Industry Profile: Arthur Fogel
By Larry LeBlanc
Industry Profile: Arthur Fogel ó This week In The Hot Seat with Larry LeBlanc: Arthur Fogel
Arthur Fogelís home base for nearly 9 years has been Los Angeles, but his route book spans the globe.
A Canadian, he is the undisputed top international tour producer in the world.
As chairman of global music, and CEO of global touring at Live Nation, Fogel directs its music division in the acquisition of live musical events around the world, and has overseen mega-tours of U2, Madonna, Pink Floyd, Sting, the Police, David Bowie and Neil Young.
"Arthur knows how to make the impossible possible," claims Madonna. "He's a touring genius."
Fogel was tour manager for the Toronto new wave band Martha & the Muffins before hooking up with Concert Productions International (CPI) in 1981.
Michael Cohl and Bill Ballard had started Toronto-based CPI in 1973, financially backed by partner Molson and later Labatt's breweries. For the next decade, CPI was primarily a Canadian player in the North Americaís concert landscape.
That changed as CPI significantly extended its sphere of influence, first across Canada through affiliations with Donald K. Donald in Montreal, Perryscope Concert Productions in Vancouver, and then with affiliations with regional promoters in the United States, including holding a 50% stake in Feyline Productions of Denver
Under Cohl, CPI created new revenue streams around tours, including utilizing aggressive merchandising, VIP ticketing, and fan clubs. in 1987, Cohl and Ballard became partners with Labattís in BCL Entertainment which became CPIís parent.
Fogelís life changed forever when Cohl wrangled the Rolling Stones' 1989 Steel Wheels world tour from San Francisco-based promoter Bill Graham. Suddenly, Fogel, who had moved up through the ranks to become CPIís president, found himself routing a Stones world tour despite having no prior experience of promoting or producing shows overseas.
However, while CPI continued to produce an average of more than 250 concerts per year, Fogel, by planning out further international tours by the Rolling Stones as well as with Pink Floyd and David Bowie in the '90, became a major player on the global stage.
The traditional take on the Cohl/Fogel relationship in those years was that the colorful Cohl was the hard-nosed master chess strategist with a global vision (and enough cards up his sleeve to confound his opponents) while Fogel was the nuts-and-bolts administrator who nailed down the most minute details of any venture.
That might be a widely-held industry perception but, as insiders might tell you, it is not quite true.
Cohl may possess those large-scale attributes but heís also renowned for tracking down the tiniest detail of a business. And Fogel is a fierce and competitive negotiator in his own right.
Fogel continued in his CPI global capacity until MCA Concerts Canada and Molson Breweries purchased the concert divisions of BCL Entertainment, including CPI (which Cohl would later take back and sell again in separate deals to SFX, Clear Channel and Live Nation). Cohl then launched The Next Adventure with Fogel as a partner.
Based in Toronto and Bermuda, TNA became the largest promoter/producer of international tours, including those with the Rolling Stones, U2, Pink Floyd, David Bowie, and others.
In 1999, TNA was sold to SFX, which eventually became Live Nation in 2005. For over a decade, Fogel has flourished at his new corporate home with tours by U2 , Madonna, David Bowie, Sting, Rush, Blue Man Group, and the Police.
Fogel is producing U2ís 360į Tour which has sold almost three million tickets to date. The tour is global and lengthy. U2 will stay in Europe through Aug. 22, then hit North American shores on Sept. 12 until Oct. 28.† The band plans to be working until the fall of 2010.
In 2008, Madonnaís Sticky & SweetĒ tour grossed over $280 million, with another $130 million anticipated from her current summer European stint.†
Fogel was instrumental in both Madonna and U2 signing Live Tour 360-degree share-revenue deals. Madonna bought into that vision after spending months with Fogel on her 2006 Confessions tour.
As tour producer, Fogel organizes promotion, routing, marketing and the efforts of local production staff and promoters. He also takes care of the production budget, hiring key personnel who hire their own staff; and contracts vendors.
While Fogel rarely places himself out in the sunlight glare of media, throughout a tour, he very visibly is the guy in charge.
Has it been a burden having both U2 and Madonna touring Europe at the same time this summer?
Iíve managed to avoid a conflict for 10 years. Not this summer. Both tours have done amazing but it is challenging and hard work (working both). The two biggest acts in the world, and Iím right there.
How extensive is U2ís 360į Tour?
This year itís 44 shows between Europe and North America. Next year, we will re-do Europe and North America and possibly do South America at the end of the year. I donít know if there will be anything else. Likely, next year will be between 40 and 50 shows.
You produced U2ís Vertigo tour (2005-06) that grossed $385 to $389 million. How does this tour compare?
This tour will, in all likelihood, end up being the highest-grossing tour in history. We are at almost three million tickets sold. This yearís gross will be $300 million plus. If you layer on next yearís shows, itís certainly going to top $600 million. The top tour of all time was the Rolling Stonesí 40 Licks tour (2002-3) which (grossed) around $540 million.
Has the 360į Tour staging opened up increased ticketing opportunities?
Yes. Basically, for every two show we do, we are doing three because in most places we have added 20,000 tickets to the (venueís) capacity.
[The 360į Tour features a round stage, designed by Willie Williams and architect Mark Fisher, positioned on the stadium floor with the band surrounded by their audience. By elevating the sound and lighting equipment, the elements that traditionally obscure performers from their audience were removed.]
ďSticky & SweetĒ is Madonnaís biggest tour of her career?
Thereís no question. The first Madonna tour I did in 2001 (The Drowned World Tour) grossed around $95 million, if memory serves. The re-Invention Tour (in 2004) was $125 million, and the Confessions Tour (in 2006) was around $195 million.
The Sticky & Sweet tour is going to do $420 million (gross). We did $280 million in last yearís dates and now thereís this two month run to end the tour.
You look at (the tour) and you go, ďSheís bigger than sheís ever been.Ē Whatever the peripheral issues are about her, people want to pick at her, but sheís an amazing performer who puts on a great show. She is one of the biggest global acts today, certainly the biggest female global act. Everybody knows Madonna. She is arguably the most famous woman in the world.
Has your role and responsibilities with Madonna stepped up with each tour?
Yes. The first tour I was involved with I wasnít the producer. I was just the promoter. After a fourth tour, the confidence is there (between us), the history is there. It works well. I think being the incredible wise and astute businesswomen she is, she saw the (Live Nation 360 degree) model, the ultimate partnership model, as making sense. So, just like, U2, it has become a partnership with her..
U2 manager Paul McGuiness claims that your relationship with U2 goes back to the bandís first Canadian gig at the El Mocambo Tavern on Dec. 9, 1980.
I donít precisely remember the El Mocambo with U2. Thatís a long time ago. But I remember a show at the Maple Leaf Ballroom on St. Clair Avenue ((March 10, 1981). That was the second play for U2 in Toronto (with opening act the Diodes). I think U2 was one of the few bands that ever played that place. These Irish guys owned it. Each step working with U2 through the years in Canada led to me becoming their world-wide promoter/producer, just before the PopMart tour in 1997.
[The Maple Leaf Ballroom, operated by John Gilligan, was an institution in Toronto for several decades. It brought in top show bands from Ireland.]
U2 has considerable weight as a live act today.
No question. They are bigger today than they ever have been. But thereís also another dimension to that. Performing is an art form into itself. I canít tell you how many times Iíve gone to see the flavor of the month buzz band opening, and they are shitty live. They go up and (just) play their songs.
Itís called a show because people want to see a show. They want to be entertained. They want to be excited.
Why U2 is bigger today as a live attraction than they have ever been is because they are great live. They know how to deliver a show. People then want to go to the next show, and word-of-mouth builds (demand).
You were closely involved in the 360 degree deal negotiations with U2 and Madonna. While the predicted value of these deals seems huge some suggest that these will turn out to be safe bets for Live Nation.
Thereís no question. We are not in the habit of making stupid deals. When you truly analyze the potential from those deals in all of the different areas that we are partners in, it is absolutely a no-brainer to me. What better partners are there than U2, Madonna, Jay-Z, Shakira and Nickelback? All great artists with great futures in front of them.
Yet, since Michael Cohl left Live Nation last summer, there havenít been any more such deals.
Thatís true. Thereís any number of reasons of why that is. At this time, there are certain things that we want to get in place, and different strategies that we want to execute on.
Was there also a sense of, perhaps, that Live Nation was moving too fast with these deals? That with five acts, it was time for to develop the careers of the acts signed?
Yep. That was part of it as well. You never have to worry about opportunities being out there, but do you need to get a foundation in place.
Most people didnít think CPI could pull off the Rolling Stonesí Steel Wheels world tour in 1989. You and Michael Cohl may have known how to tour North America but you didnít have a clue about the world wide market.
We didnít have a clue. Well, it was a challenge. Iím remember sitting around just before the tour and having these philosophical and business discussions about where (CPI) could go. How do you break out of Canada and shape a global business? We went for it. I suppose it could have gone wrong but it didnít.
Iím not sure you could have accomplished what you did with many other groups other than the Rolling Stones at that time.
No I donít think so either. Thereís a built-in leverage when itís the Rolling Stones driving the train. But all credit (goes) to Mr. Cohl. The band had faith in him and his team. We pulled it off.
How difficult was the learning curve?
It was pretty intense. It was a challenge (doing the routing). But it was an amazing learning experience too, and that tour really (was) the spring board for the past 20 years.
CPI was doing some 250 shows a year in North America but it hadnít operated overseas at that point. What was the concert† industry climate overseas in the Ď80s?
It really was the Wild West 20 years ago. Since then, a lot of territories have emerged and developed as viable concert markets today, including Eastern Europe and South America,
By then, CPI had become North Americaís innovator in full-service touring, but there was sizable resentment in the U.S. because of the companyís strategy of consolidating local markets by either buying out local promoters or forcing them to partner shows.
Did the Europeans perceive CPI as a carpetbagger coming into their territory?
Well, I donít think that there was any questions that we were received as a massive threat to what the world order was at that point in time. In those days (the industry)† was very much a local based business with fiefdoms. Each guy had a power base and we really threw a monkey wrench into that way of doing business. But I think when you fast forward to today, it really was a revolutionary way of approaching these mega-tours.
Really, the foundation of (our) strategy was what Bob Sillerman perfected several years later (with SFX). The flip side to that was (considering) if it wasnít better to go out into the world with 100 shows or more with the best acts in the world as opposed to promoting 100 shows with 100 different acts in a (single) market? Some you made money on; some you lost money on. These are completely different business (models). Ultimately, I think we were absolutely right about the direction we took 20 plus years ago.
Your first world wide David Bowie tour was the year following the Steel Wheels tour. Then came more large-scale international tours in the Ď90s with Pink Floyd, U2 and others.
Each subsequent tour and each new project brought a better understanding, and a better approach to what we do. You canít buy experience, right? So one fed to the next. Of course, 20 years provides a long learning curve. Every day we continue to learn. But you canít beat that 20 years experience.
Where do you live today?
Iíve been in Los Angeles for 8 1/2 years. I was in Bermuda for three years (1995-1997). We moved there because we formed TNA and our base of promoting operation wasnít Toronto, it was the world. I briefly came back to Toronto and then went to LA with Clear Channel. Today, my office is at Live Nation in LA. I have a couple of people working there. The backbone of our global touring operation is still in Toronto. I have 20 employees there. I had the opportunity early on to put together a really good team of people, many of whom are still with me.
You are proud of your team.
They are fantastic. Without the infrastructure and backbone, (these tours) wouldnít be possible, really. And, when you layer on that the platform that has been created by Live National globally, it really is impressive.
[Fogelís formidable core team includes senior VP Gerry Barad; VP of legal and business affairs Eric Kert; VP of tour operations Craig Evans; marketing dir. Susan Rosenberg; dir. of touring Tres Thomas; tour dir. Tim McWilliams; and tour production accountant Ian Jeffery.
"It is that machine that they put together in Toronto that is really at the heart of Arthur's operation," says U2 manager Paul McGuiness. ďThey are the best in the world at what they do.Ē]
Back in the CPI days, the first order of business in putting together a huge tour was lining up investors to bankroll production costs and artist guarantees that could reach $100 million.
With SFX, then Clear Channel and now Live Nation providing the capital and, in some cases the venues, has that taken the pressure off you?
Totally. It just put it in a whole other context, and on a whole different level. And you are right. Those days of raising cash, they were stressful. But to Cohlís credit he pulled that end of it off. Again, it was the Wild West in certain parts of the world, and we were living in the Wild West (in raising tour financing).
How far before a tour do you start planning?
Usually from 4 to 6 months before. There are variables that come into play but, generally with my relationships with acts and their manager, we sit down and I indicate to them what I am thinking. We then figure out what the vision for the tour should be, what the routing will be and (pricing of) tickets.
Have you started to plan out a tour and then thought, ďThis is not going to work?Ē
Yes. There are opportunities that come along that you look at it, and think, ďThis doesnít feel goodĒ or ďI donít think that it will work at the level that they (management and band) think it will work.Ē
You have had two high-profile tour missteps: the derailed Return to Love tour by Diana Ross with the-not-quite Supremes in 2000, and a Guns N' Roses tour in 2002 that fell apart.
First, the Diana Ross tour.
Well it seemed like a good idea at the time. Bottom line it didnít work. I knock on wood that those situations donít present themselves very often. But is was an experience.
Guns Ní Roses?
Axl is incredibly talented and Guns ĎN Roses as a performing act are brilliant. But at a certain point, with no disrespect intended, itís not worth (touring some acts) for the drama and the grief. For me, it wasnít worth it.
What are the advantages of using a single promoter? Do they include cost efficiency, increased revenue streams and greater control of marketing?
Well, thereís certainly that. The fundamental of it all is two-fold. From 1989 onward, starting with the Rolling Stonesí Steel Wheels tour, Iíve spent my life developing a global touring expertise. For U2, Madonna, Sting (which led to the Police), Madonna and David Bowie, itís the marketing, and having somebody 24/7 that is putting together a tour with the artistís interest being first and foremost.
In essence, you are partners with the artist.
That is absolutely right. And as a consequence of that relationship or the result of that relationship, it translates into a much more cost-effective way to (tour) and a much more profitable way to do it. My expertise, I guess, is about maximizing revenue for the artists that I work with in a way that the traditional system canít.
Your job includes handling routing, strategizing promotion and marketing and coordinating local production staff and vendors. Are those different for each territory or for each gig?
Yeah. Thereís no question that you do this sort of thing around the world and you encounter all sorts of differences. I suppose that is just the nature of global business. Some times, I will think, ďOh shit, I have to go on the road.Ē There are reasons why thatís a complicating issue in oneís life. But in terms of maintaining your edge, and understanding the global arena, it is fantastic to tour the world every few years and stay in touch with all of the markets.
Before his Sacred Love tour (2003-2005), Sting hadnít worked with a single tour producer. Later, you snapped the Policeís Reunion tour that followed.
Stingís very smart. Heís got great people that look after him on the business and management side. Heís a pleasure to work with. When I got involved with him I wasnít thinking of the Police reforming but that was an incredible opportunity. It was a great experience, and so successful. Iíd never worked on a Police show prior to that tour. The Garys (Gary Topp and Gary Cormier) were the promoters of the Police in Canada.
Did you deal with Michael Rapino (CEO/ president of Live Nation) when he was at Labattís in Toronto, and when he headed Clear Channel Entertainmentís European operations?
Rapino is a good friend from our days in Toronto when he was with Labattís and I was with CPI. He then came into the Clear Channel world, and ended up running Europe for Clear Channel Entertainment. By then, I was part of Clear Channel too, so I was communicating regularly with Rapino. We would talk about how we saw the company and where we thought it should head. Ultimately, he ended up as the CEO as he should of. Heís definitely the right guy. Heís an incredibly skilled CEO with great vision and leadership (qualities). Heís really overseen this company emerging to what it is today.
[Canadian born Rapino worked at Labatt's Breweries of Canada for 10 years in various progressive marketing and entertainment roles. While at Labatt's, as dir. of entertainment and sports, he worked closely with Labatt's-owned Toronto Blue Jays and with CPI. He subsequently became head of Labatt's Marketing brands.
Upon leaving Labatt's, Rapino co-founded Core Audience Entertainment which was acquired by SFX in 1999, creating SFX Canada. After running Clear Channel Entertainmentís Canadian operation, Rapino ascended to the head of its European operation in 2001, before being named global music head in Aug. 2005.]
It must be helpful that, while you have 20 years experience on the global stage, Rapino knows the international market from being in Europe. Does he have an understanding of the challenges facing you?
He absolutely has that. And he has tremendous qualities that he honed from his corporate days at Labattís. The skill set you need to run a public company and, in particular a public entertainment company, is no easy task. Heís done a masterful job.
In essence, you changed the funnel of concert promoting in such a way that you take the act to market instead of hiring an act for individual shows. But you canít utilize that strategy with developing acts on a global basis.
As part of Live Nation, we can do it all, really. What I do in the global touring world is one small segment of what the company is. A lot of time and effort by Live Nation is devoted to developing new acts. It is a lot harder, obviously, than it used to be.
The top 25 list of touring acts is dominated by acts that first achieved success a quarter century ago or more.
Thatís absolutely true. That is a concern for the industry as a whole.† However, I remain pretty optimistic that we will continue on as an industry and replenish. But it certainly is not an easy exercise.
What markets can be opened up?
Clearly, India and China with their huge populations are still underdeveloped markets but both are very challenging markets to develop. It is going to take a long time, a lot longer than some impatient people want to think for those markets to truly develop as international touring markets. Itís very expensive to go to those places. On the other hand, over the past 20 years, I have seen Mexico and South America develop into real markets as well as Eastern Europe, and the Middle East.
Have you worked in China?
The only thing Iíve been involved in China with was the Rolling Stones playing there (as part of the Licks world tour). U2 hasnít played there. Nor has Madonna. There are all kinds of issues in a market like that beyond financial. What you wear. What you say.
You are originally from Ottawa?
Yes, I left Ottawa to go to McMaster University (in Hamilton, Ontario) taking an arts degree. Then I came to Toronto.
You were the night manager at the Toronto club, The Edge (also known as Egertonís). How did you come to join CPI ?
While working at The Edge I met Martha & the Muffins. I left The Edge to become their tour manager. While I was tour managing them I met Norman Perry (of Perryscope Concert Productions) when we did a gig for him in Vancouver. He then moved to Toronto to work for Michael Cohl at CPI and hired me at CPI in 1981.
Were you any good as a tour manager?
Yeah, I was pretty good. Iím a pretty organized and disciplined guy, even back then. It was certainly crazier times.
What attracted you to be on the concert promotion side of the business?
Iím not 100% sure other than from the time I was in college, or even before, I wanted to be in the business. I kind of fell into it when I got that call from Norman. I thought there was a great opportunity to learn a different side of the business.
And did you?
Oh yes, I did all kinds of jobs when I started at CPI. Eventually, I got into the booking side, booking clubs, and concert halls. I graduated to booking Massey Hall. Then when BCL Entertainment (CPIís parent company) created the merchandising division The Brockum Group, Norman went to run that, and I ran the concert (division). It was a great learning experience to work at CPI.
After TNA was sold to SFX in 1989, you didnít work directly with Michael Cohl for several years. Did you stay in close touch?
Yep. Over the Rolling Stonesí tours in that period, our global touring division was hired by him to help put The tours togetheróthe bookings and the marketing.
[In 2006, Live Nation acquired a controlling interest in the touring division of CPI, and a 50% interest in Grand Entertainment, then worldwide promoter of the Rolling Stones. Cohl then became Live Nationís chairman. He abruptly stepped down last year.]
Were you hopeful when Michael joined Live Nation that you could again work closely together? Or had you grown too differently? Your learning curves were quite different following TNA.
Thereís no question that when Michael came there was the expectation of us picking up where we had left off. But itís difficult. As you emerge as your own operator, and as time passes, things change.
Cohl certainly contributed to your development as a tour producer and promoter
I will forever be grateful and appreciative of the opportunities and the mentoring I got from Michael and from Donald K (Donald Tarlton of Donald K. Donald in Montreal). But, and I suppose it is an ultimately a tribute to them, that I sort of set my own course. I developed my own relationships, and I took the (global touring) model in my own direction. Certainly, Cohl is at the top of my list (of career influences). Donald played a big role and Norman Perry. As well, Paul McGuiness has been a great inspiration and a great teacher,
You must be proud of being one of those who changed the concert business globally.
Absolutely, I am proud. I couldnít have written this script 25 or 30 years ago. Itís pretty amazing. When Iím in a full stadium somewhere in the world and I look around, I will sometimes think, ďHoly shit, this is pretty cool!Ē
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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Jasper Donat, Music Matters 2009/Branded 04/24/09
Jim Donio, National Association of Recording Merchandisers 04/22/11
Marc Dottore, M. Dottore Management 04/11/03
Tim Drake, The Roots Agency 12/12/08
Mike Dreese, Newbury Comics 11/23/11
Charles Driebe, Blind Ambition Management Ltd. 09/22/06
Jeremy Driesen, Ray Bloch Productions 09/07/01
Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of Denverís Division of Theatres and Arenas 08/23/10
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
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock íní Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gťlinas, Festival díťtť de Quťbec 05/23/13
Marci Geller, Sonic Underground 08/15/08
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
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, Turntable.fm 09/20/11
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
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
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
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
David Hart, The Agency Group 02/20/04
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
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Seth Hurwitz, I.M.P. 04/20/09
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
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
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
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
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
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
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
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
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Myles Lewis, Denise Rich Songs 12/20/10
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Larry Lieberman, 4EverWild 03/28/03
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
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
John Meglen, Concerts West/AEG Live 02/21/13
Dan Melnick, Festival Productions, Inc. 02/22/02
Andrť Mťnard, Festival International de Jazz de Montrťal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
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
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
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
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
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley OíConnor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
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
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
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
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
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
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
Tamara Saviano, American Roots Publishing 07/22/05
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
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
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Peter Shapiro, Ideal Entertainment 04/16/04
Seth Sheck, Access Pass & Design 01/03/03
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
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
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
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
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
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
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
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
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, CultureCatch.com 07/27/07
Jeremiah ďIceĒ Younossi, A-List Talent 09/20/09
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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