audience. From a business perspective,
they have to be marketable. If it is a Nat King Cole
Tribute, well that audience is thinner every year….but
if it is a Bon Jovi tribute and they are good…there
is a lot of room for great business, etc.
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JK: No
set thing ever and it
could be any style/genre of music, but its just got to
sound good, its got to pick you up. Its more like it
finds you. Its the x factor, the nameless combination,
and if I doesn't blow me away personally - I
can't promote it.
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What are some of the things
that an act should look for when selecting an agent to represent
them?
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- RC: An agent should be experienced in representing
talent. An agent must be sensitive to the act and their
needs, and have a clear understanding of the capability
of the act, as well as the ability to be honest with
them about their artistic future.
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- ER: Honesty, hard worker, detail
oriented and past experience.
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- ML: I think honesty and communication
are key in any business but particularly when an Agent
is supposed to be the representative for your “art” or
your “craft”. I am usually very upfront
with an Artist about what I can or cannot do for them
and what might
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Tell us a little about
what brought you to where you are today?
How you got started,
influences etc.
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RC: I learned it all the hard way, from the ground
up. When I chose to work in this industry, they didn't
have specialized university majors for concert production
or management. My first job in the entertainment industry
was hanging up posters for an event on the street. I
worked any job centered around music that I could; I
was a stage hand, I did concessions, worked in the box
office, wardrobe; anything I could learn. After I decided
I liked the industry, I worked in facility management,
running venues all over the country. I decided to start
my own concert production/promotion company in the mid
80's here in South Florida. It was a little easier for
me because I had built good relationships with agencies
because of running venues, so I was lucky enough to already
be in the inner circle. Jon Stoll and John Valentino
with Fantasma Productions and Jack Boyle from Cellar
Door were big influences in my career, from them I learned
how to be tough in this business but still be sensitive.
I also learned the importance of having a head for business,
but most of all how to be true to the industry.
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VR: I
have been the leader of many bands, I am a professional
drummer/vocalist. I became a producer (I hate the word
agent) back in 1987 (and I am fully licensed) reason
being, I was getting tired of being screwed by “Agents”
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ER: I
started out as a 10 year old comedy magician in Miami. When I went to college at FIU (Business/Marketing),
I couldn't pay my rent in the summer as Miami was a seasonal
town then -- there were no shows anywhere to be had. So
I started working the cruise ships. When I graduated
from FIU, I went to sea as a performer. I was promoted
to cruise director in charge of all the entertainment
on the ship and did that for 20+ years. I ended
up in the corporate office in Miami booking all the
entertainment, and finally left and started my own
firm.
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JK :Booking
bands, putting together shows for me - it all came about from bartending
and standing around bored, listening to too many cover
bands, all doing the same thing and copying what the
radio was already overplaying. Plus seeing
things go all wrong when there's no need for that and
knowing what would put it right, organizational skills
plus cheerleading, patience, and a good ear - and just
taking the horse by the reins already! And loving
it.
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ML: I
started out as a kid being interested in the performing
Arts and particularly music and soon learned I had
more of a knack for business than I did for performing. When
I moved to Florida 32 years ago I worked for (the late)
Don Cohen at The Musicians Exchange in Fort Lauderdale
and did everything from Bookkeeping to operating the
Musicians Referral service. From there I moved to Fantasma
Productions in West Palm Beach and worked for (the late)
Jon Stoll as well as working with John Valentino. Jon
was interested in anything and everything to do with
music and concerts and if you had a viable idea to enhance
or expand his business…he would let you run with
it and for that I will always be grateful! In 1986
I started my own Agency (Entertainment Consultants) and
because I had always lived in Martin County, it seemed
natural to book talent from the Treasure Coast all the
way thru Palm Beach County. During these years
I was fortunate to meet and work with a great many
Artists from all over South Florida most of whom I
still call upon today!
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What are some of the misconceptions
that artists or club owners assume about what you do?
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RC: A
lot of the time club owners might think I am greedy
because I fight for a band. It's not that I'm trying
to make more money off of one of my bands, it's because
I believe they are worth more than the club owner
is offering them. I've represented bands before that
think I show favoritism to another band, but that's
not true. I work equally hard for each act on our
roster, but some are going to book better than others.
Additionally, it is easy to work with bands who understand
what it takes, and are willing to work hard for it.
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- ER: Many
people expect the agent to be a "manager." It
is two different vocations. My job is to find
the talent a job!
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JK: LOL
- some bands think promoters/managers - are making all this money off their shows-
a omg - profit! And they (the band) is not. Incorrect.
You didn't make money, I didn't make money. Possibly
the club didn't make money either! It is hard to make
money in this business with original music. It is hard
for the clubs, it is hard for everyone - you have to
do it because you love it. But I hear lots of bands bitch
that they didn't get paid - and if they didn't that is
wrong - everyone should get paid and no bands should
play for free unless it is for charity or an opportunity
at the least - but sometimes the bar didn't even
break even either. TRUE. Oh, I will not and
do not come to your warehouses, studios, houses,
etc., to hear you play for the first time. I can't,
#1 its dangerous, I don't know you - #2 who has time
#3 are you serious - get something up on line show
me you can for starters - promote yourself. Jessica
only helps those who help themselves! And I can't do
it ALL.
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Do you notice any trends
with what is being requested of you currently?
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VR: Yes,
more and more people are sick of “RAP
CRAP” which is not music. I am getting more request
for real music from the 1960’s and 1970’s
and “Tribute Bands” that do music from the
60’s, 70’s & 80’s
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- ER: Tributes,
tributes, tributes………and
inexpensive tributes.
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JK: No.
I don't find myself getting asked for certain kinds
of music and that music or certain
genre has become "trendy". The clubs I work
with mostly know me and they trust me to bring it to
them. I bring what I hope people want to hear, mostly
I bring what I want to hear. I try to introduce
what I feel is superlative music and it can be of any
genre. I try to mix up new bands with great draw
bands that should be playing together. Win win, busy
bar, happy customers, bands making friends with other
bands, growing a scene.
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ML: I
haven’t noticed any particular
trends per se but rather the entertainment business has
gotten more competitive with clients all vying for the
same audience or patron. On the bright side,
my clients are seeing the value in how booking entertainment
can enhance their event or increase their business
potential.
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Once booked for a date,
what do you feel are the responsibilities of the artist
and venue, please elaborate?
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- RC: The
band must promote the show and the venue using their
radio, social media, and website outlets.
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VR: The
band should be professional at all times, Start on
time, Don’t have people “Sit In”,
Always try to sound and look your best. Regarding Venue/Club
Owners: Promote the Act and treat them with respect,
Club owners must realize, people come to see the “Band” not
the Club Owner.
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ER: The
band needs to be top pros. They
need to think like a marketer: the client is KING. You
have to do everything the client wants to progress professionally
and be asked back, and expand your client base. The
venue needs to treat the artist with respect and give
them all the tools required (as per Rider) to make it
a great success. The better the band looks, the
better the venue looks….and the more profit
they will make, too.
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JK: PROMOTE
PROMOTE PROMOTE. Keep your promises. And please bands, don't promote
the show two weeks after the one I just booked you on
before your promote the one you're on this weekend. Venues
- When I bring a show there is a set up schedule
for these bands - hold everybody to it. Have some
balls about that - there are always extenuating circumstances,
but if I have a band going on at 11 cause their drummer
is not off until 10, please do not change the order on
us. Do not make a band play last (or first) that
did not agree to that spot. Do not fuck with the Order!
Its been set for weeks/months, maybe longer and it does
matter. A show with alot of bands involved, is a ton
of coordination, you bartender, Mr. Club owner, DJ, Soundman,
Doorman, girlfriend of the guitar player, whoever
- do not fuck with the Order!
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ML: For
both parties the responsibilities do not end with my
saying, “we have a deal!” I
will always make the logistical end of any booking (i.e.,
contract, load-in/out, payment) very easy for both parties
but once those details start materializing it is important
to pay attention and follow the guidelines for each booking. Sometimes
the artist and the client can get complacent or move
on to the next thing too quickly and that is where
problems can arise.
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What should each do to make
the event a collaborative success?
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- RC:The
venue must do the same. Each must do their part to
get a return on the investment. It's my job to qualify
the client for my band; I want to make sure that the
client will do their part too. If the client doesn't
do their part in advertising the show, I don't want
my band to be blamed.
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- ER: Social
media, mailer (email), get the word out. MARKETING-MARKETING-MARKETING…..no
one shows up to your party if no one knows about it. Get
the word out.
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JK: If
you have to ask - you shouldn't be doing this. Everybody
should know what their part is by now. Some bands,
clubs are so easy to work with cause they know the
drill or they listen to the person they hired/are paying
(or not) (the promoter) to take care of things. Be
on time. Be respectful. Everyone promote. Be AVAILABLE
and APPROACHABLE> Be Honest. PROMOTE.
ANSWER THE PHONE. USE YOUR FACEBOOK PAGE and put clearly
on there what band you are in please! Support
the bands you are playing with. That means stay inside
and listen a bit whenever and as much as you can. Venues,
is it is too much to give your bands some beer?
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ML: For
the client sticking with the details of the booking
and following thru with everything that has been agreed
upon from the onset is crucial. If
they are delegating to others in their employ or committee
they still have to make sure that everyone is doing what
has been asked of them. For the Artist take great
notes, have one person within the group be in charge
of booking and make sure everyone in the band has all
the information necessary to make the show a success.
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How does the Internet fit
into how you now do business?
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RC: Being
a dinosaur, I was accustomed to doing business the
dinosaur way, with yellow note pads. However, times
have changed, and its necessary to use the internet to
be successful now. Social media plays a huge role in
how we now do business. With facebook and twitter, we
have managed to reach a new demographic in a real time
way, and that's invaluable. I am still learning how to
use the internet for business, so I'm lucky to have staff
who are young!
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- VR: Regarding the internet: You must have a
web-site listing all of or most of your acts.
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- ER: Cold
calling is dead. It is all email and internet
campaigns
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ML: The
internet has made talent & client
information much more readily available. What used to
be dozens of phone calls per day and waiting for the
return call, the internet has minimized the downtime
that you experience. I
also love email as a form of documentation because let’s
face it…we are constantly involved in three-party
negotiations (he said..she said) and so now it is easier
to hang up the phone and document a conversation or
agreement with all parties concerned.
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What can we expect to see
from you in the future?
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RC: Same thing I've been
doing; festivals, concerts, and sporting events. Currently,
I'm working on opening another office up in my Texas
hometown.
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- VR: I
am working on many festivals which will include many “National
Acts”
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ER: I
will be co-producing two shows in Las Vegas. One for my client, whom I manage, illusionist
Michael Turco who was just on "America's Got Talent," and
the other one is not in its final contract stage -- yet. There
is also a third possibility but we are still in the finance
stage. My future is in Las Vegas. I have
also written a treatment for a TV show that has been
in my head for 12+ years. I have some interest
in LA for the project, but this is like winning the lotto,
so I'm not counting on it. Just wanted to move
on the idea otherwise I'd always say, "what if?"
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- JK: Sunday nights PUNK night returns
to the space that was the Tavern 213!!! And - well you
never know!
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If you could go back
in time what would you do differently in your career?
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- RC: Sometimes I think it would have been easier to
stay in facility management, and make smaller changes
but work for someone else. But, I feel like I am able
to make a larger impact on the industry having my own
company.
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- VR: Pursue a recording career
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- ER: I should have started my business earlier
in my life.
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- JK: Hmmm..... Okay, this is really
honest - I would take one friend/band back that won't
talk to me anymore and then again maybe I wouldn't
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What has been your best experience
in the business? And Why?
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RC: The
best experience is at the end of a show, when I look
into the audience and see all the butts in the seats,
with smiles and laughter on the faces. To me, that
means I've succeeded.
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- VR: Working
with many “National Recording
Artist” producing their shows and getting to know
many them
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ER: Up
to now, and there will be many great things happening
soon, I'd have to say the whole experience of starting
my own business. It's frightening,
exhilarating, and all time consuming. It's been
great. Besides that, in 1981, I was the cruise
director on Holland America Line's Rotterdam, as she
went on a 99-day cruise around the word. FLL to
NYC the long way. Coming up, planning and executing
99 different days of entertainment was the most challenging
thing I've done…….and when it was over,
I went right for the bar at the Paramount Hotel in NYC
for two large Martinis……and a lot of
sleep.
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- JK: Best? Hasn't happened yet!!! Might
be this weekend!!!
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- ML: My best experiences in the beginning
were the employers who believed in me and saw my passion
for this industry. Right
now my best experiences are when you have followed your
intuition to bring an Artist and client together and
everyone is happy with the outcome!
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What has been your worst experience
in the business? And Why?
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RC: The worst experience is anytime you have worked
hard to plan a show, and it fails. I truly believe that
entertainment is important to the quality of life, and
the community suffers when an event fails.
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ER: In
general, I hate to deal with people that are not honest,
or ethical. I have a rule: if
I don't want to have dinner with them (a client or a
booker), I don't want to work with them. There
are too many assholes in this business and I don't want
to deal with them. I want to find the nice people. I
love what I do, and I don't' want anyone to bring me
down. If I'm not happy with them, I move on. NEXT!
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What is it you love about
what you do?
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- RC: Seeing people happy, enjoying the music.
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- VR: Being around the music and musicians
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JK: THE
MUSIC. Happy faces. Support and encouragement. When
bands do Tag Tuesdays on Facebook and just rave about
their friends bands!!! When an out of town band comes
in that's just a local band in a new place and our
locals are just awesome to them.
Oh! - when I put bands together on a show for the first
time and the relationship blossom into travel back and
forth between cities, they do more shows, they go
on the road together, and the shows get bigger and
bigger and the SCENE GROWS!!! When I put a band on stage
for the first time cause I believe in them and then everyone
knows them, they are playing with all the other bands
now and they are in the scene!! Pics - I love
posting the show photos! I get a lot of out of that
- a band thanking me cuz its the only photos they have,
a fun trail of comments, something beautiful, something
surprising, something that makes someone happy!
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- ML: I love knowing that I am actually
working in a field that I only dreamed would be fun and
knowing that it actually is!
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What is it you hate about
what you do?
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- RC: When we work hard, and the event doesn't do well.
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- VR: I take the good with the bad to be in this
business you must love it.
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- ER: All
the government, insurance and legal issues that come
up all the time. Uuughh
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JK: STUPID
FUCKING PEOPLE. PEOPLE
WITH BAD ATTITUDES, out to start fights, out to
rip people off, LIARS. Irresponsible people that you
try to count on. I will say that has been 1% of everyone
though. Most everybody is really awesome and they (bands
and venues) really do all they can to make it work,
keep it going, keep it real and keep it FUN.
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- ML: Let’s face it….it
is like any other job with its ups and downs. Sometimes
the music business isn’t taken seriously by outsiders
as if to say, “Okay…when are you getting
a REAL job?!”
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How can the business side
and artists better work together?
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- VR: Respect and trust each other
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- JK: Lol - I am the answer to that!
You need a go between that is not for either but for
both. A mediator.
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If you could make a major
change in the business…. What would you like to
see?
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RC: I would change the
competition between small independent promoters like
myself, and major ones like Live Nation and AEG who monopolize
the industry. Their bigger wallets definitely limit me
in the market, and it shouldn't be that way. No disrespect
to my friends at Live Nation and AEG, a level playing
field would just be ideal.
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- VR: More
live music “No track acts” 8.
9. 10 piece bands with horn sections
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Tell us a few things about yourself that may surprise
us?
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RC: Well, before I got into the entertainment business,
I was a licensed funeral director, and wanted to be a
pathologist. My company is named after my daughter Morgan,
which gives me inspiration to fight for what is the best
interest for my company. The name reminds me that it's
not all about me.
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- VR: Well,
being a musician, I actually know something about music
and how to put bands together. I am also very active
in my community organizing community events. And I
am a Great Cook.
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ER: I
love fine food, wine and cigars. My
dad was a chef. My mom was a home education teacher. Food
was huge in our house. My maternal side was all in education. My
parents were Quakers, very peaceful and honest people. I
get that from them….let everyone be…..we
tend to get too caught up in other people's business
in this country. I want to buy a "shack" to live
the summers in Umbria, Italy. Italy is my favorite
country in the world. They know how to live! My
parents are pre-Castro Cuban immigrants. They came
to college in Indiana, went back to Cuba, got married
and moved to Miami in 1951. My wife is British
and we were married in Cornwall, England -- the SW
countryside of this gorgeous country.
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JK:
I have a very dual nature. I am
a redneck girl at heart. I drive a truck, have a pitbull
dog, owned my own bass boat and if I can't be somewhere
listening to music I would REALLY RATHER BE FISHING. On
the other hand, I graduated from high school when I was
16, was already going to college, and I have worked in
the legal profession for over 20 years. I feel guilty
if I forget to fill the bird feeder in the yard.
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- ML: Well….I’ve always subscribed
to the “don’t tell them everything you know” theory
and I am very private, so here goes…and this is
boring…..I am very good at remembering phone numbers
and recognizing voices! Probably learned from years
spent on the phone!
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