Industry Profile: Barney Hoskyns

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: Barney Hoskyns, co-founder and editorial director, Rock's Backpages.

Despite being often undervalued, the field of rock music journalism is populated by the writings of some of the most imaginative—if not dangerous, and rebellious--minds of our time.

This includes: Lester Bangs, Richard Meltzer, Jon Savage, Nick Kent, Julie Burchill, Robert Christgau, Charlie Gillett, Chet Flippo, Dave Marsh, Philip Norman, John Tobler, Glenn A. Baker, Nick Hornby, Richard Williams, Keith Altham, Nick Tosches, Charles Shaar Murray, Greil Marcus, Mick Brown, Mary Harron, Paul Morley, Mary Harron, Jerry Gilbert, John Mendelssohn, Robert Palmer, Richard Williams, Bill Flanagan, Richard Cook, Lenny Kaye, Glenn O'Brien, David Fricke, Gina Arnold, Gerri Hirshey, Nelson George, Joel Selvin, Simon Reynolds, Dave Laing, Lenny Kaye, Caroline Coon, Chuck Eddy, Ben Fong-Torres, Cameron Crowe, Mark Kemp, Simon Frith, Bud Scoppa, Ken Barnes, Glenn O'Brien, Dave DiMartino, Alan Betrock, Michael Lydon, Barbara Charone and others; as well as the late Lillian Roxon, Timothy White, Ian MacDonald, Dave Godin, and Penny Valentine.

Most of these scribes are archived in Rock's Backpages, the online library of rock journalism that celebrates its 10th anniversary this month. The archive—which spans five decades--is an invaluable research tool for academics, journalists, filmmakers, and fans alike.

Co-founded in 2001 by British author/journalist Barney Hoskyns, the archive contains nearly 20,000 articles from over 500 music journalists, and is culled from such publications as: Melody Maker, New Music Express, Disc and Music Echo, Zig Zag, Rolling Stone, Sounds, Crawdaddy!, Creem, Circus, Fusion, Goldmine, Trouser Press, New York Rocker, Snifflin’ Glue, Uncut, and Q.

Also available are audio clips of such music personalities as Hank Ballard, Richard Berry, Jimi Hendrix, Tim Buckley, Mick Jagger, Ray Davies, Arthur Lee, David Bowie, Jimmy Page, Robert Plant, Levon Helm, and Beck; as well as such music industry figures as Ahmet Ertegun, Jac Holzman, Mickie Most, Chips Moman, Tom Dowd, Greg Shaw, Charlie Gillett, and Bill Graham.

Rock’s Backpages recently launched a new Backpages eBooks division which consists of two series: “Backpages Anthologies,” which collects key interviews and other articles about important acts, that gets under way with “The Bob Dylan Electric Omnibus” and “The Nirvana Electric Omnibus”; and “Backpages Classics,” which kicks off with releases of out-of-print titles by Simon Reynolds (“Blissed Out: The Raptures of Rock”); Hoskyns (“Glam! Bowie, Bolan and the Glam Rock Revolution”); Bud Scoppa (“The Byrds”) and John Pidgeon (“Rod Stewart and the Changing Faces.”)

In 1979, while studying English literature at the University of Oxford, Hoskyns began working on a book titled “The Cult of Pop.” While doing research in New York, he met then music journalist Davitt Sigerson, who encouraged him to contact Melody Maker editor Richard Williams on his return to London. Williams had editor Ian Birch assign him some reviews.

A year later, when he left Oxford, Hoskyns was hired by Phil McNeill as a staff writer at NME.

In the ‘80s, Hoskyns quit his job as staff writer at NME to research his book “Say It One Time For The Brokenhearted: Country Soul In The American South” released in 1987.

Hoskyns went on to write for British Vogue, where for five years he was a contributing editor, and for The Times, The Guardian, The Independent, The Observer and Arena. Between 1993 and 1999, he worked as associate editor, and then U.S. bureau chief at Mojo, also contributing to Harper's Bazaar, Interview, Spin, and Rolling Stone.

In 2000, Hoskyns became senior editor of CDNOW in London, leaving to co-found Rock's Backpages.

Among the books the prolific Hoskyns has written over the years are: “Waiting for the Sun: Strange Days, Weird Scenes & the Sound of Los Angeles”; “Glam! Bowie, Bolan & the Glitter Rock Revolution”; “Across The Great Divide: The Band & America”; “Hotel California: Singer-Songwriters & Cocaine Cowboys In The L.A. Canyons”; “Lowside of the Road: A Life of Tom Waits”; and the novel “The Lonely Planet Boy: A Pop Romance.” He also co-wrote with Mark Larson, “Mullet: Hairstyle of the Gods.”

Why should anyone care about rock journalism?

Why should they care? Because they should care that the best writing on rock from the past really did convey some of what was happening in music, and the changes that were going on. It communicated the real excitement, and the nature of the music and the phenomenon as it was unraveling.

So that’s one answer to the question—to say that there was a kind of halcyon day of rock writing where everything was sort of being made up as it went along.

A bigger answer would be to say that critical writing and response to any art form is almost as important as the art form. It is vital that we don’t lose that critical perspective; that people write as intelligently as possible about what is really going on when somebody is making music or painting a painting or writing a novel.

Music journalism has changed over the years.

I think that what has changed is that the individual voice—the subjective approach or experience of a writer responding to music and counterculture—is kind of what is gone.

Is there good writing on music taking place today?

Of course, there is, but not in mainstream medias. It might be good, but it is very…everybody ends up writing in kind of the same way. It is really only online--in blogs, and within the more iconoclastic nooks of the internet--that you will find people who have nothing to lose. You will find writers who have nothing to lose. Whether anybody is reading them, I don’t know. But gone are the days, I suspect, and this isn’t an old reactionary ranting—when a “Noise Boy” could just free associate in print.

NME (New Musical Express) had real power in the ‘80s. I was able to write pieces about bands that I had been flown half-way across the world to interview, and write about them in distinctly unflattering ways. The record company might have huffed and puffed and threatened to pull its advertising, but knew that it never could. Now it can.

At the end of the day, we became a service industry. That’s what we have become. Very few writers sort of say, “I’ve got two or three thousand words on X and I am going to say that I think their new album is shit.”

Is the story about your review of Pulp’s “This Is Hardcore” album in 1997 for Rolling Stone true? That it was rejected because it wasn’t favorable?

Yeah, that is true. There are far more egregious examples than that. That was kind of a weird one because it wasn’t someone slagging off one of Jann Wenner’s best friends, the Rolling Stones or whoever. It was a band that I liked that was tremendously hip, but the record just didn’t sit well with me. But Rolling Stone needed to be in the Pulp camp at that point. They didn’t need someone weighing in with a three star reviewing saying that it was a “troubled record” and “it doesn’t quite work” and “it’s not as a good as the last record” or “Jarvis Cocker is an interesting guy but…” They just needed a four star review. They didn’t get it from me so they went to the next guy who would give them that.

You once wrote: "The sad truth is that rock journalism has become little more than a service industry, with scant critical autonomy and even less responsibility to its readers. We have all, in our different ways, colluded with the entertainment machine in its canny efforts to dictate what music sells."

I think (the decline) was slow, and it happened in the ‘80s. Pop culture, the musical underground---the extent that it was an underground at all at that point—it became assimilated, and thus commoditized to the point that it was ubiquitous.

At the beginning of the ‘80s if you were living in Britain, you still had to read the NME to get the low-down (on the music scene). By the end of the ‘80s, you could get something of the low-down on everything that was going on in pop culture from most newspapers, most magazines, and from television, radio and, of course, eventually from the net.

During the course of the ‘80s, (rock music’s appeal) went from kind of underground fandom or tribal allegiance to everybody buys 10 albums a year—everybody’s a rock fan now. Many people who don’t really know about it or care about it very much, they go out and buy their 10 albums a year. Dire Straits or whatever it might me. To me, that is really what happened.

In the ‘80s, People magazine and the TV news magazine show “Entertainment Tonight” changed how celebrities were reported on in North America. In the U.K., the fanzine Smash Hits, and the daily newspapers did the same.

Another way of précising it is to say that capitalism got its grubby hands on everything that was magical, elusive and different about the original counterculture. Therefore, it became dumbed down very profoundly in that (‘80s) decade.

I will take my own experience as a starting point.

When I began writing at NME, there was still room to be gloriously pretentious and almost inscrutable in the pages of NME. (French literary theorist, philosopher, critic, and semiotician) Roland Barthes was frequently quoted by people like myself indeed; and certainly Paul Morley and Ian Penman were writing these sometimes brilliant, if abstruse works on a lot of rather fumbling pop groups who probably didn’t really merit it, and wouldn’t have really understood what these writers were talking about.

Nonetheless, there was a real reaction to all of that. What kicked in was Smash Hits. It kicked in for young folks, “Shut up you pretentious old gits. Pop music is just about haircuts and…” It was almost back to bubblegum. It was back to “What’s your favorite color?” Everything had sort of come back full circle. Asking Nick Heyward or Nik Kershaw or Nick Somebody else what their favorite color was.

There was then the emergence of commercial pop music in the U.K., with Haircut 100, Kajagoogoo and others.

Yes, but the chicken and egg thing is interesting isn’t it? What comes first and all that? That new pop. The sort of synthy, sassy haircut pop was sort of a reaction in some ways to post punk (music). It was a reaction to gloomy old Joy Division, and company. It was a bit like glam rock coming out (in the ‘70s) as a reaction to poker-faced, pompous progressive rock with the younger kids saying, “We just want to have a bit of fun.”

And that just became amplified by the MTV video revolution.

Suddenly, everything just became almost about appearances. Everything was synthetic and ‘80s and quite mercenary. Any profound spiritual or musicological dimension went out of the window. And, in parallel with everything else, it (music journalism) became much more personality fixated. Suddenly, reviews got shorter; and profiles and interviews got longer. What then started to really happen was the back-story. In terms of things like Simon Cowell and “X Factor” today, the back-story became more important than the music. Publications like Q and, indeed, Rolling Stone fell into line with that. There wasn’t analysis of the work as much as "here’s another extraordinary or hell-raising story about a band that has just tumbled out of rehab."

Music journalists were once generalists covering all musical genres. Today, one sees very little coverage of blues, country, heavy metal or Americana in the mainstream press. Coverage is celebrity-driven.

It is the way that capitalism--in its brilliant, furtive covert way--slices up the demographics; slices up the markets; feeds you what it thinks that you want instead of saying, “Turn the page, here’s a piece on Merle Haggard,” and then the next article is on New Order or something.

Mojo magazine will do that.

You do but, of course, Mojo is backward-looking. It’s nostalgic. I love it, of course. I was involved with Mojo from the get-go, and it’s very dear to me. I like very much the fact that there may be an issue with the Upsetters and Saxon in it.

Rock's Backpages is a commercial site to make money for writers and itself?

Yeah, it is a commercial site, and that is it in a nutshell.

When you co-founded Rock's Backpages what was it about for you?

My honest answer is that it was an opportunity back in the era, during the madness, to create something that might make some money. It has made a reasonable amount of money, and we manage to keep going. The bigger answer is that I love this stuff, and the idea of housing this kind of stuff under the same roof—whether it’s “Metal Mike” Saunders (critic and singer of the Californian punk band Angry Samoans) writing about the Sonics or (Atlantic Records’ co-founder) Ahmet Ertegun talking about Chuck Willis—was something worth attempting.

Who uses the library?

In a nutshell, it really isn’t for the casual fan although there is a good helping of free content. We do have a premium model, but that model is an iceberg with a tiny little bit of free content above the surface, and there is a wealth of stuff that is invisible to the naked eye. Our principal revenue stream comes from academic institutions of all stripes and hues, from Harvard to the tiniest little college in Scotland or Finland.

People doing research for books and thesis papers?

Yeah, it’s essentially students. Of course, journalists do subscribe, film makers, the BBC, and there are corporate subscribers. Kind of the backdrop of what we have been talking about, and the way the culture has changed, in a sense there can be no more ironic statement about it than all of this insurrectionary stuff that was going on is now fodder for quiet study in university libraries. People are writing thesis about Malcolm McLaren and situationism. And why not? It’s interesting stuff, and it tells us about people, culture and civilization.

How much does it cost to subscribe to Rock's Backpages?

An individual subscription is £120 a year.

A corporate subscription?

That varies. For academic institutions, it is all pegged to FTP or full-time population. So a major American university will pay upward to $2,000 to $3,000 per annum. A small college will pay maybe $800 or $900 per annum.

How many people work at Rock's Backpages?

There are five of us involved on a day-to-day basis, but it really comes down to myself and Mark Pringle who are running the nuts-and-bolts of the site every day. We have an office in Hammersmith in West London. It’s just about big enough to accommodate our physical archive. It’s a two room suite; with one of the room with the archives; and the other with Mark and I.

A cottage industry.

It was a labor of love for a long time. Against all odds, we have survived. Against all odds we make a little bit of money that we generally plow back into the business to keep it going and expanding.

How many articles in the archives?

We are just closing in on 20,000 after 10 years. I wish we had the resources to jump to 50,000 or 100,000, but it’s slow, and it’s arduous. It’s been a slow organic evolution. We’ve got 500 writers now on the site. If one could wave the magic wand and digitalize and proof-read and upload everything that those writers have done we would probably have a half-a-million pieces on the site. We are adding writers all of the time. We are always keen to bring in writers, especially from areas where there are little lights on. We can’t quite cope with the number of writers that want to come on board. We are always playing catch-up.

The articles are from so many different sources.

We have many thousands of publications represented on Rock's Backpages. I like the diversity of it. I like the fact that we have pieces from Ramparts and pieces from sort of anarchical fanzines from the early ‘80s. We’ve also quite a few New York Rocker and Snifflin’ Glue pieces as well. So it’s a very broad church. There are Q&As from Sniffin’ Glue that are pretty illiterate, but they have historical value because it is Joe Strummer talking before the Clash has broken. Not everything on the site is deathless prose but we wouldn’t put anything on there that didn’t have redeeming value.

Do you have physical copies of the articles?

We’ve got quite a few bound volumes. We have added to the archives by buying up collections from eBay, and we are always being offered magazines by our writers. We have managed to build up a nice archive. But it’s still a drop in the ocean. There is still so much more that we can add to the digitized library itself.

The writers represented own their work?

We are getting into interesting grey thickets there. As far as we concerned, we have identified writers who worked as freelancers, and it could be argued that they own the copyright in their work, and we leave everything else alone.

There was little intellectual discussion of pop music until the mid ’60s.

I think surely, Larry, the parallel again, was with the music itself. That prior to, shall we say “Rubber Soul” and “Highway 61 Revisited,” the music wasn’t taking itself that seriously. Broadly speaking. I would say that those were the first two coherent pop or even rock albums. Roughly speaking, pop music evolved into an identifiable art from circa ’65 onward.

As a result, you then got university educated people responding to pop music in ways that they previously hadn’t. It had just been (viewed as) disposable froth. However seismic the impact of Elvis and Jerry Lee Lewis, and Little Richard was, it was still seen as just an eruption of teenage energy. There wasn’t much (critical reporting). There was some critical response to that, but it was really the sort of (within) the pin-up era of the early ‘60s. But the Fabian era had finally gone, and the Beatles began to take themselves seriously as songwriters. Then we get the Paul Williams, the Greg Shaws, and so forth who started to attempt to write intelligently about this new art form.

Before that there’d be the odd article in Esquire like Tom Wolfe’s 1964 article on Phil Spector, "The First Tycoon of Teen.”

Yes, Tom Wolfe or Al Aronowitz who was doing pieces as early as ’63 and ‘64 on The Brill Building writers, and then on the Beatles and on Dylan and so forth.

The Beatles, the Rolling Stones and Bob Dylan, and later Pink Floyd forced writers to be more intelligent about what they wrote. The Beatles were no longer happy with, “John, what’s your favorite color?”

Exactly. Another way of framing this is to say that the artists, the fans and, therefore, the writers on pop culture were growing up. They were growing (away) from sort of teenage frivolity, and disposable experiences. That is sort of what “Rubber Soul” is all about. The Beatles started out with “I Want To Hold Your Hand” and by “Rubber Soul” they had experienced loss, heartbreak and the things that one begins to apprehend as one grows older.

Also, most music critics then started off as a music fan and wrote about music in the early part of their careers as fans. Like people write in fanzines today.

You are exactly right. Fandom is a great part of what turns somebody into a music writer.

In the ‘60s, there wasn’t a stable structure for young music writers to plug into. The dailies generally cared little about pop music. Britain had Melody Maker, and NME with Sounds, Let It Rock, and Zig Zag coming later on. In America, there was Hit Parader, and Paul Williams’ Crawdaddy! with Rolling Stone, Creem, and Circus coming afterwards.

The real breakout for music journalism was Rolling Stone in 1967. It was like the stone being thrown into the pond.

Absolutely. There is no doubt that if Paul Williams had been more ambitious, aggressive or, perhaps, cannier, he could have been Jann Wenner (co-founder/publisher of Rolling Stone). Jann’s stroke of genius was to say, “Let’s create a magazine where writers can write about everything that is happening, counter culturally. Not just the music. This will be a forum for really long think pieces about everything; about the music; about Viet Nam; about Lyndon Johnson and that bursts into all sorts of areas, including sports.”

Jann grasped the zeitgeist in a way that Paul, who was more scholarly, and who was immersed in the idea of the artist as auteur, did not. He just didn’t see that big a picture.

["Crawdaddy!,” created by Paul Williams in 1966, pre-dating both Rolling Stone and Creem, is regarded as the pioneering magazine of rock journalism.]

While they may not admit it, Rolling Stone greatly influenced NME, Sounds, Creem and so on.

Absolutely. One cannot overestimate the ripple effect, the importance of that magazine. The quality of the writers that Jann Wenner pulled into that publication was amazing. It is still phenomenal. It’s the greatest pop and rock cultural organ ever created.

After Rolling Stone came along, there were Richard Goldstein and Robert Christgau writing in the Village Voice; Jon Landau in The Boston Phoenix; and such influential British publications as Zig Zag, and Let it Rock emerged.

And that was my way in for sure. My own epiphany was in about ’72 or ‘73 when I became a fully-fledged consumer of pop. We couldn’t easily lay our hands on things like Rolling Stone let alone Crawdaddy!

So I started off with the weeklies (Melody Maker, NME and Sounds).

The first inkling that I got that you could write intelligently about pop culture, and all sorts of thing could be addressed and written about intelligently, was through Let It Rock.

Let It Rock was particularly interesting to me. I loved Zig Zag because I was knee-deep in a very West Coast phase, and then plunging into (music by) the Grateful Dead, and the Quicksilver Messenger Service and David Ackles and all that sort of stuff. But it was Let It Rock that then opened everything out, saying, “Look we can have a piece here about the Grateful Dead or Steely Dan, but we are also going to have quite a big piece here by Phil Hardy on Ricky Nelson.

There was a real sense of…maybe, scholarship is lightly overstating it, but I felt I began to start to see how rich the history of pop music already was and began to understand about doo wop, blues and western swing. All of this stuff found itself in Let It Rock. Zig Zag was more esoteric. It was like Arthur Lee or Phil Lesh every other issue. It was very California centric.

Charlie Gillett, who wrote “Sound Of The City,” one of the most important books about popular music ever, was a contributor to Let It Rock.

“Sound Of The City” (in 1970) was my Bible. It was absolutely my Bible. That is how I grasped the rudiment of the American pop industry. (Learned) how the record companies had worked. Learned about Atlantic Records, and (producer) Huey P. Meaux and all of it. It was extraordinary. One of the loveliest things we have in Rock's Backpages is an audio of Charlie doing interviews for that book with people like Ahmet (Ertegun). There’s quite a long interview with Ahmet talking about Ruth Brown, Ray Charles and Herb Abramson, his original partner in Atlantic, talking about the formation of Atlantic.

While primarily known as a radio host in Britain, John Peel wrote columns for Disc & Music Echo, and the International Times. He was so very influential at the time.

Yes, indeed. He was hugely important to me. I know he wrote stuff and I read stuff occasionally. He wrote in Gandalf's Garden (a short-lived British magazine in 1968 and 1969 that emphasized the more mystical side of the hippie movement) and things like that.

Outside of just the immediate area of rock journalism per se, obviously Peel was a conduit for so much. There was rarely an evening that went by without my ear pressed to the transistor radio to hear his show that started at 10 o’clock. That was just an introduction to so many different things. It was very eclectic. One assumes it was all denim-and-jeans music, and polytechnic progressive rock but, of course, he was playing a little bit of everything. He was very open, and receptive to all sorts of music.

Ralph Gleason as columnist at the San Francisco Chronicle, and as founding editor of Rolling Stone, played a similar role in America.

Absolutely. Yes, we must not miss his name.

Jon Landau's article in The Real Paper in 1974, where he claimed "I saw rock and roll's future, and its name is Bruce Springsteen”; followed by his subsequent transition from rock critic to producer and manager; led to some critics saying, “See how important we are. We broke Bruce Springsteen.”

Certainly, the Landau article was unique in American pop music writing.

It certainly was but, of course, the timing was right. We did need a future of rock and roll at that point. And America rock and roll needed Bruce Springsteen. It might have been somebody else.

Around the same time, Robert Christgau in the Village Voice wrote about the “Rock-Critic Establishment” somewhat suggesting that the rock critics were as important as the acts. Pretty damn pretentious.

I think that you are probably right. The sort of symbiotic relationship between bands and writers has always been central to the whole discourse, and the whole culture. But any writer must know that he can’t be as important as the act because the act is the chicken that comes before the egg. Without the act, you probably have nothing to write about.

A different time when many writers were close to the artists that they were covering.

I think that there was more symbiosis between writers and artists at that time. It was a more of a closer community. As we all know, there is not the same access today. There are all these layers between the writer, and the artist. Everything is so sort of PR-spun and controlled now. I think that one of the joys exhuming much of what we put on Rock’s Backpages is that there was then a sense that a writer could kind of burrow into the milieu; be there; be in the dressing room; and almost be kind of an adjunct to the band. You got a kind of fly-on-the wall reportage then that you rarely ever get these days and isn’t really required or demanded or even seen as necessarily desirable.

It was as if the journalists were embedded in artists’ careers.

Exactly. There was an embeddedness.

Also such rock stars as Patti Smith, and Chrissie Hynde started off as journalists.

There is a whole list. There is a parallel is there not, with the Cahier du cinéma (the French New Wave) with (directors) Jean-Luc Godard, Jacques Rivette, François Truffaut and others (that began as critics for the famous film magazine Cahiers du cinéma)?

Nouveau vague came out of an elegant critical stance. It is generally a fascinating area to explore in all of the arts, that relationship. When the critic, when the commentator steps into the arena, and risks becoming an artist themselves. There are a lot of examples in rock. Then there’s Lenny Kaye who has done both. He’s done both (careers) in parallel for many years. I imagine in his mind that he’s probably 50% Patti Smith’s guitarist; and 50% Lenny Kaye, the writer.

Bob Geldof wrote for the weekly publication Georgia Straight in Vancouver.

Bob Geldof? Did he? That I didn’t know. I knew that Bob did some rock journalism but I didn’t know he had done some work for the Georgia Straight. Who knows? Maybe we can persuade Bob to have some of those pieces.

[In the mid ‘70s, Bob Geldof came to Vancouver looking for work. According to “The Last Streetfighter,” a 1999 documentary by Tony Wade on the history of the Georgia Straight, Geldof was hired by publisher Dan McLeod for a job in distribution, stripping the covers off magazines.

Geldof soon made his way into the editorial side of publication where he wrote, photographed, and edited. Returning to Ireland in 1975, Geldof joined a band called the Nightlife Thugs which became the Boomtown Rats.

Another contributor to the Georgia Straight in the early 1970s was Courtney Love’s father, author Hank Harrison.]

Where are you from originally?

London-born, bred and educated. My parents had a cottage in Suffolk which is a couple of hours out of London. I spent time there listening to a lot of records, and had a lot of fantasies about pop music out in the back of the American beyond.

Considering that you were already interested in a career writing about rock music, was studying English literature at Oxford stifling?

Yeah, it was a slightly schizophrenic time for me. I had one foot planted analyzing the poetry of W.B. Yeats and another foot planted in fantasies of degenerate rock and roll. Around that time I became very obsessed with America. All aspects of American pop culture. I went to New York in ’77 for the first time and went back every year, really.

If you were studying English literature, what were you intending to do in life?

I don’t really know. I was ill-prepared to go out into the real world from university. It came as a bit of a shock to me. I thought that I would coast into something. I knew that I wanted to write and/or be a film maker or something. I knew that I loved music, and I knew that I wanted to write. I sort of got a break through Davitt Sigerson who was a friend of a friend. I was in New York in 1979, and he said, “When you go back to London, see Richard Williams at Melody Maker. So I did some things for Melody Maker.

[Journalist and author Davitt Sigerson was president of Polydor Records in 1991; president of EMI and Chrysalis Records in 1994; and chairman of Island Records from 1998 to 1999.]

You were in America researching a book, “The Cult of Pop.”

Yes, in fact, I was there reading and buying books at Strand Books. Extensively researching this ridiculous book. I was beyond pretentious. I didn’t really have an idea or a clue of how to write or put a book together. I had some bizarre thesis about pop and what it meant in terms of everything from Warhol to Bacharach. It never got done, but it was something that I was able to use as a calling card. Eventually, it got me into NME. It ended up on the desk there of a guy there who kindly commissioned me to do reviews and that led to interviews. That was Phil McNeill.

What had happened at Melody Maker?

I did some things for Melody Maker in 1980, and then they went on strike. I came down from Oxford thinking that there might be a gig for me and they all had walked out. Then it took a few months for me to get my foot in the door at NME. My unfinished manuscript wound up on the desk of Phil who sent me to review Adam and the Ants which were just about to explode, Top of the Pop, fantastically.

What was your first impression of New York?

Oh, I was just thrilled and terrified in about equal measure. In terms of sensory overload, it was everything that I had anticipated and more. I suppose that I have never quite got over the shock of that. It still shocks me as a place whenever I go there. It is just so off the scale of humanity. (When I first went there) you were in Martin Scorsese’s “Taxi Driver.” The moment you got in the taxi at the airport you were just in (Robert) De Niro’s head. It was fantastic.

New York is not a place that I am ever going to have an easy relationship with but like everybody here (in the UK), I was infatuated with the idea of New York. That’s everything from The Brill Building via Phil Spector through to the New York Dolls and Television and all of that.

You hung out at CBGBs?

Absolutely. I went to New York every year from about ’77 on.

Did you then get to know American writers like Robert Christgau and Lenny Kaye?

That came a little bit later. I made contact with those people significantly later when we were starting RockBack Pages. When I was working for Mojo as their correspondent in the second half of the ‘90s, I made connections with a number of New York writers. I was living up in Woodstock, and I was often coming into the city and meeting people like David Fricke, Anthony DeCurtis, Lenny Kaye and Bill Flanagan.

Do writers represented in Rock's Backpages have full access to the site?

Absolutely. We made that decision very early on. It’s the principal perk of the job. You don‘t have to do anything (to assign articles). We will do all of the hard work. If you want to assist us and send up photocopies and so forth, great; but the moment that you have Rock's Backpages, you get the rest of the site.

We will try and make you money as we go along. We will license articles, and you will get 50%. You will make some money out of subscriptions over the course of time, but that’s slow. I like to think that is a no lose situation for a writer because they get all of their (articles) organized in a nicely navigable way. If it is sitting in their cuttings book or in the attic, it’s achieving nothing for them.

Rock's Backpages recently entered the e-publishing field.

We just started dipping a toe in the waters of publishing. It’s early days. We saw that having established ourselves as principal repository for digitalized classic rock writing that it might be nice to do publishing; to bring back outstanding music titles that have been out of print for years. We have just started that. We are anthologizing some of the pieces on Rock's Backpages like Dylan, and Nirvana. The jury is out. This is really long tail economics. We’ve done alright with the Dylan book (“The Bob Dylan Electric Omnibus”) but it’s really about getting the word out there. We are on Amazon and we are looking at different channels to market and distribute e-Books. I don’t know how many of these we are going to do.

There are also now audio interviews available.

We have also have some of our audio interviews as a download product on Amazon. We have over 300 audio interviews of admittedly variable quality, but some of these are very good quality. The jewel in that crown is the very last interview that Jimi Hendrix gave, about a week before his death which was recorded on a reel-to-reel by Keith Altham. That is obviously unique, and fascinating. We have interviews with Marc Bolan and Mick Jagger and we are just about to add a Kurt Cobiain interview with Jon Savage from ’93.

People seem to like this. For students, it’s like going even deeper. We offer something that is an auxiliary resource. It’s not a primary resource like the Grove Encyclopedia of Music, but it’s very useful adjunct for students who want to go deeper; who are prepared to find out what these artists were really saying and what was going on. To actually hear Hendrix speaking in 1970 or Mick Jagger talking in 1973 in some length, this seems to be very popular with the librarians and the electronic resources people. They see it as a great enhancement of the existing library.

Do you have another book coming?

I do. I recently finished a fairly large oral history of Led Zeppelin called “Trampled Underfoot” that will be published next year.

How do you balance the time?

It is very hard. I’ve been lucky. I started doing books early on, and I have been able, thus far, to parlay that into a reasonable living. I have been able to juggle Rock's Backpages with books. But the future is always uncertain. The whole publishing climate, of course, has changed dramatically.

In what way?

Put it like this. I got what I would say was—and this is conjecture—the last decent advance three years ago that I might ever get for a non-fiction book. It enabled me to do well over 150 interviews for this Zeppelin book. It is a big book. It took a lot of work. A lot of research. I simply could not have done it without that advance. If I was attempting to pitch something like that now, what sort of money could I expect? What is the future of non-fiction research at a time when publishers are slashing their costs and laying off people, and running scared in the new world of Kindle? They really do not know what to do. It is frightening.

Publishing has changed that much in three years?

I think that it is changing pretty dramatically. It really is. I fear for the future for non-fiction research. If people are not going to be able to spend two or three years doing hardcore research on something, what kind of books are we going to get? The only people who are going to be able to write or finance their research are people who already have enough royalties coming in from previously published books to plough back into what they are doing now.

Or who are fans.

Of course, fans. But, you and I both know, that mere fandom doesn’t necessarily qualify you (as a writer). Let’s be frank about it. Not a lot of those people can write very compellingly. They may assemble facts—all the facts that you ever want to read—but it doesn’t mean that they create an experience that works for the reader.

There is Continuum Books’ 33 1/3 series written about individual albums.

Oh, they are great. I am a huge fan of those. I know they (Continuum) don’t pay a lot, but they pay something upfront. I’m a big fan of that series. I have read a number of the books. They reflect a continuing interest in a time when the album was almost analogous to a novel—that it tells some kind of story.

The most extraordinary Continuum music book I’ve read is the (2005) book about the “Music from Big Pink”) by this Scottish writer John Niven. It is done as a novella and is one of the most startling explorations about life in Woodstock where I lived. It’s really an astounding sleight of hand. I read it, and I thought, “Who is this guy? “How did he know that Woodstock was like this?” He writes about what really went on behind bucolic surface of the Band, and the sort of burnt-out hippies in the Catskills. That‘s a fantastic example of what music writing could be and can still be.

Woodstock is something that you know about from writing “Across The Great Divide: The Band & America” in the early ‘90s.

I certainly caught the tail-end of that (burnt-out hippie era). There were a few of them lurking around. (Writing the book) is what took me to Woodstock, and I left a piece of my heart there. I don’t miss the commoditization of tie-dye, T-shirt culture; but I miss the beauty of the place; and the surrounding landscape. All of that.

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.”


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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