Industry Profile: Tom Windish

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: Tom Windish, owner of The Windish Agency

In the fiercely competitive American music booking agency market, many boutique firms are facing mounting competition for new acts while struggling to keep existing ones

Chicago-based Tom Windish, owner of The Windish Agency, doesnít sweat the competition sweepstakes; heís too focused on trying to do a better job for his clients.

Meanwhile, offers for him to join or merge his business with larger agencies pile up.

Windish, 37, opened The Windish Agency in 2004 with the uncomplicated strategy of signing the finest independent bands he could find.

Windish, who later bought a four-story building in Chicago where the agency now occupies two floors, has since built a fine roster of more than 300 acts.

This includes Animal Collective, Girl Talk, Matt & Kim, Low, Hot Chip, Aphex Twin, Chromeo, Justice, Cut Copy, Deerhunter, Friendly Fires, the xx, Miike Snow, Crystal Castles, and Jose Gonzalez.

In February (2010), The Windish Agency expanded to New York, opening an office in Manhattan's SoHo district. Windish also hired agent Mike Mori, formerly of the Agency Group, who brought with him such clients as Ra Ra Riot, the Antlers, Cloud Cult, Lenka, Michael Showalter, Jedi Mind Tricks and We Are Scientists.

Also in the New York offices is agent Steve Goodgold, who has been with Windish since 2008, after coming from Chaotica/Vital Talent in New York.

Windish launched The Windish Agency following a 7 year stint as an agent at The Billions Corporation in Chicago. Windish had previously operated his own Bug Booking agency in New York and Chicago. It handled such indie bands as Hum, Smog, New Radiant Storm King, and Ass Ponys.

Windish, who grew up in Schenectady, New York, has always been interested in music. While a freshman at the State University of New York (aka SUNY Binghamton), he worked at the collegeís "free format" radio station. The station put on a few concerts a year; and Windish took over the concert program when a friend dropped out of school. By his junior year, Windish was the director of all concerts on the campus.

The college usually booked only one big free show per year. Windish, however, booked considerably more showsómany of them free programs in the center of the student union as part of a lunch time concert series--with the likes of Sonic Youth, Cypress Hill, Dinosaur Jr., Yo La Tengo, Ice Cube, the Feelies and Superchunk.

Meanwhile, Windish got a summer internship in the music department of the William Morris Agency in New York. It was there that he decided that he wanted to be a music booking agent. He started booking tours for bands while still a senior at the university.

Windish also briefly worked at The Knitting Factory in New York. Co-owner Michael Dorf had launched Knitting Factory Records, and brought in Windish to book its bands. Windish was also given permission to book his own acts on the side.

The Windish Agency started in Windishís Chicago apartment with about 50 artists and one assistant. Eventually, he had two people working for him out of his apartment. Then he moved the company into an office; then bought a building as his agency continued growing.

One of Windishís goals was to book artists in different situations and at varied venues. While his clients perform at Lollapalooza, Coachella, Bonnaroo, and Pitchfork, as well as such venues as the Fillmore and the Bowery Ballroom, they also perform at smaller municipal festivals throughout the U.S., and at such unique places as the Guggenheim Museum and the Getty Museum.

Windish has also had considerable success in exploring new touring markets, including Mexico City, Monterrey and Guadalajara, all strong markets for his roster in Mexico.

What makes Chicago a great town to work from?

Everybody plays here. The cost of living is probably a big thing. There is a great independent music scene, which is one of the reasons why I moved here.

How many people now work in your Chicago office?

19.

You arenít a boutique agency anymore.

I know, I know. If you had asked me six years ago where I thought Iíd be, I probably would have said, ďMaybe 10 people or so.Ē When I first started my agency I was running it out of the second bedroom of my apartment, with one employee and 50 artists. I was too conservative to want to pay rent on an office space. I realized almost immediately that I needed more space and that, financially, I could afford an office.

Why open a New York office? You already had Steve Goodgold working there since 2008

I brought in Steve because heís a great agent with a great roster. Iíve known him for a long time. It made sense to bring him into the company. Then, Jen (Van Eynde), one of my employees from Chicago moved there. She deals with immigration and taxation for Canada and visas for other countries. They were both working from home (there). When I started talking to Mike (Mori), I realized that we were going to need another administrator to help deal with contracts. We started talking about his assistant. Once I knew that we were going to have (at least) four people, it just didnít make any sense to have everybody working from home.

Were you nervous opening up in New York?

Not really. People made a bigger deal out of it than I was thinking. The rent isnít that expensive. We have two great agents there. Hopefully, there are some other agents that live in New York that want to come and work with us.

You also picked up two other Chicago-based agencies.

Yeah, I absorbed a couple of agencies. I brought in Derek Becker who had his own company (Satellite Booking), and I brought in Bojan (Jovanovic) who had this agency called Noise Problem.

The next Tom Windish is now working from a basement somewhere.

Iím excited when I think of those people. I think I can provide them with some great tools so that they can do much better; book much better tours; and find more promising acts, whatever it may be. We work together as a team really well here. Everybody is really supportive of each other. We share a lot of information with each other.

Where do you think your company will be in five years?

Oh man. Itís really hard for me to predict. I donít have a business plan.

Your accountant must be aghast.

Our accountant is probably baffled by how well we are doing.

You donít have a business plan at all?

Not really. Iíd like to bring in more agents, if they are good agents. Good people that have a good ear for music, and who work really hard. I have a lot of people here; they wake up and they start checking their email. They donít stop doing that until they go to sleep. I imagine that there are more people like that out there.

Do you have regular meetings?

Sorta. Not really. But we communicate with each other by email or by phone all of the time.

A few years ago you bought an office building to house the agency. Why buy a building?

Well, I had the opportunity to buy a pretty big building, and the cost of real estate was down. I canít imagine that we are ever going to outgrow this building. We rent out half of it. It is really comfortable for us. Weíve got two kitchens. We barbeque almost every day (outside). Our old office building was great. We rented it, but we had to get out because they were going to make it into a hotel.

Have the bigger agencies come knocking at your door seeking to buy you out?

Iíve talked to all of them. As soon as I left Billions some people called. They keep calling. They all want me to know that if I ever want to do something that they are interested in talking. But Iím pretty happy.

Selling isnít tempting?

No. Iím really satisfied. Iíve got a great group of people working with me. The company has gone way better than I could ever dream. I donít have someone telling me what I have to book or how I have to book. Whenever I see a need within the company, I can address it or hire someone (to address it). Thereís not a bureaucracy here that controls me.

Does your roster often get raided by bigger agencies?

Poaching is the nastiest part of our business. Thereís a constant threat. Itís like swimming with sharks.

Poaching is more rampant because the bigger agencies have broadened their rosters..

Itís been bad for awhile. That is one of the most depressing sides of the business to me, the fact that I have to worry about that at all. I try not to. Boy, itís really frustrating. Attempts at poaching are bigger and stronger than ever. If these guys are doing this to me, I canít imagine what some of the bigger agencies are going throughólike Billions Corporation, High Road Touring, and Paradigm.

Years ago, poaching wasnít much of an issue.

If you had an act, they were your act. But these days, agents just feel itís free rein to call up all of my clients that sell tickets, and tell them, ďHey, weíd love to book you.Ē And tell them all about their services, and all about their film divisions and all of this stuff. You canít spend time worrying about it. You have to do the best job you can for the client. If they want to go, let them go and move on.

When you moved to Chicago, there was a healthy local indie scene, including Corey Ruskís Touch and Go Records.

Yeah, Touch and Go Records, Bloodshot Records, Drag City Records, and Thrill Jockey Records. I was living in New York City beforehand. I had my own agency (Bug Booking) there and I felt very competitive, almost in a negative way. I came out to Chicago, performed at the Empty Bottle, and met up with a lot of people I had been doing business with over the phone.

I know you were in a group with your sister.

I played solo that night. Hum also played. I played for a few years.

Were you any good?

No. I quickly decided that the stage was better reserved for people that were more talented than me.

What impressed you about Chicagoís music scene?

People just had a different attitude. They were supportive. They were excited about someone like me booking a bunch of bands that werenít well known. In New York, Iíd go to clubs and see bands and I just felt bad. I would be surrounded by other agents looking at me, thinking, ďThis guy doesnít book anybody. Heís not worth anything.Ē

New York is a very competitive market.

Itís definitely a lot different now than when I got there. I was booking bands that were making $100 to $300 a night and the cost of living was high in New York. It was a lot cheaper in Chicago.

You were operating Bug Booking when you moved to Chicago?

Yeah. I lived above this club Lounge Ax, which is like the CBGBís of Chicago. I really liked it. My rent was practically free. I worked at the club and saw bands there all of the time. That was kind of in the clubís heyday.

[Lounge Ax, in the Lincoln Park neighborhood of Chicago, shuttered its doors following a reunion of the defunct lounge band the Coctails, with Dianogah and M.O.T.O. opening, on January 15, 2000. For 12 years the club hosted just about every indie act of consequence, including Tortoise, Pavement, Guided By Voices, Yo La Tengo, and Wilco. Lounge Ax was featured prominently in the 2000 film ďHigh FidelityĒ starring John Cusack.]

Why did you then work with David (ďBocheĒ) Viecelli at The Billions Corporation?

It was a great opportunity. He was way more advanced. He was an agent who I looked up to immensely. When we started working together, it was like a dream come true. I didnít think that an opportunity like that would ever have presented itself. The company was still small. I was the second employee that he had. But he had Pavement, the Blues Explosion, and the Jesus Lizard. A lot of great bands. Things were definitely beginning to happen there, and had been (happening) for awhile.

What did you learn working at Billions?

I really developed my roster a lot. I learned how to book better tours. My relationships with promoters improved greatly.

Why did you leave?

A lot of (my leaving) had to do with that I thought there were (structural) things I could do where I would serve my clients better. The things that my administrative staff needed to do for clients would be done better if they worked for me.

You did have some autonomy at Billions?

I had quite a bit of autonomy to sign what I wanted. However, one of the big things was that Iíd be calling the day before a tour started to get contracts sent back. I would be putting the tour book together or filling in the missing pieces to it. I would be doing the ticket counts myself or filling in the missing pieces of that stuff. I would be calling about the deposits. I just thought, ďIf I had somebody help me do this, I could spend more time booking.Ē There were people there that were supposed to be doing all of this, but they were busy.

Did you leave on good terms with Boche?

No. We havenít talked since. We email a little bit. Iím thinking about reaching out to him one of these days. Heís doing great.

What bands did you open your agency with?

Boy, I had a lot. I took my roster. I had about 50 artists. Clinic, Autechre, all of these electronic artists that I brought in. Also Low.

Your musical taste is pretty wide.

Yeah. I like all sorts of music.

You mostly have indie bands that donít rely on radio or other traditional industry resources. Will you sign an indie band that is unsigned?

There are good and bad things about labels. Labels can make things happen pretty quickly sometimes. Like getting songs played on the radio; and spending money on digital marketing. A lot of our bands -- certainly the independent ones -- donít have a lot of money behind them. So we are really depending on that grassroots word-of-mouth spreading about the quality of the music. I hope that my clients have a decent team behind them to help promote themówhether itís marketing or press people.

Is that something you look at when considering an act to work with?

Not really. I find that agents have to be in there so early these days. If we like it, (the act is) going to have those people in place at some time. Maybe it wonít be on the first record. That doesnít mean I donít want to be involved and help them get off the ground.

So if you like an act, you are interested in working with them?

Definitely.

Are promoters hurting this year?

Weíre not. It seems that Live Nation is. I donít really pay attention to the side of the business that is arena or amphitheatre driven. People are excited about seeing a lot of our bands. I hope more of them get popular. That would be great.

Whatís hurting the live business overall?

Itís a combination of things. The price (of shows), and the surcharges; I think thatís what is souring people the most. They are ridiculous.

Most of your roster works with cheaper ticket prices.

Yeah, I would say that most work in the $15 to $20 range before service charges are applied which are very high.

Creative Artists Agency, William Morris Endeavor Entertainment and others have become more interested in pursuing independent bands.

These days, it is so difficult (for a band) to get a record contract, especially early on. A lot of the (managers) CAA or William Morris are working with have bands that donít have record deals in place. But, there is a good amount you can do without a record company these days. You can hire a good publicist. You can release (music) yourself. You can go through Topspin (Topspin Media) and other sources. Maybe, you get the record deal on the next record; or (the current album) is re-released or something like that.

We have been able to put together a strong roster of live artists that make a living; and that are comfortable doing what they love doing. Iím excited about that.

There are so many acts available today.

I think itís amazing that a band can make a record for a very little amount of money, and then can become popular and develop a touring career and a fan base. Those (traditional) filters are not in place anymore. In the old days, you had to get a lawyer; you had to get a record contract with a certain amount of money (for an advance). Then, the people who gave that money decided if they were going to push the band or not.

There arenít as many people deciding now.

You donít need to have people control purse strings or talk about spending money on radio or something. You can get popular on your own through the internet.

When management comes to you with an emerging band on a first album cycle, what, generally, do they want?

They are looking for an agent, probably more so than ever, that is going to help them develop that (live) side of the business for them. They want us to put together the best opportunities as possible. Whether that means getting a great opening slot; or just playing great shows at good venues; or at things like at Millennium Park (in Chicago); or corporate events. They want us to deliver money to them because thatís where they make their living.

New acts tend to want to play festivals, which they may not get early on.

I had a brand new band email me a couple of years ago saying, ďThe next year we are going to get Coachella, Lollapalooza, Bonnaroo and ďAustin City LimitsĒ and we will fill in some dates around them.Ē I wrote back, ďYou better give me a call because we arenít going to get any of that stuff. Youíre just not ready.Ē They couldnít believe it. I was like, ďDo you know how many bands are trying to get on these things, and how many fans you have? You have to go out there and hit clubs for awhile and get people talking about you before I can get a festival for you. And, if you get all of these festivals, what are you going to do the next year?Ē

How about the more experienced bands?

What are they looking for? They want to feel confident that we are delivering the best possible live scenario for them. That we are doing a better job than anybody else could be doing for them.

Your agency books all kinds of different venues.

One of the problems with the concert business is that so many agents have gotten used to calling up one person in each city and booking every act on their roster with that one person. It has gotten so formulaic. Things need to change. There are so many more music fans than there used to be and there are a lot of different ways of hitting them.

There are so many bills that just donít work.

You look at a lot of bills and you realize that they are put together by a record company, agency or management politics. We do a lot of (match-ups), but we do it with the full support of the (headlining) artist. I think we put things together that make a lot of sense.

If an act isnít booked by the big festivals, there are other avenues to expose them.

People need to realize that there are more festivals than just the six big names. There are thousands of festivals. In Chicago, there are festivals almost every weekend. In New York, there are all sorts of events. I really like it when my artists play in front of unconverted fans, ideally a lot of them. Not people who have decided that they are going to spend $10 to see this band. There are a lot of opportunities for that out there.

Why do you like that?

If they have music to back them up, I want them to go out there, and play in front of people. There are a lot of different levels of fans for artists these days. There are ones that will pay for the record. There are ones that wonít pay for the record, but they will pay for a ticket. Then there are a lot of other ones that have heard four songs in MySpace, Pandora or Pitchfork. I want those people to be converted into people that will pay for a ticket. There are a lot of ways to do that besides opening for a bigger act and getting paid $100.

What other ways?

Doing other festivals that arenít as well known is a really good way to (gain fans). Also, playing non-traditional places, and non-traditional events is a great way to do it. In Chicago, thereís a series at Millennium Park. Itís free; itís on Monday nights. They have two or three bands play all throughout the summer. We have had a lot of bands play Millennium Park. There will be 5,000 to 10,000 people there every Monday night. Itís fantastic.

If a band doesnít land a festival, it can work within a region and explore opportunities.

Thatís a good way to do it, too. Thatís kind of an old school way of doing it. We have a lot of bands, especially foreign bands, that will come here and focus on New York for a week. Then, they go home to France or the U.K. and keep playing where they live. Then they come back here, play New York more, add in L.A. and, maybe, add in Toronto. Then they will go back and work in Europe again. The buzz that is generated in Europe will trickle over here pretty much immediately.

Is it hard to get a buzz in New York and L.A.?

There are a lot of early adopters there. A lot more than in say, Portland, Oregon.

How can new bands compete at music industry showcase events like South By Southwest when there might be 1,900 bands playing? Do they need to have a buzz beforehand?

It really helps to have a buzz going into it. We can only do so much to deliver the buzz. Every year we have some bands come out of it with a really good boost. Others leave without one.

We donít encourage or discourage artists going to South By Southwest. I think South By is a different beast than all of the other (Industry events). If the artist wants to go there, weíll do as much as we can to book them as many good shows that they want to play. We have relationships with everybody who does a day party there, and with just about everybody doing something at night. We also do a lot of our own things there.

It was easier to be noticed at South By Southwest a decade ago.

Itís harder now for a number of reasons. There are more bands and there are a lot of different places there to play now. Also bands want to play more there. We will have bands play 10 times at South By Southwest. You can get a really good boost out of it. I havenít seen many bands play CMW (Canadian Music Week in Toronto) and get the type of boost that they can get from South By. They just get so much attention nationally and internationally there.

CMJ Music Marathon is a smaller version of South By Southwest.

We do a lot of things there. CMJ seems a bit silly to me. Thereís always so much going on in New York anyway. If a band asks me to play CMJ, I tell them that they can play New York any night of the year, and you will get a lot out of it.

Tell me about being a congressional page in Washington, D.C., when you were in high school.

That was great. My uncle lived in Washington, D.C. and he worked for the Jimmy Carter administration. When I was about 12 years old, he told me about the program (The United States House of Representatives Page Program) and said, ďYou should do this, youíd like it.Ē So I started writing to my congressmen. They would write back and say, ďSorry, the deadline is past.Ē I said, ďNo. I want to do this in about two-and-half years.Ē

There are 66 pages for the House of Representatives, and about 30 for the Senate. The senior most congressional people get a page. Luckily, my congressman, Sam Stratton, had been in office for a really long time (Stratton, also living in Schenectady, was reelected to the House 14 times. He represented New York from 1959-1989). He was the senior person on the Armed Services Committee. So I applied, and I got it. I moved (to Washington) for about five months. I lived in Capitol Hill in a dorm about two blocks from the Capitol. It was a dorm for the pages.

[Congressional pages have served within the U.S. House of Representatives for almost 180 years. Pages are used as a messaging service for the four main House Office Buildings (Rayburn, Longworth, Cannon, and Ford) as well as inside of the Capitol. Other page responsibilities include: taking statements from members of congress after speeches (for the Congressional Record), printing and delivering vote reports to various offices, tending members' personal needs while on the floor of the House, managing phones in the cloakrooms, and ringing the bells for votes. Among those who have been a page is Bill Gates founder/CEO of Microsoft who served in 1973.]

You were still in high school.

Yeah. I was 15, a junior at high school. I attended congressional page school in the Library of Congress. The classes were small, maybe 5 or 6 people. You got really good attention for the teachers so I didnít fall behind. It was an amazing experience. If I hadnít done that, I donít think that I would have been nearly as confident to go out on my own and start an agency.

[House pages serving during the school year attend the House Page School, located on the attic floor of the Jefferson, or main building of the Library of Congress.]

What were your duties?

My job basically entailed sitting on the floor of the House of Representatives every day when the House was in session waiting for (congressmen) to say certain things. That would trigger me to do something like hand a bill to congressmen that are coming in or ring the bell for voting. Thereís this electronic bell system that goes through the whole house office complex. It indicates that a vote is taking place or a quorum (is needed) or something.

This was when George (Herbert Walker) Bush was president.

Bush was elected when I was there. I worked at the inauguration.

When you attended SUNY Binghamton (The State University of New York) you began to promote shows?

I was a sociology major, but I started putting on concerts when I was a sophomore. I liked that a lot more than I did my school work.

Did you graduate?

No. I was the concert director there. I was putting on one or two shows a week, and doing everything. Booking the acts; making sure the right forms were filled out; getting the checks cut; helping to design the poster; making sure that they were hung up; getting the hospitality rider fulfilled; making sure that the sound was there; getting there when the band loaded in; and selling tickets. Everything. There was no concert board or anything. There was one guy that I reported to and he gave me a pretty long leash. I had a couple of people who helped me out, once in awhile, like a hospitality person or sound guy.

You were well situated to pick up acts that were coming through the area.

Exactly. Binghamton is three hours west from New York. I would book bands that played New York City the night before. They would stop in Binghamton and play a free show at lunch; and then keep going to Cleveland or Toronto. I wouldnít pay them much. I mostly directly dealt with agents. I didnít like dealing with middle agents. I did a lot of business with the William Morris Agency. A lot with (agent) Cara Lewis, especially. I did a Cypress Hill show, an Ice Cube show, and some other hip hop stuff with her.

You worked at William Morris in New York.

I interned there for a summer. I had also worked with Steve Martin there a bunch. So, when I applied for the internship, a bunch of the agents there put in a good word for me and I got it.

Jon Podell was at William Morris as well asÖ

There was Cara Lewis, Jon Podell, and Steve Martin. Mike Donovan was Steve Martinís assistant; and Ken Fermaglich was Jon Podellís assistant. Jonathan Levine, and Nick Caris were also there.

While you were at university did you spend much time in New York.

Definitely. I started going to shows down there. I started going into the Twin Towers (Touring) offices. I would book a lot of shows with those guys like Sonic Youth, Dinosaur Jr., and Lemonheads. Every time I would go to New York, which was pretty oftenóonce a month or soóIíd stop in the office and hang around, say hello, ask for CDs, and posters.

[In 1994, International Creative Management acquired Twin Towers Touring, the New York-based music agency that represented such cutting-edge acts as the Lemonheads, Dinosaur Jr., Mudhoney, the Dead Milkmen and Redd Kross. The deal expanded ICM's music roster and put it in business with a company renowned for cultivating hot young bands. Bill Elson, then executive VP/music division head, called Twin Towers the "pre-eminent independent agency.Ē With the acquisition, Twin Towersí executives put out a statement that began, "Yes, it is true. We sold out."]

Many of us started in the business to get free music.

I was in awe when I was in (Twin Towersí) office. Iíd be so excited. Bob Lawton booked all of these great bands and on his desk he had a model car of a Galaxie 500 still in the box. It was for the band Galaxie 500, who I liked. I remember seeing this model car sitting there, and thinking, ďThis guy books Galaxie 500. Heís got the car there. Thatís crazy. Thatís the coolest thing ever.Ē

I would be speechless when I would go in their office. Iíd be afraid of Bob. Steve Kaul was also there. I booked a lot of stuff for him. Bob Lawton and Steve Kaul were the main agents, Jim Romeo was the assistant, and he later became an agent. Eric Dimenstein had a short tenure there. They were awesome. I think, at its peak, (the agency) was three agents and one assistant. They had one computer to share amongst everyone in the office.

You worked for The Knitting Factory.

It didnít last very long. I was basically working for Knitting Factory Records. I had booked a couple of shows for some jazz guys from Michael Dorf up at Binghamton. I worked out a deal with him where he gave me a phone and a desk and I booked some bands for him. He also let me book some bands of my own.

Let me guess. Your bands were working and his werenít.

Exactly. So I didnít last very long. I had these calendars up on a bulletin board and the bands that I brought in, the calendars would be full. The bands that he had me working on would have one or two things in pencil in each month.

In those days, the business was all phone calls and personal relationships.

I am a huge advocate of building relationships. Iíve spent a lot of time and effort going around the world, and meeting people one on one. I have done that in London, L.A. and New York. I will make a list of who Iíd like to meet. Not necessarily thinking of people that I want to do business with immediately. Maybe never. I will meet with a lot of people that I have a lot of respect for. I like to hear where they came from, and how they did it (became successful). Our business is made up of a bunch of entrepreneurs. A lot of them fell into (the industry) or found their own path. I did the same thing, so itís interesting to me to hear those stories.

Your agency doesnít do much business in Europe.

Very little. I go to Europe a lot. I book a lot of artists from Europe. The question comes up constantly about when are we going to open up (an office) in the U.K. or in Europe. I donít know the answer to that, yet. I donít know if Iíll ever want to do something over there. Still, I find London to be the most inspiring place in the world for new music. Thereís so much going on there. You can find some great new artists there constantly. I spend a lot of time there.

Mexico and Australia have become strong territories for your agency.

We book Mexico, South America, Asia and we do quite a lot in Australia. A lot of the bands that we send to those countries, they are not openers. They go down there, and they are headliners or they go down and they play festivals right away. Boy, there are a lot of festivals in Australia.

Mexico is a fantastic place to tour, financially. Record sales are practically non-existent. You canít tell how many records youíve sold; you donít get any radio; but an act can play in front of twice as many people as it can in New York City.

What acts on your roster play Mexico?

Justice, Hot Chip, Girl Talk, the Friendly Fires, and Peter Bjorn and John. All sorts of people.

Is there a reliable promoter system there for indie acts?

There are hundreds of promoters (there), and itís easier today to figure out which ones are legit. Iíve gone down there a few times, and met with a couple dozen promoters and gone to events. But, you can check, and find who they have booked before, and check with those agents to see how it went.

South America has opened up as well for you?

We do a lot there. One of my employees, Amy Davidman is living in Chile for one year. Sheís in Santiago. She went down there because her partner got some kind of scholarship. Sheís still booking tours in America, but she has also traveled around South America and met promoters. She has been helping us out a lot there.

Promoters book a lot of American rap and hip hop in South America.

And electronic music.

What is your opinion of the rumor that Illinois Attorney General Lisa Madigan will be investigating festival promoters over antitrust concerns relating to radius clauses?

Radius clauses really are not a factor. Our clients, they want to play these festivals. The exclusivity clauses, especially with Lollapalooza, I find to be really flexible. If I go and tell them that I want the band to play in Chicago in May or something, they will normally say itís okay. I canít think of a time when they said it wasnít (okay).

Radius clauses are primarily designed to keep the bigger, expensive acts "clean" in a given market.

Exactly. Coachella has some really intense radius clauses. They donít want bands playing San Diego, Costa Mesa, L.A. or anywhere in the area for a pretty long time. And, they are really strict about it. They donít want bands doing any after parties at these festivals whereas Lollapalooza, we have a lot of bands playing after parties. Bonnaroo, I also find to be pretty strict with the exclusivity.

With the recession in full swing and competition for concert dollars stiff, festivals are become more popular in the U.S.

I hope that the festival culture grows, and gets ingrained in more people here. It seems to be going great nowadays. When I go to places like Australia or Europe, going to a festival is a much more common thing. People are planning out what festivals they are going to go to for the whole summer. People donít have that mind-set here. But they are starting to. A lot of festival lineups Iíve seen for Australia are really creative, really diverse. I look at the lineup, and think, ďIíd like to go to that.Ē

Are festivals primarily events with the acts a secondary draw?

I donít know what the draw of festivals is to fans. I find them pretty grueling. I canít imagine going to them without having backstage access. Being out in the hot sun for 9 hours. I was just at Pitchfork (Pitchfork Music Festival), and itís a great festival. Thereís a lot of shade, but it was really hot. They had this air-conditioned Greyhound bus you could sit in to cool down. There was a huge line to sit in this Greyhound bus. It just reminded me how lucky I am. If I had to cool down by waiting in line for an hour to sit on a Greyhound bus for 10 minutes, I wouldnít want to be there.

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.

.

Industry Profile Archives:
Mick The DJ, DJ/Enterpeneur 04/30/15
Joanne Abbot Green, CMJ Music Marathon and Film Festival 10/17/08
Lee Abrams, XM Satellite Radio 11/28/03
John Acquaviva, Fund Manager, DJ and Serial Entrepreneur 07/09/15
Jay Boy Adams, Roadhouse Transportation 05/04/07
Jamie Adler, Adler Entertainment Group 05/11/07
Gary Adler, National Association of Ticket Brokers 12/04/13
Rodney Afshari, Freeze Artist Management 03/01/02
JC Ahn, VU Entertainment 04/10/13
Steve Alaimo, Vision Records & Audio Vision Studios 05/26/06
Jaye Albright, Albright & O'Malley Consulting 07/19/10
Randy Alexander, Randex Communications 10/12/07
David Alexander, Sheer Publishing 07/21/16
Eva Alexiou-Reo, FATA Booking Agency 05/14/15
Marcie Allen, Mad Booking 12/14/00
Jeff Allen, Universal Attractions 08/16/02
Marcie Allen, MAC Presents 06/05/09
Marcie Allen Cardwell, MAC Presents 12/21/07
David Allgood, Bama Theatre 01/03/11
Patrick Allocco, AllGood Concerts 10/05/07
Michele Amar, French Embassy 05/26/16
Mike Amato, Rok Tours International 02/02/07
Jeff Apregan, Apregan Entertainment Group/Venue Coalition 09/30/15
Billy Atwell, AMP Studios 12/13/07
Bob Babisch, Milwaukee World Festivals Inc. 04/02/15
Tom Baggot, thebookingagency.com 05/02/03
Stephen Bailey, EPACC & Deleware Center For The Arts 02/06/04
Cary Baker, Conqueroo 05/11/11
Vince Bannon, Getty Images 07/05/11
Phil Barber, Barber & Associates 02/04/01
Camille Barbone, WineDark Records 12/09/05
Erin Barra, Musician/Producer/Educator 07/10/14
Ben Baruch, The Fox Theatre 09/27/08
Ben Baruch, By Larry LeBlanc (CelebrityAccess) 04/05/17
Paul Bassman, Ascend Insurance Brokerage 08/03/16
Adam Bauer, Fleming, Tamulevich & Associates 02/15/02
Ed Bazel, That's Entertainment International 10/05/01
Joachim Becker, ZOHO Music L.L.C. 01/12/07
Howard Becker, Comet Technologies 05/02/11
Mark Bego, Author 06/15/07
Jim Beloff, Flea Market Music 09/20/10
Richard Bengloff, The American Association of Independent Music (A2IM) 09/12/13
Seth Berg, South Bay Music 01/30/09
Aimee Berger, 2 Generations SPA Music Management 09/24/04
David Berger, Future Beat 10/29/14
Barry Bergman, Music Managers Forum 03/14/03
Steve Bernstein, Relix LLC 09/30/05
Mark Berry, Attack Media Group 04/07/07
Scott Billington, Rounder Records 01/17/12
Jeffrey Bischoff, Cinder Block 03/24/06
Sat Bisla, A&R Worldwide/ Musexpo 03/29/10
Nina Blackwood, Sirius Satellite Radio 07/14/06
Adam Block, Legacy Recordings 11/07/13
P.J. Bloom, Neophonic, Inc. 01/24/11
Rishon Blumberg, Brick Wall Management 06/27/03
Justin Bolognino, Learned Evolution, and The Meta Agency 04/25/13
Steve "Chopper" Borges, Total Pro and Borse Techos 03/03/06
Les Borsai, Mediocre Management 01/30/04
Shane Bourbonnais, Live Nation Canada 03/21/08
Jeff Bowen, Sears Centre Arena 03/13/08
Rick Bowen, Mystic Music Experience 07/11/08
John Boyle, Sanctuary Music Group 03/19/04
Jeff & Todd Brabec, Writers/Attorneys 01/03/12
Bill Bragin, Joe's Pub at the Public Theater 08/08/03
Joel Brandes, Avenue Management Group 11/02/08
Joe Brandmeier, Moving Pictures 03/15/02
Scooter Braun, SB Projects 12/13/10
Ron Brice, 3rd & Lindsley Bar & Grill 06/08/16
Billy Brill, Billy Alan Productions 11/11/05
Doug Brown, Talent Buyers Network 09/21/01
James Browne, Sweet Rhythm 11/01/02
Bob Brumley, Brumley Music Company 02/17/16
Tony Brummel, Victory Records 05/17/09
Charlie Brusco, TBA Entertainment Corporation 10/13/01
Del Bryant, BMI 05/18/07
Cortez Bryant, Bryant Management 12/06/10
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 Denverís Division of Theatres and Arenas 08/23/10
Paolo díAlessandro, 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 íní Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gťlinas, Festival díťtť de Quťbec 05/23/13
Marci Geller, Sonic Underground 08/15/08
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
Andrť Mťnard, Festival International de Jazz de Montrťal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
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 Mķsica 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 OíConnor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
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 ďIceĒ 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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