Industry Profile: Russ Crupnick

— By Larry LeBlanc (CelebrityAccess)

This week In the Hot Seat with Larry LeBlanc: Russ Crupnick, managing partner, MusicWatch, Inc.

Russ Crupnick is hot-wired to the American music consumer like few others.

A veteran American marketing researcher and analyst, Crupnick excels in probing entertainment trends while providing expert guidance and industry analysis to a wide and impressive circle of clients.

MusicWatch helps clients to better understand the latest market trends, consumer purchasing and listening habits, including providing deep analysis of the role of music streaming services, broadcast and satellite radio, and music devices.

In essence, this Long Island-based company offers a one-stop overview of how and where Americans consume music. It examines trends in purchasing and the acquisition of music. In addition, the firm regularly scrutinizes leading social media trends including their role in the fan engagement of music and artists.

MusicWatch evolved from services previously offered by the global market research company NPD Group.Crupnick worked at NPD in several executive roles including as president of NPD Entertainment which he founded in 2000. He led the team that created NPDís MusicWatch research services which initially focused on the world of physical music marketing, and distribution.

In 2003 Crupnick became president of NPDís Digital Insights division which developed meter-based and custom consumer research centered on digital music and video.

In 2013, the Recording Industry Assn. of America honored Crupnickís service to the music industry by presenting him a platinum record award.

As NPD Group phased out its music-related marketing research last year, Crupnick hung out his own MusicWatch shingle.

How were you able to relaunch MusicWatch yourself?

MusicWatch was the first name of the NPD (entertainment) service started around 2000. When NPD closed that business, and I left a year ago, we just picked up the name that we had for 15 years. It is essentially the same music service that NPD was providing.

Did NPD seek to get out of the entertainment sector or did you want to strike out on your own?

They wanted to get out of it. NPD is a large company and, frankly, as the music industry started to shrink, they were looking for sectors that could offer more growth. Consumer electronics, sports, and things of that nature.

How many people are on staff at MusicWatch?

Iíd say that at the moment thereís 15 to 20 people working on the projects that we are doing. Everything from production and software development up to client services.

You donít have an office other than your home on Long Island?

Thatís correct. I set up an office at home. I was recently describing what we did to somebody, and they said, ďYou have sort of built a virtual company.Ē

You take music marketing research, and help clients--labels, trade associations, technology and streaming companies, and distributorsóbetter understand current market trends, consumer purchasing and listening habits?

We try to be reasonably agnostic, reflecting the consumer and not necessarily reflecting any (industry) side, if you will. As some of my counterparts would say, we need the music industry to figure out how to get consumers to spend more money so our clients can have more money to spend on research.

What are clients looking to you for?

One of the wonderful things that has happened in the 15 to 20 years that I have been involved with music has been the (music) industry embracing research. When I first started, it was amazing how difficult it was to get people to respect research.

This was from when you led the team that created NPDís MusicWatch research services in 2000 that first focused on physical music marketing, and distribution.

Yes at NPD. When I started in music circa 2000, it was still very much, ďYeah, yeah, yeah, we are going to go by our gut on this thing.Ē Now, if you come forward 15 years, the respect that the industry has, and their ability to use the information, has just grown exponentially. They are really trying to understand things like what are the various sets of consumers thinking? What is the super fan doing and thinking? What is the casual fan doing, and thinking? What are they buying? Where are they shopping? What are they listening to? What motivates them?

Thereís just hundreds of questions that we can ask.

The beautiful thing of what we doóothers do similar kinds of thingsóbut because we are surveying consumers all of the time, itís like having consumers at your dinner. If you could be an executive at one of these companies (with MusicWatchís research and industry analysis), itís like having consumers at your dinner table every night that you can talk to.

MusicWatch also offers artist profiling services so clients can better understand the awareness, likeability, demographics, and music engagement habits affiliated with a specific artist?

We do.

For labels or management?

At the moment for labels, but we have done it for management. NPD, even before my time there, in the late Ď70s started a service doing artist profiling for one of the majors labels. That is what evolved into all of the things that we do today. Back then, there were probably two ways that you could find about who your customers were. You could do what we did which was to survey them or you might put a postcard in the CD jacket, and hope that somebody would send it back and tell you why they bought Bruce Springsteenís ďBorn To Run.Ē

Whatís interesting now is thereís probably more of a need than ever to understand who the fan is for a particular artist. From my perspective, I think that you need survey data that hits a cross section of all the people which is what we try to do. That looks at the whole population. Youíve got other companies, Next Big Sound is a great example, who are doing social media work that gives you a good lens into the people who are engaging with that artist on social media. ItĎs not everybody, but itís an important cross-section. So my point is that I think that if you are a manager, if you are a label, if you are a brand anywhere, then you need to put together a portfolio of research that helps you understand who the fans because this gut thing isnít going to cut it anymore.

Research on an artist over several tours, and over several release cycles likely would reveal much about their audience.

Itís very interesting that if you look at artists over time their fan base changes. The fan base can change naturally and organically for several reasons, or the artist or label itself can make change. Taylor Swift is a good example of someone broadening their appeal. I remember an early project that we did with Warner Bros. on Enya, a new age artist. They did a re-positioning and, without giving you the result, it dramatically changed the look of her fan base. It was a successfully relaunch for her, and for Warners. I think that understanding how all of this changes by using our information, using other information, is crucial today. You mentioned tours. Live Nation can help with that information. Although I want you to come to me, I often say that I donít care what church you go to as long as you believe in God.

As long as a client is receptive to research, itís all good?

Iím a true believer in that. My hope is that someone will call us. But you have to be doing this (research) these days.

What do you like best about your job?

Wow! Thatís a really hard question. I always say that if Iím doing my job well Iím just sort of communicating what consumers are saying. Nothing makes me more crazy than sitting in a conversation hearing, ďI was talking to my cousin Jimmy, and my cousin Jimmy thinksÖ.Ē as we are all just sitting around in a conference room in New York or LA spit-balling ideas.

Why does that type of comment make you crazy?

Consumers are going to make or break this industry. Thatís the way it. The best part of my job is to be the voice of the consumer. Iím sure that I have a bias here or there but, hopefully, I am just channeling what they are saying and, hopefully, somebody is listening.

Unlike so many, you are absolutely optimistic about the future of the music industry.

I am. From a strictly consumer perspective, the number of ways that consumers are engaging with music is probably more than ever before. Folks are spending about on averageóthat includes casual listeners, and very heavy listenersóthey are spending about an average of one day each week listening to music. Iím not naive that there are clearly issues around monetization. Thereís also clearly more competition. With all of the new ways that we listen to music came other ways of entertainment distraction that can take away from the intensity of music.

According to your research, however, fewer than 4 out 10 people pay for music in America.

Itís an interesting stat. Iím sure that we are not the only ones who put out something like that being about 40%. But how do you define paying for music? When I started in music around 1998, Iíd go into a store, and Iíd buy a CD. I might buy a ticket, occasionally, and, even, a T-shirt. But how we do define paying for music today? The model that MusicWatch uses is, in truth, a little bit deceptive because if I am using an ad supported service then Iím paying for that. I am just paying with my time listening to ads. In a sense the same thing on broadcast radio. So the traditional way of measuring things in terms of, I buy CDs, I buy downloads, and, even today, I pay for a subscription to Spotify or whatever...

Okay, so where does the 4 out of 10 figure come from?

Well, thatís CDs, downloads, and subscriptions. If you take the three of them and average them out, 4 out of 10 people have one or more of those modes of payment.

Music file-sharing, streaming, and satellite and terrestrial radio makes it difficult to track where people hear music, and whether they are paying or not. As well, music consumers are a mixed bag.

The idea of understanding the consumer imparts the following. Thereís 10-20% of consumers who are super-duper uber fans right on the cutting, bleeding edge of everything. Discovery, engagement, whatever. Thereís probably 50% of people who are very happy to get in their car, listen to their AM/FM radio, and listen to their CDs. They think that the worldís best listening experience. Thatís a really big audience. They may not spend as much as the uber fan, but they are massive, and they used to buy a ton of CDs. Thatís the consumer that we need to understand. How do we move them to where we want to move them?

What trends are you seeing in the way consumer music habits are shifting? There seems to be a struggle between streaming, and ownership--whether itís a download or a physical product like a CD or vinyl recording.

Some of the trends that we see in terms of consumers reflect what everybody sees in the marketplace. We are seeing a declining number of consumers buying downloads. We are seeing a declining number buying CDs. Interestingly, and sort of contrary to some of what the pundits say, consumers still like the ownership model. I donít think the ownership model--in and of itself--is dead.

Was the American recording industry too hasty in killing the CD?

I always felt that the CD got a really bad rap, and that the industry tried to kill it. But, in hindsight, you had retailers who were basically saying, ďGive this product to me (cheaply) or I wonít stock it; and, by the way, Iím cutting 20% of my shelf space.Ē If you are a label or distribution executive did you want to be the guy in the conference room kind of supporting the CD, and being seen as a Luddite?

Still physical isnít going to fully go away in the next 3-5 years.

I would agree with you, but I think that the CD was killed off in the United States way before consumers were ready to walk away from it. We have to understand that there were some mitigating circumstances.

While many predicted that car CD players would be extinct in America by 2015 that hasnít happened. Instead, CD players seem to be only mildly endangered.

We did some work with a major car company and, because we have a 5 year product planning horizon, we were able to show them the amount of consumer affinity that still exists for the CD. So they changed some plans of how quickly they were going to remove them (CD players) from cars.

Ten years from now we are going to laugh at these things the way that we laugh at 8-track players. In hindsight, the CD probably could have lived a lot longer and, maybe, softened some of the (economic) blow. I think that the other thing that I always struggled with was Iím sure that we as an industry didnít make a good enough case to enough consumers about digital downloads. When youíve got your buyer base dropping by half between one format and another, something is wrong there. If we were going to look back in hindsight thatís one of things that also could have softened the transition a little bit.

Does that ownership model not depend on having suitable content as in the cases of artists like Adele and Taylor Swift?

It is critical. If you go back to 2010, and look at CD salesónow remember in 2010, there was streaming, piracy, and iTunes---but CD sales by teenagers were up by 20% at a time when everybody was saying that teenagers donít buy music. It hasnít changed in the last couple of years. What happened in 2010 that didnít happen in 2007 or 2008 was (album releases by) Lady Gaga, Taylor Swift, Justin Bieber, and Eminem. Releases that were right in the sweet spot of teenagers, and they spent money. We are seeing the same thing now with Taylor Swift. I will guarantee that when Adele comes out with her new album, you are going to see some older folks step up, and you will see an uptake of their purchases on iTunes and at Wal-Mart and Target.

Consumers apparently have not yet given up on paid music downloads, or physical music products.

The audience is saying that Iím enough of a fan that ownership still matters. Now if you ask are we going to have the same conversation in a decade? No. At one point streaming will become so dominant that faucet will turn off. But listen, until we donít have CD players in cars, until folks stop using iPods, or stop putting their digital collections on their iPhones or their Android phones, thereís still some runway out there (for ownership).

[The full turning off of the CD faucet will almost certainly come but the music format accounted for $1.9 billion, or 32% of U.S. music revenues in 2014, according to the Recording Industry Association of America (RIAA). Amazon continued to lead the pack of CD retailers with a 26% share of revenues last year followed closely by Wal-Mart, at 23%, and Best Buy at 15%. Independent music stores accounted for 5% of American CD sales in 2014.]

Streaming may surpass paid downloads as the largest revenue source for the music industry, but will it ever match the revenue streams that gushed in the past for the music industry? Will revenues ever rebound to that extent?

I made the same argument when I was doing the same type of work in home video with the transition from DVD to Blu-ray and onto streaming. Itís a very similar kind of pattern. Itís true with video games, and it may be true with books. What troubles me the most is this chasm that we went into when we had everybody buying CDs, and only a minority of people buying digital downloads. Thatís what really caused the revenue declines that we saw in the late 2000s. It was the failure to get everybody on the iTunes platform.

Now we are in a situation where the participation numbers on streaming are going back up again. They are very high. Almost 70% of the internet population in the U.S. is streaming at this this point. Now we have the question: How do you start monetizing that?

Those streaming numbers will continue to climb, but may only benefit, perhaps, 200 popular artists.

Yes, thatís probably another phone call. Iím not a huge believer in the long tail theory (devised by Chris Anderson in 2004 to show how the Internet contributed to the long tail theory of marketing). So yes participation is coming back up, but we are still struggling with the ďWhereís the money?Ē So what right down I have to be optimistic?

Artists across the board are not necessarily going to benefit by streaming.

You want to know something? Something that frustrates me in these conversations is that this (the music industry) wasnít a democracy in 1995 either.

Nor in 1970.

Right. I sometimes get frustrated. You are obviously much more educated on the topic, but if you talk to a newbie songwriter about this you would have the perception that anybody who had a Fender and an Ampeg (instrument) were making money in music, and Tim Westergren (co-founder of Pandora Radio) came along, and took their cup from them. Well, hold on a second. That wasnít the case historically.

Many of them would concede that visibility via streaming and availability on download platforms may give artists the ability to make money on other parts of their career.

Right, and you have a better chance as the 500th most popular artist on Spotify than you did in the Tower and Wal-Mart days because you wouldnít have gotten on the shelves.

Whatís most refreshing is that the music industry is now firmly focused today on developing an e-commerce system for the future.

But to be fair, if you are a major record company that (download and CD) shrinkage is hitting you across the board. But to drive my two points, I donít think the revolution has even started yet. We are going to look back at this and say, ďItís amazing that everybody is streaming in their car,Ē and The experience is going to be so good, and so involved, and the market will figure out the message to the consumer that we are going to have massive numbers of people paying for music.

Who are paying for control. Who are paying for that access. Who are paying for the quality of catalog that you have.

By the way it doesnít necessarily have to be Spotify or Apple. I think that broadcast radio is going to evolve. You can argue that Sirius is going to be part of the mix. Iím not picking sides today. Iím just taking a look at it from a macro standpoint and saying that with the technology (on hand), we are in the dial-up (access) days of streaming. Once it gets into the car and once many, many more people starting using this on their iPhones and, maybe, start to use Sonos systems or Bluetooth speakers, things of that sort, then you are going to see the value proposition for all of this elevate in a consumerís mind. Thatís a piece of my optimism.

Does any of your optimism derive from your recent collaborative project with Monmouth University? Despite the wide-held perception that college students might only be streaming music, the study showed that they are engaging with music in a variety of ways, and are more willing to pay for music streaming services than non-students.

I thought that was amazing.

[College students are more willing to pay for music streaming services than non-students according to a Monmouth University analysis of MusicWatchís Annual Music Study, which surveyed 5,000 Americans 13 and over, including over 700 college students. The study revealed that 77% found some feature that would motivate them to pay for a premium music streaming service compared to 46% of overall streaming users.]

Most everyone thinks of college students as being a homogeneous group, and they are not.

They are not. Not only that but I think that the way that they are still engaged with CDs and digital downloads, all of those things that if I had believed everything that (American music industry analyst and critic) Bob Lefsetz saidóand I respect him greatlyóthat nobody wants to own anything. Nobody wants to listen to CDs anymore. But here are college students saying, ďI have a really diverse portfolio of music engagement.Ē

From a payment standpoint what is encouragingÖ

Look I have a college student. She wants dad to pay for a lot of things. We all know that thereís research, and thereís reality. What I thought was a good sign is that there was something (discussed) in the payment model. Some students saying, ďI will, at least, consider the idea of paying. Iím not spitting on it. Iím not poo poohing it like a lot of people do. I will give it some consideration.Ē

It doesnít mean that they are going to pay tomorrow, but the fact that they will even consider it might mean that in 5 years, when they have a job and more money than time to spend file sharing or futzing around, at least youíve got an audience that would give it a thought.

However, about 8% of the Spotify users that had paid subscriptions returned to the free tiers because thereís not enough point of difference between free and premium.

Itís (the subscription model is) going to have to find its own level. Right now, if you look at people who are paying for subscriptions itís because they believe in a subscription entertainment model. They are more likely to have Netflix. They are more likely to subscribe to The New York Timesí digital edition. They are more likely to have a gaming subscription. They buy into what I call the subscription ethos. They see value in that.

Subscription is the best long-term model, if only because the consumer is already acclimated to it with cable television, and mobile phone billing.

Well, they also pay for Showtime. We know all of this is changing dramatically with bundles and so on. But there are a bunch of people out there, and the entertainment industry came to them with a business model a decade or so ago of subscription in video, games, books and music, and they say, ďI like it, and Iím going to do it.Ē They are doing it across all of these categories. Itís just a matter of how do we get the next wave to say, ďOkay, Iím not an early adopter. What are you going to say to me that is going to make sense to me?Ē Whether itís Spotify or Netflix or Showtime On Demand.

Tim Ingham at Music Business Worldwide recently noted that the rivalry between Spotify and Apple is starting to boil over. As he pointed out, this a battle on one level of two similar products simply trying to out-do each other. The rivalry between the two is obviously a win/win for both music fans, and the music industry.

If you ask who are winning the streaming wars, the obvious silly answer is the consumer. As a consumer itís like growing up in a town that only has vanilla and chocolate, and walking into Ben and Jerryís with its line-up of all of the different flavors.

Sure, but many music fans donít want to pay for their ice cream.

I do believe that there has to be a fair contract between the public and the industry in terms of saying, ďThis canít be the Wild Wild West. You canít get to eat whatever flavor that you want. You canít come in with little spoons, sample all 20 flavors, and walk out without buying anything.Ē

As I indicated with Spotify, people are doing exactly that.

Right. There are always going to be some customers like that. As we start to move people up the value chain, it (purchasing) will happen eventually.

With file sharing and streaming music so prevalent, itís difficult to figure out where people hear their music today.

Circling back to your earlier question, what makes me optimistic is that people get their music from a lot of places. If you look at the way the average person listen itís not as balkanized as everybody believes. The Spotify user is more likely to buy a CD or a download than the average person. That is also true for the Pandora user. They are not just streaming. They are also buying some downloads, and buying some CDs. (It will be) a different conversation three to five years from now. I think that (trend) is already starting to slow down. Itís the same way with how we listen to music. The average person is listening to AM/FM radio. They are listening to their CDs in the car. They are listening to digital files, and they are listening to streaming services. And they might end their day listening to Music Choice (with more than 45 uninterrupted music channels) on their cable service as they nod off. So even though we (as an industry) are obsessed with streaming, thereís this tremendous diversity in purchasing and a tremendous diversity in our listening habits.

Thatís still a long way to consumers reaching into their pockets to pay for a subscription service. You have to first impress them with accessibility, show that they can have quick use of what you are offering, and that they can get the music that they want.

What is missing is that we are so busy talking about celebrities, exclusives and so on and forth in terms of selling a subscription. If you try different forms of streaming, the paid subscription model offers the most control. In a sense, that is in a lot of times, and occasions that is a great experience. To just to be able to listen to the exact music or the exact album in the exact order that you would like. I think somehow that is a benefit that we are not really adequately communicating.

I will give you a great example.

I was on the (backyard) deck for most of the weekend. It was a beautiful weekend in New York. I put on Pandora, and I let Pandora romance me, and it was a wonderful experience. There are times, however, that I want to control it (listening). That is not unlike when I was in high school, and we could control what albums that we were going to listen to after school. Isnít that worth $9.99? When we talk about the payment, we are so hung up on things that donít matter to consumers that we are missing what the real benefit of what a paid subscription is.

One thing overemphasized is exclusive content. That if you donít subscribe, you arenít going to hear a certain artist. The public thinks, ďAlright, I didnít hear that artist. What else is out there?Ē And, thereís a lot.

I did a Webinar with the Music Business Association a few months ago, and the folks at BuzzAngle Music were kind enough to share some of their streaming data with me. More than 70% of what people are listening to on-demand services is catalog. Leaving aside the fact that the catalog might have holes in it, it sort of points out that if I can turn on a service and have great experienceóyeah, it might be missing this artist or that song-- but thereís so much wonderful music that I can get on that service, than thatís fine with me.

Most people donít care about the exclusives either.

No. What our research shows is that for most people exclusives aren't terribly influential as a motivator to subscribe. Netflix doesnít have every movie ever made out of Hollywood either. Exclusives have to be part of a larger consumer value proposition, but they won't work in isolation.

Did Tidal misfire by emphasizing exclusives, and the celebrity aspect of the service? It doesnít seem to have picked up much traction.

Well, they have not. The research shows that. I think it was a terribly misplaced launch. A tremendous miss. I started my career out of package goods where we were trying to sell people consumer packaged goods. Laundry detergent, potato chips, and ketchup. The lessons that I learned is that, yes, price is really important but you have to have a core consumer benefit. The consumer really has to be able to say, ďThatís a product that makes sense to me, and (itís) for me.Ē I think that is where Tidal completely missed the mark where (people are saying), ďYeah Jay Z is cool, and everyone loves Beyoncť, and Nicki Minaj has fans and everything, but you are asking me to spending $120 a year, and you are not explaining to me why except that a bunch of very talented, fortunate, and successful people are going to pay more money to artists,Ē which consumers donít really care about or understand anyway. They needed to find someone from Procter & Gamble to help them launch that product.

The music industry continually misfires due to a lack of vision.

Iím not sure that I would agree. Look change is hard. Back in the day, you had this whole retail infrastructure (for the sale of music)

Distribution was everything.

Yeah. The industry looked at a lot of digital options before iTunes but they werenít.....

The recording industry was the first media sector to feel the full impact of the Internet, and technology-empowered consumers. It missed years of opportunity to bulk sell music on the internet because of fears over the conversion of music to files. It tried to discourage consumers from copying music across the internet by suing alleged infringers; and trying to implement a secure digital watermarking scheme.

I know. I know. I did a lot of the tests on these products, and I told the record labels that this or that wasnít going to work. Iím sitting here in my office and Iím looking at the "Mamma Mia" soundtrack on slotMusic, and the slotRadio player from SanDisk. All things that we tested. I think that they were trying to be innovative, and were trying to think about the digital future. But if you are holding the golden goose, itís really hard to let go.

In 2004, iTunes awakened the music marketplace, but until then labels didnít want to go down the road where MTV had built an industry at their expense. Plus the mobile and internet communications communities and the music industry were colliding with one another.

I wasnít in the room, but I have talked to some of the people at Warners and at EMI who were involved with all of the discussions with Apple in the early days.

People like Ted Cohen who created and implemented EMI Musicís worldwide digital strategy, and led licensing negotiations with Apple/iTunes, Microsoft, RealNetworks, Rhapsody and others?

Ted was who I was thinking of as well as Paul Vidich at Warners. Iím sure that there were others. In fairness, I think we are in media, you have the Queen Mary. Itís hard to turn it around. The technology (issue) is really hard to predict, and estimate. You wonder if the movie studios would have even created something like Blu-ray if they had they known that streaming was going to be right around the corner. These (label) guys have tough jobs. Thinking about folks like Ted Cohen and Paul Vidich -- folks like that back in the day, you not only have to be a visionary and smart, but you also have to be right. Itís a hard, hard job.

[As EVP, Paul Vidich was responsible for Warner Musicís global business development and technology strategy, closing the first major record company agreement with Apple/iTunes in 2002.]

Even today with all of the industry talk going on about the fair compensation to artists and songwriters, the public doesnít have a clue of the issues, and donít care.

Thatís exactly what I was saying. Just about closing the loop when you talk about Tidal or if you talk about any service unless you convince people. I did an experiment recently. I was in a car for eight hours in one day. I was the driver. I was the passenger. I was alone. I was accompanied. It was the perfect test situation. I tested all of the services during those 8 hours. What hit me was how terrific the control was. I could pick what I wanted to. It sounded good. Why are we not communicating those things? Why are we communicating about things that consumers donít care about? You have to remember that a lot of consumers still thinks that that artists live the life (shown) on the MTV show ďCribs.Ē That you pick up a guitar, and you have a mansion in Beverly Hills. They donít understand at all the argument that are going on (about monetization) and I donít think that we should involve them in that.

You and I grew up browsing at record stores but with America not having much of a retail music sector anymore that doesnít happen anymore.

For years on a weekly basis, the same way that SoundScan tracks unit sales, we tracked how many CDs consumers would purchase at the cash register each time they shopped. It was 2.1 CDs. You are exactly right. I would walk in for the "Eminem Show" CD and while I was in the section I would see, maybe, another one of his albums, or another album that I liked, or something that I wanted to buy as a gift. On average, people were walking out with a little more than two albums on average every time that they went into a retail store. That was true probably until 2009. So it lasted for a long time.

Launched in in 2008, Record Store Day has gone on to become a major event in music retail. Certainly, it has had an impact on consumersí awareness of vinyl.

One of the participants in that is not too far from my home is Looney Tunes in West Babylon here on the island. You walk into Looney Tunes, and you think, ďThis is what retail needs to do.Ē Youíve got store management who can really relate to the consumers. You have customers who are engaged, and who are spending a lot of time in the store looking through racks. Youíve got music discovery going on. You have all of the right elements going on at retail. I canít tell you if they are making a profit or not, and paying their rent and paying their employees, but you look at it through that lens and you go, ďThis is what retail needs to do in order to be successful. In order to compete with online.Ē

Does Looney Tunes have a good selection of product?

Oh, itís wonderful. Over the past couple of days I got some emails about some live shows that they are doing. They do a real good job of communicating with the customer and making them aware of in store events and so on. I sort of go and look at that and I think, ďThatís a model for retail.Ē Iím not naive. I have a daughter who only buys from Amazon, and God bless, but I think as we start to think about Record Store Day and the consumer and so on, hereís one small example of retailer who, at least from my perspective, sort of does it right.

Has Record Store Day been a bit of a game changer in redeveloping that close relationship with music customers?

Absolutely. I think we have to be honest with ourselves though. Is vinyl going to turn around the fortunes of the music industry? No.

[Record Store Day has spawned off-shoots in Europe, Canada and Mexico. Since the breakout year in 2008, vinyl albums sales have increased 223% to 6.06 million units in 2014. Nielsen Music released its mid-year report on July 2, 2015), revealing the year's most successful artists, albums and singles. Vinyl sales have continued to grow in 2015, showing a 38.4% increase from 2014, with 5.6 million units moved year-to-date.]

Whatís intriguing is that 50% of the people who purchasing vinyl are under 25.

What I like about vinyl is that you have people under 25, and youíve also got people who are over 50 who are obviously buying different things. You still have people who are still buying jazz and classical, and you have people who continue to collect music from the Ď60s and you have young people. Someone told me that Taylor Swiftís album (ď1989Ē) is the #1 vinyl record being sold at the minute.

[Nielsen Musicís mid-year report, in fact, revealed that the album topping U.S. vinyl sales in 2015 to date is Taylor Swift's 1989Ē at 34,000 units.]

Where are you from?

Iím from Long Island. Iím one of the few people that has never gotten off the island. Iím in the Huntington area.

Where did you grow up?

I grew up on the south shore in Merrick.

What university did you attend?

I went to Alfred University and Hofstra University. I got my degree in marketing. It was a BBA in Marketing.

What did you do following university?

When I came out of school I was at NPD for about five years. Back then it was a company focused almost entirely on packaged goods. Fast moving consumer goods, and health and beauty aids is a great training ground for anyone who is going to go into consumer marketing.

What did you do after the five years?

I did a variety of things. I went into business with someone. I worked for a variety of research and then found my way back to NPD and not long after I got bitten by this music bug.

Were you a music fan as a child?

I was. I do remember sneaking down the basement stairs to watch The Ed Sullivan Show when the Beatles were on.

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

Larry is the recipient of the 2013 Walt Grealis Special Achievement Award, recognizing individuals who have made an impact on the Canadian music industry. He is a board member of the Mariposa Folk Festival in Orillia, Ontario.

To learn more about Larry LeBlanc and to see some nifty historical photos check out:


Industry Profile Archives:
Mick The DJ, DJ/Enterpeneur 04/30/15
Jeremy Lascelles & Robin Millar, Blue Raincoat Chrysalis Group 12/01/17
Joanne Abbot Green, CMJ Music Marathon and Film Festival 10/17/08
Lee Abrams, XM Satellite Radio 11/28/03
John Acquaviva, Fund Manager, DJ and Serial Entrepreneur 07/09/15
Jay Boy Adams, Roadhouse Transportation 05/04/07
Jamie Adler, Adler Entertainment Group 05/11/07
Gary Adler, National Association of Ticket Brokers 12/04/13
Rodney Afshari, Freeze Artist Management 03/01/02
JC Ahn, VU Entertainment 04/10/13
Steve Alaimo, Vision Records & Audio Vision Studios 05/26/06
Jaye Albright, Albright & O'Malley Consulting 07/19/10
Randy Alexander, Randex Communications 10/12/07
David Alexander, Sheer Publishing 07/21/16
Eva Alexiou-Reo, FATA Booking Agency 05/14/15
Marcie Allen, Mad Booking 12/14/00
Jeff Allen, Universal Attractions 08/16/02
Marcie Allen, MAC Presents 06/05/09
Marcie Allen Cardwell, MAC Presents 12/21/07
David Allgood, Bama Theatre 01/03/11
Patrick Allocco, AllGood Concerts 10/05/07
Michele Amar, French Embassy 05/26/16
Mike Amato, Rok Tours International 02/02/07
Jeff Apregan, Apregan Entertainment Group/Venue Coalition 09/30/15
Billy Atwell, AMP Studios 12/13/07
Bob Babisch, Milwaukee World Festivals Inc. 04/02/15
Tom Baggot, 05/02/03
Stephen Bailey, EPACC & Deleware Center For The Arts 02/06/04
Cary Baker, Conqueroo 05/11/11
Vince Bannon, Getty Images 07/05/11
Phil Barber, Barber & Associates 02/04/01
Camille Barbone, WineDark Records 12/09/05
Erin Barra, Musician/Producer/Educator 07/10/14
Ben Baruch, The Fox Theatre 09/27/08
Ben Baruch, By Larry LeBlanc (CelebrityAccess) 04/05/17
Paul Bassman, Ascend Insurance Brokerage 08/03/16
Adam Bauer, Fleming, Tamulevich & Associates 02/15/02
Ed Bazel, That's Entertainment International 10/05/01
Joachim Becker, ZOHO Music L.L.C. 01/12/07
Howard Becker, Comet Technologies 05/02/11
Mark Bego, Author 06/15/07
Jim Beloff, Flea Market Music 09/20/10
Richard Bengloff, The American Association of Independent Music (A2IM) 09/12/13
Seth Berg, South Bay Music 01/30/09
Aimee Berger, 2 Generations SPA Music Management 09/24/04
David Berger, Future Beat 10/29/14
Barry Bergman, Music Managers Forum 03/14/03
Steve Bernstein, Relix LLC 09/30/05
Mark Berry, Attack Media Group 04/07/07
Scott Billington, Rounder Records 01/17/12
Jeffrey Bischoff, Cinder Block 03/24/06
Sat Bisla, A&R Worldwide/ Musexpo 03/29/10
Nina Blackwood, Sirius Satellite Radio 07/14/06
Adam Block, Legacy Recordings 11/07/13
P.J. Bloom, Neophonic, Inc. 01/24/11
Rishon Blumberg, Brick Wall Management 06/27/03
Justin Bolognino, Learned Evolution, and The Meta Agency 04/25/13
Steve "Chopper" Borges, Total Pro and Borse Techos 03/03/06
Les Borsai, Mediocre Management 01/30/04
Shane Bourbonnais, Live Nation Canada 03/21/08
Jeff Bowen, Sears Centre Arena 03/13/08
Rick Bowen, Mystic Music Experience 07/11/08
John Boyle, Sanctuary Music Group 03/19/04
Jeff & Todd Brabec, Writers/Attorneys 01/03/12
Bill Bragin, Joe's Pub at the Public Theater 08/08/03
Joel Brandes, Avenue Management Group 11/02/08
Joe Brandmeier, Moving Pictures 03/15/02
Scooter Braun, SB Projects 12/13/10
Ron Brice, 3rd & Lindsley Bar & Grill 06/08/16
Billy Brill, Billy Alan Productions 11/11/05
Doug Brown, Talent Buyers Network 09/21/01
James Browne, Sweet Rhythm 11/01/02
Bob Brumley, Brumley Music Company 02/17/16
Tony Brummel, Victory Records 05/17/09
Charlie Brusco, TBA Entertainment Corporation 10/13/01
Del Bryant, BMI 05/18/07
Cortez Bryant, Bryant Management 12/06/10
Stephen Budd, Stephen Budd Management 07/13/17
Bruce Burch, University of Georgia Music Business Program 10/09/09
Deborah Burda, Kentucky Exposition Center 08/03/07
Patti Burgart, IEBA 06/07/02
Jordan Burger, The New Musiquarium 01/22/01
Ron Burman, Roadrunner Records 08/25/06
Suzanne Cadgene, Elmore 05/19/06
Karen Cadle, KGC Productions 03/12/04
Gary Calamar, KCRW 07/10/09
Charles Caldas, Merlin 07/05/10
Brian Camelio, ArtistShare 02/29/08
David Campbell, AEG Europe 08/02/10
Tom Cantone, Foxwoods Entertainment Group 10/20/00
Tom Cantone, Foxwoods Resort Casino 07/03/03
Tom Cantone, Mohegan Sun 08/30/09
Ashley Capps, A. C. Entertainment 05/21/04
Rio Caraeff, Vevo 07/12/11
Mike Carden, Eagle Rock Entertainment 08/16/11
Charles Carlini, Carlini Group 05/16/08
Mark Carpentieri, M.C. Records 05/27/05
Mark Carpentieri, M.C. Records 01/10/11
Troy Carter, Coalition Media Group 06/07/10
Daniel Catullo, Coming Home Studios 06/22/08
Raffi Cavoukian, Folk Singer/Children's Entertainer 05/11/16
Jeffrey Chabon, Chabon Entertainment Group 08/22/02
Mike Chadwick, Essential Music & Marketing 08/01/12
Rob Challice, Coda Music Agency 03/27/13
Tom Chauncey, Partisan Arts 01/11/02
Tom Chauncey, Partisan Arts 10/04/11
Lisa Cherniak, Artists Against Racism (AAR) 07/20/01
Bob Chiappardi, Concrete Marketing 06/13/03
Joel Chriss, Chriss & Co. 10/04/02
Michael Chugg, Michael Chugg Entertainment 09/14/01
Michael Chugg, Chugg Enterprises 10/02/09
Gary Churgin, Harry Fox Agency 09/13/10
Vinny Cinquemani, S.L. Feldman & Associates 12/13/12
Barry Coburn, Ten Ten Music Group 03/28/11
Matthew Cohen, Green Room Productions 10/19/01
Ted Cohen, TAG Strategic 01/10/13
Lisa Cohen, Associated Booking Corporation 02/10/06
Steve Cohen, Music + Art Management, Inc. 03/09/07
Dan Cohen, Music & Memory 01/12/17
Michael Cohl - Part 1, S2BN Entertainment 03/06/13
Michael Cohl - Part 2, S2BN Entertainment 03/13/13
Bryan Coleman, Union Entertainment Group 02/14/12
Mamie Coleman, Fox Broadcasting 07/05/12
Dennis Condon, Disneyland Resorts 07/13/01
Peter Conlon, Peter Conlon Presents 05/20/05
Tony Conway, Buddy Lee Attractions 10/06/00
Allen Cook, TOURtech 04/16/15
Tomas Cookman, Cookman International 09/05/03
Alex Cooley, Alex Cooley Presents 07/12/10
David Cooper, 10/31/03
Jay Cooper, Greenberg Traurig, LLP 05/23/11
Julie Coulter, Near North Insurance Groups 06/07/01
Amy Cox, Deep South Entertainment 02/09/07
Michael O. Crain, Crain Law Group, LLC 10/09/13
Charlie Cran, The Strawberry Music Festival 04/05/10
Jim Cressman, Invictus Entertainment Group 06/06/12
Russ Crupnick, MusicWatch, Inc. 07/23/15
Todd Culberhouse, Vision Management /Vision Records and Entertainment 09/05/08
Tony D'Amelio, Washington Speakers Bureau 04/21/06
Ruth Daniel, In Place of War 08/09/17
Ray Danniels, Standing Room Only Management, and the Anthem Entertainment Group 03/05/15
Ken Dashow, WAXQ-FM (l04.3 FM) - New York 09/08/06
Hal David, Lyricist 07/26/11
David Davidian, Independant Lighting Designer/Director 06/18/04
Anthony Davis, D&L Entertainment Services, Inc. 03/02/01
Chip Davis, American Gramaphone/Mannheim Steamroller 05/31/02
Mitch Davis, Tempest Entertainment 07/16/04
Jeff Dawson, Canadian Recording Services 06/08/08
Desiree Day, USO Celebrity Entertainment 08/10/01
Shauna de Cartier, Six Shooter Records/Six Shooter Management 10/23/13
Gene DeAnna, The Library of Congress 02/21/12
Vincent Degiorgio, Chapter 2 Productions 08/01/13
Tony DeLauro, DeLauro Management 12/23/04
Valerie Denn, Val Denn Agency 04/30/01
Val Denn, Val Denn Agency 03/06/14
Robert DePugh, Alligator Records 07/29/05
Tom Derr, Rock Ridge Music 10/29/04
Paul Dexter, Masterworks Lighting Design and Road Cases 12/10/04
Marty Diamond, Paradigm 01/22/10
Glenn Dicker, Redeye Distribution/Yep Roc Records 07/07/06
Barry Dickins, International Talent Booking Agency 06/06/13
Jim Digby, Event Safety Alliance 09/01/16
Mark Dinerstein, The Knitting Factory 11/17/06
Neill Dixon, Canadian Music Week 03/03/16
Thomas Dolby, Musician, academic, technologist, and author 11/09/16
Jasper Donat, Music Matters 2009/Branded 04/24/09
Jim Donio, National Association of Recording Merchandisers 04/22/11
Marc Dottore, M. Dottore Management 04/11/03
Tim Drake, The Roots Agency 12/12/08
Mike Dreese, Newbury Comics 11/23/11
Charles Driebe, Blind Ambition Management Ltd. 09/22/06
Jeremy Driesen, Ray Bloch Productions 09/07/01
Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of Denverís Division of Theatres and Arenas 08/23/10
Paolo díAlessandro, International Solutions 06/25/14
Ros Earls, 140dB Management 02/19/14
Art Edelstein, Festival Productions 12/01/02
Bruce Eisenberg, Audio Analysts 08/31/01
Martin Elbourne, The Glastonbury Festival 12/18/09
Michael Elder, Red Entertainment 03/17/06
Tod Elmore, Sixthman 11/24/06
Paul Emery, Clear Channel Entertainment 11/19/04
Arty Erk, Citrin Cooperman 04/27/16
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock íní Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gťlinas, Festival díťtť de Quťbec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Chris Gero, Yamaha Entertainment Group 10/26/16
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Steve Gietka, SMG Entertainment 03/19/14
Darren Gilmore, Watchdog Management 03/17/16
Daniel Glass, Glassnote Entertainment Group 10/16/14
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Neil Goldberg, Cirque Productions 04/16/14
Martin Goldschmidt, Cooking Vinyl Group 09/29/16
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Andrea Johnson, ICM Partners 11/02/17
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Justin Kalifowitz, Downtown Publishing 04/20/17
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Elliot Lefko, Goldenvoice 09/21/17
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Jennifer Lyon, MeanRed Productions 01/18/18
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
Andrť Mťnard, Festival International de Jazz de Montrťal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Mķsica e Cultura 05/04/17
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley OíConnor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Paul Reed, Association of Independent Festivals (AIF) 06/14/17
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Jack Ross, APA Canada 09/07/17
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Jonathan Shank, Red Light Management 12/13/17
Peter Shapiro, Ideal Entertainment 04/16/04
Peter Shapiro, Dayglo Ventures/Brooklyn Bowl 11/15/17
Seth Sheck, Access Pass & Design 01/03/03
Seth Sheck, ACCESS Event Solutions 06/22/16
Seth Shomes, The Agency Group 11/12/14
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Michael Simon, The Harry Fox Agency 08/14/13
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Peter Smidt, Eurosonic Noorderslag & manager Buma Cultuur 07/17/13
Garrison Snell, Gyrosity Projects 02/23/17
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
Nikki Solgot, Circle Talent Agency 02/18/15
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Deb Suckling, SUGARRUSH Music 07/27/17
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Mandar Thakur, Times Music 08/06/15
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
Adam Tobey, Concert Ideas 08/24/17
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Marsha Vlasic, Artist Group International 05/31/17
Mat Vlasic, Bravado 06/28/17
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Kirt Webster, Webster PR 02/03/16
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Adam White, Author 09/14/16
Lisa White, Pearl Street Warehouse 10/04/17
Adam Wilkes, AEG Live Asia 10/13/16
Fenton Williams, 04/04/08
Del Williams, Right Arm Entertainment 04/18/08
Bryan "Birdman" Williams, Cash Money Records 09/13/11
Paul Williams, ASCAP 10/19/11
J.P. Williams, Parallel Entertainment 10/03/12
Kurt Willms, Green Room Productions 09/20/03
Chris Wilson, Heartbeat Records 03/02/07
Tony Wilson, Factory Records/In The City 06/01/07
Tom Windish, The Windish Agency 07/26/10
John Wiseman, XL Touring Video 05/05/06
Thom Wolke, 02/08/02
Michael Wood, City Lights Entertainment 08/08/08
Keith Wortman, Blackbird Presents 03/22/17
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, 07/27/07
Jeremiah ďIceĒ Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
Kevin 'Chief' Zaruk, Chief Music Management 06/10/15
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Jason Zink, Emporium Presents 10/19/17
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06


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