Industry Profile: Jim Lidestri

— By Larry LeBlanc (CelebrityAccess)

This week In the Hot Seat with Larry LeBlanc: Jim Lidestri, chairman/CEO, Border City Media.

Founder, chairman and CEO of Border City Media, Jim Lidestri is awhirl planning the smack down of Nielsen SoundScan, the largest source of sales records in the music industry.

Lidestri has yet to land the kick heard throughout the music industry with Border City Media‘s edgy music analytics service BuzzAngle Music, but it has certainly stepped into the ring to compete for clients seeking more extensive physical and digital sales, streaming and airplay tracking data.

BuzzAngle Music’s daily web-based charts arrived July 11th, 2015, the day following the first official Global Release Day in which new albums throughout the world were released, and will continue to be released on Fridays moving forward.

Distributors, labels, retailers, and streaming services in North America are currently beta testing the BuzzAngle Music service which will officially launch next month.

Rather than just providing weekly charts, BuzzAngle Music has a tool that produces charts according to the user's chosen selections. It gathers data on a song or an album’s sales, streaming history, airplay history, and social media metrics to provide a full snap-shot. BuzzAngle Music allows users to select music sales and streaming ranking criteria by city, genre, date, and more. Its week-to-date charts are updated each day to reflect the previous day’s sales, and streaming activity.

BuzzAngle Music receives daily North American data from major physical and digital retailers, over 225 independent record stores, direct-to-fan sites, venue sales agents, major digital on-demand streamers, and the leading radio airplay tracking services.

Lidestri began his path to BuzzAngle Music in 2011 when he was seeking ways to identify songs that were truly popular. This led to an interest in figuring out what their true sales figures might be. Lidestri then began making inquiries with potential clients and data providers about the viability of a new music analytics service. He then returned with a prototype, and he had enough interest and partnership possibilities to begin building the product in mid-2013.

Lidestri holds a bachelor’s degree in computer science from Rensselaer Polytechnic Institute in Troy, New York, and an MBA in general management from New York University.

After graduating, Lidestri joined Data General 1992, overseeing the firm’s systems engineering and sales support, and managing 5 offices in the New York metro area. In 1990, he moved to the telecommunications giant Sprint, where he served as a product manager, and then dir. of Northeast business operations. He moved to IBM in 1995 as group manager of collaborative services.

In 1996 Lidestri entered the startup world as president/CEO of the application service provider Interliant. In 2001, he founded Legends Inc., an internet sports memorabilia authentication service. After a stint as a management consultant from 2004 to 2007, he became CEO of AdSoft Direct.

Where is Border City Media located?

We are based in Westchester Country, just north of Manhattan.

How many people are on staff?

We’ve got a small team. We are just under 15 people. We will be closing a Series A financing probably right before we launch the (BuzzAngle Music) service. We are well funded, but we will be even better funded.

BuzzAngle Music is in the beta stage in the U.S. right now?

Yes we are in a beta stage.

When are you launching?

It will probably be in October. It probably won’t be before Oct 1st, but we want it to be before the end of October. So I would say in October some time.

The launch of BuzzAngle Music’s daily web-based charts came on July 11th, 2015, the day following the first official Global Release Day

We started our beta program a year ago, but once Global Release Day started on July 10th, then we started pushing the charts out. It was almost a soft launch. It was like, “Okay, the service has a few more bells-and-whistles that we want to put in, and there are a few more things that we want to do in terms of backfill (meaning to "fill" the space between last time data was downloaded to the present time data is downloaded), and with historical data but, ongoing on a weekly basis, we are solid so lets go ahead, and start pushing out our charts.” Then we built the charts.

BuzzAngle Music is currently in the beta stage in Canada as well?

We are. We are fully collecting data. We are almost finished with a full set of providers equal to what they (Nielsen SoundScan Canada) has and, maybe, a little bit better. When we launch here (in the U.S.), we are also launching in Canada. We pretty well have got all of the big guys in Canada to report, but we are still backfilling data a bit. We are trying to get at least 2015 backfilled so we at least have this current year in the system. We may not wait for that to finish. We are collecting data every day. Right now I am showing people (in Canada) things that they have never seen before. I’m showing Universal, Warners, and Sony their market share for streams. They can’t do that with SoundScan Canada. They don’t get that data. They can’t break it down that way.

[Subscription streaming is still a niche pursuit in Canada in comparison to the U.S. Streaming of music has remained underdeveloped in Canada due to the lack of streaming services. Spotify only arrived in Canada in Sept. 2014. Apple Music opened on June 30, 2015 in approximately 100 countries, including Canada. While Rdio is available, both Pandora and Deezer have exited the Canadian market. In 2014, in Canada’s music market, only an estimated 10% was streaming. Canada’s first full six months with Spotify available has proven to be transformational. According to Nielsen SoundScan Canada, total music streaming volume was up to 10.5 billion in the first half of 2015. That represents 67% growth on the last six months of 2014--the first period in which streaming numbers were recorded.]

Do you have plans to take BuzzAngle Music outside North America?

Yes, we are already receiving some test data, I will call it, from some of the providers. They are sending us European and South American data. Whereas in the U.S. and Canada, we can do a more direct approach--we can go right after SoundScan and collect the data natively from the reporters--most of the other countries have relationships. So it (our business) will have to be more partnership-based outside working, maybe, with some of the people who provide data globally.

Where did the initial funding for BuzzAngle Music come from?

I initially started it, and I funded it for the first year. January of 2013 was the official incorporation of the company. It was a couple months before I made my first presentations to some folks in the industry just to see if they would like it. It seemed like they are going to like this thing. So I filed it (incorporation papers) in Jan. 2013. I hired my CTO, Stavros Aloizos (a SaaS pioneer, and an expert in information technology and Web 2.0 solutions), in March and my lead architect, and the three of us went around and just started listening to people.

For about 5 months I didn’t write a stitch of code. Just did user interviews. We traveled around the country. We were talking to people about what they would like to see in a system. “What would you like to do that you can’t do (with Nielsen SoundScan)? What are the things that you have to call up for a special request?” We did that for 5 full months. I didn’t do a stitch of coding until June when we said, “Okay we are going to start building it.” Then in June (2013) we started building. So it was two years ago that we started. After about a year of development we went into a very limited beta (stage), and we have been expanding the data ever since, throughout the last year.

Since global music sales peaked in 1999, they have continued falling. Is enough of a business still there for BuzzAngle Music? Or do you plan to work outside music?

Well, what we have is just not going to be limited to music. Some of my friends (earlier) asked, “What are you going to do next?” Everybody is always interested in what my next thing is going to be. I told them “music” and sometimes I got these sideway looks like, “Really? Music? Isn’t that dying?” But I felt the opposite. I felt that music is everywhere. There’s not one form of entertainment more in your face. I used to tell people that I ride the subway when I’m in Manhattan, and everybody has earphones on. Plus, if you go to the beach, everywhere you go, people are listening to music. So the music business may be going through some tough times, but I don’t think that music has ever been more popular.

The data being utilized by BuzzAngle Music originates from where?

We are getting it all from the original source. We are getting it from the same source that Nielsen SoundScan is getting their data. We went right to the source. So we are getting it directly from Apple. We are getting it directly from each of the indie stores. We are getting it from the venues. We are getting it directly the same way. We had to go back out, and almost re-create what they (Nielsen SoundScan) had done originally. We went with our pitch, and we went around to everybody. We collect from the same places.

If the data being tabulated is virtually the same, what primarily differentiates BuzzAngle Music from Nielsen SoundScan?

We have an integrated system and there’s the timeliness (of reviewing data factor), and the ability to drill down. Nielsen SoundScan has these disparate systems. The Nielsen Christian SoundScan, Nielsen SoundScan International, and Nielsen SoundScan Canada. I thought that was crazy. So we built that all in. We have one system. If you want to find out what happened in the Christian retail market, you click a button, and you find out what happened. You don’t have to go to another system. You are in the same system, and now you can see it (data) combined if you like. You want to see what happened in Canada last week? Then you exit the U.S., and you click Canada, and now you are running a Canadian report. Just like that.

What you are essentially trying to do with BuzzAngle Music is evaluate music consumption quicker, and within different sectors?

Right. As I said music is everywhere now. In this day and age, I thought that if the music business is really going through—I don’t know if turnaround is the right word because just because it’s down it doesn’t mean it needs to turnaround--but if we are going to find the business models that work in the new environment we need better analytic tools. So I thought, “This is perfect for me. This is the perfect time because they will never figure out the right business model at SoundScan because they want to (only) analyze, “Is this working? Is that working?” So when you try to figure out how to use this information to make a better business, you need a better service. You need a better tool. You need better information. So I thought that it was perfect. I also felt that, yes, that this can easily be translated to movies, to books, to TV and beyond. We certainly are planning on doing that.

When did you first become convinced that there were gaps in Nielsen SoundScan’s business model? Was it as a consumer seeking more information on songs available from Amazon or iTunes?

It was actually more direct that that. I met the (then) president of Nielsen Entertainment, Eric Weinberg, at a wedding, and we started chatting. We chatted about potential opportunities in which we might partner together. I had an idea. I was coming off my most recent gig (as CEO) at AdSoft Direct. I went in there, and applied my skills to get it going again. We did that. Then I was looking for something else. Something larger to sink my teeth into. I bumped into a couple of people that worked at SoundScan. We tossed around some ideas to work together. I was going to build a consumer app. I thought that consumers could take the value of the data, and the quid pro quo would be that I would shore them up on the business side. The app certainly needed a lot of help.

So I tried to get a deal where we would help each other. I would bring some of my background, but we didn’t get it done. Then Eric left, and Howard Appelbaum came in (as president of Nielsen Entertainment), and he didn’t have the same vision to work with me that Eric did, and we parted ways. I said to myself, “I have all of these great ideas in my head of what I could have done for that product.” So I went ahead, and I did it.

Obviously, you did considerable research on Nielsen SoundScan’s methodology. Did you discover chinks in their armor? If so what were they?

On a technological side first and foremost, I was extremely surprised that the system was still a weekly system. Not only just a weekly system, but the week ended on a Sunday, and everybody had that data on Wednesday. You went around the industry, and everybody was like, “Don’t bother me on Wednesday.” It’s SoundScan Wednesday kind of thing. I was like, “Okay, it’s three days past and you are only now getting the data?”

Why not have 24/7 access in this day and age?

Yeah. Why isn’t it faster than that? How can people really make a business decision waiting potentially 8 days from the previous Monday or Tuesday when something (a recording) was launched to really see what was going on. So that to me was the first chink, if you will. Then there were other things, including the inability to really drill down into the numbers. There was not a lot of transparency there. You couldn’t roll up the numbers in a number of ways, and have them all matched throughout the system. It didn’t feel like it was a cohesive system. As well, airplay was in BDS (Nielsen Broadcast Data Systems). Streaming (data) was limited but was in BDS. And the sales (data) was in SoundScan. So I was like, “Okay you’ve got two different systems (for radio airplay and music sales).” Then, in addition, as I said, there’s SoundScan Canada, Christian SoundScan, and SoundScan International. So I really looked at it, and said, “On the surface, this is kind of a mess.”

You developed a filtering system that provides combinations for drilling deeper with the data being provided. With Nielsen SoundScan there seems to be an inability to really drill down, especially in regional markets, to get deep market consumption data.

You can’t drill down regionally with all of the different consumption types. I saw a lot of things that could be done relatively easily in terms of my background. I have not just a tech background in bringing markets, and bringing services to industry markets, but also in the UI (user interface) side of things. I have always been a student of user interface. So it’s just not can you build a product that can do those things, but can you do it in such a way that people can use the system. Can they use it and understand it, and would it make a lot of sense the way that you laid it out?

Like Nielsen SoundScan, BuzzAngle Music is working with partners and integrating data wherever possible. Many of these providers have been reluctant to share data over the years.

The data reporters if you will, the retailers, and the service providers of music, are key. If we don’t have the data, we don’t have the service. We had to make sure that our service would provide value to them because you are not going to give me data if there’s no value. I think that for the first time that these providers are seeing value, and they are offering the data. There’s the attitude, “I am going to give you the data, but I’m going to get something out of it.” Before I didn’t see any value at all for the people giving the data. I couldn’t see any value coming back to an Apple or to a Spotify. Another thing was that on the music label, distributor, artist and manager side, the people who are using SoundScan, I didn’t think were getting as much value as they could.

Today with all the new players in the music business there are so many parties now collecting data on music consumption, but unaware of how to fully use it.

I think that partners I don’t even know about today will come onboard wanting to share their data because they will get more value out of using the system in their own performance benchmarking, and things like that. We are clearly going to provide value there for them realizing the importance on the data side.

Any other chinks you discovered about Nielsen SoundScan?

There were numerous chinks on the technology side. Like I said, with timing, and the depth of the data. A lot of times things didn’t even add up to 100%. You would look at one part (of data), and that didn’t even add up to the number over here. So there were a number of things on the technological side. But there were things on the service side as well. They acted like a monopoly, right? The timeliness of getting back to the customers. Responses about things. The inability to price it (the service) at a point that was attractive. So there were a number of things.

Forget about the technology for a second. I felt that they had become kind of complacent. I thought that their position (to their clients) was, “Hey, we’re SoundScan, and you will deal with it (the service), the way we give it to you.”

An intriguing selling point of BuzzAngle Music is that users control the tracking periods, the region, the consumption type, and the genre being reviewed. You offer so much control to the user.

I refer to it a lot of times as a tool and, sometimes if I am talking with someone that is unfamiliar with IT technology—I will say, “I’m not building the house for you. I’m giving you the hammer, and the nails, and you can build the house.”

So the client creates the reports that they want.

We have easily accessible reports. Here’s the top albums last week. We do that for users, but I really try to let people know that we store the data in such a way that they can build it anyway they want. So if they want to know what were the top thousand vinyl deluxe version (albums) released in the last three months for a sub-set of the rock genre on Wednesday in Philadelphia, they can do that in 60 seconds. They can click, click and there’s their report.

And It’s just not one static general report.

It’s just not one report. It’s not, “Okay, we will give you the top 200 reports from last week.” Well, it’s stale by the time you get it. We don’t want to sell these static reports. We want to sell people access to the system so they can create the reports, and get the fresh data that they really want in order for them to make their decisions.

What led you to decide to provide deeper data across the board?

I had heard a lot of people talk about that if it wasn’t in (standard) SoundScan, and they had to make a customer request, they would have to pay $1,000 or $1,500, wait a week, and they’d get their request. That’s crazy. It just didn’t ring true to me. A large customer shouldn't have to wait a week and spend over $1,000 dollars to get a “custom” report that should have been in the primary platform.

Who can most make use of BuzzAngle Music?

The traditional buyers of this kind of service. Distributors, including the small distributors, and all sizes of labels. It will appeal to smaller labels more because we have more of an attractive price point. Some people who can’t afford to use SoundScan will find our service more attractively-priced, and they will get all of the benefits of a more timely service. But then there’s people on the touring side. The whole spectrum of tour promoters, venue operators, and bookers. People on the radio side. Anyone who is a radio programmer at a radio station or who is in radio promotions within one of the music companies will get a lot more value out of it because now they can get down to that market level, and see what’s happening in streams, sales and airplay all in one place. Now they can see how the levers are working for particular songs. For the first time they can see things like that. For the radio industry, those in the touring industry, and heads of sales and marketing, it is really appealing to those segments. We are already seeing a lot of traction in those segments.

What are the price points for the service?

We are using a typical SaaS, the software as a service model (a software licensing and delivery model in which software is licensed on a subscription basis and is centrally hosted). So we are going on per seat (per user) per month basis, and depending on the size of the organization, we will determine how many seats that they will need

What is the price range?

It ranges from $150 to $200 a month per seat. We can get it down as low as $2,000 a year. We are probably in the $1,800 to $2,400 range. We want to get it to be a cell phone-sized bill per month, where somebody would say, “It’s almost like having another cell phone. I need this.” We want to become the Bloomberg Business terminal, if you will, of the music industry where everybody will need access to BuzzAngle Music. So we need to price it attractively. Then it will be just the number of seats. If you are a small label and you just need one or two IDs, a minimum size label with 4 or 5. Then when you are the larger distributors you will be 100 of seats.

BuzzAngle Music would open an information door for secondary players in the music industry. Right now, if they want to attain SoundScan stats, they have to beg friends with access.

That’s right. We want to avoid that because it’s hard on both sides. I’m not looking at it as someone stealing my service, I am looking that not only does the person who wants it (the data) want it more timely than they are going to get it, and the other person who is giving it, that their time is not—I wouldn’t say wasted—but they have to take some time to get the information for somebody else, and that’s kind of a waste of productivity in the industry. So we’ve seen that, and we decided that we’d make it attractive enough so they will get much deeper data.

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 the industry’s awareness of BuzzAngle Music. You used Record Store Day in 2014, and this year to highlight BuzzAngle Music’s differences with Nielsen SoundScan.

Yes. It was an opportunity because it was a day. You want to find out what happened on that Saturday on Record Store Day? The SoundScan system is a weekly system, and they would report the week of Record Store Day. That Monday to Sunday week with that Saturday fell in with 80% showing more than the previous week. That’s not as precise as saying that Record Store Day did 2,000% more than the previous Record Store Day.

That goes to any individual event.

Record Day (2014) was the first time we were able to say, “You really should be looking at things on a daily basis because that’s how events happen.” We showed what happened with a Super Bowl performance around Super Bowl Sunday. What was the impact for Kate Perry and Bruno Mars (appearing on the Super Bowl Halftime Show) on Super Bowl Day itself? With their performance what happened when AC/DC played Coachella? Here’s what happened that day and the day before and the days after. Anybody who does a tour, and plays a city, that’s one day. That’s not a week. That’s a day. If someone appears on any one of the late night shows, it’s a day. You want to find out what happened on the day. If you run a Twitter/Facebook campaign, you run it on a day, and you want to see what happened. So yes, I am glad that you picked that up. It was the first time that we could say, “Hey, there’s value in the daily data.” A lot of value.

In the film and TV industries, overnight data is available. It’s mind-boggling in the music industry that it hasn’t been available.

Absolutely. Yeah, and it’s taken a long time. It’s taken a long time. Habits die hard. People were still saying, “I can show what happened when Taylor Swift’s album came out. Here’s what happened on the first day. The first day. Launch day. The debut day. Here’s what happened.”

It really was showing who had top sales for the first 7 days.

Who had the best debut day this year? I can do that kind of stuff every single day so I can normalize it now. The tracking weeks may change, but because I’m a daily system I can normalize the results.

We are awash with analytics in the music industry. Are we at a crossroads in how to utilize available data? The industry is being overwhelmed by more and more data every day.

It is, and that is a very good insight. I tell people all the time that we are really presenting with my new service just more data, and we are just scratching the surface of analytics. I would say that the SoundScan system is purely a charting system. All that it basically does is add up the numbers and say, “This is number one. This is number 60. This is number 200.” This is all it pretty well does. There’s almost no analytics. I’m scratching the surface of analytics to be able to get in, and dive a little deeper. If anything we are in the beginning. Using baseball analogy, we are just now battling batting averages. We are not even close to the more sophisticated stats that baseball is using. We are not there. We are at you could divide these two numbers and get a batting average.

[Prior to Nielsen SoundScan’s launch in the U.S. in 1991 and in Canada in 1997, when the company started using bar code technology to keep track of sales at the point-of-purchase, the music industry in North America had relied on sales ranking provided weekly by select retailers or certifications from the Recording Industry Association of America, and the Canadian Recording Industry Assn. which were not based on sales, but units shipped to stores.

Record companies only knew how many records had been manufactured and were shipped to retailers. Stores provided no exact sales figures, only a listing of top sellers, and often failed to include niche genres in the listings. Accurate sales figures were not readily available until retailers had shipped unsold product back to the label--sometimes months later.

These certifications were not automatic. The record companies paid a fee to the organizations who carried out audits into the release in question. Some labels, like Motown, routinely did not seek certification.

Certification numbers might overstate sales if stores ordered more albums than they were able to sell. Record labels also had to pay a certification fee; therefore, they may not always have applied for a certification each time a record reaches an accredited status, meaning certifications might not be visible in the databases for more than a short period of time after an album is released.]

Nielsen SoundScan has been a key element of the industry since its 1991 introduction, but the rise of streaming as the key means of distribution—and in increased complexity of measuring music consumption—makes profiling sales in the future more difficult. Until now the music industry has been content with knowing what is selling; knowing what is getting airplay reflected in traditional charts. Meanwhile, existing data isn’t always being accurately gauged.

That’s exactly right. We have data, but we don’t have a ton of information. You can use the old terms there. We are awash in data, and I am collecting more and more data than ever. More than ever that has been collected in the music industry in terms of deeper data. But we really need to keep in mind that we need to provide better information. And how do you provide the insight from the data? And that’s where we going. And I think that we are just at the beginning of that today. My service is just showing the beginning of it. I wouldn’t say that it’s even in the middle of it. We are just sort of scratching the surface in the beginning to say that now that we have stored this data in a way that has never been stored before, and processed in way that it has been stored before, now the fun begins. I have been talking to a bunch of label presidents over the past few weeks and that’s exactly what I tell them. I tell them, “This isn’t the end goal. We are at the starting line of that phase in analytics.”

The music industry was the first media sector to feel the full impact of the internet, and technology-empowered consumers. At the same time we have the remnants of a generation who have had to move from being sales and promotion executives into being technology and analytics savvy. Many executives knew little about the internet other than sending email, but they all now understand that data, analytics and technology are a key component of the industry. They have all hired personnel that understands those sectors, and can dialogue with you. You couldn’t have such a dialogue with some labels five years ago.

(Laughing). No. It’s a good point. You are totally correct. Even in the past two years that I have working with the industry, the dialogue has gotten better. They are hiring people with those skills or they are training people with those skills. The dialogue is much better these days. That’s better for us, right? The old saying that, “An educated consumer is the best customer.”

What I’m saying is that it takes a different skill set to deal with this newer aspect of the business. Your background with a B.A. in computer science and MBA in general business and working in systems engineering and sales support at different firms provides a different perspective. Many label executives have had to learn about the intricacies of technology-driven distribution and social media changes while on the job. It’s a lot to take in.

It is a lot to take in, and I have to temper my demonstrations with that thought because I realize that there is a lot to my system. There’s a lot of things that they can do but it can be overwhelming because, like you said, here’s all this data. That why I caution everybody that I think that we are now at the beginning of a great cycle now. We can distill some of it down. Who’s the most productive artist? What was the most productive album? Using different terms. It’s not just units that were sold, but can we divide things by seasonality, and by type of artist, and by genre? Just put a bunch of stats together under the covers, and then present something that is more digestible to an executive. Here’s the end result of this analysis, and we are at the beginning of that stage.

Traditionally, it’s all been about a sale is a sale. Today, a sale has to be considered alongside other factors.

Yes, and it’s daunting. I think the longer that it (the company) goes with different providers coming in, and (users) wanting to see different data sets, it’s coming more into our core competence. In the beginning people wanted what we do. They were very intrigued two and a half years ago, but they are even more intrigued today because they see these different changes that you are talking about, and different data points coming in. it’s even more overwhelming today, and they see that our abilities, even more with the change to Global Release Day. We didn’t think was going to be an event, but Nielsen has had a very tough time processing it.

You have jumped around different companies. Are you going to stay in the music business for any length of time?

Yes. I love entertainment. It could be the most exciting thing that I have ever done. That’s what really has got me juiced. I am in something that anybody can relate to. This is probably the first job that I’ve had where I can describe it to my parents and they understand. They totally don’t understand the data part, but they see what‘s going on, “You provide clients with the data so they can make business decisions.” That’s easy. When you doing other things like helping a supply chain, it’s like, “What?” It didn’t make sense.

If you were trying to explain to your parents that your job dealt with messaging, security, hosting, managing corporate data, and overseeing collaboration applications, you probably lost them.

That’s right. They didn’t understand anything other than my title.

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

I probably have never been more excited about a venture. This is truly exciting. Not only am I building something never seen before, but they (those in the music industry) also need it. At a time that they have never needed something ever like this before. So everything is coming together at the same time. Like, “Wow this is great!” Having said that old habits died hard. So I always temper my thoughts on the prospects of our future because Billboard uses SoundScan, and SoundScan has been around 25 years. And old habits die hard. We are probably going to see pretty soon whether these (SoundScan) guys or even Billboard will stick to the old world or will they realize what they need to do for the future.

Larry LeBlanc is widely recognized as one of the leading music industry journalists in the world. Before joining CelebrityAccess in 2008 as senior editor, he was the Canadian bureau chief of Billboard from 1991-2007 and Canadian editor of Record World from 1970-89. He was also a co-founder of the late Canadian music trade, The Record.

He has been quoted on music industry issues in hundreds of publications including Time, Forbes, and the London Times. He is co-author of the book “Music From Far And Wide.”

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:


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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 Denver’s Division of Theatres and Arenas 08/23/10
Paolo d’Alessandro, International Solutions 06/25/14
Ros Earls, 140dB Management 02/19/14
Art Edelstein, Festival Productions 12/01/02
Bruce Eisenberg, Audio Analysts 08/31/01
Martin Elbourne, The Glastonbury Festival 12/18/09
Michael Elder, Red Entertainment 03/17/06
Tod Elmore, Sixthman 11/24/06
Paul Emery, Clear Channel Entertainment 11/19/04
Arty Erk, Citrin Cooperman 04/27/16
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock ’n’ Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gélinas, Festival d’été de Québec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Chris Gero, Yamaha Entertainment Group 10/26/16
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Steve Gietka, SMG Entertainment 03/19/14
Darren Gilmore, Watchdog Management 03/17/16
Daniel Glass, Glassnote Entertainment Group 10/16/14
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Neil Goldberg, Cirque Productions 04/16/14
Martin Goldschmidt, Cooking Vinyl Group 09/29/16
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Andrea Johnson, ICM Partners 11/02/17
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Justin Kalifowitz, Downtown Publishing 04/20/17
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Elliot Lefko, Goldenvoice 09/21/17
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Música e Cultura 05/04/17
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Paul Reed, Association of Independent Festivals (AIF) 06/14/17
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Jack Ross, APA Canada 09/07/17
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, 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 “Ice” Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
Kevin 'Chief' Zaruk, Chief Music Management 06/10/15
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Jason Zink, Emporium Presents 10/19/17
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06


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