Industry Profile: Elaine Schock

— By Larry LeBlanc

This week in the Hot Seat: Elaine Schock, president of Shock Ink.

As a major figure in the music biz swirl, Elaine Schock gives importance and grace to personalized public relations.

As president of Los Angeles-based Shock Ink, her strategized advice to her clients may be discussed, analyzed, and agonized by them over and over; but the clarity, and passion of her commitment to them inspires journalists the world over.

"I've got the best publicist in the world, Elaine Schock," Toby Keith bragged in Billboard a few years back. "She kicks every other publicist's ass."

Now in its second incarnation, Shock Ink has a roster that also includes Willie Nelson, Fred Eaglesmith, David Lee Roth, Gabriel Iglesias, Heart, and Johnny Gimble.

Among her past clients are: Billy Joel, Mary-Chapin Carpenter, Shawn Colvin, Travis Tritt, Sinead O'Connor, Brooks & Dunn, Annie Lennox, Roberta Flack, Genesis, Trisha Yearwood, Rhonda Vincent, Dierks Bentley, Michael W. Smith, Phil Vassar, Melissa Ethridge, Henry Rollins, Buddy Guy, Harry Connick Jr., Prefab Sprouts, Lucinda Williams, Technotronic, the Stone Roses, and the American Music Awards.

Schock has directed national media campaigns for the Bangles, Bob Dylan, Huey Lewis & The News, and Billy Joel, among others. She booked an unknown Natalie Imbruglia on “Saturday Night Live” before her American debut album shipped to stores; and her aggressive media work laid the groundwork for the Dave Matthews Band’s national breakthrough.

Schock’s career began at Island Records in London in the ‘70s. This was followed by jobs at Casablanca, ABC, MCA in Los Angeles; and at Columbia, and Chrysalis in New York before setting up Shock Ink in 1987.

In 1996, Schock put her business on hiatus to be Sr. VP/Media & Artist Relations at RCA. She reopened Shock Ink in late 2000 after leaving RCA.

The Los Angeles Daily News once hailed Schock as "The Queen of Controversy Spin."

After all, Schock deftly guided Toby Keith through his public spats with the Dixie Chicks, and with the late newsman Peter Jennings; dampened the media frenzy surrounding Billy Joel's divorce from Christie Brinkley; and tried to stick handle past the media bloodbath that followed Sinead O'Connor's Pope photo shredding incident on “Saturday Night Live."

You are a music industry lifer?

I am. I will always be.

Can you imagine yourself doing anything else?

No. It is the only thing I imagine myself doing.

Are you glad you are not handling John Mayer or Taylor Swift?

Yeah, I’m very glad I’m not doing either one of them. Though, the fact is that I love controversy. It invigorates you to figure out a way out (of a crisis). I’ve had my share of controversy. It’s heartbreaking because it takes on a life of its own but also its energizing. You have to figure out a way, if you can, to plug it up. It’s hard with all of the (media) outlets and everybody focusing on what’s going on.

Has the media’s handling of these events become more circus-like in recent years?

I think that it is much more difficult (to deal with) but (such stories) have always taken on a life of their own. For example, I handled Sinead O’Connor, and she tore up a picture of the Pope. She was one of my first clients at my company. I learned a lot from that. I also learned that a lot of (the life span of a controversy) is over with what the artist will or will not do. (That story) took on a life of its own but Sinead also had a life of her own. She had her issues, and the public certainly had their issues. It was never going to work out for her.

[Sinead O'Connor's career, particularly in the U.S. nosedived when she appeared on “Saturday Night Live” on Oct., 3 1992. She performed an a cappella version of Bob Marley's "War” and tore up a photo of Pope John Paul II. This was apparently intended as a protest over the sexual abuse of children in the Roman Catholic Church. The following week, SNL host Joe Pesci held up the photo, explaining that he had taped it back together, and said that if it had been his show, "I would have gave her such a smack."]

Were you on the set?

Yes, I was on the set. Nobody knew that it was going to happen. I had negotiated what she was going to sing. Everything had to be approved. I had just had a baby, and I had to go back home and bathe it (between the rehearsal and the show). I came back, and Sinead had talked to G.E. Smith about changing songs.

He went out of his way to make sure that she got the second song that she wanted even though it had not been agreed to in advance. He was the one who went to Lorne Michaels (executive producer of “Saturday Night Live”), and said, “She’s an artist. Let her change her song.”

When I got there G.E. came to me and said, “This is what we are going to do.” I was like, “Scarlet Ribbons’ is such a beautiful song. Why change it?” That was the song that she was going to sing originally. G.E. was like, “You don’t get it. You are not an artist” and blew me off. Sinead played me the Bob Marley song, and it was very nice but it didn’t grab me as one of her songs. It certainly wasn’t off the album [“Am I Not Your Girl”]. But, you go with what the artist wants.

Two weeks after “Saturday Night Live” Sinead performed at the Bob Dylan 30th Anniversary tribute concert at Madison Square Garden and was greeted by a mixture of cheers and jeers. She left the stage in tears.

That was really unfortunate. That stemmed from “Saturday Night Live.”

Did that appearance torpedo her career in America?

That certainly helped to torpedo her career. If she had come back with a great record after that, it would have all changed. The public will forgive you if you are talented, and if you come back with something that they love.

After her apparent public melt-down, Britney Spears returned to public favor with a decent album (“Circus”) and a successful international tour. R. Kelly’s career appears to be unscathed as well.

I would have thought R. Kelly wouldn’t have gotten away with it but he did. He came back with “Ignition” (which reached #2 on the Billboard Hot 100), and it was brilliant. R. Kelly’s (alleged) video went everywhere, and it wasn’t nice. But he’s so talented that he came back (with a hit). People will forgive you for anything if you can bring them some pleasure.

[After a video of a man purported to be R. Kelly having sex with an underage girl was released, he was indicted on several counts of child pornography in 2002. The case went to trial in 2008, with the jury ruling Kelly not guilty on all 14 counts.]

News cycles seem endless today, and controversies seem to get ramped up.

Before TMZ, there was always the National Enquirer. Everything is bigger today. (A controversy) does take on a life of its own but it’s shorter. I think with John Mayer that whole problem is going to be over before Playboy is off the stands.

[John Mayer’s raunchy Interview in the March, 2010 issue of Playboy has been covered by over 1,500 media outlets. In the interview, he appears as being racist, and homophobic; and he talks about sex with Jessica Simpson and about his sexual habits in graphic terms.]

In the Feb. 4 (2010) issue of Rolling Stone, Mayer provided far too much information about his self-pleasuring habits. Maybe he shouldn’t be doing interviews.

But he can’t help himself.

Well, he’s still young.

He’s not young; he’s 33. Being 33, you are not that young. He should know better. He has gotten away with (past comments) because he tweets all of the time. He is used to giving out information. But he really should stop. He should just play guitar for awhile. John Mayer is a musician and he should act like one. He should act like he’s got loads of talent. All of this other stuff, this unfiltered nonsense, doesn’t help his career. At this point, it has hurt him it but that can change easily.

Taylor Swift is big on Facebook and Twitter.

That’s part of her allure. And she does connect (with fans).

Tweeting is like having no filter to the public. When an artist is being interviewed, there’s usually a publicist or manager involved. With Twitter, that filter is taken away.

It’s totally taken away, and because (artists) are used to it, it becomes a habit. Some are addicted to it. It is one of those things where there’s no filter. John Mayer doesn’t have a filter. A lot of people don’t have filters. I was reading (an interview with) Sandra Bullock where she’s talking about her surprise for husband which was having her pubic hair made into a heart. I’m thinking, “Where’s her filter?” She’s an Oscar nominee. Don’t tell people this. It is unnecessary.

[This year Sandra Bullock garnered her first Oscar nomination for her portrayal of real-life Good Samaritan Leigh Anne Tuohy in "The Blind Side”].

It was initially reported that the moonshine and marijuana bust of Willie Nelson’s band members involved him.

He wasn’t anywhere near there.

You’ve worked for Willie for 6 years. How do you work with Willie when everybody wants to interview him?

Willie doesn’t do (all interview requests) anymore. Willie does a few interviews. Because I know he will do, maybe, a few interviews, it’s the ones with the most bang for the buck.

Would you take TV over print?

Not necessarily. It depends. We do really well with print, and it really works for Willie. The TV stuff we will do, but it’s time consuming so I’m really selective. This really works for Willie. He sells a lot of records.

Everybody wants Toby Keith as well.

Every artist is different. What Toby will give me is a lot more than what Willie will give me. Willie, however, is giving me a lot more now than he did, say, a year ago. It really depends on what Willie is doing. Willie records all of the time; he tours all of the time. He wants to golf and have a family. He is the busiest artist I’ve ever met. Toby will give me a couple of weeks, but he will work non-stop.

Johnny Gimble's new album, “Celebrating With Friends.” was released Feb. 16th on CMH Record. It features Willie, Vince Gill, Merle Haggard, and Garrison Keillor as well as the album’s producer Ray Benson.

How do you work an album by a legend who is now in his 80s and was a member of Bob Wills' famous swing band, the Texas Playboys.

You push it where you can. You push it country because Johnny does have that. You push it Texas because he’s there. Then you shoot for mainstream (media) and hope for the best. It’s been a fight. All of the (media) things I wanted initially I got a lot of them. But a lot of times people just ignore that it’s Johnny Gimble. I think he deserves better, but everybody is getting involved in other things, and they don’t do as much on him as they should. He is available for interviews, and I have made that perfectly clear.

The media overlooks so many iconic figures today.

And they won’t always be here. Because they won’t always be here, this is really the time to take the opportunity (to do an interview). When it’s too late, it’s too late. They have missed an enormous opportunity to talk to a legend. It is beyond me why everybody wouldn’t say, “I need this interview.” It’s history. You only get to talk to these historical people for so long.

Alan Jackson’s new album “Freight Train” will be released March 30th. The title track was written by Fred Eaglesmith. Not bad for a Canadian singer/songwriter who is supposedly flying below the radar.

I think Fred would tell everyone that he’s flying under the radar but I don’t think he really is. He had the Miranda Lambert cover (“Time to Get a Gun”) and Toby had a cover of his (with Thinking About You”). I love Fred. He’s a brilliant artist. He’s so much fun to watch. I steal all of his jokes. If you haven’t seen 10 Fred Eaglesmith shows then you are selling yourself short. He’s everything you want an artist to be. He’s very sweet, funny, and he’s very smart. I’m dying to post his new songs. They are so brilliant.”

There is a lack of music trade press today.

There is no trade press, really. You do get straight-ahead trade press but it’s all straight-ahead. It’s all the news that fits. Only a small group of people read. Billboard, Even when it was big, only a small group of people read it. (Freelance journalist) Melinda Newman will do (music industry-related stories) sporadically (in newspapers) like the Washington Post but she doesn’t often have the normal (big) outlets. And, Phyllis Stark just started her (industry) newsletter (Stark Country).

In the ‘70s Robert Christgau wrote that there were five powerful American music critics critical to a new artist’s career. You can’t say that today.

No, you can’t. If you didn’t have those five important writers agreeing on an artist, you were basically screwed. They all loved Tom Petty, for instance, but not everybody likes Tom Petty. So it’s better (today). Instead of having those important writers, there’s something for everyone.

You worked with Billy Joel for years.

I was his publicist for 14 years. I took him on when I was working with Howard Bloom (the Howard Bloom Organization). I didn’t want to. In those days, I was so punk. Howard wanted me to do Billy Joel. I ended up liking Billy a lot.

You handled his media when he and Christie Brinkley divorced in 1994. You deliberately broke that story.

We broke it where we thought it would do the least damage. We also broke it soon so nobody else could get it. I knew well ahead of time that (the divorce) was coming. So we had figured out how to do it with (the divorce) not being scandalous.

Billy Joel is an artist still largely misunderstood by the media.

I think a lot of it has to do with the fact that he didn’t have filters either (years ago). I had to talk to him at length about this. He would get hurt (by media criticism). I would have these long conversations with him, and say to him, “If you start feeling angry, just call me. I will talk you down. Don’t call anyone without calling me first.” It took a long time before that took. It could be an interview with a publication that had 3,000 readers and, at the same time, he would be on the cover of Rolling Stone. He would only think of how misunderstood he was by that journalist who only had 3,000 readers.

How does an artist handle bad reviews?

I tell all of the artists--and they all get taken aback by this--but I say, “Don’t read your reviews. For one, you are never as good as they say you are; and second, you are never as bad. The good reviews will say that you are a God.” That kind of thing messes (artists) up forever. It is among the worst things that can happen to artist when they start believing that.

Rod Stewart has been vilified by music journalists for years; he’s had numerous mediocre albums; but all the bad media kept him alive in the public’s eye.

It is one thing for media to keep you alive; it is another thing to want respect. Rod Stewart was never as respected as he should have been. And he’s even less respected today. He’s much better than that.

His recent R&B album “Soulbook” is incredible.

And he won’t get the respect (from the media) because he lost it long ago.

Artists often say that many newspaper concert reviews are unfair.

I have seen reviewers leave a show and report on it like they were there the entire time. I have complained to editors. If I knew the editor pretty well, I would say that this is a pretty bad review but the (reviewer) didn’t see the whole show. The fact is that the reviewer went to the show disliking the artist--fair enough—but, at least stay, for the whole show.

You get retractions but editors don’t always believe you.

That’s true. For example, I handle David Lee Roth. Two years, there was a fake David Lee Roth in Canada. I told (journalists) that it was a fake David Lee Roth and they didn’t believe me because the police had said, “No. We have David Lee Roth. We saved him from his peanut allergy.” David Lee Roth doesn’t have a peanut allergy, and guy doesn’t even look like David Lee Roth. I was insulted for David.

The fake David Lee Roth, dressed in flashy rock-star duds, bought drinks for people in a bar, and got up and sang.

He did. Finally, I said (to the journalists) “You guys are wrong. I don’t care what the police say. David Lee Roth was singing in front of 20,000 people at Madison Square Garden that night.” Finally, they checked that out. But they didn’t believe me when I first called. They thought I was lying.

[A wire service story reported that two Ontario Provincial Police officers had stopped David Lee Roth in a rented car for erratic driving near Oakland, a hamlet south of Brantford, Ontario. The story said the officers saved Roth after he suffered a severe allergic reaction to nuts while driving.

A follow-up article reported that Roth, after spending the evening in Brantford General Hospital, left with two nurses and strutted to the nearby Liquid Lounge, where he performed with a local band.

The two officers, hospital employees, and club patrons all thought they had spent some quality time with Diamond Dave. However, on May 23, 2008, the day the accident happened, Roth was performing at Madison Square Garden with Van Halen.]

What media would you try to attract for a debut album by a new pop band with members in their mid-20s? Not young kids.

You take it to the same places you have always taken it. The New York Times, the Los Angeles Times, and where (a story will be) syndicated. You still go to Rolling Stone. You go to the places that you have always gone. And, you do that with even younger acts. You still want to be legitimate. That’s important. For someone new, they need to be legitimate. They can’t just be a celebrity.

How about a music project by a new young teen artist?

You start with the Disney Channel if you can. You do whatever you can with Nickelodeon. Try and get those choice awards (Disney Channel, Nickelodeon, and Fox’s Teen Choice Awards). You meet with all of the teen magazines. You give them everything you can beauty-wise because, for teens, that matters more than anything. Then you try and get the legitimate (mainstream) publications.

The way that Taylor Swift broke was going to her base which is country.

She’s so cute that it was hard not to like her. She could also go to the glamour magazines, Seventeen and Teen Vogue.

When you were growing up in the Valley (San Fernando Valley) in North Hollywood, did you have much music in the house?

We did have music in the house, but we had to blast it loud because my parents were so hard of hearing. My mom liked the Beatles, and Johnny Mathis as well as (the soundtracks) “West Side Story” and “South Pacific.”

You worked in London in the ‘70s?

I went to London from Los Angeles after high school. I wasn’t even 18. I graduated from high school early. I went over there on a fluke because in those days (young) people went over to Europe. It took me no time at all to get a job. I knew people in the record business, and I worked at Rolling Stone for about a week, and then at Island Records for the rest of the time I was there.

Rolling Stone then had a British version.

I was the receptionist for a couple of days but I ended up having a roommate who worked there. William Burroughs would come over for dinner, and so would John Paul Getty (III), the kid who lost his ear (during a kidnapping in 1973).

Then you got a job as a file clerk at island Records.

I was just a kid; I worked cheap; and I was bright. It was so impressive to me that all of these artists that I’d known about would come in including Traffic and Sandy Denny. I loved Sandy Denny. I loved all of those (Island artists) because they hung out (at the office).

And I learned a lot because it was a roundtable system. That’s how Chris (owner Chris Blackwell) wanted everything. So you always knew what was going on.

When someone got fired, I was put in as a junior publicist. They paid me $100 a week and I took newspaper articles, pasted them on regular paper and filed them. Brian Blevins was the chief press officer, and there was Nick Hepburn and Vivien Goldman and me in the press office. Vivien gave me her apartment on Bonchurch Road (in London) which she had taken over from Chrissie Hynde.

Being so young and American, British music journalists and artists would have loved you.

I was the “in girl.” Everybody loved me. The artists loved me. Having a teenager who had an American accent was different than anyone had known. It made me extremely popular.

You got kicked out of Britain by the government?

I didn’t have a work permit. So after three years (the Home Office) came down on me. I was told that I had 48 hours to leave the country. I wasn’t even 20. So leaving the country meant nothing to me. Okay fine, so my adventure is over. I left Bonchurch Road. It was easy to leave. I had nothing. It took some time before they really came after me. I knew they were going to come after me, but I wasn’t deported. I have been able to go back there.

You then came home to Los Angeles and landed a job in the publicity department at Casablanca Records.

Sure, because I had learned (about publicity). Once you’ve learned, you can be anywhere. Being at Casablanca was completely the opposite of island. Being young, I still didn’t get the respect. Susan Munao was the head publicist and I worked as her head assistant.

Was LA then a tough town to break into the music business?

I never had any trouble breaking into anything. I never had any trouble walking into the music business. Being cute was really helpful. It helped me through my career (in the music industry). People helped me along the way. If you were good at what you did, and you were cute--and were not promiscuous—they will help. (Male peers) have to want you, but they also have to admire you. Having all of those things really worked in my favor.

That meant never dating musicians.

I’ve never dated a musician. I would turn them down nicely. (A relationship with a musician) is the fastest way to ruin a career. Even in those early days, when I didn’t think of this as a career, I knew better. I knew from being at the label, and witnessing all of that (behavior). If I wanted to be taken seriously, even for a short period of time, I had to behave differently.

After Casablanca, you worked at ABC Records and MCA

In those days, you could get job offers really easily. There were a lot of record companies. If you kind of became a star at one record company another record company wanted you.

At 21, you left MCA to head to New York.

MCA was so dull. I did get to work the Rossington-Collins Band. That was cool but they were totally crazy. I got to work Donnie Iris and a few artists that were really good. But everything there was so stiff and corporate. I was still single and I hadn’t been (to New York) much before.

In New York, you worked for music industry publicist Howard Bloom.

I had a lot of friends at Rolling Stone, and (editor) Jim Henke got me that job. Howard had a great client list. I also knew Paul Nelson (a pioneer of rock criticism who was instrumental in launching and supporting the careers of Bob Dylan, the New York Dolls, Bruce Springsteen, Jackson Browne and Warren Zevon). I could tell how legendary he was by being around him. He had that blond hair, the hat and he only smoked Sherman’s (Nat Sherman cigarettes). The (veteran) New York music writers were all so crazy. Being young, it was great to hang out with them. Working with Billy Joel kind of changed my life. I married one of his consultants. Later, Billy became one of my first clients when I opened my PR firm in New York.

As an associate director of publicity at Columbia Records, you worked with the Bangles, Billy Joe, and Bob Dylan.

I did indeed. I worked with all of them. Al Teller was my boss. He ran Columbia (as its president).

You were still pretty young.

When I worked at Columbia, I didn’t know how important (veteran producer) John Hammond was in the music business. I found out much later. He had an office there. I knew him because I would see him every day, but I didn’t know him to work with. He was much older at that point. He was very gentlemanly. I didn’t know how important he was or anything about a bunch of other people that were around. (Beat poet) Allen Ginsberg would hang out at Columbia office every day. He would always be in the office next to me talking to (Columbia A&R man/publicist) Arthur Levy. He just looked like some schlump to me.

You worked briefly at Chrysalis Records in the late ‘80s.

I was at Columbia when Chrysalis offered me this great job. I had wanted to be sole director (of publicity), and they had offered that to me. I explained that I was pregnant, and would take maternity leave. They were fine with that. By the time I started at Chrysalis, the person who had hired me had left. The person that had taken over his job did not want somebody like me. It was a bad situation. But the artists really liked me.

You have represented numerous country acts like Trish Yearwood, Brooks and Dunn, Dierks Bentley, and Phil Vassar over the years. You work with Toby Keith, Willie Nelson and often with Travis Tritt.

Nashville is renowned for being a tight shop. Did you have trouble breaking in there being a LA-based publicist?

Yes, I think I did. But once you have a success, people kind of throw away whatever notions that they have. Success is everything. It changes your world. The first country artist that I took on when I restarted my (independent) career was Toby Keith. From there a lot of other artists hired me even though I am from LA. It is always pointed out that I am from LA. But there isn’t a country publication I don’t know or I don’t have a relationship with or I am not close to.

Nashville is a difficult world to break into.

Very difficult.

When you worked at RCA Records did you handle country acts?

No. None because Joe Galante was the president of RCA Records (in New York) before I got there. It was a tough road for him to break into. RCA had had some terrible years. Joe kind of paid the price for a lot of that. So when he had agreed to go to Nashville (as head of RCA Nashville in 1982) the agreement was that the Nashville and the New York companies would be fully separate. So I never worked with any country people. We never communicated. If any of our artists went down to Nashville, they had nothing to do with the Nashville RCA office.

Was there the same separation when you were at Columbia Records?

The same separation. I didn’t deal with any country artists, except for Roseanne Cash who was not considered a country artist there. We worked her at pop.

As an independent publicist you handled Mary Chapin Carpenter while she was still signed with Columbia.

Mary Chapin didn’t really want to be a country artist but that was where she kind of existed while at Columbia Records. So she hired me. My job was to get her out of the country music area. That wasn’t hard because she’s from DC, and she had such great songs.

When Toby Keith plans a major tour do you discuss a publicity strategy together?

Yeah, sure. But lot of things Toby does take on a life of their own because Toby hits a chord with certain people. They will blame him for the war, for example. It’s just one of those things.

He’s a lightning rod for certain things.

He is and I know that going in.

It’s also part of his appeal.

It is but he’s bigger than that. He’s a great artist -- a really great artist. A lot of that gets overshadowed by how he is perceived I think.

Well, with ’Courtesy of the Red, White and Blue,” and “American Soldier” Toby hit a nerve with non-conservatives.

Well the thing is that Toby is not that right wing. But people will think he’s a right wing jerk. If you ask them why, they can’t tell you because he’s not. It is one of those things that I fight against.

American society is heavily polarized today. The George W. Bush years were very polarizing.

Yes, and I think the Barack Obama years are as well. I think that the Bush years were polarizing because of the war. Now there’s the war but the war is kind of not (America’s) big priority. It’s healthcare or the economy. So the war is in the background, and it doesn’t polarize this country. Everything else does.

The so-called feud between Toby and the Dixie Chicks was a bit about nothing wasn’t it?

It was one of those things that we stepped away from almost as soon as it began. Obviously, I paid a little more attention to their remarks. But Toby didn’t participate much in that fight. They did. They participated in that fight. They didn’t really want to let it go. Then it kind of bit them in the butt.]

[Toby Keith and the Dixie Chicks’ lead singer Natalie Maines began trading jabs after the release of his song “Courtesy of the Red, White and Blue” in 2002. Maines declared that Keith was making country music sound "ignorant." Keith's response was to disparage Maines’ songwriting abilities. In Aug. 2003, Keith said he was done feuding with Maines because he “realized there are far more important things to concentrate on.”]

Toby recent swing through the UK, Norway, and Sweden, coupled with Taylor Swift's recent success in the European market, gives hope that Europe may be ready to embrace American country acts again.

His tour was totally successful. He should go back there soon and work on that momentum. The labels don’t think that country works over there but they are wrong. Toby sold out everywhere. There were lines around the block. And Toby Keith is country music. There’s no two ways about it. You cannot classify him as pop or anything else. He is country music. He sold out everywhere. It was a huge. And Toby did well with media there. So going back, the media will be even better.

There’s the story that he was encouraged to play Europe after meeting some fans from Norway in an airport.

His album was platinum in Norway so it didn’t come as a big surprise. But, I think him getting that kind of feedback certainly inspired him to tour there. I was really glad that he did. But he had the platinum record before that.

Few labels give tour support to country artists to tour Europe or the UK anymore. After successes there in the late 90’s with Shania Twain, the Mavericks, and LeAnn Rimes. Nashville backed away from trying to break acts over there.

They backed away because some acts didn’t happen there. So the record companies think country doesn’t mean anything there. That’s why they aren’t marketing country over there. Now that Toby has happened, there will certainly be more artists going over there.

Your husband, author/journalist Mikal Gilmore is also a client.

I met Mikal when he was doing a Donna Summer story when I was at Casablanca Records. I would help (journalists) find research material. He asked me to look for some newspaper clippings. Then he and I became good friends. We just clicked. He’s my best friend forever. Whenever he releases a book-- he’s working on one now—I will set up his interviews.

[In 1977, Gilmore's brother Gary was executed by a firing squad in Utah for shooting two young Mormons. Mikal Gilmore's 1995 memoir, “Shot in the Heart,” detailed his relationship with Gary and their often troubled family, continuing through to Gary's execution and its aftermath. In 2001, “Shot in the Heart” became an HBO film. In 2009 Gilmore released another book, “Stories Done: Writings on the 1960's and its Discontents.”]

I didn’t read “Shot In The Heart” until I helped Mikal work on it for HBO. I knew enough about his life not to read it. Reading it was a huge thing for me. But I have always loved his writing.

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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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
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
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
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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