Industry Profile: Elliot Lefko

— By Larry LeBlanc (CelebrityAccess)

This week In the Hot Seat with Larry LeBlanc: Elliott Lefko, vice president, Goldenvoice.

Elliot Lefko’s music career began by writing for Toronto underground and mainstream publications; and then as an underdog promoter making pilgrimages to New York and Los Angeles to make contacts, and recruit bands to perform in Toronto.

Along the way Lefko attracted Henry Rollins, Jim Carroll, the Pixies, the Red Hot Chili Peppers, Soundgarden, Nirvana, and a host of other “buzz” bands to Toronto for club dates (and dissuaded Kurt Cobain from hurling beer bottles at a club wall), and booking Arcade Fire before they’d even hired a manager.

Eventually, Lefko joined MCA Concerts Canada, and stayed with the company as it morphed into Universal Concerts Canada, and then House of Blues Canada before being sold to Live Nation in 2006.

By that time, Lefko had decided to move Los Angeles to become vice-president of Goldenvoice, responsible for booking concerts for Morrissey, the Foo Fighters, Nine Inch Nails, Tegan And Sara, and promoting tours for Leonard Cohen, Nick Cave, Kraftwerk, Sigur Rós, and Father John Misty.

Goldenvoice is involved with multiple festivals and hundreds of clubs dates annually. How involved are you in the range of the company’s activities?

I am not involved in the festivals. That is more the people in the festival department, Goldenvoice president/CEO Paul Tollett, and Stacey Vee. She does the Stagecoach Country Music Festival. At Goldenvoice, so many people are hired from within and prosper at the company. Stacey was Paul’s assistant, and she helped him book the festivals. She took an interest in country music, and with Stagecoach. Now (since 2015) she is booking it herself, and just killing it.

Launched in 2007, Stagecoach has developed into arguably the most important country music play west of the Mississippi.

They needed to do something the week after Coachella. Paul came up with the idea of doing a country music festival. Like Coachella, the festivals had growing pains. The company just got behind them all from the top down and stuck with them. Now they are all successful festivals. There is really this feeling of nurturing at AEG, at Goldenvoice, in terms of the people here working with the festivals, the concerts, and with different deals. There’s always room for a good idea at AEG/Goldenvoice, and there are always people who will get behind you. It’s a fertile place to work.

Who do you report to?

Right now, I report to (North American president of AEG Live) Rick Mueller. He runs all of the talent buyers across North America for AEG. I’m fortunate that where I work now it’s a bunch of like-minded people. You walk down the hallway and this guy is working on Rogers Waters, this guy is working on the Rolling Stones, this person is doing Coachella, and this person is booking 400 amazing club shows a year. Even the president of the company (AEG) is really into music and knows about bands. Dan Beckerman is a music-head, and he’s very supportive

While I don’t do any of the festivals, it’s fortunate that with the Leonard (Cohen) tours I got to learn how to book across North America. I learned how to go into all of these different theatres, and arenas. Then I started doing it for other artists. The first one was Nick Cave. I got introduced to his manager Brian Message, and Craig Newman (at ATC Management), and then I started booking Nick. Leonard is a big influence on Nick. It is almost was like I had (developed) the blueprint for all of these theatres where Nick Cave could play. He is such a great live performer. Watching him is sometimes like watching someone larger than life onstage. He breaks down the wall in front of the stage. He walks into the audience. He walks on people’s chairs. He goes after the audience. I’ve been doing his tours for the past two years. Then, after that, I just kept meeting different people and doing more tours. I did Kraftwerk’s tours. I did two tours with those guys.

Kraftwerk had played several shows in North America, including multi-night residencies in both New York City and Los Angeles, but starting in 2015 the band embarked on more full-scale outings.

Yeah, they had done a little bit. I was doing a gig, and I met their manager Scumeck Sabottka, who is also a concert promoter, and a brilliant guy. I met him, and I said, “I wish I could do more with them.” So he introduced me to (the band’s leader) Ralf (Hütter) and I talked to their agent, Chris Dalston at CAA, and I was able to book a couple of tours with them.

[After a few wild years in West Berlin’s punk scene, Scumeck Sabottka founded the concert firm Music Consulting Team (MCT) which, in its early years, organized tours for the Ramones, King Kurt, and John Cale as well as later for the likes of R.E.M., Red Hot Chili Peppers, Nick Cave, Lenny Kravitz, and Robbie Williams.]

You’ve worked with Morrissey?

I haven’t done Morrissey’s tours, but I have been booking him in Los Angeles for a number of years now. One funny gig with Morrissey was that I booked him at the at the Staples Center in Los Angeles (in 2013), and his agent Dave Tamaroff (at William Morris Endeavor Entertainment) asked me to book a small gig the next night. I had always driven by the Hollywood High School, and I knew the Elvis Costello record “Live at Hollywood High” (2010). In the back of my mind, I had that place in mind. So I said, “What about Hollywood High?” He said, “Check it out.” I went, and the principal showed me the gym. I thought, “This is going to be okay. Do you have anything else, though?” She said, “Well we have an auditorium.” The auditorium was amazing. A real size for 1,500 people. A theatre arts teacher was there, and I told her what I was doing, and she asked if her kids could help. It turned out to be the best gig.

What are you working on right now?

I just finished working with Sigur Rós, the Icelandic band. Scumeck Sabottka promotes Sigur Rós in Germany. He had a meeting with their manager Dean O'Connor and told him what I was doing in America with Kraftwerk. Dean was intrigued. Then I got a call from Marty Diamond (who leads Paradigm's New York operation) asking if I’d be interested in working with Sigur Rós. He told me the story of the two managers meeting, and that I had been recommended. I met Dean, and we hit it off. I ended up doing two full tours with them. That was totally incredible.

The other act I’m working on right now is Father John Misty. His manager Dalton Sim is the manager of Guster and fun, and he works for Nettwerk Management. He’s a friend. We had talked about working together. Father John Misty is such an incredible performer. There’s so much ahead of him. That tour is going on right now.

In your position, you are almost a utility player in that you have worked everything from small club shows with punk and new wave acts to national theatre and arena tours with Leonard Cohen and Nick Cave. You certainly can serve AEG’s interests in the Canadian live market after so many years working there, including working on promoting the initial Lollapalooza festivals across Canada

Yeah, I think I straddle the alternative side of music.

Like a utility player.

Well, I think an important thing for myself is that I want to be the guy. I, unfortunately, never had that opportunity when I was in Canada. There was always somebody else in that chair. I may not have been the right guy to be in that chair running a business, but I wanted to be the guy that, at least, made things happen. When I came to L.A., all of a sudden, I had that opportunity. There was never any ceiling above my head. So if I wanted to book a tour, or if I wanted to do a festival in Canada, I was given the freedom to do that. It’s important for me that when I go to Canada now, and that I am making stuff happen, that I hire the people that are working with me on these festivals that I feel comfortable to work with, and who are very competent, I want it to be my vision. And, then if it doesn’t work, it’s my responsibility. It feels really important for me to be able to do that.

Leonard Cohen died Nov. 7th last year, and now a family-endorsed tribute will be held in his Montreal hometown on Nov. 6th at the Bell Centre co-produced by his son Adam and producer Hal Willner, and jointly promoted by Evenko, Rubin Fogel Productions, and Live Nation/Robomagic. How fitting that a commemorative show for Leonard will take place in Montreal.

That is the only place to do it. Adam is behind it with (Cohen’s former manager) Robert Kory. Adam is the driving force behind this. He’s the one that has made it happen. He called the people (artists) up, and Robert brought Hal Willner in. It is definitely fitting. It will be so good. They are also having a major exhibition (“Leonard Cohen: A Crack in Everything”] at the Museum of Modern Art too that Victor Shiffman (and John Zeppetelli) has put together that is running afterward which is going to be incredible too. (About 25) artists were commissioned to do works based on Leonard.

[The line-up of “Tower of Song: A Memorial Tribute to Leonard Cohen” includes Elvis Costello, Lana Del Rey, Feist, Philip Glass, k.d. lang, Sting, two members of the Lumineers, Damien Rice, Patrick Watson, and Adam Cohen.]

Let’s talk about your role in Leonard’s AEG Live world tour that started in 2008. Prior to agreeing to tour, Leonard and Robert Kory sought numerous conditions, including an advance of $3 million to cover off extensive rehearsals and advance tour dates. As well, several AEG Live principals weren’t convinced of Leonard touring North America even following his successful run of dates in the UK, Europe, Australia and New Zealand. Robert Kory credits you with driving the excitement for the North American tours. A fair assessment?

That’s completely true. The other person is Rob Hallet (now CEO, Robomagic.)

As president of international touring at AEG Live then, Rob Hallett was the person who went to Robert with the idea for a global tour.

Yes. What happened was that after he (Leonard) had his earlier financial problems cleared up, and he got his head above water, the idea came about, “Let’s talk about doing something live.” Robert had been the lawyer for Mike Love of the Beach Boys in the heyday, and Concerts West was their promoter through Jerry Weintraub, and (John) Meglen worked for them (later becoming co-president/CEO of Concerts West/AEG Live). So when Robert was looking to help Leonard on the music side of things, the guy that he knew was John Meglen. So he reached out to John. We had Rob Hallett working for us in England, and Meglen knew that Rob was a huge Leonard fan, so he brought Rob into the mix, and together they made a structure for Leonard to do the shows.

There were numerous conditions placed by Robert including two months of daily rehearsals time with backing players.

But that is where it started.

But that was a big start because it came with a hefty price tag of $3 million.

At that point, I got brought in. I sat down with Leonard and Robert. Leonard was sketching on his ideas, almost like on a napkin, where he was saying, “I want the band to wear suits. I want you to bring in this player from Spain. I need a road manager. I want to start in the Maritimes in Canada, and do warm-up shows there.”

Leonard wanted some warm-up dates with no announcements. That’s when you brought in veteran Montreal-based concert promoter Rubin Fogel.

I called Rubin whom I knew, and we booked the tour of 18 warm-up dates in the Maritimes. It was the Maritimes leading into Ontario theatres. Leonard went in and rehearsed. I set it up at SIR (SIR Rehearsal Studios in Los Angeles) to rehearse with a band. I got the band together. They rehearsed at SIR for over two months. The first gig was in Fredericton (New Brunswick). The night before Leonard ran through the whole show, and it was Robert Kory, Rubin, Rob Hallet and myself in the audience.

The Leonard Cohen’s global tour actually kicked off in Atlantic Canada?

They all went down to the Maritimes. Leonard, the band, and the crew. They rehearsed in a tiny theatre (the 700-seat Fredericton Playhouse) where I had done the Barenaked Ladies 20 years before. I am not sure how long they rehearsed there, probably more than a week.

After Leonard stepped onto the stage of the 700-capacity Fredericton Playhouse in Fredericton, New Brunswick on May 11th, 2008, the audience responded by giving him a standing ovation before he had sung a note. He rewarded them with a three-hour show.

It was funny. Leonard was so nervous that he was doing the in-between song patter in French. People flew in from all over the world. People couldn’t believe that he was performing in this 700-seat theatre. He did a show that he was going to do for all of the other shows. He rehearsed so much because he’s the type of person that he would worry. He wanted to make sure that it was good. So he rehearsed such a long time. Every day he rehearsed. So when he went and did the show that he would be able to do it. He never used a teleprompter.

After we did these gigs in Canada, and they went really well, the idea was, “Okay, how are we going to take this to the next level?” Robert came up with the idea of doing the Beacon Theatre for one night (February 19th, 2009) just to see what would happen.

[Leonard Cohen’s performance at the historic Beacon Theatre followed his successful run of dates in UK, Europe, Australia and New Zealand. AEG Live next announced a run of North American engagements including nights in New York, Boston, Chicago and Los Angeles, and a performance at the Coachella Valley Music and Arts Festival.]

Leonard performed at The Beacon Theatre for a number of reasons including that there was considerable hesitation on AEG’s part that he could have a successful U.S. tour. Leonard hadn’t done American dates in 15 years. AEG wanted to test the waters.

Yeah, and what happened was that he sold it out in a second, and it was a magical gig. Someone asked me if I’d like to book one Leonard Cohen show, and I said, “It would be like a dream come true.” I got to book every one of his gigs in North America. It was over 100 gigs.

[In his 2015 “In The Hot Seat” profile Rob Hallet admitted having difficulty with his AEG Live associates in convincing them about Leonard Cohen doing a world tour. He said, “Yeah, they all looked at me. At that point, I was still being indulged and Randy (AEG Live CEO Randy Phillips) was very much my friend. He was like, ‘You’re not going to be able to shut him up.’ It really didn’t take too long to prove the point. In respect to my American cousins, they really don’t know what‘s going on in the rest of the world too much. I knew there was a market. Leonard’s poetry has been translated into Polish, Greek, and so on. I just knew that there was a market for him. I was convinced. Convincing Leonard (about touring) actually was harder than convincing AEG, to be honest.”]

For the U.S. runs, you awarded certain smaller cities and local promoters with Cohen dates including Peter Jest, owner of Shank Hall, who co-promoted the concert at the Milwaukee Theatre on March 15th, 2013, 38 years after Leonard’s prior performance in the city.

Right. The thing about working with Leonard Cohen was that I was getting to work with someone that I idolized, but it was an education for me. Learning about booking shows in America, and learning about those cities and the theatres, promoters, and journalists in those cities. I did shows in all of these different places that I hadn’t been to, that I didn’t really know about. I was putting these tours together, and certainly, at the beginning, it was the bigger markets but later on, when I was doing the second, third or fourth tours for him, it was, “Where else do we go?” People would call me wanting to book him, and I’d save them (their contacts). Then the people who really really wanted him, and were consistent in checking in, I would save them. Then, when it was time to do the other kind of markets. I contacted Peter Jest in Milwaukee, and I said, “Let’s do it.” The show did really well.

The other funny thing is that there was also a show in Ashville, North Carolina, the home of (author) Thomas Wolfe, and the Thomas Wolfe Theatre. There was a friend of mine, Bob Lawton from when I was first booking shows. He had a company called Labor Board in New York. He was the agent for Sonic Youth and all of these great bands. He gave me my start in booking bands. I called him up and said, “I need to book a few gigs for Leonard.” He said, “Well, Asheville, North Carolina, that’s the place. It’s a great theatre and a great community.” But I was nervous. He helped me in terms of the marketing. Then we brought in Mac (McCaughan) from Merge Records who lives in North Carolina. We took his mailing list from Merge which had done Superchunk and Arcade Fire...

Here you are going back to a contact from days of booking Arcade Fire when they didn’t have an agent or a manager.

That’s right. We used Mac to help us market the show. Bob is now an antique dealer so we went antiquing in the Blue Ridge Mountains the day after the show.

You and I were in Israel together at the Tune In Tel Aviv conference when it was announced that Leonard had passed away a few days earlier.

Somebody had called AEG, and then I had gotten a phone call, “Someone called saying Leonard had died. ‘Do you know anything about this?’” I said, “No.” But I was thinking that where there is smoke, there is fire as the cliché goes. I kept looking at my phone, and nothing was happening. Then I went to Israel a few days later for the conference. I got home after a night of seeing shows, and my cell phone rang, and it was Robert. I knew before answering it that he was going to say that Leonard had passed. I talked to Robert for a little while, and comforted him. Then all night, the phone kept ringing.

Being in Israel and hearing about Leonard’s passing somehow felt appropriate. Either to be there or in Montreal.

It was fitting. He definitely loved Israel.

Leonard’s great-uncle Rabbi Zvi Hirsch Cohen had been the unofficial Chief Rabbi of Montreal and Canada.

Montreal and Leonard, it’s a holy place where he lived, and where he came from, and what he represented. There were times on the road that if it was Sabbath that he would do the prayers, and when it was Hanukkah he would light the candles and he would sing the prayers. And on Sabbath, he would have his tour manager bring challah backstage and the wine.

It isn’t generally known but Leonard wanted to do another tour.

Oh yeah. I would go and see Robert every couple of months. We’d have lunch, and we would talk, and talk. I’d say, “Okay, are we going to do another tour?” And he’d say, “Yes, let’s do another tour.” Then I would see Leonard every so often at a gig or something, and he would say, “Let’s do it.” When he did his last tour, he was doing some of those new songs like “Going Home.” He was writing some great songs near the end of his career. He totally wanted to do more touring, but Robert said he wasn’t well. I didn’t realize until just before. We had a lunch in this Indian restaurant in Los Angeles, and Robert kind of took me in his confidence saying, “He’s not well.” Leonard did his record release party at the Canadian Consulate (Oct. 13th, 2016) and I went with my wife. That is where they had the cantor (Gideon Zelermyer of Montreal's Shaar Hashomayim Synagogue which the Cohen family attended, going back for generations, whom Cohen met in person for the first time) sing. Leonard walked in, and he had to be helped to the front part of the room because he wasn’t well.

Overlooked by many because of the passion of his imagery, and the open-hearted approach to his life is how funny Leonard could be.

There was one gig in a tour that I did, and it ended in Denver or something like that. I was sitting with Leonard, and he said, “Do you think you can book some gigs next week?” He was having such a good time. The band was looking at me, “Next week?” Everybody had plans. But Leonard had a twinkle in his eye. He loved being on the road.

Goldenvoice, which was acquired by the Anschutz Entertainment Group in 2001, is 37-years-old.

It’s funny with Gary Tovar who started Goldenvoice. The other night I went to a gig, and it was Marshall Crenshaw and Los Straightjackets performing together in Silver Lake. I was watching the show and, all of a sudden, I get tapped on the shoulder, and it was Gary. He goes to more concerts than anybody, and he started everything. Everybody else is in bed by then. I see him at all of these shows.

Goldenvoice carved a considerable niché for itself in the competitive Southern California live music scene by booking punk rock bands into low-rent theaters, warehouses, industrial parks, and other off-the-grid venues in Los Angeles, Orange and Riverside counties. Given Gary’s background in booking Jane's Addiction, the Red Hot Chili Peppers, Social Distortion and Nirvana in the ‘80s, your paths would have crossed. You’d certainly would feel comfortable with each other.

Yeah, exactly. What he was doing or what Paul (Tollett) or (the late Goldenvoice co-president) Rick Van Santen were doing in L.A., I was doing in Toronto. They had a house from where they were doing their shows, and I would visit them. I always wanted to be what those guys were. I remember when Rick came to Toronto in the early days of Concerts West, at the beginnings of AEG, he came to Toronto with a tour with Limp Bizkit, and I was like, “I want to be you.” We were friends, and I think that is what led to me getting my gig at Goldenvoice He introduced me to Paul. So Paul knew that I was a friend of Rick’s and the fact that Jay Marciano was there too.

[Goldenvoice founder Gary Tovar hired Rick Van Santen in 1985, and when Tovar was arrested on drug distribution charges in 1991, he signed over ownership to Paul Tollett and Van Santen. Tollett and Van Santen sold Goldenvoice to the Anschutz Entertainment Group in 2001.]

You had been working at the House of Blues Canada.

It was MCA Concerts Canada, then Universal Concerts Canada, and then House of Blues Canada. Eventually, House of Blues was bought and became part of Live Nation. I left just before that happened.

[House of Blues faced enormous competition In the late 1990s as Robert F.X. Sillerman, under the SFX Entertainment banner, spent about $2.5 billion rolling up most of the major promoters in North America. In 1999, House of Blues Entertainment acquired Universal Concerts, the Seagram Co. company, which operated 19 concert venues across North America. In 2006, Live Nation purchased House of Blues Entertainment.]

Why come to Los Angeles to work at Goldenvoice?

As I said Rick Van Santen, who was the co-owner of Goldenvoice with Paul Tollett, was a really good friend. When he would come to Toronto, we would hang out, and when I’d go to L.A. he would take me to basketball or hockey games. We would go and eat, and we would listen to music together. Unfortunately, he passed away (in 2004 at the age of 41), and I was coming down to L.A. for a Pollstar conference, and Rick’s funeral was happening. So I came down, and then I got a call from Paul Tollett. I came to see him, and he asked me if I wanted to come to work with the company. So he was there, and Jay was there. I guess he needed somebody, and Jay recommended me, and Paul knew that I was a friend of Rick’s. It was a seamless transition.

Well, you did have family to contend with back in Toronto.

My son was then two years old. When I came back, I brought some little toys for him, and I sat with my wife. She said, “How was your trip?” I said, “Really good. I got offered a job in L.A. They want me to move.” After she got over the shock—after all we had a little kid and a house, and all of our family is in Toronto--she said, “Let’s do it. It will be a great opportunity.” So we did. It.

You told a story once about the three things you wanted to do once you got to L.A. for the first time years earlier. It was visiting three different places?

Right. I used to work with Henry Rollins a lot. Rollins used to sleep on the floor of my apartment in Toronto. I loved working with him. I said, “Henry you lived in L.A. for such a long time. If I go there what do I do?” He said, “You go to Duke’s (West Hollywood’s legendary Duke's Coffee Shop which closed in 2012) for breakfast. It was such a great place. “They have those giant meals. You stay at the La Cienega Motel, and then you go to Barney Beanery.” So that was Henry’s (guidebook) version. I did it, and it worked.

Growing up, I caught the tail end of the New York (music) scene. I was really happy about that, and that really helped me. Back then, I was a promoter and everything was happening in New York, and then everything moved to L.A. That was the point where I realized that I had to go to L.A. Ever since the business moved there, I would go there every year. But it was funny because I never drove. Being from Toronto, I never drove. Once I took the bus to William Morris, and they asked, “How did you get here?” I said that I took the bus, and people looked at me like I was crazy. Eventually, one of the senior agents Don Muller said, “Can we just drive you to the airport after this so you don’t get lost?”

While attending York University in Toronto I know you had worked for the school newspaper. What was your major at York?

I took film courses. You know that thing when you go at nine o’clock in the morning and they do a shot-by-shot (Alfred) Hitchcock. They had this professor of film studies, Robin Wood, who was an expert on Hitchcock. With all of those other films, the European stuff, I just sat there and watched all of those films. But I just was never good at school. I was never really interested in school. One day I passed by the newspaper office, the Excalibur. I figured there was a way of going to school, and not going to school. The film “Midnight Express” had just come out and, for me, it hit all of the buttons.

When “Midnight Express” was released in 1978, it was credited with destroying the Turkish tourism industry. The film told the story of Billy Hayes, a young American sentenced to 30 years in prison after attempting to smuggle hash out of Istanbul.

With (actor) Brad Davis, right? I asked the guy at the Excalibur if I could review the movie and he said okay. I wrote it, and everything was so good. The music and the story about it. I handed the review in and the guy said, “This is really great,” and I didn’t leave there for 5 or 6 years.

Did you graduate?

Yeah, it was one of those things where I’d wake up in the middle of the night thinking, “Did I really do that last course?” I’ve always had this tinge of fear that I owed them one course. I got it (my degree), and I gave it to my parents, “Here’s you go.” While I was at the Excalibur, I was really going heavy on journalism. I had this friend Peter Noble, he was a really good photographer. We used to see gigs together, and I would write for underground rock magazines a lot. He pushed me through the door. Then, I started writing for the Toronto Star. For a minute, I was their music reviewer.

Following Peter Goddard?

Yeah after Peter Goddard. There was a time that they were trying different people. I got in there, and I was good and I was doing some good stories. Then they would ask me to review bands like Duran Duran, for example, and it just wasn’t my thing. I couldn’t take it seriously, and it showed. They would look at my articles, and I might be cutting up Duran Duran. They immediately moved me to the back part of the newspaper. I had to do stories on 24-hour supermarkets, and bowling alleys and things like that.

It’s always hard to get into the mainstream of any field.

Yeah, the above culture was hard for people like us who were certainly in the below culture, and we were made for it.

Like many writers of your generation, you would have been blown away by Jim Carroll’s 1978 memoir “The Basketball Diaries.”

Yeah, yeah. It was a huge influence for me. Every line, I pored through. For him to write that at that age (between the ages of 12 and 16). When I was writing, and doing concert promoting, writing was really hard. You had to sit at your typewriter, get a good lead, you‘d finally do a good job and, if you were lucky, they’d give you $100. With Jim Carroll, I’d call him up and say, “Do you want to do a gig?” Then I’d book the gig and, all of a sudden, I was making $500 just with a phone call. I threw the writing out of the window at that point. Jim was such a great writer but even more so as a live performer. I would do him at a club in Toronto for 500 people, and people would be hanging on every word of his. He was the type of guy too that he didn’t have a filter in terms of what he was saying. He would say the same thing to you or I that he would say to Patti Smith. He would tell these stories of being with (Andy) Warhol or Larry Rivers and people like that. Crazy stories, and he was just so magnetic.

[“The Basketball Diaries,” the journal Jim Carroll kept during high school and published in 1978, was reissued in a mass-market edition in 1980. It became enormously popular in North America, especially on college campuses. In a 1995 film adaptation, Leonardo DiCaprio played the part of Carroll. In the late 1970s, there was the Jim Carroll Band whose first release, “Catholic Boy” (1980), has been called the last great punk album. Carroll died in 2009 at the age of 60.]

I remember reading “The Basketball Diaries” and my jaw just dropped. I knew Patti Smith from her writing for Cream magazine.

I remember driving around in my friend sister’s Pinto listening to the first Patti Smith record, knowing how that was going to change everything.

Is it fair to say working as a promoter at Toronto clubs like RPM, The Horseshoe, and the Silver Dollar promoting such acts as Nirvana, the Pixies and the Strokes that you were carrying on from The Gary’s as the outside guy in Toronto’s live music scene?

[Toronto concert promoters Gary Topp and Gary Cormier, known as The Garys, were renowned for presenting cutting-edge live shows in the late ‘70s and ‘80s. Topp had first programmed films, and occasional bands at the Danforth Avenue theatre The Roxy. In 1976, Topp launched a series of shows the New Yorker Theatre on Yonge Street with Cormier including with the Ramones, the Dead Boys, the Vibrators, the Viletones, and the Poles. By ’78 the Garys had relocated to The Horseshoe Tavern booking the like of the Police, Sun Ra, Cecil Taylor, Etta James, Talking Heads, and Johnny Thunders. This was followed by nearly a three-year stint at Egerton’s booking Ultravox, the Slits, Nico, B-52s, Mink DeVille, John Cale, Alex Chilton, Squeeze, Joan Jett, Nona Hendryx, Echo and the Bunnymen, Simple Minds, The Teardrop Explodes, William Burroughs, X, and the Knack.]

Yeah. The Gary’s they had the Police, and all those bands. They had their scene and then I had my scene, and it was good. Everything was just really me. Me and my apartment, and me being confident about bands. I would always compete with larger promoters, having to do shows with no money.

As with The Gary’s you were primarily competing against Concert Productions International.

Yeah, I was competing against Michael Cohl. It was funny because I did write for Cheap Thrills (owned by CPI). I remember that Jeffrey Morgan (alter ego Machine Rock) was one of the editors. So I knew Michael Cohl because of the (Toronto Star) newspaper, and from the magazine. Nothing would have made me any happier than to work for him. It was always, “See, I’m doing this band” and “I’m competing against you” and “I found this band.”

You weren’t quite competing against CPI because Michael had zero interest in most of the indie alternative bands you were booking on their first or second tours. CPI would try to come onboard on the third tour if the band had become popular in the interim.

Right. That would be it. The Chilis (Red Hot Chili Peppers) at the time their agency was the Willard Alexander Agency in New York. The Chilis were there and I think Thelonious Monster. The Chilis were not even a big band at the time when I was working with them right at the beginning. I remember the day of the first date that they were playing for 700 people. All of a sudden, I had a partner on the show. It would be like that. I would find all of these bands, and I always would have to share with them (CPI).

They squeezed you out.


You’d apply for a position at CPI, and you’d be forced to sit in the lobby for hours.

That right. I would go there and I would try, and I would try. The people that I knew there would never hire me. Then one day I got a call from Riley O’Connor who was working for them. I didn’t know who he was. I knew Arthur Fogel and Michael Cohl. Riley came to work in Toronto (from Vancouver), and he called me up. He said, “I respect what you do, and I want to hire you.” But he could never get the rest of them (at CPI) to hire me. I got so frustrated.

[In 1989, Riley O’Connor moved to Toronto to become project manager and dir. of talent and production operations at CPI.]

Meanwhile, you had booked Nirvana for $100, but the band never turned up the first time.

That’s true. All of the Seattle bands at the time like Soundgarden, Mudhoney, TAD, and the Fluid, they rocked to a man so hard, but they were melodic. Every band was like that. It was fun.

Just one week before the domestic release of their seminal debut album, “Is This It,” you had the Strokes perform a non-ticketed gig as part of the Horseshoe Tavern's no-cover Nu Music Nite series. They were a big band in 2001.

They were a big band. You know I always tried to do something larger than life and have people going crazy on the street. Then, after that, momentum will take care of itself. With that one, I had the chance to do the Strokes, and Dave Bookman was doing Tuesday Nights For Free. I had done a few things with him, and there was always an audience. I was like, “Okay, let’s just blow this up a million times more, and put a huge band in a free situation,” and it worked, and the Strokes were amazing.

The Horseshoe, if squeezed, holds about 450 people. The Strokes could have easily sold out the 2500-capacity Kool Haus nearby.

Right. I think if you went up to the Stokes now, and asked, “Do you remember that gig?” they would remember it, but they wouldn’t remember playing the next gig in Toronto, wherever that was. Another such event was the first Rage Against The Machine show. I asked their agent if I could do it for a $5 admission. He said, “Okay.” It was the same kind of thing. A huge band, and only $5, and it supercharged the whole night. It made it crazy. Everybody there were happy to be there, and the band just got way bigger. I just love those situations where the situation helps make things a little crazy.

But still, you weren’t making a lot of money.

No. I remember when all I wanted was $5 so I could buy a hamburger. That was a good day.

You were really seeking a $30,000 a year job in music. You had to go off to India, and return to Toronto for that to happen.

I went to India to try to get away from everything. I felt like I might as well have a good time. Then, as soon as I got home I got a job right away from Jay Marciano. It was almost that I had to throw it (a job) away for it to come back to me.

With Jay Marciano hiring you at MCA Concerts Canada, you finally achieved your goal of an annual salary of $30,000.

That’s right, yeah. There were the beer wars in Canada with Molson and Labatt. I think that Molson was the sponsor for CPI. Then they switched to Labatt and Molson needed to do something. Molson asked different promoters in the U.S. if they would come to Canada, and start a company that they could be associated with, in order to be involved with music. Then it fell to Jay Marciano and MCA to do that in Canada. He was asking around who he should hire. He asked John Branigan, who is still a good friend of mine, and a great agent at William Morris. John told Jay about me.

So Jay launched the MCA Concerts Canada office.

Yes. At the time it was Jay and a couple of people in the office. A little small office. I just started booking. Before we knew it, I was booking all of these cool shows, but also tours across Canada.

That must have been a real learning curve for you.

Yeah, it was. Everything is about discovery. Up until today, it’s about discovery and finding the next band to work with. That’s when I found the Barenaked Ladies, and I did their tour that you referenced in the recent profile with Jack (Ross). Everything sold out the first day. So it was that kind of thing. Learning how to do that, and learning how to do shows.

Was Jay Marciano a good teacher?

He was the best. He was the best because the thing with Jay Marciano is that the door is always open. He’s always ready to talk. I found later on with the people that I met after him, especially some of the people that I worked with in Canada, that their doors were closed or their backs were towards you, or when you wanted to talk to them, they were too busy.

You are talking about with Universal Concerts Canada, and House of Blues Canada later on?

Yeah. Jay was always, “My door is always open. I will talk to you about whatever you want to talk about.” For me, that was all that I needed.

How cool that you remain so closely involved with Jay today.

It’s great.

As digital emerged nearly two decades, it immediately impacted on the live music sector, and it continues to do so.

Yeah, it’s harder to reach an audience, and it’s easier to reach an audience.

It’s harder to retain them.

Yes. There are so many other options. Everybody followed the same space before. They listened to the same radio station, and read the same magazine. I would always love opening up a Village Voice or a British music paper. I’d open them up and I would see the line-up for all of the different clubs and arenas, and see the bands that were playing there. It was all in front of you. Now that is all gone. I remember Terry McBride (CEO of Nettwerk Music Group) from when I worked with Terry, and Sarah McLachlan whom he managed. Terry was one of the first managers who was really aware of how the world was changing. He put Sarah tours on sale with no (marketing) money because he had realized that everybody was going to be there. They were all looking for it (the show). All you had to do was announce it, and it would sell out. You didn’t have to spend anything. I think currently it’s the same thing. Sometimes, you just have to pop it (the show) out there, and it sells out right away. That has certainly changed from the way that it was before.

Music fans now look to live performances to connect with both their favorite artists and to discover new bands.

The festivals do well too because there are so many great bands out there now. When I go to Coachella, it’s a chance for me to see everybody all at once. There are 20,30 or 40 different types of music that you want to see. The talent is so amazing that is out there. People will go to a festival, and they will get to see everybody at once. They might like 30 bands, but they all might be touring at the same time. How do you afford to go to all of those different shows?

Do you scout bands at Coachella and other festivals?

Yes. My favorite time at Coachella is the morning and early afternoon. At one o’clock, it’s not crowded, and you get to see all these bands, and you can get really close (to the stages). I love to check on bands where people have said something to me. Your ear is attuned to that.

Like many of us, you have a cultivated a network of people you trust over the years. If you hear, “You’ve got to check out this band, Elliot” twice, you are going to check the act out.

Certainly, you rely on your contacts. Your A&R is your contacts.

It’s still a word-of-the mouth business.

It’s absolutely a word-of-the mouth business. It’s about gut (reaction), and It’s word-of-the mouth and all of that. Those are things that are going to serve you well. At Coachella when you’ve heard about a band and then you go and see them...

We aren’t necessarily talking about social media here. We are talking person to person. Social media can be like white noise in the background.

Exactly. I remember those times of being in a room, and seeing a band, and getting bowled over by them. I remember seeing bands at the New Music Seminar or South by Southwest in the early days. One time, there was Sparklehorse, and I was just going, “Oh, my gawd. Who’s the manager? I will book this right now.” There’s this other band I want to mention from Scotland, Captain America which became the Eugenius. I remember seeing them at CBGBs. It was like when you see Nick Cave now, and he’s 20 feet onstage. That’s what that band was like. Everybody in the audience had this big grin.

Those are experiences that you forever treasure.

You can’t believe that your life is changing because this band is so good. Those moments, whenever they do happen, you are just so happy to be in a room with a band. You have to realize that the business side of you also clicks on too. There are two things that make you successful. There’s the artistic side, recognizing what is good out there, and then there’s the business side where you realize that you are going to be successful financially from this band too. I was never the guy who was going to sign the band to a recording contract. Or I was never going to be the guy who would say, “I want to be your manager.” By I was the person who was able to say, “Okay, let’s book a gig next week.” And I did do that.

Last May’s death of Chris Cornell had to have hit you hard, given your lengthy involvement with Soundgarden.

I remember booking those guys for the first time in some tiny club in Toronto. I remember that Chris was God-like with his long hair, and his performance onstage. The way he looked. The band straddled really good metal with good alternative rock. When I was starting my career, Soundgarden and all of those other Seattle bands were so good. It was like the melodic side of things with the heavy side of rock. Those were the guys who did perfectly. He was the perfect singer onstage. He was definitely a charming person.

I remember a legendary 1994 show with Soundgarden and Nine Inch Nails at Molson Park in Barrie, Ontario. How did unusual bill come about?

I was friends with John Malm the manager of Nine Inch Nails. While I was at MCA Concerts, Nine Inch Nails were looking to do something, and they were totally hot. “Why don‘t you go and do something interesting?” We were doing shows at Molson Park at the time. It was 20,000 people. So I thought, “I can make this amazing show outdoors.” I had Nine Inch Nails in my pocket, and I went to Soundgarden. “Why don’t we do a show with Nine Inch Nails, and Soundgarden together? Nine Inch Nails, it’s wild and it’s crazy; Soundgarden is a dynamic band. They don’t have all of the extra production.” They agreed to do the show which was amazing. It did huge business. After the show, I went up to Kim Thayil, Soundgarden’s guitar player, and I asked him what he thought of the show. He lit his lighter a couple of time to echo the production. I think they both loved that they could play on that (contrast). Years later, the two bands toured together.

["We had a chip on our shoulder about Soundgarden because their record [‘Superunknown’] came out the same day ‘Downward Spiral’ came out and they beat us to #1 on Billboard," Nine Inch Nails’ Trent Reznor told EYE Weekly's Liisa Ladouceur. "That became a kind of professional showdown. And we did show them."]

Is mixing bands of that caliber harder to do for dates or tours today?

Everything is a negotiation, right? What I personally like, and what has been artistically satisfying for me—again, I have never been the manager of a band and I have never worked for a record company. I don’t really have that influence on a band’s life in terms of what they are going to do. So sometimes it’s hard to go to someone like Rage Against the Machine and say, “You should play this show for $5 or say “Strokes, you should play for free because I think that it’s going to really help you and get your career going.” I don’t often have that opportunity. But when I’m working with bands, and I’m doing a tour like these days with Father John Misty or with Kraftwerk, I have a seat at the table. I may not have a vote but, at least, I can come up with some ideas where they should be playing and, maybe, some suggestions That’s artistically satisfying to me that I am able to do that at this point in my life and career.

There’s video on YouTube of you performing the song “My First Band.” Were you ever in a band?

I was never in a band. I always say that I wanted to be in a band. When I was working at The Silver Dollar I used to hang out with Eugene Ripper who had a band. One night his band was playing to four people. So I said, “Mind if I just drop in, and do a song?” I really liked (American radio host/artist) Ben Vaughn who had a song “My First Band” (1992). I love that song. It’s a neat song, musically. The music is just so “Louie Louie.” So I did it with him one night and we had such a fun time I did it with him a couple more times.

Then fast forward 30 years later I was at the Osheaga Music and Arts Festival in Montreal and my friend Howard Bilerman, who is this really amazing producer in Montreal, he and some friends had gotten this bus, and they were recording bands on the bus. So I went over there with my wife and our dog and we were watching all these acts do their thing. Then something went off in my head, “Hey, Howard can I do it.” He looked me like “Whoa.” The singer from Guster (Ryan Miller) was interviewing the bands in the bus.” He said, “I said, “Can we do a song?” He said, “Swell, what do you do?” I said, “I’ll sing. Can you play guitar and Howard can you play drums?” There happened to be a horn player there. There was a Québécois band on before, and Howard asked the guy to play bass. Then we found a keyboard player and kind of cobbled it all together. We did it on the first take. I was so high after doing that. It felt so good.

You remain a true music fan.

Yeah, and that’s what it’s all about all of the time.

One of your big moments must have been interviewing the Doors’ Ray Manzarek in 2013 at the Pollstar conference.

While also being a frustrated musician, I think that I am also a frustrated journalist. I was doing some things for Pollstar at the time. I would call a few people together. I asked Pollstar if I could interview somebody at the conference, but they put me in the lunch room. I said I wanted to do the Doors. My friend (author/journalist) Harvey Kubernik knows Ray. He got (Doors’ engineer) Bruce Botnick, and put it together. Coming to L.A., to the home of the Doors was pretty incredible. I really got off on being able to talk to those guys. It was funny because the former manager of the Doors, Bill Siddons, I had met too, and became friends with. I said to Ray, “Can we get Bill to do this?” And he said, “You can either have Bill or you can have Ray.”

Living in L.A. for over 13 years, are you still a fan of the Toronto Blue Jays?

Yeah, I am still a huge fan. My son is now 15, and he’s a Jays’ fan. We watch the Jays or we go and see the Raptors play. We drive out to Anaheim. He’s a Toronto fan. He’s got a Toronto uniform. It was nice to pass my love of Toronto sports on to him. He doesn’t cheer for the Dodgers; he cheers for the Jays.

On October 24th, 1992, the Jays beat the Atlanta Braves in the 6th game of the World Series to win the championship. Do you remember that night?

I was at a Buddy Guy show in Toronto and we were watching the game in the box-office. It’s like, “Where were you when John Kennedy was shot?” This is like, “Where were you when the Jays won the World Series?” It was nice that Toronto finally won something.

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 1970-80. 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.


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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