Industry Profile: Lisa White

— By Larry LeBlanc (CelebrityAccess)



This week In the Hot Seat with Larry LeBlanc: Lisa White, talent buyer, Pearl Street Warehouse.

Lisa White can not only two-step a storm down in Austin, Texas but, after more than 30 years experience, she knows the Washington, DC music scene like few others.

Little wonder that White was tapped as talent buyer for Pearl Street Warehouse which will officially open Oct. 12th with a performance by Booker T. Jones.

The venue, located in the DC Wharf’s entertainment hub, will be home to local and regional acts, as well as notable touring bands and rising artists across Americana lines and beyond.

After receiving a Bachelor of Applied Science Fashion Merchandising degree in 1985 from the University of Maryland, College Park, White worked as a DJ in local video dance clubs, as a music writer and editor for a local free arts tabloid, as an artist manager, and as a local independent club promoter.

White had an astounding 21 year run as talent buyer at the 9:30 Club until 2013; working alongside primary booker, and club co-owner Seth Hurwitz. White was also part of the club’s marketing, promotion, and advertising teams; handled day-to-day operations for the club’s in-house record label, 9:30 Records; and managed several affiliated smaller artist development rooms, including Republic Gardens, and Fletcher’s in Baltimore.

After leaving her 9:30 Club post, White took a year off mostly at her second home in Austin. In 2014, she became the head talent buyer and operations consultant for Gypsy Sally’s, the Americana and blues venue on the Georgetown waterfront. Following a year stint there, she had a six-month run as talent buyer/operations consultant for the Harrisburg Mid-Town Arts Center in Harrisburg, Pennsylvania.

Where are you today? Washington, DC or in Austin, Texas?

I am in Washington, DC. Things are really heating up for our grand opening. I don’t see myself getting back to Austin until probably the end of October, and then it would be for a shorter period of time than I would normally stay. There’s a lot going on here.

There are several Pearl Street Warehouse opening nights?

We have a soft opening on October 10th with a local group King Soul that is a great (8-piece Southern) soul and R&B band, and a great party band. That is for friends and family. Then we have an invitation-only party with Booker T. Jones on October 11th. On October 12th, it is Booker T. Jones again, and we are selling tickets for that night. That is the one that is the general public grand opening. We get to have two nights with Booker T. Jones which I am very excited about. Then Amy Helm is the next night (Oct. 13), Town Mountain is the following night (14), and then Kim Richey (15).

Pearl Street Warehouse has been developed by Nicholas Fontana, Bruce Gates and Henry Gandy. You must know Nicholas from Austin.

Henry is also from there. He’s living back there now after living in Washington, DC for a number of years.

The three are also principals and founders of Cantina Marina, a fixture in Washington, DC for over 15 years.

Yes, and that is on the (Southwest) Waterfront, very close to the site of Pearl Street Warehouse. Cantina Marina was kind of a pioneer on the Waterfront. When they went in there 15 years ago, there weren’t a lot of reasons to go over there. There were some reasons not to go over there. It was an industrial waterfront.

What is the capacity of Pearl Street Warehouse?

If we do seated it’s 150. I’m doing all seating with Kim Richey. I’m doing all-standing with the Deslondes (Nov. 9th), and that’s 325 capacity. I can do seated/standing. I can’t wait to get in there and play around with the tables and chairs and figure out exactly what configurations make sense. If I do a seated/standing configuration I have a capacity of around 250.

There’s an adjoining restaurant?

Yes. There’s also a restaurant open for breakfast, lunch, and dinner. These guys pretty much had me at “diner breakfast,” you know. Bruce reached out to the 9:30 Club to see if the 9:30 Club wanted to handle the bookings. I guess Donna Westmoreland (COO at I.M.P./ 9:30 Club) told them, “That’s not what we really do. We have our hands full. Americana is not our focus, and small clubs are not our focus, but I know somebody that would be a really good fit for you.” She called me, and said, “Can I put you in touch with these guys?” I said “Absolutely.” So I talked to them on the phone, and then I met them. They said, “We are going to be open for breakfast, lunch, and supper, and we are going to be serving a diner-style breakfast,” and I said, “I’m in.” I already knew I was in anyway just because of their focus on Americana. They shared my ideas that Americana can be a very broad (musical) umbrella, and they also said, “We know how to run a bar and a restaurant, but we do not know how to run a (music) venue, and we need somebody that does.” I was like, “Oh, you just said the right thing!”

With its birth in the ‘90s, Americana sounded resoundingly fresh against the mainstream music of the time. The genre went on to considerably broaden the boundaries of folk, country, blues, and even rock. It’s a rich musical environment we are living in today, particularly with Americana, but though many artists and clubs are included under its umbrella, radio support isn’t as evident. But there’s no denying, It’s a musically rich genre.

I think so too. Those of us who are used to radio are a little bit at a loss because there isn’t much of it, but I think there are more people turning other people onto things (music and artists) through social media means. It’s just sort of in a nascent stage, right now. Spotify, to some extent, is turning people onto things; but frankly, the stuff that Spotify throws at me sometimes—that it thinks i am going to like because of the other stuff that I’m listening to--I’m like, “What is this? I don’t like this. Why does your algorithm think this is what I am into?” Because it’s too poppy or something.

How do you know that an act will have an audience at the club now that the traditional parameters of popularity are not in place? Say you are impressed by an act at the Folk Alliance International conference or the Americana Music Festival & Conference. How do you figure out if they will do well at the club?

Well, there’s the conundrum. One of the things that I said to someone the other day was, “Booking a club is akin to gambling because you are taking chances, and nothing is a sure thing.”

Decades ago there’d be radio and media support or strong advance word-of-mouth about an artist or their recording. When John Prine released a new album most everybody knew about it within weeks. That not true any more People may not know who Gretchen Peters is, and she’s a marvelous singer/songwriter.

Yeah. I’d like to book her again. I booked her at Gypsy Sally’s. I’d like to book her at the Pearl Street Warehouse. The 9:30 Club, in the early days when it started, the stuff that Seth was booking in there was very much a word-of-mouth thing. A lot of it was very underground. It didn’t have radio support. People found about it from fanzines or they’d go to a record store, and talk to the people that worked there. They had to get the fanzines, read the fanzines, and find out about the different bands, and about the different cities (for the tour) so when they came through the 9:30 Club, they were like, “I’ve heard of Mission of Burma. They are from Boston, and they are really good.”

That support infrastructure has evaporated over the years.

Yes. All that is gone now. But what there is now is people communicating amongst themselves all of the time on social media, and going to whatever blogs and podcasts that interest them. So how do you harness that to promote shows? Well, that’s a good question. Maybe, one reason why I like working with a small venue is because in a small venue if you have got a performer, and they can only pull 80 people there, if you have got some tables and chairs out, and people are close to the stage, then that feels alright. It’s intimate and, you as an audience member can have a connection with the artist; and the artist can look out, and see people, and feel like, “Well, it’s only 80 people, but they are all into it. This is cool.”

What’s intriguing about the Washington, DC-Baltimore corridor is that it has been the traditional home for folk, jazz, and bluegrass but, due to the turnover of people in the cities from overseas, also global or worldbeat music as well. Whereas in many other American cities you don’t see that broad musical choice.

That’s true and that’s one of the things that I love about Washington, DC. There are a lot of things that can work here that, maybe, wouldn’t work in other places.

There’s also The Birchmere in Old Town Alexandria, Virginia, approx. six miles south of downtown Washington, DC which has been going for over 50 years.

I think it’s more than 50.

[The Birchmere's founder/owner Gary Oelze opened this "neighborhood bar" on Apr. 4, 1966, retaining the original Birchmere name. Its second home, from 1981 to 1997, was just up the street from the current venue.]

Michael Jaworek has been there since 1986.

I know isn’t that great? Michael was very good to me when I was starting out in the business in the ‘80s. He was very good to me.

[Now VP of The Birchmere, Michael Jaworek has booked the celebrated club since 1988 when he was at Chesapeake Concerts in Falls Church, Virginia that was a spin-off from Cellar Door Productions. It was operated by Sam L'Hommedieu who had co-founded Cellar Door Productions with Jack Boyle. When Boyle and L'Hommedieu split in 1978, Jaworek then joined L'Hommedieu in 1986.]

There are also a number of larger local venues like The Howard, Sixth and I, and The Lincoln Theatre. You might make an argument that there are too many music venues in Austin. You can’t make that argument as easily about the Washington, DC, and Baltimore region.

Yeah, and the population has increased so much with people moving into the city; either from other places or they had been living further out in the suburbs, and the ex-burbs and they are empty nesters moving into the city because they want to be closer to all of the cultural things that the city has to offer. So the population has grown so much that I think that it (the Baltimore-Washington, DC Metropolitan Area) can sustain a lot of clubs.

[In 2015, the U.S. Census Bureau data estimated the population of Washington, DC at 672,228 residents. During the work week, the number of commuters from the suburbs into the city swells the population by an estimated 71.8%, to over one million people. The Washington, DC Metropolitan Area, which includes the surrounding counties in Maryland and Virginia, is the 8th largest in the United States, with more than 5 million residents. When combined with Baltimore and its suburbs, the Baltimore-Washington, DC Metropolitan Area has a population exceeding 8 million residents, the 4th largest in the U.S.]

Is there a huge audience turnover in Washington clubs? A change of administration leads to an influx of new people coming in for new positions. Do you see anything similar to the population turnover in college towns?

It does happen but, maybe, because I grew up here I don’t really notice. I can’t really attribute any change like turnouts for shows to that. I don’t know. Certainly, it happens. We get people moving here all of the time from all over the world. But I know a lot of people who are Washington, DC natives or who have been here for many many years.

Washington, DC has the worst traffic jams.

Oh, Austin has some pretty bad traffic jams too.

You have been living in Austin since 2005.

Yeah, 2005. I spend the majority of my time in Washington, DC That’s where my mom is. She still living in this area and I have nieces and nephews here. My mother is about to be 89. She still gets around fairly well, but I’m not looking to move 1,500 miles away either. I kind of like moving around and being in both places. So what I have been doing for the last 12 years is that I have been going down to Austin every month and staying for a week or two weeks. If it’s January or February, I try and stay away for three or four weeks.

Is Washington, DC too cold in the winter?

It can be. It’s too cold for me.

What I like about Austin is that the city is the epicenter of a fiercely individualistic music scene. But I also like Lafayette for its Cajun and Zydeco roots as well.

Oh sure, I’m a Zydeco dancer. I’m a two-stepper. I am going to be booking some Cajun music and Zydeco music at Pearl Street Warehouse, you bet.

The late Zydeco accordionist Clifton Chenier from Opelousas was such an international superstar.

Well, his son C.J. is still out there (with the Red Hot Louisiana Band). I went to a C.J. thing recently and danced a lot.

Washington, DC has always had a vibrant music scene dating back to the '50s, when it became known as the "Bluegrass Capital of America." In the '70s, the Seldom Scene became the city's most prominent and longest-lasting bluegrass band. Americana-styled acts like Mary Chapin Carpenter, Alison Kraus, the Indigo Girls, and Emmylou Harris came up through ranks in the city. The Seldom Scene was The Birchmere's home band for over 20 years.

Oh yes, I feel very lucky to have seen them and others. I feel fortunate to have seen them many times. (The late great guitar virtuosos) Danny Gatton and Roy Buchanan as well.

Oh, the great Danny Gatton who was once described as "The World's Greatest Unknown Guitar Player."

I know. Yeah. I got to see him so many times because he was playing around town at little teeny clubs. I don’t think that we really realized at the time that he was world-class. We knew that he was really good, and we loved to go and see him but, later on, I realized how lucky I really was to see him then. The same thing with Roy Buchanan who was playing little teeny clubs. What a guitar player.

I remember seeing the legendary jazz guitarist Lenny Beau playing in Toronto clubs. I don’t know if you know him. He’s one of the most admired guitarists of his generation in musician's circles.

Yeah, I worked at the JazzTimes magazine (founded in Washington, DC in 1970 by Ira Davidson Sabin) for about a year as a circulation manager in their office, and then for many years as their proofreader. I got familiar with a lot of jazz records through that.

You are about to be 56. So you are part of a generation that grew up on Stevie Ray Vaughan and George Thorogood.

I went to see George Thorogood and Stevie Ray many times. Definitely. (Local radio station) WHFS turned us onto Stevie Ray.

The years you worked at the 9:30 Club were largely before the advent of large-scale touring festivals or before similar events being widely held by local municipalities throughout North America.

Believe me, it has affected the club business because in the summertime people are on the road doing festivals. The festivals have radius clauses, and it’s really hard to book clubs.

Artist radius clauses have increased in their scope as music festivals have become big business, and a handful of corporations have taken primary control of the industry.

Yes, they have.

[A radius clause is a common requirement of the contracts artists sign when they agree to play a show. These clauses restrict how long that artist must wait before and after that show to play in the same market, and how many miles outside of that market they must go in order to play another show within that time frame.]

Never mind that that emerging or mid-range acts are being harmed by questionable limitations on where and when they can tour. I have seen clauses for 300 miles, six months before and after a show.

That makes no sense to me. That is pretty excessive especially for the smaller bands that are on the undercard. They need those club dates in between so that they can get gas money. They are not getting paid the big bucks to be on these festivals. It’s an investment and exposure for them. Then the radius clause limits their ability to do club shows where they can get paid, and make some money to carry on with the tour.

Two decades ago, when there wasn’t an abundance of festivals, you as a club booker would have agents and managers beating down your door trying to sell you their latest client. Agents and managers still do that today, but when you started booking at the 9:30 Club in the early '90s, there were more opportunities to book local openers, even for established national headliners.

Right. What you saw afterward is what I call “The Nirvana Phenomenon,” where suddenly labels realized, “Oh, there are a bunch of unknown bands out there that people want to hear, and we can make money off of them. So let’s just sign all of them so nobody else can get them.” Then the agents and managers were all trying to sell us their bands that might have had something going on in their home region, but didn’t necessarily have anything going where we were. Agents were trying to get opportunities for these bands; trying to get them out there (touring), and develop them, and show their management that they were doing something for the bands. That was kind of a crazy time.

That still goes on today.

Sure.

Not only have big name and mid-range heritage acts continued touring, but there’s now acts that get a zillion hits on social media, and they figure they have a live following. Those numbers don’t mean anyone is going to put down money for a hard ticket to see them.

Also, it doesn’t mean that they can pull off a live show just because they can do a bunch of stuff in the studio when they have all of the time in the world to tweak and produce. It doesn’t mean they can go out and give people, who paid money to see them, a satisfying live show. That is something that we are kind of seeing now.

Are there still worthy regional developing bands because it seems that most bands want to play across America?

Well, I think we still do have them. The East Coast is a little bit different from the rest of the country because there are so many primary and secondary markets that are close together. They can go and bounce around, and play around a bunch of different shows without going terribly far from home; whereas in the Midwest, where things are a lot further apart, maybe, they cannot do that. Like Austin. Austin is isolated. It’s in the middle of Texas. It’s a great music town, but getting to and from it, there are not as many places that bands can play in-between.

We don’t hear of bands doing a Texas tour, for sure.

(Laughing) They can but there are not many places that they can do it at. There’s so much wide open space. But in the mid-Atlantic region, there are definitely bands that are developing and that are playing in this region. They can play in Philadelphia, Baltimore, and DC. They can go down, and they can hit Richmond (Virginia) and, maybe, go down and play at The Cat’s Cradle (in Carrboro, North Carolina), All of these clubs are pretty close by. They can do a weekend, a three-day thing, and work a bunch of different markets at once, just building something up around here. I think that the East Coast is a bit better for that than the rest of country is.

How did you ever get into so much music?

I was drawn to music my whole life.

You are a lifer?

Oh yeah. At 5, I had the Beatles’ “Help!” record (released in 1965). I then got “Sgt. Pepper's Lonely Hearts Club Band” when it came out in 1967. I was 6. So I was listening to all of that. My dad was very interested in music during World War II when he was stationed in Nashville. He was out dancing to all of the big bands, and he sang on the radio with a trio.

Would he have been known?

Oh no. It was just like a local scene that he did. There was an upright bass, and an acoustic guitar. He was stationed in Nashville in the ‘40s. It was a radio program. Probably a variety program and they were part of the acts that appeared on the variety program. So he was always into music, and he sang with the choral group. Later on, he was very active in the anti-war and civil rights movements. We had the protest singers’ records in the house. We had Woody Guthrie and Pete Seeger records in the house. We also had Simon and Garfunkel, and we listened to a lot of that.

Did you play music as a kid or teenager?

No. No, I didn’t. I don’t know why not, but I didn’t. When I was in high school we were into Jimi Hendrix. I had Crosby Stills and Nash, & Young’s “4 Way Street.” I wore that out. But I was also listening to Yes, Pink Floyd, and some of the artier stuff. We had David Bowie’s “Low” album (1977). We had that. And Led Zeppelin of course. Then later when I was in college led me to the blues. We also had a really great radio station, WHFS. I started listening to that while I was in high school in Washington, DC.

You went to the University of Maryland which has a radio station as well.

WMUC. I was a DJ on it for a couple of years. It was 10 watts carrier current (a method of low power AM radio transmission that uses AC electrical wiring to propagate a medium frequency) into the dorms, and dining halls. My show was on Monday afternoons. I played a lot of punk rock, DC bands, paisley underground, cowpunk, early electronic, and new wave, post-punk. That sort of thing.

Were you attracted to the radio job by receiving free records?

Not really. I think that we got a discount. There was a really great record store in the student union. A friend of mine was the buyer for it, and he would always hip me to stuff. I think we got a discount there.

At the University of Maryland, College Park, you majored in fashion merchandising.

Yeah, that was my major. When I was a kid I was always into sewing things and stuff. My first job was at a bakery, and my second job was at a fabric store.

A Bachelor of Applied Science Fashion Merchandising degree. That is so wild.

It’s not that wild if you think about it. You have to take a lot of chemistry classes for that because so much fabric is chemical fiber. It’s man-made fibers and so there’s definitely a science element to it.

You attended university from 1980 to 1985.

I took a year off between high school, and college and I worked in a fabric store. I graduated from high school in 1979. I did 4 1/2 years at UMD (University of Maryland) so that would be spring of '85 that I graduated.

What was your ambition?

To be a buyer for a retail clothing store.

You didn’t get to do that.

Well, I just kinda realized...I tried to get involved with the fashion club, and stuff like that but I realized that I didn’t fit in with these people.

Working at the university radio station would have given you a taste of the music industry.

I didn’t get on the radio station until after I graduated. I was working my way through school, and I didn’t have a lot of free time. So I got involved with the radio station afterward, and then I got busted. You had to be a student (to be working at the station) and they busted me for not being a student. So I said, “Fine, I am going to take a class.” So I took a voice class so I could be on the air, and still do my show. You know I had always been going to see these great DC musicians and bands, and I just realized, “Well, I’m a lot more interested in music than I am in clothes.”

Groups like R.E.M., Nirvana, Red Hot Chilli Peppers, Smashing Pumpkins all played the 9:30 Club around that time.

Oh, I saw all of their first shows at the 9:30 Club. All those bands.

You did some club DJing. Did that come after university?

Yes. I was going out to the New Wave video dance clubs. Poseurs, and the 9:30 Club in its early years had a really great DJ video dance night, and I went to that. There was another club One Flight Up. So I was going there, and I was dancing. Sometimes several nights a week, I was out dancing. A friend of mine who was a DJ said, “You should really do this guest DJ night at Poseurs. I will teach you how to DJ. I think that you will be really good.” So he taught me how to DJ, and I did one of the guest DJ nights, and they were like, “Do you want a job?” So I was like, “Yeah, I want a job. “So I got a job on Sundays at Poseurs and I did Wednesdays at One Flight Up until it closed. I started meeting people who were doing things with bands. I met a guy who was doing a free newspaper things, and he was trying to sell ads. The newspaper was mostly cartoons. I said, “You should have some music articles and, maybe, that would help you sell ads to record stores,” and “Why don’t you let me write some record reviews or interview some bands?” So he said okay, and I did that. I really started meeting people who were doing things in the music business and I was helping put on shows, and figuring how to put on a show. One thing sort of led to another from that, really.

As a freelance booker in town, you were putting bands in tiny clubs like d.c.space, and at BBQ Iguana. Had you met up with the 9:30 Club co-owners, Seth Hurwitz, and his partner Richard Heinecke in I.M.P. Productions?

Not really. I didn’t meet them. But I was in the 9:30 Club several nights a week there for awhile. I didn’t really meet Seth and Rich until later. I got involved with the Washington Area Music Association, which was trying to do the Wammies (The Washington Area Music Awards) for local musicians and bands. They were also doing a the WAMA Crosstown Jam where they were getting a bunch of clubs onboard, and putting bands in the clubs, and then the proceeds would go to local charities. CDs had just become a thing, and they were going to do a compilation of DC bands. They got half-way into the project, and then everybody got too busy. I was a new recruit, so they said, “Do this.” So I started doing the WAMA Crosstown Jam stuff, and I said, “You should let me book shows in the 9:30 Club. I know what bands to put in there that would do really well. So I did three nights at the 9:30 Club and one of the nights was sold out and other two were close to being sold out. I think that is why when the job came up shortly afterward to book the place that I got the job because I had already made money for them.

What were you hired to do at the 9:30 Club? They didn’t allow you book the headlining acts?

No, no. I was hired to do local booking, and then there were times when I would talk to some of the smaller agencies. Some of the agents I worked with then have since gone on to do great things. In the beginning, Seth didn’t want to talk to people that he didn’t already know. So I was the one that got to talk to the people that he didn’t know or who were representing some of the baby bands that he didn’t know about. I would talk to those agents and managers. Or sometimes, if he was having a fight with an agent, he would say call his person and find out who is supporting whatever act. So I would call out, “Hi, I’m Lisa White from the 9:30 Club and I just need to know....” and I would get an earful from somebody. I would be like, “Whoa. I don’t know anything about that. I’m just on an ad deadline and I am just trying to find out who is opening up for this show.”

The 9:30 Club was then, as you so colorfully put it, “a wonderful rat-infested hellhole," on F Street. For the first few years, Seth and Richard were losing $100,000 a year with the club, and making up the difference with concert shows at other venues.

Yeah. Well, when I started working for the 9:30 Club in 1991, that‘s where we were. We moved to V Street in 1996.

[On January 5, 1996, after extensive remodeling, the former WUST Radio Music Hall opened as the new 9:30 Club with an appearance by the Smashing Pumpkins.]

A wonderful rat-infested hellhole on F Street?

My office was in the basement and there were times when a rat would run across my foot when I was sitting at my desk. We dealt with rats on a daily basis.

Two years after you started at the 9:30 Club the Black Cat opened on 14th St. with a bit bigger stage, a bit bigger dressing room, and bigger capacity of 700 people. The 9:30 Club briefly lost its leverage in the market.

They made things difficult at times. They forced the 9:30 Club to innovate which they probably they should have done anyway. They needed a push to do it. As time went on, the Black Cat established more of an identity, and with the 9:30 Club, its identity evolved. Some of the more punk rock-oriented, and indie rock-oriented things would go to the Black Cat while some of the other things that weren’t really a good fit for the Black Cat would stay at the 9:30 Club. Whereas before, the 9:30 Club would book everybody. Every kind of music.

Was Seth a good teacher?

Very much so. Some of the things....he’s not very hand’s on. I didn’t have a lot of contact with him. It‘s important to note that I was never responsible for booking the full calendar or anything. It was just like spot things here and there.

Did that role at the club change over the years as I.M.P. broadened its reach across the region, and you were putting bands in other rooms that the company became involved in like Republic Gardens, Fletcher's in Baltimore, and the U Street Music Hall?

Not really. Seth would start something, and I would finish it. He would say, “This date needs to be filled, go and find something” and I would start shaking trees and see who was around, and fill it but I was never responsible for the full calendar at the 9:30 Club. I did have Fletcher’s in Baltimore. I was responsible for the full calendar there from 1996 to 2002. That was filling the calendar, advancing all of the shows, and handling the staffing. I was doing all of that. I was doing whatever needed to be done at the 9:30 Club, but I was never responsible for the calendar or anything like at that.

Still, you had a front row seat to study Seth’s booking strategy.

Yes, I learned a lot from him. I learned a lot from him about how the business works. How if somebody comes at you with something, the ways you get around or steer it in a different direction that is more advantageous to you. I certainly learned a lot of that from him. Yes, I did.

I.M.P. was also the promoter of the Virgin Mobile FreeFest in the region and you were pulled in as a talent wrangler for two years.

Oh yeah, out at Pimlico (the Pimlico Race Track in Baltimore). I enjoyed that. I am pretty organized. I knew exactly what was needed to be done, and what was needed for my staff, and how I wanted to wrangle it so everybody got to where they needed to go and everything. I enjoy that kind of thing very much.

At why stage did the major agents start talking to you directly?

I don’t know. I was talking to some of them for various things. Many of them when we were still on F Street. But not that much. I was talking to really the indie agents and then I would occasionally talk to people at William Morris. When we were on F street I was dealing “Boche” over at Billions (David “Boche” Viecelli, founder/president of The Billions Corporation), and Tom Windish (then at The Windish Agency). Look at what he’s done (now a senior executive at the Paradigm Talent Agency). Wow, you know. I also talked to Larry Webman, who was at Flash Group (Flash Group Concerts in Connecticut) as well as Steve Kaul at Twin Towers, Todd Cote and Kevin Wortis at Rave Booking, and Dave Kaplan at Easy Action. Gosh, I don’t remember the names of some of these agencies anymore because none of them exist anymore. They have all morphed into other things.

All your wrangling and booking experience likely provided you with the skill set to be so focused with your work. Many people aren’t able to deal with the types of pressures involved with overseeing events.

Yeah. I had to learn how to deal with it for sure. Everybody has different coping tactics. I definitely had to learn how to think on my feet because in the live music business you get presented with a different situation every day. That’s part of what people like me like about this life. That it’s not the same every day. You have to think about things, and you have to figure things out and find mutually agreeable solutions to solve problems. That’s part of the thrill of it, really.

At the same time taking vacation time for a booker is very difficult. Your vacation will likely be disrupted by calls about a booking falling through or a band being stranded.

Well, one of the reasons why I quit my job at the 9:30 Club was because every vacation that I ever had was like that. It got to the point that I needed some time off. My dad was 91 and in the early stages of dementia. I wanted to be up there (in Washington, DC) more than I am able to. I just needed some time to myself. I knew that the only way that I was going to get it was to quit my job. Just to be able to disengage because there’s no such thing as a vacation in this business. My dad died in October of 2013, a few months after I left the 9:30 Club. I'm glad that I got to spend some extra time with him while he was still around.

You became a consultant.

Yeah. At first, I didn’t do anything. I went to Austin, and I went two-stepping a lot. I saw a lot of great bands and great musicians. Had some barbeque. That was really great, but I was ready to be back in the saddle. I think that with a smaller club (like Gypsy Sally’s and Pearl Street Warehouse) there aren’t as many things as there were at the 9:30 Club where he (Seth) was piggybacking multiple companies and multiple venues onto the same core group of people. It was often all hands on deck. It was great. I loved it. I did. I loved it, but I reached a point where I thought, “I want to have more control over my life to do things. I would like to have some free time every now and again, and a time when I can completely disengage from work.”

What appealed about Gypsy Sally’s to sign on to oversee bookings there?

I liked the Americana focus of Gypsy Sally’s, and I liked the size. I like a small club. I like small. I had left the 9:30 Club and I hadn’t been working for 9 or 10 months. It was time to do something, I was definitely like, “Okay, I need some income now.” The Gypsy Sally’s thing came up and I was like, “Wow This could be really cool. I know some things that will help them. I like what they are trying to do here, and I like the spirit of the thing. The commitment for the love of the music. I think that’s great. I can hitch my wagon to this, and I did.”

Well, the club is named from a Townes Van Zandt song “Tecumseh Valley” with the line about a barmaid Caroline “tending bar at Gypsy Sally’s.”

It’s named after a Townes Van Zandt song, and I liked the location on the Georgetown waterfront. I like being close to the water. They were just starting out They had been opened for a couple of months when they talked to me. I knew a thing about launching a club. I learned a lot from when the 9:30 Club moved from F Street to V Street, and it practically tripled in size. I learned from that, and from when we launched Fletcher’s up in Baltimore. It was a bar, but they didn’t have live music. So we launched that, and I learned a lot from that experience.

Gypsy Sally’s co-owners Karen Ensor and her husband David had no experience in running a club. David had been a singer/songwriter and Karen had been a lawyer on Wall Street.

Yes. It’s their love of music that makes them want to have a club, but they didn’t have the knowledge of running a club. I think that David had restaurant experience. He is a singer/songwriter, but as far as running a club, it really is not like any other business. I knew things that could help them to get their business off the ground and to streamline some of their procedures, and cut costs. That appealed to me as well because I like the logistics of things (plans), and booking Americana music.

A further learning experience for you as well as teaching Karen and David.

Yeah, because every situation is different.

More control because you were responsible for the full talent calendar?

Definitely. At the 930 Club I had always wanted to bring in twang things (Americana acts), and that wasn’t... the 930 Club does do some things that have a bit of twang to it--don’t get me wrong--but Americana isn’t their main focus. I welcomed the opportunity to just focus on that. To me, Americana means a lot of different things. So I was definitely into the idea of focusing on different kinds of Americana. David and Karen hadn't thought about bringing in Zydeco but I was like, “We have to bring in some Zydeco. Zydeco is from Louisiana. Louisiana is in America. So Zydeco is Americana. So I brought in Rosie Ledet, Curley Taylor and Zydeco Trouble, and Andre Thierry. . I worked with the local Zydeco promoter and we did Zydeco dance lessons that were included in the ticket price. We did that in the afternoon. We had some gumbo and other things as well. We marketed the lessons on a bunch of meet-up groups, and first date sites. Anything relating to dance. Anything relating to Louisiana food. Whatever our promotions person could find, she planted things everywhere. We had a lot of people turn out for lessons.

Gypsy Sally’s became one of only six establishments in Georgetown to hold a coveted tavern license.

Well, Georgetown is a particularly hard case. That neighborhood passed a law back in the early ‘90s to limit the number to licenses. That was because Georgetown was like party central and the –people that lived there wanted to put a stop to it. I kinda don’t blame them.

[A 1994 law set that tavern license limit for the Georgetown Historic District.]

Gypsy Sally’s is located in a refurbished early-20th-century ice factory.

Yes, it dates back to 1903. That Georgetown waterfront, and also where Pearl Street Warehouse is, used to be a port area. So there were warehouses there. Some of them are still there on the Georgetown Waterfront, and Gypsy Sally’s is one of them. The Bayou in DC, which has since been torn down (in 1999), was a nightclub there since 1939 (first as a Dixieland nightclub called The Pirates Den). The port was right there, and they would bring stuff into the warehouse to ship to other places. The Southwest waterfront, where Pearl Street Warehouse is, used to be a port area and a fish market. They are keeping the fish market, but a lot of that port stuff was torn down.

Have you found a partner to share this kind of chaotic club life?

No.

It can hinder your personal life being so involved with live music.

Well, sometimes people don’t understand the time demands. That is certainly a problem that I’ve had in relationships in the past. They just did not understand why I really have to be somewhere at three in the morning sometimes. Country artist Whitney Rose has a song called “Three Minute Love Affair” which she wrote after locating to Austin and watching the dancers there, the two steppers. She wrote a song called “Three Minute Love Affair’ because that’s how long the dance is. It’s a three-minute love affair. So I have a lot of those, but not in DC. There’s not much two-stepping in DC.

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.”

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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, thebookingagency.com 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, Foxman.com 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, Turntable.fm 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, ItsAboutMusic.com 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, Twincloud.com 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, CultureCatch.com 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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