Industry Profile: John Rudolph

— By Larry LeBlanc

This week In the Hot Seat with Larry LeBlanc: John Rudolph, CEO of Bug Music.

John Rudolph, CEO of Bug Music, is a walking contradiction: a savvy, L.A.-based music publisher adept at both investment financing, and hunkering down with his songwriters to discuss song structure.

When Crossroads Media-- a joint venture between Spectrum Equity and Tom McGrath, the former president of Paramount Enterprises, and former COO of Viacom Entertainment Group--acquired a majority interest in Bug Music in 2006--a deal Rudolph helped to pilot—he was installed as its new CEO while David Hirshland, an 11-year Bug veteran was promoted to president.

Rudolph, who had been working as a consultant with his own company, Music Analytics, has--with a solid executive team--since transformed Bug Music.

It has morphed from being a mid-weight, three-decade old publishing administration company that owned 10% of the copyrights it controlled into an independent music publishing Goliath, owning 80% of its copyrights including those by such leading contemporary acts as Bruno Mars, Ashley Gorley, Three Six Mafia, Lucas Secon, Ryan Adams, and Grizzly Bear.

This year, Bug holds shares in U.S. charted songs by Kings of Leon (“Use Somebody” and “Sex on Fire”); IYAZ (“Replay”); Bruno Mars (“Nothin’ on You”) Brad Paisley (“American Saturday Night”); Uncle Kracker (“Smile”) Shinedown (“If You Only Knew”), and Luke Bryan (“Do I”).

Along the way, Bug acquired Windswept Music Publishing, and Selectracks, a studio and production music company; forged a partnership with Arthouse Entertainment, co-owned by songwriter/producer and “American Idol” judge Kara DioGuardi; and made a joint venture agreement with Kings Of Leon.

Recent deals include signing songwriter/producers Lucas Secon, and Gordie Sampson; Paul Westerberg of the Replacements; re-signing Wilco; and, under Arthouse Entertainment, signing producer/songwriters Mitch Allan and Mike Elizondo.

Founded in 1975 and with offices in Los Angeles, Nashville, New York, Atlanta, London, Munich, and Amsterdam, Bug Music oversees the estate catalogs of Johnny Cash, Willie Dixon, Woody Guthrie, Townes Van Zandt and Stevie Ray Vaughan among others.

The evergreen titles in its catalog include: “Fever,” “What a Wonderful World,” “I Walk the Line,” “Summer in the City,” “Stormy Weather,” and “Under the Boardwalk.”

After a stint at the audit, accounting and business services firm B D O in Atlanta and Australia, Rudolph joined the Atlanta-based business management firm Johnson Management Group In 1995. It was there that he did work for L.A. Reid, LaFace Records, Tony Rich, Darryl Simmons, Collective Soul and others.

Rudolph went on to manage Stiff Shirt Music Publishing for Reid as well as Hitco Music Publishing, a joint venture between Reid and Windswept Pacific.

Rudolph then gained a reputation as a high flier in the music publishing sector as CFO of Windswept Pacific. He helped to engineer the 1999 sale of Windswept to EMI Music Publishing for a reported $200 million.

That deal set the stage for Music Analytics, the Aspen, Colo.-based boutique firm Rudolph formed in 2001 to provide advisory services to buyers and sellers of music publishing and recorded-music assets.

At Music Analytics, Rudolph advised the songwriting team of Jerry Leiber & Mike Stoller on the sale of their publishing houses Trio and Quartet Music Publishing to the renamed Windswept Holdings; advised the Edgar Bronfman Jr.-led investor group on its acquisition of Warner Music Group; and was involved in the sales of DreamWorks Music Publishing to Dimensional Associates; and Compendia Music to Sheridan Square/Artemis.

Bug Music now has a catalog of 225,000 songs, 80% which are owned and 20% administered. Before you came to Bug in 1996, the company had 100,000 songs that were only 10% owned.

That’s exactly right.

Obviously, the company has evolved.

Considering all of the macro pressures on both our industry and the world, I couldn’t be happier. For us to get 6 awards recently at the BMI Awards while the majors are getting anywhere from 10 to 15 awards, that’s huge when we are one tenth of their size.

[At the 2010 BMI Music Awards on May 18 (2010), Bug Music songwriters picked up 6 awards. Honors were given to Kara DioGuardi for her work on “Hookup” (Kelly Clarkson), “Not Meant To Be” (Theory of a Deadman) and “Sober” (Pink); Kings of Leon’s Jared and Matthew Followill for their 2009 smash hit “Use Somebody”; writer Josh Hartzler for “What About Now” (Daughtry); and Sean Garrett for “How Do You Sleep” (Jesse McCartney).

Earlier this year at the 52nd Annual Grammy Awards on January 31 2010, Bug Music received 65 nominations. The company took home 15 Grammy awards, including the Record of the Year for Kings of Leon’s “Use Somebody.”]

You now have enough critical mass to lead changes in the independent music publishing sector.

We have critical mass. We are now one of the big names on the list for (songwriters) to call and for any new projects. That’s one part of it. Then there’s the industry part with me being on (the board of) the NMPA (National Music Publishers’ Association). How much weight you carry has to do with how many people you represent; how many songs you have; and how much money those catalogs earn is how loud your voice is heard.

The independent agenda is something you seem to take very seriously.

As a company, we come from a writer’s standpoint. The reason for that is that is what Bug was founded off of. (Under administration deals) a dollar came in, 90 cents went out to the writer, and we kept the other 10 cents. It was very simple math, so the focus was always on the writer and the songs. That’s the same now. When it comes to industry-oriented things, I tend to come from that (independent) place. I don’t have the same demands of quarterly reporting or whatever it might be (that some other publishers have).

What were some of the strategic points you first looked at with Bug?

One was could we grow the company quickly to a scale where we could compete with the majors.

Why is that necessary?

When you have a certain amount of overhead, you have a good quality team of people. If you are small then you don’t have the wherewithal to be able to compete with the majors for what I would say are exciting opportunities. Maybe, they are marquee name writers. Maybe they are new projects that are coming up that people are excited about but may tend to have a lot of capital involved in the deal. When you are smaller, and you have that overhead and your gross profit is X and the majority of the remaining cash is being eaten up by your overhead, it limits what you can do as far as making advances. You have to put that money out there. It takes more than a second to get it back.

The way we looked at it was we have a platform. We are making money with the company as we are. Now can we add onto that platform? What do we need to do to add onto it? Can we create not just an infrastructure, but a capital base that allows us to be competitive with all of the majors on pretty much every deal?

Was that what led Bug to seek a $225 million plus line of credit in 2008.

Well, we had a (credit facility of) $150 million in mid-2007 when we did the Windswept acquisition. Then we increased it in ’08 to $225 million.

[In July, 2007, Tokyo-based Fujipacific Music and Fuji Television Network opted to sell their U.S.-based Windswept Holdings to Bug Music. They had formed the publishing company in 1999 after selling most of their Windswept Pacific catalog to EMI—a deal Rudolph helped engineer as then-CFO of Windswept Pacific.]

I would have thought the equity investors would have been nervous about the music industry at the time.

Well, it was an interesting time when that happened. 2007 was the first kind of rattle in the credit markets. Literally, we closed a week before the first doom-and-gloom articles on the front page of the Wall Street Journal appeared. Once we were in place, we were in place. Then once we started performing and doing what we said we would do and we met our projections and the participants got smarter about this business, they said, “We really like this business.”

The credit providers, in most cases, have long histories in film and TV libraries. For them to enter into a new asset class--the fact that they are similar types of intellectual properties—(the response) was, “We like this. We understand it. It’s not in housing. It’s not in real estate,” which were the issues then? So they continued (to invest). Then things got really tough in October to November ’08. It really got hard for everybody.

What was Bug’s appeal for you?

There were two aspects that appealed to me overall. One was the creative element; the other was on the business side.

On the creative side, the company had music in its catalog that I listened to personally. Besides things like Johnny Cash—I used to see Johnny Cash all of the time as a kid because I grew up two miles away from him in Hendersonville (Tennessee) — it had a lot of punk and alternative music that I listened to. Bob Mould from Husker Du, the Dead Kennedys, Uncle Tupelo, Iggy Pop and on and on. So that part of it really made me love the company straight way.

From a pure business perspective, I thought it was an amazing platform. The two founders, Dan and Fred Bourgoise had never taken any outside capital over the 30 years they had owned the company. The potential within the company, and the huge platform that they had created across the U.S., Nashville, New York, London and Germany, was enormous. They had been growing (the company) but if they had some help and resources they could have really grown the company. So that attracted me to Bug as well.

There were also soon assets in the company that you had been involved with previously. This includes Leiber & Stroller’s Trio and Quartet Music Publishing, and L.A. Reid’s Hitco Music Publishing; you knew the catalogs and understood their potential.

I pretty much knew 90% of what was in the catalog already and had spent a lot of time with it. Even though business structure wise it acted like almost like a merger because we knew the things very, very well.

I had worked with Randy Poe (president of Leiber & Stoller Music Publishing) and Mike and Jerry on the sale of Trio and Quartet Music catalogs to Windswept in 2003. So when Bug acquired Windswept in mid-2007, we acquired Windswept, which had some new writers and some catalogs they had purchased. We also acquired Trio and Quartet as well as Hitco Music Publishing among other things that were a legacy from Windswept.

You were the CFO of Windswept Pacific from 1998 to 2000.

The way I got to Windswept was that I ran the business part of L.A. Reid’s company Stiff Shirt Music Publishing in Atlanta. Stiff Shirt Music had a lot of writers signed that were writing for LaFace Records and producing for LaFace. Of course, LaFace blew up and became a gigantic (record) company with Tony Braxton, TLC, OutKast, you can keep going. When that happened, we had the publishing and it became overwhelming. We cut a partnership deal with Windswept to create Hitco Music Publishing. We sold half the catalog to Windswept and Hitco Music was very successful.

At the time, it was probably the premier urban music publisher. It certainly was the only truly independent non-artist-centric music publishing company in the urban space.

Then Windswept asked me to become their CFO. This happened over a series of years. At Windswept, I pretty much either advised or participated in the buy or sell of almost every major catalog transaction that happened. I knew a lot of these catalogs already. When Windswept was sold to EMI (in 1999), the Hitco Music catalog and a couple of other catalogs were not part of the transaction.

That deal with EMI Music Publishing was reportedly a $200 million deal.

Exactly. And those catalogs were kept out.

In 2007 Bug Music and Jamie Foxx formed a co-venture to capitalize on Foxx King Entertainment's abilities in film, TV, music and new media by developing and nurturing songwriters.

That was one of the things we first did. That was done pre-Windswept and part of it was because LaRonda Sutton (senior VP music development and production at Foxx King) who ran music there, was someone I knew. She had come in to run Hipco. The other part of it was that we knew that Jamie was all over the place. He was doing TV, and films.

That was kind of a start of us doing small acquisitions and signing writers. Changing the model to a co-pub (model) than doing strictly admin deals. We used to do a number of both. Now, our profile looks exactly like the majors.

Your partnership with Arthouse Entertainment in 2008 was a substantial step toward becoming a serious player in contemporary music publishing.

That was substantial. With the integration of the Windswept catalog and company into the fold, we got some great talent on the management side in Nashville and here in LA. It gave me the team I needed from a creative standpoint. It allowed us to be more creative-focused with our writers.

I always look at (the publishing roster) like a baseball roster. You gotta have folks that you are developing. Bruno Mars is a great example of that for us. You have to have your franchise players. From a co-publishing perspective, we had a lot of great writers who had great songs, but I wanted to make sure that we added to the franchise players too.

I had had a relationship with Kara and her manager Stephen (Finfer) for years before we decided to do something together. The deal just made sense on multiple levels. Kara was the 2007 Songwriter of the Year for BMI. She won the award with Sean Garrett, who we also had published at the time. I knew what was in Kara’s catalog, and the value of her catalog. And I knew about her drive. Her drive is just amazing as a songwriter. She has always wanted to be relevant. She was willing to work hard every day, no matter how much success she had. As a result of that, I thought that this deal really fitted well for what we’re doing.

The deal was three-pronged?

It was the acquisition of Kara’s past catalog. It was Kara doing the first co-publishing (deal) she has ever done in her career. Also, it was in support of Arthouse where we signed Mike Elizondo, Mitch Allan, and Ari Levine and other writers. In a lot of cases those are folks who co-write with Kara.

Bug administers the publishing assets of the Woody Guthrie Estate. Isn’t that an unusual portfolio to handle?

If you look at the estates that we work with, that one is right in the sweet spot. (Estate publishing administration) can be from anywhere. It could be in blues. We have a very close relationship with Willie Dixon’s family, whom we support in many different ways. Obviously, the Cashes (June Carter and Johnny Cash) -- we have had a relationship with them for quite awhile.

It’s not always just an administration relationship but we actually own the titles, and they are older titles and we have relationships with the families.

Bug owns a lot of Americana music.

It’s always been a strong part of this company. We have (songs by) Stevie Ray Vaughan, Jimmy Vaughan, all of the guys from the Blasters, and Los Lobos. Frankly, I put that music in the same place as I do a lot of the punk music. It is all very organic. It wasn’t about ultra-production. It was really about the music. Townes Van Zandt is the perfect example of that. That follows through how we feel here about Ryan Adams, Wilco, and those folks.

When you look everybody here in the eye, a big part of their soul is that type of music. And we develop a ton of people like that because we love it. Our president David Hirshland is on the board of Folk Alliance. Our VP John Allen in Nashville is on the board of the Americana Music Association.

Are there many significant catalogs still available for sale today?

There are more pieces available. There are independent pieces of things out there that show up here and there.

Last year, Experience Hendrix shifted administration of the Jimi Hendrix publishing catalog from Sony/ATV Music Publishing to Universal Music Publishing Group. Is that a catalog that interested you?

Of course, we love all of those things, and there’s always movement going on. Sometimes it’s just about money and that’s fine. If it’s about money, and it’s a fine deal, then good. But if it’s not just about money, then I think we do really well with (acquiring) them.

Diane Warren’s publishing company Realsongs would be a valuable asset.

There are all kinds of folks like that. What their relationship looks like today versus tomorrow and into the future, I think, is going to be different. There are multiple people that you can choose from (to work with).

It seems that there are more early rock ‘n’ roll catalogs floating around.

Popular contemporary music as a big commercial force really kicked in during the ‘50s. In the ‘60s, it started to get into a place where it was an actual full-time business. It wasn’t fragmented. It wasn’t a million different owners. Corporations started setting up.

Those folks who were in their 20s and 30s then, however, are now in their 70s, 80s and 90s and they are passing away. Sometimes their families aren’t involved in any form of the business. It's like, “What is this (publishing)? We get these cheques every so often. Is this something we can sell?”

Copyright owners also want to know what value you can add to the catalog.

The value added component is important. The other component is, “Are you a viable going concern?” A lot of folks that come in here, and do business here have been concerned about some of the companies out there. What are their underlying finances? Are they going to get caught in a (financial) circumstance if the company doesn’t perform well? Are they going to be able to take care of their own stuff? There’s something to be said for having 35 years of history and having paid every dime on time.

You founded your own consultancy Music Analytics in 2001.

When I was CFO at Windswept everything was pretty inside as far as deals and transactions. I started working with a lot of other folks while at Music Analytics. As outside financiers began showing up in this business, a lot of them approached me, and said, “You know how all of these deals work, and you know who has what catalogs and what is available. Why don’t we just give you the money, and you go do (the deal)?” The problem was that a lot of them wanted me to buy really expensive assets that I felt they weren’t going to make any money off of.

What were they primarily looking at?

They were looking at trying to acquire publishing catalogs. Outside financiers liked the annuity aspect of music publishing. That is what started bringing them in. In the late ‘90s, we would have loved to have kept Windswept (Pacific)—what we call Windswept One—as a private company, as an independent company, but none of the banks or independent financiers in private equity understood music publishing. Everybody was also then very concerned about Napster but it was more that they didn’t understand how cash happened (in publishing). It was frustrating to us.

So one of the things that I did after (leaving Windswept) was that I spent time with banks and other financial sources to have them understand (music publishing). Once people started understanding it, they really liked it. But the big pivotal moment was when TH Lee (private equity firm Thomas H. Lee Partners), their consortium, and Edgar Bronfman bought Warner Music Group. They put out decks of material showing how the business worked and showed what they thought they could do with it. A lot of debt providers really learned about the business during that time. They then thought, “Hey this is something we can probably lend into.” Then private equity showed up.

DreamWorks Music Publishing was sold to Dimensional Associates; and Compendia Music was sold to Sheridan Square/Artemis. Were those the type of assets that equity people were looking at?

There were even smaller ones that private investors purchased. That was great because it showed that there were people interested (in the music business) and that there was great quality out there which usually had to do with the vision of the founders (of those companies). There were also more corporate type transactions.

Terra Firma Capital Partners recently raised $156 million from investors to stave off a bank foreclosure. Many people were surprised that Terra Firma could go back to its investors and keep Citigroup at bay. In for a penny, in for a pound?

Yeah, I think that’s probably right. I think that at that point investors—and this is speculation—were down to looking at their equity being worth zero. By putting something into the game, they could increase it from being zero to being whatever they put into the new slot plus some recapture of that loss.

From a market perspective, how do investors look at the music industry?

It follows a pretty classic model. That it is assets versus services. What those two things are valued at. Financiers, both credit and equity providers and even the credit providers split (the music industry) up by saying, “Music is recorded music, and music publishing. It's two different things. Here’s why.”

In conversations (with other investors), they are usually met with very favorable responses. The (evaluation is), “It’s recorded music, yeah. They (the label) own a huge library of assets but they are trying to diversify their interest streams. They are still largely dependent on retail sales.”

There’s no question that music publishers get grouped into the (overall) music conversation….at first. Then, either the folks that have been in (the music market) for while, or do spend the time to get sophisticated about it, begin to understand the differences. With music publishing, we certainly have a retail sale component but we are also making money in various channels whereas the record companies either don’t or haven’t in the past.

When it comes to services, most of those services—not all of them but most of them--are tied more closely to the record side of the business, with the exception of touring; services related to touring and venues, things like Live Nation and Ticketmaster.

The lines are blurring; the root of music publishing was producing and licensing music. That is exactly what you are now doing operating 429 Records with Kings Of Leon, and the Features. You have gone back to the roots of music publishing.

People say, “Wow, you are doing that stuff.” I just say that, “I’m just doing what the original publishers did when they commissioned composers and authors.” Publishers were the ones that got somebody to perform (the song) on Broadway or at shows or theatres or wherever they could. Eventually, they licensed (the song) into piano rolls.

Until then music publishers controlled the distribution of their music.

Absolutely. If you look at the names of the historic (music) print companies that were around back then they all were (music) publishers. Print companies weren’t just someone who was printing music. They were people who owned the underlying songs.

Irving Berlin used to enforce usage of his songs. He was one of the last major songwriters to join ASCAP.

Keeping going with how things changed as the hardware manufacturers came in. There was radio too. People could say “I can hear music at home.” Piano rolls were around at that same time. Music publishers weren’t going to be piano manufacturers. They existed already.

Music publishers began to lose control of the distribution channel. They lost control with the advent of record companies.

You got it. Then, if you also remember, record companies were originally the manufacturers of the gramophones.

Today, the Internet gives publishers greater flexibility, including the ability to control distribution of their catalogs.

No question. It’s not something that is necessarily going to happen overnight, but there are two things in play here. One is an unraveling of the intricacies between the major music publishers, and their sister record companies. And, I don’t mean deals with them necessarily, but just the culture of those relationships. It’s, “You do the records; we do the publishing.”

There are still publishing issues in the U.S., like controlled composition clauses largely enforced because of the affiliations between major labels and their publishing arms.

Some of the issues the (publishing) independents are facing are that there are (labels) willing to now give preferential rates, and some other things that make competition a hard issue.

Major labels are in a tight spot with such declining sales.

We have these record companies that have massive infrastructures and massive costs. They have been trimming, and some of them have been doing a good job of trimming those costs down.

On the other hand the music publishers have very contained cost structures. We know how to license. We know how to process. We know how to do all of these things. What has been interesting is that we now have the ability to step up and do some projects outside.

Maybe it’s a publisher’s mentality, but we don’t necessarily need “to own the project.” We will develop it, but if someone else is in love with it, and would like to put it out then we are more than happy to have them take the project off our hands. We don’t feel like we have to be the label all the way through. More so, what we are interested in is developing projects, artists and writers. We know we have great songs. The number of great songs hasn’t declined. What has declined is the outlets to get those great songs out. That has just been a factor of the market.

How do record labels make money when artists want to control all rights? Their value as a company is based on ownership of catalog. Their slice of pie has also gotten thinner with eroding sales.

Well it has. But the new (label) deals are reaching into all of the different pieces of the pie. If you step back and think about it outside the context of music, this is just someone making an investment in someone. These deals are no different than any other venture capital deal, essentially. They may leave a bad taste in peoples’ mouths because they don’t like them, because what we deal in is art. It’s not always directly for commerce. That’s really the balance that both record companies and publishers always have to walk in their everyday lives.

A lot of the rhetoric around 360 deals---that they are evil; and artists should be doing it DIY--all of that stuff has really died down a lot in the past year. Now, can you put your finger on why? Is it related to reality sinking in? (Realizing) how much it actually costs to take an artist to market? To try to get them on the radio. To do all of the tour support and things we know it takes? Can you say that it was compounded by the market overall? Meaning the global economic situation where everybody just said, “Okay, wow. All of these factors have come together.”

I have seen (a change in rhetoric). There’s been this maturation that has gone on of the cycle where it has come back around. It’s not that everybody is getting comfortable with these deals but everybody now understands the reality of today.

Rhetoric has also chilled because those major acts who released music on their own have yet to find a sustainable template for future business.

They key factor is how did they get there? It took a lot of investment time (by a label) first to get a market aware of their brand. The younger writers I deal with, and some of those who have been through the cycle and got out of their deal or were dropped and have tried to do themselves--they have all come back around. They are smart, dedicated and aware of the realities of (marketing music). Yes, there used to be the big push of, “I’m going to do it myself. I’m going to put my music up on MySpace and market it. I’m going to hit all of the blogs.” Now you don’t see that as much. People are now saying, “I have to do all that, but I also need someone to really help me with this.” It’s not even just (about) the money. It’s the man hours involved (in trying to build a brand).

You were born in Chicago but raised in Tennessee?

My father was a radio promotions guy, and he moved the family from Chicago to Hendersonville in 1970.

Your dad Bob Rudolph worked for Monument Records when it was in Hendersonville.

He was a Berklee Music grad. He was a trombone player in Woody Herman’s band (the Swinging Herd) and he also played in Stan Kenton’s band. After Monument, he was in radio working at 92Q and then 103 WKDF/WKDA (in Nashville). He has been a drug and alcohol rehab counselor for the past 20 years.

[Fred Foster’s Monument Records was home to Roy Orbison, Kris Kristofferson, Jeannie Seely, Boots Randolph, Dolly Parton, Ray Stevens, Tony Joe White, Charlie McCoy, Willie Nelson, Tommy Roe, The Velvets, Connie Smith, and Larry Gatlin]

Why didn’t you end up working in the music industry in Nashville?

I saw how tough it was. Just to make a good living.

With your father working in the music industry, you must have been around musicians a lot.

I probably saw 50 concerts by the time I was 10. My father took me. I saw Bruce Springsteen on the “Darkness Edge of Town” tour and I remember meeting Clarence Clemmons. His hand was so huge compared to mine. He was a super sweet guy. I saw Harry Chapin before he died.

Remember in Nashville too in those days there was the “The Volunteer Jam” (headlined by the Charlie Daniels Band and featuring such guests as Ted Nugent, the Allman Brothers Band, the Marshall Tucker Band, Billy Joel, Billy Ray Cyrus, Stevie Ray Vaughan, Carl Perkins, Alabama, and Don Henley). You would see everybody there -- that was big.

Did you run around backstage?

Yeah. But I was more interested then in how many free Cokes could I drink.

What kind of music did you listen to growing up?

I listened to mainly rock, jazz and a little bit of disco, which was in then. I was exposed to everything to the extent that I could kind of look at the spines on vinyl (albums) from a distance, and get an idea of what something was. Then in the late ‘70s, the Sex Pistols came out.

Your father must have loved hearing the Sex Pistols in the house. Or the Clash.

Oh he did. He loved everything. The first Clash record (“The Clash”), I wore that out. In Tennessee, that kind of music was not widely accepted at the time.

Nashville was a great hard rock town.

Then the punk and alternative scene started happening with Jason & the Scorchers and other folks. Bill Lloyd, who was in Foster & Lloyd, and a MTM songwriter, worked in a record store with me (Sound Shop in the Rivergate Mall in Goodlettsville Tennessee). I credit him a lot with helping me get my sense for music other than me thinking something was just cool. When I got there we started ordering all of the alternative and punk records. I listened to R.E.M., Guadalcanal Diary, Jason & the Scorchers, Those were records that we sold.

Bill Lloyd is a writer with Bug today, as are Jason & the Scorchers.

It’s fun for me because we have all of these (alternative) folks as our clients. When they see me they say, “Oh my God, you have to be kidding.” I really got into alternative in a heavy way and I made friends with a lot of the label people down there (in Nashville) because I would do a lot of the in-store promotions for them.

Was it great thrill for you to land Roger Murrah to head Bug’s Nashville operation last year?

Oh it was a huge thrill. I think that a lot of people raised their eyebrows and thought that it was a naïve or bad move. I don’t think people think that anymore. I don’t think they held the respect or Roger as a song-man and publisher that they should have. They saw him (solely) as a songwriter from the ‘90s.

[Roger Murrah's prolific songwriting contributions include "We're in This Love Together," "Goodbye Time," "Where Corn Don't Grow," "High Cotton," "Ozark Mountain Jubilee," "Stranger Things Have Happened" and "Don't Rock the Jukebox."]

I have had some great mentors in this business including L.A. Reid; Chuck Kaye, and Evan Meadow (Windswept Pacific co-founders); and Dan and Fred Bourgoise. Guys who are 15 to 20 plus years older than me. But I was lucky because they were able to bridge the gap at the time and teach me a lot. They taught me about people. They also taught me that songs are important. Other people have taught me that over time as well.

You can communicate with songwriters and producers?

I can sit in the studio. I can sit with my writers and go through songs. Talk about structure. Talk about lyrics that don’t work. Talk about changes in arrangements with them. They really love that. That’s missing from a lot of conversations (in music publishing) these days. I know it is because we have songwriters here that were at other places, and they say, “I never got any feedback.” It’s because nobody is taught how to do that anymore. The only way you get taught how to do that now is if you are inside Diane Warren’s company, and you have sat there, and heard her talking with other writers or something. Then you can pick up on that stuff.

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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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
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
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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