Industry Profile: J.P. Williams

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: J.P. Williams, founder & CEO, Parallel Entertainment.

Don’t be fooled by J.P. Williams, he ain’t no country rube.

As founder and CEO of Parallel Entertainment, a full-service talent management and production company headquartered in Los Angeles, with an office in Nashville, Williams sees the big picture of entertainment clearer than almost anyone you can name.

He has also been profiled by The New Yorker magazine, and by CBS-TV’s “60 Minutes.”

Williams founded Parallel Entertainment in 1991 with only a single client, standup comic Jeff Foxworthy, who advanced him $20,000 to take a roll of the management dice.

Today, Parallel Entertainment’s empire consists of comedic giants as Foxworthy, Larry the Cable Guy (aka Dan Whitney), Bill Engvall, Lisa Lampanelli, and Matt Knudsen; such musical acts as Zella Day, Jessica Frech, Dean Alexander, and country duo Kingston; and songwriters Blake Bollinger, Blake Chaffin, Brian Maher, Thom McHugh, and Jenn Schott. The company also handles former CMT host Lance Smith.

While Parallel Entertainment has maintained a presence in Nashville since 2007, Williams decided to launch a full-scale operation on Music Row last year in order to enhance the company’s growing music roster, and to create further opportunities for his clients.

In 2004, Williams launched Jack Records, a co-venture between Parallel Entertainment and Warner Bros. Records, which has released over 35 comedy recordings to date featuring many of his clients.

Among its endeavors, Parallel Entertainment is partnered in various entertainment ventures with Foxworthy, Larry the Cable Guy, and Bill Engvall—the “Blue Collar” troupe of outsized comedians that wear their values on their sleeves—that toured as a pack from 2000 to 2006.

Hailing from Morgantown, West Virginia, Williams’ father died when he was six. Following high school, he worked as a receptionist, an agent’s assistant, an agent, and, eventually, as VP Live Performance in New York at Spotlite Enterprises, the talent agency, owned by his uncle, Robert Williams that represented and booked Jay Leno, Jerry Seinfeld, Damon Wayans, Adam Sandler, and Jamie Foxx among others.

Williams launched Parallel Entertainment following Spotlight’s demise in 1991.

In 2000, Williams along with Foxworthy, Engvall, and Larry the Cable Guy created the “Blue Collar Comedy Tour” featuring the threesome, along with comedian Ron White, performing individually and together.

The national tour was so successful that Williams decided to develop further vehicles around his clients, including creating, producing or overseeing “Blue Collar” related feature films, comedy CDs, television specials, DVDs, and licensed merchandise, including T-shirts, bedclothes, aprons, BBQ sauce, and countless other household items bearing the likenesses or slogans of his clients.

In 2003, the feature-length concert film “Blue Collar Comedy Tour: The Movie,” released by Warner Bros., had a limited theatrical release. However, it later debuted on Comedy Central to the highest ever ratings for a movie on that network, with 2.9 million viewers. A DVD release sold more than four million units.

Parallel Entertainment went on to launch the half-hour comedy series “Blue Collar TV” on The WB Television Network in 2004, featuring Foxworthy, Engvall, and Larry the Cable Guy performing in a variety of comedy sketches. The series ran for two seasons.

Parallel Entertainment has since been in involved in such television series as “The Bill Engvall Show” for TBS, “Only in America” with Larry the Cable Guy for the History Channel, and the Bill Engvall-hosted show “Lingo” on the Game Show Network.

In June, 2012, CMT announced its first-ever animated project, “Bounty Hunters” that will feature the voices of Foxworthy, Engvall and Larry the Cable Guy. Co-created by Glenn Clements, Ben Levin and Matt Burnett, “Bounty Hunters” is being produced by Parallel Entertainment and Muse Entertainment. It is set to debut in 2013.

How often does someone say to you, “Boy, do I have a redneck story for Jeff Foxworthy?”

Ahhh, thank God that living out here (in Los Angeles) not much anymore. We still get letters in the mail because the fan mail comes here. I’m sure that Jeff gets it a lot, but I don’t think it occurs as much as it used to. He doesn’t do it (the “You Might Be a Redneck If…” routine) as much anymore. It’s kind of a double-edged sword for him.

The phrase typecast him; especially with journalists.

They’d come out and review him, and he’d say to me, “My God, all they talk about is ‘You Might Be a Redneck If…’ I did an hour show of which I did five redneck jokes at the end. Talk about my story-telling thing." But it’s (all about) that redneck thing that he wrote at a bowling alley in Detroit. He had it framed, the original five (redneck jokes), I think. It was a great selling tool to propel him up (the career ladder).

Are there significant differences between managing stand-up comic and musical acts? There seems to be more opportunities in comedy because more of the entertainment spectrum is available.

The difference is that you can get an opportunity with a comic to play—as you said—in so many different arenas; especially with the ones that I happen to represent. Not all comics are the same. I’m very fortunate because Jeff had “You Might Be a Redneck If…,” Larry the Cable Guy had "Git-R-Done,” and Bill Engvall, “Here’s Your Sign.” Those things (catch-phrases) all turned into books and merchandise. Everything from belly button rings and lighters to press-on tattoos. Now we have boxed food items for Larry, “Git-R-Done’ macaroni and cheese (New Smoky Mac-N-Cheese). So yes, we have an opportunity to play in different arenas.

[Taste Traditions of Omaha, a global food manufacturer, carries a variety of snacks, and sauces under Larry the Cable Guy’s brand name. New Smoky Mac-N-Cheese is the first food product that it has manufactured under the brand.]

Over his career, Jeff has hosted a radio countdown show, hosted several TV quiz programs, and done film voiceovers. You have had him doing all kinds of things other than him just touring, and recording.

That’s the beauty (of working in comedy). We get to play in all mediums. Every aspect (of entertainment) that there is. Whether it’s book deals; whether it’s television shows; whether it’s radio shows. You have so many more avenues to build a career.

Here’s the difference. If you are a singer in a band and it works, you can play all over the world. Comedy, up until I would say the last few years, was pretty much limited for comedians to travel only in the U.S. and, obviously, Canada. Now with the internet and other things, Chris Rock and all of these guys, they are playing England, South Africa, and Copenhagen, Denmark. They are going around the world now.

Before the internet, humor was largely geographically restricted.

Agreed. The internet has really helped comedians to be able to get their stuff out in a far different way.

Yet, the universal premise of comedy is that funny is funny. That should translate internationally.

I agree with that, but if people can’t get exposure to your funny, how will they know to go and see you? That is why I’m saying that the internet has been helpful for that. Chris Rock didn’t get funny four years ago when England discovered him. He’s been funny his entire career, but the internet has helped him get his message out. Therefore, he is able to do massive amounts of touring.

(Actor/comedian) Kevin Hart just did a (UK arena) tour. I don’t even know if you know who Kevin Hart is. He’s probably one of the hottest comedians out there. He just sold out the O2 (on Sept. 14, 2012) in London. That’s 15,000 people.

You have said that the “Blue Collar Tour” was aimed at a country music demographic; the world of bait shops and the gun rack. But, living in Toronto, when someone talks about a relative opening beer at a funeral, I recognize them.

Well, I think that is why “Blue Collar” was successful. We made a point of doing it…we never shot any of the movies in the South. The first “Blue Collar” movie that we shot was in Phoenix, Arizona. The second “Blue Collar” movie, I think, was shot in Denver, Colorado; and the third one we shot in Washington, D.C. We did that for a reason. We knew (if we didn’t) that it’d be people saying, ”Oh yeah, they are in the South” or “They did it in Dallas.” We stayed away from those places to show that it (the humor) is just not limited (to the South). Jeff said it best one time, and I give him a lot of credit. He said, “You know just because I’m from the South, people always go, ‘Well, you are a Southern comedian.’ No, I’m not. They don’t say that Jerry Seinfeld is a Northern comedian.”

By growing up as a Jew in Brooklyn, people would put Seinfeld down by saying that he’s a Jewish or a New York comic.

Yes, people tend to label. Jeff wouldn’t have had the career that he’s had if he was just a Southern comedian.

Many people who first heard Jeff’s act felt that he would only appeal to a distinctly rural audience. Like “Hee Haw” decades ago.

Well, “Hee Haw” reflected a different time. I think humor was different when “Hee Haw” was on the air. Nowadays everything has changed so much that it (the series) wouldn’t work in this day and age. They have tried to bring it back in different forms, and it just doesn’t fly. They have tried to update it.

[Country-themed “Hee Haw” aired on CBS-TV from 1969–1971 before a 21-year run in local syndication. While centered on country music, and the rural Southern culture, “Hee Haw's” appeal was not limited to a rural audience. It was successful in all of the major U.S. markets, including New York, Los Angeles and Chicago.]

I recall a country radio consultant being aghast by the corniness of the Grand Ole Opry a few years back. He felt the Opry gave country music a poor image for today’s audiences.

The Grand Ole Opry can sure be corny some times, but it’s so rich in tradition; why would you ever want to get rid of it? For most country artists coming up, that’s one of the things that they strive to be inducted into. To have their names up there with all of the other great people that pioneered the way for them to have a career. The Grand Ole Opry is one of the cool things that are left.

People tend to overlook how long some of your clients have been around. Jeff was working in clubs in Atlanta in the mid-80s.

Oh yeah. Jeff has been doing standup for 25 or 27 years, and Bill Engvall has been doing it as long if not longer.

They would have met Jerry Seinfeld, Rosie O'Donnell and other celebrities of today on the comedy club circuit.

Oh yeah. They all used to look up to Johnny Carson whom a lot of people forget about. I can’t speak for Larry as much, but I do know that Jeff was influenced very heavily by Bill Cosby. If you look at Jeff’s style of humor, it’s very similar in a lot of ways. He’s a storyteller just like Bill Cosby. I know that back in the day that Steve Martin, Richard Pryor, and George Carlin; those were these guys’ thing (influences). As I said, I can’t speak for Larry because I’ve never really had that conversation with Larry. I have heard Jeff and Bill talk about those names.

From 1974 to 1984, “The Dean Martin Celebrity Roast” was on NBC-TV and probably influenced many comedians. The shows featured Jackie Gleason, Don Rickles, Redd Foxx, Jack Klugman, Milton Berle and other comedy greats. Corny, but often very funny.

Some of those roasts are hilarious. I love them. I suckered up, and bought the whole (DVD) collection. You look at the roasts today that are on Comedy Central and some of them are funny, but they are so filthy. Those (Dean Martin) roasts were so great because they (the comedians) did them “clean.” I think it’s much harder to be a stand-up (comedian) and be “clean.” You can always throw a swear word in and get a laugh. The art of stand-up to me, personally, is somebody being able, as we always used to say about Jay Leno, be able to tell a dick joke without saying the word dick. The reference is in the way that they do it. Look, if you want to be filthy you can be filthy. I find that funny too. I am just saying that for me personally that I think the art of clean stand-up is a bigger challenge.

When you met Jeff in 1988, he was a hard-working club performer.

He worked 48 weeks a year. I was his agent for a year (while at Spotlite Enterprises) but my forte was really in the urban business before that. One of my first clients was Robert Townshend. Then I represented the Wayan brothers, Jamie Foxx, and Mark Curry. That was kind of my thing. Then I got into Jeff. When the Spotlight agency went bankrupt, he was the one who said, “Go be my manager.” I was just going to go and get a job as an agent somewhere else; whether it was William Morris or ICM.

Didn’t Jeff bankroll you to set up Parallel Entertainment?

I had very little money. He said, “Look I will give you half of my net worth to start a management company.” Half of his net worth—we laugh at this today. He gave me $20,000. So I said, “Okay.” He looks back, and says, “What the hell was I thinking?” Giving you all that money when you were only six years younger than me.”

Wet behind the ears.

Wet behind the ears? How about a mullet, a purple feathered earring, and parachute pants? That’s how long ago that was. That’s wet behind the ears. But I paid him back the $20,000 in the first 11 months of being open. He was the best man at my wedding. I am the godfather of his first child. He’s the godfather of my son.

You are lucky you didn’t get your asses kicked in the southern clubs being dressed like that.

I didn’t go to the Southern clubs often dressed like that, okay? I didn’t really go to the Southern clubs. But you are right, I would have been.

Those early days may have been exhilarating but you were probably too busy to really enjoy them.

Well, you are right. One of the downsides is that you don’t really appreciate it because you are in the throes of doing it. That rush of when we first started doing tour dates and me picking Jeff up at his house at 5 A.M. to go to L.A. LAX (Los Angeles International Airport) for whatever cities we were going to on the weekend. Now, you think about some of the funny moments. He’d be chain-smoking in my car; I’d be smoking. He’d be doing interviews for the gigs on the way to LAX. We both smoked like fiends but he quit, and I quit.

Jeff’s first pair of albums “You Might Be a Redneck If…” in 1993, and “Games Rednecks Play” in 1995 both sold three million copies. He’s had four Grammy Award nominations but never won.

We have been nominated numerous times, but have never won.

Not even for his wonderful debut album, “You Might Be a Redneck If…”

The first one we should have won in a landslide. We lost to a Jonathan Winters’ answering machine thing that Jonathan had nothing to do with. It sold something like 10,000 copies, and we sold 3 1/2 million.

[In 1996, “Crank Calls” by Jonathan Winters on the Publishing Mills label won the Grammy for Best Spoken Comedy Recording. The album features Winters leaving humorous messages on his friends' phone answering machines.]

In 1995, Jeff lands a sitcom, “The Jeff Foxworthy Show.” He’s a club performer, but can he act?

What we did for that was exactly this. In 1994 we started doing theatres. Our first real theatre gig was Roanoke, Virginia. I will never forget it. It was in January. We sold two shows at the Roanoke Civic Center (2,440-seater exhibit hall). We weren’t charging $100 a ticket. We were charging $22 or $25. We started to build a buzz with the following. The selling of the records was getting attention. We were doing a lot of radio. So, we went and played the Wiltern Theatre here in L.A., and we used the show as a showcase. We had sold it out. Right in the heart of Los Angeles, right on Wilshire Boulevard.

We invited the networks. We invited Don Omeyer who was running NBC. We invited the people from ABC, CBS, and Fox. At the end of the day one of the lower ABC executives—I think that it was Ken Mok—really believed in Jeff. He convinced his uppers, and they gave us a deal.

At the time, Ted Harbert was the head of the network (chairman of ABC Entertainment). We shot a pilot presentation. It wasn’t very good but the interesting thing was that they tested it, and it tested through the roof because of Jeff.

We were with Brillstein-Grey (Entertainment) which is now Brillstein Entertainment Partners. They had just started their production company. They were a management company, and we were one of their first shows. So they were kinda a little green themselves.

Anyway, ABC picked it (the series) up. But they buried us on Saturday night. There hasn’t been a successful sitcom on Saturday night in years. We lasted one season on ABC. But the interesting thing was that the two times they aired us on a weekday, we finished in third in the ratings for that week, and then 14. If they had put us on during the week we would have had a shot, but it wasn’t ever going to happen. Ted didn’t get into the show. So they canceled us, NBC picked us up for the second season.

Who pushed for a TV series? You or Jeff?

We both wanted to do it. It’s a natural progression. Not for all (comedians) but we wanted to. We were looking at things. You look at the popularity of “Roseanne” and other shows, and they were all (with) stand-ups. So you figure, “I’m conquering it on the road. I’ve built the fan base. What's the next natural thing to do?”

The next natural thing to do for many years was doing nighttime talk show.

We wanted to do the sitcom route. But it didn’t work. So we laid low for a little bit. We created the “Blue Collar” thing, and then we sold the sketch show “Blue Collar TV” to the WB (The WB Television Network that closed down in 2006) which is now The CW (The CW Television Network).

When Comedy Central broadcast the first “Blue Collar” concert movie in 2003, ratings blew through the roof.

Yeah, we did a lot for them. We don’t do much with them anymore.

How did you convince Jeff to team up with a couple of other comedians to tour?

It was kind of interesting. He had his tour, and he had different opening acts but it had really settled into Ron (White) being his opening. He helped Ron. Ron had a lot of problems with money, and it was a way for Jeff to help. Jeff was being a good friend. Then Bill had his own tour, and was building his hard ticket up. He wasn’t as big as Jeff at the time, but he was in theatres. And he had his opening act Craig Hawksley. We call him our Pete Best because he was on the first 20 dates of the “Blue Collar Tour.” He got let go because he really didn’t fit. That’s where Larry the Cable Guy came in.

You weren’t managing Larry The Cable Guy at that point.

I was not. The bottom line (behind the tour) was “The Kings of Comedy” tour (in 1997 with Steve Harvey, Cedric The Entertainer, and Bernie Mac) that had a lot of success. We waited until we could figure it all out. It came down to wanting to try new things. You can only go to so many cities with an opening by yourself year in and year out. You can do it but would it be more fun if we did it this way?

Obviously, Jeff was secure enough to embrace the group concept.

He’s very secure. What people do forget is that these are friends. So it’s not like they are going out with three people they don’t know. That’s why the encores always work so well. Two, think about this. Your business goes bigger—of course you are splitting the pie differently—but you are doing a third of the work. When you are out on your own…There was a point where Jeff was doing two hours or two hours and 15 minute shows. Now he’s on “Blue Collar” and, at the end, each guy was doing 30 or 30 minutes, and then the encore. Whether you are a guy or a girl after awhile the road can be a pretty boring place to be.

How much editing was done with the “Blue Collar” concert films? So much that goes on is based on the chemistry between the guys. There must be a lot on the floor.

You would be surprised because towards the end they each had their set so together. So they pretty much stuck with it. When we were doing the second and third film, and each guy was doing 20 minutes or so, there wasn’t a whole lot of editing just because we knew what we were going to put in to be able to give the network what they wanted. There’s some (editing) but it’s not crazy. They’d do their set in a way that we weren’t chopping stuff up too much.

The best parts are the encores where the guys are joking around with each other.

Oh yeah. They wanted to make something special at the end of the tour. No matter how funny they were individually we always got more comments on the encores.

What makes it work is that each one of them is different.

Absolutely.

Didn’t Parallel Entertainment finance and produce the first “Blue Collar” film?

I didn’t have to put up money. It was financed through the studio (Warner Bros.). What I personally financed were the three Larry The Cable Guy movies. The “Blue Collar” movies were a great model. What I would do is that I would pre-sell to Comedy Central. I’d get what I needed to finance, and shoot (the concert) and split what was left with the guys.

The second one, I sold to Comedy Central for $2 million. The third one, I sold them for $4 million. I was making them (the films) for $500,000 or $600,000.

What did you sell the first “Blue Collar” film for?

The first one we were in a partnership with Warner Brothers. Comedy Central stole that. They bought it from the studio. The girl called from Comedy Central Acquisitions and got the first “Blue Collar” for $1 million for seven years. Warner Brothers gave it away. The studio couldn’t have cared less. They are putting out $100 million movies.

What have you learned by recently being involved with the game show “Lingo” on The Game Show Network which Bill Engvall hosts?

I tend to do a lot of those things with my buddies who own Zoo Productions, Barry Poznick and John Stevens. They are great to work with. John lives seven doors down from me. So we have a good time. We did “Lingo” together. I met them through “Are You Smarter Than a 5th Grader?”

[Jeff Foxworthy hosted the quiz show “Are You Smarter Than a 5th Grader?” that ran on Fox Television for two years (2007–2009), and then ran in syndication until being canceled March 24, 2011.]

Game shows are cheap to produce, but chaotic to shoot.

This isn’t like “Family Feud” or “The Price Is Right” where you go on every day. We stock shoot them. When we were doing “Fifth Grader” in syndication, Jeff would shoot 150 episodes in four weeks, and he would be done. It’s a long day but working for four weeks out of the year, you get a fair amount of money, and you are done.

Four shows a day?

At one point, Jeff was up to eight shows a day. Once you get them down. You know Jeff’s a worker. “If I’m going to be out, work me.” This new game show he’s hosting that is getting a lot of attention on GSN (Game Show Network) called “The American Bible Challenge.” It’s a great show that airs on Thursday night. It’s cutting edge in the sense that it’s a Bible show.

There’s trivia on the show from the best-selling book of all time?

Yes, but the cool thing about the show is that there are three teams of three competing on each show, and they are playing for a charity. They aren’t playing for themselves. So it’s a win/win across the board. It’s contemporary. It’s today. It’s not, “I’m about to go to sleep. Let’s talk about the Old Testament.” No, they have made it very modern.

Does your record label Jack Records primarily operate as an extension of your clients’ film, and TV projects?

Yeah. That’s why I started doing it. I partnered (in 2004) with Warner Bros. which was issuing Jeff’s (recordings). It just made sense.

Why a major label as a partner?

At the time I created the company, it was obviously a different time and I needed the marketing and the distribution. With Warner Bros., every one of those albums that they have, also came with a DVD, and every DVD I had already sold to Comedy Central. Warner Bros. never paid for one piece of product. Everything I gave them for Jack Records was already paid for by Comedy Central. The DVD aired so the advertising part of it was on Comedy Central. So they have never had to go and pay recording costs. They never have had to pay recording costs.

Why not just license the recordings to Warners?

Because I own the label in conjunction with Warners. It has worked out fine. I’ve made my share.

Do you worry about oversaturation of your clients in the marketplace?

No. There are some people out there that can’t afford to go and see a live show. Now more than ever. But they are still fans. So if they want to get their taste of Jeff Foxworthy, Larry The Cable Guy or Bill Engvall, they can afford a calendar that makes them laugh or puts a smile on their face. Or they can afford a T-shirt or they can get a kick out of buying the macaroni and cheese or whatever it may be. There’s a different price point for everybody. A musical act, it’s “Come pay your $200 to see me” and that’s it. We’ve got stuff (merchandise) at $5, $10, $20.

Has legal downloading had a noticeable impact on revenue streams for your clients?

There’s a lot of money in iTunes and other things for the musicians out there. It just hasn’t hit that level for comedy at this point. You don’t see a lot of ringtones in comedy. You have some but it just hasn’t hit that threshold yet.

How about your clients being all over YouTube and not being paid?

Well, people get it for free. What are you going to do? You hope that the exposure propels into other areas of business; and you hope that the exposure drives other pieces of product whether it’s the food or the book product or that those people who watch on YouTube decide to watch “Only in America,” Larry’s show on the History Channel to keep rating up.

It’s often impossible to track down illegal usage.

It’s everywhere. It is stealing but what are you going to do at the end of the day? It’s frustrating that you work very hard and you are not getting paid. You should be getting paid because of the time and effort you put into it.

In 2007, Parallel Entertainment opened a Nashville office with John Dennis. You greatly expanded the operation there last year. Why a Nashville office?

Well, I have spent a lot of time there. When I opened it in ’07, I thought, “Okay, there are not many companies that are management companies in Nashville that are also in L.A., and do what I do.” They may have a music office in Nashville, and a music office in L.A. but I wanted to be that full service (company). We do a lot of TV, and if some country singer wants to get into television, we can use it (the office) as a tool to sign people. We are just not about the music. We are about all areas of entertainment. That we had so much success with branding and stuff that I figured that it may be an attraction. John Dennis and I are no longer partners. The guy I have running it now is C.T. Wyatt who I love and adore.

Tim Hunze now heads up Parallel Music Publishing in Nashville.

And Tim is on the publishing side. We had signed Dean Alexander who is on Warner Bros. Records. He’s a talented, talented kid. I had met Tim through Dean. Tim had signed Dean to a publishing deal while he was at Stage Three Music. Stage Three was bought by BMG in 2010, and they got rid of Tim. I thought all this publishing stuff is just one big company after another. There’s no real (playing) field. So I sat down with Tim, and we decided “Let’s start a publishing company. I will fund it. Let’s go old school." We have a house on Music Row. I think we have eight writers now. We have writing rooms. In our first year, I think that we had 900 songs in our catalog. So it just made sense. I want to do more country music.

Because country is more consistent than other genres?

Country is consistent. It also sort of fits into what I have done in the past. Country is a natural fit. But I represent a 17 year old girl Zella Day who’s not country. She’s pop. She’s fantastic. So I play in both arenas.

Country just makes the most sense to me. I know Nashville well. I let Tim do his thing. You say that I have a publishing company? I do. But I don’t work it. I fund it. That’s Tim’s job. He’s a partner. Think of a restaurant with a good chef. You want to open a restaurant but you don’t have enough money. I will be your silent partner. You are going to do the day-to-day, so it’s not spreading me too thin.

You are from Morgantown, West Virginia. Did you grow up listening to country music?

Honestly, no, I never listened to country music as a kid. My first live concert was Rush. I was in the 9th grade. I saw them in Albuquerque, New Mexico at the Tingley Coliseum. Tickets were $3.25.

You began your career in New York at Spotlite Enterprises that was owned by your uncle, Robert Williams.

That’s where I started. That was my first job out of high sczhool. I went from high school to New York City, in 1983 and I worked as a receptionist. Back in those days, you took the postage meter to the post office to get more postage. We didn’t have faxes back then. Everything we got was through Western Union. We had a telex machine. When we got an offer in, and the agents got it and accepted it, one of my jobs was to send out the telex confirming it.

[Spotlite Enterprises, originally a Virginia Beach, Virginia-based booking agency, grew into a national entertainment power player with offices in New York, Nashville and Los Angeles. Opening in New York City in 1976, Spotlite signed such musical acts as Blood Sweat and Tears, Ritchie Havens, the Weather Girls, and Jimmy (J.J.) Walker, and later signed such stand-up comics as Jay Leno, Jerry Seinfeld, Dennis Miller, Yakov Smirnoff, Damon Wayans, among others.]

Where was the office in New York City?

221 West 57th Street. It was right next to the Hard Rock Cafe. I remember when the Hard Rock opened up, there were lines around the block.

[The Hard Rock Café on West 57th Street has since closed. The only Hard Rock Cafe in New York City is now located at Times Square.]

Why didn’t you go to university?

I didn’t want to go to college. I hated school. I hated school with a passion. I wanted to go and work. I worked my way up to be an agent there. I left New York in ’88 where my uncle opened up an office in L.A. Being young, I thought “Why don’t I try something new?”

A big change in your life to move from New York to Los Angeles.

I wish to God I had thought it through. I was 24 years old when I moved out here. I was young. I didn’t care. It wasn’t like I was leaving anything behind. I loved New York. I had a blast living there but when you are young, you want to go and run. I came from a small town growing up, and I knew that’s not what I wanted to be. Morgantown is a beautiful city with the WVA University (West Virginia University), but it wasn’t for me.

Los Angeles is expensive. You would have been starving out there for the first few years.

No more starved than when I first went to New York. Trust me. I got very lucky. I moved out here with Adam Sandler. We lived together in a house in Van Nuys. Then I met a girl and we moved in together. I had to buy a car because I had never owned one. I wasn’t making any real money. I was making, I think at the time $350 a week. My uncle wasn’t known for paying people, trust me. I got (my salary) up to $750. Yeah, driving my blue Honda Accord.

When did you open Parallel Entertainment?

Dec. ’91. I opened up after he went bankrupt in Oct. ’91. By that point, I had been Jeff’s agent for one year before the company went under.

How are you today able to oversee all of Parallel Entertainment’s activities?

Here’s the interesting thing. Jeff lives in Atlanta. I know exactly what he wants, and what he doesn’t. It’s not like when we started when he was in the club business and he was working 48 weeks a year on the road, and had all those concerts. When he first got into concerts, I would have to travel with him every weekend. That just doesn’t happen anymore. So I have plenty of time. I have a great team that works with me. I have a VP of development, Jennifer Novak, who does a lot of my shows. Once they are sold, I move on, and she handles the day-to-day with the production companies, and the talent and so forth.

With many of the projects, you are partnered with others. So you aren’t really carrying the full weight.

Nope. Whether it’s Fox or Zoo TV or BermanBraun or whatever the production house. For Larry’s show “Only in America,” it’s Pilgrim Studios. They do the physical production, and all of that. Jenny is in constant contact with them from my office regarding scheduling, and being involved in where we are going. Jenny goes to cities. She picks her spots to see the filming, and see Larry because that’s a grueling show to do.

The fact that you get paid for thinking up innovative projects for your clients isn’t a bad way to make a living.

No. There’s a lot worst ways to make a living. I’m very fortunate. There are a lot of people a lot smarter than me. You have to have luck fall into your lap. Sometimes you have to be standing at the right spot at the right time. I’m been very fortunate to have what I have. I have also been very fortunate to work with the people that I get to work with. It makes a difference. I guess. I have never taken the time to sit down and look at it from that perspective of, “Wow, I’m really proud of my career.” I think, maybe, that is something that you do when you decide to slow down, and look back. Then you go, “Wow. I can’t believe this and this and this.” You are still working day-to-day on all these different projects.

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.”

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Industry Profile Archives:
Mick The DJ, DJ/Enterpeneur 04/30/15
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, thebookingagency.com 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, Foxman.com 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, Turntable.fm 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
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, ItsAboutMusic.com 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
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, Twincloud.com 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, CultureCatch.com 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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