Industry Profile: Richard Mills

— By Larry LeBlanc

This week in the hot seat with Larry LeBlanc: Richard Mills

Placing Richard Mills, vice-president of performing arts, S.L. Feldman & Associates in Toronto, alongside other booking agents may be a mistake.

Apart stylistically from the pack, Mills follows his own goals (certain that the single thing that has any real value in his sphere is his clients working), labors largely away from the limelight, and achieves what he does from paying attention to fundamentals.

With offices in Vancouver and Toronto, S.L. Feldman & Associates, Canada’s largest full-service talent agency, represents over 125 artists, including Michael Bublé, Sarah McLachlan, Jann Arden and Nelly Furtado, and the Tragically Hip.

Mills, working with the SLFA team, oversees bookings for such Canadian acts as Jesse Cook, Sophie Milman, the Canadian Tenors, Molly Johnson, Ron Sexsmith, Natalie MacMaster, Leahy, Quartetto Gelato, Michael Kaeshammer, Jorane and others.

As well, he does bookings for the Chieftains, who are managed by affiliated Macklam/Feldman Management that also handles the management of Norah Jones, Diana Krall, Elvis Costello, Joni Mitchell, Ry Cooder, and others.

Mills’ business style, if not his persona, has much to do with him being from the isolated prairie city of Winnipeg, Manitoba where the nearest interesting Canadian city is Calgary; and it's a 14-hour drive. Toronto is 24 hours away.

Music figures from Winnipeg tend to be individualistic, jack-of-all-trades types like, incidentally, Neil Young and Randy Bachman.

In 2003, the Weakerthans’ frontman John K. Samson penned a tongue-in-cheek homage to the hometown he shares with Mills. The tribute song was called "One Great City" and featured the chorus of “I hate Winnipeg.”

That might seem understandable when you come from a western Canadian city—with a population of slightly more than 700,000— where temperatures average below freezing from mid-November through March, dropping most nights below 11 degrees below zero (Fahrenheit.)

Despite this frosty backdrop, Winnipeg has had a vibrant music scene for decades. The city, in fact, stars in Neil Young’s multimedia autobiography “Neil Young Archives Vol. 1: 1963-1972.” In the box set's first disc, entitled “Early Years,” 7 tracks recorded by Young's Winnipeg band, the Squires are included.

Over a street map of Winnipeg, in the 236-page hardbound book that comes with the package, are photos of Young playing local high schools, and standing outside the 4th Dimension coffeehouse where he first met Joni Mitchell.

Among the city's best-known bands around that time were Chad Allen & the Expressions (later renamed the Guess Who), Sugar 'N Spice, the Mongrels, the Fifth, Blakewood Castle, and the Gettysburg Address.

Many of these acts recorded for Franklin Records run by accountant Frank Weiner, whose Hungry I Agency provided Mills with his first entertainment contact.

The ‘70s and ‘80s brought a hard rock vibe to Winnipeg’s music scene with Bachman-Turner Overdrive, Harlequin, and the Pumps leading the way. In the late 1980s, the Crash Test Dummies emerged.

Mills started his career as the director of programming for the University of Manitoba. Then he worked for two years as an in-house agent at Paquin Entertainment Group which managed such popular children acts as Fred Penner, Norman Foote and Al Simmons.

Mills joined S.L. Feldman as an agent for the launch of its Toronto office in 1993. He became dir. of performing arts touring in 2004, and vice-president of performing arts in 2007.

In his various positions, Mills has worked closely with Canadian government officials planning Canada Day celebrations in Ottawa for the past 12 years; overseen bookings for the Du Maurier Concert Stage's performing arts program in Toronto for 7 years; and bookings for First Canadian Place's Arts and Events Series , also in Toronto, for 15 years.

At the same time, Mills has also increasingly developed opportunities for his clients internationally, including in the U.S., the U.K., Ireland, and Japan.

Last month, he was part of a team that organized a concert event in Giza, Egypt featuring veteran Canadian singer Tom Cochrane.

You now travel a great deal. Are you trying to grow a more international business?

We are a global company, and have been for a number of years. Jeff Craib (senior vice-president) works extensively in Australia, and South America; and Shaw Saltzberg (senior vice-president) has been working extensively in Australia, South America, and quite a bit in Europe.

This business is evolving, and the opportunities for great talent are evolving. Canada is not a big place, and we have some great talent. Molly Johnson has had success in France, for instance. Sophie Milman is successful in Japan. This year, Jesse Cook is going to Turkey, Poland, Ireland, Germany and England. Last year, he was in Singapore, Malaysia, and Hong Kong.

The way the Internet works -- with people having the ability to now find product, and how talent is seen in different places -- there are more markets available. Development (of international markets) has probably happened in the past 8 or 9 years, but the Internet has sped it along. We have promoters from all over the world, and different parts of the United States, contacting our office, looking to connect with our clients. So opportunities reside with that (activity). We are following that, and growing outside of the (core) business. But you really have to do your research (to be successful in international markets).

Do you book in the U.S.?

I’m doing more bookings there now because of the relationships I have built up over time. I am now booking the Canadian Tenors there. They are currently on tour with David Foster. They have had a very good year. I think we have 75 dates on the books for them this year. I believe in them, and I have a sense of what’s going on with them.

Were the dynamics of booking family acts early in your career any less adversarial than booking rock or pop acts?

It was pretty congenial (booking family acts). There’s sort of an old school way of doing business, when you are trying to talk a person past the number, and make them do what you need them to do--as opposed to understanding their business, and figuring out what the best thing is to do, and coming up with something that is effective. With my early experiences, I didn’t have that feeling (that was happening). If you listen to the other person, and figure out what the reality is, you can usually stitch together something that is effective for both sides.

Given the tough economic times, shouldn’t booking agents today look at a promoter’s overall business in the market when booking?

Well, you have to. If you are doing things without consideration of the marketplace or an understanding of what a relative ticket price is; and, if you are not listening to the local promoter saying, “We can’t get that ticket price here” and things start failing all around you, you only have yourself to blame.

I think that back in the day, when people threw stuff at a wall, and were trying to figure out what would stick, there were going to be winners and losers. It was a volume business based on certain things. As that thinned out, it came down to being a business of relationships.

If you understand the long-term interests of clients, and you can create a balance that people can win at -- if they are contributing to each other -- then you are going to have a long-term business.

The recession isn’t as bad in Canada as it is in the U.S., but venues are scaling back or cutting guarantees. How are your acts reacting to that?

You have to have a dialogue back and forth with clients. If you don’t, you aren’t really servicing the clients that you are working with. You educate the artist or whoever is involved in their business. Then they can then choose whether they will go forward or not (with a booking). Or you create a different option. Or you choose not to play (the date), and you come back a different day when things are stronger, and more vibrant.

Artists come and go, but venues or promoters generally remain in place, and you have a continuing relationship with them. Don’t agents really have two masters?

We work and service the artists that we represent.

If an agent has a 20-year relationship with a promoter don’t lines get blurred?

It’s a balance. If you are dealing with people fairly, and if you go through each transaction as it is; and if you are upfront about how things are going to go, you will maintain the relationship (with a promoter). Some times things just don’t work out. Some times, you have to work with different promoters. Some times, an artist is evolving through a system. You have to be aware of what is going on in the marketplace.

What are the differences of working in Canada from the U.S.?

It’s easier to create a national identity in Canada because we are smaller (as a marketplace), although we have a large geographic space. We have fewer markets. So, if you want to build a national story, you have fewer markets to go to get to that place. In America, you have to hit a lot more markets to be a success, regionally or nationally. That takes more doing there.

You have had considerable success in building jazz singer Sophie Milman’s career.

When I took her on, the most tickets she had sold in Toronto was probably 200. I recognized that her potential, given the records she had sold in the region, was much higher. The step of creating a ticketed event that was in line with her ability to draw, had not been done. So, we took on the Winter Garden Theatre in Toronto with roughly 980 seats three years ago. We worked with Live Nation, put the story out there, and she sold out the show. She didn’t believe that could happen. But it was due; the step just hadn’t been taken.

If an artist makes their mark in Toronto, does that give you a story for the rest of Canada?

To a degree. Certainly, by selling out the Winter Garden Theatre, people started taking notice of Sophie, and we worked with some of the jazz festivals. But, because she was still emerging (nationally), many people also didn’t care what she was doing. And, the record was two years old at that point. [Linus Entertainment released Milman's self-titled debut in Canada in 2004.]

What was the next step taken in Sophie’s career?

We had a new record ("Make Someone Happy" in 2007), and we wanted to make a larger statement. To their credit, Live Nation was buoyed by the success that we had created with her. They worked with us in partnership, and we were able to find space at Massey Hall in Toronto.

Before that, an opportunity came up for Sophie to open for Cesária Évora at Roy Thompson Hall.

Sophie ended up on the front cover of the in-house program that goes in both Massey Hall and Roy Thompson Hall. It’s a striking picture. All of the brochures disappeared. You couldn’t find one.

Then, at the Roy Thompson Hall show, Sophie made a bunch of fans when she shared her story of being at Roy Thomson Hall as a young girl with her father, who didn’t have much money at the time, and he bought two front row tickets to see Oscar Peterson. She shared that story, and won everybody’s hearts.

When it became time to do Massey Hall the following year, the marketing department there chose her to be the cover of their (subscription) brochure. A couple of hundred thousand brochures were done. She went on to sell out Massey Hall.

[Milman was born in Ufa, Russia -- on the slopes of the Ural Mountains -- but her family immigrated to Haifa, Israel, when she was 7. At 16, Milman was uprooted again when the family moved to Canada.]

What stage is Sophie’s career at now?

Her third album (“Take Love Easy”) has come out. She’s been to Japan four times. This coming year, we will be focusing on Europe. Her career in America is continuing. We are doing performing arts business there with her and her bookings have grown. I work closely with Ed Keane (Ed Keane Associates) who does the day-to-day in the (U.S.). We have to co-ordinate a lot of information back-and-forth for the different territories we are working on with her.

There has also been a remarkable career evolution with guitarist Jesse Cook in the past few years.

I’m going into my 14th year working with Jesse. A festival buyer in Quebec; Jean Beauchesne at Festival D’ete in Quebec City; gave me a record one day. I was staying in Quebec City on a Sunday, and I was in a hotel that had a CD player. I only had one CD to play, and it was his. By the time I had finished, I had worked myself up into a frenzy to get on the phone and connect (with him). The music really spoke to me. It was different than what I had been working with before. I connected with his then manager. Two weeks later, an opportunity (for a show) came up that I knew he would be great for, and I sent it to them with no obligation. Two weeks later, I did it again. Eventually, they decided to make a change, and we’ve been working together ever since.

One of the first shows we did together was in Montréal for 200 people in a little room above the Spectrum (club) that isn’t there anymore. This summer, Jesse filmed his DVD for PBS in front of 60,000 people during the 30th anniversary of the Montreal Jazz Festival. He has now sold over a million records throughout the world.

Last month, you organized a concert event in Giza, Egypt near the site of the Great Sphinx, the Great Pyramid, and a number of other large pyramids and temples.

This was an event for a Canadian firm that I can’t disclose The company was creating a special incentive experience for 900 people. The company has been doing these events every two years for 12 years. Since the owner is attached to music in the past, it usually has involved a concert. In this case, it was a cruise to Greece, a day trip to the pyramids, and a concert event at the pyramids with Tom Cochrane performing. We were part of a team that executed it. It was an amazing experience. It was the first private event ever done there.

Difficult to pull off?

There were a lot of logistics, and many challenges in doing it, including that we had to load in the middle of the night. While we had to overcome a huge number of obstacles, the setting was amazing.

Coming out of a situation like that only reinforces my ability to do more things, and understand where more opportunities lie. That event started as someone had a problem that they couldn’t solve; and I said, “I can make a difference with this.” And, one step at a time, we were able to make the event a reality.

Does S.L. Feldman & Associates do many corporate bookings?

It has become a segment of our business, and it is a sector that growing. Once you understand the relationship of what the need is (for the event), and you respect what’s going on with the client, then you are able to make it so the event is a win-win for both parties.

Some (corporate) people understand that they should have incentive events for staff or create promotional opportunities or build (in-house) confidence and build their brand. If they don’t do anything, they aren’t in motion. If they do, they are going to create further (brand) association or whatever the result they are looking for.

You book numerous major events, including shows at the First Canadian Place skyscraper in the financial district of Toronto.

A great lady Brenda Parres called me about 15 years ago, when she worked for (the international property development firm) Olympia and York. Her company wanted to put some entertainment into their common space of their building which has a community of about 11,000 people. Try as she might, (no booking agents) were returning her calls because she was what nobody else was. She wasn’t a club or a bar or this or that.

I sat down with her, and she told me what she wanted to accomplish, and I married that to the needs of my clients. The value of having something in downtown Toronto was not different than the common space I booked back in university--in terms of its ability to expose a very specific audience base to established and emerging artists that will lead to people buying records or tickets for shows.

We started modestly with a few concerts here and there. So far we’ve done 120 events at First Canadian Place (now run by Brookfield Properties). We do four or five events in the winter; four or five in the fall; and we do events in the summer there. It is one of three properties around the world that the company does that kind of programming in. They do it in New York and London as well.

How does First Canadian Place promote the events?

They do a full color brochure with an 11,000 print run that goes on everybody’s desk in the space. They have an email list of that 25-35,000 people have signed up for. What we try to do now is time artists doing launches with their product, and coincide that with the needs of the space. We’ve had Il Divo there for an autograph signing, and Paul Potts recently did an event there. He certainly moved a lot of CDs.

When you were in high school did many big shows come to Winnipeg in the ‘80s?

Nite Out Entertainment was putting most of those shows through back then. There would probably be four or five shows a year. I didn’t go to many shows. The Police was one that was a really pivotal show for me. The band came through on its ‘Synchronicity’ Tour. I went on a concert trip to Minneapolis to see the Cars. It was on one of those bus (trips) with an all inclusive ticket. I was a kid on a trip checking things out, and really going for the music. The experience was great because the show was in an arena in Minneapolis.

The production value of both those shows was bigger than what we usually got. The two shows really got me into thinking that it would be great to be involved in the music business in some way in the future.

In those days, touring bands wouldn’t take their full production to Winnipeg because it’s so remote.

Exactly. The economics and the routing were challenging. Winnipeg is 8 hours from a lot of (big) places, and 6 hours from a few places that are smaller. In those days, ticket prices weren’t what they are now, either. (Shows in Winnipeg) all came down to the routing, and who was planning what at the time.

Why did you become a booking agent?

While I’m proud of being an agent today, I had once said that I would never become an agent. In the early ‘90s, when I was a talent buyer (at the University of Manitoba) I was exposed to different agents, and their way of doing business. I just didn’t have a relationship with these people. They were trying to sell me things for inflated prices—at least in my opinion.

Your early ambition was to become an entertainment lawyer?

I got involved in the entertainment program at the university to understand entertainment, and to apply that to law, which I was studying for. In the process of doing that I realized that the business is based on relationships, and what I enjoyed doing most was creating events. One of the roles in creating events was agenting. But I didn’t believe in what agents stood for at the time.

In essence, as the director of programming for the University of Manitoba, you were the employer.

I was the employer. I hooked up with Ralph James (today president, The Agency Group in Toronto). He was coming off the road (as bassist) with Harlequin and looking for opportunities. He was working at the Hungry I Agency. I thought that if I put Ralph in charge of being sort of my gatekeeper (in booking at the university)--in terms, if you want to do business with me, you had to go through Ralph—then I would get a fair shake (in booking touring acts), and I would be able to deal with someone that was close to me.

You figured Ralph had a better relationship with agents in Toronto and Vancouver?

Absolutely. He was also looking at making his mark as an agent himself. We ended up doing a lot of events. I had studied (national) maps and I recognized that there were two places (a band is) driving in a van across Canada have to go through twice--Winnipeg and Thunder Bay (Ontario). We created a situation where we would try a band out in the common space (of the university) for free or low money; and, if they went over well with people, we would bring them back a couple of weeks later on their return run back from either Toronto or Vancouver.

There were a whole range of artists passing through. Not only emerging artists but also emerging managers were passing through. They were tour managers first. Everyone had different roles. During that time I bought Tragically Hip for $400. They were just beginning. We also had the Northern Pikes and Loreena McKennitt.

At some point, you realized you weren’t going to be a lawyer?

Yes, much to the chagrin of my mom. She had been really pushing me to be a lawyer—“Be a lawyer first, and then you can catch the rest of it later.” I finished the programming job at the university. You could only do it for a maximum of two years. I did from 1987 to 1989. I recognized that for my heart to be in this business, I needed to shift gears.

What had happened to those who done the university job before you?

A lot of them went (into the entertainment business) with some degree of success, but they didn’t go as far as they could. There were limits. They would go from this close environment of promoting at the university, where there were 29,000 students, into a field where you are dealing with the public, and competing with business interests.

I recognized that I had been in a real privileged situation (booking at the university). I had been spending other peoples’ money. I was in the middle of the (music industry) ladder. I recognized that I had to go to the bottom rung of the ladder, and work my way up from the bottom to get a connection to reality.

You went to work at West Sun, a production services company.

I was the rental manager there for six months. It came down to, “Do I really want to be in this business? Do I really care about it?” I was managing a group called the Johns from Winnipeg. I was working in the rental shop. I was learning how to coil cable, rewire lamps and load trucks at 30 below. There’s only one way to do it; the right way. I was also doing some stage management at the Red River Exhibition.

You were also hanging around with Ralph James at Frank Weiner’s Hungry I Agency which was the premier entertainment booker in Manitoba for decades.

Yes, Frank was there for years. I would go after work, and pick up my contracts at the Hungry I Agency. I would hang around and just sit and listen to what Frank was saying. He had a style. Ralph had a style. And (agent) Rob Hoskin (who passed away Feb. 28 2009) rest in peace, he had a style. I really got a sense of some of the challenges that went with (being an agent). I found the process of (creating) relationships, and the different approaches they took to (business) quite interesting.

The agency was a microcosm (of the music world). It was a world that does not exist as much today because that level of business doesn’t exist to the same degree anymore. These guys were in the front line.

They were dealing with the Top 40 and rock world then.

They were part of a network within a robust Top 40 business where there were bands driving around in converted school buses—a sleeper in the front and the equipment in the back—going out to far flung places for a week at a time. Hungry I would move bands around to North Battleford (Saskatchewan) or Thompson (Manitoba), all the way across the west. The network went into Ontario as well. it was like another world.

Did you tour with bands?

I didn’t go out on tour with any of the bands. I went with my group the Johns to a college conference. But, I did do some driving across western Canada. So I know what it’s like to drive in a van overnight between Winnipeg and Calgary. It’s sort of like a shakedown cruise. You really find out what people are made of when they wake up in the morning, and they haven’t really slept or eaten.

Winnipeg has always had a very contained scene. But then A&R people from Toronto flew over the city on their way to Vancouver.

That’s quite true. And the music scene in Winnipeg then was vibrant. Live music was in vogue, and things were just really starting to connect. You still had the odd Top 40 group, but original music bands, and recording artists (from elsewhere) were being welcomed; people were being inquisitive in checking things out. The Crash Test Dummies were working in a club called the Spectrum.

You went to work as an in-house agent at Paquin Entertainment Group in Winnipeg in 1991.

After university, I figured that If I could earn an honest wage and still have my heart in (the music business) then I would stick with it. If it didn’t, then I would go. That was my litmus test. After six months, I still had my heart in it, and there was an opportunity to become an in-house agent for this management company, Paquin Entertainment Company. I was there two or three years.

What was interesting is that I went into a different realm (from booking at the university). I was doing family entertainment which was what their specialty was. They managed Fred Penner, Norman Foote who was on Walt Disney Records, and Al Simmons, an incredible vaudevillian performer. Fred’s television show “Fred Penner's Place” had been added to Nickelodeon in the United States, and they needed someone to help strategize what was going on.

They worked with an agency in America, Triad Artists, which was doing a good job but they didn’t have anyone else quite like Fred. So, we’d get the odd date here and there, and we’d have to find other dates to tie into it to make things work. Then, for awhile, I’d book the shows, and I’d go and tour manage the shows. Fred had a tour manager, but I was the backup guy. We were going into theatres in the United States, and I got exposed to an entire different world than I had grown up in. But, it was still all relationship based.

Canadian acts like Raffi, Sharon Lois & Bram and Fred Penner pioneered the children’s’ market in North America.

Absolutely. People in that realm had a very high opinion of Canadian artists then. I took the position that (our company) had the best live family entertainment artists available. I also took the position with a lot of these theatre people that booking those shows was the future of their theatre audience. If they brought people into the theatre when they were young, and created a formal experience for them, they would come back. More importantly, they brought their parents to the show. Every time, they sold a fan of one of those shows, they sold 4 tickets. A 5-year-old kid doesn’t drive to the theater by themselves. They bring mom and dad and usually a brother or sister or a friend. We’d load into these places and our night was done by 8 P.M. The evening show was only an hour long. We’d also do matinees.

All the time, you were then building relationships in the business.

It was a great time. I really learned about the business from going to booking conferences in the United States, and connecting after hours with all of the different agents that were working the booths. You’d go out and have a beer or dinner and you’d talk and connect. When I did a bunch of these conferences week after week, I got to know people. People would give me advice. I’d connect with other people. Again, it was relationships.

I also started getting a sense of how to be an agent from a different point of view than the way I had originally experienced it. I started warming up to the fact that this was something I could do, and feel good about. I could create my own style, and then grow from there.

The grounding at Paquin sounds like a template for your career at S.L. Feldman.

I would credit that. What I learned was that you have to learn where yours strengths are. Not spending all my time working in the rock world has really worked out well for me. It doesn’t mean that I don’t sell rock shows, but I do have an understanding (of the bigger picture).

How did you come to work S.L. Feldman & Associates in Toronto?

Shaw Saltzberg hired me. I did a pitch to him in Vancouver for a festival for little kids. Something in that pitch stuck with him. When they were looking to open an office in Toronto, he remembered me. There were four desks they were hiring for. What they wanted was not a rock guy. Sam (Feldman) and the team had a vision that what would be grown was not just (the rock music) business. They recognized that something in me was different.

I came in when they started (the office) in Toronto. I was 26. Steve Herman was in charge there for the first 19 months or so. The (agent) team was Bernie Breen, Jeff Craib and myself.

There were several perquisites for the agents hired for Toronto.

We had to have had success in business already. We had to be under 30. And we had to be not from Toronto.

The Agency (not to be confused with The Agency Group) then dominated the market in eastern Canada.

Sam and the team at the time had tried to co-ordinate work with The Agency. But there were two different schools of business, and it led to inevitable conflicts that they couldn’t fix. They tried to buy The Agency, and tried to do an integration of the two organizations. In the end, they worked out an arrangement where The Agency ceased to exist, and Vinny Cinquemani (today president of S.L. Feldman) came in with us. It was an interesting time because the recording industry was rolling, and there were a lot of projects going on.

Cape Breton fiddler Ashley MacIsaac was one of your first signings.

That happened within about six months of my being in Toronto. I signed him before he signed with a record label. I saw him in Newfoundland at a music conference. It was an amazing performance, and I knew that I had to be part of what he was doing. I also knew that what he did fit the exact demographic of not being rock. So I met with his then manager Sheri Jones, and we ended up forging a great relationship that continues to this day.

Working with Ashley MacIsaac was a ride.

It was a major ride. He went from relative obscurity to four times platinum (400,000 units in Canada for his 1995 album “Hi How Are You Today?”) in a very short time. Then back to obscurity; then back up again; and back down again. I did the first and second rise, and then I called it quits. He created some situations for himself which were challenging, and I would not be part of it. He still remains a great artist; and what he did at the time is unrivaled.

Meanwhile, you were also forging more relationships.

Absolutely, and around the world. Ashley went to Ireland, Brazil, Japan; he went all over. I learned a lot in that early period. When I came to Feldman, I thought I knew a lot but I soon recognized that I had a lot to learn. When I first started, my mission was to try and build a foundation of business in a way that hadn’t been done before. That took many years.

You were the country agent at S.L. Feldman while it was still doing country.

I was working with Michelle Wright, Julian Austin and Leahy while growing the performing arts (business) in this country. I didn’t know anything about country. It took me a few years to learn that side of the business. I’m proud that I was voted (the Canadian Country Music Association’) Country Agent of the Year for two years in a row by the community.

Country is like family entertainment.

It is but it is very political.

You are like the utility ball player that can be placed in any position.

I’m like a chameleon in a way. I fit into just about any situation that I am put in. But I have to have an understanding of what I’m doing, and a sense of the objective. Then I figure out how to make things work.

What makes a great artist?

Great artists deliver great experiences. There are a lot of artists that deliver concerts, but those who deliver great experiences are rare. The ones that do are going to grow because word-of-mouth spreads. I have been blessed (to work with some great artists). I am always on the look out for what the next thing is. I couldn’t tell you what it is. That’s the exciting part of this business.

Larry LeBlanc was the Canadian bureau chief of Billboard from 1991-2007 and Canadian editor of Record World from 1970-89. He was also a co-founder of the late Canadian music trade, The Record. He has been quoted on music industry issues in hundreds of publications including Time, Forbes, the London Times and the New York Times.


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Ben Baruch, The Fox Theatre 09/27/08
Ben Baruch, By Larry LeBlanc (CelebrityAccess) 04/05/17
Paul Bassman, Ascend Insurance Brokerage 08/03/16
Adam Bauer, Fleming, Tamulevich & Associates 02/15/02
Ed Bazel, That's Entertainment International 10/05/01
Joachim Becker, ZOHO Music L.L.C. 01/12/07
Howard Becker, Comet Technologies 05/02/11
Mark Bego, Author 06/15/07
Jim Beloff, Flea Market Music 09/20/10
Richard Bengloff, The American Association of Independent Music (A2IM) 09/12/13
Seth Berg, South Bay Music 01/30/09
Aimee Berger, 2 Generations SPA Music Management 09/24/04
David Berger, Future Beat 10/29/14
Barry Bergman, Music Managers Forum 03/14/03
Steve Bernstein, Relix LLC 09/30/05
Mark Berry, Attack Media Group 04/07/07
Scott Billington, Rounder Records 01/17/12
Jeffrey Bischoff, Cinder Block 03/24/06
Sat Bisla, A&R Worldwide/ Musexpo 03/29/10
Nina Blackwood, Sirius Satellite Radio 07/14/06
Adam Block, Legacy Recordings 11/07/13
P.J. Bloom, Neophonic, Inc. 01/24/11
Rishon Blumberg, Brick Wall Management 06/27/03
Justin Bolognino, Learned Evolution, and The Meta Agency 04/25/13
Steve "Chopper" Borges, Total Pro and Borse Techos 03/03/06
Les Borsai, Mediocre Management 01/30/04
Shane Bourbonnais, Live Nation Canada 03/21/08
Jeff Bowen, Sears Centre Arena 03/13/08
Rick Bowen, Mystic Music Experience 07/11/08
John Boyle, Sanctuary Music Group 03/19/04
Jeff & Todd Brabec, Writers/Attorneys 01/03/12
Bill Bragin, Joe's Pub at the Public Theater 08/08/03
Joel Brandes, Avenue Management Group 11/02/08
Joe Brandmeier, Moving Pictures 03/15/02
Scooter Braun, SB Projects 12/13/10
Ron Brice, 3rd & Lindsley Bar & Grill 06/08/16
Billy Brill, Billy Alan Productions 11/11/05
Doug Brown, Talent Buyers Network 09/21/01
James Browne, Sweet Rhythm 11/01/02
Bob Brumley, Brumley Music Company 02/17/16
Tony Brummel, Victory Records 05/17/09
Charlie Brusco, TBA Entertainment Corporation 10/13/01
Del Bryant, BMI 05/18/07
Cortez Bryant, Bryant Management 12/06/10
Stephen Budd, Stephen Budd Management 07/13/17
Bruce Burch, University of Georgia Music Business Program 10/09/09
Deborah Burda, Kentucky Exposition Center 08/03/07
Patti Burgart, IEBA 06/07/02
Jordan Burger, The New Musiquarium 01/22/01
Ron Burman, Roadrunner Records 08/25/06
Suzanne Cadgene, Elmore 05/19/06
Karen Cadle, KGC Productions 03/12/04
Gary Calamar, KCRW 07/10/09
Charles Caldas, Merlin 07/05/10
Brian Camelio, ArtistShare 02/29/08
David Campbell, AEG Europe 08/02/10
Tom Cantone, Foxwoods Entertainment Group 10/20/00
Tom Cantone, Foxwoods Resort Casino 07/03/03
Tom Cantone, Mohegan Sun 08/30/09
Ashley Capps, A. C. Entertainment 05/21/04
Rio Caraeff, Vevo 07/12/11
Mike Carden, Eagle Rock Entertainment 08/16/11
Charles Carlini, Carlini Group 05/16/08
Mark Carpentieri, M.C. Records 05/27/05
Mark Carpentieri, M.C. Records 01/10/11
Troy Carter, Coalition Media Group 06/07/10
Daniel Catullo, Coming Home Studios 06/22/08
Raffi Cavoukian, Folk Singer/Children's Entertainer 05/11/16
Jeffrey Chabon, Chabon Entertainment Group 08/22/02
Mike Chadwick, Essential Music & Marketing 08/01/12
Rob Challice, Coda Music Agency 03/27/13
Tom Chauncey, Partisan Arts 01/11/02
Tom Chauncey, Partisan Arts 10/04/11
Lisa Cherniak, Artists Against Racism (AAR) 07/20/01
Bob Chiappardi, Concrete Marketing 06/13/03
Joel Chriss, Chriss & Co. 10/04/02
Michael Chugg, Michael Chugg Entertainment 09/14/01
Michael Chugg, Chugg Enterprises 10/02/09
Gary Churgin, Harry Fox Agency 09/13/10
Vinny Cinquemani, S.L. Feldman & Associates 12/13/12
Barry Coburn, Ten Ten Music Group 03/28/11
Matthew Cohen, Green Room Productions 10/19/01
Ted Cohen, TAG Strategic 01/10/13
Lisa Cohen, Associated Booking Corporation 02/10/06
Steve Cohen, Music + Art Management, Inc. 03/09/07
Dan Cohen, Music & Memory 01/12/17
Michael Cohl - Part 1, S2BN Entertainment 03/06/13
Michael Cohl - Part 2, S2BN Entertainment 03/13/13
Bryan Coleman, Union Entertainment Group 02/14/12
Mamie Coleman, Fox Broadcasting 07/05/12
Dennis Condon, Disneyland Resorts 07/13/01
Peter Conlon, Peter Conlon Presents 05/20/05
Tony Conway, Buddy Lee Attractions 10/06/00
Allen Cook, TOURtech 04/16/15
Tomas Cookman, Cookman International 09/05/03
Alex Cooley, Alex Cooley Presents 07/12/10
David Cooper, 10/31/03
Jay Cooper, Greenberg Traurig, LLP 05/23/11
Julie Coulter, Near North Insurance Groups 06/07/01
Amy Cox, Deep South Entertainment 02/09/07
Michael O. Crain, Crain Law Group, LLC 10/09/13
Charlie Cran, The Strawberry Music Festival 04/05/10
Jim Cressman, Invictus Entertainment Group 06/06/12
Russ Crupnick, MusicWatch, Inc. 07/23/15
Todd Culberhouse, Vision Management /Vision Records and Entertainment 09/05/08
Tony D'Amelio, Washington Speakers Bureau 04/21/06
Ruth Daniel, In Place of War 08/09/17
Ray Danniels, Standing Room Only Management, and the Anthem Entertainment Group 03/05/15
Ken Dashow, WAXQ-FM (l04.3 FM) - New York 09/08/06
Hal David, Lyricist 07/26/11
David Davidian, Independant Lighting Designer/Director 06/18/04
Anthony Davis, D&L Entertainment Services, Inc. 03/02/01
Chip Davis, American Gramaphone/Mannheim Steamroller 05/31/02
Mitch Davis, Tempest Entertainment 07/16/04
Jeff Dawson, Canadian Recording Services 06/08/08
Desiree Day, USO Celebrity Entertainment 08/10/01
Shauna de Cartier, Six Shooter Records/Six Shooter Management 10/23/13
Gene DeAnna, The Library of Congress 02/21/12
Vincent Degiorgio, Chapter 2 Productions 08/01/13
Tony DeLauro, DeLauro Management 12/23/04
Valerie Denn, Val Denn Agency 04/30/01
Val Denn, Val Denn Agency 03/06/14
Robert DePugh, Alligator Records 07/29/05
Tom Derr, Rock Ridge Music 10/29/04
Paul Dexter, Masterworks Lighting Design and Road Cases 12/10/04
Marty Diamond, Paradigm 01/22/10
Glenn Dicker, Redeye Distribution/Yep Roc Records 07/07/06
Barry Dickins, International Talent Booking Agency 06/06/13
Jim Digby, Event Safety Alliance 09/01/16
Mark Dinerstein, The Knitting Factory 11/17/06
Neill Dixon, Canadian Music Week 03/03/16
Thomas Dolby, Musician, academic, technologist, and author 11/09/16
Jasper Donat, Music Matters 2009/Branded 04/24/09
Jim Donio, National Association of Recording Merchandisers 04/22/11
Marc Dottore, M. Dottore Management 04/11/03
Tim Drake, The Roots Agency 12/12/08
Mike Dreese, Newbury Comics 11/23/11
Charles Driebe, Blind Ambition Management Ltd. 09/22/06
Jeremy Driesen, Ray Bloch Productions 09/07/01
Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of Denver’s Division of Theatres and Arenas 08/23/10
Paolo d’Alessandro, International Solutions 06/25/14
Ros Earls, 140dB Management 02/19/14
Art Edelstein, Festival Productions 12/01/02
Bruce Eisenberg, Audio Analysts 08/31/01
Martin Elbourne, The Glastonbury Festival 12/18/09
Michael Elder, Red Entertainment 03/17/06
Tod Elmore, Sixthman 11/24/06
Paul Emery, Clear Channel Entertainment 11/19/04
Arty Erk, Citrin Cooperman 04/27/16
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock ’n’ Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gélinas, Festival d’été de Québec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Chris Gero, Yamaha Entertainment Group 10/26/16
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Steve Gietka, SMG Entertainment 03/19/14
Darren Gilmore, Watchdog Management 03/17/16
Daniel Glass, Glassnote Entertainment Group 10/16/14
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Neil Goldberg, Cirque Productions 04/16/14
Martin Goldschmidt, Cooking Vinyl Group 09/29/16
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Andrea Johnson, ICM Partners 11/02/17
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Justin Kalifowitz, Downtown Publishing 04/20/17
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Elliot Lefko, Goldenvoice 09/21/17
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Jennifer Lyon, MeanRed Productions 01/18/18
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Música e Cultura 05/04/17
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Paul Reed, Association of Independent Festivals (AIF) 06/14/17
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Jack Ross, APA Canada 09/07/17
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Jonathan Shank, Red Light Management 12/13/17
Peter Shapiro, Ideal Entertainment 04/16/04
Peter Shapiro, Dayglo Ventures/Brooklyn Bowl 11/15/17
Seth Sheck, Access Pass & Design 01/03/03
Seth Sheck, ACCESS Event Solutions 06/22/16
Seth Shomes, The Agency Group 11/12/14
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Michael Simon, The Harry Fox Agency 08/14/13
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Peter Smidt, Eurosonic Noorderslag & manager Buma Cultuur 07/17/13
Garrison Snell, Gyrosity Projects 02/23/17
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
Nikki Solgot, Circle Talent Agency 02/18/15
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Deb Suckling, SUGARRUSH Music 07/27/17
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Mandar Thakur, Times Music 08/06/15
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
Adam Tobey, Concert Ideas 08/24/17
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Marsha Vlasic, Artist Group International 05/31/17
Mat Vlasic, Bravado 06/28/17
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Kirt Webster, Webster PR 02/03/16
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Adam White, Author 09/14/16
Lisa White, Pearl Street Warehouse 10/04/17
Adam Wilkes, AEG Live Asia 10/13/16
Fenton Williams, 04/04/08
Del Williams, Right Arm Entertainment 04/18/08
Bryan "Birdman" Williams, Cash Money Records 09/13/11
Paul Williams, ASCAP 10/19/11
J.P. Williams, Parallel Entertainment 10/03/12
Kurt Willms, Green Room Productions 09/20/03
Chris Wilson, Heartbeat Records 03/02/07
Tony Wilson, Factory Records/In The City 06/01/07
Tom Windish, The Windish Agency 07/26/10
John Wiseman, XL Touring Video 05/05/06
Thom Wolke, 02/08/02
Michael Wood, City Lights Entertainment 08/08/08
Keith Wortman, Blackbird Presents 03/22/17
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, 07/27/07
Jeremiah “Ice” Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
Kevin 'Chief' Zaruk, Chief Music Management 06/10/15
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Jason Zink, Emporium Presents 10/19/17
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06


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