Industry Profile: Lucas Keller

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: Lucas Keller, manager, The Collective.

The Collective is one of the premier names in entertainment management; and one of its youngest managers, Lucas Keller, intends to write another colorful chapter in its history.

Remarkably, this brash 26-year-old mid-westerner has been at the Beverly Hills’ multi-media management and production company for only two years, and he has already blazed his own trail.

Keller has the unique position of representing acts at The Collective while simultaneously representing producers and songwriters for the company’s new publishing/producer management venture, Collective Songs.

Keller oversees such artist management clients as the Red Jumpsuit Apparatus, Jimmy Cliff, and Crash Kings; and works with producer/writers David Hodges, and Ben Moody (of Evanescence fame), and Gavin Brown.

Founded in 2005, The Collective is a collaborative-styled artist management, and content creation one-stop shop comprising of feature film packaging, digital media, home entertainment, music, live entertainment, and television production divisions.

The company represents over 100 clients, including such acts as Linkin Park, Enrique Iglesias, Avenged Sevenfold, Counting Crows, Alanis Morissette, Slash; and actors Martin Lawrence, John Leguizamo, and Eugene Levy.

Prior to joining The Collective, Keller spent almost five years at Uppercut Management in Chicago, working with a variety of acts ranging from Better Than Ezra to All That Remains as well as representing June, the Lifestyle, and Dave Melillo.

What makes Lucas run so fast?

I’m like the 24-hour guy. No joke, I tell people, “I am 7 to 3. That’s what I do every day. Up at 7 A.M., and to sleep at 3 A.M. I’m the “let’s go” guy. That’s me all-day long. Old school, new school, I kind of get laughed at around the office because I’m most like (manager) Larry Jacobson. I am often compared to him. I missed the ‘90s. I missed the days of the power lunches. That doesn’t exist anymore. Larry’s like the suit that’s still a real music fan. When he sits down with a band, there’s no way that (an act) is not signing, right? So I’m kinda L.A., but I am a balance between the old school and the new school.

How have you adapted to working in L.A. following Chicago?

Well, being used to sub-zero temperatures in the mid-west…I went to school (The University of Wisconsin–Oshkosh) on a river in Oshkosh (Wisconsin). Now I live above Studio City. Anything above 60 degrees is short sleeve weather for me. I look like a tourist on the weekends here. Being out here two years now, I really like it a lot.

Did you approach The Collective or did the company approach you?

I had taken a meeting with Jared Paul (at Azoff Music Management Group). I had a friend over there, and I wanted to see where I could fit in. Jared is brilliant. He’s a really smart guy, and well-liked. That felt like a good fit. But, I didn’t know what was going to happen there. Ultimately, my old friend (manager) Chris Allen, who had worked with Pat Magnarella (at Pat Magnarella Management), called me and said, “I think you should come over here, and meet (CEO) Michael Green and Jeff Golenberg who own The Collective. I was out here (in L.A.), so I got together with them.

Chris is from Chicago too.

Chris and I go back eight or nine years. When I came in here, he had the All-American Rejects, the Plain White T’s and All Time Low. So I just decided to come over here, and build a business which–going on almost two years–is going really well. Part of it is The Collective, which is management (of artists), and then I run Collective Songs, which is working with producer and writers.

But you weren’t doing that after you joined?

No, I wasn’t, but I started doing it very shortly afterwards.

Why make the change after nearly five years with Uppercut Management to The Collective, which is a vastly different company?

There were a couple of things. One is something that I didn’t even realize at the time. I ended up learning when I came to The Collective that I needed to be at a company that foresaw the changes that were happening in the business. Labels running around doing 360 degree deals, or doing deals that maybe don’t work for artists and all that. I realized that, unfortunately, I had been doing the personal manager thing where it was myself, an assistant and, maybe, some interns. The old school idea of personal manager is great, and certainly a big part of this company is personal management; but I didn’t feel that there was any sense of infrastructure (where I was). We are not in the day and age (anymore) where (as managers) we can rely on the record labels or publishers–people that we used to rely on.

One of the main reasons why I left was that being in Chicago, at the time, was kind of tricky. I was spending a lot of time in L.A., and a lot of time in New York. I reached a point where, lifestyle-wise, it was not what I was looking to do. You spend a week every month in L.A., and pretty soon you are thinking, “Why am I paying to live an expensive life in downtown Chicago, when I should move out here?” I was born and raised in Milwaukee. So Chicago was great to be near my family.

By the time you joined The Collective, June had also decided to take an indefinite hiatus.

We had a lot of fun. We really built them up in the mid-West. They were selling out the House of Blues, and it was great. That had sort of led me down the path to work on the artist development tip with bands like All That Remains, which I worked with for a long time, and developing various acts like TV/TV. When I left Uppercut, my desire was to be in a place where all of the TV networks and film studios, and all of the film and TV opportunities were. A lot of people were also leaving New York and going to L.A. for work.

What was The Collective’s attraction in hiring you? That you had been working below their radar?

Yeah. Companies like the Azoffs, Q-Primes, Red Lights, and The Collectives, these companies like to talk about how they would like to do artist development, and none of them really do it. Or, if they do it, they don’t do it well. There’s a great quote that a friend told me that Kevin Lyman (of Warped Tour fame) apparently said to a younger promoter. He said, “My kids aren’t going to take over my business. You are going to take over my business.” He was basically alluding that the next guy who was going to do what he does–build the Warped tour, and build the big empire that he has built–will be some kid out in his basement in America who is going to figure it out.

I think that he’s right.

He’s totally right. The idea is that the bigger companies don’t do artist development well. I think at that time (the thinking here was), “Well, Lucas has been through all of this. He has all of this know-how. The Collective is a company that is going to quickly acquire new clients, and there’s going to be a lot of work to be done.” Reza Izad, who is the VP of this company, has been a very important figure in my life. He was really supportive in saying, “C’mon in here, and build a business.”

It became half of an artist business, and half a writer/producer business, which is something that I really wanted to do. On the artist side for me, it’s been (managing) the Red Jumpsuit Apparatus, Crash Kings, and Jimmy Cliff, who I am making a really exciting record with. I have writer/producers like Gavin Brown as well as Dave Hodges and Ben Moody who were in Evanescence.

[In Canada on March 21, 2011, it was announced that Gavin Brown (Three Days Grace, Metric, Sarah Harmer and Billy Talent), along with former Bass Is Base vocalist/bass player, Chin Injeti, have become part of the expanded A&R staff at Universal Music Canada, reporting to A&R head, Mark Spicoluk.]

What developments are there with the music publishing side of Collective Songs?

On the publishing side, we have started a joint venture with Collective Songs and Sleepwalker Music with Dave Hodges where we are looking at signing writers to develop under him. David was a guy that I signed almost a month after I got here. That’s when we decided that we wanted to go down the road (working) with producer/writers. David is a big-name songwriter. We felt that we could take his artist cachet from being in Evanescence. We have now taken him more into film scoring, and doing more songwriting, and more production. The guy has literally doubled the size of his catalog, and the level of writer he is, in the past 18 months.

Some managers try to get their artists to focus (on their careers) but we try to encourage entrepreneurial artists. We encourage artists that want to do a number of different things. Dave says, “I want to write songs. I want to produce. I want to score films. I want to be an artist. I want to do all of this.” We took a couple (of these things) at a time, but we want to try and get them right. The producer/writer side has been really great for us.

We are certainly in a producer/songwriter era. They are in the driver’s seat of many projects, particularly in L.A.

The old line is that, “if you are going to let your major record label develop you, you are probably fucked.” Artists are doing the artist development now. I guess the publishers too. But, the producers/writers, the artists, and the managers are the ones really doing the development today.

On the artist side, there are these tools that are available now that weren’t available before. The days of these (industry) gatekeepers are waning. The artist has the ability to do the (developmental) zero to 10 work, and then some now. There are acts that are getting on the radio, and selling shows in markets surrounding them for a thousand miles. They are starting to do that work themselves. Some artists can now just partner with the label or get a distribution deal. They don’t really need to have the (direct) major record company and the worldwide deal.

That, to me, is exciting. Bands are able to control their own destinies. But, I also think that, unfortunately, with the internet and everything, that people have a false assumption that they are a manager if they have a Gmail address.

Every act seems to have a manager the moment they get online.

In the ‘80s and ‘90s, it was a privilege to have a real manager. There weren’t as many of them. A lot of acts are being managed too early now.

You now have the ability to watch more experienced managers in the office and see how they work.

Yeah, guys like Jordan Berliant, and Larry Jacobson, absolutely. There are eight of us (managers) on the music side here.

They may be doing things that you can bring back to your own game.

It’s exciting having these big A-list producer/writers. It’s been great to plug those (people) into a lot of the artists that we have here, which is already a value add for those guys. But it’s great to be around those kind of industry people here. A guy like Mark Gorlick (head of promotions/radio), who has been doing radio for 25 years. He’s arguably one of the best rock guys in the business. He has an office to my right. Jordan Berliant, who ran (the day-to-day at) Allen Kovac’s management company (Left Bank which became Tenth Street Entertainment) for 30 years, is a couple offices from me. He has a passport bigger than the Yellow Pages. Having guys like that around here is so great.

It was certainly wonderful working with a guy like Steve Hutton (at Uppercut Management in Chicago) but this is an incredible place to be on another level.

As a young manager at (Uppercut Management), I was trying to build a business, but I was always frustrated with the things that I couldn’t get to. The things that you can’t achieve for the artist. I think that, going on two years here, I have been able to, knock down a lot of those walls and a lot of those frustrations being at a place like this. With 65 people (here) there’s almost nobody that you can’t reach (in the entertainment industry).

Being with a full-service, multi-media management and production company, you also have the tools to work with.

That’s right. Literally, when the name (of the company) is The Collective, that’s really the mentality (here). Everybody is accountable to everybody and everybody knows here that they need to help out their neighbor.

When I met with (CEO) Michael Green, I think that we hit it off right away. He’s a very Type A matter-of-fact guy. He’s a winner. I don’t know if it’s good to work with someone who is just like you, but it felt like a good idea, and it has been great.

With The Collective, you will be able to gain the international experience that you now lack.

Yeah. (Partner) Jordan Berliant runs that side for us. It’s great because he can go to MIDEM, and speak on all our company’s initiatives. I want to have my own experiences over there. I want to have those (European) relationships for myself. I’m going to go to MIDEM next year. Now that I am working with a guy like Jimmy Cliff, I have a lot of international travel to do as well. Red Jumpsuit Apparatus are on a sell-out UK tour right now. They’ll go back there in the fall. They play everywhere. So, I have to go to all of those places. I do London now, but I haven’t been to Australia or Japan yet. Those are on my short list. When I get into the record cycle (with my clients) this year, all of those things are going to be critical.

A young band comes to you with a lot of promise but no recording as yet. You are going to manage them. Where do you start?

There’s a night-and-day difference (in strategy) for the bands that are at The Collective, both with record labels and without, than what I had been doing. We do some development stuff here and, I think, we are really effective at it. But what we do is that we create marketing plans. In my past life, my time was spent running around with the record label trying to get the marketing plan (from them), and trying to figure it out. It was piecing together an opportunity here, and piecing together an opportunity there. It was just the old school of picking up the phone and trying to make some fans, right?

Managers today have been forced to move further into marketing because labels have cut their staffs. Almost all management companies have marketing personnel in place now.

That’s right. So we will sit down and come up with a plan, and a time line. For the developing acts, especially, it doesn’t always stick exactly to the plan, but we list our goals, and we do ROIs (Research, Orientation, Impact), where we write out something that the whole company has access to.

Where do you start with a band with no label?

Obviously, depending on the band, but I’d come up with a marketing plan that suits the band. Again, depending on the band, it will mainly be a digital plan. Get them in with the right producers, and writers. Sometimes we can plug them into resources we have here, and create a plan around TV, films, commercials sync licensing, having digital strategy, and something that can drive the tour. I am still a proponent for bands that exist in the real world. The bands that go out and play 250 dates a year, those are the bands that get me off.

How about working with a band that is with a mid-sized label?

We are a label-friendly company. We have Avenged Sevenfold and Linkin Park with Warner Brothers. These are two of our biggest clients so how could we not be? With labels, there are guys like Daniel Glass (of Glassnote Entertainment Group) out there that are killing it. Daniel is really kicking ass right now and he’s got an office of what, 15 people? He’s an independent, and he’s winning. I think that working with the record labels rather than pointing the finger–and working with that mid-sized record label–can be more exciting and more rewarding than working with the major label. I might be actually able to get someone on the phone (at the mid-sized label).

Of course, it depends on what the deal is if you let an act sign with a label.

That’s right.

Do you feel a 360 deal is attractive, if the label is bringing true value to the table?

Well, what is the new value to bands that have been in traditional deals, and then are forced into a 360? They ask their label, “What is the new value proposition for signing a 360?” A line somebody gave me the other days is that, “the 360 deal is 36 people doing zero.”

Would you do a 360 deal for a management client?

When the 360 deal came up (a few years ago), I was one of the people who was pro-360, and I got a lot of shit about it. With a 360 deal, if the label says, “Here’s our plan. We will go, and spend hard. This is what we will do, and these are the ancillary rights that we need on the 360 side,” then I’m for that deal because I recognize the economic hardship that the labels have fallen on.

Certainly, it’s not our fault that the records aren’t selling. It’s a “not my problem” type of thing. But, guess what? If I am trying to break an act, it is my problem. You see some of these entrepreneurial companies that are partnering on masters with their artists. We are certainly doing it now here. We have started a label called Collective Sounds, which is distributed through Sony RED Distribution in the U.S. We have Tom (Grover) Biery who ran (as GM/EVP) Warner Bros. Records under (CEO) Tom Whalley. It’s our label. We will put out the Red Jumpsuit Apparatus (album) on that label this year.

[The first release from Collective Sounds on March 29, 2011 is “Belong,” the second album from Brooklyn quartet, the Pains of Being Pure At Heart. Also planned are releases by Red Jumpsuit Apparatus, and Hacienda.]

All together, this is like having an in-house, 360 deal for your clients.

That’s right. But we don’t commission on records. Everything is very transparent with the record deals. In some of these situations, being in the content business with our artists has been better. When I say that I’m not as focused on working the record labels anymore, from a writer and producer perspective, I’ve still have got all of my (label) A&R relationships. I have to. I can’t be in the business if I didn’t. Those are the people who make my year for that (producer/writer) side. But, for the artist side, depending on the artist, I would rather be in an ownership position with them.

The Red Jumpsuit Apparatus is going to be a great poster child for us this year. They have made an incredible career record with (producer) John Feldmann. If that record goes, we own it with the band. The record comes out in August. It is called “Am I The Enemy.” This is their third album, the other two were on Virgin Records and sold a million records. This is a band that just didn’t want to be part of the major label system anymore. They came to me and said they knew we were doing a label, “let’s partner on our masters” on a net profit deal. They will make more money in this deal than they would ever have in their Virgin Record deal.

But it was a major who built them up to be able to do that.

That’s right.

[In Feb. 2010, the Red Jumpsuit Apparatus fired long time manager Steve Tramposch, and parted ways with Virgin Records, citing the poor promotion of its second studio album “Lonely Road.” The band then decided to release music independently. According to lead singer Ronnie Winter, “At this point we want to stay completely 100% independent for as long as possible.” The Florida band subsequently released the EP “The Hell or High Water” in Aug. 2010 as an independent release.]

It’s still hard to build an independent act up to that same level.

It all depends on what you want to spend. If you were going to do that with a new act it would take a hell of lot more time, and a lot more money. These small indie labels, are they any different (than us)? We have a worldwide publishing deal through Kobalt. On the writer/producer side, we will sign some artists to publishing. We have chosen not to so far.

I really sat down, and thought what I wanted to represent these guys for. I’d love to think that I will be working with them in 20 years. That doesn’t tend to happen with a lot of representatives, but I’d like to be the guy who they can say, “That guy got me my shit back.” So yeah, I won't do life of copyright publishing deals.

This year, The Collective made a big splash at SXSW (South By Southwest) with the record company, Collective Sounds and promoting The Pains of Being Pure At Heart

We sent 12 people from our company down to SXSW. I didn’t go because I had a commitment with a client during that time. My commitments have killed all of my conferencing this year. I did go to Sundance this year, which was a blast. With South By, I have gone the past six years. I have never signed a band at South By but I have showcased a lot of groups there.

Are conferences like SXSW helpful in getting an act signed?

With all of the people at this company, there’s practically nobody that we can’t get into the room (to see a band). So, you ask yourself the question, “if I can get this band in front of a director or studio head or network or the head of a record label, why do I need to do music conferences?”

The truth is that with those conferences, there are a million bands playing and it’s incredibly difficult (to break through). It’s like a game that you have to play. You never know if you are going to have the right people out. It’s hard to get your band on the Fader, Spin and the Billboard (media) thing. I have showcased a lot of bands (at conferences) and I tend to do my label and publishing deals nine or 10 months later in unrelated reasons to the conference.

Managing an emerging act is far different than managing an act that already has traction.

I wear two very different hats here when it comes to the artist side (in management). If I am making a Jimmy Cliff or Red Jumpsuit Apparatus record or any of these type of records that we are putting out for the career side of the business, than that is a very different job as a manager than working with an artist in a developmental thing.

You’d rather do the zero to 10 work with a developing act?

The 1994 model of “Let’s get some songs, and shop a label deal,” is whacked. That’s not what I am focused on doing. Yes, I’d rather do the zero to 10 work.

As an example, for the past nine months, I have been developing a young (pop) act called Memphis High from Memphis. It’s two 17 year old kids (Grant Vogel and Witt McKay). They are like the Southern version of the Jonas Brothers meets the modern day Everly Brothers in a sense. We’ve worked with about 30 major writers in Nashville and L.A. It’s a great record. It’s really cool stuff.

So with these kids, when I put on the artist development hat, it’s completely different (than working with established client). I’m getting in the studio with them. I’m taking the flip cam and taking internet content of them, and helping them building their digital presence. Really getting in on the ground level.

I will get all of the calls from the same (A&R) people that I am friends with saying, “Why didn’t you play me this band? I didn’t know you were managing them.” I will say, “I didn’t want to play you the band because I was developing them, and I wanted to do the work”. The bands that now go into label deals with fan bases, buzz and shit going on, actually have a shot at success.

That’s so true.

I really feel that acts that become successful are acts that put their heads down. They get out and they do it. The acts that look at their neighbor’s lawn and compare themselves to other acts are not interesting to me. Those acts out of nowhere that bubble up because they put their heads down, and have been diligent and have been focused on building their brand are what are interesting to me.

You started out in the music business when you were 17?

I went to school at the University of Wisconsin–Oshkosh) in Oshkosh (Wisconsin), of all places. I took communications and music business. Two weeks into the music business program, I realized that the success stories coming from that music business program were people who had gone on to start giant music instrument retail chains. I said, “That’s not the music business that I know about.”

You were already a promoter by then.

I was working with a couple of partners, Ryan Lameyer, and Alan Sager under (the name) Phenomenon Concerts. I met them at the end of high school. I did shows in Rockford, Freeport and Madison (in Illinois) and Milwaukee (Wisconsin). I was doing a lot of tertiary and secondary markets with Sum 41, Good Charlotte, Fifty Cent, Bone Thugs-n-Harmony, all over the board.

In 2004, you developed the software Filemaker Agent 2.0 that is now widely used by booking agencies in the U.S.

I got a copy of FileMaker Pro, and I decided to write software for a friend who is an agent. It ended up becoming the software that, I’d say that, about half of the agencies out there use today as their system to create contracts, itineraries, and deal sheets. I spent about nine or 10 months developing this thing. I still own it, and license it. I had a couple years where I sold this thing like crazy to everyone. Primarily, the big boutique agencies use it.

Being both a promoter and doing this software taught me a lot about the promoter side, and agent side of the touring business. I met a lot of agents through doing that. (The success) kind of afforded me the opportunity to get into artist management. Then I joined up with Steve Hutton (at Uppercut Management).

Who did you manage before working with Steve in 2005?

It was a lot of those bands that I brought in. Bands like June. Chris Allen and I had a band, Number One Fan with Pat Magnarella that we worked on together.

What attracted you to working with Steve?

I knew his name, and I really liked the idea of staying in the mid-west. So I went and took a meeting with Steve. He came out to see June at The Metro, and it was a sold-out show. That was on a Tuesday or a Wednesday. I came back down (to Chicago) later that week to meet with him at his office. Then two weeks later, I was moved to Chicago, and I was working with him. It was really great.

Steve would have lost Kid Rock before you arrived.

That’s right. I think it was a year or 18 months before. He was in business with Better Than Ezra, who he no longer is with. There were some great acts there including Better Than Ezra, and, of course, Kevin Griffin as a songwriter. I got there because when I was starting as a promoter, when I was still in school, everybody knew who Steve was, and knew who Kid Rock was.

You went in there as a management novice. What did you learn?

Yeah, I knew a lot about touring. I knew a lot about being a promoter and all that but, on the management side, I got experience from a guy (Hutton) who had really done it on a larger level.

As you started at Uppercut, the music industry began to shift.

I think as time went on, I was feeling that (there). We would do Better Than Ezra and the All That Remains tours. I learned a lot about international touring and a lot about releasing records, and a lot about dealing with labels. I learned the whole process from cover to cover. As I got to the end there, I’d grown frustrated that I had to keep traveling. I wanted to be in the mix of it all out here. I already knew L.A. very well. I knew tons of people out here, and it just made sense to be here.

One of the things in working at Uppercut was that I started to work with Kevin Griffith, who had a number of big hits, and working with other songwriters. At the time, it felt big to me but they were more middle-of-the-road guys. Kevin, of course, has since become a big successful songwriter. But, when I moved here to The Collective, I just decided to take some of that knowledge and desire to be in the songwriter/producer side and start that side of our business here.

What makes Chicago such a great music town? Both David “Boche” Viecelli (Billions Corporation) and Tom Windish (The Windish Agency) operate successful agencies from there.

Chicago is a great city. There is a lot of energy there. I lived downtown most of the time that I was there. There was an incredible scene from the Wicker Park scene to a huge scene going on in the suburbs where bands were coming up. There was this scene going on in Schaumburg, Arlington Heights and the suburbs, and this scene going on downtown which was great. These bands would put on local shows at the VFW halls and I’d go. I remember seeing Fall Out Boy at the Fireside Bowl a number of years ago when there was like 30 people there. It was a converted bowling alley. When the Smoking Popes came out of Chicago, that set a precedent for other bands to do the same thing. So following Fall Out Boy were the Academy Is… to June. A lot bands came out of that scene. It was really cool.

Obviously, Gregg Latterman and Aware Records are in Chicago, Jeff Battaglia with Disturbed is there, and (Victory Records founder) Tony Brummel is there. How could you not know? How could you forget? I like Tony. I ran into him in Malibu recently. He seems to be doing the same old (thing) but he seems to find a successful act every few years. No matter what people think of him, the guy is a winner.

June was on Victory Records.

Working with Victory was interesting. As a manager, working with a label like Victory really teaches you all of the nuances of a record label. It kind of sets you up when you are working with record companies that function in a more normal way. (Victory) was incredibly difficult to navigate; and it just made me really happy later to work with record companies that wanted to work with me. Everything was kind of working against us (at Victory).

Tony is certainly full frontal, but June did sell 100,000 records at Victory.

Oh yeah, Tony is type A. The thing is that I do appreciate that Tony is a motherfucker. You know exactly where you stand with him. That I have come to appreciate because I’m very much (like that). Though I’m from two hours north of there, I’m a Chicago guy. I’m straight-forward. I’m honest. I’m mid-west, and I have never lost that. Some people can’t handle that. So dealing with a guy like Tony, you always knew where you stood.

How did you come to recently start managing reggae icon Jimmy Cliff?

His business manager Sulaiman Muhammed is a friend. He asked if I would meet with Jimmy Cliff. I said I’d pay to meet with Jimmy Cliff. So we are now making a new record. It’s the first record Jimmy has made in eight or nine years. He’s been in town for the third time taking producer meetings. It is going to be an exciting record. We are also making a documentary around the history of reggae. Jimmy really is the last guy left to curate that because all of those guys have passed away. He was one of the first ones to do reggae.

Does a band need physical product anymore?

Red Jumpsuit Apparatus definitely needs some physical product. You do when you are selling to middle America, and you are still putting records into Wal-Mart and the mom and pop (record stores). Those things are important, and there’s a place for it. However, in the future… I would go out on a limb to say that we are the most digitally savvy, and forward management company around. We have a nine-person digital team. We were having conversations with the technology companies long before anyone started talking about having music in the cloud, and all of that. We really believe that’s where it is. WiFi hits the car next year (Ford has announced they're going to put WiFi in their next line of cars, at least some of them). We’re already trying to create solutions and ancillary incomes with the artists to prepare for those types of things.

Do consumers need to own music anymore if they have access to music anytime and anywhere?

Well, there’s no money in streaming. We are really focused on maximizing D to C (direct to consumer) stuff. There is part of the zeitgeist that that the fan wants to hold something (by an artist).

I had Jimmy Cliff in here today, and we talked about selling physical memorabilia and about branding. There is still that part of the world. Our company did an incredible job with Slash on the D to C stuff with packages and stuff. I think that working with the Topspin and those places of the world for the general music consumer, I think, “Yeah, it becomes iTunes. It becomes music in the cloud, and there really is no way to monetize that.” There are other things that we are working on now. We represent eight of the top 20 YouTubers that make hundreds of thousands of dollars off online ad revenue. Sync licensing is bigger than ever. There are other ways to make money.

Jeff Price, founder and CEO, TuneCore, told me that as well recently.

Jeff will tell you that I am one of the first people to take a meeting with him at South By Southwest five or six years ago to talk about TuneCore. I thought it was brilliant.

YouTube bypasses all filters. We certainly found that out with Charlie Sheen.

I think the Charlie Sheen thing is brilliant. Out of control for sure. I just laughed at how people thought he was clean. Did you watch the video? But (the response) really shows that the direct-to-fan and the direct-to-consumer experience is huge. Linkin Park, who is a client of ours, has over 14 million Facebook fans. They can blast out a message that goes directly to their fans.

We are living in a time where the artist can now create their email lists. They can create their social networking list, and mobilize it. Take it with them whether they switch record labels or whatever they do. They can walk it directly to their fans. I think that’s exciting for young bands. And the young acts that are exciting to me are the ones that have the know-how, to go and figure that out.

It’s incredible what an act can do with its digital base.

I am spending way more time on the phone with my artists and my digital department and with my agent. There aren’t the old gate keepers that used to be there anymore. It is an exciting time for anyone who is young blood. I get calls from a bunch of young artists, but also a bunch of older artists who want to be with the new school stuff. That’s why I am managing Jimmy Cliff.

Larry LeBlanc is widely recognized as one of the leading music industry journalists in the world. Before joining CelebrityAccess in 2008 as senior editor, he 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, and the London Times. He is co-author of the book “Music From Far And Wide: Celebrating 40 Years Of The Juno Awards.”

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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
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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