Industry Profile: Vince Bannon

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: Vince Bannon, VP, Entertainment Partnerships and Development, Getty Images.

Vince Bannon, VP, Entertainment Partnerships and Development at Getty Images may have one of the best jobs in the world.

His sandbox is Getty Images’ vast library of online music-related resources.

In 1995, Mark Getty and Jonathan Klein founded Getty Images in order to bring the fragmented stock photography business into the digital age.

Getty Images was the first company to license imagery online. It has since pioneered new licensing models, and digital media management tools, while bolstering its comprehensive offering of creative and editorial imagery, microstock, footage and music.

The agency offers a broad collection of imagery and footage, including news, sport and entertainment content, plus rare and contemporary archival imagery. Its music catalog also provides a wide range of pre-cleared tracks.

If Getty Images knows all about photos,Toronto-born Bannon knows all about music.

While in college in Detroit, Bannon launched Concert Company Ritual, serving as its president from 1979 to 1993. The company, which owned and operated several Detroit nightclubs—including St. Andrew's Hall, The Shelter, Industry Asylum, Industry, and Clutch Cargo's—and promoted shows with Nirvana, the Police, Prince, Pearl Jam, the Dave Matthews Band, Nine Inch Nails, Guns N’ Roses and others.

Concert Company Ritual grew to 110 employees, and was eventually purchased by Clear Channel Entertainment.

From 1994 to 2000, Bannon was senior VP of Artist Development at 550/ Epic Records, working with Oasis, Travis, Macy Gray, Celine Dion, Des'ree, Fuel and others.

In 2001, in conjunction with Clear Channel, Bannon co-produced the Area One Festival tour that featured Moby, Outkast, Paul Oakenfold, Incubus, the Roots, New Order and others.

Bannon then became head of A&R for Redline Entertainment, a film and music content company owned by Best Buy.

In 2003, Bannon became executive VP of music worldwide for, a British-owned company that distributes marketing materials and assets for media outlets worldwide.

In 2004, Getty Images acquired, and Bannon became part of the Getty Images business development team, where he currently is VP, Entertainment Partnerships and Development, based in Los Angeles.

Getty Images primarily targets three markets—creative professionals (advertising and graphic design), the media (print and online publishing), and corporate (in-house design, marketing and communication departments).

Getty Images operates a large commercial website which allows clients to search and browse for images and music, purchase usage rights and download images or music tracks.

Over the years, Getty Images has pursued an aggressive program of acquisition, buying up many privately-owned agencies, including Digital Vision, iStockphoto, and Stockbyte.

As Getty Images acquired older photo agencies and archives, it digitized their collections, enabling online distribution.

In 2009, Getty Images purchased Jupitermedia Corporation’s online images division, Jupiterimages for $96 million.

By this time, music images had emerged as a core business at Getty Images, particularly with two key acquisitions.

In 2007, Getty Images acquired the Michael Ochs Archives described by The New York Times as, "The premier source of musician photography in the world.”

In 2008, Getty Images acquired Redferns Music Picture Library, the London-based music photography collection.

Planning to apply that same model as to stock photograph to licensing music for ads, TV shows and films, Getty Images acquired Pump Audio in 2007 for $49 million. Pump Audio's catalog of over 700,000 tracks is derived mostly from independent and unsigned artists.

Getty Images further expanded its online music licensing resources in 2008 with the introduction of Premium Playlist, which has tracks available for non-exclusive license made possible by deals with record labels, music publishers, management companies and other content owners.

Getty Images offers Premium Playlist and Pump Audio on its web site with a searchable music-sampling service for those looking to license music.

Getty Images is a $1 billion dollar a year business?


The music-based photos you license break down to editorial and creative uses?

We are also the largest licensor of film in the world. I would say it is 70% creative, stock imagery (usage), and 30% editorial.

Somewhere around the world right now, someone is taking a photo of a musical event for Getty?

It’s true. You can go on the (Getty) site, and on the entertainment/editorial site, there’s a little tab on the left that says “festivals.” It’s all the festivals that we have been shooting.

Do you hire staff photographers or do freelancers post most of the current photos?

We do have staff photographers that work for Getty. We do have stringers that are exclusively for Getty, and we have contributors that are exclusively for Getty. So we have all three.

How many photographers are involved?

With all of the contributors, it has to be around 10,000 (photographers).

How are photos filtered into the Getty system?

You have to be a photographer of caliber to shoot for Getty. We vet you, and then you become a contributor. Then you start uploading, and putting your pictures in.

Do you look at a certain music festival and say, “We need to have this covered?”


Does that include Glastonbury, which recently happened?

Yes. The greatest thing about the U.K. is that they treat music like a national sport. In the United States (coverage of) music has become ghettoized. It has been pushed to a little bit of coverage in the major newspapers or the national magazines. As (these outlets) all struggle, and as they fire more of their pop critics or their music writers, it’s (about coverage of) sports, and then sensational news.

[Glastonbury 2011, June 22-26, had three official media partners, the BBC, the Guardian and Q magazine, which ensured that this year’s event had the highest profile in the festival’s history.

The BBC’s coverage ran on BBC Two, BBC Three, BBC Four, Radio 1, 1Xtra, Radio 2, 6 Music, Radio 4, online, and via Red Button.

Total viewing figures at the BBC reached 18.6 million. BBC Two’s coverage made up the lion’s share of audience, with 15.7 million people tuning in. Audience viewership peaked at 2.6 million viewers for Beyoncé, 2.2 million for Coldplay, and 2.1 million for U2.]

Music has kind of been left out of the picture (in American media) except when it is something like, “A Kid Dies at EDC” (electronic music festival Electric Daisy Carnival), which is horrible. But two people die at Bonnaroo, and it’s like, “Ahh, two people died at Bonnaroo. Ah, you know?” But someone dies at a “terrible rave concert” and the attitude is, “Oh, they are pushing ecstasy on each other.” You see that kind of coverage.

[There were no reported deaths at Electric Daisy Carnival 2011 in Las Vegas (June 24-26). The festival was essentially booted from Los Angeles following the overdose-related death of a 15-year-old girl in 2010.

Over 90,000 people attended the 10th Bonnaroo Music & Arts Festival in Manchester, Tenn. June 7-10 this year. Two died. One was found dead outside his tent over the weekend, the other died of hyperthermia after being airlifted to a hospital.]

Anything Lady Gaga does will draw the American media.

But she knows how to do that. I admire her for that. Giving this to Gaga, and I mean giving it to her, she know knows how to manipulate the media like Madonna knew how to manipulate the media.

Any other music artists adept at manipulating the media?

Oh, hell yeah. Somebody was saying to me that a friend of theirs went to London to see Bon Jovi. What (Jon) Bon Jovi does, he does really well. He’s an entertainer. That’s what he is. They are looking at me, as I’m saying, “It’s just not my cup of tea.” I consider Bon Jovi a little hokey. I’d much rather go and see a brand new band like (American noise pop music duo) Sleigh Bells, and see how they put their show together than see a lot of the classic artists. A lot of the classic artists, their shows are disappointing or somewhat hokey.

People still want to see a photo of Jon Bon Jovi.

Yeah. People want to see pictures of everybody.

Sleigh Bells are obviously not as marketable to the mass media as Bon Jovi.

No no no, I hear you, but we don’t sit there and judge (at Getty). To me, that’s why I love the festival thing, especially here (in California) with Coachella. The weather is nice and I can go out and see a whole bunch of great music in three days. I love that fact.

At Coachella, you are also working, right?

Yes. I will have a staff of about 25 there shooting and editing all of the photos, just making sure that they are all okay. I’m there just making sure the managers, publicists and everybody are happy. And if anybody needs anything extra I’m on hand. A lot of times our photographers will be really connected with the band and the artist. It will be (a situation of), “We want you to shoot this, and we want you to shoot that. This part we will own, and this part we want you to send out.”

How did you get into this business?

I went from being a concert promoter into working at Sony (at 550/ Epic Records). Then I produced a tour for Clear Channel, and then went to Redline Entertainment for less than a year. Then I was head hunted by a British company that still exists within Getty called in 2003. was launched a decade earlier to help entertainment companies maximize their marketing strategically, and cost effectively through the Internet.

What it was built out for was the delivery of all of the film studios’ marketing and publicity materials to the media worldwide. They deliver a lot more for these movies (including images, trailers, scripts, production notes, interviews over the net). Movies also tend to be staggered (in different territories), and they change titles due to language and other stuff, and that has to be dealt with. figured they could do the same for the music labels?

Their whole thing was that they could build this out for music companies as well. It was at the height of when the (record) companies were really fighting technology and it was difficult dealing with them. The whole idea was that we could do the music and everything else, but there was an enormous amount of fear from the labels of anything going on the Internet. But we did deliver assets for some (music) companies. For Warners, we delivered all of their music videos and artwork to their affiliates over the Internet.

In 2004, Getty Images purchased

The technology was so good, Getty made it its digital asset management system on demand. When I came here, I thought that I would get a check, and I’d go and look for what my next gig would be. They said, “Oh no, you are going to stay here, and we are going to do all of these other cool things.” They were right, they did.

(Being) here has been an unbelievable place to blossom. It has been an unbelievable experience. We're growing every day in all forms of music. In fact, we did two great music acquisitions, which is Redferns (Redferns Music Picture Library) and Michael Ochs' Archive. As well, the Pump Audio acquisition (in 2007) was great. We’re continuing to look into so many different ways that we can grow music here.

Sounds like you have a big soapbox, and sandbox at Getty Images.

I have both. It is great. If these guys ran the music companies, there’d be no question that it would be in such a better place.

It doesn’t seem that the major music companies have explored enough of their assets—for example, their ownership of publicity or album artwork images.

You’re right.

You met with Sony Music in 2007, but little happened afterwards.

No. It was really frustrating. It would be so easy for them to do a great image partnership with us, really. We have image partnerships that are everything from ABC to CBS to National Geographic to Bloomberg to Washington Post—on and on and on. We went in there (to Sony), and it was like pulling teeth to get the deal done. It was an older regime that is not there anymore.

Since you worked at Sony’s affiliated 550 label, did you have an inkling of what Sony has?

I didn’t know what was in there, but I know that they have a lot of great material. They haven’t digitalized. We would have been the natural place for them to make a lot of money. All they gave us was 413 photos.

Have you talked with other music labels?

We always do. We talk to labels. There are some young people that are coming into the labels that are getting more and more progressive. It will be interesting to see that changes that are made in the next few years, and the changes…..Everybody considers the debacle that happened to say EMI. You hear Roger Faxon (chairman/CEO of EMI Music Publishing and CEO of EMI Group) saying, “It’s all about rights management going forward.” You hear a lot more people saying, “(The music industry is) only going to be a services business.”

When I hear things like that I do feel that, maybe, (the labels) are finally getting it—that they will start looking at all of the assets, and looking at what they can do and all of the money that they can make.

The biggest thing to me is the (music industry’s) failure of not having music on Facebook right now. If Zynga is being valued at something like $10 billion, that’s all of the music companies combined.

[American startup Zynga—known for its CityVille and Farmville games on Facebook—has filed for an initial public offering for its IPO seeking to lure investors for $1 billion, according to a SEC filing. The offering implies a valuation of $10 billion. The Wall Street Journal, citing sources close to the situation, reported the IPO could raise as much as $2 billion—valuing the company at $20 billion.]

While you work in the visual business with music, this is an era in which few bands have any imaging attached to them.

Do you know what’s really interesting, right? If you look at how we discovered the Beatles. I keep in my house this overhead shot of the Beatles on the Ed Sullivan show. It shows them doing a press conference. That magic moment for all of the 50 (year) somethings around the world, who discovered the Beatles (at the time), it was this image of them being on this TV show.

There you go, right?

If you look at how albums progressed, the big vinyl albums, I remember “High Tide and Green Grass” (1966) with photos in it; Led Zeppelin’s record ("Led Zeppelin III” in 1970) that had the (spinning) wheel on it; the Stones’ album (“Sticky Fingers” in 1971) with the zipper—all of the great stuff that we used to get. We used to get the lyrics and a lot more photos and more information. I remember staring at a Pink Floyd’s album (“Ummagumma”) because it showed all their gear. You thought that it was so much gear.

[On the rear cover of Pink Floyd’s 1969 double album “Ummagumma” roadies Alan Stiles, and Peter Watts are shown with the band's equipment laid out on a runway at Biggin Hill Airport.]

It’s interesting because if you look at what (the recording industry) did when packaging went to a CD, it went down to six slides and someone would have lyrics or have bigger books, and stuff like that.

The (visual) imaging was all being done on MTV.

It was transferred there. And then MTV discovered (block) programming. I’m never going to blame MTV (for dropping their video content), it was just a natural evolution of what they are supposed to be. Be profitable, and (be about) lifestyle. This is where they went to (with block programming).

(Previously) with the videos, MTV could never do programming, but that’s the most important thing in how to get ratings. Anyway, MTV went there, and the videos went away, and then the whole idea of imaging went away.

Then music became an Excel (spread) sheet.

The music industry largely relied on radio and video airplay to market their products for decades. More recently, they have had to evolve different marketing strategies.

They definitely have to now but they think that everything bad has been done to them. When you talk to older executives, they all talk about how they were screwed by MTV—that they should have owned MTV. The attitude is, “We’re not going to give everything to MTV like in the past.” Now, it is, “We’re not going to give everything to iTunes.” And they just did it again by not doing the Google deal.

[Label executives were furious about Google's announcement on May 10, 2011 of its decision to launch a music locker service. Negotiations between Google and labels have reportedly bogged down over such issues as upfront advances; and whether music files gained from P2P sites would be allowed into the locker. Labels are seeking assurances from Google that it will try to eliminate links to pirate sites and illegal services from its search results. Now Google is blaming the labels for not being able to reach a deal.]

If someone went in, and changed the entire management of a major music company, and started with all new people in there—with people who are really passionate about music but also—the bottom line knew their customers—there might be real change.

I think that the biggest mistake that happened to the major labels is that they lost touch with their customers. They had a customer that would buy the CD—if only reluctantly—for the one or two songs. They always had someone (on staff) that knew something about music so they would always go out…but, you notice that in the latter part of the height of the music industry, all that (great) stuff was really coming from independents or from outside producers. It wasn’t something that was signed direct (by the major). It would always be from a hip hop label or from Lou Pearlman and all of the boy bands. It was always done from the outside.

Then the audience said, “We no longer want to get our music on these hard discs, we want it delivered—just to get the signals," and (the labels) fought it. They fought it and fought and fought it. Then they sued their customers.

The film industry has embraced technology more than the music industry. With Netflix, people don’t have to rent a DVD, and the movie industry gets it. The music industry is only now reaching that point.

That’s true. The problem is that you still have a Doug Morris (CEO of Sony Music Entertainment, and a (Columbia co-chairmen) Steve Barnett—older guys—with these massive salaries that feel that everybody else did wrong to them. The fact is that their whole power base has just been wiped out. (The labels) are teeny-weeny little industries compared to the rest of the media industries out there. And if you look at how young some of these (media) companies are—a 100 year old record company, that’s what Sony (Sony Music Entertainment) is. It’s the old Columbia Records. Maybe, its time has come and gone.

Unlike the music industry, Getty Images has streamlined licensing for its customers.

Yes, our whole thing is that we listen to our customers. The customers tell us how they want it, and how they like it.

I tell you one of the things that I admire that they did here. I really give props to the senior management, and CEO Jonathan Klein, (who) bought the Calgary company iStockphoto in 2006. The story is pretty fascinating. (iStockphoto president, CEO and founder) Bruce Livingstone was about to take venture capital money. The VCs valued his company at $35 million. That was what he was going to take based on that valuation. Jonathan called him up, and said, “If you take VC money, it’s like working for somebody. I wonder if I might just buy the company, and I give you the independence; and a lot more capital to grow the business even bigger.” Jonathan gave him (Livingstone) $50 million, and bought the company. He poured gasoline on (the company). He put a lot of capital behind it to grow the company to what it is today.

[iStockphoto was founded in 2000, but the groundwork was laid in 1999 with Frequency Labs, Bruce Livingstone’s first attempt at launching a stock photography publishing company. As a boutique studio, Frequency Labs produced and retailed four CD-ROMs. Livingstone then gave away 1,600 images from the CD-ROMs on a web site because he wanted to re-invent the traditional model of stock photography sales.

In 2000, iStockphoto was launched.

The company quickly became the leading microstock image licensing service. After the sale of the business, Livingstone continued as the CEO and was also appointed SVP of Consumer Products at Getty Images until leaving in 2009. In 2010, Livingstone joined Saatchi Online as CEO.]

In 1997, Getty Images’ $49 pricing sent a signal, “We are open for business, and we are going for the ‘long tail.’” (Long tail being the retailing strategy of selling a large number of unique items in relatively small quantities).

Yes. It’s a volume business here. That’s what it is. Absolutely.

[In 2007, Getty Images adopted a new pricing policy for web image sales. This policy created a price package of $49 for small web images—for both rights-managed, and royalty-free images.]

The music industry could be more of a volume business.

Listen, they have great assets. They have great catalog. This idea of everybody fighting each other on this whole basis of devaluation, you know what? (Music) has been devalued to the point of it basically being free. Now there’s an opportunity with this whole cloud thing with a lot of services out there, like Rhapsody, Dos to Spotify.

The fact is that people don’t want to have their hard drives filled with a lot of things. They probably want to fill it more with all of the photography that they have or with the videos they make. They would rather have—for the lack of a better word—branded or professional hit songs come from a cloud than filling up their hard drives, their mobiles, and iPads.

A U.S. launch of Spotify is imminent. Too late?

Nothing is too late. It will depend on what devices it will be allowed on, and how easy it will be to do. Right now, I can set up playlists and share (tracks) with all my British friends. It becomes more of a social music tool.

You don’t really need to own music anymore.

No you don’t. But (buying physical) doesn’t have to stop for you. There may be only one record store in the city, right? Not a whole bunch of terrible ones like the Musicland and others of the past. So there ends up being one Amoeba in all L.A. There are (music) shrines like that. Maybe that is what happens.

The (film) studios are discovering that with the DVD business. On the other hand how often did you go home and say, “It’s a good night to watch 'Saving Private Ryan.'" Music is a much different thing.

How satisfying was it for you having Getty Images purchase the Michael Ochs Archives? You were instrumental in that deal.

It was one of these things where I wanted to be a partner, and (Michael Ochs) wanted to sell it. The senior management of this company “got it.” So we bought (the collection) and it’s been great. Every day I am surprised by some of the stuff that we have. Our people will ask, “Do you know who this is?” I will say, “Oh yeah. I can’t believe that you have this.” It’s pretty amazing stuff.

How many photographs are in the Michael Ochs Collection?

Two million.

The publicity photos from decades ago in that collection, are they public domain?

Yes. Anything that is pre-1978. There was a change in copyright.

[There’s no confusion about how long a photographer or rights holder and their estate will have copyright protection for current material: Life plus 70 years. But for images from the middle of the last century or earlier it is less clear.]

After 1978, who usually owns the rights to music publicity photos?

Most record companies didn’t hang onto their material. Then there is also questionable ownership. Labels generally didn’t care about getting other rights for (photos) because they didn’t know what the rights were going to be in the future.

Back in the ‘50s and ‘60s, photographers rarely signed contracts with record companies for publicity photos, including album covers. Take the iconic photo shot of Bob Dylan and Suze Rotolo on the 1963 album “The Freewheelin' Bob Dylan.” Who owns the rights to the photo?

I don’t know. I don’t work for Sony. I don’t know the deal that they made with their photographers back then.

[The “Freewheelin'” album cover was taken in Feb. 1963 by Columbia Records’ staff photographer Don Hunstein in Greenwich Village.

Critic Janet Maslin summed up the iconic impact of the cover as, "A photograph that inspired countless young men to hunch their shoulders, look distant, and let the girl do the clinging."

In her memoir, “A Freewheelin' Time,” Rotolo analyzed the significance of the cover image: “It is one of those cultural markers that influenced the look of album covers precisely because of its casual down-home spontaneity and sensibility. Most album covers were carefully staged and controlled, to terrific effect on the Blue Note jazz album covers…and to not-so great-effect on the perfectly posed and clean-cut pop and folk albums. Whoever was responsible for choosing that particular photograph for The Freewheelin' Bob Dylan really had an eye for a new look.”

A source at Sony says that the company owns the rights to the cover because Don Hunstein was a staff photographer for Columbia Records at the time.]

With Pump Audio, and Premium Playlist, Getty Images entered the world of music licensing. What was the reasoning behind those two acquisitions?

They were looking at music long before I got here. They took a hard look at Warner/Chappell Music when Time Warner was selling off Warner Music Group (in 2004). They came back and said that the (valuation) multiples were too high on the company. Also, not all of the rights were in one place, which would make licensing difficult. It would be a bad acquisition. What they liked about Pump was that a lot of the rights were in one place. (Licensees) don’t have to worry about ownership—the fact that you could make things easily licensable—that’s really been their model. It is just another great addition to the digital content that (Getty is) offering.

Before Getty bought Pump Audio for $49 million in 2007, Pump was a $10 million annual business.

It has been growing 30% annually since we bought it.

With Premium Playlist, you are partnered with established music publishers.

They give us the music pre-cleared. So both sides (of the rights to a track) are there.

This is similar with the photo business side of Getty Images, really.

It is. At one time, even in stock imagery, you would go to somebody’s shop, they would hand you a book of photos. You would go through it, and say, “I really like this one.” Then you would negotiate a price. A price for a stock photo down the street may have been different or there might be other people on the rights issues of (the photo), and there are copyrights on things. If you take a picture of the Chrysler Building (the Art Deco skyscraper in New York), that’s a copyrightable building. If you take a picture of New York, it’s not a copyright.

But certain buildings are?

The Hollywood sign is.

But if I step back a bit, and include the structure in an overall picture of Hollywood, it doesn’t fall under the copyright?


How does Getty police the use of its photos? You haven’t taken unauthorized users to court.

No. The big thing that we do is that we send them bills. I see watermarked Getty photos all of the time on Facebook. That is somebody who has right-clicked, and put it there in a low-fi file. Who cares? This is the difference between us and, say, a record company. But with a company that has built a web site or whatever and are using a bunch of unauthorized photos, then they are going to get an unauthorized use notice, and then we will figure out payment. The big thing is that we want to make them customers.

Getty Images does seek damages along with the retroactive payment for unauthorized use.

Yeah, but we do $25 million a year in unauthorized use. Again, it is because we are a B to B (business to business) company.

Getty Images uses an Israeli firm called PicScout to scan the web for unauthorized usages of its protected images?

Yes. We just bought them.

[In Apr. 2011, Getty Images acquired the Herzliya, Israel-based image copyright solutions developer PicScout for $20 million. The company has 60 employees.]

How does PicScout spot the unauthorized use of Getty Image photos?

They are fingerprinted.

Where are you originally from?

I was born in Toronto. At, maybe age two, my family moved to Windsor.

Growing up, were you part of the music scene in Windsor?

No. Everything that happened to me happened to me in Detroit. Detroit was like this fascinating great place of all things music. There was just so much going on there in the ’70s. That’s where I got my start. I still know a ton of people from Windsor. Richie Hawtin (from the LaSalle suburb of Windsor) was my DJ at one time in Detroit.

How did you become a promoter?

I got into the whole punk rock thing. I started putting shows together for a band that I was in (as guitarist) called, the Sillies. I also played with a band called Coldcock. I got so good at (promoting shows) that I just decided to concentrate on doing that. It was while I was going to college in the States (studying Communication Arts at Wayne State University in Detroit).

You must have had money to be able to start promoting shows.

I really boot-strapped it. I pooled a little bit of money together, and I was able to do it. It was a fun time in my life. I was single, and it worked. I did all of (Miles) Copeland’s bands. I did a lot of shows with Iggy (Pop), but it was post Stooges. It was during the time period when he recorded for Arista, and Chris Stein’s label (Animal Records).

What other things were you doing?

I was doing different things. I helped (Marc) Geiger with Lollapalooza. I was doing all of these bands. I was doing bands outside of Michigan, like the Red Hot Chili Peppers, and Nine Inch Nails. Really having a fun time doing a lot of concerts all over the place. We were doing really great business in Detroit. It was ‘pre’ the devastation of manufacturing (base) in Detroit. A lot of people didn’t notice (the city). We were doing the kind of (attendance) numbers that Chicago was doing. It was all without airplay (for the acts).

How did you come to work at 550/ Epic Records?

They came a-hunting. Michele Anthony (executive VP, Sony Music Entertainment) hired me. I had one of these great titles (senior VP, Artist development) where I did a little bit of everything. I was “artist development” which meant, “Do everything.”

What artists did you become close to?

Pretty much everyone that was on the label, because we weren’t that big. I remember being with Ben Folds when we signed him and hanging out with him; K’s Choice, a wonderful band from Belgium; getting the Alanis Morissette tour and going out with them. Celine (Dion) and (husband) Rene (René Angélil) were always great to work with.

Was 550 a secondary label? Not part of the big Sony show.

It was part of the big show. It was simply that (Sony) created these brands because we were making so much money at that point. The brands would have separate promotion departments. What they didn’t want to do was go into a radio station, when radio was so important, and keep showing them more Epic records. So (Epic promotion people) would say, “It’s 550. It’s a separate company. A different brand.”

Did 550 releases have the same distribution opportunities as those on Epic?

It was all about what was going to sell. The thing was we were able to work with a record longer because we didn’t have the volume that Epic would have. Then the decline of Epic happened, and they made a management change. They put all of the 500 people into Epic. It all became part of Epic.

[550 Music was a unit of Sony Music Entertainment, which operated through the Epic Records division. Launched in 1992, the "550" name was inspired by the address of the Sony building, located at 550 Madison Avenue in New York. The label was mothballed in 2000 with most of its acts transferred to the main Epic label.]

By that time you had become disenchanted with the record business so you left Epic?

Yes. I could see this whole thing falling apart. It was just when Napster was coming out. It was really simple what was happening in the business. It was really about bad A&R, and spending way too much money on all of the wrong things. Labels also got spoiled by all of the (CD) catalog sales.

So Napster came along—which, at one point, all of the majors had an opportunity to buy into—and they blinked. Middlehoff (Bertelsmann Music Group CEO Thomas Middlehoff) was the only one that went in, and (the other music companies) wonder what happened.

[Shawn Fanning created Napster while attending Northeastern University in Boston. It was the fastest-growing application in the history of the Internet. At one point, Napster claimed more than 70 million users worldwide, but was never able to generate income. After refocusing its Internet strategy to selling online content rather than services, Bertelsmann Music Group CEO Thomas Middlehoff made a significant investment in Napster in 2000.

On May 17, 2002, Napster announced that its assets would be acquired by Bertelsmann for $85 million. Pursuant to terms of that agreement, Napster filed for Chapter 11 protection under America’s bankruptcy laws. However, a bankruptcy judge blocked the sale and forced Napster to liquidate its assets. Napster's brand and logos were later acquired by Roxio, which used them to rebrand the Pressplay music service as Napster 2.0. Napster was purchased by Best Buy for $121 million in 2008.]

If you trace the years since of the death of (the original) Napster, it would look like what happened to the dinosaurs. “Oh a comet hit the earth, and the gases came along.” Well, we had DRM, like “Sue everybody.”

Colossal mistake after colossal mistake (by the recording industry).

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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