Industry Profile: Garry McQuinn

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: Garry McQuinn, producer, "Priscilla Queen of the Desert, The Musical."

At some point, you can expect Garry McQuinn to do a victory lap around New York’s Broadway theatre district.

After all, it’s a real triumph for an Australian from Wollongong to land on Broadway as lead producer of a popular musical.

In these days of global musical brands, McQuinn is busily mapping out the future international journey for “Priscilla Queen of the Desert, The Musical” in nearly a dozen countries while continuing to oversee the day-to-day of current productions on Broadway, and London’s West End.

As well, McQuinn is one of the licensors of the stage adaptation of Ingmar Bergman's “Through A Glass Darkly,” which opened June 6, 2011 at the New York Theater Workshop. It runs to July 3, 2011.

“Priscilla Queen of the Desert, The Musical,” with a book by Australian film director/writer Stephan Elliott and Allan Scott, is the story of two drag queens and a transsexual traveling to cabaret gig in the middle of the Australian desert.

The musical, which features hit pop songs of the past in its score, is a stage adaptation of Elliott's 1994 film “The Adventures of “Priscilla, Queen of the Desert.”

Costing $6.5 million (Australian) to mount, “Priscilla Queen of the Desert, The Musical,” premiered Oct. 7, 2006 at the Lyric Theatre, Star City Casino in Sydney, Australia.

It opened on Broadway on March 20, 2011 at the Palace Theatre. Producers include iconic singer/actress Bette Midler, who joined the production team after seeing the musical at the Palace Theatre in London's West End.

“Priscilla Queen of the Desert, The Musical” is slated to open in Milan, Italy later this year. That will be followed by a production in Brazil, opening March 16, 2012. An American national tour is planned for the Fall of 2012.

McQuinn, who is managing director of Back Row Productions, which has offices in London, and Sydney, has an impressive and comprehensive theatrical past, including stints as a director, tour manager, production manager, and company manager.

Prior to joining Back Row, McQuinn operated his own production company, Stage Business, specializing in mounting large-scale musicals, such as “Beauty and the Beast,” “Showboat,” and “The Boy from Oz.”

Back Row both develops new theatrical shows, and oversees productions of well-known shows globally.

The company has presented such international touring productions as “Tap Dogs,” Matthew Bourne's “Swan Lake” (which is the longest-running contemporary ballet in both Broadway, and the West End), “Slava’s Snowshow,” “Mum’s the Word,” “Gumboots,” “Circus Oz,” “Fosse” as well as the Shaolin Monks of China, and Jerry Seinfeld.

Back Row has also provided tour consultancy for productions of “Miss Saigon” (Portugal), “Starlight Express” and “Chicago” (Greece), “Cats” (Portugal), “Grease” (Monte Carlo) and Disney’s “Beauty and the Beast” (Dubai).

Following high school, McQuinn decided to apply for a production course at the National Institute of Dramatic Art in Kensington, Australia. He was one of six—out of his starting class of 16—to complete the course, which entailed morning academic classes, afternoon workshops and most evenings at the theatre. Later on, he returned to NIDA to teach the same program for nine years.

After four years as stage manager for the Melbourne Theatre Company, McQuinn went to the U.K., and spent several years there working as stage manager for “Noises Off” productions around the world.

Then, returning to Australia, he worked as production manager of several major productions, including: “The Rocky Horror Show,” and “Steaming,” before moving into producing “Beauty & The Beast,” “The Boy From Oz,” and “Show Boat.”

For a decade, from 1995, McQuinn was in Britain, running Back Row Productions with his partner Liz Koops.

McQuinn moved back to Australia to produce the stage production of “Priscilla Queen of the Desert, The Musical” for its Sydney run. Afterwards, the show played in Melbourne followed by Auckland, New Zealand for a limited run.

Prior to Broadway, “Priscilla Queen of the Desert, The Musical” had a 12-week run in Toronto with the full Broadway cast.

Where are you based?

I’ve been based in New York. I have been commuting regularly to London for the past year. Next week, I move my base back to London, and I will spend, perhaps, one week each month in New York.

With the popularity of the film, was there a built-in expectation for “Priscilla” as a stage musical?

Yeah, I think so, but “Priscilla” was always a challenge (as a musical). There are a lot of people now who say they knew it’d be successful. Well, when we were raising $6.5 million in Australian dollars—which is a lot of money in that market—a lot of those people weren’t there putting their hands in their pockets, I have to say. It was a big leap into the unknown and with the support of Chuggie (Australian concert promoter Mike Chugg)—I have to say—who was there from day one, and has never backed away or even flinched at the difficult times, we were able to get it up.

Due to the film, there are certain expectations about the musical.

There are a bunch of expectations that you have to juggle. Not the least being the expectation of the people who created the film in the first place. They actually came with me. This is something that complicates my life occasionally. We, in the end, only got the rights from Stephan Elliott, the writer/director of the film, on the basis of my personal guarantee to him—and that I have struggled to maintain—that we wouldn’t Disney-Ize the show; that we would be authentic to those characters; that we would continue to tell those stories with a measure of truth in the way we tell those stories, and to the characters that they are.

That’s been a bit of a battle because there’s a bit of a contradiction here between our need, frankly, to reach a solid middle class audience who are going to buy ten to thousands of tickets, and with characters whose lifestyles and lives themselves are, sometimes, a little outrageous.

Audiences might also go to the show expecting to see an exact replica of the film.

I expect that most of our audiences have never seen the film now. If they have, it might have been on late night television. More people in London have seen the musical many more times than people ever saw the movie on its first release. I can’t speak about DVDs or cable television, of course; but, in terms of the receipts in Australia, our grosses there were many, many times what the movie grossed. I know they are different finance economics, and you can’t really compare numbers; but, my point is that “Priscilla, Queen of the Desert, The Musical” has now achieved its own life which is built on that of the movie but is beyond that of the movie. They are very different things.

The list of producers for “Priscilla, Queen of the Desert, the Musical” is quite long. Can you spin on a dime and make whatever changes you need to make quickly on the show or is there a corporate-type committee?

To some extent, there is a little bit of a committee. It is far more onerous than I intended it to be. In fact, the number of those producers gives some indication of the lack of corporateness in a way. We would be in a much worse position if there was a single producing name next to ours.

Why we ended up with so many (producers) is partly an issue of my naiveté in fund-raising for Broadway combined with a significant amount of interest in the show. With the benefit of hindsight, I would have probably given bigger slices to fewer people. In the end, it actually works for me. And yes, I can sort of spin on a dime.

What roles do these producers play with the show?

One of the great things about the American mind-set—in this territory only, and bear in mind that I am kind of new to this—is that the definition of “producer” on Broadway is a very, very broad definition. I have people that I would call “bundlers”—people who committed to raising relatively a small amount of money—and it’s all in writing—and then they went out and loaned that money off. In the end, some of those names don’t have any of their personal money in the show. They bundled (their share), and sold it off to other people. Still, that definition of “producer” extends to them.

The Broadway community gets around that by identifying the lead producer (in a show). Everybody can call themselves a producer, but I’m the lead producer. Basically, that means not only do I have that kind of authority but, the doubled-edged sword of that is that I have the responsibility. Translation, it’s my fault if anything goes wrong.

Bringing in Bette Midler as a producer for the Broadway production was a PR triumph, if only because she has deep roots in the gay community. She’s a great figurehead.

I think that’s exactly right. Bette Midler’s involvement is exactly what it appears to be, and exactly what she says. She came and saw the show in London. I happened to be in London, so I went there that night, and took her backstage. She said, “I’d like to be involved” or, “Can I be involved?” I took that to mean money. When I got back to New York, I reached out to her thinking that it was probably just a nice chat-up for the show.

But it wasn’t.

Bette said, “Yes, I would like to be involved.” It was then handed over to the Nederlanders (The Nederlander Organization which own nine Broadway theatres) to progress because they are close friends of hers. Before I knew it, she was genuinely involved, and had an investment in the show. But beyond that, she genuinely wanted to be creatively involved.

Bette’s role has been crucial in advising you how to tinker with the show to appeal to an American audience.

She said to me not long after we started rehearsals, “I am interested in trying something new. I would like to be involved in how this progresses. I would like to give you my opinions. Take them or leave them. But let me give you my opinions.” I said, “Sure.” We’d be mad not to (to hear them). And that’s exactly what happened. She flew to Toronto a couple of times, saw the show there, and sat down with Simon (director Simon Phillips) and I, and gave us her thoughts.

The most significant one—and, she was quite adamant about this; though not in any way foot-stamping—was, “Guys, the show is too long. You have to cut 15 minutes.” We kind of felt that, but it was Bette saying it that made us confront it. That’s where getting ruthless about the opening of the show, and the end of the show—where most of the 15 minutes (dropped)—came from. She was incredibly helpful to us.

Bette Midler’s name on your marquee certainly creates interest.

We have done focus groups on the show, and Bette’s attachment to it brings fantastic value to us. I hadn’t really thought about that (before she came onboard). It was, “Bette Midler? Great. That’s wonderful. People will recognize her name. That’s cool. Like Whoopi (Goldberg) on ‘Sister Act’ or any of the others.”

In fact, from our focus group research, one of the strongest marketing tools that we have is Bette Midler’s name attached to (the show). One of the things that we are learning, in terms of the public perception of Bette, is that she is perfect for us because she combines safety, quality and integrity with a bit of bawdiness, and a bit of cheekiness. If you wanted to design a name above our title, it would have to be Bette Midler. For me, it was incredibly fortuitous. I wasn’t expecting it. We were terribly lucky.

Bette Midler has been in several over-the-top Broadway productions that rival “Priscilla,” including “Clams on the Half Shell Revue” in 1975.

I’d like her to make a guest appearance as Shirley. I think that would be hysterical.

During the Toronto production, I sat next to two grey-haired ladies that gasped at some of the more outrageous moments in the show.

From my experience, quite surprisingly, some of our best audiences are what I would call the “blue rinse audiences”—certainly in London and Australia. I haven’t seen them (in New York), perhaps, because we haven’t yet reached that demographic.

In London, and in Australia, our Wednesday matinee audiences were substantially older, and mostly made up of women. They loved the show. They were some of our best audiences. I came to the conclusion that we gave them permission to be a bit naughty. But I do think it’s possible to overestimate the conservativeness of your audience, or your potential audience. Certainly, that is a dilemma that we have had to confront in New York.

Those (older) people probably came of age in the ‘60s. Despite a Victorian sensibility, there is a degree of assumption that they do live a modern life, particularly now with shows like (Bravo TV’s) “Queer Eye For the Straight Guy” and (NBC’s) “Will & Grace” and other shows. I think that there is an increasing acceptance of different lifestyles among all demographics. I think, to some extent, we have been able to take advantage of that.

When does “Priscilla” open in Brazil?

We are scheduled to open on March 16th of next year (2012). Brian and I are working on the Brazilian production right now. They asked us to consider an incredibly popular ‘70s song in Brazil called “Freneticas.” We listened to it, and said, “That kind of makes sense. Why not?”

There have been reports of productions for Italy, Germany, Scandinavia and Singapore as well. Are they all possibilities?

Yes, they are all possibilities. (Developments) are ranging from discussions, to in-depth negotiations, to about to sign. The likely ones are in the short-term. I would say that, in the next 15 months, we will have Brazil up, and almost certainly we will have Italy up. They are ready to go in Milan. We haven’t quite found a theatre that is appropriate, but there are a couple of options that we are negotiating. As soon as they have a theatre that can fit the bus, frankly, we will press the button on Milan.

[MAS Music, Arts & Show, a co-producer of the Broadway production of “Priscilla,” has announced that an Italian adaptation ”Priscilla, la Regina del Deserto - il Musical" will open in the 2011-2012 theatre season. The show will start in Milan, and will then tour around Italy. MAS will also be producing the musical in Spain and Portugal.]

The third (adaptation) will be the U.S regional tour which will go out in October (2012). We have penciled in a fairly big prominent touring town just to take it and start it. In fact, I just went to a meeting to work out how on earth we can build a bus that moves in a week, and then in another month. So I think that will be the next three (productions).

[“Priscilla, Queen of the Desert the Musical” will commence a full U.S. national tour in Fall 2012, with the first city and date to be announced shortly.]

Also on the table is Singapore which is part of an Asian mix that, at the present time, includes Korea and probably Japan, depending on the language. Meanwhile, the Scandinavians are desperate to do the show. They just need a little help. I need to hop them onto another European market because, as a standalone to capitalize the show, it just doesn’t work out. But, if we put them together with, say Germany or German-speaking Europe, then they are ready to rock and roll.

Your background in staging shows in different markets is helpful as “Priscilla” goes more international.

I have always disliked what I would call “add water and mix” productions. I promised myself I'd not choose to preside over such an 'auto-pilot' reproduction. We are experts in those in Australia. Here’s how it works. Somebody out there decides to do a show which is a hit on Broadway or in the West End. You get the associate or the stage manager to come out and tell our guys where to move; and how to get a giggle because that’s how they do it (in the original show). In essence, what you get is a blind reproduction of someone else’s performance in another city to another audience.

If you are really lucky, your performers get it right, and they are given the ability to tinker (with the part), but that doesn’t always happen.

I have always thought to myself that if I am in that (overseeing) position ever; and if we go into a rehearsal with a new company that they will have that right, and have the ability to bring their things to the show—and that’s what we persist with; and Simon, I think, is together with me on that. We go into a new company, and every new rehearsal, with a bit of an open mind within the framework of the show itself. I think that “Priscilla” is a living, breathing thing that causes us problems sometimes, but I think it pays off.

There were many challenges in translating “Priscilla the movie” to “Priscilla the musical” that took nearly five years to work out. There was the dilemma of having a bus onstage that would contain four actors. And it couldn’t look like a minibus.

I think that we spent 18 months or more trying not to have a bus. We headhunted the best production and design artists in Australia putting their heads together. The initial response from all of them was, “If you are going to have a realistic bus, then there’s just not going to be room for anything else onstage.” (Thinking of) having a bus was just ceded by the practicality of actually having it.

So, we kind of started from a premise of, “How can we do “Priscilla” without the bus?”

In fact, that was solved in a snow storm in Berlin by the director Simon (Phillips), Brian (Thomson) the designer, and me—acting as a bit of a note taker—where we sort of sat, looked at each other, and said, “You cannot avoid having the title character on stage. You just can’t. If you are going to do ‘Priscilla Queen of the Desert’ you have to have Priscilla. Once we reversed our thinking, and just assumed that we would have a bus—and, therefore how would we deal with the other stuff—then, in a way, it became easier to design around the bus. But Priscilla’s a challenge. She never leaves the stage. She’s hidden onstage because there’s no way to get her offstage. But she never leaves the stage.

[Director Simon Phillips was working on an opera in Hamburg, and the design deadlines were looming, so Garry McQuinn and Australian theatre, opera and film designer Brian Thomson met up with him there. The three spent a week in a small apartment in a snowstorm working through the show.

Thomson—who designed the original London and Australian productions of “Jesus Christ Superstar,” and was the original designer of “Rocky Horror Show” and the film, came up with the idea for a ring revolve to give the impression of bus movement and passing scenery. If the external diameter of the revolve matched the proscenium width, the width of the revolve was one meter to fit cast members without colliding with any of the scenery, and the bus had to fit within the revolve, then the maximum bus length would be two meters less than the proscenium opening.]

The other major stroke of luck that we had, although we didn’t know it at the time, was the casting of our costume designers (Tim Chappel and Lizzy Gardiner).

[Tim Chappel and Lizzy Gardiner won an Academy Award, a British BAFTA Award, and an Australian Film Industry Award for their costumes for the film “Priscilla Queen of the Desert.”

The film’s director Stephan Elliott sought out the pair after seeing their work on the Australian television soap opera, “E Street” on Ten Network.

For the Oscars, Gardiner wore a dress made completely out of American Express Gold Cards.

This week Chappel and Gardiner won the Tony Award for best costume design of a musical for “Priscilla.” Their work on the stage musical has also won Olivier, Helpmann and Green Room Awards for Best Costume.]

Tim Chappel and Lizzy Gardiner were the original costume designers for the film.

Correct. To be frank with you Larry, that was as much of a marketing thing as anything else. We thought, somewhat arrogantly I guess, we will get the Academy Award winners on the show, and that will attract a bit of attention. Then, we will put a decent costume supervisor on with them to kind of hold their hands, and make sure that they do whatever we needed them to do.

They had zero experience in theatre. For about a year, that caused us enormous problems—that lack of experience. But we gradually came to see, as we went through the design process that, in fact—for them and for us—that it was the lack of limitation that was driving their design ideas.

To the extent that when we began this we allowed what we thought was an appropriate costume budget. We based it, frankly, on “The Producers” which at that stage was probably the biggest costume budget in Australia. And, it had one big show-stopping number, “Spring Time For Hitler.” We thought we would have a “Spring Time For Hitler” moment. Well, because these guys were totally unconfined by such old-fashioned habits as budget attendance, or timing and reality, they just kept coming up with these ideas. We, as producers, sat there saying, “How can we say no to that? That’s brilliant. That’s a fucking wonderful idea. Of course, we are going to having dancing paint brushes, and singing cupcakes.”

We ended up having 12 “Springtime For Hitler” moments (in the show), and a costume budget that was practically twice that of what we had allowed. It blew the costume budget out of the water, but the result was clear. More importantly, I think what they gave us was the language of the show and, in a circular way, allowed us to cope with the scenic difficulties imposed by having a huge piece of machinery (the bus) onstage.

This is a fantastic world of “Priscilla” that is fueled by those costumers, and Brian was clever enough just to give them a background, an Australian-colored background to perform in front of.

Music in film is background; in a stage musical, it has to propel a narrative. That’s a different usage of the music.

Totally. I think that the (“Priscilla”) film is not a musical. It’s a film with some music in it. A musical is an entirely different beast, as you say, if you are not just going to get into some random jukebox musical kind of paradigm, where you write a story around existing songs because you can try to frame them to be appropriate.

Where we started, and I think back now, it was creatively one of the most fascinating times of my life, and interesting. I wish I had been paying more attention to it all, in a way. Of course, we were totally caught up with the practicalities, the monies, and the legalities and so on. But sitting in those (rehearsal) rooms, listening and being part of a discussion which was incredibly wide open—to the extent of, “Okay, this is the moment that we need”—it was just a terribly exciting time where we started with a blank slate.

We kind of knew the genre that we wanted. We knew we were certainly subject to rights. We put in (Gloria Gaynor’s hit) “I Will Survive” (ending the first act) and (Ce Ce Peniston’s hit) “Finally” (ending the show). Of course, they are iconic and there should be a place for them in the show, and there always was.

With “Mama Mia” being a smash hit as a musical and a film, it was obvious you weren’t going to get rights for the songs from Benny Andersson, and Björn Ulvaeus of ABBA.

Well, we did ask them. They said “No. We’ve got our own show. Thank you very much.” We did do previews in London, and there were expressions of positiveness about it (from them). It was, “Well, maybe, we will think about it.” But, I suppose by that time we were comfortable enough about music tracks not to push it, especially. By that time, “Priscilla” had achieved a critical mass of a life of its own that was beyond that of the film.

I understand that Tony Sheldon (who plays Bernadette) was quite helpful in choosing music.

Totally. To be frank, a lot of the songs that we wanted, we couldn’t get because the rights issues were complicated. We were an Australian show that nobody had heard of. Certainly, the larger (music) publishers weren’t that interested in us. I think they were feeling a little bit burnt—I don’t know the specifics—but I think that “Dirty Dancing” (the musical “Dirty Dancing: The Classic Story on Stage” that debuted in 2004 in Australia) had caused some problems with the music publishers.

I would think that half of the songs that we wanted we did not end up with. But I can’t remember what they are anymore because we got what we got; and they are entirely appropriate. It works for the show.

[Song selection for “Priscilla, Queen of the Desert the Musical” was a collaboration between authors Stephan Elliott and Allan Scott, director Simon Phillips, associate director Dean Bryant, musical coordinator Stephen “Spud” Murphy and some of the cast. All of them provided suggestions. Murphy took the final song list, and arranged them for a large musical theatre cast, and a relatively small orchestra.]

Did you at anytime look at developing an original score instead?

Certainly, in the early stages, I would say that there was a 50% chance that we would write original music. That was in the workshop stages. But as we progressed, it became evident that there was an integrity about using existing music when you are doing a show about drag queens who lip-synch to existing songs. Simon was, of course, in the middle, if not driving this kind of discussion. I know that we get labeled with being a “juke box musical” and that is probably right, but there is a reason for those songs to be existing songs, and that is those characters live their lives through those songs.

As for (original songs) we had to say, “Only if we can’t find the songs that are appropriate to those particular moments that we think are important. So when Tick is talking about his son early on in the show we will, perhaps, get something written for it.” But, to be honest, that debate didn’t last very long. We found the songs that we wanted and, eventually, we were able to get the rights for them.

[The “Priscilla” character Tick is modeled on Richie Finger (aka Cindy Pastel) one of the great stars of Sydney drag in the early 1980s, who had a child with his best friend Karen.]

Didn’t you also change the music for Broadway?

Yeah. There’s a misconception about that change. Having been in every single discussion, participating, if not responsible for, every single judgment on the show, I can say that any notion that we were kind of pushed to make those changes by anybody else is just not right.

When we started the show in Australia, knowing we had a blank slate, the obsessions of Felicia (drag queen Felicia Jollygoodfellow) were important. It was important for Felicia to have a gay icon to obsess on. In Australia that decision was easy. It was to have (Australian pop singer/actress) Kylie Minogue. That flowed through to London because Kylie is incredibly well known there.

So that wasn’t a hard choice.

When we came to North America, both market research and our own personal instinct was that Kylie is not a particular presence here. Certainly not in the gay community and, maybe even, not in the theatrical community. For the middle American audience that all musicals count on, to have a character obsessed with a performer that nobody has heard of, just defied sense. So we drove the notion to replace Kylie with another icon. We went through a few. We tried Cher, and Madonna. In the end, mostly because the songs that she had recorded were far more appropriate to the storyline, we settled on Madonna. That was most of the changes.

We’d always had a concern about (Joni Mitchell’s) “Both Sides Now.” It was one of the compromises that we had to make because the original number that we wanted—which I can’t ever remember now—we couldn’t get the rights to. So we kind of compromised on “Both Sides Now.” And, it felt like a slightly down moment in the show where it should be a turnaround moment for Tick where he begins to feel empowered. So the move from “Both Sides Now” to (Cindy Lauper’s) “True Colours” was actually a theatrical and dramatic surgical (procedure) that we had been trying to make for some time.

The only other change in music was the opening of the show which was originally (Petula Clark’s hit) “Downtown” and is now “It’s Raining Men” (originally by the Weather Girls) which I think is one of the greatest show openers that you are ever going to see. It’s a great opening for the show.

At 16, you had no interest in the theatre.

Not particularly, I was a jock. I was a runner, and a football player. I was meant to be a football player more than anything else.

You might have played for the Sydney Swans in the Australian Football League.

I never played for Sydney Swans. There’s a bit of me that I wonder if that would have happened, if only if. I played VFA (Victorian Football Association) for Williamstown in Melbourne, and for the all-university team. In essence, I tried to balance those two things (theatre and football) because I loved playing football. I felt incredibly at home on the football field. And I was moderately good at it.

The whole football thing came as I was finding my feet in terms of who I was and my physicality and all of that. It all came together wonderfully. But the dilemma for me was terribly clear when I combined both for awhile. I played mostly university football while I was at NIDA (National Institute of Dramatic Art) because it was close by. I made the all-Australian team when I was playing there. I could probably have pursued a football career but who knows?

My first job was with the Melbourne Theatre Company, and I had a stark choice to make. You’ve got a matinee at 2 o’clock on a Saturday or you have a football game at 2 o’clock. You have a choice. So I played what you call semi-pro football in a Sunday league for awhile—VFA Melbourne—which were either people that were going to play in the professional leagues or had played and kind of got past (their prime). I played that for awhile. In the end, my theatre career just took over. I still wonder occasionally what would have happened.

How did you get into theatre?

Here’s the honest truth. I dated a girl in a school drama group. That’s it. I’d stay around to walk her home after the drama class; and because I was the only person (there) that didn’t want to act, they made me the stage manager. That’s how I got into the theatre. That’s true.

The National Institute of Dramatic Art was very important to your career.

Totally. I actually think that it’s the strongest tool I have in my personal armory to be honest. That time was life changing. I was a 19 year old kid out of Wollongong with no real expectation (of being in theatre). I was meant to be a mechanical engineer or a phys education teacher.

After four years as stage manager for the Melbourne Theatre Company, you went to the U.K. and spent several years working for “Noises Off” productions around the world.

That was in a different life, really. That was as a stage manager. Throughout my life I have had a number of significant mentors. That’s one of the reasons why I am quite keen to continue that and, frankly, why I continue my relationship with NIDA. We offer a scholarship every year to a NIDA kid to travel overseas. I’m on the board there. I think that it’s my duty to return that mentorship.

What brought you to London?

One of my earliest and strongest mentors was Michael Blakemore, a great Australian theatre director who has lived in London for many years (Blakemore, an erstwhile actor left Sydney in1950 to attend drama school in London). He came out to (Australia) to do a show with the Melbourne Theatre Company where I was a stage manager. He took me under his wing and encouraged me to come to London. He had a house in Biarritz (France), and he said, “Come and stay with me on the way through,” and I did. He was working with (playwright) Michael Frayn there. They were kicking around an idea which had come from a sketch. That was “Noises Off.” I was there when “Noises Off” was written. I was essentially a note-taker saying, “You can’t forget that you have the box of groceries on the bookshelf, so you need to get off stage,” or whatever.

Just secretarial stuff, really.

That, to me, was a connection for the original” Noises Off” that lasted for three or four years. It got to the point that Michael trusted me to get the show up, and he would come up near the end (of rehearsals) and polish it. It was an absolutely appropriate and timely profession (for me) because what I had done up to then had been production heavy. Suddenly here I was talking to actors as if I knew what I was talking about.

That whole professional development thing certainly was expanded and nurtured by the “Noises Off” experience. It moved me into another creative level. That kind of additional professional tool in my armory created a perception where I can sit and talk with Simon about “Priscilla” matters as if we are creative equals. “I think that’s running too long, son. We need to do something about it,” and he’s generous enough to listen to me.

How long have you worked with Liz Koops in Back Row Productions?

About 15 years.

You are both partners in Nullabor Productions Limited as well.

It's one of a number of companies that I’m involved with, and next to Back Row, the most significant, because it's the one that holds the international rights to “Priscilla.” I’m one of four shareholders in Nullabor. With Liz, I’m the largest individual owner of the company. Liz and I have equal shares in Nullabor. We usually establish separate corporate vehicles for each production, and sometimes subsidiaries in different territories for tax reasons because the partnership is different or to handle legals and finances in the appropriate jurisdictions.

You and Liz have different roles in the companies?

We have different experiences, talents and backgrounds—I think that is why we have such a strong collective—so we tend to allocate the workloads appropriately. It happens that I’ve been driving the Broadway launch, although Liz is and was involved in all critical matters.

Back Row was sold to Clear Channel Entertainment in 2000, and bought back in 2005. What went wrong?

I realized during that time that I’m just not a corporate person. This is a bigger issue for me than it ever was for Liz, although she was good enough to support and stand by me throughout, I think that you are spoilt once you have worked for yourself. I think that it mucks you up, probably, for the rest of your working life.

I found it incredibly difficult going into a very large, and a very successful American entity where the rules of the New York Stock Exchange determined a lot of what you did in ways that I felt were antithetical to an entrepreneurial mind-set. Common with pretty much all of those big publicly-owned companies is that there was an institutional aversion to entrepreneurial risk that just doesn’t sit with entrepreneurial activity. It was kind of ironic to me that Back Row—before and since that Clear Channel experience—has been prepared far more to take financial risks than the world’s largest entertainment company.

[In 2000, Back Row Productions was acquired by Clear Channel Entertainment. While working within Clear Channel’s London office, Back Row consolidated the European and Asian touring circuits for all of their U.K. theatrical productions, and took responsibility for developing new international theatre markets, partnerships and strategies. In Jan. 2005, Back Row Productions principals Garry McQuinn and Liz Koops re-acquired the company from Clear Channel.]

The same year Clear Channel bought your company, it bought SFX for about $4 billion, in hopes of synergizing its live and radio businesses. Owning Back Row made sense for their portfolio.

What Clear Channel bought with Back Row was some great strategic contacts, and a fairly interesting producing mind set. We left 12 months earlier (than our contract) We were supposed to stay five years, and we stayed four. The parting was kind of amicable. I think we were the second acquisition after SFX.

As well, the other thing that happened and you can’t underestimate in the impact of this, was 9/11. The consequences of 9/11 extended beyond the obvious. Meaning that on the one hand, essentially, that American corporate mind-set kind of withdrew a little bit from embracing the world.

Americans became more America-centric.

That’s absolutely right and, on the other hand too, Europe, which essentially is our backyard, kind of withdrew from corporate America. We were right in the middle of that.

Everybody, including the Clear Channel guys, went into the Back Row venture with a fairly clear vision of what our role was meant to be—which was to do what we had always been doing but with better funding, and better support, better strategic influence, and greater contacts—essentially stepping up to a larger life.

That didn’t happen?

What we ended up doing was taking the existing Clear Channel licenses and exploiting them; just essentially re-mounting and regurgitating existing productions from other companies that were required throughout the world. Kind of blindly licensing throughout Europe and the rest of the world, wherever we could get a gig. For people used to making their own art—from creating (shows) from the ground up—essentially becoming traveling salesmen for existing products wasn’t really the way that any of us intended it to work out. It was nobody’s fault, and we ended it well. We still work with all of those people in various capacities.

What shows did you do under Clear Channel?

The kind of musical theatre stuff like “Cats,” and “Starlight Express.” They weren’t shows that we created. They were shows that Liz would go out and sell and I’d make sure that they put them on well. It really wasn’t how any of us, including the Clear Channel folks, intended (the co-venture) to be. I think that world events more than anything conspired to derail that.

But beyond that, I am just not a good corporate person. I realized that about myself. It means I will probably never have a pension. And, I will probably have to keep working until I die. It’s been 20 years now of working for myself and I think that you are spoilt once you do that. I’d find it terribly hard to contemplate going back into an office now, and having someone I’ve never met before direct what I do. It’s arrogant; and, it’s probably not right; but I don’t know what to do about it.

How does it feel having two shows running in New York?

I’m not sure many people outside of my circle know that I am involved with “Through A Glass Darkly.” I have been quietly nurturing that.

Is the stage adaptation of Ingmar Bergman's “Through a Glass Darkly” Broadway produced by Back Row Productions?

No, it's owned individually by different partners. This was an odd "labor of love” that sits outside Back Row, with the international rights held by a U.K. company called Glass Darkly Ltd, owned by three partners, Liz and I individually, along with our friend Andrew Higgie. That entity licensed the North American rights to Glass Darkly LLC (a U.S. corporation) which has slightly different ownership—strategic and financial partners that we enlisted for this (U.S.) territory only.

What is your role with the “Through a Glass Darkly” production?

Since Glass Darkly LLC licensed the show to the Atlantic Theatre Company then, technically, I guess that I’m one of the licensors. However there's an approval process. We sign off on all significant decisions including creative staff, casting, and materials; and I’ve tended to oversee the development of the show with a producer's eye.

[“Through A Glass Darkly,” directed by David Leveaux, opened June 6, 2011 and runs to July 3, 2011 at the New York Theater Workshop. It features Jason Butler Harner, Carey Mulligan, Ben Rosenfield, and Chris Sarandon. It is being presented by the Atlantic Theater Company. The stage adaptation of Ingmar Bergman's 1961 film was adapted for the stage by Jenny Worton.]

Over the years you have worked in theatre as a director, tour manager, production manager, and as a company manager.

I kind of feel now that I’m able to sit down and talk with every single person in the theatre collective—from the stage manager and the crew, to the prop’s maker, to even the wardrobe staff—because I have either done those jobs or have been closely involved with people who have done those jobs. I think that, in the end, makes me who I am as a producer.

Whether that is a distinctive difference from anyone else (as a producer,) I don’t know.

It feels to me here in New York that producers are defined as essentially business-heavy people. And I took the time to go off and get both a law school degree, and an MBA because I wanted the backing of the confidence of knowing that what I am talking about is true or, at least, provides some kind of proper business structure for me. I think that way, that what I bring is the ability to understand every single facet (of a production) as possible—even acting, just by virtue of having spent a decade or so in rehearsal rooms with the best directors, and the best actors. So, I think I’ve been lucky in the range of experiences. They all seem to combine here with “Priscilla.”

Your experience in overseeing productions internationally will come to play in launching “Priscilla” in different markets.

Correct. The sum total of all my experiences in the past have come together in this show. And the requirement for those experiences has been quite supreme to the extent that I have been focused on “Priscilla,” to the exclusion of everything else, for three or four years now. I think that there’s another two or three years before that phase moves on, and I can step back, and take my hand off the controls.

You worked as a production manager for “Rocky Horror Show.” So you know that you could be working on “Priscilla” 20 years from now.

I hope I’m a bit beyond that now. If I am still doing this show in half a dozen years call me, and remind me. But I do think that there comes a time…we are on the verge of this now as the business of “Priscilla” has grown to such a point that I have to step back a bit otherwise I will lose sight of the big picture. As much as I adore the process of re-mounting the show, being part of it, and being in the rehearsal room while it’s being re-mounted, the business requirements now are huge. The show is now a big multi-national business and doesn’t allow me that luxury. I think that trend will continue. We are in the fortunate position of licensing the show now. It’s a lovely position to be in.

All the way from Wollongong to triumphing on Broadway. So far a nice life.

I have been incredibly lucky. If the title wasn’t already taken, my autobiography could be called “A Fortunate Life” because I have been guided and mentored by some very, very generous people, and it has turned out well.

[“A Fortunate Life,” a 1981 autobiographical novel written by Albert Facey, is one of Australia’s most beloved books. Published nine months before Facey’s death, it tells the complete story of his life. It chronicles his early life in Western Australia, his experiences as a private during the Gallipoli campaign of World War I, and his return to civilian life after the war. In 1986, the book was turned into a Channel Nine mini-series, and became a national success in Australia.]

In my world, and if you look at my background, you will appreciate the truth of this: It is quite an amazing journey. I have not done much but work in theatre since I was a teenager. In fact, I have done nothing else, really. I am what you call a lead producer on a Broadway musical. Anything else I do in my life is a bonus. I am not sure what to do next, actually. It’s a pretty big box to tick.

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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