Industry Profile: Jay Cooper

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: Jay Cooper, Chairman - West Coast Entertainment Department, Greenberg Traurig, LLP.

As chairman of the entertainment department of the Los Angeles law firm Greenberg Traurig, Jay Cooper retains a remarkably balanced overview of creative and business interests for his clients.

A former professional musician, Cooper counsels such clients as Jerry Seinfeld, Katy Perry, Sheryl Crow and screenwriter David Seidler famous for writing the play and the screenplay for the film “The King's Speech,” for which he won the Academy Award for Best Original Screenplay this year.

Cooper advises clients on such matters as management, label and music publishing agreements. He also oversees acquisitions and sales of catalogs; and deals with multi-media, internet, and intellectual property issues.

Furthermore, Cooper is recognized internationally as a leading expert on copyright law pertaining to music.

Cooper, who has a Juris Doctor degree from DePaul University in Chicago, is the former president of both the National Academy of Recording Arts and Sciences (since renamed the Recording Academy), and the California Copyright Conference.

He is also former Chairman of the American Bar Association Forum Committee on the Entertainment and Sports Industries.

Before beginning his law practice in 1956, Cooper worked with many of the major singers and bands of the day, including Frank Sinatra, Les Brown, Charlie Barnet, Perez Prado, Nat King Cole, Mel Torme, and Bobby Darin. He also played with the Los Angeles Philharmonic for six years.

In 2009, in recognition of his six decade service to the American music community, the Grammy Foundation bestowed Cooper with the Entertainment Law Initiative Service Award.

I first heard about you in the ‘60s when you were representing well-known rock bands.

In the ‘60s, I represented the Monkees, the Byrds, and Buffalo Springfield. I represented Phil Spector for about 12 years, starting in the ‘60s, and also arranger Jack Nitzsche. I had that whole group of people. Then I was involved with Larry Spector, who was a business manager. He developed Ventana in Big Sur, a spectacular place. Larry represented Peter Fonda and Dennis Hooper. He brought them to me, and I made the “Easy Rider” deal. You know what the budget was for “Easy Rider?” $375,000 and they went over budget. It came in at $395,000.

The rumor was that Phil Spector put up some of the financing for “Easy Rider” so he was given a small part.

Phil didn’t put up for that one. The money was put up by Bert Schneider. His father (Abraham Schneider) ran Columbia Pictures. Peter and I went everywhere trying to shop this deal. Peter didn’t have anything written. He had this idea about these druggies who sold drugs, and went across the country on motorcycles. That was the story. Everybody turned it down, including (American International Pictures) Sam Arkoff who did all of the biker pictures. Then Peter was walking down Sunset Boulevard and ran into Bert Schneider, and told him his idea. Peter needed to go off to New Orleans to shoot the New Orleans’ sequence. Bert said, “Okay, here’s $25,000. Go ahead and do it.” Then they financed the balance of the picture.

You’re a pretty straight guy. What did you think when you saw the film?

I thought it was somewhat bizarre.

The New Orleans’ segment was shot first?

They went down there, and shot it quickly. When they came back, Peter and Dennis got into a gigantic fight because they had the wrong stop on the camera. It came out dark, and it wasn’t supposed to be. So they had a big fight that it was wrong, wrong, wrong. People loved the New Orleans’ scene even though that was not what they had in mind.

After “Easy Rider” you branched out from music to working in film as well?

Not long after that, I got a call from Talent Associates. Steve Binder was a fabulous television director. He had always wanted to do a label. He had talked to (TV producer) David Susskind (about it). The three owners of Talent Associates were David Susskind, Leonard Stern and Dan Melnick, and they had a television company going. Steve talked them into financing a label (Talent Associates Record Company, which launched the career of Seals & Crofts, and the Original Caste) and he asked if I would represent the label.

Then you got hired by Talent Associates for other work?

I guess they liked what I did because they asked me if I would start representing their shows. One of the shows was “Get Smart.” So I started doing the work on that. Another show they were going to do, and that I made the deal on was “McMillan & Wife.” I made the deal at Universal on that one. Then we did several (film) pictures. Then they did that Elvis Presley special (“Elvis Presley's '68 Comeback Special”) that Steve Binder directed. I did all of the work on that. So now, all of a sudden, I’m doing a lot of television work. I’m doing several movies because of Leonard Stern. He was a writer on “The Honeymooners” and was one of the creators of “Get Smart.” All of a sudden, I got involved in the movies that he was doing, and the television shows. So from that point in the late ‘60s, I got into all of that.

[Steve Binder grew up in Los Angeles, went to film school at the University of Southern California, and worked in radio during an ensuing Army stint. Later, he landed a job on NBC-TV’s “Hullabaloo” music show, and directed television specials for Leslie Uggams, and another with Petula Clark and Harry Belafonte.

After the Clark-Belafonte special, 26-year-old Binder got a call from Bob Finkel, an executive producer at NBC, to do an Elvis Presley special. Finkel wanted Binder to direct and co-produce it. Binder would go on to do TV shows with Mac Davis, Barry Manilow, Diana Ross, Patti LaBelle, Michelle Kwan and others.]

The legal profession is currently being challenged by fewer major label artist signings, and smaller deal sizes. A tough time to be just a music lawyer?

I would say it would be a tougher time in music because there are fewer and fewer deals, and the deals that there are, the monies that are paid pursuant to those deals are much less; the royalties, and the advances are much less. As well, the record companies are encompassing—are grabbing--more rights, if you will. So yeah, it’s a tough time if you are just in the business of doing record deals, it’s a really tough time.

There are fewer deals around as labels’ 360 deals give them a cut of merchandise, touring and licensing revenue. Instead of making deals with four companies, an attorney is making a deal with just one company.


Have clients been demanding lower hourly fees and commissions?

I haven’t seen that. I think the general legal profession is finding that pressure. If you are representing corporations, the general counsels are very conscious of fees. They are asking for reduced rates. They are asking for flat fees. They are asking for caps. Generally, in the legal profession, there’s tremendous pressure on fees, yes. Is entertainment different than that? Maybe, slightly. I haven’t seen the tremendous pressure on the fees, but there is some of that, certainly.

The deals with major labels have become more complex.

They are a lot more complex, yes. Definitely a lot more complex. The reason they are a lot more complex is because record companies are asking for greater and greater rights. The other complexity is that records are being distributed in various ways that were virtually unknown 10 years ago. You’ve got iTunes that you didn’t have 10 years ago; and there’s the iPod; Android; records on Live365 (radio network); records on Pandora; and exploitation (of music) in video games. You’ve got exploitation in all kinds of different ways now.

In addition, you’ve got exploitation (of music) on television show, more so than probably in a long time. You’ve had exploitation in motion pictures. That still continues. So you have every type of exploitation. And you have exploitation of the recordings with greeting cards, and other merchandised items. Yeah, it’s all over the place.

It’s noteworthy that major labels took the breakage clause in older artist and production contracts and transferred it to a new media clause.

They did that for a long time. In the Allman Brothers’ case against Sony that was settled, they (the Allman Brothers) allege that on digital downloads that Sony was taking a new media deduction, and they were paying on 85%. It is interesting. That case was settled, but those are the allegations.

[The Allman Brothers Band recently settled a proposed class action case against Sony Music Entertainment. The Allman Brothers Band had alleged that Sony Music was not paying 50% of the net licensing and leasing income received from digital download stores, as the Brothers believed they are contractually obligated to.]

What is the potential impact of the recent appellate court ruling granting F.B.T. Productions a greater share of royalties from Eminem digital downloads and ringtones? Universal Music Group is saying that it isn’t a legal precedent.

I would disagree with that. I think that it is a legal precedent. The language that was raised there (in contracts) was very common to a lot of contracts. Not just Universal’s contracts, but that was common at that period of time in various contracts. In fact, someone has recently brought a class action suit on behalf of Rick James, so I think that it is precedent. Universal would like to tell you that it’s not precedent, but the court has basically said that language was clear and unambiguous, and that the digital sales fell within the class of licensing. It was clearly a license. That’s what they said, so I think that it is precedent.

Now, it is true that since 2003 or 2004, (when label contracts began to include specific language governing royalties for digital downloads) a lot of companies have since changed their contracts, and said that for digital downloads, “This is what we will pay you.” But certainly the contracts much before that didn’t say that. Basically, they talked about normal retail channels (in older contracts), and we all knew what normal retail channels meant. Normal retail channels were Tower Records, Wal-Mart, Best Buy and all of the other companies of that nature. (Contracts) said that other than normal retail channels, companies will pay for 50% for any records sold by their licensees.

Yes, I think it is precedent. Record companies will tell you that it’s not, but I believe firmly that it is. Actually, in 2003 or 2004, a number of us—24 attorney of us—sent a letter to all of the record companies—making that very claim which they all rejected, of course.

[There is considerable disagreement within the music industry over the potential impact of the recent appellate court ruling granting F.B.T. Productions a greater share of royalties from Eminem’s digital downloads and ringtones.

Label executives are maintaining that the decision by the U.S. Court of Appeals for the Ninth Circuit only applies to the specific contract between Universal Music Group and F.B.T., and won't have any effect on other artist label contracts.

The dispute revolves around whether a music download should result in an artist royalty payment of 12%-20% of the retail price as for physical CDs, or if the download should be regarded as licensed revenue with the artist receiving a 50% royalty.

UMG has indicated it will seek a rehearing before a larger panel of Ninth Circuit judges.

Meanwhile, the Rick James estate has filed a class action lawsuit against Universal Music Group seeking damages for what it alleges are unpaid royalties for the sale of music through digital downloads and ringtones.]

Heritage acts have often been successful in opening contracts.

That’s true. Of course, it goes back to Peggy Lee’s case against Disney over “Lady and the Tramp.” Disney put it out as a video, and she said, “No, no no. You have to pay, man," and the court said, “yep.”

[In 1991, singer Peggy Lee, who had earned $3,500 for her six-song and voice contributions to the 1955 animated Disney film “Lady and the Tramp,” was awarded $3.8 million by a Los Angeles jury. Her contract with the Walt Disney Company, which had made about $35 million from video cassette sales of the animated classic, was written long before videos. At the time of its theatrical release, the film took in a higher figure than any other Disney animated feature since “Snow White.”]

With newer technology, rights are often unclear.

It is because it is very difficult to anticipate future technology. Did anybody in 1990 anticipate Napster? Or did we anticipate the internet the way it is? Or the way that records are being distributed today? Or music access? No. Nobody anticipated any of this.

As you know, under the 1976 U.S. Copyright Act, the author of a recording has the right to terminate the original transfer of copyright to the record company 35 years after that transfer. But “author” isn’t defined in the Act.

Well, that’s an interesting question. There is no definition of author in the Copyright Act. If somebody writes a song, it’s pretty clear who the author is. If somebody does a recording, it is not so clear. Is it the featured artist? Is it the featured artist, and the producer? Is it the producer? What about the arranger, the engineer, or the mixer? Who is really the author? That has yet to be determined. Ultimately, there’s going to be a fight over the definition of author (in a court case). In some cases, the record company is going to claim that they are the author.

[Under the 1976 U.S. Copyright Act, the author of a recording has the right to terminate the original transfer of copyright to the record company 35 years after that transfer. If a recording was created and released in 1978 (the first effective year of the current copyright law), the author can reclaim that recording in 2013, subject to various notice provisions.

However, the problem is complicated in that it is unclear at the present time who will be defined as the “author.” At some point, a court will have to define the word “author” in this context unless there is legislation enacted by Congress defining the same.]

This hasn’t been tested.

It has not been tested yet. My guess is that when the record company stands up and says, “We are not going to give it back,” that is when someone will file a lawsuit. Everybody has been sending their notices for recordings that came out in 1978, which will be effective 2013. That’s the 35 years. To my knowledge, there’s been no court action at the present time although an awful lot of people are sending their notices to the record companies saying that they are entitled to those masters back.

A continuing contentious issue is proposed legislation requiring terrestrial radio stations to pay performance royalties which the National Association of Broadcasters has been calling a tax.

They label it a tax. They have two things that they yell about all of the time. They label it a tax, and they say they are promoting the sale of records. Let me respond to that, as I have for some time.

First, we have to go back to the Copyright (Act) of 1909. In 1909, there was no recording industry. One of the rights that you have on a copyright—let’s forget about records for a moment—is a performance right. Choreography has a performance right. Music that you write has a performance right. There are a number of copyrights that have performance rights. Well, there was no record industry (in 1909) and, in fact, there was no copyright for a recording until 1972.

Notwithstanding that there was no copyright until 1972, Stan Kenton in the ‘60s argued there should be a performance right for records (Kenton led a group called the National Committee For the Record Arts to gain airplay pay). Recordings used to come and say “Not for broadcast.” Then Frank Sinatra came along in the ‘60s or ‘70s and tried to organize (a group in favor of performance fee for recordings). That failed. Finally, a recording got a copyright in 1972, but the NAB strongly opposed any performance right.

The argument by broadcasters to the record industry is always, “We’re doing you a favor by promoting records.”

Well, let me respond to this.

Radio play records to get an audience. An audience gets them ratings. Ratings get them advertising, and advertising gets them dollars. That’s why they play records. If they have a talk format, and they want to increase their monies, they will go to a certain genre of music to entice an audience to get them ratings, to get them advertising, to get them dollars. That’s why they play records.

Certainly, when recordings are played on the radio there is a promotional value.

When an artist performs on a television show, they are paid from the television company or the production company, and that (performance) has a promotional value as well. Certainly, when an artist does a concert, that has a promotional value, but they are still paid. So there’s no reason that the broadcasters, which pay a total of about 3% of $16 billion that the (radio)industry is (annually)—that goes to the songwriters and the publishers—should be arguing about providing a promotional value (to artists) while not giving a fee to them.

While the pop stations may have a little better argument that’s there’s some promotional value, 90% of the stations are now playing music that people aren’t buying anymore. They are playing music the audience wants to listen to and it gives them the ratings that they are seeking. So their arguments are really are false and hollow. It is just a PR campaign having nothing to do with reality. And by the way, your biggest promotional value today for artists is not radio, it’s the internet and television.

So radio is piggy-backing on the music industry.

Yes, they are.

[In the mid-1930s, many artists saw the broadcasting of records as competition for the live radio performances that they relied on for income. Bandleader Fred Waring led the charge for a performance royalty for recordings by filing a lawsuit against radio station WDAS in Philadelphia. Meanwhile, bandleader Paul Whiteman went after WNEW in New York, home of Martin Block’s enormously popular “Make Believe Ballroom.”

In 1940 the Pennsylvania Supreme Court found on behalf of the plaintiff in Waring v. Station WDAS. Judge Horace Stern wrote for the court: “There is no moral or legal difference between tapping telephone wires for the purpose of ‘listening in’ than there is in using for broadcasting a phonographic disk made by plaintiff in defiance of the maker’s injunction written across that disk, to wit: ‘Not licensed for radio broadcasting’.”

The court ruled that Waring’s copyright privileges had been violated.

Although Waring proposed that stations pay only 10 cents for each record broadcast, publishers didn’t want to split their royalty profits from radio.

The final legal showdown over performance fees from radio took place in 1940 when Whiteman’s suit reached the Second Circuit Court of Appeals, presided over by jurist Learned Hand. Judge Hand ruled against Whiteman and RCA, a decision that shaped radio broadcasting to this day.]

Nebraska’s Senator Ben Nelson recently introduced a bipartisan resolution declaring that Congress should not impose any new performance fees on local radio stations. He said, “Congress should not impose taxes on small businesses in Nebraska and nationally which would threaten their financial viability,”

First of all, the performance bill that was passed in the appropriate committees exempted small radio stations under a certain amount of money. The stations up to $1.5 million (earnings) only had to pay $500. It’s preposterous. As I said, the total that radio pays for music is now only 3% (of their annual revenues).

With the U.S. lacking such a performance fee, it means that Americans are cut off from revenue from around the world.

Well because of reciprocity, we don’t receive (that) money. We have estimated that we are losing $100 million a year. That is tax dollars that we are losing. That is one of the things that we emphasize with Congress, the fact that there is a lot of revenue that we are losing—that the government would be benefiting from that money coming here—that we are not receiving. It’s wrong, wrong, wrong. But, it’s so tough to get these people to understand it.

Internet Service Providers have identification technology that can identify illegal music tracks. Does the music industry need legislation or an agreement with the ISPs so that they'll take an active role in cutting off the constant flow of illegal downloading?

Certainly they can (identify illegal music tracks) and we need to press them on this. There is, by the way, Section 512 (Limitations on liability relating to material online) of our Copyright Act (in sub-section I) that says the limitation on liability established by this section apply to a service provider only if the service provider has adopted and reasonably implemented and informed subscribers of a policy that provides for the termination in appropriate circumstances of subscribers and account holders of the service provider system who are repeat infringers. There it is sitting in Section 512, section I. I don’t know why but we are not using (the clause) and that clout to go after them and to make sure that they comply with that. They know who the copyright infringers are. That section needs to be enforced.

The recording industry has never won a verdict against an online music service claiming protection under the Digital Millennium Copyright Act. The big problem with the DMCA is this safe harbor provision that services use to duck responsibility for illegal activity.

They are ducking it, and it’s not right. We need to put the pressure on them in that regard. There is technology out there that can identify the amount of illegal downloading going through each and every ISP. I know because I have seen it.

Why won’t the ISPs better govern illegal downloading?

The answer is that the people that are on (the service) are their customers. There are a high percentage of customers on that service for one reason or for a principal reason—that they can access this (music) product illegally.

It is highly difficult to police illegal sites when the internet is worldwide. Laws will eventually have to be codified internationally.

I would agree with you. That needs substantial co-operation between the various countries. We need to do that. We need to make sure that we have agreements in place with all of the countries to enforce it. The problem is that there are some countries, like Russia and China, that don’t necessarily want to sign on to international agreements concerning this fact. That’s where the problem is. If you have one country not complying, anybody can move their servers there.

Are you encouraged by China recently starting to tighten up their copyright laws?

I am limitedly encouraged. We will wait and see. That would be terrific. I have met with some people from here, and that’s what they are saying, and I am hopeful. But, in all fairness, even in this country there’s a lot of illegal action going on.

You represent Sheryl Crow, who reportedly sold her publishing for a reported $10 million….

First off, the number is wrong, but I’m not going to tell you what the number is.

[In 2009 Sheryl Crow sold her music publishing catalog of 153 songs to First State Media Group, a Dublin, Ireland-based investor in publishing assets. The Wall Street Journal said the deal was valued at about $10 million. Crow retains her songwriter's share of copyright, which means she will still participate in any revenue generated by First State Media Group.]

Under what circumstances do artists and songwriters seek to sell their catalogs?

Well, I have been involved with a lot of catalogs, and people sell for various reasons. Some people sell because, maybe, they have an opportunity to take that money and put it to other uses. Some people sell for tax reasons. Some people (sell) for, let’s say for the cost of money. If I receive what would be my current royalties over the next 20 years now, then I may be ahead of the game. Other people sell because (the catalog) doesn’t mean that much to them anymore for one reason or another. It’s “let’s grab the money while we can. It’s a good deal now.” There are all kinds of reasons why people sell. There’s no one reason. So I can’t point to anything specific except that each person evaluates differently. There are accountants and business people who make these kinds of calculations.

There are estate purposes, and there are living purposes and all of that. Does it mean more to them to get the money than to keep control of the copyrights? That is an individual decision. There are accountants and business people who make these kinds of calculations.

Another party might be able to maximize the catalog for the writer.

Yeah, for the remaining writer’s share. People have also sold the writer’s share too. I did one (contract) like that three years ago. You can sell your writer’s share if you choose to do so. Absolutely. The vast majority, 95% if not 99%, sell only the publisher’s share. But every once in awhile somebody sells the writer’s share.

If somebody is making a big investment, they will say, “We have to recoup this investment. Now if we buy it on a 15 times multiple or a 20 times multiple or a 12 times multiple whatever it is, we don’t want to wait 12, 15 years or whatever to get our money back. So let’s go out and really work this catalog and see if we can get our money back in 10 years or seven years or five years.” The harder they work on the publisher’s side to get their money back, that means the writer is benefiting from that because the writer’s share is increasing.

Publishers and songwriters often complain that after selling, that the publishing often gets “parked.” That there’s little exploitation of copyrights.

That happens too. I have had various scenarios. One is that it gets parked. Another is that it gets sold and resold, and is now part of a bigger (catalog), and doesn’t have the same emphasis. Sometimes, the (catalog) gets “shlocked out.” (The new publisher) will try and license it in every possible way and not necessarily in a good way. So, while there are positive results of a sale, there are a lot of cases where there are negative results.

Can songwriters and artists selling their catalogs be penalized under Section 409.A of the U.S. tax code?

I will tell you specifically where you have to be nervous or worry about it. That is with advances. If you enter into an agreement, and it provides for advances payable Jan. 1 this year, and Jan. 1 the following year. If you go in, and speed up the advances, that is where it could possibly be a problem. It has to do with that. But, if a songwriter owns their own catalog, and they are making an advance deal like an administration deal, it’s not applicable because they own (the catalog). (That section) is only applicable basically to employee type situations.

Were your parents happier that you went into law full-time rather than staying a musician?

Oh, I don’t know. I had great parents. My father was musician himself. They were happy that I became a lawyer, but I was doing very well as a musician. They never expressed anything contrary to that at all. I didn’t go into law right away. As soon as I graduated, I worked as a musician.

You graduated high school quite young, and played in bands all through college and law school.

(My parents) used to come and see me once in awhile where I was playing. They were very happy with that. They were fine. They just wanted me to not necessarily be a lawyer, but to get an education. “You have something to fall back on” philosophy. So they were very happy with what I was doing.

What was the first band you went out with?

The first band was a band you never heard of, Larry Fotine (Larry Fotine and His Orchestra). He was an arranger for Sammy Kaye. That was the first band I left Chicago with. I went to New York and the East Coast. Then I got a call from a band called Henry Busse (& His Orchestra) which was a well-known band. Henry Busse had been the lead trumpet for the Paul Whiteman Orchestra (on such hits as “When Day Is Done), and he had a big hit called “Hot Lips” (in 1934). It was a terrific band.

How did you join?

They had lost their lead alto player in the Midwest and I got a call. I was with this other band. I was doing a recording session with them in Cincinnati when I got the call. I quickly called around Chicago and found someone to take my place. My parents were kind enough to drive the person down to Cincinnati. He came in for me. Then they drove me to somewhere near Memphis, and I joined the Henry Busse band. Within two months, I was in California.

I started working around California. I left the (Busse) band. I got married, and I and went in and out of (different) bands. Then, I was up in Las Vegas, and I said, “I guess I will study for the bar in California while I was sitting in Vegas. It's 115 degrees (Fahrenheit) out, I may as well be inside.” So I started studying for the bar. I came back to California after I finished the gig in Vegas and while I was finishing up my last two weeks of studying for the bar, I got a call from Henry Busse, asking if I could come back to the band. I said that I couldn’t because I was studying for the bar. I never rejoined the band. Then he died not that long afterwards (in 1955).

You worked with many of the major singers and bands of the day.

I was one of those people (contractors) would call. My forte was reading the charts. I could go in there and read the charts at the first rehearsal. They would call me because they had lost someone, so I would go out (with bands) for a few weeks at a time. I usually worked wherever the big bands were. Go to Palm Springs, and I’d work the Riviera (Resort) Hotel there; or I’d go to Vegas with Sinatra and work the Sands Hotel (that operated from 1952 to 1996). There were a couple of places in town like The Mocambo, where you could have big bands for the big acts or the Moulin Rouge (that closed in 1960).

[The Mocambo was a nightclub in West Hollywood on the Sunset Strip that opened in 1941, and closed in 1959. It was owned by Charlie Morrison and Felix Young. With big band music, the club became one of the most popular dance-till-dawn spots in town. On any given night, one might find the room filled with the leading men and women of the motion picture industry. The club's main stage was replicated on the TV series “I Love Lucy” as the "Tropicana" Club. Lucille Ball and Desi Arnaz were frequent guests at the Mocambo, and were close friends of Charlie Morrison.]

You began practicing law in 1956 because your musician friends were being busted.

This is absolutely true. The Mocambo would close down at 2 A.M. You’d pack up your cases, walk out the back and the cops would be there. They’d say to the trumpet player, “Open up you case.” I never got into drugs because my father who was a musician laced into me, “Never use them. Never use them.” So I didn’t use. But a lot of the guys kept marijuana in their cases or wherever. So off they would go downtown (to be booked). They’d call me, and say, “Can you help me out?” Or I’d be working on a record date, and someone would say, “I just got busted for possession.” I’d say that I wasn’t practicing, but they’d say, “Yeah, but you got a law degree.” So I started going downtown, and making motions for illegal search and seizure. I think it was called a 995 motion. So we would be sitting in court waiting for the cases to be heard. These musicians would say, “By the way can you read this record contract? Can you read this movie contract? Or this television contract?” Yeah, that’s how I got started.

[California “Penal Code 995: Motion to Dismiss the Information” is made by the defense attorney seeking to dismiss a criminal case before trial if they believe there is insufficient evidence at the preliminary hearing from which the judge could make a finding of probable cause.]

So I opened a small little office in Beverly Hills, kind of a space for services thing. An attorney Lou Most gave me a tiny little office, and I mean tiny. It didn’t have room for a pull up chair.

What music industry was around at that point in Los Angeles?

Well, there was Dot Records, Decca Records, RCA Records, Columbia Records and all of the studios. Everything was centered around Sunset and Vine. Everything was around there. Everything. So there was plenty to do.

Who were your early clients?

Other than the musicians who had the usual (drug-related) things, my first client of real entertainment substance was David Rose, whose family is still my client to this day. I got a call from David Rose, “Do you know anything about the copyright law?” My answer was always “yes.” No matter what it was. We practiced what we called “Door Law,” which is anything that comes through the door. At that time we still had the 1909 Copyright Act, which was very, very, small. So I grabbed a copy of it—I was supposed to go up and meet David and his manager and the other people on the other side—I forget what the issue was—up in San Francisco. So I took a plane, and I read the Copyright Act on the plane. When I got there, I was prepared. We solved the problem, whatever the problem was, and from that point forward I represented David Rose.

[David Rose was a British-born songwriter, composer, arranger, pianist, and orchestra leader. His most famous compositions were "The Stripper", "Holiday for Strings", and "Calypso Melody.” He wrote music for many television series, including “It's a Great Life,” “Little House on the Prairie,” “Highway To Heaven,” “Bonanza,” and “Highway Patrol.” In addition, Rose was musical director for “The Red Skelton Show” during its 21-year-run on the CBS and NBC networks. David Rose & His Orchestra’s version of “The Stripper” reached #1 on Billboard’s Hot 100 in 1962. Rose died in 1990.]

Your next client of name value was Nancy Wilson.

You will never guess where I got the referral. In those days, musicians all had answering services. In order to get people to book you—musicians were never home and we didn’t have cell phones—the only way people could reach you was through an answering service. Mine was called Call Nina. So the answering service would try to find you when they got a call. One day Nancy Wilson’s husband Kenny Dennis told the operator at Call Nina, “We need a lawyer out there.” The operator said, “You have to call Jay Cooper.” They called me, and she was a client for a long time. A great talent.

[Cooper was singer Nancy Wilson’s attorney and business manager. He also headed her production, and management company, Wil-Den, that also handled Sue Raney, the Checkmates and Guy Pastor.]

Today, you have a balanced roster and handle such entertainers as Jerry Seinfeld and Katy Perry.

And David Seidler who wrote “The King’s Speech.” Such a wonderful film.

Will “The King’s Speech” be adapted as a play, as it was originally intended by David Seidler?

The answer is yes, and I am negotiating that right now.

What else do you have in the pipeline?

Another interesting project is that I am doing a DVD project for Mel Brooks right now that is going to be fabulous. It looks as if we are doing a DVD deal.

Mel Brooks has such a rich history, dating back to Sid Caesar’s TV show “Your Show of Shows” in the ‘50s.

Can you imagine sitting in a room with that writing staff. With Mel Brooks, Carl Reiner, Woody Allen, Larry Gelbart, and Neil Simon? Can you imagine that room? They get into a room on Monday and Saturday, they are doing 90 minute live (TV) show. Can you imagine these guys sitting around? It had to be fabulous.

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.


Industry Profile Archives:
Mick The DJ, DJ/Enterpeneur 04/30/15
Jeremy Lascelles & Robin Millar, Blue Raincoat Chrysalis Group 12/01/17
Joanne Abbot Green, CMJ Music Marathon and Film Festival 10/17/08
Lee Abrams, XM Satellite Radio 11/28/03
John Acquaviva, Fund Manager, DJ and Serial Entrepreneur 07/09/15
Jay Boy Adams, Roadhouse Transportation 05/04/07
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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