Industry Profile: John Scher

— By Larry LeBlanc

This Week In The Hot Seat With Larry LeBlanc: John Scher

In the midst of concern about the consolation of the concert business, and the apparent death rattle of the traditional record industry, Metropolitan Talent co-CEO John Scher figures there are considerable opportunities for his multifaceted entertainment company.

In 2001, the veteran New Jersey concert promoter formed a partnership with former A&M Records chairman/CEO Al Cafaro and created a diversified firm that oversees: the management of Bruce Hornsby and Art Garfunkel, and co-management of Little Feat; Hybrid Recordings (Johnette Napolitano, Assembly of Dust, and Jen Chapin); and a concert division, Metropolitan Talent Presents.

The company's theatrical productions include such Broadway hits as "Jelly's Last Jam," "Damn Yankees," "Victor/Victoria," and the off-Broadway hit "Thwak." Its TV productions include "My Favorite Broadway," starring Julie Andrews, "A Tribute to Muddy Waters: King of the Blues," "Carnegie Hall Salutes The Jazz Masters," "Elvis: The Tribute," and "Woodstock '94."

"Liza's At The Palace...!," produced by John Scher/Metropolitan Talent and Jubilee Time Productions, opens with Liza Minnelli Dec. 3rd at the Palace Theatre in New York for a limited Broadway engagement through Dec. 14th.

In conversation, Scher rattles off an impressive parade of career triumphs, including: the Grateful Dead's 15th anniversary at the University of Colorado in 1980; two Woodstock Festivals, particularly in 1994; producing the first concert at the newly-completed 78,000 seat Giants Stadium in 1978; producing six Bruce Springsteen shows for the opening of Meadowlands Arena (now the Izod Center) in 1981; the Amnesty International benefit show at Giants Stadium in 1985; and the pair of Frank Sinatra 75th birthday concerts at the Meadowlands Arena in 1990.

While an undergraduate at Brooklyn College, Scher got his first taste of the concert business. With his then partner Al Hayward, and operating as Monarch Entertainment Bureau (a title acquired from a retiring agent/manager), Scher produced shows in various New Jersey locations, including Wall Stadium.

Scher's company, later renamed Metropolitan Entertainment, came to acquire the rights to produce shows at The Capitol Theater in Passaic, New Jersey. Built in 1926 as a vaudeville house, The Capitol, with seating for up to 3,500 people, had also served as a movie theater.

With shows by the Rolling Stones, the Who, the Grateful Dead, Aerosmith, Warren Zevon, Southside Johnny and the Asbury Jukes and hundreds of others, The Capitol became a legendary rock and roll landmark over an 18 year run under Scher.

At the same time, Metropolitan Entertainment grew by expanding into upstate New York, and Connecticut and into New York, with shows at Madison Square Gardens and smaller venues like the Beacon and Irving Plaza while promoting regularly at the Meadowlands Arena. The company also produced national tours with the Grateful Dead.

In 1989, Polygram acquired a minority share of Metropolitan Entertainment, and Scher became president of Polygram Diversified, where he was responsible for Polygram's expansion into live event promotion, artist merchandising, sponsorships, and television production.

After Covanta Energy acquired Metropolitan Entertainment in 1995, Scher continued to run the company until his departure in 2001. In 2002, Clear Channel Entertainment acquired many of the assets of Metropolitan Entertainment, including a disputed non-compete agreement that covered Scher's activities as a concert promoter. After a legal battle, Scher was eventually able to relaunch himself in the concert business.

Is concert promotion the correct term for your business today?
It has never described my business. My business has been multi-faceted for 30 years. We've always been in the management business. For a long time, we've had a small boutique record company, Hybrid. And we do Broadway shows.

There was a time when the North American concert field was divided into 20 or so empires, local promoters with strong regional roots. That structure began to disintegrate in 1989 when Michael Cohl's Concert Promotions International bought the tour and merchandising rights to the Rolling Stones' Steel Wheels Tour and basically told the local promoters, "Here's the deal."
You are absolutely right. It changed when Michael wrestled the Rolling Stones' representation away from Bill Graham. Graham followed the old system. When the Stones toured, Graham partnered with each local guy. The local guy was expected to hold his own, and put up half of the money. We did the same thing representing the Grateful Dead. We partnered with (local) promoters, except in markets where we were the dominant promoter. But Michael Cohl changed all of that. Michael Cohl changed a lot of things.

Michael Cohl's linkup with the Rolling Stones was made possible by Labatt Breweries of Canada reportedly investing $25 million in CPI.
Once there was big-time outside money, whether it be Wall Street money or Anschutz Corporation money, that didn't have any emotion tied to it, and concert producers were playing with other peoples' money, you could have a different view of what you were going to do on a North American scope.

You have argued that the proliferation of a single entity booking national tours and the consolidation of the music and touring industries haven't been healthy for the entertainment business.
The music industry, and the live industry specifically, has evolved tremendously since consolidation. There is a lot of Wall Street money in the entertainment business today. I don't think it belongs there. The music business, certainly the concert business, is entrepreneurial by nature. With corporitization, you lose something. It is very hard today to find a mainstream promoter with one of the big companies that has the feel that their predecessors had--even as recently as the early '90s.

For the most part people at the two big companies [Anschutz Entertainment Group (AEG) and Live Nation] don't operate like they are stake holders. There are good people working there but their thought process is different than when it was your own money. It doesn't mean they don't work hard. Some do, some don't. But their thought process is different. It's a job.

The Ticketmaster/ Front Line Management deal happened because of today's consolidation environment.
Consolidation has not worked in our industry. Clearly, the economic model has fallen apart and, for any number of reasons, artist development has taken a bad hit. There's probably been more one hit wonders in the last decade than in the 1950s.

First of all, look at amphitheatre and arena headliners--a significant majority of those acts first broke in the '60s. The Who and the Rolling Stones are still out there and the others are from the '70s and the '80s. The number of (headlining) acts that broke in the '90s, you can count on both hands, and maybe a couple of toes.

For the most part, Live Nation has been showing losses. This is a company that represents 60 to 70 percent of the major shows in North America. You have to assume that most everybody below them is losing money too or not making an appropriate amount of money. Who are we fooling?

What will be the industry impact of Ticketmaster Entertainment?
It all depends on how they wield their power. My guess is that (the deal) is going to be a good thing for Ticketmaster, and a good thing for the industry. Obviously, it's too early to tell. But with the challenge Ticketmaster has before them, and with the lines being blurred between promoter, record company, manager etc., I'd bet on Irving Azoff [CEO, Ticketmaster Entertainment]. He is one of the smartest guys I've ever met. He's a consummate executive, and a guy who makes everybody in the room feel good. But he's also a shark. He didn't get successful and wealthy by being benevolent.

Is there a role for indie promoters today?
Yes. I think what happened was that Clear Channel and then Live Nation upped the ante so high, and AEG followed, that independent promoters, if they want to compete for acts like AC/DC or Metallica or any big act who chooses not to do national tours, they have to match that service, and match that deal.

There used to be separation of concert promotion and music distribution. Now there's more intermingling between parties.
There is more intermingling because there are companies and entrepreneurs who want to be involved in all aspects. One of the current problems is that while major record companies are wanting to sign these 360 deals, they are not very involved anymore in the artist development business. They can't afford to be. No one today has really picked up artist development in a big way.

The relationship between concert producers, and major record company executives was a very close knit one for years. They were very dependent on each other. Record companies, artist managers and artists relied on local and regional promoters to do the work that paved the way for successful (artist) careers.

With Live Nation and others making 360 deals that include tours, records, merchandising, licensing and other income steams, where do music labels fit in?
About 85% of the (physical) music still goes through their system. Nobody has proven that a 360 deal works yet. Nobody has gone through a cycle on any major act to know whether it is successful or not.

The average young band is still going to want to sign with a label. There's the comfort of having the money to market themselves. But many are finding out very quickly that labels forcing these types of deals are doing nothing but paying money and taking rights.

I've had a number of interesting meetings with record company presidents and CEOs. I've said to each of them that I don't think 360 deals work in the long term. They said, "We can't make money the way it is with pirating and everything." But I told them, "You are not offering any services."

Aren't there chinks in 360 deals? A record label doesn't know the concert business and a promoter doesn't know music distribution.
Until record companies have real in-house expertise or excusive output deals with promoters, merch companies, etc., I don't think it works.

But this could be a great opportunity for artist development because (labels) will have a stake in everything. They may have an act that only sells 150,000 albums and can then put more money up and do another record, invest in merchandising, invest in the visual part of the act's career, and bring them to every major market in North America three times over a year. Not just do a 40 date tour and make another record. But tour the act three times over a year or 18 months and let the band develop as a live act, and let the audience develop for them. The next record might sell 500,000 albums. Probably, for sure, it will sell 250,000 to 300,000. Then the act might have a career.

Wasn't working with PolyGram almost a model for the 360 deals being discusssed today?
I was at the forefront of 360 deals before they were called that. In 1989, PolyGram bought half of my company and we started PolyGram Diversified Entertainment. We built the second largest music merchandising company in the world. We produced shows on Broadway. We produced pay-for-view television shows. We were promoters and we were managers.

But we didn't sign acts for all of rights. With various [PolyGram-affiliated labels] PolyGram, A&M, Mercury, Island etc., we signed artists or re-signed artists and did everything we could to convince them to be with us in other areas. It started to work and it might have been massively successful but the senior management of PolyGram in the mid-90s became enamored with the movie business and took all their resources outside music and tried to become a Hollywood studio. That failed miserably -- It was probably the straw that broke the camel's back and probably why PolyGram got sold.

You could argue that here were 360 deals in the '40s and '50s with MCA Inc. being in the talent agency business as well as interests in Decca and Universal-International. That only ended in 1962 when the Justice department filed its antitrust suit.

You are absolutely right. In the '50s and '60s, the Justice Department stopped everything. In the '90s the Justice Department approved everything. So all of the power is now consolidated in fewer places.

With Michael Cohl [CEO of the Live Nation Artists division and chairman of Live Nation's board of directors] and Bob Ezrin [Chairman, Live Nation Artists Recording Division] leaving LiveNation, I wonder if they will third party music distribution. That's a different world for Michael Rapino [pres./CEO, Live Nation] to get into.
It appears that (Live Nation) made that decision [to third party] when they let Cohl go. They dissembled the infrastructure that he was building. When their 360 deals kick into place fully, when they have all of the rights, it will be interesting to see what they do. I suspect they will farm it out to a third party.

They might build an infrastructure but, just like the record companies, they are likely going to find out that the live part of an artist's career isn't just throwing a tour together and putting tickets on sale. You need real management expertise.

Is that why you have kept Hybrid as a boutique label? It's like you're putting your toe in the lake but not fully. You've only put out a couple records a year.
We've put together a model that we think we can make a very significant profit with by being in the artist development business. We are going to roll it out at the very end of the year or the first quarter of next year. It is very artist development intensive.

You opened The Capitol Theatre in 1971 the same year that Bill Graham closed The Fillmore East in New York. His final concert took place on June 27, 1971.
We opened The Capitol in Dec. 1971 with J. Geils Band and Humble Pie. That was the first opportunity where I could spread my wings a bit. It proved that Jersey was a separate market. It might have been right across the river but 7 million people lived in northern New Jersey in the old 201 area code. We carved out that niche, The Capitol Theatre gave me enormous joy. It was successful from the first day it opened and I'm sorry we closed it after 18 years.

You were the first promoter into Giants Stadium in 1978; and you were involved with the Meadowlands Arena opening in 1981 with 6 concerts with Bruce Springsteen
It was huge going into Giants Stadium with the Beach Boys, Steve Miller, Pablo Cruise [and Stanky Brown]. It was brand new. And Springsteen's shows at Meadowlands were incredibly exciting, a real homecoming.

In those days I didn't go into New York. I respected the territoriality of Ron Delsener [then with Delsener/Slater Enterprises, Delsener now serves as Chairman of Live Nation New York of Live Nation.] It wasn't until Meadowlands opened when Ron decided that I should partner all of my shows there with him (that I began to work in New York). We were quite friendly up to that point.

Were you nervous handling Frank Sinatra's 75th birthday at the Meadowlands Arena in 1990?
I played him for a number of years before that. But that was a great event. The opening of the Meadowlands Arena, it was hoped it would be Sinatra for the first night, with subsequent nights with Bruce Springsteen. I worked on that for more than a year, and it got rejected by Sinatra's people. Gambling had just started in Atlantic City, he had an incident there and got barred from the casino. So he swore he'd never play in New Jersey again. A few years after Meadowlands opened, we were able to book him. At that point Sinatra wasn't doing a lot of arenas. (His management) wasn't sure the show could sell out. I said, "You guys are nuts. This is New Jersey. This show will sell out in a day." It sold out in a half hour.

The story of Sharon Osbourne attacking you in the '80s has become industry folklore. What happened?
She kicked me in the balls is the story. It had to do with settlements from two shows with Ozzie Osbourne. We had a letter from Sharon saying we could deduct money from a second show. (After a dispute over payment) I walked over to her and asked if I could talk with her. She broke into a rage, screaming, and cursing. I said, "Calm down." and she threatened to pull Ozzie offstage. I said, "Be my guest but your equipment will live in Asbury Park for as long as it takes me to auction it off." Then she very calmly walked over me -we're 10 feet apart—and I'm figuring we're going to get out of this situation. Instead, she kicks me in the nuts, and knocks me down.

A number of years later, Sharon is being represented by [New York entertainment lawyer] Paul Schindler He calls me up and say they'd like to talk about doing a worldwide record and merchandising deal with PolyGram (for Ozzie). I hadn't seen Sharon since that crazy day. At the time she was overweight and poorly dressed.

Into my office walks this relatively thin woman who is dressed impeccably in expensive clothing and jewelry and pocket book. It didn't even look like her. We had a nice and lengthy meeting, a bunch of follow-up phone calls, but at the end of the day, there wasn't a deal to be made. One would think the hatchet was buried. Afterwards, she told this story in Rolling Stone.

Sharon has spun this story to make me look like I'd done something wrong. But I know the truth and everybody who was there knows the truth.

To produce on Broadway must be very challenging.
It has become much tougher on Broadway. It is still rewarding but it is very expensive and the odds of making a profit are not with you. I haven't done anything since Victor/Victoria 8 years ago.

Why do it?
You do it because you are nuts or you believe you've got the one. When you have a hit, there's a lot of money to be made. You'd rather own a piece of "Cats," "Phantom of the Opera" or "Les Miserable" than any other entertainment property in the world. I had a small investment in "Rent" and every month I still get a cheque. Working with actors, and the creative forces on a Broadway show is also very rewarding as a producer. They actually think they work for the producer. Your opinion counts. In the one night concert business, you are lucky if (artists, agents and managers) give you enough oxygen to stay alive.

Larry LeBlanc was the Canadian bureau chief of Billboard from 1991-2007, and Canadian editor of Record World from 1970-89. He was also a co-founder of the late Canadian music trade, The Record. He has been quoted on music industry issues in hundreds of publications, including Time, Forbes, the London Times, and the New York Times.

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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
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
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Música e Cultura 05/04/17
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
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
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
Peter Shapiro, Ideal Entertainment 04/16/04
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
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
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
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
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
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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