Industry Profile: Myles Lewis
By Larry LeBlanc (CelebrityAccess MediaWire)
This week In the Hot Seat with Larry LeBlanc: Myles Lewis, Head of Creative, Denise Rich Songs.
Denise Rich’s career isn’t one taught in music schools.
While a Manhattan socialite, and wife of a controversial billionaire commodities trader, she began writing songs, really good songs. After one of these songs, "Frankie," became a crossover hit in 1985 for Sister Sledge, Rich began earnestly pursuing a music career.
Rich’s songs have since been recorded by Celine Dion, Aretha Franklin, Mary J. Blige, Marc Anthony, Patti LaBelle, Mandy Moore, Diana Ross, Donna Summer, Allure, Taylor Dayne, Johnny Mathis, Oleta Adams, Phyllis Hyman, Chaka Khan, Martha Wash, and Grover Washington Jr.
Last year, Rich brought in well-connected industry veteran Myles Lewis as head of creative for Denise Rich Songs, to oversee the company’s impressive song catalog as well as to better develop new business opportunities.
Based in Los Angeles, Lewis was then managing Nasri, who wrote "Up,” "That Should Be Me," "Never Say Never," "Pray" for Justin Bieber, and "Crawl" for Chris Brown; as well PJ Bianco, who penned "When You Look Me In The Eyes" for the Jonas Brothers.
Lewis has continued to manage the pair and has since begun managing songwriter/producer busbee who has released recordings as a solo artist, and with his band Go North To Go South. He has written for Timbaland, Alexandra Burke, Rascal Flatts, Keith Urban, and Lee Dewyze. In Sept. 2010, busbee’s co-write of Lady Antebellum’s "Our Kind of Love" topped Billboard’s country chart.
After a brief internship at Chrysalis Records in Los Angeles, Lewis got his real start in the music business at Hollywood Records as an assistant to the company’s vice president, and then assistant to the heads of publicity and radio promotion.
Next, he spent a year as a publicist at Michaels and Wolfe Public Relations, working with such clients as Sandra Bullock, Drew Barrymore, Noah Wyle, Lou Diamond Phillips, and FOX Pictures.
Wanting to return to the music industry, Lewis took a job as a low-paying receptionist at the record label Almo Sounds. A year later, he was named assistant to the head of radio, and then became director of A&R. At Almo, Lewis was involved in signing Ozomatli, Jurassic 5, Red Velvet Relief and Soulwax.
In 2000, Lewis began working for BMI, the performing rights organization; first as its senior director, and then as Executive Director of Songwriter/Publisher Relations. He was responsible for signing songwriters, and interfacing with the music industry on behalf of BMI.
During his 9 years at BMI, Lewis dealt with such acts as Colbie Caillat, Linkin Park, Michelle Branch, Fall Out Boy, Queens of the Stone Age, Avenged Sevenfold, the White Stripes, and with such songwriters as The Matrix, Beau Dozier, Alissa Moreno, Ben Moody, David Hodges and Brian Howes among others.
Lewis left BMI in June, 2009 and launched his own management and consulting business which led to him coming to Denise Rich Songs.
Despite the naysayers, isn’t this an opportunistic period in the music industry?
I definitely believe that it is. If you study what happened in the past 10 years to the music industry, and what’s happening now, there are specific trends. If you get onboard with those, it can be a lot of fun, and you can be successful.
Think of what Dr. Luke has done with this business. He’s taken the hip hop model, applied a pop mentality to it, and made it work. The real bottom line is that you are creating culture. You are creating your own little culture at your company. Dr. Luke’s culture, clearly, is that he makes big pop hits for whomever, and he signs good quality writers that can continue to make great pop hits.
Our culture (at Denise Rich Songs) is similar but, certainly, a little different. It is more based on Denise and some of the people that we are getting involved with. But, when you build it with that (template) in mind, and you sign people that fit your culture, you can position yourself to be the place where people go when they need X. Whatever X is. That’s exciting. People tried to do that (template) for many years, and some succeeded. But, that (attitude) is so prevalent right now in the industry, and, that certainly is what I am interested in doing.
Is Los Angeles a good town for live music?
Not for live music. It’s so hard for an act to gain support in L.A. To build a following, it’s really difficult. It has happened with acts like Guns N’ Roses and Motley Crue. Then the Chili Peppers had a huge following, and Fishbone did really well. Ozomatli has a huge following in L.A. But, it is very rare for kind of a movement like that here. It’s a scene where people will just come and hang out for awhile. Usually now, even if a new band is on the bill with a successful band, it still doesn’t mean anyone is going to come and see them. People show up on time for the band that they want to see, and they leave right after.
It isn’t helped that there is no center core to L.A.
It's little towns massed together. It’s hard to take what has happened to L.A., and not say that it hasn’t got something to do with what has happened with the music industry. Because somehow, as the music industry turned, L.A. is now the undeniable centre for songwriters. Everybody’s moved to L.A., they fled New York, they were in Atlanta for awhile; but it really isn’t Atlanta as much anymore. There are still camps in those cities; but (the songwriting and production scene) is really centered in L.A. now, which is interesting. That has very little to do with live performance.
How has this shift affected music?
What’s popular right now, if you look at charts, it’s a lot lighter than it was a few years ago. Three or four years ago, when everything was in Atlanta, everything on the radio had some of that Southern hip hop feel. Before that, it was more New York hip hop. Hip hop took over the music business for 15 years or so, but, now it has kind of reverted back to a lighter pop sound. And L.A. reflects that or, maybe, it reflects L.A.
The music industry has a singles mindset as well.
You would never make a rock record, even five years ago, with a bunch of outside writers. If you were a rock band, part of your thing was that you wrote your own songs.
To be authentic.
Exactly. How could a fan really buy into what you were doing if they looked at the album credits and somebody wrote all of your songs? But now, that has completely changed. Not for every rock band, obviously. However, a lot of the new rock bands are very open to collaborating with people who have a history of successes songwriting.
You’re talking about new bands signed with major labels though. Not indie bands.
Maybe, an independent band wouldn’t do it yesterday but, maybe, they would today. One of the few rock bands that have broken through on pop radio recently is Neon Trees (with “Animals”) and that was a co-written with (singer/guitarist/product) Tim Pagnotta from Sugarcult. Train had a hit ("Hey, Soul Sister" that is widely regarded as the band's commercial comeback) and it was Espionage (the New York-based Norwegian songwriting and music production team) that wrote that. It’s hard to get on radio right now as a rock band.
Years ago, Aerosmith used to collaborate with top songwriters like Desmond Child and Jim Vallance and others.
They were established. Once you are established, you can do that. Once you are Coldplay, you could. Coldplay could collaborate on an entire record if they wanted to. Any of those (major acts) could, and it wouldn’t really reflect in their legitimacy too much I don’t think. Depending on who they wrote with, I guess. I think that fans are more aware of who works on records now, and what happens behind the scenes more than they were before. They are more open to the idea that bands don’t always write everything that they sing. It’s mostly about songs. Kids care more about songs than they do about acts until something is so good that they want to care about the actual act.
That’s happening again.
I totally agree. Bruno Mars is a big example. And (Lady) Gaga, of course. Gaga is a phenomenon. Bruno Mars makes pop records. There’s no question that these are pop records; but, if you listen to him, I think that you immediately go, “I want to know more about that artist.” It is just not a song to people with him. There’s a difference there (from other pop artists). It’s subtle, but important.
Most fans do have that track-by-track mentality.
Well, there’s some great singles out there, right now. (Kate Perry’s) “Teenage Dream” is a great record. Both of the Bruno Mars’ singles, “Just the Way You Are” and “Grenade,” are excellent, but I would agree that music isn’t at its highest peak as far as quality overall certainly. There have been more interesting times in music than right now, but, I think, it goes in phases. For a long time, the ‘70s was kind of clowned as being the era of disco, and not very good music. But, we all go back to it now, and there’s some great music there. There was also great rock at that time, just great music.
A perception of a musical era goes in phases.
Now is sort of an interesting time as well. To me, hip hop took over the music industry for a long time. It changed the way people listen to music; and it changed the way people do business. New York hip hop from the ‘90s, and the L.A. stuff, all of the Dr. Dre stuff. There was a huge cultural shift in the (music) industry. Dr. Dre changed music almost by himself. (Hip hop) had a huge impact on music: how it’s created, how it’s sold, and how it’s monetized. What a producer is changed because of hip hop.
With hip hop, creative control returned to the producer.
And being a songwriter as well, all of a sudden. If you are a producer, and you know how to make a track, then you have 50% of songwriting and publishing. It never happened like that before. Back in the day, a producer made records. They might have re-arranged an entire chorus, and taken it from something that was kinda interesting to a real catchy hook. You might have thought they were getting songwriting (credits) for that, but (usually) they weren’t.
When was the last time you listened to music on a good sound system?
You mean that wasn’t an MP3? I couldn’t even tell you. I don’t know if that’s horrible. I guess it is in a way; if you are a purist, yeah. There’s a part of (the musical experience) that is being lost but, it’s what it is now. I guess that the upside is that it’s so easy to consume music now. And, it’s being consumed at higher volumes that it ever has been. That doesn’t mean we’re all making a lot of money clearly, but it does mean that music is as popular as it ever was. There are kids who all they have listened to are MP3s. They don’t know what they are missing. That’s the way they are always going to know music, probably.
When did you start working with Denise?
About 15 months ago.
Are you continuing to manage songwriters separately or are they part of Denise’s company?
Some of them are. PJ (PJ Bianco) brought me to Denise actually. He was already with Denise. He’s the one that made the introduction. I still work with Nasri, and he’s not part of Denise’s company.
Who do you manage?
Right now, it’s just busbee, PJ, and Nasri.
busbee is now creating a buzz.
He’s got a lot of good things going. He just finished a Go North To Go South record. Go North To Go South is a side project for busbee that's mostly about licensing. busbee has had a lot of success licensing to film/TV, so we're looking to capitalize on that. That said, the work he did on this record is some of his proudest to date. He's not really interested in being a touring act since his writing schedule is booked out months in advance.
All of our clients are doing really cool things right now. PJ is making a Metro Station record for Columbia. Nasri did four songs for Justin Bieber recently. He’s not a Denise Rich client, busbee is. Nasri is something I was doing before Denise. It is a very specific situation. I manage him as a songwriter, but he has other management as an artist.
Did Denise hire you to have a West Coast presence as well as because of your ability in A&R that would bring in new songwriters?
Absolutely. Denise has had the company for awhile, and she kind of cleaned house. She brought me in to work her catalog, and to take on the writers that were already there; but really to restructure the company, and have it make sense. Some of the stuff they were doing didn’t make a lot of sense. Having a label, for instance, is not exactly the right business right now. She had 785 Records (founded in 2005) that had made a couple of records. They may have done good work here, but selling records is hard.
How big is the catalog?
Denise’s own catalog is pretty vast by itself. She’s been an accomplished songwriter for many, many years. Her songs have been nominated for Grammys three times. Her catalog is probably 80 to 100 songs, and there are dozens and dozens more songs (by others). When I started, there were probably another four writers there. Some of those deals expired.
What attracted you to work with Denise?
Denise is a great co-writer. She brings energy to a room that is incredibly unique. I felt that she hadn’t had some of the great co-write (opportunities) that are out there. I was more intrigued about being able to create co-writing situations.
Straight pitching of songs is difficult today. There are more collaborations happening with acts.
It’s an interesting dichotomy. There was a time when all of my writers, all they wanted to do was write with artists, because it felt like it insured that you would get on the record. But sometimes, a songwriter spends so much time writing with an artist and, if the artist isn’t really a (good) writer, the songs suffer. Some writers are now saying, “Please leave open a couple of weeks so I just can just write great songs.” Then they can sit in the room with people who are great writers, and they can write great songs together. (The songs) are not for anyone. They are just great songs.
An outside songwriter writing with a band is at a business disadvantage.
I’m not opposed to that kind of writing; but it’s hard to say to them, “You are walking in at 20% (as a songwriting split). Unless you really push the other guys out of the way, that’s where you are going to stay. That’s tough (to sell to them).
Any insider tips for pitching songs?
I like to play the craziest, coolest, sexiest, weirdest record I have by all of our writers. The one that you would never think would fit the artist I’m pitching for. That’s usually the one that A&R people will respond to. If you go in to pitch for Britney Spears, and you play five records that sound a lot like ”Circus,” that’s not going to work. But, if you play something that is really left field, and is really cool and different and that anyone listening says, “That doesn’t sound anything like Britney,” that’s probably the one that they will like. And, it’s probably the one that they should like.
Who do you first pitch with a new song?
There are people who I like to play songs to (early,) because I feel that I can get a real response. That is so golden. A&R people are paid for their opinion. These are men and women hired because they are supposed to have great taste in music. They are supposed to know how to shepherd an act, and make great records. And yet, when I pitch songs with 90% of A&R people I can’t even get them to give me their opinion. I would be more than happy to hear, “This isn’t right,” or, “This is too pop, I need it to be edgier.” It is very difficult to get feedback. The method of passing now is to never contact you about it again.
Are film and TV music supervisors any better?
Music supervisors are more communicative. They are swamped (with submissions), so, if they don’t get back to you, it doesn’t feel as personal. But I do get a lot of feedback from them.
They are seeking music for specific uses.
Which makes it feel even better when they say “no.” It’s not because the music is bad or they aren’t a fan, it’s just not right for the scene.
Music supervisors are now like A&R people in importance.
Music supervisors tend to favor music by emerging bands.
Why not? They can get really good music for cheap or for free. It is such a flooded market at this point. It was bound to happen when everybody suddenly realized that it was okay to have their song in a commercial or in a movie.
Do A&R people really listen to what you bring? Do they give you a fair shake?
It depends on the A&R person. I usually give a disclaimer when I’m pitching songs if my writer is not in the room. I will say, “I’m not going to be precious about this. I want you to be honest. If you listen and 30 seconds in you know it’s not right, there’s no point in you sitting there listening to it anymore."
I’m surprised an A&R person would agree to have a songwriter in the room during a pitch.
Yeah, it does put them on the spot, but with the value of a songwriter/producer now, they can’t afford to not know these people. They can’t afford to deal with just me. They have to know the people face-to-face and have a relationship. I encourage that. They should know these guys. They are running the business now.
That meeting could also lead to another project the A&R person has.
Absolutely. If you are working with good people, then walking them into a room is not going to be a detriment to them. They should get in there and do a little salesmanship.
It’s difficult for most songwriters to sit through a turndown.
It’s easy for me to not have an incredibly emotional attachment to a song where I am personally offended if the A&R guy doesn’t take it. It’s not as easy for a writer to feel that way. But, at the same time, they do have to understand that this is a business. When they are pitching a song, they are saying, “Hey, give me money for this song.” If (the A&R person) feels it’s not right for their artist, they should feel free to say that as long as they are respectful.
I have had clients who have written songs with a specific artist in mind. They feel like that they have nailed it. I will listen to the song, and I will feel that they have nailed it. If the reaction is then luke-warm, it can be really soul-crushing. You have to develop a tough skin if you are going to be in this business.
All of my clients have also had success in projects that they never thought were going to be successful. So, they have to try and keep in mind that whatever they think is the greatest song they’ve written, somebody else might not get it, but they might play the next song--that they think is their B-level song--and someone is going to freak out, and it’s going to be a hit.
Denise Rich Songs recently had its second annual Songwriter Retreat in Aspen, Colorado.
The idea was, “Let’s get some of the top writers in the game to come out and participate.” And we did that. This year, it was Bonnie McKee, Claude Kelly, BC Jean, Julian Bunetta, Oligee, PJ Bianco, busbee, Sam Endicott and Denise. Last year, it was Tommy Lee James, Nasri, Beau Dozier, and PJ Bianco.
Why in Aspen?
Denise has some cool assets that we get to play with. One of them is that she has this wonderful home in Aspen. Songwriting camps are a dime-a-dozen right now. Everybody is doing them. Some are very good, and some are not very good and are a waste of time. To make something cool, interesting and different, we went to Aspen. Besides the fact that it is a beautiful and a spiritual place, and Denise has a beautiful home there, it was about getting people out of their element. Taking them somewhere where they haven’t done something before and putting them into a different mind-state. Having fun and writing songs and being creative. It was amazing.
Where were you born?
Lincoln, Nebraska. My mom was going to school at the University of Nebraska (where she received a dual Master’s degree in music and theater) and my dad was a teacher there. I was raised there until I was 5. Then my mom and I moved to San Francisco, and then to L.A. when I was 10. I haven’t been back (to Nebraska) strangely. I’m not kidding. Unless you are on tour with somebody, what would be the point of going to Lincoln, Nebraska? How would you ever wind up there?
Los Angeles attracts people from everywhere.
Absolutely. It’s impossible to find somebody in the business who is born and raised in L.A. The fact that I was in L.A. since I was 10 makes me more from L.A. than most of the people that I know. I grew up living in Laurel Canyon.
Did you want to be in the music business early on?
Yeah. I’m the son of a singer. We moved to San Francisco because my mom wanted to pursue a career as an artist. Then to L.A., where she continued to pursue that. She made recordings, and played a lot of shows. It never really happened on that end. But it got her into doing (voice work), which has been her career for many years now. She put me in every music class available, but I had no real talent, which became evident.
Your mother Lis Lewis is a well-known voice teacher.
She’s taught Rihanna, Britney Spears and the All-American Rejects and such.
[Born in Manhattan, Lis Lewis trained at the celebrated Dalcroze School of Music there, as well as with private music teachers. She has been training artists for over three decades, and has worked with Gwen Stefani, Courtney Love, Jimmy Eat World, Herbie Hancock, Bobby McFerrin, Richard Elliott, Mark Beeson and others. She is the author of “The Singer’s First Aid Kit” and “The Pop Singers Warm-Up” and has been the vocal coach for several TV shows, including "Rock Star: Supernova" on CBS, and MTV’s "Rock The Cradle.”]
You entered the music business through your mother.
When I was 17, she had a student by the name of Duff Marlowe who was an A&R (director) at Chrysalis Records. He had signed Gang Starr, and Arrested Development. I interned for him. Watching him do A&R was just fascinating, especially at that time (1989) in the music industry when there was still a lot of money, and a lot of opportunity. It was much more the Wild West. Watching Duff do A&R, seeing what it was like being on the other side of the desk, I was hooked. I knew what I wanted to do.
You were still in school?
Yeah. I was still in high school. I actually brought in a tape of my friends that they’d made that I thought was really good, and gave it to him. He wanted to sign them. So my friends asked me to manage them. They wound up being (the alternative hip hop group) Jurassic Five, which went on to have a pretty healthy career. I use “management” in the loosest form possible. I had no clue what I was doing.
You went to school with members of Jurassic Five?
Yeah. Chemist and I went to junior high and high school (at the Los Angeles Center for Enriched Studies) together. We had art classes and things together. Chali 2na and I became good friends. I worked with those guys for years.
After receiving a Bachelor of Arts Degree at San Diego State University, you worked at Hollywood Records.
I came back to Los Angeles, and I was working at a gym. A woman walked in with a Chaos Records T-shirt on. I knew that I wanted to work in music, I was just trying to find a way in. So I started talking to her. It was Brenda Romano, who was head of radio (senior VP of promotion) at Hollywood at the time. She gave me an internship. I did that for awhile. Then I transferred over to the publicity department to work for Sue Sawyer, and did that for awhile. That was probably just a year or 18 months that I was there. That was when Bob Pfeifer was president. He got caught up in such weird stuff.
[In 1995, during his three-year tenure as president of Hollywood Records, Bob Pfeiffer was sued for sexual harassment by an employee. According to the U.S. government, the woman in question was illegally wiretapped and spied on by private investigator Anthony Pellicano. Pfeifer admitted he paid Pellicano $125,000 to snoop on Erin Finn in 2000, because she had given a negative deposition in a case involving Pfeifer's ex-employee. Pellicano was sentenced in 2008 to 15 years in prison for running a wiretapping scheme. Pfeifer pleaded guilty to charges, including perjury and conspiracy.]
Hollywood Records, of course, is a division of The Walt Disney Company.
It was weird there back then. It seemed like that they wanted to be a rock label but they were a Disney label and the two never combined. They had a promotional item for one of the acts, and it was a bong (a water pipe generally used to smoke cannabis). They were sending bongs out. Michael Eisner (chief executive officer of The Walt Disney Company) found out and lost his mind.
As an assistant, you were the gofer?
Yeah, I was just an intern, answering phones and doing whatever, cleaning up the coffee pot at the end of the night if it needed it. But it was great. Hollywood was a weird label, and it wasn’t a label that had a ton of success, which always makes a building tense. There were some good people there. Diarmuid Quinn was there at the time. Sue Sawyer, whom I worked for, was great, and Brenda Romano, who is now the co-president of Interscope (and president of radio promotion, Interscope Geffen A&M Record). She was really great to work with. There were good people there. There were good acts there. It just didn’t come together when I was there.
Those early years are formative for many people.
Yeah. I guess, but because I was an intern, I wasn’t making the greatest contacts. That really came together for me at Almo Sounds when I got there. I left the music business for a year to go do PR for movie stars. I was just miserable. I wanted to get back in music so bad. I was making $40,000 a year in PR which was a lot of money for me at the time. I took a job for $18,000 a year as a receptionist at Almo, just to get back into music.
You had been working at Michaels and Wolfe Public Relations.
That’s right. Doing PR in the film industry is the low man on the totem pole. It is the most thankless position, sadly. My heart was in music, and I wasn’t in music. (Film public relations) just wasn’t what I wanted to do every day.
What media did you work with?
I did a lot of print media. I had a relationship with somebody at People (magazine). So I was the guy at the company…my boss would come to me and say, “Call your contact at People, and get a story on this.” Kirk Cameron was one of our clients, and Sandra Bullock just as she exploded after “Speed,” Noah Wyle as he grew up in “ER.” We also looked after Lou Diamond Phillips, who was on Broadway at the time doing “The King & I.” We went out to New York and saw him in the play and had dinner with him. He’s the sweetest guy in the world.
You worked with actress Drew Barrymore who was pretty hot then.
She was great. I loved her. Spending a little bit of time with her was really fun. She was huge at the time. She had had a full come back from whatever had happened earlier in her career (drug and alcohol abuse, and stints in rehab). She was at the top of the game. It was pre “Charlie Angels” but she was a bonafide A-list movie star.
Drew took you to a Mike Tyson boxing match in Las Vegas.
She said that she wanted to go to a Mike Tyson fight in Vegas. She was dating Eric Erlandson from Hole at the time and he brought Pat Smear and his girlfriend, a couple of other people, and there was me and my girlfriend at the time. We went to a party, and there was all this press trying to take Drew’s photo. She decided that she wasn’t sure how she felt about boxing because she had never been to a fight before. So I had to run around the party whenever anybody tried to take a picture of her, going “No, no, no. Please don’t. Please don’t take that photo.” Drew was really sweet, and a lot of fun to work with.
It was just that the job, in general, was not what I wanted to do.
You didn’t want a career in PR.
Specifically not in the film industry.
How does working publicity in music industry differ from working with film and TV people?
There’s a lot more opportunity for press in the film and TV world. There’s just a lot more outlets. At least there were then. Trying to get press on a new band, as opposed to a new actor, was 10 times as hard. If you were trying to get press on a new band, you were talking to fanzines. But you could get press on a new actor in fairly decent places.
At Almo Sounds, you worked for Jerry Moss and Herb Alpert.
It was awesome. I felt that I caught the very end of that idea of “the music industry.” Every company used to have a guy like Clive Davis at Columbia and Chris Blackwell at Island and Jerry at A&M—every company had a guy; the guy made the decisions, and if he liked something, the company would do it. That’s how Jerry Moss worked. I would play him things, and he’d say, “I love this, let’s do it.” He signed Ozomatli, which I brought in. Everybody there loved the band but didn’t want to say “yes,” because the band was nine guys, and it was Latin funk hip hop. Jerry is such a music guy, and Herb is great. I really enjoyed that experience. That is where I cut my teeth.
Were you hanging out around the Sunset Strip and the music clubs looking at bands while at Almo?
I was listening to anything and everything. I took on unsolicited material. I didn’t care. An act could come from anywhere. I was going out a lot and seeing a lot of bands. I had a lot of friends who were doing A&R, and we’d just run around.
To places like the Viper Room.
It always smells like vomit and beer in there. I haven’t been in the Whisky in probably 10 years.
At BMI, part of your job was participating in music conferences and setting up showcases.
I did a lot of showcases including the South by South West shows (in Austin) and all of those regional conferences like North By North West (in Toronto) and the New Music West in Vancouver.
You have attended South by South West for 10 years. How beneficial is it for a band to perform at events like that?
I guess the question is, "beneficial to who?" At South by South West recently, it seems like it’s not so much about finding an unsigned band and getting them signed; it’s about a finding a band that is starting to pick up momentum that can kick into overdrive at South by South West. That happened with M.I.A. a few years ago. I think that the Strokes were one of the last unsigned bands that played there, and got a deal out of being there. Amy Winehouse happened there (in 2007).
There are always a handful of really cool signed bands at South by South West that everybody wants to see.
And then it’s very difficult to even get into their shows. They will play five times at various parties and such. I think South by South West is really beneficial for those types of acts. If I was a new band or a band that is just trying to get a deal and I was going to get just one show at South by South West, I don’t know if I would say that it was worth it.
I’m not sure who bands need to attract at these events anymore.
It depends on what they are trying to get done. How do you create buzz? If there was a road map to do it, we would all be doing it.
Larry LeBlanc is widely recognized as one of the leading music industry journalists in the world. Before joining CelebrityAccess in 2008 as senior editor, he 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, and the London Times.
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David Alexander, Sheer Publishing 07/21/16
Eva Alexiou-Reo, FATA Booking Agency 05/14/15
Marcie Allen, Mad Booking 12/14/00
Jeff Allen, Universal Attractions 08/16/02
Marcie Allen, MAC Presents 06/05/09
Marcie Allen Cardwell, MAC Presents 12/21/07
David Allgood, Bama Theatre 01/03/11
Patrick Allocco, AllGood Concerts 10/05/07
Michele Amar, French Embassy 05/26/16
Mike Amato, Rok Tours International 02/02/07
Jeff Apregan, Apregan Entertainment Group/Venue Coalition 09/30/15
Billy Atwell, AMP Studios 12/13/07
Bob Babisch, Milwaukee World Festivals Inc. 04/02/15
Tom Baggot, thebookingagency.com 05/02/03
Stephen Bailey, EPACC & Deleware Center For The Arts 02/06/04
Cary Baker, Conqueroo 05/11/11
Vince Bannon, Getty Images 07/05/11
Phil Barber, Barber & Associates 02/04/01
Camille Barbone, WineDark Records 12/09/05
Erin Barra, Musician/Producer/Educator 07/10/14
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, Foxman.com 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, Turntable.fm 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, ItsAboutMusic.com 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, Twincloud.com 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, CultureCatch.com 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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