Industry Profile: Eva Alexiou-Reo
By Larry LeBlanc (CelebrityAccess)
This week In the Hot Seat with Larry LeBlanc: Eva Alexiou-Reo, president/founder, FATA Booking Agency.
Eva Alexiou-Reo lives to chat down the phone line with promoters sketching out ideas and parameters for her clients.
As president/founder of the FATA Booking Agency in Philadelphia, Pennsylvania. Alexiou-Reo race walks/talks through pitches of her eccentric, creative roster of over 25 acts including Skinny Lister, Hey Ocean!, Joel Plaskett, Schematic, Dear and the Headlights, Courage My Love, The Bunny The Bear, Beta Play, Captain Capa, and others
In 2012 Alexiou-Reo launched the affiliated management company, FBA Management, which handles Alvarez Kings, Imam Baildi, the Jazz June, BoyMeetsWorld, and Kevin Burke who FATA also books.
While FATA represent its artists primarily in the North America, the independent boutique agency also covers such territories as the United Kingdom, Asia, Australia and Europe.
Alexiou-Reo began her music industry career in 1996, booking local DIY house shows and working at college radio. During this time, she met Hot Water Music and began booking tour dates for the band.
With earnest and precise management skills, and support from leading live music executives championing her every move, Alexiou-Reo eventually branched off to starting the Fata Booking Agency.
Over nearly two decades, Alexiou-Reo has worked with the likes of Jimmy Eat World, Saves the Day, Flogging Molly, Hot Water Music, Elliott, Hidden In Plain View, the Blood Brothers, Rusted Root, Atari Teenage Riot, Pretty Girls Make Graves, and Mae, among others.
As well, this tireless music enthusiast works as an adjunct professor, teaching music business at Drexel University and The University of the Arts.
You began booking bands in 1996?
I did. I started as an 18-year-old in college. Actually, a little bit before I enrolled. I grew up in Wilkes-Barre, Pennsylvania, and they did a lot of local hardcore and punk shows. The New York hardcore scene would come through there being so close. I helped organize, and facilitate underground shows in VFW halls. Then I went to college at Rutgers University in New Brunswick (in New Jersey), I knew bands like Hot Water Music, and I worked for the college radio station meeting Kevin Lyman who was a manager still, as well as running (Vans) Warped tour. Then Hot Water Music started taking off, and they convinced me to book their tour.
Hot Water Music was from Gainesville, Florida.
Yes, Gainesville, Florida. Just like Jawbox, and Jawbreaker and many of those bands at the time, they used to book their own tours coming through, and Wilkes-Barre was one of their spots.
You were you a punker?
Kinda, yeah. I was more into Bikini Kill and bands like that. Yes, punk rock and not so much hardcore music. I liked a lot of New York Dolls, and Bikini Kill. When I got into this, a lot of the music I worked for was still unknown. Some of the bands I started with were Hot Water Music, Elliot, and Jimmy Eat World. But I can compliment my punk tastes from my stepfather who introduced me to most of that stuff.
Thatís very cool.
Yeah, he used to call when he would hear things like the Get Up Kids on college radio, and tell me how cool he thought the band was. He had a pretty interesting taste in music, and was always open-minded which helped me get into music.
What were you studying at Rutgers?
I did my undergrad in environmental science, and I did my masters in psychology. (Laughing) My parents are very proud.
Great preparation for the music business.
The psychology helps.
Did you get so involved in the music business that you figured, ďThis life is for me?Ē
Yeah, thatís exactly what happened, basically. When I was 20, I was working with Jimmy Eat World on their ďClarityĒ record (in 1999). I was dealing with Jorge Hinojosa at the time who was still dealing with Madonna with his wife. I was dealing with (LA-based product manager) Bob Hoch from Capitol Records. I was young, green, nervous and very driven to prove that I could do this.
Where were you working from?
I was still in school when I was doing this. So I was working from my college apartment. Then I graduated from school, and I had the opportunity to stay in the business or leave the business. I had a lot of support from people like Andy Somers (APA), Kevin Lyman (4Fini), Tim Borror (The Agency Group), and Don Muller (WME). People were always willing to assist and pay compliments of how good of a job they thought I was doing, and how I should continue. So after graduating in 2000, I decided to do just that. I stayed in the business, and I worked very hard through the years, and built the roster. I have stayed an independent boutique my entire career to date.
What year did you launch the FATA Booking Agency?
I started FATA in 1996. Funny enough I didnít have a name or anything at first, but Kevin Lyman said, ďThe first thing that you need to do is to get a name for your company, and get it going the right way.Ē I talked to him about things that I didnít know like stage plots, input lists, and contracts. Trying to figure out the right ways to do things versus the wrong way.
What groups did you open up with?
The first group was Hot Water Music. The second group was Elliot. Then there were some smaller acts. The next bigger act was Jimmy Eat World.
When you began booking Hot Water Music were you just booking the band on the East Coast?
I did all of North America for them. Six months into booking Hot Water they got a Warped tour. It kind of unraveled naturally.
I recently saw an announcement of Hot Water Musicís ď20th Anniversary Collection.Ē
I canít believe itís been 20 years, but those guys have worked so hard on every single thing that they ever did. They had so much interest in being involved and understanding the business of their band, and doing things in the best way possible that it makes sense to me why itís been 20 years of them doing things.
They split up for awhile in 2006.
They did. I probably stopped working for them prior to them going on hiatus. It was a dwindling down period. Iím not sure what ended up being the final decision for them to stop, but when they came back people were pretty excited. Of course, they went on to do other things. George (Rebelo) the drummer is now in the Bouncing Souls. So they are still playing.
You have a roster of 25 acts?
How much staff?
I have one junior agent, and one assistant.
You have some eye-catching acts like the Alvarez Kings from Sheffield, Imam Baildi from Greece, and the Jazz June from Kutztown, Pennsylvania.
We canít forget about the Jazz June from Pennsylvania. They are great.
They have been around since mid-90s.
They have. Itís funny because they got a lot of love from NPR recently. Itís exciting to see their name on NPR because they have worked so hard, and for so long. They were not one of the bigger bands that came out of the emo revival when they were more active. But they got a lot of attention when they came back (in 2014). Thatís great.
Itís been interesting watching the Alvarez Kings emerge from South Yorkshire to playing the Van Warped tours.
Yes, they did it first in 2013. That was their first experience in the U.S. besides CMJ (Music Marathon). Prior to that they did Canada with Hey Ocean!. That was really the beginning of building Alvarez Kings in North America. And we have so many pickups from that Warped tour despite visa problems with our singer getting locked up in Canada, getting deported, and then being put back in the country. That was a very funny headache.
Simon Thompson had a previous DUI conviction which didnít allow him into Canada at the time.
I told him not to go to Canada. It was for the one Warped tour date in Toronto. Not only did they (border officials) remove him from the bus, and he had to get his papers sorted out, but I had to get him back to the United States. I had Kevin (Lyman) calling me about dropping the ball. Iím saying, ďWhy did you go to Canada when I told you not to?Ē
Now Alvarez Kings are booked for the full Van Warped 2015 tour which kicks off next month.
I was able to get four clients of mine on the Warped Tour through 4Fini which is Kevin Lymanís company. CAA books the actual tour. Kevin and CAA work together to complete the manifest of bands performing on the Warped tour. We have four FATA bands, BoyMeetsWorld, Alvarez Kings, The Bunny The Bear, and Onward.
How did you come to represent Imam Baildi, an 8-piece band from Greece which has been around for about a decade.
They have been. They have a gold record (ďImam Baildi CookbookĒ in 2010) in Greece and they have toured a lot all over Europe, but they did not tour a lot in North America or the UK.
How did you hear about them?
Iím Greek. My cousin in Greece told me that I had to listen to this band. She always sends me stuff. Eventually, it became a little white noise because she was sending me bands all of the time that I just didnít like. But I listened to them, probably because of their name, and just fell in love with them. They are so much fun. It was kind of a passion project. I didnít know if I was going to fall on my face working on this or it was actually going to unravel into something wonderful. It ended up being the latter. Last year we had them on the Montreal Jazz Festival and in Quebec City, and Toronto for the jazz festival. We also had them in New Orleans. This year we have them on Bonnaroo. Not only are they on Bonnaroo but they are playing on the Bonnaroo Mixtape that is available at NoiseTrade.com
Imam Baildi sound like a lot of fun.
They are so much fun. They are definitely a band that if you donít typically dance you might end up dancing to them while watching them.
All bands these days want to play festivals.
Most bands figure that they are ready to play a festival every minute that they are a band.
Perhaps not at 5:30 P.M. playing on a side stage.
My general opinion about that is that bands do not break from festivals. If a band is not doing well or not buzzing, they are not going to break from a festival, but itís a nice resume booster for agents. If I have a band on Bonnaroo that doesnít mean anything yet; that is not known at allóI will give the example of Imam Baildi in the United States. They donít have a presence here yet. They are a great band. They just signed to a label. (End/Warner Bros.ADA for North America). Itís going to be something good, but itís not there yet. So this favor from Superfly (Presents) and Chris Sampson (GM of programming, Superfly Presents) really did a solid one for FATA and myself by putting them on there, putting them on the compilation. I get to use that now and say, ďHere is something very substantial that we are doing, pay attention please.Ē Then someone across the table from me might say, ďWell this band is on Bonnaroo, maybe Superfly knows something that we donít know.Ē
You are using the festival performance as a building brick. But so many bands being courted by agents will say, ďYou have to get us on festivals.Ē
Right. If itís in the courting stage, the person will say either yes or no.
Not many agents can deliver a festival to an unknown band.
No. Itís hard. Iím very fortunate when it comes to having smaller artists and bands on festivals. Having good relationships with people may help a younger smaller act get on something bigger at an earlier stage. It comes down to relationships that I have kept over the years including with Kevin Lyman, and Paul Tollett from Goldenvoice. They donít have to give me slots for these smaller bands, but they do. I feel very lucky. Do smaller bands need to be playing festivals without having the scaffolding and releases and so on? I would say that itís not necessary. They should be out there working, building their scaffolding, paving some cement ground to stand on, and then playing the festivals when itís time for them to really gain from it. Like that building block we talked about with Imam Baildi.
While festivals dominate summer bookings is the rest of your year split between booking colleges and clubs?
It is between clubs and colleges. I do a lot of college work with the middle college buyers, and with the college buyers directly. We donít have the capacity to have a college booking section like APA, William Morris or Windish does but we have our relationships with colleges that have grown over the past 17 years. It has evolved each year. So we are dealing with the people at the schools directly, and with the middle buyers which, of course, that are great.
With people like Harris Goldberg at Concert Ideas in Woodstock, New York?
Exactly. More Music Group is great too. Babco (Entertainment) is also great to use for college shows as well.
Whatever the challenges of college booking, major agencies seem to not spend their energies in that sector.
Thereís a niche market for colleges, and there are certain genres of bands that only work in colleges, and that will perform for NACA (National Assn. For Campus Activities), for example. They (a band) will have their entire career in a college. Then there are other acts that do the clubs, the festival circuit, and colleges. Iím not sure how the bigger companies structure things or whether there is a desire to not play the market. I know our challenge is that the studentsí college booking changes so often, and everyone needs to vote on the bands that they want to perform at their school.
You are talking about working with student-run campus activity boards?
Exactly. We have to deal with complications at times. Not so much through the middle buyers, but the activity boards when you go directly through the school. Where a student (booker) doesnít understand breaching a contract, and they will go through full negotiations, and their directors wonít know about it (terms). So we have dealt with some hiccups in the past but, ultimately, we try to lock in as many colleges as we can because it pays the bands nicely, and college students still go to shows if they can afford it. Not so much like high school students. The high school demographic, they have their parentsí money so they are going to go to as many shows as possible. Parents have more money than they have ever had to send their (high school age) kids to shows. College kids, if they can go to a show on campus for free, your band or your artist is getting exposure.
Still, itís very hard to break a band from the college circuit.
I agree with you.
As well, many colleges have restrictions.
Yeah. Thereís language (restrictions) or even, sometimes, on how an artist presents themselves as a performer. A lot of times certain artists will dress the part of their art. Letís put it in those terms. They might not be going to the supermarket with what they wear onstage, and there are some directors or activity boards that will flag that. Not so much as language because some songs have poor language, and lots of profanities, and a school will certainly flag that. I have had a school not go through with a show even though the offer was accepted, and the contracts were issued, after seeing the rider where there was a bottle of wine in the rider. A rider is like a wish list what a band would like. So they could have easily crossed it out. But they said, ďThis type of band is not welcome in our facility.Ē
Spring remains the major booking season for colleges?
Well, they are booking Fall right now. Spring is the end of year big fling type of thing. I would say thatís the bigger of the two seasons. Itís because they can do outdoor shows in the Spring. Thereís less of a gamble on the weather. So if they can have it as an outdoor pavilion artist event, they can bring vendors in, and so on. Itís more of a reason for it to be a Spring fling versus a Fall (event) where itís windy, and it may possibly rain.
Club bookings are based on band fees, their popularity, and how much alcohol or food the club might be able to sell. What are college bookings based on?
It depends on the event, of course, but I would say it goes back to what I was saying about the activity boards. It has to be one of those bands that everybody voted on. Everybody (on the board) has to like the band.
Have budgets for colleges remained stable against the various turns in the economy?
I havenít seen the guarantees go down with the economy being at the state that it was and is but, in general, all colleges vary. So you can have a college that says, ďWe have a budget of $2,000.Ē Then you might have one that says, ďWell, we have $200,000.Ē We have artists that are worth, maybe 100 tickets, get $2,500 guarantees because that is the collegeís budget, and they are willing to spend it.
For a band doing both college and club dates, you obviously try to string together dates as best as you can. That can be challenging.
It is challenging. We recently started representing a tour called the Epic Proportions Tour which hits high schools and colleges as well as a club date per city. It starts in August, and runs until mid-October, ending at CMJ. We had to wait for schools to link what dates they can do, which is tedious, but colleges take their time. Then we booked the clubs around that. Itís just a horrible process to try and route in, letís say middle Indiana, when the routing is on the East Coast at that time. So we try to get the colleges first. Sometimes they are not ready to pull the trigger, but we canít wait too long to hold proper clubs or we wonít have the right club held, maybe, in that bandís demographic.
As I said, club bookings are based on band pricing, their popularity, and how much alcohol or food the club might be able to sell.
Yes, thatís about right. I think that relationships, though, have been an aspect of hard times, and making sure that your client is getting taken care of by the right people, the right promoters. There are bands that run after the bottom line which is how much they get paid a night. I do understand why bands do that. I also understand why managers okay that. But sometimes that puts an agent in a predicament where a promoter is not necessarily someone that they have used or have a good history with or we canít even confirm what kind of history that promoter has, and they will offer a greater sum than someone who you have history with or with AEG or Live Nation. People that you really can depend and rely on, and you know that they are not going to breach your contract. They are reliable promoters.
How do you deal with such a predicament?
We have to go with the parameters that the manager gives us. So if a manager says, ďThis is the bottom line, and we canít take the deal (otherwise),Ē as an agent, our instructions come from management based on the parameters needed to make a tour work. Sometimes we okay situations which are not necessarily the right decisions, and then we have a (contract) breach we are dealing with or we have a lack of marketing or whatever the problem might be. The structure of a promoter hasnít changed in how everybody can gain, and can have the most successful show possible, but sometimes working with a promoter that we donít know changes the game.
With most North American markets, coupled with an uncertain economy, competition has become so fierce that many club owners have been forced to cut back band fees, and gate percentages. Have you seen that happening?
Yes. There is one other thing that has changed. Things like deposits are a little bit different with clubs. The standard used to be 50% upfront on a deposit for a confirmed show. Today, itís 10% which is an agentís commission, essentially. Promoters are not willing to take a huge unproven risk on the frontend. They will, maybe, work toward a better backend percentage; to hopefully be wrong (about their gut feeling about a date going sour), and the show does what the agent thinks itís going to do.
There are also situations like you mentioned earlier where bar sales are factored in. Some bands have exceptionally good bar sales, and that can offset a higher guarantee because club owners know that they will make it back on the bar if the show does poorly. Skinny Lister, a London band I deal with, are known for having a porcelain (beer) growler which they fill with rum. The singer Lorna (Thomas) will hand it out to the audience, to the people onstage and on the side stage. It is one fantastic rum-sharing experience, and sheís wearing an English peasant girlís dress. The people there (in the club) usually have a Guinness or some kind of beer in their hands, and they are also drinking shots of whisky or something else.
At an Electric Factory show in Philadelphia, one Yuengling (Traditional) lager is maybe $10. So if a patron goes to a show there they are paying for one $10 beer and one $7 shot. Thatís happening a few times during the night. If the show is 21 plus and if the promoter is taking a risk on the act for the first time, they may have that in mind. That the bar sales are something to factor in because each patron will probably drink at least one beer, and at least one shot.
Pink, Joan Jett, Stanley Clarke, Boyz II Men, the Roots, Jill Scott, Hall & Oates, and Dead Milkmen all hail from Philly which is recognized as a breeding ground of great musical talent.
Philadelphia is incredible. Itís a huge market, and itís a manageable city. Itís a great city. Right now they are doing something that is going to be epic when finished. They are tearing down anything that looks like an eyesore out and replacing the buildings. More business is coming here, and there are (artists) managers here. The times in my career that I talked about going and working at other companies, which has happened here and there, Iíve only talked about staying here if somebody would open a branch here. No. Itís such a music city.
How flexible are managers in dealing with promoters and club owners when an event is not selling the way it was hoped?
Some manager are not flexible because their client is not flexible, and they work with the parameters, and the demands given to them. Nobody want to get fired.
But itís tougher today for a lot of these clubs.
It is. The problem is that bands have a certain standard of traveling that they want to keep, whether it is a bus of whatever it might be. Or hotels. They have to make X amount of dollars to facilitate those luxuries. If they say, ďWe canít tour without these luxuries,Ē the manager has to try and accommodate that as much as they can whether itís doing a crowd funding thing like Pledge.com or whatever it may be or it has to come from the guarantees. If the guarantees are not flexible then the manager tells the agent and we have to try our best to make sense of it.
A luxury may just be a meal that a promoter or club owner doesnít want to provide.
Itís true. I donít believe in the idea that a promoter shouldnít feed a band. Iíve seen those commercials, three pizzas for $5. Címon.
There are promoters of every stripe out there.
Itís funny because promoters do fluctuate so differently. There are some promoters who have common sense. ďOkay, weíve confirmed the show. You are going to send me a contract. Iím going to send it back. We are going to read things over. We are going to agree on certain things. We are going to disagree on other things. We are going to come to a compromise term where everybody is happy with the agreement and we are going to move forward.Ē
Then there are people who will say things to you on the phone. Then you type it (the contract) up, and they say, ďI never said that.Ē Iím like ďOh, pul-eeze.Ē You sit there thinking, ďThis is my profession. To write notes, and to be accurate, put this (information) down, and send it to you to make sure you are as accurate as I am being.Ē And then you get that kind of response. Then you have to turn to your client, and say, ďThis isnít happening the way we were told that it was happening. So we are not going to confirm with this person regardless that they said they are going to pay us X, Y, and Z.Ē
Managers and promoters vary. You have great promoters, and you have not so great promoters. You have great managers who are understanding that if someone from AEG has just called you, and basically, they are losing their butt on your band when they have done everything right; that they have cross-referenced the marketing proposal properly; they paid to go into your Facebook, and be an admin, and do a Facebook boost to your demographic and fans; that they have worked the show locally, ďWill you entertain a slight (fee) reduction?Ē That reduction could be $500. Sometimes, it is just wise to do deductions so the relationship stays positive, depending on the promoter. Sometimes it canít happen, and that is also understandable. But managers sometimes look at the big picture and say, ďLook this promoter is going work with us at every show, and it has worked in the past. Letís give something back.Ē It depends on the manager, and the promoter I guess.
Are AEG Live and Live Nation easier to work with?
Yes. That doesnít take away from people I tend to want to stick with. If I could do all my shows with the companies like The Bowery Presents, 9:30 Club, AEG, Live Nation, The Knitting Factory, Goldenvoice, and the people at Webster Hall (in New York) like Heath Miller and Alex Rossiteróand Iím a big fan of the Electric Factory. They are really great. I can go---It makes my life knowing that everything is running smoothly, and Iím not going to have so many problems for our client to have a good experience. Itís not for me. I work in the music industry. I always assume that itís not going to be easy until itís done. The end point is when the band is out on the road, I do not have to deal with additional difficulties that should have been worked out in advance.
Do you still receive late night calls over settlements?
Once in awhile. Not a lot. We are very tedious with calling promoters up to a week of the show to make sure nothing has changed, and that we are on the same page. ďYou are sure nothing has changed, right?Ē We have interns looking on their websites, looking to see if thereís a lot of local support for the shows. Or if we get marketing plans, we will go over the plans. Yeah, we will follow up continuously until the show happens. If there is a late night call, itís because something happened that the tour manager couldnít handle. If something is happening, typically a tour manager will step in, and be able to facilitate the problem without it having come to me. But I have terrible sleepers for children, so if they call itís not a big deal. Iím awake anyway.
Booking overseas has its own set of challenges.
I booked my first full UK tour at the top of year for Hidden In Plain View which did their reunion and a tour celebrating (the 10th year anniversary of their) ďLife In DreamingĒ (album) which is a very popular Drive-Thru record. I booked their UK tour because their UK agent didnít want to do the tour. It was a very interesting model to work with. Quite different from here (in North America) in some aspects.
In what way?
The difference that I noticed was that one buyer would buy letís say 4 or 5 shows or the entire tour. Kind of like the way that Live Nation or AEG will buy a tour. (In the UK) they will give you a lump sum, and they will do one type of marketing plan. I like that but I found it interesting to deal with in trying to figure out how things are promoted in those different areas if one buyer is doing it. With Live Nation, they have offices in all of the cities they are buying for. So in this situation, it was the idea of how Live Nation does itóbuying a lump sum of datesóbut it was...
Then there's the different types of venues, and figuring out distances for driving.
There was that. Iím looking at a map saying, ďHow far is Glasgow?Ē There was a lot of that. I went to MapQuest. The rock bars in some places have after shows that are similar to dance clubs, but with rock music. I was talking to Hidden From Plain about this, ďWhen we were 22 we loved these places. We arenít going to do them.Ē This time they were finding all the snobby (craft) beer that they could drink.
Besides operating a booking agency and management company you also teach music industry courses.
Isnít that crazy? Iíve taught at Drexel University for 8 years, and at the University of the Arts as well for one full year now. (For both) I teach the music industry program that is popular in a lot of schools, and I teach touring and concert promotion that is an umbrella class that covers every job on and off the road for a touring artist. I teach the booking agency class which has a lab involved as well. The students get to deal with industry people, and book a tour as their final grade. They donít get to do a (final) contract though. And I teach a management course at University of the Arts.
You have argued that before any band goes with a booking agent they should book some tours themselves.
I still hold fast to that opinion. Nobody knows really how hard these jobs really are. Management has a difficult job in the sense that they canít show what they do upfront. Thereís a lot of grey, and a different aroma in the air because the bands have no idea what management is doing. The manager says, ďI talked to this person.Ē The band is like, ďWell, what did I get out it?Ē The answer is, ďYou didnít get anything out of it because I have to make more phone calls begging them to listen to you.Ē
Management thinks long term while band members often donít think past this coming Monday.
Exactly. Long term to them is not a year of scaffolding. When bands come onto the roster, and we have our first meeting, I tell them they need a year of scaffolding. Being a boutique I donít get the privilege of having bigger bands coming to me right away. We do a lot of artist development. Artist development is always at a younger (stage) working its way up. I always tell them that ďYou need a year. Do you have the money to put into a year of work? Do you have transportation to put in a year of work? Do you have the support internally? Do you like each other?Ē We have to have that conversation because itís nothing that they are going to understand, if you donít tell them. Like you said, itís a Monday (mentality), and they are thinking only about tomorrow. I think that DIY is people doing bookings, and seeing how hard it is.
For the booking lab half of the school course, I lecture; and the other half is practice. I think you canít do things right unless you practice it. A lot of the times the kids are really frustrated. They canít understand why people arenít calling them back. I am seeing all of these things that they need. They need t learn how to structure deals. They are required as assignment to build stage plots and input lists and do contracts and to do a routing, and keep gigs under 500 miles apart.
When your students didnít get their phone calls returned were they surprised?
Yes. I think itĎs very confusing for them that somebody wouldnít call them back. They are very shocked. I donít let anyone use email in my class. I tell them, ďIf you want to work in the music industry, you have to make an impact. You have to be a voice, and you have to be real. The music industry is annoying until the band starts doing well. Then people take their hat off to you and say you are persistent." So the word ďannoyingí needs to be forgotten. You need to call people until they are paying attention to you. You need to be heard.Ē
You have to be persistent.
If you believe in what you are doing you have to be willing to annoy people. You have to be persistent.
Today, making a telephone call is considered old school.
I know. With my students, and in my office, nobody is allowed to depend on email. Even myself.
When you were growing up as a quasi-punker, were you also listening to Ď80s hair bands as well?
(Laughing) Last week, I did a Pandora on Poison, and I was digging it for an hour. I was 9 or 10 when they were happening, and their music was on the radio.
Oh my God, of course. Ratt, Warrant and Winger we were talking about them the other day.
I love it. I was never allowed to perm my hair. I have very strict Greek parents. Immigrant Greek strict strict. When I said I wanted to perm my hair, and said that I wanted big (Utah) claw bangs, my mom was like, ďAnd I want a million dollars. Thatís not going to happen either.Ē
Were your parents strict?
My family is from Greece. I was born there (in Rhodos) and I have spent my entire life going back and forth from here to there in the summers. I still go back once a year. My mother is from a little island across from Rhodes, Symi, which has no cars. It is very little, and beautiful. My father is from a large island with small villages called Lemnos across from Turkey. My husband and I were married in Greece on Sept. 1st, 2007. We were married on a little island called Aegina which is part of the Saronic Gulf islands outside of Athens. We had a destination wedding that got a little out of hand. We had 100 Americans at our wedding. We had people drunk at 10 A.M., and driving scooters off cliffs.
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.
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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 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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