Industry Profile: David Campbell

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: David Campbell, president and CEO, AEG Europe.

With five arenas in the British Isles usually ranked into the Top 20 live music ticket sellers globally, The O2 Arena, Manchester Evening News Arena, O2 Dublin, Wembley and Odyssey in Belfast, the U.K. may be the most formidable event market in the world.

The O2 Arena in London appears to lead the world in ticket sales.

With a seating capacity of 23,000, owners Anschutz Entertainment Group (AEG) fill The O2 with music-related shows; and non-musical fare, such as sport, family shows and entertainment events. As well, there’s been considerable use of AEG’s multiple-show residency concept for such leading acts as Prince, the Spice Girls, and Bon Jovi.

In 2007, The O2 suffered a £9.7 million loss when it was only open for six months. In 2008, the venue made a pre-tax profit of £15.6 million. During 2008, the venue hosted 140 events, and its revenue doubled to £53 million.

In 2009, The O2 racked up 179 event days with 212 events. Of course, Michael Jackson had been booked to perform 50 shows during his residency there. The shows were scheduled to begin in July 2009 and continue through to March 2010 with 30 of the shows being in 2009. Despite losing those sales, other events at The O2 sold close to 2.5 million tickets in 2009.

When AEG agreed to take on the much-pilloried Millennium Dome in 2005, people were doubtful.

AEG, however, has proved all doubters wrong.

To its credit, AEG spotted a gap in the U.K. market. London was crying out for a large, state-of-the-art music venue. The city has not traditionally been fondly regarded for its arena facilities. On arriving at one complex several years ago, the Eagles' Don Henley reportedly asked the damning question: "Are we in Russia?"

AEG had the foresight to see the opportunities that the Millennium Dome offered and had the balls to move forward. Don't forget that at the time the complex was lying empty, and it was viewed with great distain.

Glasgow-born David Campbell, president and CEO of AEG Europe since 2005, is largely credited with transforming the Millennium Dome flop into the rebranded O2, one of the world's top entertainment venues in under three years.

Under the leadership of this dynamic former marketer, radio boss, TV executive and media strategist, and sponsored by the mobile phone company of the same name, The O2 has attracted the brightest of the brightest stars.

This includes: Prince (21 nights), the Spice Girls (17 nights), and Bon Jovi (12 nights). There was Led Zeppelin's celebrated reunion in 2007 as well as shows by Bruce Springsteen, Elton John, the Rolling Stones, the Eagles, Kylie Minogue, Stevie Wonder, Coldplay and James Blunt.

It has just been announced that the BRIT Awards will move to The O2 next year, following a 13-year run at the Earl's Court Exhibition Centre. The BRIT’s organizers made the call to move after deciding they wanted the ceremony to be based on an "arena event" in the future.

A seasoned deal broker, Campbell has more than 25 years marketing and management experience. He is a father of four, whose wife had just given birth to twins when he was approached by AEG to take over the Millennium Dome after £789 million of taxpayers’ money had been poured into the project that had closed within a year.

AEG’s initial investment in The O2 was an estimated £350 million between 2005 and 2007 when the company gutted the venue. Apart from the tent, everything else is new. A similar sum is being spent as the next phase is being completed in time for the Olympic Games in 2012, when the arena will host basketball and gymnastic events.

Meanwhile, AEG is considering taking over management of London's £550 million, 80,000 seat Olympic stadium after the 2012 games. While AEG is one of 106 parties interested in taking over the stadium, it is regarded as one of the front runners.

Born in Glasgow, Scotland, Campbell moved to London with his family at the age of 13. His father worked as a purchasing manager for a U.S. diesel engineering firm. The family moved to Indiana when he was 16. He studied media and business at Washington University in St Louis, earning an MBA specializing in marketing, before joining the marketing department of General Mills.

He was next hired by Pepsi to work in New York, selling diet and caffeine-free products. Two years later, Pepsi moved him to London, where he jumped over to a young upstart company, the Virgin Group, staying there 11 years.

Campbell sprang to considerable prominence as the chief executive of Virgin Radio, which made its debut in 1993, and became one of the largest commercial radio stations in the UK. It was acquired by the former “Big Breakfast” presenter Chris Evans in 1997. Campbell then played a pivotal role in setting up Ginger Media Group with Evans, which the pair then sold to the Scottish TV owner SMG for £225 million in 2000.

Next, Campbell became the vice chairman of Ministry of Sound, the independent music, clothing and club empire.

Campbell caught the attention of AEG during a four-year stint working for former London mayor Ken Livingstone, where he helped to set up the Visit London initiative, which delivered the first boost to tourism in the capital in over a decade.

What prompted you to leave a £250,000 job at the London Tourist Board to make a jump to AEG in 2005?

Most of my background, apart from that fleeting moment there (at the London Tourist Board) had always been in the commercial sector. I had started out with Pepsi, and spent a lot of time with Virgin. I got contacted by Ken Livingstone, who was then the mayor of London, to get involved with promoting the city. The first bit of that was tourism, because it’s about 10% of London’s economy. As part of that, I had gone to see Tim Leiweke (president/CEO of AEG). They were finishing off doing the deal to acquire the (Millennium) Dome. I had gone to sell him something. If you know Mr. Leiweke, you will know that he is a very high-speed salesman. He bettered me. He sold me something instead of me selling him something. He sold me a job.

You have worked with some colorful characters, including Ken Livingstone (dubbed “Red Ken" by the UK media), Richard Branson, and Chris Evans.

A lot of them are quite similar in many different ways. If you took a multi-national billionaire businessman in the form of Richard Branson, and a slightly Left leaning politician in the form of Ken Livingstone, and said that they were similar, people would go, “That’s a bit of a strange one.” But, they are quite similar. They are both very driven. They are both very passionate. They are both very clear about what they want to do. Neither of them spends a lot of time debating the issues. They are very action-oriented, and results-oriented.

The same can be said about Philip Anschutz.

Oh, very much so. I think that the only difference is that both Branson and Livingstone like the limelight, while Philip is not one to jump out into the limelight.

In 2005, while working at the Ministry of Sound, you stood on the stage of the Millennium Dome, and thought that it’d be a waste to tear the building down.

Absolutely. We had about 50,000 plus people in the building at the time. There wasn’t much infrastructure in it at all. I had never come when it was the “Millennium Experience” (an exhibition celebrating the beginning of the third millennium). People have asked, “Why wouldn’t you?” The reason is that I didn’t know I would be doing this. But, when I first saw (the venue) at the Ministry of Sound (party), I just thought it would be criminal to take it down, because it is a beautiful structure, and very iconic. There aren’t that many things that are iconic to that degree.

The National Audit Office reported that of the options they had for the Millennium Dome, AEG was the best.

In this instance, the National Audit Office chose wisely.

Around the time you took the AEG job, your wife had twins. Besides Tim Leiweke being persuasive, you must have felt that AEG could indeed pull off a turnaround of this “white elephant.”

Yeah, definitely. I guess it was a big white elephant. Somebody came to us once and said, “You guys are putting £350 million into this. You must have done loads of market research before you started.” They were shocked to learn that we didn’t do anything at all. The reason is that you can go on Google still, and put “white elephant + dome” and you get 650,000 (sic) hits. You kind of go, “Why would I research that?”

Turning around “the biggest white elephant in the country” was a real marketing challenge?

There were definitely days before we started when I would wake up in the morning in a cold sweat going, “This, perhaps, is not a really sensible thing to do.”

You can’t help working for people like Richard Branson, and not stay true to being a marketing-driven person. How did you market The O2 before it opened?

We were absolutely right in not trying to push out stories about what we were doing and not giving (media) people illustrations of (the venue). We only showed people (anything) when there was something real to talk about. We didn’t do any advertising or promoting of the building to the public until the 24th of June, 2007 when we had the first show (with Bon Jovi). That was first time the public got exposed to (the venue). We knew the reputation was pretty bad, so letting it carry on being bad…to be honest, anything we did was going to be better. We were obviously planning to do it quite a lot better.

How is your “white elephant” doing?

It ain’t no white elephant no more. It’s kind of funny. I would use the phrase, “Success has many fathers, and failure is an orphan.” Since this has worked, the number of people who have come out of the woodwork and said that they were going to do the same thing is amazing. I couldn’t find any of them five years ago. But there are an awful lot of them now.

Before The O2, London needed another major venue. It has the population, and the location to be regarded as national, if not international, destination city. There wasn’t much else available for year-round events, other than Wembley Arena, and Earls Court Exhibition Centre.

That’s true. Wembley is about two-thirds the size of us. You are talking about a 12,000 size venue in one of the world’s great capitals, and in a very music-oriented country. That was kind of crazy. There was a little bit of stuff at Earls Court. But Earls Court’s primary objective in life had been as an exhibition center, so they couldn’t really run concerts most of the time. It is one of those things that—20/20 hindsight is a fantastic thing—but you look back at it and you go, “Hang on a minute. Why did nobody do this before?”

Well, AEG did have a go at operating an arena facility in London before.

We used to own an ice hockey team called the London Knights, and they played in the London Arena. But, even we were ridiculous there because we went and bought an old banana warehouse, and tried to make it an arena, which is very much in the spirit of Wembley being a swimming pool (Wembley originally housed a swimming pool, as reflected by its former name, the Empire Pool). So this time we got smart, we decided to build a brand-new arena that was built to be an arena, and not be anything else.

[The London Arena (also known as London Docklands Arena) was an indoor arena and exhibition centre on the Isle of Dogs in East London that AEG tried to convert into being a major multi-entertainment centre. Built on the site of the old Fred Olsen tomato and banana warehouse, the facility opened in 1989.

Philadelphia-based, Spectacor Management Group (SMG) took over ownership of the venue in 1994. In 1998, SMG entered into a partnership agreement with Anschutz Sports Holdings which came to hold an equal share in ownership.

The arena, which could seat up to 12,500 people, had a £10 million refit in 1998. One of the primary reasons for the refit was that Anschutz was trying to introduce professional ice hockey to London.

Besides being the home of the London Knights, the London Towers basketball team, and the Greater London Leopards basketball team, the venue hosted boxing, wrestling and trade shows. Among its music shows were Duran Duran, Pink Floyd, Guns N' Roses, David Bowie, Robbie Williams, Justin Timberlake and Eminem. The London Arena was demolished in 2006.]

In 2009, The O2 had 179 event days with 212 events. A pretty healthy booking season.

It is good. It is especially good because we don’t have any anchored tenants here. That’s the big difference versus most other arenas worldwide. If I can compare it to Staples (Staples Centre in Los Angeles) where we, obviously, have a whole lot of anchored tenants or O2 in Berlin where we have a hockey team, and a basketball team, we are a pretty different proposition. But it has worked.

In 2008, the profit figure for The O2 was £16.6 million reversing a £9.7 million loss. How well did The O2 do financially in 2009?

Oh, the benefits of being a private company. But well-tried. We are doing fine. The numbers are very much on budget, and increasing. We still have to work very hard, but we do okay.

Would it be fair to say that you are covering expenses and operating costs, but you are not substantially knocking down the debt at this point?

No. We cover all of it. If we weren’t covering all of it, we wouldn’t be having this conversation.

Certainly the debt load is a burden.

We are paying down debt, and still make a profit after we cover the costs of reducing it. We are in a healthy position. Having said that, it was a big bet in a new market, which hadn’t been grown before. The good thing is that Wembley (Arena) still exists. There are still quite a few shows that go there. There’s still room for everyone. We definitely have grown the marketplace. I think that’s pretty important.

The death of Michael Jackson on June 25, 2009 resulted in his 50 date run being canceled.

That was a really sad event. That happened two weeks before Michael was to arrive in the country to get ready for the shows. I don’t have to explain to you that two weeks out, it is almost impossible to fill those dates because people just aren’t sitting around. I think the shortest lead time that I have on a bill at the moment is something that could materialize in October. So that’s 10 weeks out, and that’s incredibly short. Most of the stuff that we are booking is a year out. We have events into 2012.

One of the things that is interesting is that since we started, booking time frames have gotten longer, particularly in the peak times of the year. They used to be 6 to 9 months. We have people that we are booking a year or two years out.

Losing 50 dates with Michael Jackson must have given you a wakeup call that you had to diversify events.

The two (things) were kind of happening in parallel. One really isn’t a replacement for the other. If there was another show of the scale and caliber of Michael Jackson, we would still do that. Remember that the 179 days and the 212 events that you quoted, that was 2009, ex-30 Michael Jackson shows. Those were all four day shows. That (show total for 2009) would have been off the scale if that had all happened. I can’t remember how many we ended up replacing. There were probably three or four (events). So net, it would have been another 25 shows onto last year.

Are you in danger of having too many shows?

No. No. No, there’s no such things as too many. Never. Never.

Yes there is. If you have an overlap, and 20-25 days in building time, then there can be too many events.

No, no, no. You can never get too many events. It’s a big city. There’s plenty of people. We’re connected to Europe. It is quite easy to fill all of the dates.

Thousands of Beyoncé fans were stranded for hours in Greenwich after her gig at The O2 last year, because of engineering work on the Jubilee Line.

We have had a couple of challenges on the tube (subway line). The tube should be fixed by this fall. We should be fine by then. The only advantage that the tube problem has had is that it makes it very easy for me to get a hold of the mayor of London. I don’t think I would have paid that price even if that was easy.

In the Fall, both “Les Misérables” and Roger Waters’ “The Wall” are coming to The O2.

One of the other areas we have really focused on is trying to broaden the musical range. Rather than just rock and pop and family shows, which are kind of traditional as arena fillers, we are trying to expand into classical. We have gone down that route with “Carmen” (starring Darius Campbell). We have had Carmina Burana. Now we have Cameron Mackintosh (British theatrical producer Sir Cameron Mackintosh) bringing in Les Miz for its 25th anniversary.

That has sold really well.

The weekend that Les Miz went on sale, it was the fastest selling-ticket on Ticketmaster. We went straight through the first show into a matinee show. It kind of surprises people that we are playing it in an arena, but if you have respect for the size of the building, and you put a good production together, it can be a fantastic show. The absolute key, is to have respect for the size of the building. If you try to take a 1,500 or 2,000 size theatre show, and put it into a (much larger) area, you are going to be challenged. But, if you respect the size of the building…when we did “Carmen,” for example, it filled the whole arena floor. Because (the production) respected the size of the building, it worked.

The O2 has expanded into numerous non-music events, such as sports, family shows and pure entertainment shows like “Ben Hur,” featuring chariot racing.

That expansion was very much underway. In fact, we were going in and out. If (Michael) Jackson had played, we were going in and out with Jackson and “Ben Hur,” so that was already in place. We didn’t have tennis a year ago. Then we started up a tournament and we got 256,000 people for a sell-out event. That is because we brought in a good product, put it into a good venue, and we promoted it well.

So the two booking strategies happened in tandem with each other?

To be a phenomenal success, rather than to be (just) successful, you need the variety. We are always looking for different areas to go into, and different things to do. We have managed to get a good rapport with people who want to do that. A lot of those things have worked and succeeded. So people like Cameron Mackintosh have seen other shows here, and he goes, “This is great. Why don’t we stage Le Miz here?” (The production) will go out on TV, which will expose it to a whole new audience that will see that happening in the arena.

We have managed to really broaden up the base of events that would go into an arena--apart from sports which was never really that big in London before. That’s absolutely stuff that we would have taken somewhere else. Basketball wasn’t coming to the UK; and the NHL wasn’t coming to the U.K. We did fantastically well with the ATP World Tennis final, which we brought from Shanghai. It’s a joint interest (venture) between us, and the ATP. We also have two junior partners in (the co-venture), the All England Lawn Tennis and Croquet Club, who do Wimbledon and the Lawn Tennis Association. We sold over a quarter million tickets in year one to that. It is the fourth largest sporting event in the UK. It is the largest tennis event indoors in the world. Those kinds of things are really good for us.

You recently sold 8,000 tickets for the coming Ultimate Fighting Championship in a weekend.

Yes. It’s coming up in October. UFC has always been very strong for us. I think the whole program is strong within UFC. Basketball, we have also always focused on. This year, we have again a sold-out pre-season (NBA) game (on Oct. 4, 2010). We have (the NBA Champion) Los Angeles Lakers against the Minnesota Timberwolves. Unfortunately, we had already sold out by the time the Lakers won the (NBA) championship otherwise we might have gone back and had another look at the ticket prices. We’ve got a couple of other big announcements coming up.

Explain how Power Snooker works.

People keep playing with (sports) formats. In cricket there’s something called Twenty20 where they tried to make it a bit more exciting, and it is. (A Twenty20 game is completed in about 3 1/2 hours, with each inning lasting around 75 minutes). Three years ago, we tried to do Turbo Tennis, which is an abbreviated tennis format (five matches of 30 minutes each). It never took off in the same way. Power Snooker is the same thing. It is trying to take longer format games, and put them into a shorter, more entertaining format. Tennis didn’t quite catch on. Cricket has worked fantastically. I hope that Power Snooker will do the same thing for snooker.

[On Oct. 30, 2010, indigO2 will host a snooker event, where the world’s top players will compete in a Power Snooker knockout tournament. In Power Snooker, points count, frames don’t. The player scoring the most points in half an hour wins. The clock starts as the reds are broken, and stops when the final black of each frame drops.]

“Ben Hur” featured chariot races around the arena?

That was pretty interesting. We’ve got arena polo in February (2011). That’s polo being played inside the arena.

In April, you brought in Sally Davies to be venue director of The O2. Is that to take pressure off you so you can turn to other parts of the business?

I hope so. So far so good. Sally is really competent. She came up through the ranks. She ran Indigo (music club), and the exhibition building called ‘the bubble,’ and she’s done a great job. I think that she can add a lot of value to our team. So we’ve added Sally as the venue person, and changed around some of the sales and ticketing team to make (the team) even better.

[In April, 2010, AEG Europe promoted Sally Davies to the position of venue director for The O2 arena. Davies was previously GM for indigO2, and The O2 bubble. Her new position gives her overall responsibility for the success of The O2 and its operations, sales, technical, ticketing and marketing strategies. As part of a management shuffle, Paul Newman, who was previously responsible for The O2’s ticketing and box office, now also heads up The O2’s entertainment and music sales; and Emma Bownes, having spent three years at Wembley Arena, joined Newman’s team as sales manager.]

One of the things that is really important is not to become complacent. We are constantly striving to make things better. Just because we do pretty well, and we sell more tickets than other people, that isn’t a reason to sit and say that everything’s fine. We are constantly trying to push things forward. Both in terms of staffing and customer service. We do a lot of measurement of customer service to make sure that we deliver to people the best possible service.

Will there eventually be a hotel complex at The O2; perhaps, a Marriott as well as a theatre that could house Cirque du Soleil year round?

We are certainly looking to push forward for the development. When we started out, we were hoping to have a casino here, which would have been the catalyst to make all of that happen. I think that is unlikely to happen in the short or medium-term.

Too controversial?

Yeah. It was, basically, the outgone Prime Minister Gordon Brown. He didn’t believe in (casinos). He thought that he would be celebrated by the media for getting rid of (the casino policy), even though it was his government who came up with the idea. There’s the expression, “A day is a long time in politics.” For him, it lasted for about two days. (Brown’s tenure ended in May 2010, when he resigned as prime minister, and leader of the Labour Party).

So that (opposition) has slowed the process down. We hope that in the next two months, we will get planning (approval) for a hotel. Then, as soon as we get the planning, it’s a matter of trying to operate it. The Cirque theater we had talked about for awhile. That is a bit more challenging from an economic standpoint, but we hope we’re getting close to a model that can work. If it literally isn’t that, it is something in that direction.

[If the Labour Party government under Gordon Brown had not reneged on its commitment to a network of casinos across Britain, it’s likely that The O2 hotel would almost be completed. The casino policy, championed by former Labour Party PM Tony Blair, was dumped in 2007 as one of Brown's first acts as prime minister.]

AEG’s multiple-show residency concept has been successful with Prince, Spice Girls, and Bon Jovi.

As I said, to be a phenomenal success rather than to be successful, you need the variety, but you also need the big long-staying acts that you just talked about. This (concept) is good from our standpoint. It is also something that you can do in London that is relatively unique. I’m not saying that (the concept) can’t be done anywhere else, but it is relatively unique here just because it is London. Even if we took a show, and toured it around the UK, if I looked at the ticket sales, we are very much a national venue. People buy tickets from all over the U.K., and come to see the show even if it is playing closer to them geographically. I think part of that is because people will go out for a weekend or go out and stay overnight in London. They won’t necessarily do that in other places. So we get a lot of people coming into (London).

From an artist standpoint, if you were talk to Jon Bon Jovi or any of the band, they like coming to London; camping out for a month; staying in the same hotel; and not having to pack up each day, and go back on the road. The numbers work better for everybody. We still go in and out between (performances). So we still had shows in between the (12) Bon Jovi shows when they had dark days; but (the concept) is still far, far more productive, and far better from the artist’s point of view.

(The concept) is kind of a phenomenon we saw happening in London theatre where people (from throughout the UK) were going to the theatre; and big Hollywood stars were sticking around London for three or four months and playing in London theatres. We thought, “Why don’t we try to do that in music? We had done the same type of thing in Vegas; the Celine Dion shows and others there. So you can do residencies. Why don’t we have a go at trying to make that happen here?

The O2 is more than a national venue. Europeans visit London, and fans fly there for shows.

That is indeed true. If you do 21 nights of Prince, and those are his only European dates, you definitely get a European audience. Prince used to play an after show ‘til 3:30 or 4 A.M., and I remember going back on the boat on the (River Thames) at 4 A.M. It was fantastic because going under the Tower Bridge at quarter past four in the morning, there were 7 or 8 different languages (from people) going on in the back of the boat, all of whom had come from the Prince show. That was the kind of crowd that we were drawing into.

Some 28% of the 256,000 tickets The O2 sold for the ATP World Tennis final were to people outside of the U.K.

One of the things I can never get across to the government as strongly as I would like to, is that the leisure and entertainment industry is a big economic driver. It is not just the business that we do here. It is the fact that those 28% of people that that come from outside the of the U.K. are staying in a hotel, probably for a number of nights; are all traveling; are all going out to restaurants; and are all going to other places in London etc. Certainly in the U.K., and I think most governments, underestimate the impact that leisure has in the economy.

The final part of the mantra that I have on my soapbox is that in bad economic times, you can change the number of people spending money on leisure much quicker than you can change other things. If I want to change the amount of people putting money into financial services in London, that’s a complex, international, and regulatory nightmare for me to try and play around with. Whereas, if I go and promote London, and promote shows abroad, I can pull people here.

Led Zeppelin’s 2007 reunion at The O2 benefiting the Ahmet Ertegun Education Fund was a coup.

The Led Zeppelin show was amazing, because you didn’t have half of the production around the last time they played together. For them to play with the production that they played with was quite stunning. It was such a polished production, but a relatively simple one. It was all done on this LED screen. Sometimes the (28 x 10m LED) screen showed the band playing that night or showed them playing with previous footage. It was brilliantly done, but (the technology) was something that didn’t exist 20 years ago. For me, having them playing with the clarity, and all of that support which you didn’t have before, was one of the most amazing things; other than the fact that they were back together, and playing again.

[The use of the giant LED screen was controlled so that the show didn’t just become about what appeared on it. A Spyder Video Processor utilized 16 channels to address various areas of the screen individually. These mixes were turned into two separate blocks of information that the screen processors could understand.]

Harvey Goldsmith recently told me that Led Zeppelin’s members had first checked out an Elton John show at The O2.

There are three bits to that story which are quite funny. We were going through (the venue) with the band, and Mr. Page said, “I bet it doesn’t sound any good up there.” So, with all of them, as well as Harvey (Goldsmith) and myself, we took the elevator up to Level 4 to go to the very top of the building to have a listen. Someone held the elevator, and we were sort of standing there waiting for them to go. They just put their thumbs up, and sort of smiled at each other. That’s when Harvey and I knew that this was going to be okay. Then, John Paul Jones started running up and down the stairs; and that was it.

The second story that comes behind this is that it was Elton John’s Vegas show that was playing in the arena at the time. It had a massive LED screen that is very similar to the one we have in Vegas, in Caesars’ Palace in The Coliseum. The remark (from Led Zeppelin members) as we went back to get into the elevator to go down was, “That screen. We have to get one just like that, but bigger.” And they did.

A funny bit happened after they walked across the (arena) floor. They wanted to hear what the show sounded like on the floor. So we stood at the sound desk; the four of them, Harvey and I. As we walk out to take them back to their cars, they are going, “Harvey, there are lots of rumors around about us reforming, and getting back together. You have to put a stop to that. You have to get people to stop writing about it in the press.” Harvey, and I can’t give you a proper impersonation, says, “What do you mean? The four of you just stood in a public arena together. What am I supposed to do?” So it was, “Okay, fair enough.”

It must have been gratifying having Bon Jovi return this year for 12 shows.

It was fantastic. (Bon Jovi’s personal manager) Paul Korzilius said, “Okay, we’re coming back. We have to do something really big and special to celebrate what is going on here.” We began brainstorming, and people came up with the normal thing of fireworks, banners and blah blah. Then, we said, “Why don’t we take the band up on the roof, and get them to play off the roof. They are the first band to play inside the building; why don’t we make them be the first band to play on the building?” Paul said, “That’s a crazy idea but I like it. Let me ask the band.” He came back the next day, and said, “They love it.”

There wasn’t a night of the 12 nights that Paul didn’t talk about it. He still talks about it. The band loved the shows, but, even more so, they loved being on top of the roof. Jon said, “It was just insane standing on top of the roof playing and you’ve got helicopters buzzing around filming you, and planes landing at the London City Airport. That was a real buzz.”

It is all about the show.

It‘s about the show, and it’s about making it memorable. We were trying to do something that would punch through. Some people said, “Why don’t you have the band play on a boat?” Okay, that’s good but other people have played on boats. Nobody had played on top of the building.

The O2 is just one of the things under you. You also run AEG Europe.

Yeah. We are a bit of a funny company. We’re privately-owned, and we are quite a matrixed organization. Most of my focus is on London, and what we do at The O2 which is, by far and away, our biggest investment.

Do you oversee, the recently-formed AEG Sponsorship division, headed by Paul Samuels?

Paul works for me. People, spending the amount of money that they do with us, want to do a valuation. They want to know that they are getting value for their money. We do all of the (AEG Live) evaluations globally out of London. There’s a team here that does that; both for our benefit, but also for our clients’ benefit.

Do you oversee the Berlin O2?

We work together. The best way to describe it is a confederation of companies. So, we work together rather than people working for one another. So Detlef Kornett runs Berlin. We talk all of the time.

When artists like Leonard Cohen, Justin Bieber or the Black Eyed Peas perform multiple dates in Europe, do you oversee the overall strategy?

We will get involved in that. The three you named are all AEG Live shows. It is by far easier to do if it is an AEG Live show going into an AEG facility. But, if I take something like Roger Waters and “The Wall” and that’s going into AEG facilities across Europe, I get involved in making sure that it goes into our facilities in as many cities as we can across Europe. It is easier with an existing AEG show or an AEG promoted show than if it is not. Roger Waters is Live Nation promoted, working in AEG buildings.

There’s been speculation that AEG is seeking to take over management of the Olympic Stadium after the 2012 games.

Everybody calls it a bid. Bid means that you are putting money forward. We are not looking to put money forward. They are looking for a use for the Olympic Stadium—actually the Olympic Park after the games. It’s a great stadium. It will be fantastic for the Olympics.

It’s an 80,000-seater.

Yes, but it is sort of a semi-permanent stadium. It has been built on the basis that you can de-construct it down to a 25,000 person stadium.

After each Olympics, buildings remain and have to be filled.

The Olympic Park Legacy Company is working through that at the moment. We are involved in the conversations of what to do afterwards. I can’t say to you one way or the other if we are going to bid for it; or if we aren’t going to bid for it. We will bid for something that makes commercial sense. The bidding process will be one whereby (it is considered) who is going to be involved; who is going to be paying for what; and who the tenant is going to be. I don’t have to explain to you that to have a stadium, you have to have a tenant.

So are you a West Ham supporter?

Ah, no. Very nice people, but I am not going to change my allegiance to them (from the Chelsea Football Club). I may be reaching to them from a business standpoint. West Ham is certainly one of the strongest positioned in terms of being a tenant in the Olympic Stadium. I think it is more, than less likely, that the government would do a deal with somebody else to start as the operator of the stadium, and then have a tenant involved in it. Rather than just giving it straight to the tenant, and missing out on any other opportunities.

You’re from Kelvinside in Scotland.

I went to school there in Glasgow, yeah.

What kind of a cultural shock was it moving to London when you were 13?

It was a big city wasn’t it? It was going from a big industrial city up north to a town south of London called Cobham in Surrey.

Your father was a purchasing manager for a U.S. diesel engineering firm?

He bought the parts that made diesel engines. He worked for a big U.S. company in Europe, then in Africa, and then in the States at (the company’s) headquarters.

You lived 9 years in America, first in Indiana.

Not a lot of it in Indiana; most of it in St. Louis, Minneapolis, and New York. My parents lived in Indiana, but I went to school in St. Louis for five years. Then, a year in Minneapolis with General Mills; and two years in New York with Pepsi.

What career did you plan by taking media and business at Washington University?

I got exposed to radio and TV; and I liked business. I liked how business works; what are the drivers; and what are the things that make it happen? That bit of radio and TV fascinated me. Not the bit of being in front of the microphone or in front of the camera.

Though you were briefly a radio DJ.

That was a very short-lived part of my career. That was at the university station, and I did some work at commercial stations as well.

You were recruited by General Mills, then onto Pepsi.

I kind of went from media into advertising and marketing. The three big marketing companies then bringing people in were General Mills, General Foods and P&G (Procter & Gamble). So, if you wanted a good post-education education, those were the places to go to. Being a horribly obnoxious MBA student at the time, I didn’t understand at General Mills why I wasn’t running half of the company a year after I got there.

Were you obnoxious?

I was really obnoxious, yeah. I was an arrogant MBA student not understanding; I knew everything about business, so why wasn’t I running this company? Then a very nice man from Pepsi offered me a very substantial increase in salary—a 40% increase in salary, I think—to work for Pepsi in New York. I thought, “Ah-hah, they understand.” So I went to work for Pepsi in New York. The one thing I got wrong was that the cost of living in New York was about 45% higher than it was in Minneapolis. So a net gain of minus 5%.

You worked on selling diet and caffeine free drinks from 1982-86.

I had a fantastic time. For two years, I was based in New York, and then I traveled the world. I spent half of my time traveling. I introduced diet colas and caffeine free colas all over the world. And in really sophisticated markets. While my colleagues were out in the middle of Africa, or the middle of the Middle East trying to get Pepsi to kick off, I was in Athens, Sydney, Tokyo, Buenos Aires and other really horrible places. I was 23 or 24.

Did someone at Pepsi notice your Scottish burr, and decide to move you back to the UK?

It was a coincidence. I got on well with the (Pepsi) people in the U.K., so they moved me back here. I was on an international development track; you worked for two to three years in each market, and then were moved to the next place. Come 1986, it was time to move on, again. My choices were Lagos (Nigeria) or Jeddah (Saudi Arabia). At age 27, living in London, faced with going to either Lagos or Jeddah, I thought that five years of promoting branded brown fizzy liquid was probably enough for me.

You also met the folks from The Virgin Group.

I met Charles Levison. He was my entry into Virgin. Then I worked for Robert Devereux, (head of Virgin Communications), who is Richard Branson’s brother-in-law.

[In 1983, as joint managing director, Charles Levison brought together the Virgin Group, Yorkshire Television and Thorn EMI to form the Music Channel and exploit new opportunities in cable and satellite TV across Europe. Between 1987-1991, Levison worked as managing director of Virgin Broadcasting, overseeing all aspects of the Virgin Group’s activities in world broadcasting markets.]

It was right before the company floated. I even remember the launch (IPO) slogan, “From the Rock Market To The Stock Market.” I have a fantastic picture of Richard Branson jumping from the edge of a swimming pool in a bowler hat and an umbrella. Oh, how we laughed.

You worked initially for Virgin Communications.

It was about 30 companies in total. We did everything from music videos of bands to film, radio and TV, book publishing, all kinds of stuff. It was run by Robert Devereux and I was kind of his right-hand. So I was involved across the board.

You became Virgin Radio’s chief executive.

I ended up running a bunch of the TV stuff. We also had investments in radio, and I sat on the board of a lot of the radio stuff. I was on the board of Virgin Radio.

How did you become Virgin Radio’s chief executive?

I had been doing some TV stuff in LA. I got back that morning, and went to the board meeting. I was a little bit jet-lagged. The incumbent management, which was setting (the station) up had come up with some programming. I opened my mouth and said that I didn’t think it was very good, that I thought they were wasting everybody’s time. The room was silent. It was one of those times where you think, “I don’t think that was the right thing to say.” In any case, that afternoon I got a call from a woman saying, “We’d like you to take the station over and change it and make it work.”

Your first job was as a caddy at a golf club, where you carried clubs for British game show personality Bruce Forsyth. He said you were a lousy caddy.

You don’t know that (laughing). I was a good caddy. I ended up caddying in the British PTA at one point. The British PTA is held at a course called Wentworth, where I was a caddy. Golfers need to know the course as well as they can, so they take a bit of local knowledge from the caddy. Mr. Forsyth was a regular, and I was a regular.

[The Wentworth Club is a privately owned golf and health resort in Virginia Water, Surrey. The club is surrounded by and entwined with the Wentworth Estate, one of the most expensive private estates in the London suburbs, Wentworth Club has three 18 hole courses. The headquarters of the PGA European Tour are located at the club, and each year it hosts the Tour's BMW PGA Championship.]

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

.

Return to front page of ENCORE



© 2001-2017 Gen-Den Corporation. All rights reserved.
CelebrityAccessSM and Gen-DenSM are service marks of Gen-Den Corporation.

** ENCORE readers and those that utilize ENCORE features are bound by the ENCORE NEWSLETTER USE AGREEMENT. If you choose not to be bound by this agreement, please discard the e-mail and notify us of your desire to be removed from future mailings. **