Industry Profile: Donald S. Passman

— By Larry LeBlanc (CelebrityAccess)

This week In the Hot Seat with Larry LeBlanc: Donald S. Passman, lawyer/author.

Now in its ninth edition, Donald S. Passman's remarkably easy-to-read primer, ďAll You Need To Know About The Music Business,Ē continues being an essential asset for those in the music industry.

This new edition focuses on digital rights and how theyíre evolving, as well as the nature of streaming deals and how they are beginning to pay off. It also addresses the potential legal fight between the Department of Justice and performing rights organizations, which could change the way performance royalties are collected in the United States.

For the past 35 years, Passman has practiced law at Gang, Tyre, Ramer & Brown in Beverly Hills. During his career there, he has represented such major acts as Adele, Janet Jackson, Green Day, Pink, Stevie Wonder, Paul Simon, Tina Turner, Quincy Jones, Mariah Carey, Don Henley, Tom Waits, Bryan Adams, Bonnie Raitt, and Randy Newman.

As well Passman has also represented publishers, record companies, managers, producers, film companies, and other significant music industry players.

Passman grew up in Dallas, Texas until his family moved to North Hollywood when he was 12. He went on to be a Phi Beta Kappa graduate of the University of Texas, and a Cum Laude graduate of Harvard Law School.

After graduation, Passman worked for a tax firm which, when he was hired, had indicated it would be expanding into entertainment. After 18 months, when the firm had still not developed that business significantly, Passman decided to join Gang, Tyre, Ramer & Brown founded in 1931.

In the late Ď80s, Passman was teaching a course on the music industry at the University Southern California Law School's Advanced Professional Program. He felt that his class notes for that year would make a good outline for a book. As well, he figured that there was a need in the market for a book on how to make it in the music business.

The result was the first version of ďAll You Need To Know About The Music BusinessĒ which was a solid success. Passman revises the book every three years, and total sales to date are 500,000 copies. Passman revises the book every three years.

He has also written three books of fiction, ďThe Visionary,Ē "Mirage,Ē and most recently, ďThe Amazing Harvey.Ē

With your first version of the book in 1991, you set out to simplify complex music industry issues?

Yes. I know my audience. I am dealing with people who donít like to read. Musicians, in particular, are oriented toward their ears, and not their eyes. As it should be. So big print, and lots of pictures. One of the things that I canít take credit for other than itís a gift is that I have always in life been able to take something very complicated, and make it simple. It is just something that comes easy to me. I set out intentionally to write a very simple, easy-to-read, step-by-step guide on how to understand the (music) business. That was the goal because I thought that there was a need in the marketplace for people who donít like business to have something they could take in small doses and understand it.

There are now foreign versions of your book?

Yes. Thereís a Canadian version with (Canadian lawyer/manager) Chip Sutherland. Thereís a British version which Iím now updating with Chris Organ. That lags a good 6-9 months (behind the U.S. version). Thereís a German version done with a lawyer there. I have no idea if itís any good because I canít read German.

Is it as difficult today as ever for an emerging artist to break into the music industry?

Itís difficult for different reasons. Itís difficult because the potential pool of buyers has shrunk in the industry. So if you are dealing with the major record companies, there are only three, and obviously with some sub-labels. The good news is that there are more independents. Itís probably easier to get a break than in the past because it (the industry) has shifted. It used to be that there were six majors, and very few independents because they had been gobbled up by the majors. Itís also difficult because the industry is not doing really well. I think that we have stabilized which is good news. But deals are harder to make. You have a more corporate culture in the industry than ever before. So expect that if you are doing a substantial deal, that it has to go up to corporate executives for approval.

Iím a believer in that there arenít any good old days. That there are difficulties at any time, and there are great positive things at all times. So yeah things are worse now in a lot of ways, but there are opportunities that didnít exist before.

Are young artists and managers smarter about legal matters today? This is the 9th issue of your book. When you started there was no internet nor books available for researching the music industry. Today, thereís no excuse for not knowing the basic of how the music industry works. Are young artists and managers smarter with all of the resources available?

The answer is yes to both of those questions. There is far more information available to artists than there ever was in the past, and artists are smarter about their business.

Do artists take advantage of the information that is available?

A lot of them are, and a lot of them arenít. That I think has been true since day one. The smart artists who care about their business knew enough to know they didnít know it, and they hired somebody who did. The artists that donít care about business, or are intimated by it, and donít like it, if they are smart they will hire somebody to deal with it for them. Or they will just sort of meander along, and get battered as the winds of fate take them.

Iíve always felt it important for an artist to work with the same lawyer for a big bulk of their career. That is if they trust the lawyer, and they do good work. I bet there are artists that you have represented for decades.

Oh yeah, there absolutely are.

Any advice for anyone shopping for an entertainment lawyer other than reading your book.

My book does have a lot of criteria in there about what to look for (in hiring a team including a lawyer). First of all check with the references and make sure that you are talking with someone who is competent. Then once you are sure of that, and you narrow the pool, just go with who you like. Go with who you feel comfortable talking to. Someone who explains things to you in a way that you can understand them, and that isnít going to just pat you on the head, and say, ďI know whatís best. Sign here, kid.Ē If you are interested in business, they will explain things to you. If you arenít interested, it doesnít matter. You want to go with someone that you feel good about, and someone that you feel youíd feel comfortable with if you have uncomfortable questions, or if you had a difficult situation. Someone you feel that youíd be comfortable with talking with in confidence, and they would give you solid advice.

Still a lawyer is not a psychiatrist.

It would be cheaper to hire a psychiatrist than most of us.

Would it be advantageous for an artist or manager to become more business savvy before hiring a lawyer in order to know what questions to ask, so they know if they are getting good advice or not?

It is. Yes, of course it is. But most artists are not going to be interested or willing to put their time or energy into that. They are artists because they are passionate about making music, and thatís where most of their time and energy is going. As it should. Most of them are either intimidated by business or have no interest in it or are bored by it, and really hate it. Itís like going to a dentist for some of them. So they are not going to take the time or energy to research and get themselves sophisticated. Itís just not who they are or what they are interested in doing. There are a few who care about business, but more of them donít. Then they need to make sure that they have people on their team that will take good care of them and will have their back because they do understand the business. A good team member, whether a lawyer or a manager or whatever, will understand creative peopleís needs too, and merge them together (with business). The favorite part of what I do is speaking both languages. I can talk to creative people, and I can talk to business people. Itís like translating from German to French. They really donít speak the same language. Thatís exactly what I enjoy about my job.

A complaint of music's legal ¨community is the lack of young talent. Is there a shortage of young lawyers coming into music?

I donít know if thereís a shortage. I do think that the music industry doesnít attract as many people as it did in the past. A lot of them now go to tech because thatís sexier. So I think that affects things. It also means that the people who are coming into it (the music industry) are much more passionate, and really love music. I think that thereís a pretty good crop of the next generation of lawyers that is coming through. I donít want to sound like an old guy on a park bench, but when I was doing it when I was younger, I got extensive training. We represented record companies in those days which doesnít happen much anymore. I was drafting a lot of contracts. I got a very intense training session, and learned the business from the nuts-and-bolts which doesnít happen as much anymore. I donít know how good the training is today, but I see young lawyers that I think are pretty talented. So i think that there is a good continuity in the crop that is coming along.

Would you agree that the music industry is in a significant transitional period?


Meanwhile, major and independent deals are so diverse, and many niche artists might be better off remaining unsigned. So thereís a lot of different deals, and approaches available.

Yes. Very much so. In a way itís good news as well because if we are getting back to where smaller independents can make money with less sales, we are going to be curating and developing a lot of music that wouldnít have had a chance in the world of everybody throwing major stuff up against the wall. So I think in that sense itís healthy for the business. But we are very much in a transition. Itís not at all clear what the record company of tomorrow looks like. But most likely itís an A&R curation, and a marketing and promotion machine because artists can get distribution on their own now. But if they want to have a worldwide major career, so far nobody has done it without a record label and with their expertise, their money, and their clout.

An artist may still need a label for some aspects of their career. In the old days the majorsí importance was centered on controlling distribution and bankrolling recording and touring. Thatís not true today. But they still provide marketing.

I think thatís right. And the promotion. Also all of them want to see something before they start (with an artist). All the majors do. They want to know that an artist has got a buzz going. They want to know that there is a following on social media and that the artist has already got interest in them so that they can grow it (a career) as opposed to starting at ground zero.

Years ago, labels sent A&R teams to clubs and concerts to discover new talent. Today, A&R is checking out YouTube, and the various social media sites.

Yes, thatís exactly right. The problem is that thereís so much stuff that itís so hard to find the diamond amongst all of the junk. Yes, I think thatís right though. They definitely have scouts watching whose trending and who is starting to get some traction. But the A&R guys also still go out and listen to live music as well

An artist may have 5 to 10 million hits on YouTube, but it doesnít mean they can sell tickets to their shows.

I think thatís right. I know exactly what you are talking about. You donít know. Also people who are now selling arenas, in a few years they could be playing clubs.

There are now companies like BMG representing both music publishing and recording rights as well as other ancillary rights. Not necessarily attaining ownership, but certainly seeking to be in a partnership with artists and songwriters. Thatís a new model for the music industry?

Yes it is. It doesnít work for everybody, but yes, the sort of label services model which Kobalt (Kobalt Music Group) is also doing where they will do a profit share and they will put up money for marketing and recording is a new model that is very interesting, and for the right artist is very profitable.

At their core, major record deals have changed little over the years. Itís interesting that with the rise of the internet and social media that labels seek to directly oversee artist web sites and social media. Is that new?

Itís been around for 5 or 7 years. Something like that. Their argument is that they want to control the messaging and imaging and so forth. If an artist has enough clout, they can take that away from them.

Even if a label doesnít successfully negotiate merchandising rights, they will insist on attaining the rights to merchandise at least one image of the artist.

Yes. And some times more. Certainly, at least, album cover artwork or, maybe, another image or two.

How about rights connected to wallpaper (the background on a mobile device or computer desktop)?

Sometimes. Technically, all of the deals cover it unless you exclude it in some fashion but, yeah, they want to be able to do it.

Traditionally, labels directly negotiated contracts with producers or their managers. Today, artists are more involved with those negotiations, and legal costs are the responsibility of the artist.

Thatís correct. Thatís been true for a long time. For awhile country was sort of holding onto the old model, but even they have gone toward the artist taking care of it.

The controlled composition clause on mechanicalsóhow much the company has to pay for each controlled composition--known as a 3/4 rateóhas been dropped by labels in many territories, but not in the U.S.

Oh yes. Thatís alive and very well, yes.

Not in Canada.

I bet that you have it for (releases) the U.S. In the U.S. we have a controlled comp clause for Canada.

For other international countries as well?

No in the other countries itís just the customary rates.

All label contracts give artists the right to check the books but, in truth thereís no transparency. Neither artist nor managers have a clue what labels are doing with money. Labels donít reveal their deals with Spotify or Apple. So is transparency going to be the next big issue for artists to fight for in contracts?

You know that it is. Itís a little better especially if you have some clout, but itís still difficult. And the record labels still take monies that they try not to share with the artists, although that has gotten a bit better. Most of them have now have been shamed into sharing them in some fashion or other. But thereís not a lot of transparency about exactly how they compute the sharing.

A generation of artists grew up with record club deals where the labels received enormous advances they didnít share, and artists got stuck with 10 LPs for a penny sales with no royalty. Today, itís become increasingly harder for labels to hide advances from services.

Yes I agree. But they are still managing. The artist doesnít have a contractual right to see the deal with Spotify or whatever it is that they have decided to do they do it. Most of the labels will now share what they call ďbreakageĒ meaning unrecouped advances, but it would be very difficult to find out if they (artists) are really getting everything they should be not knowing how they (the labels) computed it, and looking at all the figures, and try knowing exactly what they are supposed to get.

It will be interesting once Spotify has an IPO to see how much major labels would own of the company.

Yes. I have sort of heard ranges. Itís not gigantic.

Probably about 5% to 7%.

Something like that.

Monies that wonít go back directly to artists either.

Not even indirectly back to the artists. I donít think that any of them are intending on sharing that. They look at that as an investment because they paid for it.

Some managers are arguing that 50% of everything be paid to the artist, not 15% or 8% of streaming income. That all digital income should be split evenly. Also if you are an act that doesnít record anymore, and its back catalogue is valuable, it has earned the right to a greater share of income. Finally, the idea of record companies handing back copyrights to artists after a set period, rather than the traditional setup of ownership in perpetuity, is something for which artists like Billy Bragg support. Maybe, as well, label contracts should factor in success and failure.

Yes, I think thatís right. Itís just the idea of why give up an asset because 20 years from now it may be valuable. Look at (American folk musician) RodrŪguez and ďSearching for Sugar Man.Ē You never know when something is going to come up.

Or Murray Wilson selling off Sea of Tunes to Irving Almo for $700,000 in 1969, and the Beach Boysí song catalog being worth $40 million by the 1990s.

Or Queen and ďBohemianĒ RhapsodyĒ in ďWayneís WorldĒ (1992). Not that Queen wasnít doing well before that. But the idea is that some random event down the road could make that valuable. So nobody wants to give up an asset.

I donít understand recapturing of rights in the United States. Why all of the different years?

Itís a good question. We have a complete archaic system which started in 1909. Then it sort of got patch-worked forward and, finally in 1978, we moved to the concept that the rest of the world has which is life of the author plus but even since then it got amended and extended. So now we deal with termination rights for the extra 20 years that got added. So itís interesting.

Earlier this year the Copyright Office issued a 245-page report seeking to shake up music licensing. One suggestion is extending the public performance right and sound recording to radio. Thatís a right pretty well enshrined around the world, but not the United States.

Yes, itís in virtually every industrialized country except the States where we have extremely strong radio station lobbyists

Donít you think that thereís more pressure from labels today because they are losing revenue from physical and other sources. Or has their efforts stalled?

Who do you think has the more powerful lobby the record labels or the radio broadcasters that have stations in every city where the people elected to congress want to reach their constituents?

[In April, 2015 U.S. Congressman Jerrold Nadler and Marsha Blackburn introduced the Fair Play, Fair Pay Act of 2015 Ė which seeks to impose a performance right that would see artists and labels paid when their tracks are played on AM/FM radio.

Songwriters are currently paid when their tracks are broadcast on terrestrial radio, but performers are not Ė setting the U.S. apart from almost every country in the world. Still artists are paid when their tracks are played on personalized digital radio such as Pandora, and satellite radio such as SiriusXM.

The Fair Pay Act of 2015 seeks the establishment of a sound recording royalty for AM/FM radio, removing satellite radioís below-market-rate exemption, and treating pre-1972 recordings with the same as those made after February of 1972.]

Broadcasters can exert grassroots pressure locally as well as pressure through a lobbying group in Washington.

Exactly. Having said that it has surprisingly taken on a little movement, but for a reason that isnít obvious. That is it is becoming clear that the world is moving to digital and a lot, if not all of the performance money will end up digitally where there is a payment for the master recordings already built into our Copyright Act, the radio stations are saying, ďWell, wait a minute. If we get a little break on digital maybe we can give you something on the terrestrial broadcasts.

Meanwhile, Pandora, which currently operates under statutory rates in the U.S. that are set by the Copyright Royalty Board, wants to be regarded in terms of being a terrestrial radio station. They would like to be from the other end of the broadcasting spectrum.

(Laughing) They would. They certainly would.

Reactions to the recent Copyright Royalty Board decision determining non-interactive streaming music rates hint at action ahead by both sides. Critics believe the rates set by the CRB do not reflect a market price for music, and will further erode the value of music. What's your take on the decision?

Iím not versed enough in the proceedings to really comment, except to say that our entire system of dealing with music rights is very out of date, and that regulated markets generally do not reflect an armís length deal.

[The outcome of the Copyright Tribunal decision was a 20% increase of Pandoraís ad supported stream rate from $0.0014 per non-interactive stream to $0.0017.]

I know your books well, but I was struck in reading the new version how the topography of the music industry has changed so much from when you released the first book.

Absolutely. If you look at it from a publishing standpoint when I started out mechanicals were by far the biggest publishing income. Now itís performances. Thatís mostly because of cable TV and those kinds of broadcasters. As we move into streaming, interestingly, the mechanical portion of streaming, at least in the United States, is much bigger than is the performance side of it. So there are going to be all kinds of things moving around as we head into the future.

Music publishers in America suffer from a legal framework that has prevented the creation of a stand-alone buyer-seller marketplace with mechanical and performing rights. Per capita publishing revenues are significantly lower in America than in Europe, and publishing rights are significantly undervalued compared with recording rights. This became more evident as music fans moved online, where songs are monetized at lower rates.

As a result, several American-based music publishers are taking a much more head-on role in negotiating rights in contrast to traditional collective bargaining. Does direct negotiating by music publishers not weaken the collective bargaining process?

Yes, of course it does. That is one huge issue that is going on right now which is whether or not the Department of Justice is going to allow publishers to withdraw just their digital rights from the collective bargaining.

The problem with the collective bargaining in the U.S. with ASCAP and BMI is that they are under what is known as a ďconsent decree,Ē which means that in order not to be subject to being broken up because they are monopolies or too big under the United States anti-trust laws, basically that consent decree says that you cannot refuse to give a license to someone. That wasnít a big deal until recently because we were all within sort of a range. But what has happened in the digital age where there is no industry norm is that they could never agree on a right between the societies so they ended up going to a rate court which means a judge decides and that takes years. And the decisions have not, in the opinion of the music industry, been very favorable to the publishers. They have been more favorable to the other side, and they donít reflect the market rate. So thatís why thereís a push by the publishers to withdraw because if they withdraw their rights they can say, ďWe are shutting you down. You canít use our music unless you make a deal with us.Ē A very different bargaining power than the societies that say, ďYou can continue using our music while we argue about the rates.Ē

If American music publishers come to directly negotiate those rights, how does it affect the global market?

Itís a good question. Each territory is different but, in essence, the large societies that control mechanicals and performances like SACEM in France, and GEMA in Germany are making their deals with these streaming services. Those are more marketplace type deals.

The music industry is primarily set on the subscription streaming model but the public doesnít seem to want competing music services with separate fees.

I agree. The same way that you donít have three or four different cable companies, particularly if you are getting exactly the same thing in every place. So there will probably be one dominant player that comes through in that market. But, in the meantime, there are still competing services. You can get satellite or you can get a cable and, essentially, get the same thing. Some people have one and some people have the other. I think that there can be more than one in the marketplace. You are quite right. People wonít want to pay for more than one service.

The winner will be the service providing the most licensed and most exclusive music.

Well yes, I think thatís right. Basically, people donít care where it comes from as long as they can get what they what.

How does the battlefield look after Appleís three month giveaway and Spotifyís premium offer?

Spotify, of course, doesnít have a three month limit. You can stay on their free service as long as you like. I donít know if Apple have disclosed their numbers after the free trial period. I really donít know what the numbers are. I think itís a number of million of subscribers at $10 a month. Thatís a business. Maybe not to Apple but to the rest of the world. Spotify is building subscription users and, at this point, itís fairly substantial.

[Appleís CEO, Tim Cook announced in October that the companyís streaming service had amassed 6.5 million paid subscribers and 8.5 million listeners within the three-month free trial period. It was recently confirmed that Apple now has 10 million paying subscribers although there has been no confirmation of how many subscribers are active on the platform. Spotify has an estimated 75 million active users, but only 20 million of those pay a subscription for the service.]

Still the bulk of Spotify users are not paying, and while the ad-supported freemium model may be a gateway to premium paid subscriptions, it also drags down per-user revenues.

Thatís correct. But their free service is advertising supported, so they are paying something. The problem is that are about 3 to 1 free to paid which means that the dollar per subscriber you get on Spotify is substantially less than the dollar per subscribers that you get on Apple because Apple is not diluted by the much lower paying free service.

With live music becoming so important as a revenue stream for artists, I would think that they now have to really look at expense deductions by many promoters.

Oh, yeah. And you are quite right. For a touring artist, by far their biggest money is going to be coming out of touring.

A lot of money is being left on the table whether itís with fake invoices, radio ad rebates, or rebates from ticket vendors. Little of that income will go back to a touring artist.

Unless you are a really major artist and you are in there beating the hell out of them. You are right those things donít find their way into it.

Are these things Irv Azoff would pay attention to?

Oh yeah. Certainly. I guarantee you that the Eagles get every penny.

And even more.

And even more. Even something the promoter didnít know that they had, yeah.

In touring internationally there are withholding taxes that many artists donít consider until itís too late. They should consider that a touring cost upfront.

They absolutely have to do that. If they are a major enough artist, they will have a sophisticated tax accountant that understands the different territories and can minimize the withholdings.

International touring contacts are more complicated and the type of venues, and transportation as well as withholding taxes all have to be considered.

Yes. All of those things. I donít want to give away too many secrets to the Inland Revenue Service, letís just say that it needs to be structured carefully and it can be complex.

As a big successful artist with a pocketful of money, what do I do with my money?

You invest it very conservatively because it may have to last you the rest of your life.

Most artists donít consider that.

Most of them donít. The smart ones do. They have business managers that are pretty conservative. I have never wanted to take major risks with artists. I have had people come to me with all kinds of schemes, and all kinds of ways to save them money, and I never wanted to do it. I just think that itís the wrong thing to do for an artist whose career may be limited.

Do you represent music executives as well?

I do. I have done so in my entire career in one form or the other.

What activities does that include?

Negotiating with the label for their employment contract.

Are executive contracts with labels complicated? Do they cover deal points, and participation on successful recordings?

It depends. If you are dealing with the heads of the label then no. They are usually going to be on a company incentive plan. In fact, the labels donít want executives to have any participation in any artist (royalty) because they would be worried that they would favor those artists. So they deal with an overall plan to make the company successful. If you are dealing with A&R people, most of the companies have an A&R plan which means that they get money for the people that they bring in or the people that they A&R for. It is basically a royalty, but itís more complicated than that. So they do have an incentive for the people that they are working on.

A George Martin clause?

(Laughing) It could be. It could be. Itís really the Snuff Garrett clause. He was the first A&R (executive) to ever want to get a royalty because he was producing records. He went in and said, ďIf you want to keep me, I want a royalty.Ē I think he wanted a penny a record, and they went crazy.

Probably it was when he was at Liberty Records.

It was Liberty.

[In 1959, the late Snuff Garrett became a staff producer at Liberty Records in Hollywood at age 19, after having joined the label to work in the promotions department. Garrett produced a string of hits, and became the label's head of A&R until he left Liberty in 1966. Among his roster of artists at Liberty were Bobby Vee, Johnny Burnette, Gene McDaniels, Buddy Knox, Walter Brennan, Gary Lewis & the Playboys and Del Shannon. He later worked with Sonny & Cher, Brenda Lee, and guitarist Sonny Curtis.]

Plus Snuff was an artist himself working under the moniker ďThe 50 Guitars of Tommy Garrett.Ē He released 25 instrumental albums, six of which charted on Billboardís album chart.

You are right. You certainly know your history. He was a sweet guy and one of my early clients and he was a friend of my parents since he was 18 back in Texas. Iíve known him all of my life.

Producers in that era werenít generally paid for what work they did in-house.

Thatís right. Snuff went independent fairly early on when he was doing all of this producing and he started his own label and company (Snuff Garrett Records and Viva Records)...

Sometimes artists and songwriters receive advice they cast in stone about what to give up or not to give up. How many times have you heard, ďIíve been told not to give up my publishing?Ē To me, it depends on who is going to work it.

Quite a bit I hear that, and I tell people that sometimes. It depends as you say on the situation. Sometimes itís the right thing to do, and sometimes it not.

Most major music publishers have expanded and are now developing master recordings.

Thatís right and so have managers as well because the record companies have cut back so radically on their staffs that they no longer do the jobs that they used to. So either managers and/or publishers supplement them and can be a real plus to the equation.

Two decades ago, labels told an artist and their manager, ďHereís your marketing plan.Ē Today, managers may have their own marketing plans that can be developed in working with labels.

Yes. Good managers have done that for a long time, but these days itís more prevalent. In fact, a lot of the managers execute the plan. Not just saying, ďHereís the planĒ because they know that the label is not going to do it.

Well the with the major labelsí dominance at retail has been greatly diminished over the years with the rise of power by artists. Labels donít have the clout they once had.

That reminds me of a story. When Jim Fifield took over EMI (in 1988)óhe came out of the food business (as VP at General Mills, and then was president/CEO of CBS/Fox Video)óI asked, ďSo Jim whatís the biggest difference between the food business and the music business?Ē He thought for a minute and said, ďIn the music business the product has an opinion. If you want to change a ketchup bottle label, it doesnít argue with you.Ē

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.


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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
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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