Industry Profile: Don Neuen
By Larry LeBlanc (CelebrityAccess MediaWire)
This week In the Hot Seat with Larry LeBlanc: Don Neuen, Vice President, Entertainment Coach Division, Star Coaches, Inc.
Don Neuen knows mileage the way a baseball fan knows batting stats.
For anyone living anywhere in North America, he also knows the highways around their city or town better than they do.
And he knows where to get the cheapest gas.
Neuen is VP of Atlanta-based Star Coaches, which has provided luxury limo buses, party buses and band buses to the entertainment and corporate worlds since 1991.
This year, Star Coaches will oversee 500 tours in North America.
The company offers single and double slide out coaches, as well as specialty coaches including star-styled configurations. Its fleet of 50 luxury coaches includes Prevost H3-45, Prevost XLII, Prevost XL, MCI Renaissance, and MCI J4500 vehicles. In addition, it has several non slide Prevost H3-45 coaches with 15 bunkers.
Among its entertainment clients have been Sir Paul McCartney, Michael Jackson, Bon Jovi, Jermaine Dupri, Tim McGraw, North Mississippi AllStars, Semi Precious Weapons, Coheed and Cambria, Janelle MonŠe, Volbeat, Matt & Kim, NeedToBreathe, Gogol Bordello, 3OH!3, Cinderella, Insane Clown Posse, and DJs Laidback Luke, Wolfgang Gartner, Amon Tobin, Ritchie Hawtin, Benny Benassi, and Kid Koala.
Among Star Coachesí corporate clients have been BET, Coca-Cola, and ABC Sports as well as the campaigns of both President George W. Bush, and President Barack Obama.
Who is the owner of Star Coaches?
Star Coaches was founded, and is owned by Danny Hamilton. He started the company in 1991 in a gravel parking lot with one bus. I drove for Danny for a while. Then I leased buses from him for a while, and drove at the same time. I ended up going to him and saying, ďWhy donít we get out of the executive coach world?Ē Not get out but expand from it into rock and roll buses? The rest is history, 50 buses ago.
Danny Hamilton, ďThe hardest working man in the luxury coach industry?Ē
He is in my opinion the most hands-on owner that Iíve ever known. Thatís not taking away from some of these great guys, like Trent (Trent Hemphill, president/CEO of Hemphill Brothers Coach), Mike Slarve (Four Seasons Coach Leasing), Patti Taylor (Taylor Tours), Jayboy (Jay Adams, Roadhouse Transportation), and Olan Witt (Coach Quarters Entertainment Transportation). Any of these other guys who own coach companies. I just know what I see.
When did you start working for Danny?
I started driving for him in the mid-90s. I had two boys that I wanted to spend a lot of time with, and I ended up coming off the road in 2000.
What size staff does Star Coaches operate with?
We have very little staff ó four mechanics, probably close to 70 drivers, and four people in the office. What we do is that we just roll up our sleeves, and we break our asses. We should probably double our staff to be honest with you. Thatís how much work that we are doing. And a lot of that is because we just donít turn down anything.
Are you available to clients 24/7?
Yeah. My wife just loves me, and puts up with that shit. Thatís what it is.
How often have you had calls from clients or drivers after midnight with an emergency?
I donít get them as much as Danny does. He gets worn out on his phone because we are running so many coaches. The calls that I have coming in the middle of the night are usually a last minute situation where somebody has broken down and they need me to find a bus for them. Dannyís the one who is dealing 24/7 with, ďI blew a radiator pipe or a hose. Iím in Shitstink, Wyoming, and I donít even see signs of life around me. What do I do?Ē
But thatís something (type of servicing) that we very much pride ourselves in. Itís primarily because when I used to drive, there were (bus) companies that I was not able to get in touch with anybody with until 8 o'clock in the morning. Itís something that we pay for dearly, especially with Danny. Heís the one getting the problem calls in the middle of the night. But we donít ever turn our cell phones off, and we always answer the calls. Itís like being a doctor on call your entire life.
You need a commercial vehicle license to operate in the United States?
First of all, the vehicle is classified as a commercial vehicle. So you do have to fall under a lot of regulations, and guidelines in regards to the Department of Transportation. The minute someone gets in the seat of a vehicle, and is paid to drive it, then it becomes a commercial vehicle. The person driving does need to have a commercial license. And they are issued by the state. For example, I live in Georgia. I have a commercial driversí license that says ďGeorgiaóCommercial Drivers License.Ē
I do know Senators Coaches in Alabama and Haljoe Coaches in Florida, as well as Nashville-based Diamond Coach, and Pioneer Coach. Is the entertainment coach world a big one?
Itís very finite. Thereís about 800 (luxury coaches) in North America. Weíve got 50.
Is there an industry association?
A couple of years ago, the owners started the Entertainer Motorcoach Council. The reason that we started that was to build unity. Iím not a big union guy, okay? Iím far too conservative to like unions. But our objective in putting together this association was first of all to fall under the auspices of the American Bus Association. Secondly, to lend credibility to its members, and place some stringent rules on ourselves as an industry. Thirdly, to have a collective voice with coach manufacturers in order to start twisting some arms to get a reduction of some rather unacceptable service when it comes to availability of parts.
Do you and your competitors share information of clients who donít pay or are destructive with vehicles?
On our website, I have a bad debt page (of) people that seem to think that we are the United States government, and they are welcome to entitlements. It doesnít work that way.
Word does get out in the community about client problems?
Yeah. Hereís the thing. Youíve got a handful of players in this industry. Weíre in Georgia, obviously. There are a couple of companies down in Florida. Thereís about 8 or 10 big companies in Nashville. Youíve got Roadhouse (Transportation) in Texas; Patti Taylor in Phoenix; and Coast to Coast in California. Thatís really it. That is sometimes problematic. If I get hit with a problem and Iím near Phoenix, I know that Patti is going to take care of me. If she goes down in Georgia (with a vehicle), she knows that she can count on me. But if you go down in Wyoming, nobodyís got a company up there.
What clients do you have going out in the next few months?
We have an enormous spectrum of clients. We do very little country because Nashville is inundated with coach companies. Financially, it doesnít make sense for them (Nashville-based artists), and thereís not a need to rob from Peter to give to Paul. We donít even go after it. We do a lot of rock and roll. We do a lot of rap. We do a lot of DJ work. We have a huge DJ clientele. And we do a lot of theatre.
This is something that has taken off for us. Iíve been working with a company out of New York for a decade now, AM Only. They have grown quite impressively. Weíve got a wonderful relationship with this company and we do a lot of these high-end DJs, including Laidback Luke, Wolfgang Gartner, Amon Tobin, Ritchie Hawtin, Benny Benassi, and Kid Koala. A lot of these DJs, man Iím telling you, are awesome. Weíre carrying Ritchie next month.
Is there a trend these days toward shorter tours for entertainers?
Yes. Iíll do probably 500 tours this year, which is a lot of tours. Then again, you are right, you donít see the eight-month tours like we did years ago. It is falling in 30, 35, 40-day tour blocks.
Why? With music sales down, touring is where the money often is.
I think that what they (artists, managers and agents) are doing is trying to eliminate any down days in those (touring) days. Instead of spreading out 30 performance dates over 45 days, now they are doing 26 dates over 30 days.
Decades ago, a band might have a week downtime during mid-tour in Houston or somewhere.
Yeah. We donít have it anymore. A lot of the bands coming over here from Europe; they come in, they hit, and they never have a day off. They run for 30 days. I think a lot of it is ďLetís go, and do a 30 day tour. Letís do a month tour.Ē
Thereís more personnel on tours these days so off days will be hard on budgets.
The big tours, thatís for sure. We just finished the J.Lo (Jennifer Lopez) and Enrique Iglesias (North American) tour, which was massive. We had 10 buses on that. I think that Nitetrain (Coach) had one or two buses. And there was some downtime. And there was downtime deadheading (returning) across the country; three or four days here and there; and three days (of downtime) up in Montreal.
With more than a 100 people standing by such downtime expenses for hotels, food and so on mount up.
Yeah. (With touring) youíre trying to maximize revenue versus expenses. Thatís the bottom line. I have said this countless times in both interviews and to my wife when Iím talking about the stability of our industry.
One thing about the rock and roll bus industry is that itís a recession proof business. You have to work harder, but they (artists) have got to tour. They are not able to walk to their mailboxes, and pick up the checks like some of our friends from the Ď70s and the Ď80s. They have got to tour. They have to sell merchandise.
What I am seeing an enormous amount of today is putting 10 pounds of shit (luggage) into five-pound bags in a trailer because they have to get their merchandise in; and they are carrying their own backline and other things.
Meanwhile, scheduling problems, and spiraling ticket costs have made flying to shows often prohibitive.
A lot of the flying stuff is so pathetic now. Thatís another reason why the busing is working. I just got a call from a client needing to go from Phoenix to L.A. Now who in their right mind would think that Phoenix to L.A. would be nothing but a South West air ticket of about $100. They were forced into busing it.
The primary costs in touring with coaches are fuel costs, driver fees, and coach fees. Driver and coach fees are fixed costs, but fuel isnít.
For the most part, you have three big expenses in running an entertainer coach. Coach, driver, fuel, you are right. Everything else in comparison is relatively small.
Coach fees are fixed. Youíve got two days of deadhead; 60 days of touring; three days of deadhead (returning) on the back. Itís not going to change unless they extend (the tour) or for some reason the tour falls apart on them.
The drivers feesÖcertain driverís fees are fixed. Normally, the deadhead days for the driver; the tour days for the driver; and the deadhead back for the driver are fixed. The variables are going to be either overdrives or overtime and their weekly services that include generator services; interior cleaning and linen changes; and exterior coach washes or possibly trailer washes.
Overdrive is for compensation of a driver driving over a certain number of miles in a given day. Something they may not want to do for safety reasons. Do you have a maximum mileage limit?
Yeah, and itís a good thing that it has happened. Iím a former driver. I can remember 15 or 18 years ago being put in positions where I had to drive ridiculous miles because I had to get from point A to point B. Back then, nobody paid much attention to it (mileage and hours driving). Nobody did, including the Department of Transportation. It was just kind of a rule of the road. You have to get from point A to point B.
In those days, drivers did whatever was needed.
In 1981, it was the reason that I got a CDL (commercial driver's license. Back then, it was a chauffeurs license. It was because I was a monitor engineer, and our driver got sick, and I had driven large vehicles before. So, I drove the bus. I figured, ďI better get a license so I can do this legally.Ē Quite honestly, I think that it should be a perquisite that the tour manager gets a CDL for that reason.
So they can take over if the driver falls ill or is fatigued?
Anything. Anything. In my opinion a tour manager who has a CDL license would be ten-fold more marketable than one that doesnít.
Would they be insured to drive your vehicles?
We can get them binded (to insurance agreements) almost instantly. There are situations that can happen. In í81, the situation that I ran into was that our driver had food poisoning. Violent food poisoning. At the time, it was a Marshall Tucker tour. But thereís all kinds of stuff that can happen, including a ridiculously routed tour that has a drive that is excessive. Let the tour manager cover the additional drive; especially if itís just running down the interstate driving straight.
Other situations include that there are (criminal) convictions, which Canada places a much greater emphasis on than the United States that would prohibit an individual getting into Canada. I found out one night at about 3 A.M. that I had a driver who had been going in and out of Canada for years, and he got stopped going into Montreal from upper state New York in the middle of the night because 21 or 23 years ago he was cited for taking a switchblade across (the border into) Windsor.
Anyone with a DUI conviction will have a problem entering Canada as well.
A DUI (conviction) too. Any type of child support issues. Bad checks. Both countries place emphasis very much on different things. A tour manager who has a CDL with a skeleton that got past our background checksóand we conduct very extensive background checksóand heís been going in and out of Canada for five or six years. All of a sudden this particular issue pops up, and heís denied entry. Well youíve got a tour manager whoís got a CDL, we can get him binded in the middle of the night.
Any other hurdles crossing the Canada/U.S. border?
I donít know what the Canadian Commercial Driver laws are but I know that there are laws, and they have primarily have been dealt to us through NAFTA, that I must abide by with regards to accepting clients touring in Canada. I had a client contact me recently for a Canadian tour. When I first saw that in the email, my first thought was, ďI canít do your tour for you.Ē
A United States-based coach company cannot accept a tour that picks up in Canada, tours in Canada, drops in Canada, without ever entering the United States.
Itís like city taxis not being allowed to pick passengers up at the local airport.
Exactly. The first time that I ever encountered the situation was four or five years ago with a Stars On Ice tour. They had two separate tours running. One was Canadian; and one was in the U.S. I got a call to handle the Canadian tour. I worked up the numbers and then realized I canít do this.
The flip side of this is (country singer) Michelle Wright is a Canadian citizen who lives in Nashville, Tennessee. We handled her (Canadian) Christmas tours for years. The reason that we could is that we picked her up in Nashville, and brought her back to Nashville. We could do that despite the fact that she never performed in the States. But letís say that she did a 30-day tour with 29 dates in Canada, and one in Fargo, North Dakota. That then becomes an international tour, and we can legally do it.
A widespread industry misconception about an overdrive is that itís about mileage.
Itís not. Itís about time. The entertainment coach drivers are primarily charging overdrives based on mileage when, in fact, the Department of Transportation mandates hours of operation which is 10 hours. Well, out west in Montana or Wyoming where you can run 70 mph, you can actually legally drive 700 miles (per day) if you can average 70 miles an hour the entire time that you are driving. Up in the northeast corridor (of the U.S.) you are lucky if you can get 500 miles.
A driver stuck in traffic outside of Toledo, Ohio for 40 miles has to make up time.
Exactly. But the bottom line is this; the drivers in the entertainment industry charge overdrives. The industry standard starts at 450 miles. Once they cross 450 miles they get another dayís pay. Now nobody is going to advocateóat least in my situationóIím going to split a long drive. If you have an 800 mile drive up, you are not pulling it unless you fly a co-driver in.
Do you use co-drivers often?
Yeah. I may send out 20 of them a year.
For longer tours or on tours with big distances to cover?
It doesnít matter. Itís longer drives. The co-driverís primary role is maintaining legal status with the Department of Transportation. Ultimately, quite frankly, what is even more important to me than legal status, is safety. Both of themÖitís all hand-in-hand. Bottom line is this. There are drives that you cannot make legally. So you have to do one of two things. You either have to stop and route; split the drive up and make it legal; or you have to fly in a co-driver and run it straight through and have two drivers. So therefore itís legal. Thatís the only way that you can do them.
Record-high gas and diesel prices are currently putting pressure on bottom lines in touring. In most cases, your clients pay for fuel on the road. You still have to work out fuel, drivers fees and coach fees in client proposals. A big problem?
Iím running my proposals at $4.35 a gallon. Thatís what I am running them. And yes, most of the time the clients are paying for the fuel out on the road primarily because they are able to price shop a little bit. They are able to buy in different states from time to time. For example, if a client is in Texas, and they are going through New Mexico into Arizona, my driversówho obviously know the best places to buy fuelóknow that New Mexico is running fuel at a higher rate than Arizona, then they are going to push it (the bus) through New Mexico and buy fuel in Arizona. When the client is paying for fuel out on the road they are paying with receipts and a lot of times they can get a cash discount as well; whereas, if I make it all-inclusive, in which we are paying for fuel, we are going to make sure that we donít lose money.
[U.S. retail gasoline prices, already at the highest levels on average since 2008, are expected to continue to climb as refinery and pipeline problems overshadow weakness in U.S. consumer demand. As well, there are pockets of the U.S. where the supply crunch is more pronounced. Fuel recently soared in California as supplies were low following a fire at a Chevron refinery, and power failure at an Exxon refinery in the state.]
Shows are usually booked months in advance. Any rise in fuel costs being paid by the client are their responsibility. If Star Coaches is paying agreed fuel costs along the way, does the company pick up the difference?
No, for a couple of reasons. First of all, in all of my proposals and in all of my contracts, I clearly state that fuel is an estimate. I also build a good enough relationship with clients where they know that I am not going to play games with them. I will be very candid. ďIf you want me paying for your fuel as a convenience, itís going to cost you because Iím going to make sure that we donít ever lose money; and Iím going to make sure that I can pay someone here to manage your fuel like a tour manager would; like a bean counter would be.Ē So Iím going to inflate it (fuel costs) a little bit if itís an all inclusive (deal).
The other thing is this. You can always go back and adjust numbers. When you play with your cards face up with a client, and you clearly state, ďHey look, there are plenty of fixed numbers in what Iím giving you, and they are not going to change but fuel is one of those things that is a huge variable. Within a matter of weeks we can go to a situation that I have either overestimated your fuel considerably or underestimated it.Ē Iím sure that I speak for all entertainment coach companies that most clients understand that fuel is a huge variable.
If a client is paying directly on the road for fuel, and costs rise for shows booked months in advance they are on the hook for that.
Yeah, I doubt very seriously that theyíve got any type of a clause in their contracts that say, ďWe are going to charge you more if fuel goes to five bucks a gallon.Ē It (the rise) is going to come out of some place and, ultimately, itís going to come from the client who is footing the bill for the bus.
Fuel prices tend to rise in the summer and come down in the last quarter though thatís not happening this year. Summer prices do spike when you have so many tours.
Absolutely. We are fortunate that we are running wide open pretty much year round. But you are absolutely correct. Whenever either a combination of government and speculators figure out, and oil companies figure out that they can charge more, then they are going to do it. As we all know, itís a combination of those three. For the life of me I have never been able to figure out what diesel fuel is running for. A better processed fuel? Itís all games.
What Iíve really tried to do when I am sending out proposals, and then going to contract, is make the adjustments that are needed in the first proposal that goes out, and in the last version of the contract that goes out. And also, itís something that is discussed. I talk with everybody that I do proposals for. About half of our clientele is repeat, and so they all know where I am coming from on this stuff. I do try to inflate their fuel. I inflate their estimate of fuel. I try to run it slightly higher than the national average. Not so that Star Coaches makes some weird little hidden profit. Itís so that at the end of the tour that, as long as thereís not a ridiculous jump in fuel, that the client goes, ďHey, Neuen shot me straight. I came home with $400 extra in my pocket.Ē
Also different buses have better mileage. The newer buses with emission doodads donít run as cheaply. You donít get the same mileage.
Well, you are right. Not to mention that itís a real headache for coach owners. This EPA (Environmental Protection Agency emission standards) is a real headache for us.
In what way?
Well, first of all some of the newer coaches have ReGen systems on them. The ReGen systems require you to basically burn off a lot of the carbon that builds up; but the process to do so is rather complicated; especially the first time that a driver gets into a bus that is a ReGen bus that heís never dealt with before. Secondly, it happens with no notice. Itís just time to do it. You pull over on the side of the road and you have to go to this ReGen system of burning out carbon. The older coaches actually have the more efficient and, quite frankly, less complicated engines in them. Everything that we use has Detroit engines with the exception of maybe one or two that are either running Cat or Cumminsí engines. But pretty much the industry standard in the rock and roll bus world is going to be Detroit Series 60s.
Is there a tendency to keep the older buses longer than you might have a decade ago?
Well, yeah and for a number of reasons. The economy. The economy affects Prevost, which is the industry standard, and with their XL Ii (engines) too. You basically have two players in the rock and roll bus world. Prevost and MCI (Motor Coach Industries). Prevost has the market cornered. I would say that probably out of the estimated 800 entertainer coaches in North America that 725 of them are Prevost. They really have the market cornered. The problem is that Prevost has really backed down on their production of shells. So coach owners are having trouble finding and purchasing 2013 shells. We just built a brand-new coach, and took delivery on it about two weeks ago. We found a 2007 or 2008 shell that had never been converted. It had 2,000 or 3,000 miles on it. Basically, it was run from eastern Canada to Washington or Oregon. It had been sitting there. And we found this shell, and purchased it, drove it to Nashville, had it built out. You can title it a 2012 (coach). There was nothing inside the cab. A shell is just that. It a plywood interior, steering wheel, seat and a dashboard.
A band will often buy a used bus. A hazard?
Well, the biggest hazard is the financial hazard. Years ago, the people that basically mentored me in this industry gave me two real sound pieces of advice. Number one was if this was easy; everybody would be doing it. Number two, if you buy coaches, donít buy one. Always buy them in pairs of two.
Because when one goes down, the other will make money for you while you are repairing.
A band buying a bus to travel wants to save some money. Rarely does that work. First of all, they canít afford to buy a $700,000 or $800,000 vehicle that is going to come with a warranty. It is going to cost them a ton of money (in repairs). The second thing is that a lot of times they will buy a bus not from somebody who is actually running the coach and maintaining it. Thereís nothing wrong with old buses. New buses break down just as easily as old buses. The big difference is that with the new buses, a lot of them are under warranty. Thatís really the only difference. The problem with some of these bands buying an old bus off of a lot or online is that they really have no idea what they are getting. They are definitely getting somebody elseís problem or they (the previous owners) would be running it and making money.
The same problems of maintenance and safety can arise with small-time operators running two or three buses.
Thatís true. The people that I mentioned earlier are very reputable, and they are esteemed colleagues of mine. They are going to take care of their equipment. But there are companies that donít, and there are owner/operators that canít afford to take care of them.
What percentage of the companyís business is with corporations?
Well, the corporate work that I do, especially with the sleeper coaches, or that I deal with, is primarily brand marketing. I do a lot of it. Iíve got two or three of them out right now. Iíve got a BET tour that is promoting T.J. Holmesí new show ("Don't Sleep... With T.J. Holmes") on BET which is kind of an entertainment political talk show. We are doing a (cross-country) tour called ďJourney of HopeĒ that is in support of preventing domestic violence that is being sponsored by Verizon.
Your buses have been used by George W. Bush and Barack Obama in presidential campaigns. Are you political?
Iím very political, but George W. Bush has green money and so does Barack, and Iím more than willing to re-distribute their money from them to me. But I am very Conservative. I talk politics a lot. Donít get me started on it.
Mitt Romney hasnít knocked on your door yet?
No. A lot of those political tours are handled out of Nashville.
You live outside Atlanta.
Iím 60 miles or so southwest of Atlanta. Iíve got a horse farm near Carrollton Georgia (mentioned in Margaret Mitchellís 1936 novel Gone with the Wind, and in the 1939 film of the same name). Iím closer to Alabama than anything else.
Were you a musician growing up in Atlanta?
I was a musician in the 7th or 8th grade. I am a true bass player. Iím a guitar player who couldnít find a spot in a band. So, I picked up the bass guitar, and learned how to play on the E string. Then I picked up the A string; and then went to the D, and the G. I went to the University of Tennessee in Knoxville (Tennessee) on a bass guitar scholarship. So, I was in the music world there.
I wanted to create my own degree but the dean didnít follow me. I put together an entire four-year curriculum. Georgia State (University) actually had the degree that I wanted, which was Music Business. Well, the University of Tennessee didnít see it my way. I ended up getting an offer from Mountain Sound out of Knoxville in late í81. I said (to myself), ďI have insurance companies offering me 13 grand to walk around in a suit and play that corporate game or I can go and make good money doing what I know and what I love, which is sound. So I hooked up with Mountain Sound.
We were primarily working with Marshall Tucker, and Charlie Daniels.
I ended up getting into artist management and producing shows. This and that. Country artists. It was when Nashville was basically throwing things against the wall and whatever stuck thatís what they would sign. Then I put together a bunch of tribute shows. Garth Brooks was one of them. We made a lot of money with a Garth Brooks tribute show. It was a recreation of a real 90-minute Garth show that was note-for-note.
When Paul McCartneyís management came knocking on your door in 2002, you must have been thrilled.
Well, there were two times that I had to come out of the leasing seat and go into the driving seat for a couple of reasons. One was for George W and one was for Paul McCartney. A lot of it had to do with the fact I had gone under FBI background checks.
For George W during his 2000 campaign?
Yeah for W. But Paulís security was equally as scrutinizing. The last time Paul came to Atlanta, we put one of our day coach drivers with him because I wanted to go to the show.
You didnít volunteer to drive Michael Jackson in 2004?
I did not drive that. It wasnít a tour. Thatís an unbelievable story. I got a call from Jacksonís people. This was during the time that he was in Washington, D.C. speaking before Congress about AIDS in Africa. They wanted a couple of buses to go up to the D.C. area. Everything was extremely secretive with the exception that we were told it would not be for a performance tour; it would be for a vacation for Michael and his family.
So we sent two drivers blindly to northern Virginia where (on route) they were told where to meet. It was basically out in no manís land out in northern Virginia. A black SUV showed up, Michael and his kids and all of the nannies and Nation of Islam security and everybody else got onto the buses. Prior to that security went through those buses with a major fine-tooth comb. This was right after Michaelís privacy had been breached on an airplane and (someone) had recorded all of his conversations. So they went through the buses with all kinds of electronic sensing equipment. They even tested the fluids that we had in the coach. It was high security.
Were any modifications made to the buses?
One of them was a Star Car for Michael; the other one was a normal sleeper coach.
Your drivers went blindly to pick Michael and his family up?
We couldnít tell them where they were headed. We told them who they would be carrying. We also told them that they could not refer to him as Michael Jackson or Michael. I believe the reference was simply ďthe client.Ē They knew before they left Atlanta who they were going to pick up. We didnít know an address for the pickup. They were contacted by security on the way there.
What happened after Michael and his family were picked up?
So we pick them up, and we moved them down to, I believe, Myrtle Beach. Positioned the buses in a parking lot so they could look out on the ocean. The drivers went into their (hotel) rooms, and stayed there a few days. They eventually went down to Orlando. They did it so well and so secretively that CNN was reporting that Michael was still in D.C. I never personally had to deal with Michael but my drivers could not say enough good things about him.
A reality TV show on Star Coaches is currently being pitched to networks. How did that develop?
Seven years ago, (director) Tom Bennett asked us about doing a reality show on the company. We said sure. So he came in, and shot for a couple of weeks, and got a bunch of footage. But (the project) went nowhere. About three or four years ago, he called up and said he had some people that wanted to meet with us. So we set up this meeting and about 15 minutes into the meeting Danny and I are looking at each other, ďWe donít want to do this.Ē It didnít have anything to do with what we do.
About six months ago, Tom called again, and said, ďIím going to come in, and Iím going to reshoot. I want to really aggressively pitch this.Ē So they came in and they shot a bunch of footage, which you saw (on YouTube). They are now in the process of pitching it to the networks. Nothing was staged. Everything was shot the way it was shot. But we didnít have any crisis taking place. And I didnít have any entertainers show up. The week before two or three bands showed up here. Coheed and Cambria showed up, Twisted showed up. They were hanging out and eating at the restaurant. They were playing in the office. That was the week before they showed up with the cameras.
Usually, of course, thereís a daily crisis at Star Coaches. What a life.
I love it, man. I love doing this.
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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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 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, 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
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, ItsAboutMusic.com 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, 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 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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