MSO Music. Culture. Lifestyle.

 

MSO is the go-to publicity firm for creative and maximum impact press campaigns encompassing all forms of media.

 

With its iconic and cutting-edge artist roster—and its representation of internationally heralded music festivals, tours and events–MSO has the eyes and ears of America’s exuberant music fans.

 

With the prowess to represent high-quality, honest music from many musical genres—pop, rock, electronic, dance, hip hop and country including the various sub genres of punk, metal, screamo, goth and Americana–MSO is plugged not only into the music itself but into the culture and lifestyles that continue to rapidly grow around the music.

 

Through the skilled efforts of the agency’s expert staff of music industry veterans and young blood, the world-famous agency has become respected as the ideal conduit between the taste-making media and music devotees that have propelled so many of its clients into the limelight.

 

Always forward thinking, MSO was the first independent music publicity firm in America to have its own web site back in 1996. Founded by one-time Rolling Stone rock journalist Mitch Schneider, the agency designs tailor-made, passionate press and TV campaigns that focus on the talent, vision and goals of the individual client, artist or event.

 

In a market where CD sales have started to give way to the phenomenon of digital downloads and video games–and the touring market has grown to include the explosion of music festivals and package tours–MSO has embraced the change, recognizing that music’s role as a cultural lightning rod is more pronounced than ever.

 

MSO is–and will always be–about Music. Culture. Lifestyle. 

 

 

 

 

An Overview

 

The essence of good press exposure is based upon a keen understanding of the media, and MSO’s founder, MITCH SCHNEIDER, truly has a deep knowledge of it. As a New York freelance journalist for Rolling Stone, Crawdaddy, Hit Parader and Circus magazines in the mid to late 70’s, SCHNEIDER earned an inside understanding of the way media functions–and what they want from a publicist. This media insight and experience gives SCHNEIDER a distinct advantage in the publicity field. In February 1995, he formed THE MITCH SCHNEIDER ORGANIZATION, a firm that spun off from Levine/Schneider Public Relations. Over the course of 11 years at Levine/Schneider P.R., MITCH SCHNEIDER and his associates built a strong roster of artists spanning rock, alternative, soul, country and pop. MSOopened its doors February 1, 1995 with most of the employees from the music division at Levine/Schneider PR.

 

THE MSO EXECUTIVE TEAM

In addition to Mitch Schneider, the MSO executive team also consists of Marcee Rondan.

 

MARCEE RONDAN

Executive Vice President Marcee Rondan joined forces with Mitch Schneider back in the days of Levine/Schneider Public Relations. Marcee began her career as an intern after completing her education at the University of California at Irvine (where she studied Comparative Literature).  In her tenure at the company (which branched off to MSO in 1995), Marcee first served as a publicist, before becoming a Vice President in 1997 and a Senior Vice President in 2000. Marcee gathers inspiration from every medium of pop culture: the latest books, magazines and fashion trends (including the search for the perfect handbag).  As for the music, it’s really all about the next great song, “I’m in love/What’s that song?/I’m in love with that song.”

 

THE MSO PUBLICITY TEAM:

Mitch Schneider  –  President
Marcee Rondan  – Executive Vice President
Kelly Walsh – National & Tour Publicist
Andrea Faulk – Tour Publicist

Nashville Executive Director:
Lyndie Wenner

Executive Assistants:
Jessica Bonner
Kaitlin Fritts
 

Media Exposure By MSO

 

MSO VISION: We specialize in tailor-made, passionate press campaigns highlighting the talent and vision of the artist.  We match up the best writers for our clients wherever possible, resulting in articles that reflect the artist’s virtues and passion. Our approach is strong and positive, but avoids hype. By utilizing our national and local contacts, we give our clients the targeted exposure they’re looking for while building on their image and achievements.

 

MSO FIRST: Because of its prestigious and varied client list, MSO is often called first by magazines like Rolling Stone, Blender, Interview, GQ, Revolver and Guitar World when they’re looking to secure artists for stories and issues of a thematic nature. At the same time, MSO’s close relationship and clout with key talent bookers at television shows give the company an important edge.  These shows not only book our artists months in advance for an album release–they contact us immediately when they’re suddenly in need of a guest–enabling us to secure last-minute but impactful bookings.

 

MSO NOW: Whether it’s a news item at Rollingstone.com or an album review in the Boston Globe, the MSO staff moves quickly to deliver clips–national and key regional–to clients by regularly checking the key outlets on the Internet as well as the sites of the top 25 newspapers across the country.

 

MSO TEAMS: With the number of media outlets and freelance writers growing at a rapid pace, how does a publicist truly keep up and effectively pitch this ever-widening menu?  MSO has met this challenge by assigning a team of three or four publicists to each artist, giving the company the ability to deliver far-reaching campaigns.

 

MSO COMMITMENT: The role of the publicist is more crucial than ever, with increasingly constricted radio/video playlists.  We believe people decide to make purchases (albums, tickets) based on multiple exposures to an artist, via television performances, magazine features, newspaper features and/or weekly previews in addition to radio and video exposure.  In many cases, artists can not count on radio/video play, so press–and the Internet–are the only ways fans are becoming familiarized with new music.

 

MSO DIVERSITY: Acclaimed new artists and legendary musical pioneers alike are represented by the company, whose roster encompasses many musical genres: rock, punk, metal, pop, soul, cutting-edge, hip-hop, electronic and dance.  This diversity enables MSO publicists to work very closely with a wide range of media outlets–television shows like “60 Minutes,” publications such as VIBE, Magnet and URB, or underground punk fanzines–and thus increase the possibilities of coverage for our artists.

 

MSO ABOVE AND BEYOND:  The company’s commitment to its clients extends beyond publicity.  We’ve secured acting spots for Green Day and Everclear on the acclaimed series “The Chris Isaak Show,” for example.  MSO also launched Korn’s Issues album on the 1999 Halloween episode of “South Park,” where the band debuted their single “Falling Away From Me.” In addition, this episode featured the band as animated characters.

 

MSO ROOTS: The essence of good press exposure is based upon a keen understanding of the media, and MSO’s founder Mitch Schneider truly has a deep knowledge of it.  As a New York freelance journalist for Rolling Stone, Crawdaddy, Hit Parader and Circus magazines in the mid to late ’70s, Schneider earned an inside understanding of the way media functions–and what they need from a publicist.  This insight and experience give Schneider and the MSO staff a distinct advantage in the publicity field.

 

MSOPR.COM: MSO was the first independent music publicity firm in America to have its own website, which launched in 1996.  This site, updated daily, gives journalists access to individual client web pages, where photos, bios, press releases, items and tour dates are posted.

 

MSO ON THE ROAD: We do specialized press for touring clients, encompassing daily papers, weeklies, and monthlies, local fanzines, regional Internet outlets and local TV.  For every show day, we submit a comprehensive media report outlining secured features and reviews, plus TV crew and photographer updates.  With an office based on the West Coast, MSO’s Tour Press Department stays on top of things in a way that East Coast publicity firms can’t.  Because of our time difference of 1-3 hours from many of our bands’ tour markets, clients are able to reach us for emergency verification of journalists, TV crews, etc. at the show–during the time when an East Coast office may already be closed for the day.

 

Why Independent Publicity?

 

Hiring a firm for publicity has certain advantages.  As independents, we have the ability to work with artists who interest us.  Our press releases, bios and mailings reflect a deeper understanding of the artist–the music, the lyrics, the vibe.  We like to get to know the artists and what they want–and do not want–in their publicity.  At MSO, publicity is taken to the next level.  Exposing clients in new ways and with different angles is our specialty.  Here are a few examples:

 

– We pitched AEROSMITH outside their realm–in this case, “The Simpsons,” which animated them for an episode.  Interesting, unprecedented coverage resulted.

 

– As a result of our pitch, KORN debuted “Falling Away From Me”– the first single from their Issues CD–on the 1999 Halloween episode of “South Park.”  This episode featured the band as animated characters.

 

– For the 1996 reunion of the SEX PISTOLS, we suggested the group perform a “benefit” concert for Princess Di.  The angle:  The PISTOLS would give her the proceeds to cover any money she didn’t receive from the monarchy.  The band then sent Princess Di a telegram with the news of this offer, to which she replied “No comment.”  All of this was subsequently announced by JOHNNY ROTTEN at their press conference in London.  Huge press resulted.

 

– For various dates on LIVE’s 1997 “Secret Samadhi Tour,” we suggested the group organize a second stage where local unsigned bands could perform to LIVE’s fans. This marked the first time one band have organized a second stage at their shows–a tradition at multiple artist traveling festivals (i.e. Lollapalooza, H.O.R.D.E.).  The group was touted as “heroes to the underdogs” in the media.  We also suggested the creation of a special limited-edition tour poster designed by a renowned graphic artist, which the group sold for $5.  Proceeds from the vibrant, full-size poster benefited several worthy charities.

 

– For DAVID BOWIE’s tour-ending 1995 Halloween concert, we suggested the theme “Pagan Halloween Ball.”  We accessed Los Angeles’ underground performance artists (piercers, tattoo artists, fetishists, etc.), creating a “gothic circus” feel to the show.  It was widely covered, nationally and locally.

 

– “Entertainment Tonight” expressed tentative interest in doing a piece on LITTLE FEAT but wanted an angle.  We suggested taking the Cajun themes from such songs as “Rad Gumbo” and “Cajun Rage” a step further.  The group got together for a rehearsal/barbecue and an “ET” crew filmed the band sampling the cooking of new singer Shaun Murphy.  It resulted in a great piece, with b-roll of the band performing, giving the group their first “ET” coverage.

 

– In consulting with CHRIS ISAAK about the debut of his Forever Blue album, we suggested that buildings be flooded with blue klieg lights the evening of release.  Warner Brothers did this to the House of Blues (where Chris performed) and Tower Records (for his midnight appearance), creating a “blue light district.”  The lights were included in various reviews, including the Los Angeles Times and Daily Variety.

 

– To condemn the growing use of tapes and sampling on–stage, we suggested to RONNIE JAMES DIO that he put the following notation on his ad mats: “This concert does not contain any tapes or sampling.”  As a result, the item appeared in USA Today, Los Angeles Times and MTV “News”(outlets that ordinarily didn’t cover DIO) and reinforced his honest musical presentation to his fans.

 

– MSO has launched five successful campaigns to help garner Hollywood Walk of Fame stars for TOM PETTY AND THE HEARTBREAKERS, THE TEMPTATIONS, CHICAGO, THE EVERLY BROTHERS and AEROSMITH.  This honor always results in national and international coverage.

 

– In September, 2002, we wrote and issued a press release that had TED NUGENT make a special offer to Lance Bass upon hearing that the ‘NSYNC member’s proposed trip to the International Space Station was cancelled by the Russian Space Agency after he was unable to come up with the $20 million in time. The release stated that, for the price of $1 million, Bass could join NUGENT on his Michigan ranch to be trained in bow hunting basics before embarking on a week-long hunt “where he’ll be taught a greater appreciation for nature and gravity as he hunts, kills, cleans and cooks for himself,” said NUGENT. Story received overwhelming pick-up nationwide.

 

– To announce KORN’s tour for their See You On The Other Side album in 2006, we came up with the idea to hold a grave-side press conference at the landmark Hollywood Fovever cemetery.  The day was capped with a huge celebrity-studded party at the cemetery’s huge mausoleum that was covered by MTV, Fuse, Rolling Stone and the Los Angeles Times.

 

– Playing off the idea that Los Angeles is spread-out, we had indie Los Angeles rock band  THE RANDIES underline this by naming their 2005 mini-tour “Calling L.A.” since it covered six different local area codes.  Coverage resulted in the Los Angeles Times, calling the idea “clever.”

 

 

SELECT CAMPAIGNS

 

A Perfect Circle’s The Thirteenth Step
Aerosmith’s Pump, Pandora’s Box, “Nine Lives Tour”, Honkin’ On Bobo, You Gotta Move (DVD), Rockin’ the Joint, Devil’s Got A New Disguise: The Very Best of Aerosmith
Alanis Morrisette’s Jagged Little Pill (1995) through 2005’s The Collection (Greatest Hits)
”All Tomorrow’s Parties” (2004)
Allman Brothers Band’s Hittin’ The Note, Live From The Beacon Theatre
Audioslave’s Out of Exile
Avenged Sevenfold’s Waking the Fallen
Backstreet Boys’ Millennium, Black & Blue, The Hits-Chapter One
Bad Religion’s Recipe for Hate, Stranger Than Fiction,  The Gray Race
Billy Corgan’s The Future Embrace
The Black Crowes’ Shake Your Money Maker, amorica, Three Snakes and One Charm, By Your Side, Lions, The Lost Crowes, Warpaint
Blue Man Group’s The Complex
Brooks & Dunn’s Greatest Hits Collection II
”Coachella Valley Music and Arts Festival” (1999-2008)
Crystal Method’s Community Service II, London (soundtrack), Drive
The Cult’s Sonic Temple,Ceremony
David Bowie’s Tin Machine II (1991) through the current Reality
Dave Gahan’s Paper Monsters
Deep Dish’s Global Underground #025: Toronto
Def Leppard’s Rock of Ages DVD
Deftones’ Adrenaline, Around the Fur
Depeche Mode’s Exciter, Playing the Angel, The Best of Depeche Mode
Disturbed’s The Sickness, Ten Thousand Fists
Dolly Parton, Backwoods Barbie
Dropkick Murphys’ The Meanest of Times
Dwight Yoakam’s Buenas Noches From a Lonely Room (1988) through Tomorrow’s Sounds Today (2000), Blame the Vain (2005)
Everclear’s Songs From An American Movie Volume I: Learning How To Smile, Songs From An American Movie Volume II: Good Time For A Bad Attitude, Slow Motion Daydream, Welcome To The Drama Club
Faith No More’s The Real Thing, King For A Day…Fool For A Lifetime
Faithless’ Reverence
“Family Values Tour” (1998, 1999)
Fleetwood Mac’s Tango in the Night, Greatest Hits, Say You Will
Fuel’s Something Like Human, Angels & Devils
George Harrison’s Brainwashed
George Michael’s Listen Without Prejudice
George Thorogood’s The Hard Stuff
”Gigantour” (2005, 2006, 2008)
Godsmack’s Awake
Goldfrapp’s Number One EP, Supernature, We Are Glitter
Good Charlotte’s Good Morning Revival
Green Day’s Nimrod, Warning, International Superhits
Hatebreed’s Perseverance
Heart’s Bad Animals (1987) through Greatest Hits (1998)
Hellyeah Hellyeah
“H.O.R.D.E. Tour” (1994)
James Lavelle’s GU #026: Romania
Jane’s Addiction’s Ritual de lo Habitual
Janet Jackson’s janet., “Poetic Justice” (film), Rhythm Nation 1814
Jimmy Page and The Black Crowes’ Live At The Greek
Jurassic 5’s Power in Numbers
Korn’s Follow the Leader, Issues, Untouchables, Take A Look In The Mirror, Greatest Hits, See You On the Other Side
Limp Bizkit’s Three Dollar Bill Y’all
Lynyrd Skynyrd’s Vicious Cycle
Martin Gore’s Counterfeit 2
Matchbox 20’s Yourself Or Someone Like You, More Than You Think You Are
Megadeth’s The System Has Failed, United Abominations
Me’Shell Ndegeocello’s Peace Beyond Passion, Cookie: The Anthropological Mixtape
Motown’s Inner City Blues–The Music of Marvin Gaye
Mudvayne’s By the People For the People 
”Nintendo Fusion Tour” (2004-2006)
The Offspring’s Smash, Ixnay on the Hombre, Americana
”Ozzfest” (2005, 2006, 2007)
Ozzy Osbourne’s Tribute (1987) through Ozzmosis (1995), Prince of Darkness (2005), Under Cover (2005), Black Rain (2007)
Papa Roach’s Infest, Lovehatetragedy, Getting Away With Murder
Paul Oakenfold’s A Lively Mind, Greatest Hits and Remixes
Paul Van Dyk’s Reflections
Pennywise’s About Time, Full Circle, Straight Ahead, Land Of The Free?, From The Ashes, The Fuse,  Reason To Believe
Perry Farrell’s Song Yet To Be Sung
P.M. Dawn’s Jesus Wept, Dearest Christian…
Primus’ Sailing the Seas of Cheese, Tales from the Punchbowl, They Can’t All Be Zingers
Prince’s The Most Beautiful Girl in the World EP, Come, 1-800-New Funk
”Projekt Revolution Tour 2004” (Linkin Park, Korn, Snoop Dogg)
R.A.C. Concerts (2002)
Rancid’s …And Out Come the Wolves
Ramones’ Ramones Raw DVD
”San Diego Street Scene” (2005, 2006)
Sandra Bernhard’s Without You I’m Nothing, Excuses for Bad Behavior
Sex Pistols’ Filthy Lucre Live and two tours
Skinny Puppy’s The Greater Wrong Of The Right, Mythmaker
Slipknot’s  Slipknot, Iowa
Smashing Pumpkins’ Zietgeist
Social Distortion’s White Light White Heat White Trash
Soundgarden’s Badmotorfinger
South’s With The Tides
Staind’s Break The Cycle, 14 Shades Of Grey, Chapter V
State Radio, Year of the Crow
Stevie Nicks’ The Other Side Of The Mirror (1989) through Street Angel (1994)
Stone Sour’s Stone Sour, Come What(ever) May
Stone Temple Pilots Core
Sublime’s 40 Oz. To Freedom, Robbin’ The Hood
Tiesto’s Just Be
TLC’s Crazysexycool, FanMail, 3D
Tom Petty and the Heartbreakers’ Let Me Up (I’ve Had Enough) (1987) through The Last DJ (2003)
Tom Waits’ Mule Variations
The Tony Rich Project’s Words, Resurrected
Underoath’s Define The Great Line
UNKLE’s Never, Never, Land, War Stories
”Vans Warped Tour” (1999, 2000, 2002-2008)
Velvet Revolver’s Contraband, Libertad
”Voodoo Music Experience” (2005, 2006, 2007)
X’s Unclogged

 
 

 

Select music articles by Mitch Schneider from his time as a journalist in the ‘70s–for Rolling Stone, Crawdaddy, Circus, Good Times and more–when he worked with such editors as Paul Nelson, John Swenson and Jon Pareles.

 

 

BLONDIE, CRAWDADDY, 1978

 

BRIAN ENO, CRAWDADDY, 1977

 

BRYAN FERRY, CIRCUS MAGAZINE, 1977

 

CHEAP TRICK, ROLLING STONE, 1978

 

COMMANDER CODY & THE LOST PLANET AIRMEN, BOTTOM LINE NYC SHOW, GOOD TIMES, 1975

 

DR. BUZZARD’S ORIGINAL SAVANNAH BAND, CIRCUS MAGAZINE, 1978

 

GRAHAM PARKER AND THE RUMOUR, CIRCUS MAGAZINE, 1977

 

JOHANNA WENT, BAM MAGAZINE, 1980

 

LOU REED, CITY COLLEGE OF NEW YORK, 1974

 

PAT BENATAR, ROLLING STONE, 1982

 

POCO, FELT FORUM NYC SHOW, GOOD TIMES, 1974

 

RAMONES, CRAWDADDY, 1978

 

THE BAND, CHRIS HILLMAN, PALLADIUM NYC SHOW, GOOD TIMES, 1976

 

THE CARS, CRAWDADDY, 1978

 

THE ENGLISH BEAT, AMPERSAND, 1980

 

THE STRANGLERS, CIRCUS MAGAZINE, 1977

 

CHARITIES WE SUPPORT THROUGH OUR WORK

AND/OR FINANCIAL CONTRIBUTIONS

 

• The Allman Brothers Band Museum at the Big House (www.thebighousemuseum.com/home/)

• The ALS Association (www.alsa.org/)

• AmeriCares (www.americares.org)

• City Of Hope (www.cityofhope.org)

• California African American Museum (www.caamuseum.org/)

• Country Music Hall Of Fame (countrymusichalloffame.org/) 

• Daltrey/Townshend Teen and Young Adult Cancer Program at UCLA (www.uclahealth.org/site.cfm?id=1851) and Teenage Cancer Trust (www.teenagecancertrust.org/)

• The Dirty Hands Caravan (www.thedirtyhandscaravan.com/)

• Drop In The Bucket (www.dropinthebucket.org)

• The Environmental Media Association (www.ema-online.org/)

• Global Inheritance (www.globalinheritance.org/)

• Gulf Aid (www.gulfaid.org/)

• Gulf Restoration Network (www.healthygulf.org/)

• Los Angeles Youth Network (www.layn.org/)

• Marin Symphony Orchestra (www.marinsymphony.org/index.php)

• Make A Wish Foundation (www.wish.org/)

• Make It Right (www.makeitrightnola.org/)

• Musician’s Assistance Program – part of MusiCares since 2004 (www.grammy.org/musicares/recovery)

• Harvest Hands Community Development Corporation (www.harvesthandscdc.com)

• PATH: People Assisting the Homeless (www.epath.org/index_01.php)

• PAWS Chicago (www.pawschicago.org/)

• Sharon Osbourne Colon Cancer Program at Cedars-Sinai (www.cedars-sinai.edu/Patients/Programs-and-Services/Colon-Cancer-Program/)

• Simon Wiesenthal Center (www.wiesenthal.com)

• Sweet Relief (www.sweetrelief.org)

• Unite The United Foundation (www.unitetheunited.com)

###

 

QUESTIONS & ANSWERS: Mitch Schneider

http://www.prweekus.com/QUESTIONS-ANSWERS-Mitch-Schneider/article/38834/

KIMBERLY KRAUTTER who writes for PRWeek

February 28, 2000

Mitch Schneider, who heads LA-based music publicity shop The Mitch Schneider Organization, gets right to the point. We commend him for being the first PRWeek Q&A subject to have answered each query in less than two sentences, and still have managed to be amusing. Of course, with clients like Aerosmith, a sense of humor probably comes in handy.

What is your philosophy? 
Fame is a pair of stiletto heels looking for a seat.

What does your agency try to accomplish? 
Put vibe into a bottle and spray the universe with it.

What do you do there? 
I organize chaos. But I also know that chaos, before it is organized, is a thrill.

How do you make a difference? 
I smile without irony.

Tell us something interesting about your agency. 
I’ve been known to make key decisions based on astrology.

What was your proudest moment? 
Landing Aerosmith on The Simpsons. They were the first band to be animated on the series.

How did you get into PR? 
I scaled the wall that separates rock journalism from music publicity.

How did you get where you are today? 
I listen carefully to what our artists tell us. It’s that simple – and that complex.

What would you do if you didn’t do what you do? 
This question terrifies me. There is nothing else I would do.

Do you have a secret daily pleasure?
Stouffers’ Lean Cuisine French Bread Pizza.

What do you hate most? 
Complacency.

What is your idea of perfect bliss? 
To observe beauty without interruption.

What would you do on a desert island? 
Plot my return to civilization.

What will you do when you retire? 
Listen to angry rock bands – the new breed – and dance around in my room.

What is your favorite car? 
My mack daddy Sedan de Ville.

What is the secret of your success? 
I never underestimate the stimulation of tastelessness.

What would you like to change about the PR profession? 
There should be a better exchange of respect between editors and publicists – especially when editors kill pieces, then don’t return your calls.

What will be the next big thing to hit PR? 
A voice-mail system that has the capability to instantly delete voice mails from nasty people.

###

ARTISTDIRECT.COM 

http://www.artistdirect.com/entertainment-news/article/mitch-schneider-founder-of-and-president-of-the-mitch-schneider-organization-talks-rock-n-roll-leather-jackets-and-more/9042279 

August 09, 2011

 

Mitch Schneider Founder of and President of The Mitch Schneider Organization Talks Rock ‘N’ Roll, Leather Jackets, and More

Rock ‘n’ roll has so many more moving parts than most people realize.

It’s an intricate, enigmatic machine that runs off the tireless efforts of not only the musicians playing it, but also of the blood, sweat, and tears of the people promoting it. In that respect, Mitch Schneider—president and founder of The Mitch Schneider Organization (MSO)—is one of the most crucial cogs in the music industry’s well-oiled machine.

During his extensive and remarkable career thus far, Schneider devised brilliant and groundbreaking PR campaigns for everyone from Ozzy Osbourne and Korn to Alanis Morissette and The Black Crowes, always thinking of new ways to bring the public closer to the artists he worked with while preserving the mystique of the music. His current roster includes Aaron Lewis of Staind, Smashing Pumpkins, Slash, Jane’s Addiction, Deadmau5, David Lynch, Ozzy,Dolly Parton and Coachella, to name a few [See the full list here.]

Schneider is well-versed in another facet of rock ‘n’ roll—fashion. In addition to being a true PR guru, Schneider is also a leather jacket aficionado. For this exclusive interview with ARTISTdirect.com, he told us the tales behind some of his coolest leather jackets. They each have a story, and you’ll have to read on for more…

Photos: Sorrell Schneider

In your opinion, does a leather jacket toe the line between elegance and attitude? Is that middle ground attractive to you? 

Yeah! The thing about leather jackets that I happen to love is the attention to detail. If you look at the ’70s leather jackets, the stitching, the placement of zippers, the cut, and the longer collars all stand out. I always felt that to look badass was the essence of rock ‘n’ roll. Truth be told, a lot of those ’70s leather jackets were worn in Blaxploitation films such as Superfly or Across 110th Street. Even in that Diana Ross movie Mahogany, Billy Dee Williams is wearing a great leather jacket. I used to go to the movies just to see the jackets. I grew up in New York City, and my whole fascination with vintage clothing started when I was about 14 or 15. I would take the train from the Gun Hill Road stop in The Bronx down to Astor Place. I’d get off and walk around the East Village with my friends. I’d go in these stores and see these cowboy shirts with amazing stitching. I’d see Hawaiian shirts with great rayon material. They had so much style as opposed to some of the clothing of the day in the ’70s. Except for those amazing leather jackets, I wasn’t that inspired. My vintage fascination started back then.

What attracted you the most to the jackets?

There’s something ridiculous about those ’70s jackets with the long collars, but there’s also something so badass. In those Blaxploitation movies, a lot of the pivotal characters were pimps. Like rock ‘n’ roll, they were anti-authoritarian. That was my leather jacket fascination in terms of the ’70s stuff. Going back to what you were saying about the elegance, wearing a leather jacket is like putting armor on before you go out. If you look at some of the modern leather jackets being made by rock ‘n’ roll companies now, it’s almost as if they looked at those ’70s leather jackets and refined them. It’s a combination of having the vintage jackets and the new styles as well. That’s what really galvanized me. One of the great things about living in Los Angeles is you can wear these jackets virtually eleven months out of the year. We’re known for our cool summer nights here so you can wear a thin leather jacket during that time as well. When I put on something vintage, I think about who wore it before, who they were, what they did, and what they were like. It will take on another dimension and life. I get really into this. I’m a collector so that stuff really stands out in my head.

What’s the correlation between leather jackets and rock ‘n’ roll?

There’s that outlaw iconic image that runs in America, whether it’s Marlon Brando or James Dean. They’re people who are viewed and celebrated as outlaw heroes. I think it starts there. Obviously, motorcycle jackets carry that perception as well. There will always be a fascination with people living on the fringe of society. There’s something about a leather jacket that connects to the outlaw image. You think of Steve McQueen in a leather jacket. You can look at a photo of Brando in a leather jacket, and that’s rock ‘n’ roll right there.

Mitch Gives Us Peek at His Own Collection

#1

That jacket came from Wasteland on Melrose, Ave. in Los Angeles. There’s something about white leather that’s almost far-fetched and ridiculous. When you walk into these stores and pick something up, you start to pray rabidly that it’s going to fit. Then when you see it fits, it’s like winning the lottery. It means a lot. That’s a funny jacket. The leather is not very high quality, and that’s the case for many of those ’70s leather jackets. However, the style is so great. It’s such a noisy jacket to wear. Whenever you move, it makes a sound. The jacket carries a bit of its own drama that way. I also dug the pockets on there. It’s almost like a leather shirt. You have to be in a certain headspace to put that on because the collar is bigger. If you go out in a crowd, you instantly look different than everyone else because it’s a fashioned look that comes from another time. I personally think, “How can I make this look current at the same time?” That jacket was a real find.

#2

The interesting about this jacket is I purchased it in New York City at the Hugo Boss store. I loved it instantly. That’s just a fantastic shade of red, and it holds its own alongside what I consider the great ’70s leather jackets. The jacket actually almost had a death. I was at the Sunset Strip Music Festival when Ozzy Osbourne headlined. My associate Marcee Rondan and I were in the photo pit with the photographers. She looks at me and goes, “Come on, Ozzy is not going to foam the crowd during the first couple songs.” He usually does that after the photographers are gone. However, because his set was shorter that night, he began to foam the crowd and the pit where I was standing during the second song. The jacket was completely covered in that wet foam. When I got home, I thought that was the end of the jacket. Marcee told me to get this Nivea moisturizing cream and put it all over the jacket. A couple of days later, it was like the jacket came back to life. I told Ozzy, “You knew we were in the pit. You aimed for us.” He just laughed because he loves to play pranks. I will not be wearing that jacket to future Ozzy shows [Laughs].

#3

I just got that a few months ago at Squaresville on Vermont Avenue in Los Feliz. When I picked it up, I thought, “If this fits, that would be incredible!” I love ’70s country rock, and this is similar to the style that the bands would wear whether it’s Byrds, Buffalo Springfield, Poco, or The Flying Burrito Brothers. I love that music and I really cut my teeth on it. When I saw the jacket, I couldn’t believe it. It’s a remarkable piece. I actually wore it to the Buffalo Springfield reunion show at The Wiltern. I ran into Clem Burke, Blondie‘s drummer, in the lobby and he said, “Mitch, that is a great Neil jacket.” He was referring to Neil Young, and that’s all I needed to hear. It was the perfect compliment for me.

#4

I got that jacket at American Rag. I think it was like $65 or $70. There were no rips in it or anything. That was one of my ultimate scores. I loved the collars–they were big but not overly big—and the braided stitching over the pockets. That’s a pièce de résistance of the collection for me.

#5

It’s great. The tag says something interesting. It reads, “The man from California.” When you’re a collector, the tag is part of the charm. I had to have it. This one is interesting because it’s not leather; it’s pleather. There’s piping that runs down the front of it, and I was captivated when I saw it.

#6

This is another favorite. It’s from Sorum Noce, and it had that distressed leather. They made a few of them. The inside was rough suede. I loved the quality of the leather and all of the different buttons. It gives that jacket a military feel but not quite. It’s got that beautiful brown color. The jacket always proves to be a real showstopper. When I wear it out, people come up to me and ask where I got it. I say, “Well, there used to be this great store on Melrose called Sorum Noce that Matt Sorum [Guns N’ Roses, The Cult, Velvet Revolver] owned and then the recession came and took it away.” That jacket is historic for me because it points to the beginning of the recession.

#7

This is another Sorum Noce jacket. The leather is so butter soft. I could wear that on a July night. It has a bit of a gothic look to it. It’s like a second skin when you wear it. You feel regal while wearing it. Whenever I see a leather hood, it has the feel of an executioner’s uniform.

#8

I was coming up on my 25th anniversary with my wife, and we had a big party at the El Rey. I’ve always wanted a custom leather jacket, and I told her my friend—designer and stylist Karen Dusenbery– I wanted something a bit mod. She came up with these Edwardian-styled collars. There are lots of buttons that go up and down the side. That jacket is paper thin leather. I’ve worn that in August. There’s something very British about it. It’s amazing.

Union Station

I love that photo because my daughter Sorrell and I went downtown one day. Her interest in photography really started to flourish. She stopped me and said, “Your jacket matches where it says Union Station.” She got that shot, and it really captures my love for Los Angeles. I love the city, and I could work for the Chamber of Commerce. In fact, one of our accounts is The Sunset Strip Business Association. They’re the whole collection of clubs, restaurants and businesses on the Strip. As a kid growing up in New York, I always dreamed of the Strip. To have a chance to do PR for that is a true honor. I mean, I lost some of my hearing at so many great gigs at the Roxy and Whisky over the years!

—Rick Florino
08.08.11

What’s the most rock ‘n’ roll piece of clothing you have?

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