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Yes, I wasn't around at that point; but once the iiantil entries had been done all of which could be checked against existing sources, any new artists that came to light (and I remember there being pressure from Microsoft to have more of an American slant and to include new groups as they happened) could only be written about with the benefit of contemporaneous sources. That meant not only the inclusion of dubious record label/PR-sourced info, but also a lack of context; you can't really weigh an artist's worth based on how much newsprint they generated that week in the NME. Similarly, you don't know whether or not the new wave of new wave' or happy house' was going to be a legitimate sub-genre or some fleeting journo-coined cul de sac.I've just remembered my favourite story about working on the EPM in the early days though. They produced a lavish booklet with various entries as examples. Only someone was a little too trusting with their spellchecker. Some great bluesman had his personal details changed from b. Richmond, Virginia to b. Richmond, Vagina.