Industry Profile: Mary Granata
By Larry LeBlanc (CelebrityAccess MediaWire)
This week In the Hot Seat with Larry LeBlanc: Mary Granata, The Granata Agency.
Few people are as fiercely determined to introduce business concepts to the folk music sector than Mary Granata.
Based in Oak Ridge, New Jersey, The Granata Agency’s roster includes American and international artists in a wide range of genres; Celtic, Americana, folk, blues and roots. It’s motto is: “The Business of Music with a Personal Touch.”
In the spring of 2001, Granata opened her boutique booking agency in the extra bedroom of her home. Prior to becoming an agent, she was in the restaurant trade. For years, she bartendered, waitressed, cooked and managed. She also operated her own catering firm for a while.
Today, Granata--on her own--handles bookings for such notable acts as Dan Navarro, the Angel Band, Darden Smith, Mad Violet, Jim Boggia, Kieran Goss, Taxi Chain, Treasa Levasseur, Blackie and the Rodeo Kings (including separately for members Stephen Fearing, and Tom Wilson) as well as Wilson’s irresistibly quirky side project, LeE HARVeY OsMOND.
“Mary Granata is a very good agent with a solid grasp of her artists' present and future possibilities within and beyond the 'folk' world,” says Michael Jaworek, VP of The Birchmere, the legendary music hall located in Old Town Alexandria, Virginia. “She is also a wonderful person.”
American folk music’s small market size, and cultural distinctiveness have long enabled its artists, agents, managers, and club and festival bookers to develop a scene that truly reflects a unique voice.
However, due in part to evolving new communication technologies, there has been a dramatic shift in the community over the past decade. It started—as with other genres--with the downloading of music via the Internet, and widespread CD-R copying that adversely affected all music sales.
Meanwhile, with fans adopting new media and technology at a brisk pace, video—particularly on YouTube—as well social networking have become key tools in attaining bookings. Still, those tools continue to resisted by some folk music figures.
Granata was one of the first to argue that folk artists needed to work closely with agents and talent buyers on creating strategies that allow them to benefit from the online explosion.
She continues to share her expertise and experiences at numerous folk or root-based conferences as a speaker and panelist.
This year at The Folk Alliance International Conference, you were part of a panel discussing opportunities for women in the music business. Why is that panel so relevant today?
Women are not encouraged in the same way that men are in the business. I can tell you that women agents are encouraged to be nice; and a lot of women agents fail because they are afraid to be tough. Then you are a bitch. If you are man (being tough), you are doing your job. We need to encourage (women) that it is okay to play in the same field as the boys. We are not encouraged to do that. If you do, you are a bitch. And, you have to be thick-skinned about it. We have to encourage them (to think) that it’s okay for women to do something other than to be publicists.
Men will help other men; even their enemies. They utilize the favor bank. There is a perception that many women will not help other women in the business.
I disagree with that. I disagree with that basic premise. I know many women that are helping many other women. Men like to think that women don’t help other women. Don’t get me wrong. There are some women that I wouldn’t turn my back on. But, there are some men that I wouldn’t turn my back on. It’s a business, and you have to know your friends, and know your enemies.
Most of the women I know in the business are pretty nurturing. Myself included. I tend to mentor too much. I spend too much time helping other people in the business, because I was mentored. I think women are really good at (mentoring). I don’t think that women are nastier or worse than men. There are fewer of us so the ones that are out there (being) tougher are easier to spot. How many women agents do you know? How many men agents do you know? So there are a couple that are tough? I work well with men, and I work well with women.
At Folk Alliance every year, we have what I refer to as The Scary Women’s Dinner Club. There’s about 11 of us; publicists and agents and so on, including Ronda Barton (Barton Associates), and Anne Saunders (The Falcon Ridge Folk Festival). When we go through the Folk Alliance conference, people part because we are “the scary women.” We are in different parts of the music business, but we very much encourage each other.
There aren’t many agencies in the U.S. your size—one person.
I am fortunate that I work out of my house. I have a low overhead. My husband (Peter) has a real job (as a project manager for a commercial plumber). I don’t have the pressure of having overhead like Jim Fleming (Fleming Artists) or Tim Drake (The Roots Agency/SMG Artists).
You used to have several agents working with you.
On and off over the years, I have had other people work for me. I hire people that want to be agents, and I think that they are going to do okay, but the pressure gets to them. Before I was an agent, I was in the restaurant business for years. I bartendered. I waitressed. I cooked. I managed. I had my own catering company for awhile. I dealt with brides. booking is easy.
How competitive are the folk and roots agencies?
Well, Jim Fleming, and Tim Drake have been my friends, and mentors since I got started. Although we are competitive in that we are going to go out for the same gigs, we all share information. I have never had anybody not send me a name of a booker at a club or vice versa. In fact, I was talking to Tim earlier today. He’s got a new (artist) coming down from Canada, and he wanted to talk about a house concert routing for this guy, because that’s what I do more of. So I said, “Absolutely. Let’s go and have cocktails and talk about it.” I can’t tell you how helpful Tim has been to me, and what a good friend. I don’t think that I would still be doing this without him. Sean LaRoche was one of my best friends, certainly my mentor too. Jim Fleming, you can’t find a nicer guy. Susie (Giang) over at Fleming (as VP) is a good buddy.
So, yes we are competitive because there are only so many (booking) slots, and everybody has people to fill those slots. But, certainly more than the rock agencies, we are less stabby in the back.
[Sean LaRoche got his start as a road manager for Roger Miller in the late '60s. In the early '70s, LaRoche joined Frank Barsalona’s Premier Talent, booking acts like Led Zeppelin and The Who. In 1994, LaRoche partnered with Tim Drake to form the booking firm Drake & LaRoche. LaRoche later joined Fleming Tamulevich (now called Fleming Artists) as an agent from 1995 to 1998. Afterward, he served as an independent agent for artists like Cosy Sheridan and David Jacobs-Strain. LaRoche died in 2009 after a battle with esophageal cancer. He was 71.]
But that’s the nature of the folk community.
And that’s what I like about it. I have been offered jobs at some of those other agencies. When I was working with Jesse Colin Young, he (also) had a rock agent, and he offered me a job. I was like, “I don’t want to be you. Ooooh.” Because (major booking agents) are selling widgets. They are selling whatever makes money. They don’t care what it sounds like. I sell what I love.
You have significantly pared your roster in the past two years.
Every year or a year and half, you have to reassess where you are with people and have a good talk with them. There are people like the Kennedys that I had a long talk with. At this point, they really are not touring. Pete has opened a studio in New York, and Maura is acting. Do they really need an agent? No. Those sort of things evolve. I just had a lot of those types of things that evolved (with acts).
You recently brought in the Angel Band featuring singers Nancy Josephson, (wife of distinguished blues guitarist David Bromberg), Kathleen Weber, and Aly Paige. What attracted you?
One, they have a really good buzz. The new record ("Bless My Sole") is great. They have built a great audience working with David Bromberg who I am a huge fan of. They are veterans. They are smart and they are good business people. They have good management. They are making a decent amount of money. So everything seemed to go into the right place. Then, I went to see them, and they were great.
What kind of year are you having?
It has been challenging. A lot of people are having difficult times. Some of the things that I am finding is that club exclusionary clauses have gotten bigger. Whereas you saw 30 days/30 miles is now 60 days/60 miles. Some of the clubs are really having issues with house concerts too.
There are more and more house concerts, and they are getting bigger.
There used to be one house concert in an area and four clubs. Now, there are four clubs and seven house concerts. It is certainly pulling away a certain clientele who don’t really want to go to the clubs. They are tired of going out, and spending $8 on a beer and stuff. But, I now have a lot of clubs saying to me, “If your artist wants to do house concerts, fine. But if they want to do house concerts, and they want to play here, there will be no house concerts. Or they have to wait longer (to play this club).”
It used to be you could do a house concert and then three months later do a club, which I always thought of as building an audience. Go to the house concert first, and build an audience. Now clubs are saying that you have to wait a year (for a booking) after you do that house concert.
Clubs see house concerts as hurting their business?
Yes. Doing house concerts used to be (considered) a building thing because it was a building thing. It used to be that a house concert was the only place that artists could play in the area because they didn’t have the audience. Now, there are house concerts with 150 people.
Some artists consider it demeaning to play a house concert.
It depends on the house concert. Some are well done. It used to be that they were great because in some places there was nothing else in the area. One of my inroads into this business was a house concert with Cliff Eberhardt that was 10 or 15 minutes from our house. We saw it in a local paper, and we went. It was amazing. At that point, Cliff probably couldn’t have played in the club down the road, but he could play this house concert, and do two shows. I think it was $15 (door charge) a show, and there were 40 people for each show. He was making a good amount of money for a Sunday afternoon.
Even a decade ago, clubs would try to build a new artist into a bigger act. The same with folk festivals. Having more choices today, clubs and festivals don’t have to take a chance on a new act.
No they don’t. A lot of clubs are unwilling to. If they are, there has to be a good solid reason. There is still a lot of (from agents), “I will give you my bigger act if you take this.” Or, “If you put this in as an opener, I will do this.” There’s a lot of that going on. Or (you get a booking) if you show a certain amount of loyalty to one club over another.
Anya Siglin, the program director at The Ark in Ann Arbor, is known for taking chances.
She’s wonderful that way, but I think that’s she taking her father’s vision (Dave Siglin) on that. But then, you’d better be loyal to The Ark. The first person you call when you come to that market better be The Ark.
I was just talking to somebody at a club in Pennsylvania, and a church thing (with live music) had opened five minutes down the road from them. They said to me, “If you are playing there, you are not going to play here.” And, I thought, “I book 10 shows a year at this club. I may book one show a year at this church down the road. So, I’m not going to do that. I don’t have to do it." You can look at it as just as being a momentarily money thing, but I know that in two years that I will still be booking at the club. I don’t know what this church thing will be doing.
Many venues now don’t want to offer a guarantee or the guarantee is lower.
More venues want the artists to take more of the risk. That’s part of the issue. Most of my artists have been around for a little while. They are going, “What do you mean no guarantee? What do you mean that they want us to take more risks?” I also do hear (from venues) “We want you to take a lower guarantee.” That’s why I say that they want (artists) to take more of the risk. But they are willing to give back more; a little more on the back end than they used to give. If you are confident on what you can draw, it’s a great thing. It’s a great year. If you are not confident or if you are new in the market, it’s tough.
It’s been a tough year for new artists.
Oh, that’s where it’s been the hardest. The venues are not willing to take a chance on new artists. It seems that more established artists are not being as generous as far as opening spots either. It used to be, “We don’t care if you bring in anyone.” Now, acts at all levels are being very careful. I was pitching someone to Rodney Crowell’s people the other day. They were like, “How many seats can they sell?” I was thinking, “Well, Rodney should be able to sell out this room.”
Managers with several acts want to front load their own acts onto bills.
I am as guilty of that as anybody. You are either giving (an opening spot) to friends or to your own acts. It’s a trading piece now. “I will give you this if you give me that.” It seems to me that there are more people at that opening act level that are good. There’s a lot of people to choose from in every market. And, the venue people have their own favorites too.
It can be difficult to get a major folk festival to book a new act. How receptive, for example, are the Falcon Ridge Folk Festival or the Philadelphia Folk Festival to new acts?
Falcon Ridge I can speak to, because I’ve been going to Falcon Ridge (near Hillsdale, New York) for 20 years. I know that Anne Saunders is dedicated to building artists. She always has The Emerging Artist Showcase and will have people come back and play on the main stage the next year. She is dedicated to doing that. Philly is one of those (festivals) which will build local artists but not necessarily from anywhere else. They are not as experimental as Falcon Ridge.
But Falcon Ridge is a privately owned festival.
Anne owns it. She is the AD (Artistic Director). She does whatever she wants and she does it well. Philly has a committee. You see that at Canadian festivals as well. The ones that have one AD who does the job, and does it well, you can tell that they put their stamp on (their festival). And they are often able to experiment a little more than if they are booking by committee. You can tell the difference. That’s good and bad. Sometimes, having three people on a committee on your side is great. It is harder for me as a agent to build that relationship with a committee than to build a relationship with one person.
Everybody says “You and Anne Saunders have a great relationship; that’s why you get acts in (at Falcon Ridge).” But, I also know her tastes. So I don’t pitch her stuff that she is not going to like. If I see her at Folk Alliance, even if it’s not one of my acts, I will say, “You have to go and see these people” because I know she’s going to like them. I know her tastes. We have similar tastes. (Festival programmer) Jesse Lundy at Philly is the same. I know what he likes. It’s so funny, because you often get people who are pitching things to festivals. I will ask, “Did you look at the lineup? They don’t want that. That’s a hip hop artist. Do you really think that Falcon Ridge is going to have a hip hop artist?”
Everybody gets those pitches.
I get pitches from hip hop artists all of the time. “Did you look at my roster?”
In the folk world, veteran artists have stayed on; and there’s always a crop of new artists.
I think there’s also a lot more talent because there are schools for (being in the music industry). There’s The School of Rock (the performance-based music program for kids ages 7-18). Colleges have more music and music business courses. So there are a lot more people who think of performing as something that they can do for a living.
At the same time, artists can now discover other musicians from around the world today.
I had the local record store guy. I remember him giving me Hot Tuna and saying, “You really need to buy this. This, you are going to love.” He knew my tastes. You walked in, and you spent two hours in the record store going through everything. Those were your tastemakers then. Now, people just go on YouTube.
I think that’s good because there’s more music to pick and choose from.
It’s good, but sometimes there’s so much noise. Because there’s so much to pick and choose, artists get lost in that YouTube world that are really talented. The people who just make a great video are the ones getting the hits. It is not necessarily because they have any talent.
How involved is the folk community with the internet and social networking?
The young people are really good at it. If you are under 40, you’re really good at it and you are using it well. The same people who went, “Oh, I’m not going to buy a computer,” 10 years ago or, “I don’t need a computer,” say, “I’ll get a computer but I’m not going to do that YouTube thing.” I talk to a lot of artists. I tell them, “You do need a video. I don’t care if it’s good or not. I don’t care if you are sitting in your room playing a song. You need something out there because a lot of people listen to their music on YouTube.
Myself, I am on all of the major social networks, and a lot of my friends are. But I know that there are a lot of musicians who just do not want to be part of all that.
Some artists figure it takes away from the purity of their craft.
Well, that’s the old argument, the folk music argument. Like, “If you are playing for money, it’s a bad thing. You are not really a folk musician.” However, you can go out and make a good living and it’s okay. You can still be called folk music. Pete Seeger did it very successfully.
I did a workshop at Folk Alliance called “Traditional Music In a Modern World.” My reason for being there was to say, “You can get out there if people want to hear you, but you have to really work at it. It’s a business,” and so forth. One guy stood up and said, “I just like to play on my porch. That’s when it’s really folk music.” So I said, “So what are you doing here? Go back to your porch then. If you are at Folk Alliance, you obviously want to get out and play.”
If an artist plays outside their house, they are in the music business in one form or another.
It is the music business. I have this discussion with artists (saying) that a great part of their job is that they get to play for someone; and when they do it right, people stand up and applaud. But, everybody’s job has a downside. There’s stuff that we don’t like to do at our jobs. Spending my day writing contracts is not my favorite thing. It is part of the job that I need to do. And part of the job that artists need to do is to be part of the music business. Getting themselves out there, getting online, doing the business part of their job. Or hiring somebody to do it, whatever they want to do. But they need to do all of that.
Why do artists need a video?
Fans now expect it. They want to see the artist play before they go out and put their money down on a ticket. I think that they feel more connected when they can see you. From a booking perspective, I don’t know anybody anymore who doesn’t want to see a video of an act before they book them. They want to see what they do on stage. And they can (with a video).
Has YouTube made your job easier? Talking to a promoter in Idaho, you can refer them to the video.
Absolutely. The perfect example that I have is LeE HARVeY OsMOND. (Frontman) Tom (Wilson) is a sweetheart. But the first poster, and the first picture he had for LeE HARVeY OsMOND was just his face, and (the photo) was kind of scary. The videos he did for that first record (“A Quiet Evil”) were incredible. And, he also had some performance videos up (on YouTube).
So a mid-sized club in Montana? I could show Tom performing in a club that size in front of an audience, exactly what they were going to get, and people love it. Tom is a great musician. Look at how much fun he is on stage, that whole persona that he puts on. I think that videos sell him. I say LeE HARVeY OsMOND and some people just won’t even return my phone calls. But, certainly, once they get to see (a video) they understand how dynamic and how good it is. It’s not scary at all.
Is it possible to have video clip clutter on YouTube? Where bad clips overshadow the good clips? Fans put up clips and they are often of poor quality.
A group should have their own channel on YouTube. I can also send people to “My Favorites” channel on YouTube and those are the videos that I want them to see. I think a band can do that also. I’m changing mine, however. I got hacked. Someone added in a little porn. Suddenly, I got a lot of funny comments like, “So is that who you are bringing to Folk Alliance this year?” It got caught really quickly.
Folk music and strippers.
There used to be a folk club in Denver that did have folk music and strippers. I also saw David Bromberg in a strip club once, and it was not a nice strip club. I remember that place fondly.
While your husband Peter is currently working as a project manager for a commercial plumber, he’s certainly well known as a luthier.
He does still make a few guitars a year, but the bottom really fell out of that market. Everyone and his brother are making guitars these days. Now that he has a real job, he is out of doing that. Even worse, he’s building a recording studio in the upstairs (of the barn). When I met him he was a recording engineer at the Caribou Ranch studio (near Nederland, Colorado). The studio closed. So he said we can either go back to New York, or Nashville, or LA. I didn’t want to go to LA, and we didn’t know anyone in Nashville. He’s from New Jersey so we moved here. By that time, I was just getting out of college.
[Peter Granata was a carpenter when he saw a Minnesota man, Jim Olson, build a guitar, and he was fascinated. When Peter and Mary moved to New Jersey, Peter visited every guitar shop he could find. He also went to the C.F. Martin & Company in Nazareth, Pennsylvania to watch them manufacture their instruments. It took a year and a half for him to make his first guitar.
Today, small-body, wide-neck Granata Guitars--with wood binding, a high gloss finish, an arched top, and often ebony knobs and fingerboard on their hand-carved necks--are owned by such leading folk artists as Cliff Eberhardt and Cheryl Wheeler.]
Where did you attend college?
I went to Fort Lewis College in Durango, Colorado. A very small private college. I was the only political science major. Yes, I was the first, and the only. They had hired a political science teacher because they wanted to start a political science department. I was there on full scholarship as the first political science major. I had to sit in the front of the (political science) class every day. I never got to sluff off at all because my professor was my advisor. I got picked on the most. I was supposed to know the most about politics.
Your mother was head of the local Republican committee. When did you become a liberal?
Pretty early on, even though my mother was a die-hard Conservative. There’s a picture of me somewhere sitting on Barry Goldwater’s knee. My mother thought you could have any opinion you wanted as long as you could argue your way out of it. She respected your opinion if it was your opinion, and you just weren’t saying somebody else’s words. So, if you knew what you were talking about and truly believed it, she would respect that. She didn’t take it personally. So, we learned to discuss (politics). There was a lot of pounding at the dinner table.
I have been political my whole life. I find politics interesting. It’s the same thing in the music business; it’s all politics.
You worked at Feyline Productions in the summer.
I worked in security for the company for a couple of years. I had the t-shirt, and jeans. I stood at the front gate and took things out of peoples’ backpacks and threw them into a big pile. If a girl needed to be patted down, I was there. There had to be a couple of women there for that. I got to see some really cool concerts. I got to meet Mick Jagger, which I thought was amazing. I was 17 and I thought it was the coolest thing ever. I was working at Red Rocks most of the time, which was great.
I missed a lot of my youth at Red Rocks, I have to say. It was close to where I grew up. Every summer we went up there once or twice a week because it was cheap. You’d go up there for $5 or $6 a concert. It is stunningly beautiful, and the acoustics are perfect.
You weren’t tempted to get into the music business?
When I was in college, I was on the committee to book some concerts. That’s probably what turned me off (of the music industry) because (booking) was just so hard to do with a committee. I’m opinionated, and with a committee like that, there were too many people saying we should do this or do that. I got frustrated.
While in the restaurant business, you began booking acts in 2001.
When we went to our first house concert, we met Cliff Eberhardt. He fell in love with my husband’s guitars, and he became a really good friend. He talked me into booking). Yes, he did. I blame him, and I curse him, and praise him on-and-off, depending on the day. He just talked me into it. He kept coming over saying, “You can do this.”
Did you have any connections in the music business?
None at all. I went in blind thinking, “How hard can it be?” I found out that I was good at it.
What made you good?
“No” doesn’t bother me. I have a pretty thick skin. I’m pretty good at being on a team. I am persistent. I love to talk and communicate with people. I am really good at building relationships.
How long before you made a decent living?
I worked my other jobs for two years. I was an assistant manager at a restaurant and I was bartending. Then, I sort of eased out of my other job (as assistant manager). I kept the one-day bartending (job) just to get me out of the house. A couple of years ago, I found I couldn’t do that anymore. I was making enough money, and I was too stressed out to be at the bar.
After you began, you started to book Lowen & Navarro.
Yes. I took them on right before Eric (Lowen) was diagnosed (with Lou Gehrig's disease in 2004).
The duo performed together for 5 years following the diagnosis.
Yes. It was the longest “Goodbye Tour” ever. We kept saying that it was longer than Cher’s. We had a lot of silly jokes about it. You just have to in those situations. Eric, his spirit is amazing. There were times that I just don’t know how he dealt with stuff. And, he still does. But, he’s still on Facebook every day.
A very difficult passage for everyone.
It is still very difficult. It’s been a huge transition for all of us, it was interesting. It taught me about working with someone who is disabled. I know how to yell at hotels now about things that I would never have known before, the challenges of doing that. But, it has been a great joy to be part of their lives.
How difficult was the transition for Dan to perform solo?
I think that emotionally it has been horrible. It is hard. He’s better now, but it’s been a year since the last show (together), and it was a year before that when Eric wasn’t doing a lot of performances, just because he couldn’t travel. It seems that Dan is now starting to really catch his stride and feel comfortable just being Dan Navarro onstage.
Hard to do after being 25 years with a partner.
That’s it. And all of the songs were written for those harmonies. Dan usually has another guitar player, but it’s not a duo by any stretch. We are very careful to make sure that people know that Eric hasn’t been replaced. He’s not. It’s definitely the Dan Navarro show with a back-up guy.
When you started in 2001, did your phone start ringing with artists seeking representation?
It was crazy. I didn’t know who a lot of these people were. They were just sending me records and CDs. I went to Folk Alliance a month after I started my agency. I was like a deer in the headlights. People were just coming out of nowhere. I got into an elevator with (singer/songwriter) Eric Taylor, and (booking agent) Sean LaRoche. This woman had been chasing me down the hall, saying, “Take my CD. Take my CD.” I was like, “No. It’s alright. I really don’t want your CD.” I got in the elevator, and Eric said, “Stand here. I will protect you.” And this woman threw her CD at me. It hit me in the chest, and bounced onto the floor. Eric scooted it to the back of the elevator, and said, “We’ll just keep it there.” It was frightening. After that, I was fine. I had met Tim (Drake) before but I got together with him there. People then (taught me) how to pick an artist, that you have hits and misses.
How do you turn artists down?
If it is someone I think that is really talented, and I might want to work with at some point—but I don’t have room on the roster which is often—it is difficult. But you only have so much time in the day. Or, I will try to be very nice about it, and say, “I’m not really looking for this type of music. This isn’t something I’m interested in right now. So I can’t help you.” Everybody has a dream; I don’t want to be nasty. I want to show people the same courtesy that I would hope that other people would show me.
I have to love the music (to work with an artist). I know with other agencies it starts with the money but with me it really starts with the music. If I am not whistling that song for days after I hear it I may not pick them up. I have a lot to choose from. I just took on Madison Violet. Part of it was that their music got stuck in my head. They are smart. I don’t want to work with anybody that I don’t want to have dinner with.
How have you ended up representing so many Canadians?
Well, my second client ever was Lynn Miles. That started it. What I like about the Canadian folk scene is that they encourage experimentation. I’ve been told that the less commercial you are, the more money the Canadian government gives you (through loans and grants). I like that. I think you get a great sound, and sometimes there’s something more interesting that comes out. Not that there isn’t anything interesting in the United States, but it seems like they pay you here to sound like everybody else. There are a lot of Erin McKeown wannabes in the States. In Canada, they really look for you to be different. Also, I think that they have held onto the folk tradition a lot more in Canada than in the U.S. It has kind of gotten lost a little bit here.
How many conferences do you go to in a year?
I sort of tailor my conferences to who I have on the roster. I go to Folk Alliance. If I have a lot of twang on my roster, the Americana Music Conference can be very big for me. Most years I do go to The Association of Performing Arts Presenters Conference (APAP Conference NYC) because I am here (in New Jersey). I can drive in an hour. For certain artists, the performing arts is the only place that they are going to get booked in the States. They are not necessarily hard ticket acts. There’s just a different buyer there. I just started working with Kieran Goss, the Irish singer. He is certainly more of a soft seater kind of artist than Darden Smith who is out on the road playing clubs.
Larry LeBlanc was the Canadian bureau chief of Billboard from 1991-2007 and Canadian editor of Record World from 1970-89. He was also a co-founder of the late Canadian music trade, The Record. He has been quoted on music industry issues in hundreds of publications including Time, Forbes, the London Times and the New York Times.
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Marcie Allen, 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
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
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
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
Adam Wilkes, AEG Live Asia 10/13/16
Fenton Williams, 04/04/08
Del Williams, Right Arm Entertainment 04/18/08
Bryan "Birdman" Williams, Cash Money Records 09/13/11
Paul Williams, ASCAP 10/19/11
J.P. Williams, Parallel Entertainment 10/03/12
Kurt Willms, Green Room Productions 09/20/03
Chris Wilson, Heartbeat Records 03/02/07
Tony Wilson, Factory Records/In The City 06/01/07
Tom Windish, The Windish Agency 07/26/10
John Wiseman, XL Touring Video 05/05/06
Thom Wolke, Twincloud.com 02/08/02
Michael Wood, City Lights Entertainment 08/08/08
Keith Wortman, Blackbird Presents 03/22/17
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, CultureCatch.com 07/27/07
Jeremiah “Ice” Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
Kevin 'Chief' Zaruk, Chief Music Management 06/10/15
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06
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