Industry Profile: Louis Posen

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: Louis Posen, president, Hopeless Records, and executive director, Sub City.

Since 1993, Hopeless Records, based in Van Nuys in the San Fernando Valley of California, has issued more than 200 recordings.

This includes releases by Yellowcard, Thrice, Avenged Sevenfold, Melee, All Time Low, There For Tomorrow, Anarbor, the Dangerous Summer, There For Tomorrow, Still The In Crowd, Amber Pacific, the Human Abstract, and others.

Headed by 39-year-old Louis Posen, and run with eight employees, feisty Hopeless is widely celebrated for its style and class in the punk world as well as its astute, if not timely, A&R acumen.

There are also, of course, its wonderful, stylishly-packaged CD compilation series, “Hopelessly Devoted To You,” and its “Cinema Beer” video compilations.

While attending California State University-Northridge in the early ‘90s, Posen—then a 19-year-old aspiring filmmaker—was diagnosed with retinitis pigmentosa, a rare disease in which the retina of the eye progressively degenerates resulting in eventual blindness.

Posen, however, opted to continue his studies (receiving a Bachelor of Arts degree), and his pursuit of a film career. He was camera assistant on various films, commercials and music videos. While becoming immersed in California punk’s teeming club world set in Los Angeles, and San Francisco, he also directed video clips for several leading punk acts, including NOFX and Guttermouth.

In 1993, on a dare from Guttermouth members, Posen launched Hopeless Records and released their 7-inch single “Hopeless” from a Van Nuys’ garage.

Only in 1995, did Posen decide to take the label full-time. He soon signed such bands as 88 Fingers Louie, Funeral Oration, the Nobodys, Falling Sickness, Digger, Dillinger Four, Against All Authority, Atom and His Package, and Mustard Plug which delivered the label’s first release to break the 50,000-plus sales with its 1997 third-wave ska release, “Evildoers Beware.”

The first “Hopelessly Devoted to You Too” compilation in 1998, consisting of all Hopeless artists, became the label’s first release to sell over 100,000 albums.

More sales milestones were also made.

The 2003 release “Waking the Fallen” by Avenged Sevenfold sold over 500,000 albums in the U.S. alone. This groundbreaking album stayed on the Billboard Heatseekers chart for over 30 weeks

In 2009, All Time Low’s second album for the label, “Nothing Personal,” debuted at #4 on the Billboard Top 200, and had Top 50 debuts in Canada, Australia, Japan and the U.K.

In 1998, Posen decided to start a label devoted to helping those in need. Hopeless’ sister label Sub City (a 501C3 non-profit organization) was born a year later.

To date, Sub City has donated more than $2 million to over 50 nonprofit organizations with proceeds generated by Sub City's releases and the label's annual Take Action tour which has attracted such notable acts as Jimmy Eat World, the Red Jumpsuit Apparatus, Avenged Sevenfold, Paramore, Cute is What We Aim For and others.

How’s business?

It is not that different than when I started the label. We just had the Yellowcard record (“When You’re Through Thinking, Say Yes”) come out (on March 22, 2011) and it debuted at #19 on the (Billboard) Top 200. That was great. Silverstein is coming in April (with “Rescue”). Wonder Years, one of our hotter newer bands, will have their debut on Hopeless coming out. We re-released their debut full length album (“The Upsides”,) which was originally released by No Sleep Records. We have There For Tomorrow’s sophomore release coming out this year. We Are The In Crowd’s full-length debut is coming out. There’s a lot of anticipation for it because the EP (“Guaranteed To Disagree”) has done so well. Anarbor should be going in the studio this year. So their record should be coming out this year or early next year.

[Anarbor will be featured in the upcoming documentary "Warped! No Room For Rock Stars." With more than 300 hours of film shot, the cinema vérité documentary was produced by Agi Orsi and Stacy Peralta, and directed by Parris Patton. A film crew followed Anarbor, and a number of other bands, during the entire 2010 Vans Warped Tour.]

Are you proud of the way Homeless and Sub City have developed?

I love what I am doing, and I am excited about the journey that we’ve been on, so far. I think that we have got a lot of opportunity, and a lot to improve on. I am not much a prideful person. I have a lot of pride in our staff, and in all of the people that have helped us along the way. And pride in the bands, for sure. I feel fortunate to be working with all the people that we work with, and to work with such amazing artists.

How much staff do you have?

We are eight in our Van Nuys’ office, and then we have label managers who handle our sales and marketing in different territories. We have someone in the U.K., a team in Italy for mainland Europe, a team in Australia, and Japan, and our newest (office) in Canada. Some of the people are exclusive and some work other product lines. Sarah (Lutz), who is our newest (representative) in Canada, also does Metal Blade Records and Prosthetic Records.

In the U.S, we are distributed by ADA (Alternative Distribution Alliance). In each territory, it's a different physical distributor because each territory is so different. In Canada, we go through E1 (Distribution) for physical. Digitally, we go through INgrooves outside the U.S.

What attracted to you to punk music?

There’s a culture around punk. I’m not one to define things like that. I let writers like you do that. Or I let the fans do it. I have never been the one holding the flag of punk rock.

Would you call Hopeless a punk rock label?

Well, I do but a lot of people hear the music and they say, “Well, that’s not punk rock.” We’re punk rock because that’s where we came from and that’s the community that we’re a part of. There are other communities like the independent community one but yeah, we are definitely part of the punk rock community.

When I was growing up (punk) was about sticking together, looking at things, bucking the current way of thinking about things, and trying to find solutions to problems. That was the part that I really identified with.

Punk was very much part of the independent music world too.

At the time, I didn’t identify it as independent versus not independent. In reflection, it is. But it was its own world, it still is and, there is a community. We hang out together when we see each other. We hang out at South by Southwest or wherever we are at as a community; and we look at each other as partners. We are not really looking at each other as competitors.

I love finding new labels and entrepreneurs in this business, and sharing whatever experience and knowledge I have. I’m not someone who is protective of what we have learned. I think that the more people who are doing well, the better it is for us. I love finding similar minded people, who are going to do great in this business, and helping them any way that I can.

How much of your business is still physical?

Less than 50%. That started to change in 2004. (Digital) has been a great opportunity for small companies. It really has leveled the playing field on distribution. It has caused some issues that we have to work through. Like an unhealthy physical retail business, and people deciding to get things for free (via downloading) rather than paying. There are some challenges involved, but I don’t think that they are outweighed by all of the opportunities there are.

What is the primary advantage of digital for a niche label?

We are never out of stock at the #1 retailer in the world (iTunes). When we started this business, to say that we could never be out of stock at the top retailer, we would have been jumping up-and-down. (Back then) we would have to go in (retail stores) sometimes on our own and sell (records) directly to them. Or go in and move (records) to a better position in the store because nobody would have been able to find it.

Digital has leveled the distribution field.

I agree. That is why I feel that it is a great time, and (there’s) a great opportunity for smaller companies, and for unsigned artists. I feel that we are in a good place as a company which has been around, and that has deep relationships. So when we do need a gate opened, it can be opened. But we are also small enough to have an infrastructure that makes sense for the kind of revenues that are coming in now.

Do you do A&R directly yourself?

That’s a word we don’t use very much here. We’re a team so everybody is A&R. But, I’m still the one who negotiates the deals.

You have the last say?

Well, someone has to have their hand on the wheel. Everybody can’t have their hand on the wheel. That person, with their hand on the wheel, is the one with the best direction or knows how the engine works, or knows how to fit all of the luggage into the trunk. I hold the wheel, but clearly we have a team that makes this thing work.

How are the artist deals structured?

When we started we didn’t have enough history or experience to ask an artist to stay exclusively with us. So we started slow, and we did one-off deals. Then, we went to two album deals, and then to three album deals. We haven’t yet gone to four album deals.

What’s your average breakeven sales figure for albums?

It is different with every artist. It is a challenging number to put because as soon as we hit that point then we want to keep re-investing. It really depends on if this is an artist that we’ve got more future with. (If so) then we will continue to invest and continue to not be profitable in hopes that we are investing for a larger return down the line.

Avenged Sevenfold’s 2003 album “Waking the Fallen” sold 500,000 units. Pretty substantial at the time.

It is still pretty substantial in our business. If all albums could do 500,000, that would be great.

How deep is your catalog?

We have over 200 releases between Hopeless and Sub City. Everything is available digitally. Everything is available physically, and most of our catalog is available on vinyl as well. Now that there’s the technology to do short runs (for CDs) I don’t see us not carrying physical. That was a concern a couple of years ago. That if something was selling under a certain amount, that it wouldn’t be able to stay in stock. But now with the technology, (manufacturers) are able to run off 30 copies of something.

It has been argued that the music industry has been too hasty in dumping formats.

Our philosophy is to listen to the fans. If the fans want vinyl, let them have vinyl. If they want a CD, let them have it. The same with digital or with streaming. We don’t decide what the fans want to listen to in order to experience their music. We just are the ones that are providing those files or products. The second that we stop listening to what the fans want we’ll be in big trouble.

I love the Newbury Comics retail chain because it carries all formats.

We’re big fans of Newbury Comics. They have done an amazing job because they are a lifestyle store, not a record store. That (strategy) adheres to what we have tried to do with our company. We have never called ourselves a record label. We have always said that we are a lifestyle company. We are an artist development company. That hasn’t changed from 1993 to today.

[New England-based music retailer Newbury Comics, co-founded by John Brusger and Mike Dreese, began as a comic book vendor in Boston in 1978. Today, the 27-store chain sells CDs, LPs, singles, and DVDs. It also sells comics, books, posters, T-shirts, trading cards, action figures, sports merchandise, novelties and other pop culture-related goods.]

Sub City will soon announce an event to celebrate raising $2 million for charities.

We are going to announce it in May. The event will most likely be at the beginning of September. We started Sub City as sort of an imprint of Hopeless in 1998. The concept was connecting bands, and fans to the causes that they are passionate about. We started putting out records, and doing the Take Action tour. We have broken the $2 million mark donated to various non-profit groups. So, the event will be a way to recognize all the people who have helped make that happen from the bands to distributors, managers, retailers, writers and so on.

[On Sub City releases, 5% of the gross goes to a charity. Sub City also sponsors tours from which 10% of ticket sales go to various causes. The label works with more than 50 charities.]

In 2007, Sub City held a similar celebration.

We had a fun event at The Troubadour (in West Hollywood) when we crossed $1 million. All Time Low played acoustic, and we gave out awards. We gave an award to Kevin Lyman for all of his help for the Warp tour subsidy; and to other people who really helped us make that milestone. We’re looking forward to doing the same with the $2 million event. I am promising not to have another event until $5 million.

Of course, 10% of the door from the upcoming Take Action tour will go to a charity.

This year it is headlined by Silverstein and Bayside. Our benefiting charity is, which is a great site for young people to check out and find accurate information about sexual health.

[The Take Action 2011 tour will kick off April 22nd in Boston and wrap up May 28th in New York City and features Bayside, Silverstein, Polar Bear Club, the Swellers, and Texas In July.]

You went to film school at California State University Northridge. Did you want to be a director?

Yeah, I was pursuing a directing career. My area of emphasis was in film production. I focused mainly on feature films, documentaries and cause-oriented films. My heroes at the time were Alfred Hitchcock and Akira Kurosawa. I had earlier looked at a few film schools in Canada because I looked at myself as an honorary Canadian by that time. I was also playing hockey. I went to Calgary a couple of times to train there, but I decided to stay in L.A. I was already camera-assisting, and I wanted to keep working while going to school.

When did you start working in film?

I started taking still photos when I was about 12. I had a darkroom in my house when I was 15 in my bathroom. It created a nice smell in there. My parents loved that. I had a Pentax 1000. I also had a Pentax Super Program (known also as a Pentax Super-A) too. Along the way, I had a couple of different Pentaxes.

Then you started working as a production assistant.

I got a job at a yogurt store to make money, but that wasn’t my passion. I started driving down to Hollywood and I found Raleigh Studios. I just started walking around the lot, and knocking on peoples’ doors and said, “Hey, do you need any help with any projects that you are working on?” I soon became a P.A., getting people M&Ms and coffees. That led to the camera department, which I was interested in. I started being a camera assistant by the time I was 18. My main source of income through college was first or second ACing.

[Originally founded by Adolph Zukor as the Famous Players Fiction Studio in 1912, Raleigh Studios on Melrose Avenue is the oldest independent studio in Hollywood in continuous operation. Undergoing a five-year renovation and expansion in 1979, the 11- acre complex has 12 sound stages as well as production and support space. Some of television's most famous early shows were filmed at the studio, including “Superman,” “Gunsmoke” and “Perry Mason.”]

What attracted you to film production?

I have always been interested in things that move people emotionally, and that may make them think twice about the current way that they are thinking. That is more of an adult analytical view of it. I think that, as a kid, that I just liked that someone could see something or feel something, and it made them think beyond the current way of their thinking or made them feel connected emotionally.

Growing up, I don’t know about you, but many of us are looking for a culture that resonates with us, to help us identify and feel part of something. I tried a lot of different things and music and film were two that…when I met people that were into those things it reminded me of me, and it felt comfortable.

Film offers a global perspective.

It was wonderful, and it was eye-opening in seeing what was going on around the world through the eyes of film makers. It is experience that is hard to get in other disciplines at university.

Film is also a collaborative art. You learn to work with others. I would imagine you could bring that to running a label.

I haven’t thought about the benefits of the transition in that way, but I agree with you that film is a team sport, and so is running a company. I think that those experiences definitely benefited me, especially as we started to have more staff here. So, did my early years (benefit me), working with my step dad, my mom, and with my dad and seeing how businesses run. Those were all positive experiences. Human relations, organization and prioritizing.

Later on, I got into finding mentors and seeing how they do things and finding books and authors who could help me be, at what I thought at the time, was better at management. But, I realized later they helped me be better at leadership.

Were your parents in the entertainment business?

No. But I grew up working in my parents’ businesses. When I was pre-high school, I worked in my mother’s manufacturing and distribution business; doing the shipping and receiving, packing up plastic casters, and shipping them out. I also worked part-time in my step dad’s CPA (certified public accountant) firm, learning about book keeping, accounting, and taxes. My (biological) father had a sign/menu board manufacturing business in the restaurant industry.

Did you hang out at music stores as a teenager?

I did. I was the one going from one independent store to another trying to find that punk rock record that I couldn’t find in the larger stores; when Tower Records, which had a great selection, weren’t carrying the new NOFX (record) on vinyl. So I was going from store to store. I still keep in touch with some of those people that I used to hang out with in the record stores.

Los Angeles has had a strong punk scene dating back to Redd Kross, the Weirdos, Middle Class, Social Distortion, and Black Flag.

My era of L.A. was a little later than that. My first punk rock show was kinda old school in that it was X at The Reseda Country Club in ’86, out here (in the San Fernando Valley). It was really a life-changer for me. I was 15 years old. It was the first time that I had experienced music as a hands-on experience, not just a listening experience. I had never seen that kind of energy in a room at a show and I had been to a lot of concerts up until that point. (Starting at eight) my dad brought me to shows, including to Tom Petty, Fleetwood Mac, and I had seen the Police. I’d seen a lot of great bands before 15. But that was the first time that I had experienced the whole crowd moving to the music, and that type of energy. It really was a life-changer.

Did you see local bands like Fear, the Germs or the Circle Jerks?

I had seen many of them. I was so young that those were older bands to me. I started getting into the more of the Epitaph and Look Out (based in Berkeley, California) stuff. By high school, I started driving up to Berkeley to go Gilman Street and see the Bay Area bands, whether it was Green Day or Rancid. That (scene) is what led to my relationships there. The third video that I did was for the band Schlong with the drummer for Operation Ivy, Dave Mello.

You first operated Hopeless Records from a garage?

I started out from the garage of the house that I was renting while still going to Northridge. I was using the phone and fax machine at my step dad’s firm until they kicked me out once they realized what I was doing.

Why start a label?

It was a dare from the band. I was doing a video for Guttermouth, and they were in between labels. They had put out a record on Dr. Strange Records and we were doing an (animated music) video for "1, 2, 3…Slam!" They knew that they were going to another label, but they didn’t know where. They had new songs and they wanted to put them out. I guess that they didn’t know anybody who could do it. While we were doing the video they said, “This is really well-organized. Do you know how to put records out?” I said no. “Well, we’re guessing that you could do a better job than the other friends that we hang out with that drink to four in the morning, and sleep to three in the afternoon. So, do you want to try it?” So I said that I would try it.

Meanwhile, you were still in school.

I was. I had already done a NOFX video, so I knew those guys. So I was in touch with Fat Mike (lead singer/bassist of NOFX) and I knew that he had Fat Wreck Chords. So, I had a resource to call, and ask questions. Then I went searching for a (music industry) book so I would have some idea of what I was doing. It was really a one-off dare. It wasn’t a business plan to start a record label.

You purchased Diane Sward Rapaport’s ground-breaking book “How to Make and Sell Your Own Recording.” It’s an outstanding book on how to break into the music industry.

It is. I remember the day that I bought it. I remember the store and I remember where it was. The store doesn’t exist anymore. It was Crown Books on Van Nuys Boulevard and Ventura Boulevard (in Sherman Oaks). I remember reading it.

At the time, I copied out a one-page (sell sheet) example. I didn’t know what a one-sheet was, and I had the 7-inch (“Hopeless”). I got them out. The book had a list of distributors. I called each of them. I Xeroxed the one sheet. I whited out the stuff from the example, and just pasted the Guttermouth information there. Then I made more copies and then faxed them out to all of those distributors in that book. That’s where I got Sounds of California, Dutch East (Dutch East Indian Trading) and Revolver—my first slew of regional distributors. We sold quite a few of those 7-inchers. That was another stroke of fortune that the first thing that we put out was a band that we had a demand. I really didn’t have to do a ton of marketing in order to sell the 7-incher.

L.A. is a perfect place to launch a label in terms of influences and opportunity.

It is amazing how many courses of luck there have been along the way; and different forks in the road that I either chose to take or were unconscious choices that have brought our company and me to where we are. I can’t tell you how fortunate and lucky I feel. And being in L.A. has definitely been one of them.

You didn’t do much with the label until 1995.

That’s true. It was really a hobby for the first couple of years. Doing it out of my step dad’s office, and the garage. I was continuing school and directing music videos. I did the video (“Shattered Life") for Schlong. They said they’d always wanted to cover “West Side Story.” I said, “Okay. If I pay for it, will you do it?” And they said “yes.” And that (“Punk Side Story”) was the second release with Schlong.

It’s a classic.

It certainly is. It is amazing. The guitar player (Gavin MacArthur) didn’t have the sheet music, and he didn’t have the CD. He had a vinyl version of the (Broadway) play. He listened to it over and over again and figured out all of the parts. He taught it to the rest of the band. I drove up to Oakland, and they recorded the whole thing in two days.

It really had an authenticity and spontaneity to it because it wasn’t over-thought. Guest vocalists came in, and just belted the songs) out. They weren’t trying to go for something. They just did what felt right to them. “Maria” was sung by Andrew Asp from Nuisance. He just came in, he was totally drunk, and he just sang it, and you could feel it.

So that was the second release for the label.

Number three was the video compilation (“Cinema Beer-Te” with clips by NOFX, Rancid, Guttermouth, Lag Wagon, Pennywise, Schlong, White Kaps, and Slapshot). We didn’t know if people would want music videos. Nobody had really done that. But the collection was the ones that I had directed; and I had some friends who had directed some punk rock videos. So I thought, “Let’s put these all on a VHS cassette and see if anyone wants to buy it.”

These punk videos weren’t that known. They were mostly played on local punk rock and skateboarding video programs. Obviously not on MTV.

They were being aired a little bit on local programs. Some of those public access shows that don’t exist anymore. It’d be like a guy (host) that played videos and brought bands in. There was probably about 50 of those (shows) across the country. The videos got some airplay here and there. When the video I did for NOFX for Bob from “White Trash” had a video promotion person behind it, and it got very little play (outside public access), I thought, “More people probably want to watch this than have seen it on these public access channels.” That’s where I got the idea to do the video compilation cinema vérité which was sort of taken from my school days of cinema vérité. It did really well.

At the same time that came out, my eyesight started to become pretty poor. So there were two things kind of colliding. The hobby of doing a label that was doing really well, and my eyesight was declining, making it more challenging to continue directing music videos or moving into documentaries or features. I took the leap in 1995 to do the label full-time.

You had known for some time that you’d lose your eyesight?

It’s a little different with everybody. In my case, I was diagnosed when I was 19 with retinitis pigmentosa which is a slow degenerative eye condition. Each person's “de-generation” is at a different pace, and there are different symptoms. In reflection, prior to being 19, I did not notice some issues with my eyesight that was always determined to be near-sighted or an astigmatism. It wasn’t until I was 19 that they finally figured it out.

And 23 was a turning point. I lost the eyesight of my right eye from a botched procedure. That’s when I stopped driving. That was sort of a turning point for my eyesight; and it was sort of a turning point on me focusing on music full-time.

After learning about your eyesight at 19, did that make you more focused? The clock was suddenly ticking, and you knew it was ticking.

To be honest with you, probably not. I was a typical 19 year old. When I got that diagnosis, I thought, “Screw you.”


I definitely had some anger, but it was, I think, denial more than anger. My ophthalmologist at the time said, “You definitely should switch majors (at school) and get out of film.” Any time anyone tells you something like that at 19, you think “Well, I’m going to do the opposite of what they tell me to do.” I just went 100% at doing film.

In reflection, I am glad that I did. All those things that happened in film are what led to me starting the label, led to the relationships with our artists, and with other people that I still have relationships with now. But it isn’t something that I have thought about. Clearly, me losing my eyesight has affected my life. It affected decisions that I have made, but I think that is the same with anybody with any adversity in their lives. And, we all have adversity.

[Fittingly, Sub City’s first release, the “Take Action!” compilation, benefited the Foundation Fighting Blindness, an organization that raises funds for research in retinal diseases.]

You have a considerably more balanced view of life than many people in our business.

I remember a turning point for me. I was on my way to MIDEM seven or eight years ago, and I was in the LAX Tom Bradley International Terminal, and had extra time. My friend and I were in the gift shop. I was looking for a book to take on the plane. They only had one audio book. It was the “Seven Habits of Highly Effective People” written by Stephen Covey (first published in 1989). I thought, “Sounds pretty lame, but I’ll get it, if it’s the only choice.” I listened to it on the plane. It was a life-changer for me in recognizing that there are ways of organizing your mind, and ways of organizing your life that make it easier for you to reach your goals.

Some of these people (in the book) have done lots of homework to figure out what are the most effective ways to do things; some of which I’ve implemented at work, and some I have implemented (outside of) work. But it was the beginning of my pursuit to become someone who will work on the business, and not in the business.

Who have been your other mentors?

I put my mom at the top of that list. On the author side, I’d also put Jim Collins (“Good to Great”) and Marcus Buckingham (“Go Put Your Strengths To Work”). Also (former head coach at UCLA) John Wooden. I went to his basketball camp as a kid, read all his books, and I live a few blocks from where he lived most of his life in L.A. I attempt to emulate his leadership philosophy and style.

I’ve got a circle of (mentors). Some of which are alive, and some of which aren’t. One of which is clear when you walk into my office is Benjamin Franklin. I’ve got a bunch of Benjamin Franklin stuff here, including a talking Ben Franklin (figure) that my wife got me. Everybody that comes into this office gets one piece of advice from Mr. Franklin. If you push the bottom on his chest, there’s a random bunch of 50 sayings. I have a lot of Benjamin Franklin sayings. One is “Diligence is the mother of good luck.”

Any mentors from within the music industry?

There have been a lot of people from the music industry. John Esposito (president/CEO, Warner Music Nashville) took me under his wing when I met him about seven years ago. He has been there to lend advice, or been there to answer a questions, or feedback, or anything. He’s an amazing guy. (Elektra Record founder) Jac Holzman has always had his phone and email open to me, which has been amazing because he’s such an icon. He started his label out of his dorm room too. We shared that in common. And he’s always been at the forefront of technology. It’s been great to have that relationship.

You enjoy going to conferences that aren’t music related.

I’ve learned to look outside of music because I feel the music world could get, at times, inter-focused, and forget that there are other worlds outside of that. So, I like to hear a fresh perspective from someone who might be in meat packing or whatever.

I’m involved in a lot of non-profit (organizations) including being involved with Mediators Beyond Borders. I have done 200-plus hours of training and I have met the most interesting people and heard (about) their problem-solving. Most of the people there are professional mediators; I’m just a certified mediator.

I haven’t done any formal mediations, like civil divorce type stuff. I’ve mostly been involved in trying to do more training so people around the world can learn these skills and realize that there is a non-violent way to solve problems.

With Mediators without Borders, I am on the Middle East team. We’ve been working with a village in Israel, Oasis of Peace, that is between Jerusalem and Tel Aviv. It’s a co-existence village that has been there 30 years. It’s half Arab Israelis and half Jewish Israelis, living together. They have been living together a long time, and they have an elementary school where classes are taught in both Hebrew and Arabic. They have a peace centre in which they are trying to create a cultural mediation curriculum. Our team has been brought in to help develop that curriculum from a world perspective.

[In 2006, Pink Floyd`s frontman Roger Waters chose to have his solo Israel concert at Oasis of Peace, seen as a symbol of peace following Palestinian protests.]

Why continue to do mediation training, including workplace mediation and conflict management training?

I have an almost four-year-old girl who one day will be a teenager. I want to make sure early on that I have conflict-resolution skills. So I have to prep myself. Secondly, in running a business, dealing with difference licenses and exclusive recording agreements, and dealing with artists and managers and international companies, these are important skills to help informal problem solving. Rather than getting adversarial, and going down a negative path.

Have you ever been approached to sell the company?

We have.

Been tempted?

No. There has been nothing tempting. We’re open-minded, so we listen to people. We don’t want to have a pre-judgment, but there hasn’t been anything interesting. We have been profitable for 17 consecutive years. We have an infrastructure that we think works. We don’t want to do get too confident about that. But it works for now; so we’ll keep having it work, and improving 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. He is co-author of the book “Music From Far And Wide: Celebrating 40 Years Of The Juno Awards.”


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Jamie Adler, Adler Entertainment Group 05/11/07
Gary Adler, National Association of Ticket Brokers 12/04/13
Rodney Afshari, Freeze Artist Management 03/01/02
JC Ahn, VU Entertainment 04/10/13
Steve Alaimo, Vision Records & Audio Vision Studios 05/26/06
Jaye Albright, Albright & O'Malley Consulting 07/19/10
Randy Alexander, Randex Communications 10/12/07
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, 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, 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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