Industry Profile: Kathy Spanberger

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: Kathy Spanberger, president and Chief Operating Officer, Anglo American Region, peermusic.

With 30 offices in 26 countries, and a catalog over a quarter of a million titles, peermusic is a music publishing titan.

Under its president/COO Kathy Spanbergeróresponsible for operations in the U.S., Canada, and Australiaópeermusic over the past decade has morphed from being a conservativeósome might say, stodgyódecade old music publishing institution into a vibrant independent publishing powerhouse entrusted with some of the most valued catalogs in all of music publishing.

Founded by Ralph S. Peer in 1928, peermusic also represents a formidable genre-jumping cross section of contemporary artists, producers and songwriters, including: Neil Thrasher, Dan James, David Foster, Chayanne, Traci Hale, Vicky McGehee, ChocQuibTown, Gloria Trevi, Anahi, Victor Manuelle, Gilberto Santa Rosa, Uno, Adam Argyle, Dead Sara, TYRESE, Family of the Year, Black Violin, Rachel Farley, Horoscopos de Durango, Wyshmaster, Richard Harris, Sarah McLachlan (Canada only), The Tragically Hip, Kathleen Edwards, Simon Wilcox, and Electric Empire from Australia.

Born in New York, Spanberger moved to Los Angeles with her family at the age of 11. Her father Andrew Spanberger was West Coast advertising director for Billboard magazine. She joined peermusic in Los Angeles as a secretary in 1979 after receiving her Bachelor of Arts degree in economics at UCLA.

Afterwards, she served as managing director of peermusicís Australian operations.

Next, Spanberger returned home as peermusicís GM for the U.S. She became VP peermusic's U.S. companies a short time thereafter. She was named senior VP of peermusic's U.S. operations in 1993, supervising the staffs at peermusic's New York, Los Angeles and Nashville offices, and overseeing the activities of peermusic's U.S. Latin music division, including the opening of a new Miami office.

In 1995, Spanberger was named Chief Operating Officer of peermusic North America, which added the territory of Canada to her slate of responsibilities. In 2000, she was named president.

During her tenure, Spanbergeróbased in Los Angelesóhas greatly expanded peermusic's global reach with a bevy of pivotal deals. peermusic now controls the catalogs of David Foster, Hoagy Carmichael, Malaco Music, Larball Music, Song Corp., and Ventura Music, the latter being the home to some of the biggest Latin pop hits of the '80s and '90s.

What do you think is the perception of peermusic is in the entertainment industry?

That it is a highly respected company. I think people understand what we do, and how we do it; that we are in it (business) for the long haul. I donít do rent-a-song deals with very few exceptions. Those short-term, huge advance (deals) without any long-term retention. I canít say that I absolutely donít do them. If the Rolling Stones walked in tomorrow, Iíd probably do a deal.

There are still people in the music industry unsure of what peermusic does.

(Laughing) Like all we do is Latin music. I think that that some people donít know because Iím much more comfortable, as are some of the senior executives, being out of the spotlight. Iím not raising the flag of, ďLook at what I have done lately.Ē Or, ďLook at what weíve done lately.Ē So Iím not sure how people really understand the successes that we are having. Sometimes thatís important; and sometimes it isnít.

One thing still striking to me after all these years is that I still donít think people understand how big the company is worldwide. We have our own offices in probably every major city around the world. We are internationally-placed and are expert in all of the areas. People are still, ďWow, really?Ē

The company hasnít either been able to overcome that underdog perception or hasnít bothered trying to change it.

I think we have a philosophy toward publicity in which we really have to have something to say. So when we have something to say, itís not empty or fluff. Now being an independent company seems to be even cooler than it used to be. Perhaps, we will have to leverage that coolness a bit more.

Well, in the late Ď80s, peermusic was widely known for being the only American publisher concentrating on Latin musicówith a bilingual staffówhen deals were being made on a song-by-song basis.

Itís a great market with spectacular music and Iím proud to be a leader of all that but the English (speaking) market has been very good to us as well. Sometimes, Iíd like to get the message out a little bit more. Weíve had a lot of success. The heritage is very much a huge part of the organization; and the heritage here is country and Latin.

We now have successes in pretty much all genres of music; whether itís country, Latin or pop or classical. We have a wonderful contemporary classical music catalog. So itís a diverse catalog, and that makes it fun (to work). Jason Aldean just won top performance of the year at the CMT awards for our song ďTattoos On This Town,Ē written by Neil Thrasher. We also control the majority of the #1 Latin album in the country ďJuanes: MTV UnpluggedĒ (by Colombian rock star Juanes); and we recently won for the Most Performed Pop Song of the Year at this year's BMI Awards.

[Ester Dean enjoyed an especially big night at BMIís 60th annual Pop Awards on May 15, 2012, held at the Beverly Wilshire Hotel in Beverly Hills, California, as "Firework" clinched BMI Pop Song of the Year honors for her, and co-writer Sandy Vee, as well as publishers Dat Damn Dean Music and peermusic III, Ltd.]

What young writers are peermusic working with?

We are working with Family of the Year, which has a new video (ďDiversityĒ) on Nettwerk. We have been working with them for a while. Great, great artists. Weíre working with Dead Sara that we have signed with (L.A.-based music supervisor) PJ Bloom. They are phenomenal artists, and creators. Iím very excited about them. We did a joint venture publishing deal with PJ. Heís a huge fan of the band. Weíre also working with Black Violin. Arenít they fabulous? They were working with Juan Cristobal, the engineer who works in our studio in Miami. He found out about them, and they had never signed a publishing deal. The music is just fabulous. In the country market, we are working with a new artist Rachel Farley. She has just landed the opening slot for the Jason Aldean tour this year. Thatís a great thing. Sheís an amazing young woman of 17, and sings incredibly.

In the Latin field, weíre working with a new artist on Warner Brothers called PeŮa. A very, very interesting artist that we are excited about as well.

You have been with peermusic for your entire career.

My entire full-time career in the music business.

You began there as a secretary in 1979. Were you a good secretary?

Oh yeah. I tell young people today, ďIf you canít nail the job that you were hired for donít expect to get promoted.Ē You have to be really good for what you are hired for, and then you go on from there.

So, what was your typing speed?

85 (words per minute).

peermusic was quite small at the time.

It was very small. Their main office was in New York. In L.A. there were only four people, including Ralph Peer (chairman/CEO Ralph Peer II whose father formed the company in 1928). Heís the one who hired me to be his secretary. He was then vice president of the firm. (Producer/songwriter) Marti Sharron was working for us then. She went on to co-write "Jump (For My Love" a #3 Billboard Hot 100 hit for the Pointer Sisters in 1984) and some other big songs (including "Own the Night," recorded by Chaka Khan; and "If I Could," recorded by Ray Charles, Barbra Streisand, and Celine Dion, among others.). At one time Holly Green was working for us in New York. Sheís the one that got ďWalk Like An EgyptianĒ cut by the Bangles. It was very successful for us.

Did peermusic then have a lot offices abroad like now?

The core offices are pretty much the same as they were. We have a few more now. Ralph was very aggressive about the Asian market and, of course, we have some of our representation now in Eastern Europe.

Was serving as managing director in Australia for the company an eye-opener for you?

It was great personally and professionally. They had so many local clubs, and they had so many great bands like Men At Work and INXS performing original music. So, it was a great time to be there. I was in my late 20s, and it really gave me a great perspective of the importance of the U.S. market for the international offices. The U.S. market still is today the place for any writer in the world to be successful in. It is also very important for us to have success here to export.

Were you sent you to Australia to gain international experience?

It was two-fold. Ralph was just starting to take over running the organization, and he wanted someone to go there and revamp the operation. Someone that knew him, and knew how he wanted things run. He felt that I was the person for the job and offered it to me.

When you returned to the U.S., you then oversaw the international operations of peermusic.

I did. Mostly doing sub-publishing international deals, and new artist/writer deals. I learned from the best. I had amazing mentors in the firm.

Obviously, Ralph Peer has been a major figure in your career.

I have worked with Ralph for my entire career. There couldnít be a better mentor than that. Then there was Mario Conti (then head of peermusicís U.S. offices and its international department) and Max Okun, and Arthur Fishbein, our attorneys in-house when I started. I have to say that thereís not a lot about publishing that I donít know.

I also had the advantage of having to read contracts, and really getting to know them. I negotiated (deals) but sometimes I had to type contracts up. Nobody in their 20s is going to know what the hell Iím talking about if they read this. It was the cut-and-paste days. You cut out and pasted, photocopied, and typed up the contract. Boy did I learn. I really, really learned publishing that way. I was a really good typist, but I really did learn that way.

It must be a challenge running affiliates in all these different countries. Probably more so than ever.

Yes, I would agree.

Traditionally, music publishers have balanced working their catalogs while nurturing new writers. In recent times, publishers have had to grow their businesses by acquisitions, and moving further into foreign markets.

The main thing that you have to do is to make sure that your catalog has material that people need in this (new) marketplace. And, if there is a gap in the type of music that we publish, we will look at acquiring it. For instance, we donít have a great classic rock and roll music catalog. I would love to find a great classic rock and roll catalog. That would probably mean more to us than, maybe, other (catalogs) because we absolutely need that in order to service every request of the users today, particularly in sync (the TV/film synch licensing market). That seems to be a very important area (for music publishers). So how we view acquisitions is if it is a strategic thing for the organization, and it fills an area in the catalog that we donít have. Also very important to us is our international market. There are some catalogs that travel better than others. The ones that travel would probably mean more to us economically as well.

You sound like a gambler trying to fill out a straight flush.

When opportunities come to my desk, however they come, I kind of know which ones that we should go after and ones that we shouldnít. But, I donít make a decision in a vacuum. It is made with the people (here) that have to work the catalog once we have it. We have discussions, ďAlright, if we owned this material, what can you bring me?Ē Thatís a very important part of the process.

Would David Fosterís catalog be one that travels well internationally?

Oh yes. We are very proud of that. Heís an extraordinary talent; someone who has been making hit music for decades; and heís still at the top of his game. So, it was an easy decision for us to buy his catalog when he wanted to sell it.

[In 2011, peermusic, acquired the majority of David Fosterís body of work as a songwriter. The deal encompassed more than 500 songs including such hits as ďI Have Nothing,Ē ďSt. Elmoís Fire,Ē ďHard To Say Iím Sorry,Ē and ďGlory Of Love.Ē The new agreement also included exclusive publishing representation for Fosterís future works.]

Why do songwriters like David want to sell their catalogs?

I donít think David would have sold it if he didnít get the price that he felt that it was worth. It was just a timing issue. It just seemed to dovetail with some other changes that he was making in his life, including switching labels at the time. So, I think that it was all just a matter of timing, and testing the market; and we rose to the challenge of the test.

So many big-name songwriters hold onto their publishing; and if thereís illness or a death, their family often doesnít know how to administer their catalog.

Absolutely. That has happened, and you will see that. In Davidís case, it wasnít that. Just to give ourselves a pat on the back, I think that he was very happy that he sold his catalog to us because he knows we will take care of it. We also have a relationship with the family; with all of his daughters. The legacy was important to him as well, I think. It was a good fit all around. It wasnít an easy decision for him. Thatís his life work. It was easier because he sold it to a company that would take good care of it.

peermusic branched out into Southern gospel by buying a stake in the Malaco Music catalog in 2007. You had nothing like it in your catalog.

Exactly. The first thing that I look at when there is a catalog for sale are the songs. I know that it sounds stupid, but I donít look at the numbers first. I look at what songs they are selling. Then we have a creative analysis of the songs. We think, "How much do we really love this music creatively as well domestically and on a world-wide basis." Not only what do we think we can do with the songs, but how classic, how valuable, and how important are they to us creatively. Then we look at the numbers. That seems to have worked for us. If we do have a catalog that weíre passionate about creatively, it makes the negotiation of the deal a lot easier.

Financial figures reflect what has been going on with the catalog; not the catalogís potential.

Yes, and acquisitions obviously, they are based on what you feel that the steady income is, but how you can grow it (the catalog). You have to look at it realistically; especially in a challenging marketplace. But, we do have a long-term view. And when you have a long-term view, and you run the company in a long term manner, you can look at that a lot differently.

The other thing too with all of these acquisitions weíre talking about here is that we had personal relationships with all of the people; and with all of the companies that we dealt with. So that makes a difference. Writerís share, for instance. If they donít want to sell the writerís share (of the publishing) that makes a huge difference to the people selling the catalog because thereís an ongoing relationship (with the publisher); a trust, there.

If it's just a pure bidding war where it just goes to the highest bidder, thatís where itís easy to make mistakes because it gets crazy for all of the wrong reasons.

With shrinking music sales in recent years, thereís been lessened revenues for everyone in music.

It has become difficult on both sides, creatively and administratively. Creatively, for obvious reasons: less product, less opportunities to work your writers or producers and less opportunities for releases. The changes, and the reductions at the labels have very much affected what we do on a creative level; and how we do it. Itís a smaller market than what it was. Smaller markets mean more competition. You constantly have to rethink and re-focus how you are going to work with your creative staff.

Itís a smaller music market with more music readily available.

The access for music, and the access for artists and musicians to the general publicóanybody to the general publicóhas grown. When I first started working in music publishing, we never dealt at all with the general public. We were always working through third parties. Now we are sometimes thrust in the situation of, instead of being just a B to B business, it's B to Cóbusiness to consumeróin terms of doing some marketing and promotion or (overseeing) digital rights and any kinds of issues like that. Thatís a learning curve, and you have to be careful that you donít do something that you arenít very good at.

Like being a record company as well?

Well, itís very, very hard selling music. That hasnít changed; and itís harder now making money from music. The revenue streams are smaller. Some of the costs have come down but the marketing and promotion costs are still there. Those expenses make the difference between writing a song; and anybody hearing your song.

While several publishing companies have started their own labels, including Sony/ATV's Hickory Records, and Notting Hill Music Group's Transmission Recordings, music publishers have only tipped their toes into the label pond at this point.

Yeah, and the fact is that itís coming about because publishers are doing more and more development. We are paying for more and more of the pieces of the (career development) pie. Sometimes our advances are higher than a record companyís; if they (the artist) even gets an advance at all. Then you want a little more control not only to (access) the different income streams but because your investment is higher.

Following downsizing, major labels jettisoned certain services, as songwriters began to want more than synchronization and writer collaboration opportunities from music publishers. Some songwriters now push their publishers for marketing plans, and brand marketing.


A hot new songwriter may want you to finance a master recording or finance a production deal. Since they canít get backing from the labels, they are looking for alternatives.

Thatís very true, and the deals reflect that whether you are paying advances or putting together funds to pay for masters or marketing and promotion or whatever may be needed to develop that writer or artistís talent. The key question is where does all of the cash come from these days.

A music publisher used to walk a songwriter/artist to a label to find that money. Labels had all of the money.

Yes. That is one of the things that people havenít really realized; that record companies paid for a lot of things that were behind the scenes; and now that cash isnít there. So where does it come from, because everything still costs money to produce or to promote or to direct or whatever. It still all costs money and thereís overhead and the question is where is that coming from. Whoís going to be paying for that?

Publishers primarily paid for publishing demos back in the day.

Yeah, but in the old days we could make money from album cuts too. If you take into account the album cut market having diminished so much, the (music publishing) market shrinks even more. Everybody and their brother are trying to get the single. Thatís the other shrinking in the marketplace.

The unbundling of the album by Napster, iTunes and Spotify led to the music industry being downsized from a dollars business to a dime business.

Yes. That was the first wave of difficulty and, of course, (TV and film) sync money is dropping because of competition; and the market strength that the users have. So on the creative side itís challenging on one hand; and on the other hand, thereís a lot of great music out there, and you get to find it really easily; and get excited about it. But the parameters as to how you work with somebody or when you work with them, you have to look things a little differently today too.

Without a song being a single from an album, what revenue can be generated?

Thatís another thing that has changed so much on the business administrative end. Itís a growing area with a lot of question marks. So, itís very hard to budget when you are notÖ"okay, if I have this many streams or this many views, how much money is this going to earn me?" This is an industry still coming to terms-and will be over the next few yearsówith what that really means. Hopefully, there will be good news. But administratively for publishers, it is hard to budget because we donít know what its (uses of music are) worth. We used to know what a unit was worth if you sold X amount of records or you could even figure out performances pretty easily. But we donít know what the income streams are going to mean for the new ways that music is being distributed yet. That is something that will show itself in the next few years.

[According to National Music Publishers Assn., music publishing revenue in the U.S. derives 36% of its income from mechanical licensing, 30% from performance licensing, 28% from synchronization licensing and 6% from other.

According to sources, the most important challenge facing publishers and songwriters is to get proper compensation from new media for music usage. "Look at Pandora,Ē National Music Publishers Assn. president/CEO David Israelite exclaimed to Billboardís Ed Christman (June 12, 2012). ďRecord labels get $14 in revenue for every $1 that publishers get. That can't continue. For the future, we have to fight harder to get our fair share of the revenue pie."]

In the past, you have suggested that 360 degree deals should be looked at by music publishers. Considering that music publishers are in the risk business due to advances and overhead, why not do 360 deals?

Well, we do and the learning process has been interesting. I think that itís only fair to have a 360 deal, if you have 360 (type) personnel that know what to do with a 360 deal.

Thatís the dilemma facing labels and music publishers alike.

Yes. When you have a 360 deal, you have to know about management, video production, touring, publishing, record production and so on. It sounds great, but itís really hard to do. It means you have to pay for everything.

Third parties are being brought in some cases to bolster services.

Exactly, because if you are taking or owning a piece of everything, then you really owe the creative (artist or songwriter) to properly manage and to have the knowledge to properly do all that. If itís just a land grab for money, thatís not inherently fair, is it? If we are going to do that, I have to feel like we know what we are doing to take those responsibilities on. Thatís a big business decision. Thatís a strategic business decision as to where you put your overhead costs; and to what kind of personnel are needed to do that.

In most cases, music publishers seek ownership or control of copyrights. Kobalt Music Group now offers significant advances, but doesnít seek ownership. There may be a business there; but it isnít traditional music publishing.

They are certainly a company that people are talking about and, maybe, have changed the way the way we all look at some deals. You have to decide where you fit; and what you are going to do. You canít be all things to all people. Kobalt has a different business model than what we do. But I also know, they are not going to be around for long. Thatís not a long term business andÖ

Itís certainly a quick turnover style business.

Yeah, itís a quick turnover business. Time will tell what will happen there. I donít bad mouth competition. The fact is that it (Kobalt) serves its purpose for a lot of its clients. Some clients are happy with it; and some clients arenít. Any client can say the same thing about any firm. But it remains to be seen if they do their job well; and how long they will be around; and how long they can sustain that model economically.

[Among the artist/songwriters that have signed administration deals with Kobalt Music Group are: Pearl Jam, TiŽsto, Kid Cudi, LMFAO, DJ Shadow, Neil Finn, Joss Stone, Lukasz "Dr. Luke" Gottwald, Max Martin, Kelly Clarkson, Skrillex, Bon Iver, Trent Reznor, Toby Keith, Vince Gill, Herbie Hancock, and Rufus Wainwright.

As with traditional music publishers, Kobalt Music Group represents its clients' copyrights, and collects royalties for uses around the world.

Under most traditional publishing deals, music publishers control the full publisher's share of 50% of songs or, at least, act as co-publishers. By contrast, Kobalt charges 5%-15% of revenue for its administration services, and offers short term administration deals under which creators receive smaller advances against royalties collected.]

Kobalt is basically in the drive-in admin business.

Yeah, thatís a good term. Administration isnít as easy as everybody makes it out to be, and itís getting more complex; not less complex. So itís a very important decision who handles administration. (Poor) administration on one of a creatorís most valuable assetsóbeing their copyrightsócan devalue their most valuable asset very quickly.

With a recent settlement between the music industry trade associations for labels, music publishers and digital music providers, the Copyright Royalty Board is expected to maintain the mechanical rate structure concluded in 2008 while creating new rate formulas for five new digital business models.

I will tell you an interesting experience Iíve had already. It is sort of indicative of how itís going to go; which is a very positive thing. I had a meeting about a new mobile application for music. It was a very good conversation because they felt and we felt that how they wanted to use music was going to fit into one of the new categories. Boy, it sure made for a more friendly, quick, and open conversation. And, I think that was the intent. I think that this is all very positive for users as well as owners. I am still in awe of all of the people that were able to negotiate this deal. Really that level of complexity with that number of players around the table, it is really an extraordinarily accomplishment.

[The agreement, which must still be approved by the Copyright Royalty Board, maintains a song rate of 9.1 cents for downloads, CDs and other physical formats, 24 cents for ringtones, and the same formulas, with limited changes, used to determine the mechanical rate for different kinds of subscription and free interactive-streaming services. The deal also creates new rate formulas for five new digital business models.]

One key aspect of that deal is the use of a total content cost will allow music publishers to potentially partake in whatever increases occur when music labels negotiate to supply their music to digital music service providers.

Well, I think that was heavily negotiated. Like I said, it's all good now. Weíll see. I think that there are just going to be more opportunities to maybe make this easier for everyone. Time will tell for us becauseÖIím not the only publisher worried a little bit about the accounting and the tracking because itís a little mind-boggling sitting there. Obviously, administration and IT costs could sky rocket if you arenít careful about that. Weíll see. As long as you are flexible and able to adjust, it will be okay. But, I have to say that I think that one meeting I have had so far has been encouraging because of the new deal. So more to come.

The U.S. recording industry has long sought a sound recording performance royalty, while the radio industry has so far beat back every legislative attempt to enact such a royalty. Clear Channel recently became the first radio company to agree to pay the royalty with the Big Machine Label Group comprising of the Big Machine, and Valory imprints.

American broadcasters, of course, continue to argue against a performance right saying they already pay a ďtaxĒ to music publishers.

Are you using the word ďtaxĒ to piss me off? The reality is that it is probably a fair payment for master owners, artists and people involved to get their performance royalties. The issue, of course, for publishers and songwriters is to be sure that (a sound recording performance royalty) doesnít reduce the monies that we now have successfully negotiated for decades for fair compensation for us.

With a sound recording performance royalty, broadcasters would likely seek to split the monies paid to publishers.

Yeah, and the PROs are fighting diligently to make sure that doesnít happen as much as they can. But I donít think that thereís too many people that disagree that it isnít fair in some ways. I think that we are the only major country in the world that doesnít pay this. I would probably anticipate that at some point that it would happen.

["NAB remains steadfastly opposed to a government-mandated performance tax on local radio stations," the National Association of Broadcastersí executive VP of communications Dennis Wharton said in a statement following the Clear Channel/Big Machine announcement. "Beyond our respect for private contracts, we take no position on free-market agreements negotiated between broadcast companies and other businesses."

Recording Academyís CEO/President Neil Portnow countered saying, "After years of public pressure and private negotiations, today's acknowledgment by the country's largest radio broadcaster that artists deserve a performance right is a step in the right direction. But until every broadcaster is paying all creators for their work, we will continue our efforts to secure an industry-wide, legislative solution. Congress has shown a sincere interest in solving this problem, and with Clear Channel's recognition of the terrestrial performance right, continued opposition by the NAB will now ring hollow on Capitol Hill."]

Meanwhile, without a coordinated and seamless licensing environment, Europe remains a highly challenging marketplace for music publishers.

Yeah, because thereís different players in every territory, and there are monopolies in the continent of Europe that control musical rights.

And regional societies there are trying to control their rights too.

Oh yeah. Itís a bit of a fight for survival. I do think local societies serve a great purpose. Historically, they have negotiated some very substantial rates; and we have all benefited from that over the years. On the other hand, they can be very non-transparent; even to their clients. Maybe, that is coming home to roost now because itís not possible in this world to be non-transparent. Transparency is expected on all levels now. Thereís been a cultural change.

You came from a Billboard family. Your father Andrew Spanberger worked at the publication in sales.

I did. In the golden age; in sales in advertising. He was a mad man. Tommy Noonan and my father grew up together. They went to grade school together. Tommy could tell a story better than anyone I know. He got my dad into Billboard.

[Tommy Noonan was a Billboard institution during his 30-plus year tenure with the publication. He also worked at Columbia, Date, Motown, Metromedia, and Polydor labels.]

When Billboard came home, did you go through the publication as a teenager?

Oh yeah. Itís funny, I ended up becoming a publisher because, in hindsight, I was always into music but I was always into songs. I had favorite songs, and artists; but it was mostly the songs that I loved. I always knew that I wanted to work in the music industry.

You did go to college.

Yes, I went to UCLA. I have a degree in economics. It was the only thing at the time that was close to business. They didnít have an undergraduate business degree at the time. They do now.

You grew up in Santa Monica, and Malibu. You were one of those beach bunnies?

I was never a beach bunny. I burn too easily. Iíve got that pale Irish skin. We didnít move to Malibu until my senior year in high school. My brother was a Malibu surfer.

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 ďMusic From Far And Wide.Ē


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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 Denverís Division of Theatres and Arenas 08/23/10
Paolo díAlessandro, 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 íní 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 Gťlinas, Festival díťtť de Quťbec 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
Andrť Mťnard, Festival International de Jazz de Montrťal 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 Mķsica 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 OíConnor, 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 ďIceĒ 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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