Industry Profile: Hal David
By Larry LeBlanc (CelebrityAccess MediaWire)
This week In the Hot Seat with Larry LeBlanc: Hal David, lyricist.
Hal David’s name should be a lyric.
This prolific American lyricist who turned 90 on May 25, 2011, is chairman emeritus of the Songwriters Hall of Fame (having formerly been its chairman/CEO), and was recently awarded the organization's first Visionary Leadership Award.
Among David's vast song holdings are such gems as: “What The World Needs Now Is Love,” "What's New Pussycat?,” “Alfie,” “The Look of Love,” “Raindrops Keep Fallin’ On My Head,” “This Guy’s In Love With You,” “I'll Never Fall in Love Again,” “Do You Know the Way to San José,” “Walk on By,” “I Say a Little Prayer,” “(There’s) Always Something There to Remind Me,” “One Less Bell To Answer,” “Broken-Hearted Melody,” “Sea Of Heartbreak,” “My Heart Is An Open Book,” “Johnny Get Angry,” “A House is Not a Home,” "The Man Who Shot Liberty Valance,” and “To All The Girls I’ve Loved Before.”
In addition, David wrote the lyrics for such film scores as “Alfie,” “What's New Pussycat?,” “Casino Royale,” “Butch Cassidy and the Sundance Kid,” “The April Fools,” “Lost Horizon,” and “Moonraker,” among others; as well as for the Broadway show “Promises, Promises.”
Born in Manhattan in 1921, David’s family moved to Brooklyn when he was one. He began writing songs as a teenager. His older brother--a role model--was the renowned film and television songwriter Mack David.
During World War II, David was in the Army, and his unit was shipped overseas to Oahu Hawaii. There he was asked by Major Maurice Evans, a well-known English-born actor in charge of the Army Entertainment Section in the Central Pacific, to join his section.
David became a writer for the section’s shows that featured such future stars as Carl Reiner, Allen Ludden, and Werner Klemperer.
After his discharge from the Army in 1946, David, who had studied journalism at New York University, was a copywriter for the New York Post, while working his way into the Brill Building at 1619 Broadway, and nearby 1650 Broadway; where he wrote lyrics with various collaborators with considerable success.
David’s career hit its full stride after he met pianist/arranger Burt Bacharach in the Brill Building offices of Famous Music in 1957. “He was experienced, and he had some hits, and knew the business more than I knew the business,” Bacharach later recalled. Soon after their meeting, the pair wrote “The Story of My Life,” recorded by Marty Robbins and “Magic Moments,” recorded by Perry Como.
The fusion of these two perfectionists created something bigger than the sum of the two parts, something that withstood the shifts of pop music taste and fashion, following the emergence of the Beatles, and Bob Dylan.
In 1961, Dionne Warwick’s uniquely dexterous voice caught their ears during a Drifters’ recording session for “Mexican Divorce,” a song written by Bacharach and Bob Hilliard. Warwick approached David and Bacharach to record some demos. The songwriting partners fell in love with her immediately, and she began to do all their demos.
Then Warwick did a breakthrough demo of “Make it Easy On Yourself,” recorded by Jerry Butler in 1962, that led to her being signed by Scepter Records, and her first hit “Don’t Make Me Over” in 1962.
In the ‘60s, David and Bacharach brilliantly guided Warwick, and produced a formidable collection of classics with her including: “Message to Michael,” “Windows of the World,” “Do You Know the Way to San José,” “I Say A Little Prayer,” “A House Is Not a Home,” “Walk on By,” and “Trains and Boats and Planes.”
Meanwhile, the two tunesmiths came up with the Oscar-winning “Raindrops Keep Fallin' on My Head,” performed by B.J. Thomas, and “What's New Pussycat?” that featured Tom Jones.
After his partnership with Bacharach had run its course, David co-wrote “To All the Girls I've Loved Before,” one of the most enduring hits of the modern pop music era, with singer/songwriter Albert Hammond. It was, of course, an international hit in 1984 for Julio Iglesias and Willie Nelson.
Hal David’s website has the following invaluable account of his approach to writing lyrics. He has given his permission for its use here.
“Now, how do I go about the business of writing lyrics? I wish I really knew. If I did it would make writing much easier for me. Because I have no formula, sometimes it flows smoothly and other times it is like rowing a boat upstream. Most often a lyric starts with a title. A line in a book I am reading may set me off. Other times some dialogue in a play or a movie becomes the catalyst. More often than not the idea just pops into my head-where it comes from I hardly ever know.
In writing I search for believability, simplicity, and emotional impact. Believability is the easiest of the three to accomplish. One thing a lyricist must learn is not to fall in love with his own lines. Once you learn that, you can walk away from the lyric and look at it with a reasonable degree of objectivity. Often I discard a good line because it is inconsistent with the basic idea. If the line happens to be witty or sad in a particularly fresh way it hurts me to take it out. But that's part of the pain of writing.
Simplicity is much harder to achieve. It is easy to be simple and bad. Being simple and good is very difficult. The sophisticated Cole Porter, the earthy Irving Berlin, the poetic Oscar Hammerstein, and the witty Lorenz Hart all have one thing in common - simplicity, the kind that is good. I must also mention a special favorite of mine, Johnny Mercer. Whether he is being poetic or humorous, he is never complicated. I seek this elusive thing called simplicity always. I hope I sometimes achieve it.
Above all, I try to create an emotion to which others can respond. Unless I can create an emotion to which I can respond, I throw the lyric away. Although I cannot know how others will react, I assume that if it moves me it may do the same for them. Sometimes I am right, sometimes I am wrong.”
Over the years, David became deeply involved in music business organizations, including serving as the president of the American Society of Composers, Authors and Publishers from 1980 to 1986. He continues to be a director of ASCAP.
David is one of the most honored musical figures of our time.
He has been honored with practically every major award bestowed by the music industry. He was awarded the Grammy Trustees Award by the National Academy of Recording Arts and Sciences; and the Ivor Novello Award from the British Performing Rights Society--the first non-British person to ever receive that award.
He has also been elected to the Nashville Songwriters Hall of Fame, elected to the Songwriter’s Hall of Fame, and has been presented with the organization’s Johnny Mercer Award.
You were recently awarded the Songwriters Hall of Fame’s first Visionary Leadership Award.
I was very pleased about that. I must say that I have had a pretty good career. I’ve been the president of ASCAP (the American Society of Composers, Authors and Publishers) as well as the chairman of the Songwriters Hall of Fame. I’m also in the Nashville Songwriters Hall of Fame.
You must be aware that you have brought a lot of joy to a lot of people.
Yes, I am. The public has brought a lot of joy to me too.
Where is the most unlikely place you’ve heard your music?
Well, I’ve heard it in Africa. I’ve heard it all over Europe. I seem to hear it when I travel. I seem to hear it more when I am traveling than when I am at home.
You turned 90 on May 25th.
We are celebrating (my birthday) on Oct. 17th at the Taper Forum (the Mark Taper Forum in Los Angeles). We have a line-up of stars. A lot of the music people are going to be out here in October, and that is the ideal time (for the celebration).
You married Eunice in 1988. Did that result in you writing even more romantic songs?
Well, I’ve written a lot of romantic songs, and I think some of them turned out pretty good.
Artists and songwriters used to be separate groups. Singers didn’t write their own material; songs were usually co-written by a songwriting team, including a lyricist. The art of lyric writing—as exhibited by Lorenz Hart, Johnny Mercer, and Cole Porter--seems to have been lost over the years.
Well, you just mentioned Johnny Mercer and Larry Hart among the masters of the lyric writers. That (legacy) continued for awhile with Burt (Bacharach) and myself, with Leiber and Stoller, and with a lot of the teams that came up in the ‘60s, like Carole King and Gerry Goffin who is a lyric writer. At the moment, the art of lyrics seems to be in terrible danger of being extinct.
There is a considerable craft to that level of songwriting where a lyricist uses counterpoint, and inter-rhymes. You don’t see that much anymore.
You see very little of that. You also don’t hear wonderful melodies anymore. Here and there you do but, at one time, there were just great songs coming out all of the time.
[Hal David’s major influences are the great American composers like Cole Porter, Rodgers & Hart, and Irving Berlin. He once said of his favorite, Berlin, “He had the ability to take the most complex things and turn them into songs. And he made it look so damn simple. His work is like a textbook of great songwriting.”]
You once said that the song is more important than the recording because the song is fundamental.
I very much feel that way. The song is the most important item on a record. The recording couldn’t be done without the song.
When you started in music in the mid ‘40s, publishers were largely in and around the Brill Building on Broadway at 49th Street. Previously, West 28th Street was Tin Pan Alley in an earlier era when ragtime, vaudeville and advances in mass printing came together to create the first generation of music entrepreneurs.
That was the Tin Pan Alley of that time. The Brill Building was the Tin Pan Alley of our time.
In the early days, songwriters would go to the theatres and clubs, and play performers songs.
They would often do that with Al Jolson, and the big time vaudeville singers. In our time, we played most everything live too. We made demos if we sent (songs) out to California, but we played live for the record companies in New York. Burt would play the piano, and sing the song. I think George Gershwin was a (song) plugger at one point, as were many of the songwriters of note.
[George Gershwin's first job in music was as a song plugger for Jerome H. Remick and Company, a publishing firm on Tin Pan Alley, where he earned $15 a week. His first published song was "When You Want 'Em, You Can't Get 'Em, When You've Got 'Em, You Don't Want 'Em” published in 1916 when he was only 17. He earned $5.]
Irving Berlin was his own one-man band for pitching his songs.
He sure was.
Did you ever meet him?
No, but when I became president of ASCAP, the first call that I made from our building on Broadway was to Irving Berlin. He was always the #1 songwriter (at ASCAP). He returned my call. I remember that he said, “Why do you want to be president for? You are such a good songwriter.”
He was one of the co-founders of ASCAP, which was formed in 1914 to protect the usage of music.
Well, there were bands (playing music) in the fancy restaurants (in New York)—that’s how ASCAP started. (Victor) Herbert went into Shanley’s Restaurant, and he was having dinner with his lawyer Nathan Burkan, and the band was playing songs from one of his operettas. He said, “I’m paying for my dinner and they are playing my music, and I’m not getting any money.” That was the beginning of ASCAP.
[ASCAP founder Victor Herbert had been appalled to hear “Sweethearts,” his hit song from the operetta of the same name, being played at the popular Shanley’s Restaurant in Times Square just up the street from the New Amsterdam Theatre where the opera was playing on Broadway.
While Herbert received royalties from the theatrical presentation, he wasn’t being paid a dime from the orchestra playing his music in the restaurant. To test the strength of his new performing rights organization ASCAP, Herbert brought a lawsuit against the restaurant.
The restaurant’s defense was that the performance was not for profit as there was no separate charge for the music.
The fight took two years, and the case was appealed to the Supreme Court of the United States. Justice Oliver Wendell Holmes wrote the decision of the Court that the performance was very much for profit. "If music did not pay,” he declared, “it would be given up. Whether it pays or not, the purpose of employing it is profit, and that is enough.”
Founded on Feb. 13th, 1914, at the Hotel Claridge in New York, ASCAP started out from a tiny room in the Fulton Theater Building. A kitchen table and a broken-down chair served as office furniture. Dues were $10 for writers and $50 for publishers.]
The music industry pays “lip service” to songwriters and to publishers—and there’s the phrase “it starts with a song”—but music publishers and songwriters have always had to fight for their rights.
Well, firstly everybody thinks that the artist wrote the song. In some cases that may be true. The overall picture is that the songwriter wrote the song. So you start out with that, and then there are people in Washington who think very much of the important artists who perform. They are anxious to meet them. They are not as anxious to meet the songwriter.
In this internet age, music publishers and songwriters continue to fight hard to protect their rights.
At this moment, the internet people, the Yahoos and the AOLs, they ask for a license from ASCAP and BMI, and we have to give them that license. We can’t negotiate with them at that point. If they want a license, they get a (mandatory) license. Then some of them say, “Well, our license protects us just in case we infringe. But, we don’t think that we are infringing.” At that point, they try very hard not to pay us for the use of the music. Then we take them to court. This takes years to settle, and the legal costs are astronomical. Of course, there’s less money than going to the publishers, and less money going to the writers.
After 2 1/2 years you were released from the Army, and went back to Brooklyn. You knew you wanted to be songwriter, and began going to the Brill Building around 1946.
Was the Brill Building era as magical as we read about?
Well, I thought it was magical. It was exciting. You had the 11 floors, and you started on the 11th floor, and you came down to the first. Or you started at the first floor, and went up to the 11th. You went from publisher to publisher to publisher. There might be three or four publishers on a floor. You met all of the songwriters, at least all of the eastern and New York songwriters, around. You tried to write with this guy and that guy. I wrote with Lee Pockriss, Leon Carr, and Sherman Edwards before I wrote with Burt. They were all very good composers.
In the beginning, if we could afford to, we’d often go to a restaurant called The Turf. There was a long table in the back of The Turf where the songwriters hung out. You had lunch there, and you would meet all of the fellas in town. You would be telling them about your songs and they would be telling you about their songs. They would be singing you their songs, and you would be singing them your songs. It was an exciting life.
Jerry Ragovoy recently passed away.
I felt very sad about that.
[Philadelphia-born Jerry Ragovoy wrote--or co-wrote--such classic R&B-styled songs as "Time Is on My Side," "Cry Baby,” "Piece of My Heart," “Stay With Me,” “Look at Granny Run Run,” and “Get It While You Can.” The songwriter/producer also conducted the orchestra and chorus on Frankie Avalon’s 1961 B-side “Gotta Get A Girl,” written by David and Bacharach. Ragovoy died July 13, 2011 of complications from a stroke. He was 80.]
Did you usually write in a room with other writers?
Yes, and outside the room—at home—to a melody. I usually wrote a lyric first, and someone wrote a melody to it.
Working with Burt Bacharach, did you write separately?
We’d write separately, but we wrote almost every day together. We had a room at Famous Music in the Brill Building on the 5th floor that looked out at the Rivoli Theatre (1620 Broadway at 49th Street.) We would be there almost every day. We’d come in with an idea. He would come in with a melodic something, and we’d work on that. In the meantime, I’d give him a lyric, he’d give me a melody. We were almost writing three songs at the same time.
Was the discipline among songwriters at the Brill Building due to competition?
Well, everybody was pretty much starting out. We were mostly beginners in the Brill Building. The most successful songwriters had places to go,had appointments to play their songs, so on and so forth. We were the beginners. We used to go around with our songs from office to office without an appointment. We’d go over to (publisher) Shapiro Bernstein, which was in another building, and we would wait and play (a song) for Louis Bernstein (also a successful Manhattan real estate investor). We would just wait our turn. I guess that the competition was always important, and pushed us forward.
Dionne Warwick was the perfect vehicle for your songs with Burt.
She came in, and wanted to do some demos for us. We listened to her. She just knocked us out, so she started to do demos with us. Then we took the demos up to Florence Greenberg at Scepter Records. She and (producer) Luther Dixon created a wonderful company (with a roster that included the Shirelles, Dionne Warwick, Chuck Jackson, Maxine Brown, and B.J. Thomas.) Steve Tyrell worked as a promotion man there. Florence created the Shirelles.
[In 1996, Steve Tyrell recalled working with Hal David and Burt Bacharach on Dionne Warwick sessions. “We would get a session together every 18 months or so. We'd say, "Let's do ‘Alfie' with Dionne.” The sessions would be about three hours with an hour overtime. We'd have a full orchestra with Burt out there conducting. We'd usually get four songs done in four hours. (Engineer) Phil Ramone would make a mono mix, and a stereo mix at the same time. A lot of times, that's what we'd go with. We'd decide what the single would be and master it.
“Then I'd get on the plane and go to Chicago to get it on the radio. It seemed like we could do no wrong there, for awhile. I think Dionne really was an incredible instrument in the Bacharach/David success. Her voice did something to those melodies, and those words that just made it come to life in a way that no one else could.”]
Dionne knew just how to sing your lyrics. How much preproduction went into working on her phrasing?
She enunciated pretty well right from the beginning. We rehearsed her long before we went into the studio. Burt did the arrangements, and he laid out how they were coming along. She had her schooling (for the song)—as far as we were concerned—with us way before each date.
Remarkably, you and Burt never had a #1 on Billboard’s Hot 100 chart with Dionne Warwick.
(Laughing) We did alright, anyway.
[The closest Dionne Warwick came to reaching the top spot on the Billboard Hot 100 with David and Bacharach was with “(Theme From) Valley Of The Dolls” that was #2 for two weeks in 1968.]
With the British Invasion of the ‘60s, you and Burt had a dual career going with Dionne Warwick, Gene Pitney and others recording your songs in the U.S.; and Cilla Black, Sandy Shaw, Billy J. Kramer and others covering them in the UK .
And with Dusty Springfield there. They were covering all of our songs over there.
[In 1964, Dusty Springfield had a #3 U.K. hit with Bacharach and David’s “I Just Don’t Know What To Do With Myself,” previously recorded by American singer Tommy Hunt. The same year she landed a #6 U.S. hit with “Wishin’ and Hopin’,” which Warwick had recorded as the B-side of single “This Empty Place.” For her 1964 debut album “A Girl Called Dusty, Springfield also recorded their songs “Anyone Who Had A Heart,” and “Twenty-Four Hours From Tulsa.”]
Interestingly, film director John Ford passed on using “The Man Who Shot Liberty Valance” as the title song for his 1962 film. Still, it went on to become Gene Pitney’s first #1 hit on Billboard’s Hot 100. You and Burt had to wait three more years until “What’s New Pussycat?” to break into film.
That’s the case. They tried to convince him (John Ford) to put it in but they couldn’t (get him to agree). The music department asked them to do it. Famous was the music arm of Paramount Pictures.
Your first major cover was with Guy Lombardo & His Royal Canadians in 1949?
Yes. Actually, the first cover Guy Lombardo published. It was "The Four Winds And The Seven Seas." There were the Lombardo brothers (Guy, Carmen, Lebert, and Victor) and (sister) Rose Marie who sang with the band. Don Rodney (aka Don Ragonese) was also the band’s singer, and the guitarist, and we wrote that song together. It was the most exciting thing that had happened to me up to that time.
[David’s first song to be recorded--with music by Lou Ricca--was “Horizontal” on RCA in 1946 performed by jazz singer and pianist Bunty Pendleton, wife of New York Daily News' Bob Sylvester, accompanied by pianist Pat Flowers and his group.
"The Four Winds And The Seven Seas" by Guy Lombardo & His Royal Canadians reached #19 on Billboard’s chart in 1949. 20 artists recorded the song, including Sammy Kaye, Mel Torme, Vic Damone, Herb Jeffries, and Bing Crosby.]
Then (bandleader) Sammy Kaye asked someone to have me come up to the Astor Hotel Roof on Broadway, where he and his band played. He wanted to talk to me. I hadn’t met him as yet. When I was up there, he called me over to his table and he said, “How would you like to work for me, kid? I have seen some of your songs, and I like your work.” I said, “Oh God. That is the most exciting thing. My heart is pounding.” He said to go to the Brill Building and meet with his business manager. They offered me a contract for $50 a week. That was like found money to me. I took it, and I was there for awhile.
What is your family’s background?
My parents were emigrants from Austria, and they came over to America as children. My mother and father were born at the turn of the century. So they came to America as children, and they came separately. They came without their parents. They were sent to cousins, uncles or aunts, whoever was here on the lower East Side (of New York).
My father went into the restaurant business as he got older. He met my mother, and they married. My mother was a cook, and my father got into the restaurant business. I was born in Manhattan, but the family came to Brooklyn when I was, maybe, one year old. We lived up above the restaurant. It was a delicatessen and restaurant. We all played music in my family. We were four. My oldest brother Mack was a songwriter— a very successful songwriter.
Were you a good violinist?
I was very so-so —and, that’s giving me an edge.
You’re one of those people who can’t play music so you decide to go into another part of the entertainment business?
Exactly, but (writing) was my ability. I was always good at writing stories, and writing poetry. Because of my older brother I was writing songs.
How good was your song “Shape Ahoy” from your Army days?
I wrote “Shape Ahoy” when I was in the army with Maurice Evans (later to be Samantha's father Maurice on the sitcom “Bewitched”), Allen Ludden, Werner Klemperer, and Carl Reiner. (The Section) was just fantastic. Carl was, and is, the funniest guy. We did a number of shows. We did “Shape Ahoy,” which was a variety show, and we did a musical show “Jumping Jupiter” which I wrote with Roger Hale and another composer whose name escapes me. The show was recorded by RCA Victor for the Army. It wasn’t for sale.
[“Jumping Jupiter” ran at the Roosevelt High School in Honolulu for six months. Harold W. Lanning Sr., also in The Special Services Entertainment Branch, recalls that Irving Berlin attended several of the shows.]
A big deal being recorded.
It was a big deal, at least in my life it was. It was just great. They had those huge long playing records—huge records. Somewhere along the way someone took those, and I couldn’t find them. Carl’s wife Estelle was a singer and she wanted to sing a song I wrote called, “Send A Salami to Your Boy In The Army.” I could never find the verses to that song, and I have never remembered them from such a way back.
[Singer/actress Estelle Reiner performed for decades, until just a few years before her death in 2008. She appeared in numerous films, including 1989's “When Harry Met Sally” in which her son, director Rob Reiner, cast her as a customer in a scene with Billy Crystal and Meg Ryan at Katz's Delicatessen, in which Ryan fakes an orgasm. Approached by a waitress after Ryan finishes, Reiner delivered one of the most memorable lines in film history, "I’ll have what she’s having.”]
When you came out of the Army, was your brother Mack helpful in getting you into the music business?
I think he was. But I think he was both a help and a hindrance. When I say hindrance, if people would think about me, they would suddenly think about my brother. Then they’d call my brother. He tried to help me, and he did help me meet people, and so forth. But the simple fact that he was my brother kind of hindered my growth in the business at that early stage.
[Mack David began writing songs for Tin Pan Alley in the late 1930s.
His song "Moon Love,” co-written with Mack Davis and Andre Kostelanetz, was a #1 hit for the Glenn Miller & His Orchestra in 1939. It was also recorded by Al Donohue, Paul Whiteman and Mildred Bailey. In 1945, Mack wrote the lyrics, for Duke Ellington's "I'm Just A Lucky So-And-So." In 1947, his novelty song "Chi-Baba, Chi-Baba” was a #1 hit for Perry Como, and a hit for Peggy Lee, Blue Barron, and the Afro-American gospel group, the Charioteers.
In 1948, Mack David moved to Hollywood, where he worked in film and television.
"Bibbidi-Bobbidi-Boo," introduced in the 1950 Disney film “Cinderella,” and performed by actress Verna Felton, was the first of eight Academy Award nominations Mack David would receive.
The other nominations were for such title songs as "The Hanging Tree" (with Jerry Livingston 1959); "Bachelor In Paradise" (with Henry Mancini in 1961); "Walk On The Wild Side" (with Elmer Bernstein in 1962); "It's A Mad, Mad, Mad, Mad World" (with Ernest Gold in 1961); “Hush, Hush, Sweet Charlotte" (with Frank De Vol 1964); "The Ballad of Cat Ballou" (with Jerry Livingston in 1965); and "My Wishing Doll" (from “Hawaii” written with Elmer Bernstein in 1966.)
Together, Mack David and Livingston wrote theme songs for numerous television series, including: “Casper the Friendly Ghost,” “77 Sunset Strip,” “Hawaiian Eye,” “Bourbon Street Beat,” and “Surfside 6.” The pair also wrote the theme song “This Is It” for “The Bugs Bunny Hour.”
In 1950, Mack David wrote the English language rendition of "La Vie En Rose." In 1961, the Shirelles had a hit with "Baby, It's You,” co-written by Mack David, Burt Bacharach, and Luther Dixon.
Mack David was inducted into the Songwriters Hall of Fame in 1975. He died in 1993.]
Mack was older?
He was nine years older.
He was pretty well established by the time you started out as a songwriter.
He was very established. He had a wonderful career.
You two didn’t write together?
We wrote one song together which Warner Brothers published and it never got a record. I don’t think it ever got played (to anyone). It was a song that had a Latin melody. My brother asked me to collaborate on it with him.
Burt wrote with him.
Yep. I know one song that they did together ("Baby, It's You"). He was entitled to write with whomever he wished, and I certainly did.
In 1950, Frank Sinatra recorded “American Beauty Rose” which you co-wrote with Redd Evans and Arthur Altman—a major achievement for a young songwriter.
It is one of my favorite lyrics, and one of my favorite songs. We played it for Mitch Miller (the head of A&R at Columbia Records) and he gave it to Frank.
Three decades later, Frank Sinatra recorded “To Love A Child” which you co-wrote with Joe Raposo.
Nancy Reagan compiled a book of Foster Grandparents, and she said to her agent “We should have a song about this with the title. Who should we get?" He said, “Hal David.” I immediately tried to reach out Joe Raposo at the time. So we got together, and we wrote it. She loved the song, and the President (Ronald Reagan) loved the song, and Frank recorded it.
["To Love a Child" was the theme song for the Foster Grandparents program initiated by Nancy Reagan in 1982. It was first performed on the South Lawn of the White House to an audience of 800 foster grandparents and children without rehearsal by Nancy Reagan and Frank Sinatra at the program's White House launch.
All profits from the song and Nancy Reagan's book went to the Foster Grandparents program. "To Love a Child" was released as a single by Frank Sinatra that was arranged by Don Costa, featuring Costa's daughter, Nikka Costa. Sample lyrics: "To love a child/ You start with a smile/ And after a while/ A hug and a kiss/ It takes no more than this/ To love a child."
You became CEO and president (later chairman) of the Songwriters Hall of Fame in the mid-‘90s. Why did you take that on?
I was president of ASCAP for awhile (1980 to1986). Marty Bandier (currently chairman and CEO, Sony/ATV Music Publishing) called me one day. I was in Germany. He said they needed someone capable to really run (the organization) after Sammy Cahn died (in 1993). He asked me. I thought it over. I asked my wife. I asked the CEO of ASCAP, John LoFrumento. They all thought it was a good idea. So I did it for about ten years, and then I stepped down.
[An arm of the National Academy of Popular Music, the Songwriters Hall of Fame was co-founded in 1969 by American songwriter Johnny Mercer, Canadian folk legend Oscar Brand, New York-based music publishers Howie Richmond, and Abe Olman of The Richmond Organization. The organization’s first president was Mercer. Upon his death in 1976, Sammy Cahn was recruited. When Cahn died in 1993, Bobby Weinstein became president.
Following reported in-fighting within the Board, Hal David was brought in to head up the National Academy of Popular Music, and the Songwriters Hall of Fame, and Weinstein resigned.]
Was it a rewarding run for you?
For awhile, it was very rewarding, and then it began to be too much the same.
At 90, you remain competitive in music. You have been writing with composer/conductor John Cacavas.
I did a few albums with him. I’m now in the midst of doing a show with Charlie Fox.
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.”
Industry Profile Archives:
Mick The DJ, DJ/Enterpeneur 04/30/15
Joanne Abbot Green, CMJ Music Marathon and Film Festival 10/17/08
Lee Abrams, XM Satellite Radio 11/28/03
John Acquaviva, Fund Manager, DJ and Serial Entrepreneur 07/09/15
Jay Boy Adams, Roadhouse Transportation 05/04/07
Jamie Adler, Adler Entertainment Group 05/11/07
Gary Adler, National Association of Ticket Brokers 12/04/13
Rodney Afshari, Freeze Artist Management 03/01/02
JC Ahn, VU Entertainment 04/10/13
Steve Alaimo, Vision Records & Audio Vision Studios 05/26/06
Jaye Albright, Albright & O'Malley Consulting 07/19/10
Randy Alexander, Randex Communications 10/12/07
David Alexander, Sheer Publishing 07/21/16
Eva Alexiou-Reo, FATA Booking Agency 05/14/15
Marcie Allen, Mad Booking 12/14/00
Jeff Allen, Universal Attractions 08/16/02
Marcie Allen, MAC Presents 06/05/09
Marcie Allen Cardwell, MAC Presents 12/21/07
David Allgood, Bama Theatre 01/03/11
Patrick Allocco, AllGood Concerts 10/05/07
Michele Amar, French Embassy 05/26/16
Mike Amato, Rok Tours International 02/02/07
Jeff Apregan, Apregan Entertainment Group/Venue Coalition 09/30/15
Billy Atwell, AMP Studios 12/13/07
Bob Babisch, Milwaukee World Festivals Inc. 04/02/15
Tom Baggot, thebookingagency.com 05/02/03
Stephen Bailey, EPACC & Deleware Center For The Arts 02/06/04
Cary Baker, Conqueroo 05/11/11
Vince Bannon, Getty Images 07/05/11
Phil Barber, Barber & Associates 02/04/01
Camille Barbone, WineDark Records 12/09/05
Erin Barra, Musician/Producer/Educator 07/10/14
Ben Baruch, The Fox Theatre 09/27/08
Ben Baruch, By Larry LeBlanc (CelebrityAccess) 04/05/17
Paul Bassman, Ascend Insurance Brokerage 08/03/16
Adam Bauer, Fleming, Tamulevich & Associates 02/15/02
Ed Bazel, That's Entertainment International 10/05/01
Joachim Becker, ZOHO Music L.L.C. 01/12/07
Howard Becker, Comet Technologies 05/02/11
Mark Bego, Author 06/15/07
Jim Beloff, Flea Market Music 09/20/10
Richard Bengloff, The American Association of Independent Music (A2IM) 09/12/13
Seth Berg, South Bay Music 01/30/09
Aimee Berger, 2 Generations SPA Music Management 09/24/04
David Berger, Future Beat 10/29/14
Barry Bergman, Music Managers Forum 03/14/03
Steve Bernstein, Relix LLC 09/30/05
Mark Berry, Attack Media Group 04/07/07
Scott Billington, Rounder Records 01/17/12
Jeffrey Bischoff, Cinder Block 03/24/06
Sat Bisla, A&R Worldwide/ Musexpo 03/29/10
Nina Blackwood, Sirius Satellite Radio 07/14/06
Adam Block, Legacy Recordings 11/07/13
P.J. Bloom, Neophonic, Inc. 01/24/11
Rishon Blumberg, Brick Wall Management 06/27/03
Justin Bolognino, Learned Evolution, and The Meta Agency 04/25/13
Steve "Chopper" Borges, Total Pro and Borse Techos 03/03/06
Les Borsai, Mediocre Management 01/30/04
Shane Bourbonnais, Live Nation Canada 03/21/08
Jeff Bowen, Sears Centre Arena 03/13/08
Rick Bowen, Mystic Music Experience 07/11/08
John Boyle, Sanctuary Music Group 03/19/04
Jeff & Todd Brabec, Writers/Attorneys 01/03/12
Bill Bragin, Joe's Pub at the Public Theater 08/08/03
Joel Brandes, Avenue Management Group 11/02/08
Joe Brandmeier, Moving Pictures 03/15/02
Scooter Braun, SB Projects 12/13/10
Ron Brice, 3rd & Lindsley Bar & Grill 06/08/16
Billy Brill, Billy Alan Productions 11/11/05
Doug Brown, Talent Buyers Network 09/21/01
James Browne, Sweet Rhythm 11/01/02
Bob Brumley, Brumley Music Company 02/17/16
Tony Brummel, Victory Records 05/17/09
Charlie Brusco, TBA Entertainment Corporation 10/13/01
Del Bryant, BMI 05/18/07
Cortez Bryant, Bryant Management 12/06/10
Stephen Budd, Stephen Budd Management 07/13/17
Bruce Burch, University of Georgia Music Business Program 10/09/09
Deborah Burda, Kentucky Exposition Center 08/03/07
Patti Burgart, IEBA 06/07/02
Jordan Burger, The New Musiquarium 01/22/01
Ron Burman, Roadrunner Records 08/25/06
Suzanne Cadgene, Elmore 05/19/06
Karen Cadle, KGC Productions 03/12/04
Gary Calamar, KCRW 07/10/09
Charles Caldas, Merlin 07/05/10
Brian Camelio, ArtistShare 02/29/08
David Campbell, AEG Europe 08/02/10
Tom Cantone, Foxwoods Entertainment Group 10/20/00
Tom Cantone, Foxwoods Resort Casino 07/03/03
Tom Cantone, Mohegan Sun 08/30/09
Ashley Capps, A. C. Entertainment 05/21/04
Rio Caraeff, Vevo 07/12/11
Mike Carden, Eagle Rock Entertainment 08/16/11
Charles Carlini, Carlini Group 05/16/08
Mark Carpentieri, M.C. Records 05/27/05
Mark Carpentieri, M.C. Records 01/10/11
Troy Carter, Coalition Media Group 06/07/10
Daniel Catullo, Coming Home Studios 06/22/08
Raffi Cavoukian, Folk Singer/Children's Entertainer 05/11/16
Jeffrey Chabon, Chabon Entertainment Group 08/22/02
Mike Chadwick, Essential Music & Marketing 08/01/12
Rob Challice, Coda Music Agency 03/27/13
Tom Chauncey, Partisan Arts 01/11/02
Tom Chauncey, Partisan Arts 10/04/11
Lisa Cherniak, Artists Against Racism (AAR) 07/20/01
Bob Chiappardi, Concrete Marketing 06/13/03
Joel Chriss, Chriss & Co. 10/04/02
Michael Chugg, Michael Chugg Entertainment 09/14/01
Michael Chugg, Chugg Enterprises 10/02/09
Gary Churgin, Harry Fox Agency 09/13/10
Vinny Cinquemani, S.L. Feldman & Associates 12/13/12
Barry Coburn, Ten Ten Music Group 03/28/11
Matthew Cohen, Green Room Productions 10/19/01
Ted Cohen, TAG Strategic 01/10/13
Lisa Cohen, Associated Booking Corporation 02/10/06
Steve Cohen, Music + Art Management, Inc. 03/09/07
Dan Cohen, Music & Memory 01/12/17
Michael Cohl - Part 1, S2BN Entertainment 03/06/13
Michael Cohl - Part 2, S2BN Entertainment 03/13/13
Bryan Coleman, Union Entertainment Group 02/14/12
Mamie Coleman, Fox Broadcasting 07/05/12
Dennis Condon, Disneyland Resorts 07/13/01
Peter Conlon, Peter Conlon Presents 05/20/05
Tony Conway, Buddy Lee Attractions 10/06/00
Allen Cook, TOURtech 04/16/15
Tomas Cookman, Cookman International 09/05/03
Alex Cooley, Alex Cooley Presents 07/12/10
David Cooper, Foxman.com 10/31/03
Jay Cooper, Greenberg Traurig, LLP 05/23/11
Julie Coulter, Near North Insurance Groups 06/07/01
Amy Cox, Deep South Entertainment 02/09/07
Michael O. Crain, Crain Law Group, LLC 10/09/13
Charlie Cran, The Strawberry Music Festival 04/05/10
Jim Cressman, Invictus Entertainment Group 06/06/12
Russ Crupnick, MusicWatch, Inc. 07/23/15
Todd Culberhouse, Vision Management /Vision Records and Entertainment 09/05/08
Tony D'Amelio, Washington Speakers Bureau 04/21/06
Ruth Daniel, In Place of War 08/09/17
Ray Danniels, Standing Room Only Management, and the Anthem Entertainment Group 03/05/15
Ken Dashow, WAXQ-FM (l04.3 FM) - New York 09/08/06
Hal David, Lyricist 07/26/11
David Davidian, Independant Lighting Designer/Director 06/18/04
Anthony Davis, D&L Entertainment Services, Inc. 03/02/01
Chip Davis, American Gramaphone/Mannheim Steamroller 05/31/02
Mitch Davis, Tempest Entertainment 07/16/04
Jeff Dawson, Canadian Recording Services 06/08/08
Desiree Day, USO Celebrity Entertainment 08/10/01
Shauna de Cartier, Six Shooter Records/Six Shooter Management 10/23/13
Gene DeAnna, The Library of Congress 02/21/12
Vincent Degiorgio, Chapter 2 Productions 08/01/13
Tony DeLauro, DeLauro Management 12/23/04
Valerie Denn, Val Denn Agency 04/30/01
Val Denn, Val Denn Agency 03/06/14
Robert DePugh, Alligator Records 07/29/05
Tom Derr, Rock Ridge Music 10/29/04
Paul Dexter, Masterworks Lighting Design and Road Cases 12/10/04
Marty Diamond, Paradigm 01/22/10
Glenn Dicker, Redeye Distribution/Yep Roc Records 07/07/06
Barry Dickins, International Talent Booking Agency 06/06/13
Jim Digby, Event Safety Alliance 09/01/16
Mark Dinerstein, The Knitting Factory 11/17/06
Neill Dixon, Canadian Music Week 03/03/16
Thomas Dolby, Musician, academic, technologist, and author 11/09/16
Jasper Donat, Music Matters 2009/Branded 04/24/09
Jim Donio, National Association of Recording Merchandisers 04/22/11
Marc Dottore, M. Dottore Management 04/11/03
Tim Drake, The Roots Agency 12/12/08
Mike Dreese, Newbury Comics 11/23/11
Charles Driebe, Blind Ambition Management Ltd. 09/22/06
Jeremy Driesen, Ray Bloch Productions 09/07/01
Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of Denver’s Division of Theatres and Arenas 08/23/10
Paolo d’Alessandro, International Solutions 06/25/14
Ros Earls, 140dB Management 02/19/14
Art Edelstein, Festival Productions 12/01/02
Bruce Eisenberg, Audio Analysts 08/31/01
Martin Elbourne, The Glastonbury Festival 12/18/09
Michael Elder, Red Entertainment 03/17/06
Tod Elmore, Sixthman 11/24/06
Paul Emery, Clear Channel Entertainment 11/19/04
Arty Erk, Citrin Cooperman 04/27/16
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock ’n’ Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gélinas, Festival d’été de Québec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Chris Gero, Yamaha Entertainment Group 10/26/16
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Steve Gietka, SMG Entertainment 03/19/14
Darren Gilmore, Watchdog Management 03/17/16
Daniel Glass, Glassnote Entertainment Group 10/16/14
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Neil Goldberg, Cirque Productions 04/16/14
Martin Goldschmidt, Cooking Vinyl Group 09/29/16
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, Turntable.fm 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Justin Kalifowitz, Downtown Publishing 04/20/17
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Elliot Lefko, Goldenvoice 09/21/17
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Música e Cultura 05/04/17
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Paul Reed, Association of Independent Festivals (AIF) 06/14/17
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Jack Ross, APA Canada 09/07/17
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, ItsAboutMusic.com 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Peter Shapiro, Ideal Entertainment 04/16/04
Seth Sheck, Access Pass & Design 01/03/03
Seth Sheck, ACCESS Event Solutions 06/22/16
Seth Shomes, The Agency Group 11/12/14
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Michael Simon, The Harry Fox Agency 08/14/13
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Peter Smidt, Eurosonic Noorderslag & manager Buma Cultuur 07/17/13
Garrison Snell, Gyrosity Projects 02/23/17
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
Nikki Solgot, Circle Talent Agency 02/18/15
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Deb Suckling, SUGARRUSH Music 07/27/17
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Mandar Thakur, Times Music 08/06/15
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
Adam Tobey, Concert Ideas 08/24/17
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Marsha Vlasic, Artist Group International 05/31/17
Mat Vlasic, Bravado 06/28/17
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Kirt Webster, Webster PR 02/03/16
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Adam White, Author 09/14/16
Lisa White, Pearl Street Warehouse 10/04/17
Adam Wilkes, AEG Live Asia 10/13/16
Fenton Williams, 04/04/08
Del Williams, Right Arm Entertainment 04/18/08
Bryan "Birdman" Williams, Cash Money Records 09/13/11
Paul Williams, ASCAP 10/19/11
J.P. Williams, Parallel Entertainment 10/03/12
Kurt Willms, Green Room Productions 09/20/03
Chris Wilson, Heartbeat Records 03/02/07
Tony Wilson, Factory Records/In The City 06/01/07
Tom Windish, The Windish Agency 07/26/10
John Wiseman, XL Touring Video 05/05/06
Thom Wolke, Twincloud.com 02/08/02
Michael Wood, City Lights Entertainment 08/08/08
Keith Wortman, Blackbird Presents 03/22/17
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, CultureCatch.com 07/27/07
Jeremiah “Ice” Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
Kevin 'Chief' Zaruk, Chief Music Management 06/10/15
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06
© 2001-2017 Gen-Den Corporation. All rights reserved.|
CelebrityAccessSM and Gen-DenSM are service marks of Gen-Den Corporation.
** ENCORE readers and those that utilize ENCORE features are bound by the ENCORE NEWSLETTER USE AGREEMENT. If you choose not to be bound by this agreement, please discard the e-mail and notify us of your desire to be removed from future mailings. **