Industry Profile: Paul Bassman

— By Larry LeBlanc (CelebrityAccess)

This week In the Hot Seat with Larry LeBlanc: Paul Bassman, president/CEO, Ascend Insurance Brokerage.

Insurance companies have long been aware of the inherent dangers involved with music events throughout North America.

With the number of live music shows continually on the rise, insurers understandably seek to work with a broker who not only treats what they do as a core business, but understands the nuances of presenting live music, and working with touring musicians.

This is a role that fits Paul Bassman like a glove.

Last month, Bassman acquired Ascend Insurance Brokerage from its founder James Chippendale, who had opened the Dallas, Texas-based firm in 2001.

With 19 full-time employees, Ascend Insurance Brokerage is a leading figure in the world of entertainment insurance, and risk management services. It places coverage for hundreds of clients, offering entertainers, festival and event promoters, and production companies of all sizes comprehensive insurance and risk management options specific to their businesses.

Among Ascend’s clients are promoter/producer Dave Shapiro (LOCKN’ Festival, and Brooklyn Bowl); CID Entertainment; Bowery Presents; Riot Fest in Denver and Chicago; BottleRock Napa Valley; as well as such celebrated venues as the Metro in Chicago, Stubb’s Bar-B-Q in Austin, and The Bomb Factory in Dallas.

Former manager of Damageplan, Drowning Pool, and Flickerstick, Bassman had joined Ascend Insurance Brokerage (then known as CSI Insurance Group) after becoming disillusioned with the music business following the deaths of Drowning Pool’s charismatic frontman Dave Williams in 2002, followed by the shooting death of Damageplan's "Dimebag" Darrell Abbott in 2004.

You have worked as an entertainment insurance broker for close to a decade?

Eight years. It’s been full bore for eight years.

Are you surprised that few people know much about your business?

I didn’t know anything about my side of the business until I did it so it doesn’t surprise me at all.

You seek out insurance coverage for clients?

We are brokers. They come to us with an insurance need. We determine what company would be the best fit for what they do. Being specialists in what we do we pretty much have an immediate idea that this would go well with this company. “Oh, they have camping, and this company doesn’t like camping. So we will have to go to this company.” Or “this has hip hop, and this company has an exclusion for hip hop so we have to go to this company.” We know where to go with it (coverage).

How many shows would you cover in a year?

I think right now, as far as festivals go, we have over 40 multi-day festivals that we currently share. But overall we have well over 600 different clients that do a variety of different things. A lot of concert venues. Everything from the Merriweather Post Pavilion in Columbia, Maryland to the Metro in Chicago. We have the smaller clubs to the large outdoor amphitheaters.

Ascend has a significant footprint in secondary markets throughout the U.S.

One of my competitors called me “an ankle biter.” I’m not exactly sure what he meant but I took it as, “We are there. We are nipping at his heels taking all these small clients.” I’m like, “Absolutely, man.” I will take smaller clients every day of the week, and hope that they will become big clients.

At one time someone seeking insurance in a secondary market may have gone local. But this has become a specialized field of insurance has it not?

Yeah, and a lot of it (the expansion), honestly, is due to the people that we have out there. There’s myself and (VP) Cameron Smith who is our top producer. The sales guys are called producers in insurance. Cameron was a talent buyer and a booker for Live Nation in Indiana for a number of years. Then he was at the Bass Concert Hall in Austin. Then he taught music business classes at the University of Texas at Austin. We brought him on board 5 years ago, and he has just done a bang-up job. He’s brought in The Bowery Presents; all of the I.M.P. Productions stuff, the Seth Hurwitz world, including the 9:30 Club in Washington, D.C., the Merriweather Post Pavilion in Columbia Maryland; as well as the Brooklyn Bowl, and City Winery. So he’s done a really bang-up job. I think that similar to me is that the people in the business like working with somebody who understands their business. You can read a book about the music business, and you can think that you know about the music business, but it’s such a unique industry that I think that unless you have done it, you don’t really get it.

Do you do work outside of the United States?

We will handle North America. We have clients like CID Presents that does events in Mexico. I was in Canada for the Pemberton Music Festival (produced by Huka Entertainment near Mount Currie in Pemberton, British Columbia July 14-16th, 2016). What a beautiful place. They killed it this year. Absolutely, just crushed it.

Does your work involve much travel?

I find myself on planes quite a bit but not every day. About twice a month I am traveling.

Summer is the peak time for entertainment insurance activities?

It is quite a lot, yeah.

How big is your staff?


How are the duties broken up?

There are two people that do small events. Cameron and I are bringing in new business. There are a couple of accountants. An operations head. We just hired a claims advocate, Michelle Carroll who is phenomenal. Boy, she’s good. Her job is to make the claims process is as easy and seamless as possible with our clients. Keeping them informed of what is going on with their claim. To be their advocate when it comes to working with the insurance carriers.

You must spend weekends waiting for the phone to ring.

No. Not all. Michelle is on top of it. She’s so good with the clients and the adjusters. Just sort of being the mediator on their behalf.

As a former artist manager, you seem now to have the best of both the music and insurance worlds.

I do. There are aspects of management that I do miss every once in a while. But those moments were actually few and far between. It’s unfortunate that I will probably never have those again, but I did have them. The moments that I am talking about are when you are on the side of the stage, and there are 16,000 people singing every word of your band’s song. You are thinking, “Wow, I helped make this happen.” It’s just an overwhelmingly, amazing feeling as manager.

Meanwhile, I can be onstage at a festival watching 40,000 people singing along to the Killers, and enjoy it. I saw the Killers at Pemberton. I love that band so much, but you don’t feel part of it, necessarily. (As an insurance broker) you are proud of your clients, but being a manager, and being close to the people onstage who are part of a family, there’s that overwhelming feeling. I will never get that in insurance. I do miss it, but just like athletes, eventually you do retire. That is kind of how I’ve taken it. I had my day in the sun. I had three bands in the Billboard Top 200. I have a platinum record from Drowning Pool. I’ve done what I’ve done. It is what it is.

When you came to insurance in 2007 were music industry people educated to what they needed in insurance?

Sort of the beauty of insurance in this world is that clients get insured mainly because they have to. So they will get a contract, they will execute a contract, and in that contract, there’s an insurance provision that has to be fulfilled.

Your background in music management must be a great asset as an insurance broker in the live music world.

Yeah. I think it’s a great advantage that I have when I approach my clients. I get it. I get how much of an afterthought it (insurance) can be. If I go to a client that has had a claim already, usually they care immensely about their insurance. Once they have gone through it (a claim), and seen what could have happened, or unfortunately what happened because they didn’t have proper coverage, then they become very, very focused and become excellent clients.

Once bitten twice shy.

Pretty much, yeah. Pretty much.

People don’t think of insurance until it’s necessary. They just think something bad isn’t going to happen to them. “Oh, it happened. Call a broker.” They then become the best clients?

They do. They become fantastic clients once they have gone through it, and seen what happened or what could have happened. It’s night and day.

Years ago insurance coverage of an event or festival wasn’t that complicated.

At first, yes. To be honest a lot of the clients were, “Get me the cheapest insurance possible. Just help me fulfill my obligations as inexpensively as possible.” You are right. Over the years, it has been “Let’s get the A+ coverage. Let’s get the A+ event cancellation.” Most of my festival clients get event cancellation now which five years ago wasn’t the case at all but you see that festivals are being blown out for various reasons. The financial devastation is catastrophic. You can’t withstand that. If you have a scenario that you can’t withstand, you have to insure it.

As the live music business became more consolidated and sophisticated, and as the focus of the music industry turned more to the live side of the business, did those elements lead to the greater focus on insurance?

While it was before my time, The Station fire is what brought insurance to everybody’s attention in the industry. The Great White fire made everybody go, “Whoa.” Then the Sugarland deal.

[Stricter enforcement of fire codes helped make clubs safer in the United States after 100 people perished during the notorious Great White show in 2003, when a blaze destroyed The Station nightclub in West Warwick, R.I.]

Weren’t insurance companies wary about dealing with music-related events a few years ago?

Yeah, it was tougher. There were more exclusions back in the day. There were alternative companies that we sometimes had to go to get business done because the standard companies were like, “We can’t touch that. It’s too risky to do this. There’s heavy metal....”

Heavy metal, punk and hip hop...

Yeah but over time they have come to realize that those kind of events might have more incidents, but the claims experience is similar. People who bust their nose in a mosh pit generally don’t sue. It’s sort of a badge of honor more than something that you sue for. Lawsuits happen but...

Do certain music genres face higher costs for policies?

Yeah. Hip hop for sure.

Have you had to deal with anything like a shooting?

Not that I can think of.

Given recent Florida club tragedies in Orlando and Fort Myers, it’s not unrealistic to suggest what happened with Eagles of Death Metal in Paris...

Oh my gosh.

Could happen in North America.

Eagles of Death Metal. Death metal yeah sure, but we all know that band isn’t death metal. But I’m sure there are insurers out there thinking, “Oh, it’s metal.” I always have to educate them on things that.

[While Eagles of Death were onstage at Le Bataclan in Paris, France on Nov. 13th, 2015, the audience was attacked by terrorists wielding automatic rifles, grenades, and suicide vests. The death toll inside the venue was 89, including the group's merchandise manager, Nick Alexander. The band members themselves escaped safely out of the venue via a door backstage.]

You were the manager of Dameageplan, the metal powerhouse led by “Dimebag” Darrell Abbott and his brother Vinnie Paul, both formerly with Pantera. How did you find out about Dimebag’s death in 2004? Someone called you?

God, how did I find out? It’s been so long. Yeah, somebody called me. I can’t remember who exactly made the call. I remember sitting out in my office in my attached garage at ten at night, and somebody called and told me what happened. It was surreal. Time stood still. It really felt strange.

Particularly because it happened while the band was onstage.

Yeah, it was really bizarre. I was just speechless. It was like it was a joke. “Are you kidding me. No way.” Then I found out that Mayhem, the head of security, was shot dead. And Chris Paluska got shot. He was the tour manager for that tour. He was my right-hand man at the time.

You knew him from Last Beat Records.

Yeah. You dug in deep didn’t you? That’s great. I love Chris.

[On Dec. 8th, 2004, at the Alrosa Villa rock club in Columbus, Ohio, a deranged man in the audience Nathan Gale stormed the stage with a 9 mm handgun, killing Dimebag Darrell, tour security Jeff "Mayhem" Thompson, Erin "Stoney" Halk from the venue, and fan Nathan Bray, and wounding tour manager Chris Paluska and drum tech John "Kat" Brooks, before being shot himself by police officer James Niggemeyer.]

General liability, event cancellation, and liquor liability. Are those generally the type of things found in the insurance of events and festivals?

Yeah. Commercial property, and liability coverage. So a festival needs to have as you said liability cancellation (insurance). They also have to have equipment coverage. When you rent a’s not so much the stage. The biggest item that most promoters have to cover contractually are the generators. A lot of these generators are $1 million. The generator companies are very adamant about making sure that the promoter insures them. Yeah, I have gone on site and seen $3 million worth of generators at will. That’s a lot of generators.

Promoters are hiring other services.


If a promoter has insurance do the other people being hired not have to have separate insurance as well?

They all do. Yeah, that’s a huge part of what we do. We help go through all the different things if they want it. Sometimes they want in-house, and they don’t need our help. But a lot of times they do, and we will help track down certificates, and make sure they are accurate. Make sure that they match the contracts.

At the end of the day if anything happens everybody starts suing.

Everybody starts suing everybody.

We saw that with Sugarland concert at the Indiana State Fair in 2011 where almost everybody connected was sued. A month following the collapse, Sugarland—who never actually got to perform--was being blamed for the incident, together with their "members, agents and employees.” Everyone has to be aware of the consequences involved with a mishap or death.


[Seven people died, and 58 were injured in 2011 when the stage collapsed at a Sugarland concert in Indianapolis at the Indiana State Fair. At least four cases were instigated as a result of the collapse.]

With the cancellation of any event, a promoter still has to pay performers and many other people.

They do. They are contractually obligated. William Morris (William Morris Endeavor Entertainment) and CAA (Creative Artists Agency) have put in their contracts now that promoters will honor the obligation either with insurance or they warrant that they have the financial means to meet the obligation.

Even a cancellation due to weather?

Yeah. Absolutely. If the artist is ready, willing and able to perform they are getting paid. I guarantee you that an agent at William Morris or CAA isn’t going to tell their artist, “Sorry you aren’t going to be get paid because of the weather. We just feel bad for the promoter.” Well, no. The promoters need to get insurance because the agents are not going to be forgiving.

Is weather covered under a rain insurance policy?

Weather is pretty much covered under event cancellation. We don’t push rain insurance policies. Those are pretty lousy.

Insurance companies used to gauge payment on how much water was on the stage.

Yeah. That is kind of a lousy policy. It’s really expensive, and the triggers are hard to get. You have to get it exactly right. If it’s going to rain a certain amount between this time and that time. Event cancellation is fairly all-encompassing. If it’s unsafe to have the event, the policy will trigger. Whereas with rain, it’s a festival and it’s going to rain, and if it rains you are going to get wet.

I was recently at Mariposa Folk Festival in Orillia where the Friday night main stage was shut down due to rain and lightning.

Lightning, of course. Yeah, you get lightning. Bam, you are done.

Being onstage in the rain is dangerous.

It can be, but the cancellation policies, for the most part, require a covered stage on three sides, and on top.

There can be financial setbacks for a promoter if an artist doesn’t show up.

Oh, if the artist doesn’t show up they don’t get paid. Absolutely.

But them not showing up can affect a gate.

It could but if the promoter is guaranteeing half a million dollars, and the headliner doesn’t show up the promoter has a half a million dollar kitty to give refunds if people freak out about it. If they demand refunds, then the promoter can optionally have that in a policy. But what I advise my clients is, “Hey this is not a Killers’ concert, this is a festival.” At a festival, you are paying for the festival experience. You are paying for the multiple acts. You are paying for the whole thing. So just because the headliner doesn’t show up doesn’t mean that the patron is required to be given a refund.

Most concerts are in event venues which have their own insurance in place, while festivals are often in open fields. The moment anyone steps foot on that property there has to be insurance in play from the ground up.

That’s absolutely right. You are not really covering the event. It’s a common misconception about how insurance works. You never actually cover the event. You are covering the companies that put on the event or are involved with the event. So when you say you are covering the parking lot you aren’t really covering a parking lot, you are covering the company responsible for the parking lot. If you have a third party that is responsible for parking duties you make sure that third party has adequate insurance limits, and is naming your company as being additionally insured, and the contract clearly spells out that the parking company’s responsibilities are X, Y, and Z.

That would be the case for each third party on the site?

Every single sub-contractor that you are dealing with, and with every vendor. A lot of people think, and this has been a common way of thinking, and I try to educate on a daily basis, that, “Why do they have to show insurance and all that when we have our own?” You almost have to behave as if you have no insurance because if you get hit with a claim your rates are probably are going to go up, or you will get dropped completely. So, if you behave like you have no insurance, you want to make sure that all your other people, and everything that is there that everyone is responsible for, has their own (insurance), and are protecting you. That way if there is a claim, the odds of it going against your company are greatly diminished.

Doesn’t a waiver of subrogation limit liability?

Waiver of subrogation is a strange concept. It’s hard to explain. If you have an insurance claim...Think about an example. Okay, just for simple illustrative purposes. You have a bunch of equipment that gets damaged or gets destroyed on your festival site. You put the claim into your insurance company. The insurance company pays the damages to the equipment company. What your insurance company might do is to figure out who is responsible. Let’s say that you didn’t destroy the equipment. It was destroyed by the staging company, but your insurance company paid the claim because the claim was made against you. So what the insurance company can do is subrogate against the staging company, and try to be made whole for what they paid out.

Liability, if a stage collapses, can come down to how many people were onstage or who built it and so on.

Right. Subrogation is just the attempt by your insurance company to recover what they paid out. If the damage or whatever wasn’t the fault of their client. What a waiver of subrogation does is that it makes it so your insurance can’t do that. if you are renting a venue for example, and somebody dies but that somebody dying was because of a defect from the venue but your company still paying out $1 million claim, but they try to subrogate against the venue if you signed a waiver of subrogation the venue’s insurance company won’t pay it because of the waiver. It’s a very strange concept.

The selling of liquor is always in play in club, concert hall or festival shows. As liquor laws have tightened up over the past decade, have clients become concerned about having greater insurance coverage?

For a liquor perspective, a lot or most of our clients try to sub that out to a third party. There are several concessionaire companies out there that have made a really good name for themselves in the festival world, and they provide all of the alcoholic beverage services. There are not too many festivals that do it themselves because you have to get licensed. You have to hire the bartenders, and there’s so much that goes into that.

In a liquor-related injury or death could the victim’s family not go after the promoter?

They could try but Dram Shop laws (that imposes civil liability upon those who sell intoxicating liquors when a third party has been injured), it’s pretty specific. If someone makes a Dram Shop claim against a promoter, and they are neither selling or serving (liquor) it’s kind of hard to prove that they are responsible if you sub that out to a third party. If the third party is hiring the bartenders, and they are training the bartenders, and they are the ones that are doing the selling, they are the ones that are responsible if someone injures or kills somebody if drunk.

How about if a fight breaks out caused by the consumption of liquor? Could that bring a claim against the promoter?

It could but that wouldn’t fall under liquor liability. It would fall under lack of security or what not.

All cheerful stuff we’re talking about.

My life. Welcome to my world man.

Is there a separate policy for property insurance?

Yeah, we do a lot of building’s insurance. But if you are renting a venue, we cover that in the form. The form covers damage to the building, and you can contractually push back onto the promoter. We don’t insure the building itself.

What is involved with insurance coverage for artists on tour?

Artists typically get the same things that everyone else gets. It’s not much different. They have to get general liability for their tour. They have to get workers’ compensation. All of the festivals have to get workers’ compensation too for the employees. Artists get equipment coverage for the stuff that they own that they rent. Auto coverage for their van or contingent auto (coverage) for their bus. We make sure that the bus company carries adequate limits.

With your background as a manager and a promoter, you may know more what a client needs than they do themselves.

Sometimes yeah. I’ve been through it. A lot of it was from when I was on their side of the table back in the day. I really didn’t care about insurance. It was an afterthought. I was busy getting my bands successful, working with the record labels and the booking agents, and all of that stuff. Insurance was sort of an afterthought.

Four guys with equipment in a car traveling to a gig requires insurance.

That’s right, but most people don’t care about it. Again, it is sort of an afterthought. So being in their shoes at one time, with a lot of my clients I get it. I can emphasize with what they go through on a daily basis and the fights that they go though on a daily basis. I get it. It’s a little painful to talk about, but this is why it’s important. I try not to bog them down with too much detail, and too much minutiae, but I also know what they need, and I can express that quite well.

A band is a company entity with group liabilities. Ideally, they should be insured early on in their careers.

In a perfect world, sure. But if they are making $100 a show they can’t afford to spend $100 a show on insurance. It’s not practical.

At what stage do bands or their management approach you for insurance coverage?

Business managers are usually the ones making those calls.

When the band begins touring outside their home territory?

Lately, we started getting the calls from bands when they started playing festivals. All of the festivals require bands to have their own insurance. The festivals are getting very good about making sure that every band that plays onstage has insurance. The theory behind that is they don’t know what band is going to cause a problem. They need to make sure that they are all insured. A runaway road case goes down a ramp, and hits somebody, they need to make sure that everybody has insurance. So we will get calls from managers or business managers saying, “Hey, my band is playing three or four festivals, and one of them is requiring insurance, and it’s $150 a show. Why don’t we look at getting an annual policy?” So it becomes a cost benefit at that point.

How did you fall into working in the music industry?

I was in college, and I just knew that I wanted to be in the music business.

What college?

University of Texas in Austin. I was taking economics.

And you knew then you wanted to be in the music business?

It had nothing to do with my degree at all. I got an internship at indie label CORE Records which Keith Dressel ran. It was my first gig in the record business. Just a college internship. I just fell in love with it. I just felt that this is what I wanted to do for the rest of my life. I was there every day. I couldn’t wait to get to work. It was the best feeling.

What bands?

One of the more established artists was Moon Martin and Ed Roland from Collective Soul. He did a solo album for CORE (“Ed-E Roland” in 1991) I think before Collective Soul came to be.

[Keith Dressel’s Woodland Hills, California-based alternative rock imprint, CORE Records was responsible for discovering and marketing some of the top indie artists such as Moon Martin, and Ed Roland as well as such bands as Vigilantes of Love, Jet Black Factory, Will and the Bushmen, and Monday Mornings. They also marketed albums by Tom Petty, Pat Benatar, Jimmy Buffet, and Steely Dan and operated as the marketing arm of Frank Zappa's Barking Pumpkin label.]

What did you like about the job?

I was doing radio promotion. I was doing college radio, and I got to call people and talk about music all day long which is the best. In the office, I remember clearly the record that played the most in our office was Stone Temple Pilots’ (1992 album) “Core.” That record just kicked my ass. It was so good. It was such a cool feeling. Here I am at work listening to great music, and calling people to talk about music. “What’s better than this, man? This is awesome. I want to do this for a living.”

Following college what did you do?

After college, I moved to Los Angeles for a few years. I had an internship at Elektra Records. Then I went to work at Discovery Records with Jac and (his young brother) Keith Holzman. That was my first paying job doing college radio promotion for Discovery. It didn’t pay much, and I was promoting jazz which was kind of really horrible. But I figured it was a means to an end. Do the job that nobody wants, and it leads you places.

What was your impression of Los Angeles?

I hated L.A. It was horrible. I was dirt poor. I had nothing. I had no game. No juice. I was promoting smooth jazz at Discovery Records to college and NPR radio. “A Man and a Woman, Sax At The Movies” (1993) was our biggest record. It was like Kenny G, man. It was terrible.

Well, you had a car.

I had a car. My parents helped me out a bit. It certainly wasn’t a lot. I worked at the Virgin Megastore when I was interning. Then I got the job at Discovery and did that for a little while. The lady I was working for Claudia Navarro (as head of national promotion) who was married to Dave Navarro’s brother, Dan. She was really cool. She said, “You should try management. I think that would be a good thing for you.” So she hooked me up with David Ehrlich. I went to work with him at a management company and we were managing the Gravediggaz which was a side project of RZA from Wu-Tang Clan, and Prince Paul from De La Soul. That was our biggest client.

In 1994, Gravediggaz put out the record “6 Feet Deep” (alternately titled “Niggamortis”) on Gee Street.

It was like hardcore. It didn’t really take. People didn’t get. It was sort of like Geto Boys’ horror-themed hip hop. But it was great stuff. We also managed a bunch of producers and engineers. I got to see another side of the business working with producers and engineers in the management world. Dealing with publishing splits. It was a strange world being in the hip hop world but it was fun. It was neat. I really enjoyed it. That sort of got me into management. I got out of L.A. I got a gig working for managers in Dallas working with a band on A&M called Jackopierce, and Sister 7 which was on Arista. So we had these two bands that were signed to major labels.

What was the management company?

Robinson-Wood Management. Scott Robinson and Brady Wood were the principals. I worked day-to-day with these artists, and with our little baby band was Vertical Horizon. They went on to do pretty good things. We had them on our indie label (Rhythmic Records). Sold 60,000 independent records for them prior to their RCA debut. (“There and Back Again”, “Running On Ice,” and “Live Stages.”) Helped them to get their deal on RCA. Our company dissolved because our main client Jackopierce broke up, and Scott Robinson went to work with Steve Schnur at Arista in Nashville. Scott went on to form Dualtone Records (in 2001), and (since then) blew one up with (the Denver-based rootsy pop band) the Lumineers. So he’s kicking ass. It’s pretty cool watching these guys do really well that I have known forever.

I recently saw an 82-year-old man on “America’s Got Talent” singing Drowning Pool’s “Bodies.”

Isn’t that great? That is so cool.

Does hearing about that make you think, “What I once did made a difference?”

Yeah. That was the best part of being a manager. Seeing first hand how many lives that you directly helped. Helped slightly even indirectly. It was a real cool thing to see.

[An 82-year-old contestant, John Hetlinger, a former Navy pilot and program manager, left the judging panel and audience of "America's Got Talent" in disbelief in June, 2016 as he sang Drowning Pool’s hit song "Bodies" during his appearance on the NBC-TV show. "Bodies" was the lead single from Drowning Pool’s debut album, "Sinner,” released in 2001.]

Artist management can be stressful because of the demands of clients.

I was lucky in the management other than the bad things that happened. People talk about three in the morning calls. I never got those mainly because I told my artists, “I am going to turn my cell phone off at night. If you need me at three in the morning you can call the house and my wife will answer the phone. You can talk to her for a minute. Then she will put me on the phone. If you want to call and talk to my wife you are more than welcome to.” They never did. I got some screaming phone calls in my voice mail in the morning.

You became disillusioned with the music business following Drowning Pool’s Dave Williams being found dead in the band’s tour bus in 2002 due to heart failure, followed by the shooting death of Damageplan's "Dimebag" in 2004.

Were those two deaths the reason you decided to get out of the music business?


First, you looked at attending law school.

I did the LSAT. I studied hard, and I took the LSAT, and I did pretty well. I’m not going to say that I got a perfect score, but I did well enough to be able to get into a good number of law schools.. I got the application for SMU Law School (SMU Dedman School of Law in Dallas), and the first question on the application was, “Why do you want to be a lawyer?” For two days I sat around, and I looked at the application. I tried to start writing an answer, and I couldn’t. I left it for a while, and then I went back. After two days I went, “I don’t want to be a lawyer.”

You and Scott Beggs briefly partnered in Fifth Street Concerts around 2005.

Our first show was with Mindless Self Indulgence, and their agent played me so well. I admire him so much for doing it. He gets me on the phone, “My band is an indie band. Can you just let them have 100% of the merch, please? They have no label. They are just making their living off merch.” He just played my heart strings. I was a new promoter. I thought I’d do the agent a solid, and let them have the merch. Not really knowing that this band at the time was blowing it up. The show was sold out. I think they did 20 grand in merch. It was an obscene amount for an 800 cap room. I can’t remember the merch numbers but they were jaw-droppingly huge. It was the Galaxy Club in Deep Ellum (Texas). And (Scott) Beggs was like, You did what? You idiot. You gave 100% of the merch?” He was not happy about that at all. It was not a good moment.

The agent must have laughed his ass off. This newbie promoter trying to do a solid. Going from being a manager to being a promoter I thought, “Oh I can do that. No problem. There are so many nuances in this world that time and experience will teach you. I had no idea and that money would have helped the young brand new company so much.

How did you come to enter the world of insurance in 2007 at CSI Insurance Group that later became Ascend Insurance Brokerage?

My wife, in her infinite wisdom, said, “You should talk to (James) Chippendale who was the owner of the company at the time. He and I knew each other when I was working with Jackopierce. We shared offices in the same building. He was the insurance guy down the hall that I didn’t pay much attention to. I always liked him but it was like, “He’s in insurance. I’ve got other things to do.” I’d make fun of him but he was always cool. He was a great guy. He threw my wedding shower. So he had always been a friend. I can’t remember if he called me or she told me to go him but it was my wife who told me that it was time to get the ball rolling. That it was time to make this work.

What was then the extent of James’ business?

He did mainly nightclubs, bars, and restaurants. He had a couple of promoters and one of them happened to be the brand new C3 Presents. He had been working with Charles Attal Presents. Then C3 formed, and he had C3 from day one. He also had Red Mountain Entertainment and Blue Deuce Entertainment. He was like, “Come and see if you can bring on some of these music people.”

How much staff was there?

Steve Spalding was one of the partners. Including the owners, there were 6 people.

What learning curve did you have coming into the company?

It was substantial. I had to get a license. So there was a school that was involved in getting my insurance license. There were classes that I have taken and continual education and reading policies. I was really going through everything word-by-word. It really has taken quite a while to really get a firm grasp on it, but I love it. I really enjoy it. I enjoy the contractual review. I never thought that I would.

How did you come to recently take over Ascend Insurance Brokerage from James?

I think that (the transition) started when C3 Presents sold to Live Nation (in late 2014), and they left him as a client. It was sort of a signal of the end to him because he devoted almost every waking moment working on insurance to C3. Between that and his charity (the Love Hope Strength Foundation) that was his life. C3 sold to Live Nation, and he got let go. And that was kind of it. And frankly, the amount of business that I generated was considerably more than the rest of the company put together. It sort of just made sense for me to buy it.

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, and a consultant to the National Music Centre in Calgary, Alberta.


Industry Profile Archives:
Mick The DJ, DJ/Enterpeneur 04/30/15
Jeremy Lascelles & Robin Millar, Blue Raincoat Chrysalis Group 12/01/17
Joanne Abbot Green, CMJ Music Marathon and Film Festival 10/17/08
Lee Abrams, XM Satellite Radio 11/28/03
John Acquaviva, Fund Manager, DJ and Serial Entrepreneur 07/09/15
Jay Boy Adams, Roadhouse Transportation 05/04/07
Jamie Adler, Adler Entertainment Group 05/11/07
Gary Adler, National Association of Ticket Brokers 12/04/13
Rodney Afshari, Freeze Artist Management 03/01/02
JC Ahn, VU Entertainment 04/10/13
Steve Alaimo, Vision Records & Audio Vision Studios 05/26/06
Jaye Albright, Albright & O'Malley Consulting 07/19/10
Randy Alexander, Randex Communications 10/12/07
David Alexander, Sheer Publishing 07/21/16
Eva Alexiou-Reo, FATA Booking Agency 05/14/15
Marcie Allen, Mad Booking 12/14/00
Jeff Allen, Universal Attractions 08/16/02
Marcie Allen, MAC Presents 06/05/09
Marcie Allen Cardwell, MAC Presents 12/21/07
David Allgood, Bama Theatre 01/03/11
Patrick Allocco, AllGood Concerts 10/05/07
Michele Amar, French Embassy 05/26/16
Mike Amato, Rok Tours International 02/02/07
Jeff Apregan, Apregan Entertainment Group/Venue Coalition 09/30/15
Billy Atwell, AMP Studios 12/13/07
Bob Babisch, Milwaukee World Festivals Inc. 04/02/15
Tom Baggot, 05/02/03
Stephen Bailey, EPACC & Deleware Center For The Arts 02/06/04
Cary Baker, Conqueroo 05/11/11
Vince Bannon, Getty Images 07/05/11
Phil Barber, Barber & Associates 02/04/01
Camille Barbone, WineDark Records 12/09/05
Erin Barra, Musician/Producer/Educator 07/10/14
Ben Baruch, The Fox Theatre 09/27/08
Ben Baruch, By Larry LeBlanc (CelebrityAccess) 04/05/17
Paul Bassman, Ascend Insurance Brokerage 08/03/16
Adam Bauer, Fleming, Tamulevich & Associates 02/15/02
Ed Bazel, That's Entertainment International 10/05/01
Joachim Becker, ZOHO Music L.L.C. 01/12/07
Howard Becker, Comet Technologies 05/02/11
Mark Bego, Author 06/15/07
Jim Beloff, Flea Market Music 09/20/10
Richard Bengloff, The American Association of Independent Music (A2IM) 09/12/13
Seth Berg, South Bay Music 01/30/09
Aimee Berger, 2 Generations SPA Music Management 09/24/04
David Berger, Future Beat 10/29/14
Barry Bergman, Music Managers Forum 03/14/03
Steve Bernstein, Relix LLC 09/30/05
Mark Berry, Attack Media Group 04/07/07
Scott Billington, Rounder Records 01/17/12
Jeffrey Bischoff, Cinder Block 03/24/06
Sat Bisla, A&R Worldwide/ Musexpo 03/29/10
Nina Blackwood, Sirius Satellite Radio 07/14/06
Adam Block, Legacy Recordings 11/07/13
P.J. Bloom, Neophonic, Inc. 01/24/11
Rishon Blumberg, Brick Wall Management 06/27/03
Justin Bolognino, Learned Evolution, and The Meta Agency 04/25/13
Steve "Chopper" Borges, Total Pro and Borse Techos 03/03/06
Les Borsai, Mediocre Management 01/30/04
Shane Bourbonnais, Live Nation Canada 03/21/08
Jeff Bowen, Sears Centre Arena 03/13/08
Rick Bowen, Mystic Music Experience 07/11/08
John Boyle, Sanctuary Music Group 03/19/04
Jeff & Todd Brabec, Writers/Attorneys 01/03/12
Bill Bragin, Joe's Pub at the Public Theater 08/08/03
Joel Brandes, Avenue Management Group 11/02/08
Joe Brandmeier, Moving Pictures 03/15/02
Scooter Braun, SB Projects 12/13/10
Ron Brice, 3rd & Lindsley Bar & Grill 06/08/16
Billy Brill, Billy Alan Productions 11/11/05
Doug Brown, Talent Buyers Network 09/21/01
James Browne, Sweet Rhythm 11/01/02
Bob Brumley, Brumley Music Company 02/17/16
Tony Brummel, Victory Records 05/17/09
Charlie Brusco, TBA Entertainment Corporation 10/13/01
Del Bryant, BMI 05/18/07
Cortez Bryant, Bryant Management 12/06/10
Stephen Budd, Stephen Budd Management 07/13/17
Bruce Burch, University of Georgia Music Business Program 10/09/09
Deborah Burda, Kentucky Exposition Center 08/03/07
Patti Burgart, IEBA 06/07/02
Jordan Burger, The New Musiquarium 01/22/01
Ron Burman, Roadrunner Records 08/25/06
Suzanne Cadgene, Elmore 05/19/06
Karen Cadle, KGC Productions 03/12/04
Gary Calamar, KCRW 07/10/09
Charles Caldas, Merlin 07/05/10
Brian Camelio, ArtistShare 02/29/08
David Campbell, AEG Europe 08/02/10
Tom Cantone, Foxwoods Entertainment Group 10/20/00
Tom Cantone, Foxwoods Resort Casino 07/03/03
Tom Cantone, Mohegan Sun 08/30/09
Ashley Capps, A. C. Entertainment 05/21/04
Rio Caraeff, Vevo 07/12/11
Mike Carden, Eagle Rock Entertainment 08/16/11
Charles Carlini, Carlini Group 05/16/08
Mark Carpentieri, M.C. Records 05/27/05
Mark Carpentieri, M.C. Records 01/10/11
Troy Carter, Coalition Media Group 06/07/10
Daniel Catullo, Coming Home Studios 06/22/08
Raffi Cavoukian, Folk Singer/Children's Entertainer 05/11/16
Jeffrey Chabon, Chabon Entertainment Group 08/22/02
Mike Chadwick, Essential Music & Marketing 08/01/12
Rob Challice, Coda Music Agency 03/27/13
Tom Chauncey, Partisan Arts 01/11/02
Tom Chauncey, Partisan Arts 10/04/11
Lisa Cherniak, Artists Against Racism (AAR) 07/20/01
Bob Chiappardi, Concrete Marketing 06/13/03
Joel Chriss, Chriss & Co. 10/04/02
Michael Chugg, Michael Chugg Entertainment 09/14/01
Michael Chugg, Chugg Enterprises 10/02/09
Gary Churgin, Harry Fox Agency 09/13/10
Vinny Cinquemani, S.L. Feldman & Associates 12/13/12
Barry Coburn, Ten Ten Music Group 03/28/11
Matthew Cohen, Green Room Productions 10/19/01
Ted Cohen, TAG Strategic 01/10/13
Lisa Cohen, Associated Booking Corporation 02/10/06
Steve Cohen, Music + Art Management, Inc. 03/09/07
Dan Cohen, Music & Memory 01/12/17
Michael Cohl - Part 1, S2BN Entertainment 03/06/13
Michael Cohl - Part 2, S2BN Entertainment 03/13/13
Bryan Coleman, Union Entertainment Group 02/14/12
Mamie Coleman, Fox Broadcasting 07/05/12
Dennis Condon, Disneyland Resorts 07/13/01
Peter Conlon, Peter Conlon Presents 05/20/05
Tony Conway, Buddy Lee Attractions 10/06/00
Allen Cook, TOURtech 04/16/15
Tomas Cookman, Cookman International 09/05/03
Alex Cooley, Alex Cooley Presents 07/12/10
David Cooper, 10/31/03
Jay Cooper, Greenberg Traurig, LLP 05/23/11
Julie Coulter, Near North Insurance Groups 06/07/01
Amy Cox, Deep South Entertainment 02/09/07
Michael O. Crain, Crain Law Group, LLC 10/09/13
Charlie Cran, The Strawberry Music Festival 04/05/10
Jim Cressman, Invictus Entertainment Group 06/06/12
Russ Crupnick, MusicWatch, Inc. 07/23/15
Todd Culberhouse, Vision Management /Vision Records and Entertainment 09/05/08
Tony D'Amelio, Washington Speakers Bureau 04/21/06
Ruth Daniel, In Place of War 08/09/17
Ray Danniels, Standing Room Only Management, and the Anthem Entertainment Group 03/05/15
Ken Dashow, WAXQ-FM (l04.3 FM) - New York 09/08/06
Hal David, Lyricist 07/26/11
David Davidian, Independant Lighting Designer/Director 06/18/04
Anthony Davis, D&L Entertainment Services, Inc. 03/02/01
Chip Davis, American Gramaphone/Mannheim Steamroller 05/31/02
Mitch Davis, Tempest Entertainment 07/16/04
Jeff Dawson, Canadian Recording Services 06/08/08
Desiree Day, USO Celebrity Entertainment 08/10/01
Shauna de Cartier, Six Shooter Records/Six Shooter Management 10/23/13
Gene DeAnna, The Library of Congress 02/21/12
Vincent Degiorgio, Chapter 2 Productions 08/01/13
Tony DeLauro, DeLauro Management 12/23/04
Valerie Denn, Val Denn Agency 04/30/01
Val Denn, Val Denn Agency 03/06/14
Robert DePugh, Alligator Records 07/29/05
Tom Derr, Rock Ridge Music 10/29/04
Paul Dexter, Masterworks Lighting Design and Road Cases 12/10/04
Marty Diamond, Paradigm 01/22/10
Glenn Dicker, Redeye Distribution/Yep Roc Records 07/07/06
Barry Dickins, International Talent Booking Agency 06/06/13
Jim Digby, Event Safety Alliance 09/01/16
Mark Dinerstein, The Knitting Factory 11/17/06
Neill Dixon, Canadian Music Week 03/03/16
Thomas Dolby, Musician, academic, technologist, and author 11/09/16
Jasper Donat, Music Matters 2009/Branded 04/24/09
Jim Donio, National Association of Recording Merchandisers 04/22/11
Marc Dottore, M. Dottore Management 04/11/03
Tim Drake, The Roots Agency 12/12/08
Mike Dreese, Newbury Comics 11/23/11
Charles Driebe, Blind Ambition Management Ltd. 09/22/06
Jeremy Driesen, Ray Bloch Productions 09/07/01
Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of 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
Jennifer Lyon, MeanRed Productions 01/18/18
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
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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