Industry Profile: Tony Margherita

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: Tony Margherita, president of Tony Margherita Management, and chief operating officer of dBpm Records.

Since its formation in 1994, Chicago indie titans Wilco have released a slew of acclaimed albums, a full-order of side projects, and several parcels of leaked, streamed selections online.

The band's last studio album, “Wilco (The Album),” was released in 2009 on Nonesuch Records.

The tale of how Wilco landed at Nonesuch is well-documented in Sam Jones’ 2001 documentary film "I Am Trying to Break Your Heart,” which showed the band struggling with turmoil at its former record label Reprise Records, which hadn’t been impressed with the band's proposed 4th Reprise album, "Yankee Hotel Foxtrot."

The documentary chronicles the band's stormy departure from Reprise, and its subsequent signing to Nonesuch.

Wilco’s departure from Nonesuch nearly a decade later ends on a more upbeat note—at least where its new album “The Whole Love” is concerned, as the album—recorded and self-produced in their home Chicago studio, The Loft—is being released Sept. 27th by the band’s own record company, dBpm Records.

dBpm Records is being distributed and marketed through the L.A.-based independent label Anti- Records, a subsidiary of Epitaph Records.

Wilco is a natural fit at Anti- which has a roster that includes Mavis Staples, Nick Cave, Tom Waits, Buju Banton, Merle Haggard Joe Henry, and Tinariwen.

Wilco’s longtime manager, Tony Margherita cites last year’s experience of working with Mavis Staples on her Grammy Award-winning album “You Are Not Alone” which Tweedy produced, as leading to the decision to work with Anti-.

Margherita is operating dBpm Records from his office in Easthampton, Mass., along with overseeing such other management clients as trumpet player Dave Douglas, and Baseball Project.

You are basically in the Wilco business.

That is the way I tend to look at it. We do other things here, but I do tend to look at it that way, yes. We are peripherally in the music business—whatever that means—but, at the end of the day, yes, we are in the Wilco business as sort of an adjunct to the music business. It skirts the edges of the music business, but it encompasses a lot of different things.

Almost everybody in the band has a side project.

Yeah, they all do a lot of stuff. Jeff (Tweedy) produced the Mavis Staples’ record ("You Are Not Alone"). Everybody works on a lot of other projects. There’s a lot of things going on in 'Wilco world' all of the time. Everybody is feeling good. I think the new record (“The Whole Love”) is great. We will see what the world thinks in another few weeks or so.

[Mavis Staples won her first Grammy Award in 2011 for “You Are Not Alone,” her Jeff Tweedy produced-album. The soul legend was overcome by emotion as she accepted the award, thanking Tony Margherita and Jeff Tweedy for their help.]

You do work with other acts.

We manage Dave Douglas, a trumpet player. We do a lot work with him here, and we help with his label. We also do the Baseball Project with Steve Wynn and Scott McCaughey on Yep Roc—rock and roll songs about baseball.

[When the first Baseball Project album, “Volume One: Frozen Ropes and Dying Quails,” was released in 2008 Steve Wynn and Scott McCaughey, Linda Pitmon and Peter Buck had yet to play as a unit in front of an audience. But playing throughout the U.S. throughout 2009 allowed the band to complete its new album “High and Inside,” released March 1, 2011, in under two days.]

“The Whole Love” is being released Sept. 27th (2011). How do you keep a fan base interested in a band that has released seven studio albums?

I can only speak about my work with Wilco. I think that it’s easier with a band like Wilco that doesn’t repeat itself—that doesn’t make the same record seven times over, or a variation on the same record. I also think that you have to work very hard. You have to (as a band) work really hard on the road, and you have to be great. We made a decision a long time ago, in connection with Frank Riley—the band’s booking agent (from High Road Touring) who has been working with the band 15, almost 20 years—to take a slightly different approach than most bands do. We put Wilco in, I don’t know, how many markets. I should count up the number of markets in the U.S. we’ve been. We go way into tertiary and beyond more than most people do. (Our tour dates are) just not one of the top 30 or 40 markets where you repeat the cycle each time. Name a market, and Wilco probably played there.

[After announcing their new LP “The Whole Love” and kicking off a two-month tour, Wilco have added a second leg of shows to their schedule. The band will be returning to the U.S. in November to tour the Midwest.

Likely highlights of the tour include a two-night Ryman Auditorium stint in Nashville on Oct. 1 and 2; and the christening of the Peabody Opera House in St. Louis, formerly Keil Opera House, a few miles from their first-ever performance as a band at Cicero's Basement Bar in 1994. Wilco will perform there on Oct. 4.]

How are you setting up this new record?

Their tour starts on Sept. 13th in Indianapolis (at the Murat Theatre). We have done a few super low budget videos. We have been doing a lot more online social meeting stuff. Wilco is going to be on (David) Letterman right before the record comes out. They are doing this “Live on Letterman” thing (a concert series) the same night. There’s a bunch of this stuff. We are not inventing the wheel. The band is going to get out there, and play shows. We have been doing a lot of press over the last month which will be showing up pretty soon.

One advantage that you have now is that Wilco is a notable brand.

Yeah, I’m not sure that it is necessarily by design, but I guess it sort of is. Wilco has a really good reputation for providing value for a ticketing dollar. People go to a Wilco show, and there is a joy in what Wilco does and a seriousness and a lot of other things. People walk out feeling like they got their money’s worth. That’s a big, big, big thing.

I think that if you are smart about what you do, get out there, do it well and take it seriously every night like you owe something to your audience, you get it back in spades.

A predominantly male audience for Wilco still?

Yes, but not as predominantly male as it used to be.

Wilco still plays a lot of U.S. markets where big name bands don’t generally go.

Yeah, and we have been doing it for a really long time.

Wilco makes very good money in those smaller markets.

That’s true. The thing is that the band likes to tour. Wilco has always made its living primarily on the road. That’s how everybody in the band, the crew, and the entire Wilco family operation—whatever you want to call it—sort of funds itself. It is a little different now because we have diversified (the business) somewhat. It’s not 100% reliant on (touring), but it is a giant portion of what Wilco does, and what pays for everything else.

But the fact that Wilco does play Rochester, Minnesota or wherever, enables them also to tour a lot without beating any particular market into the ground. That is a mistake that a lot of people make. You play in New York or Chicago or St. Louis or whatever six or 10 times in two years, some of the excitement starts to wear off both for the audience, and for a band.

In working with the same agent for so many years, what is it that you and Frank Riley share?

There is both a cynicism and enthusiasm for trying new things; a willingness to be creative; and keeping the long term, and the medium term picture in view. Not just, “What is the gross going to be this week or this month?” It is, “What is this going to mean two years from now? What do we want to do next summer?” and all of that stuff. Frank and I have been doing this together for so long that we tend to know what the other one is going to say, but we have to run through it anyway.

Frank also booked Uncle Tupelo?

Yep.

How often are you on the road with Wilco?

I always go on the road with the band. It’s going to be interesting how I approach it this time because I haven’t really thought about it too much because I have just been dealing with everything we have been dealing with. But I go out on every tour for some dates, whether four, six, eight, or 10 days or two weeks. I try not to only go to L.A. or New York.

On the road, how do you handle your day-to-day office work?

It’s tough. You have to hunker down in hotel rooms, and try to get a lot of work done in a very short amount of time. But no matter how hard you try, you aren’t quite as productive as you are when you are in your office. However, if you don’t go out on the road and spend real time out there, you really don’t know what’s going on. You got to get out there, and feel it on the road.

You have to hang with the band, and see the promoters.

All of that—and meet fans. Just picking up the vibe in the room when the band walks on the stage is really, really important. I have always done it (gone on tour) and I will always do it even if I have to redouble my efforts when I get home to catch up. It’s indispensable.

How do you handle overseas touring?

We spend a lot of time in Europe. The band will do multiple tours of Europe on this record. They have a tour over there this year. They are booked by Paul Boswell of Free Trade (Agency) out of London. We’ve got one tour of a couple of weeks that hits a bunch of major cities. Then we come back, and do more dates in the U.S. There will be another European tour early in 2012. The band is going to be hitting it pretty hard for 12 to 18 months.

How global is Wilco?

They have done Australia many times. They have probably been to Japan four or five times. We just came back from doing Fuji Rock there not that long ago (July 31, 2011). They have been to Latin America once or twice.

International touring is expensive.

Oh yeah. It is difficult. Your profit margin is not going to be as big, and you have to be a lot more careful. It is very easy not to make any money. It is damn expensive getting people and gear moved back and forth. At any given time, the (U.S.) dollar might be a problem. There are a lot of factors that you have to consider.

Did Jeff producing Mavis Staples lead to you placing dBpm Records with Anti- Records which she records for?

Yeah, that pretty much sealed the deal. We knew Andy Kaulkin (Anti- Record’s president) for quite a long time. We even had conversations with him around the time of “Yankee Hotel Foxtrot” (in 2001); our paths kept crossing over a period of 10 or 15 years. We have always felt good about what they did. We liked the label, and liked the music that they put out, and liked their approach. Doing that Mavis Staples’ record, we were involved not just in the making of the record which happened in Wilco’s studio in Chicago and Jeff produced it, but we were also somewhat involved in the marketing of the record because Jeff did a lot of press.

So we had day-to-day contact with the label in a way that we never had before. I think that everybody (here) was just impressed with the job that they did. It just became a natural progression (to go there). We knew we were going to start dBpm, and we wanted it to be our thing, but we also knew that we can’t do everything on our own. We only have seven people, and we don’t want to do everything. Regardless, we were going to be taking on new things.

Why not sign Wilco direct to Anti- as opposed to having dBpm Records distributed?

Well, this gives us flexibility. It is a different kind of deal, which was important to us. We felt like that we were ready. During the Nonesuch period, we were starting to evolve what we were doing from (being) a traditional management company to more like a label.

You had been doing publicity, promotion and marketing in-house for quite some time.

We were gradually in-sourcing things. Instead of out-sourcing, we were doing the reverse. Like 10 years ago, we took over the merchandise of the band. We do all of the band’s merchandising. We have a partner, Kung Fu (Inc.) in (Raleigh) North Carolina that does the fulfillment of online orders and some back end stuff for us, but we basically do all of the road stuff; everything from commissioning designs to ordering stock, you name it. That’s just another example of (how our management role has expanded). We started taking on all of these different aspects (of the business) and Jeff and I had been having (a conversation) for years about why should we be getting a minority share (of a recording) when it feels like we are doing the majority of the work.

But without a major label, you never would have been in this position.

That may be true. I don’t know. I’d say that was an evolutionary thing. We had an opportunity to do something like this when we signed with Nonesuch (in 1992) and decided not to do it because we didn’t think we were ready, and we didn’t think that the market was ready.

It was then a different market environment. Downloading wasn’t as prevalent, and the disruption of the label system hadn’t fully happened yet.

Yeah, a bigger brick and mortar infrastructure existed then. The whole thing was different. But even a year ago when we decided to do what we are doing now, we didn’t go into it wanting to do everything ourselves. We knew that there are people who have more expertise in certain areas than we do that we could tap into. We wanted to forge relationships with them and Anti- brought several levels of that into our relationship which is really helpful.

We’re calling the shots in a way that we never have before, but we also go to them. They have intellectual and physical resources that we wouldn’t have otherwise without our day-to-day relationship with them. So far it’s early days. We really don’t know how all this is going to play out but, so far, we like to think of it as the best of both worlds. We’re doing a lot of work, and we have never been busier. But that’s always the case right, just before a record comes out. But, we like the dynamic (of the relationship). What results we can see so far are promising.

What have you learned over the years about dealing with labels?

Boy, that’s tough because I have learned a lot in terms of straight knowledge, and plenty of "what not to do" lessons.

So many people today argue that labels are evil.

I think that anytime that you generalize like that, that’s pretty questionable. I have had plenty of fights and run-ins—both large and small—with labels, and I have also had a lot of success, and I have a lot of friends and respect for people that work at labels. Not everyone, that’s for sure. But there are plenty of good, smart people that work at labels, both indie and major. I think that the game has changed a lot in the last five years. It’s a little harder to make any kind of generalization day-to-day.

There are some creative music people at labels; and some pure salespeople as well.

I will be forced to generalize here. I do think that the ratio has changed a bit, kind of gradually over the last 10 years where it does seem that with those passionate people, there are fewer of them. But they are still here. I think that as labels have down-sized, it is often the day-to-day people who are pushing the thing down the field that are the first to go, which is unfortunate.

A decade ago, a label would present a manager with a marketing plan for a new project. Many managers today have their own marketing and promotion personnel, so they draw up plans and ask labels, “Where do you fit in?”

I think that’s a fair summary of one of the things that has changed. It does come down to you as the manager or the record company—both in our case now—to be a lot more creative, and not sit around waiting for people to do things for you because in many cases you will be waiting forever. You have to make things happen on your own.

At what stage in Wilco’s career did you realize that?

I think that we gradually realized it because there were a lot of things that we wanted to do that were either flat-out ignored or very poorly executed.

You’re talking about Wilco on Reprise Records?

Yeah, it was probably somewhere in that era when it was. There was a point where we were getting a lot of pressure to do videos. Wilco made some videos for (Reprise), including a couple of reasonably expensive ones by our standards. Then, when we saw what they did with them or didn’t do with them, we started doing the math in our own heads and asked, “Why do we keep doing this if nothing ever happens?”

Most times the cost of a video is recoupable under label contracts.

That was why we basically stopped doing them. First, we downsized the videos that we were willing to do and then we stopped doing them. If you did a real low budget one, (the video channels) just weren’t interested in it. It didn’t make any sense (doing videos). That was one of the reasons why Wilco recouped all of their deals. They didn’t spend a fortune or anything—in some cases—on videos and didn’t take tour support with a few exceptions, such as in the cases of international tours. After a few records, we just figured out ways to tour a lot without taking any money from the label. And that worked out.

Reprise at the time, was a very good radio promotion machine, and Wilco weren't an act that that a machine like that could do a good job with. What radio did Reprise want to direct you to?

There was a point early on, around the time of AM (radio), we would hear things like, “We are looking at Tweedy to write some Tom Petty/Wallflowers type songs. “Okay, it’s not going to happen, but you can want whatever you want. It’s just not what he does.”

With its roster including Mavis Staples, Tom Waits, Joe Henry, and Tinariwen, Anti- doesn’t need to play the radio game.

I think that they are capable of doing great things at radio, but I also think that they understand—this is something we had a hard time with, in particular, at Reprise—was convincing anybody that you could have a successful record that didn’t include a hit on the radio. Nonesuch was more like Anti- more than they were like Reprise.

The irony is the Grateful Dead were on Reprise.

I know. It is the old pendulum thing. It went very far in the other direction. I’m sure now it probably is—it has to be—different there, but we’re not around to worry about it.

In 1999, Reprise sent Wilco back into the studio after hearing “Summerteeth,” saying, “We don’t hear any singles here.”

Yeah, which, despite completely disagreeing with them, Jeff and I talked it over and decided, “Okay, maybe we should give it a shot.” He wrote a song (“Can’t Stand It”) and recorded it with David Kahne (then executive VP of A&R for Warner Bros. Records.) and it came out. Everybody on our end was really happy with the tune.

When I agreed to go and talk to Jeff about this—I knew, of course, that nobody wants to hear that; and it was an unpleasant conversation that we had. I didn’t really agree with (the idea) but I was trying to handle long term with the short term. When I agreed to talk to Jeff about it, I said, “If I do this, you need to promise me that you are going to work the single to certain radio formats.” There were several things. They looked me in the eye, and agreed to do all of those things. Then we cut the track, played their game, put it on the record etc.—and, of course, they didn’t do anything that they promised to do.

You were asking earlier about things that I’ve learned. That (experience) was a real lesson to all of us and really directly impacted the whole thing that went down with "Yankee Hotel Foxtrot" because the label had started to allude to having that conversation again when we delivered "Yankee Hotel Foxtrot.” I had already talked to Jeff about this because we knew there was a possibility that it would come up because it was coming up in every conversation about this record.

Reprise Record executives heard roughs of "Yankee Hotel Foxtrot?”

Yeah, yeah and we just knew being what it was that the chances of them not having a problem with what we were doing were pretty slim. It was really chaos over there (at the label) then. Basically, we went in with a take it or leave it attitude. We said, “This is the record. It’s finished. Here you go. Considered it delivered.”

By the way, we have a film camera following us around for the film "I Am Trying to Break Your Heart.”

That was more of an accident more than anything. What ended up happening was the result of a whole lot of stuff. Some of it, a big portion of what happened, was the direct result of what went down with “Summerteeth.” We learned a pretty hard lesson on that one which is that promises are worth shit, and you should stick to your guns and make the record that you want to make; deliver it; and do your best to make it happen. Sitting around waiting for (a label) to do something is a fundamental error.

[Wilco anticipated a rather frosty label response to “Yankee Hotel Foxtrot” from Reprise Records when it was delivered in the spring of 2001. By that time, the band had already sent some rough mixes, and played a few songs for label personnel in the studio.

After the album was delivered to Reprise, two weeks of silence followed. When a Reprise executive finally did call, he insisted that Wilco needed to make changes to the record. Film maker Sam Jones happened to be in Tony Margherita's office with cameras rolling for the band documentary, "I Am Trying to Break Your Heart.”

Recalls Jones, “I went over to do an interview with Tony, and happened to be in his office when he got a call from the record company. Tony basically told the record company, 'Look, this is the last straw; you probably lost us now because you pissed Jeff off.' It was kind of fortuitous timing that we happened to be there and we turned on the camera."]

Didn’t "Yankee Hotel Foxtrot" turn out to be Wilco’s most successful album?

Yes, it did and, at the time, it was by a long shot.

You bought the album back from Reprise.

We basically got it back for next to nothing.

You had to pay recording costs of $50,000.

Something like that. I don’t want to quote numbers. It wasn’t very much, let’s put it that way. It was quite a bargain from where we sat.

Out of that well-publicized label departure, Wilco developed an underdog status in the media.

Yeah but God knows, we really did not intend for that to be the story. In some ways, for a least a year or two, it was the story and probably, in some ways, got in the way with what the record was about. But the record withstood that kind of scrutiny long-term. Making a stand for that record was not something anybody in our camp ever regretted for one second—and not just because it sold well.

Recording is one of the few creative things you can do with a small group of people. Look at commercial film-making; it needs hundreds of people and significant financing.

That’s true. I have never tried to make a film, but I know how the numbers looks like. I have seen them made, and I know that is a huge undertaking. Wilco's records—and I know a lot of other people make records in a similar way—are kind of made in a bubble at this point. They have their own studio; they have engineers that they have worked with multiples times and they are very familiar with; and they have a crew that they have been working with for a decade plus; and a management team that they have been working with for 15 year plus.

You can definitely isolate yourself and let the creativity happen which, for the band, is a great thing. In the right hands, it is a wonderful opportunity. Jeff and the guys in Wilco are really smart about it, and handle it really well. They are not closed off to input from other people, but they know what they are doing, and they’ve got a track record to prove it. They don’t really need a lot of outside input—at least during the process.

You met Jeff while you were both working at Euclid Records in St. Louis. What made you think that you could manage his band, Uncle Tupelo?

I think it was ignorance, actually. I had no idea what managing a band even meant. It was something that I had never thought about—never considered as a career or even as a hobby.

You grew up in St. Louis?

Yes, I grew up in St. Louis. I had gone to Washington U. (Washington University in St. Louis), and I worked in the public relations office for the school. It was like my work study job, and I worked on the newspaper. When I got out of school, I got this job editing an alumni magazine for Grinnell College (in Grinnell, Iowa). I stayed there for two years. I thought that was what I was going to do. Just some kind of PR, writing stuff.

What was your major in university?

My major was economics. At some point, I thought about pre-law but once I finished the four years, there was no way. I got a B.A. in economics and urban studies. I thought I might get into some kind of public policy thing. I was interested in urban planning and other things. None of them had anything to do with music. I was always a big music fan. I had a friend who owned Euclid Records. I started working there part-time while I was freelancing as a writer in St. Louis. It’s a pretty big store with new and used records.

Jeff worked there too.

I worked there longer than he did. He came in, and I had been working there for some years and I was the night manager, and a buyer at the store. He was an employee, just working part-time. He bugged me to go to see his band (Uncle Tupelo). He was just this kid that worked in the store that I liked. That was it. Eventually, I acquiesced and went out to see the band, and I really liked it. Eventually, I saw them play an acoustic show in a little bar in St. Louis where they weren’t cranking the Marshall (amps), and where I could actually hear the songs. I walked out of the place and I said to the people I was with, “I have to figure out a way to help these guys because that was amazing.”

What do you miss about vinyl records?

Nothing because I listen to records all of the time. I don’t buy records as much as I used to. First of all I have less time, and there are fewer record stores. So I don’t do it as much as I used to. but I do still make it a point.

Were you a record collector?

Yeah. Not like a fanatical one. The beginning of this whole (music career) thing was that I was a big music fan, a record collector and spent a lot of time hanging out in record stores in my free time.

What was your best find in a record store?

I’m sure it was some obscure jazz record. That was basically what I was into. Not solely but I spent a lot of time flipping through dusty bins of old Bluenotes or whatever. I’d spend three hours just flipping through the bins, and come out with a stack of records. That was when you could do it, and it wouldn’t cost a fortune. I would find 20 records, and that would be nirvana.

With labels then often over shipping, there were always cut-outs.

It seems to be coming back around, but now you really have to pay for them. Reissues tend to be pricey, and they are doing a great job with them. When you can find stuff, the quality is great.

In 1992, Uncle Tupelo jumped from Rockville Records to a seven year deal with Sire.

We had a pretty unpleasant experience at Rockville on many levels. We were so relieved to get out. We felt like we had been rescued at the time because Uncle Tupelo…don’t get me wrong, they weren’t selling a boat load of records but we were selling enough. We also weren’t spending any money. We had some money coming that we never saw.

As Uncle Tupelo evolved into Wilco with Jeff, the stay at Sire was short.

Pretty quickly we got rolled into Reprise. But it was at a time when major labels were putting out records with a lot of bands that had recently moved over from indie labels or elsewhere. It seemed like a pretty exciting time. Of course, reality came crashing home not too far down the road after that.

Being a music fan yourself, you can understand all of the streaming on Wilco by fans.

We embraced it pretty early on. There was sort of a limbo period where Wilco had a finished recording, "Yankee Hotel Foxtrot" but had no label, and it didn’t look like it was going to see the light of day for any time soon, and we had a tour that we needed to do to stay afloat, feeding families and all of that stuff.

So we needed to figure out a way to go out, and do (perform) all of this new material that the band had already had for a year, and the band hadn’t been on the road for awhile. So the strategy was, “Let’s just have people hear the record. That’s not going to hurt. That’s going to be a good thing.” So we got with the guy who did our website, and said that we had to figure out a way to put (the album) up and steam it, and let people hear it a couple of weeks before this tour happens—so there’s some familiarity with all of this new material. That’s what we did. We got out on the road, and I remember looking out at the audience at the first show on the tour, and people knew all of the words (to the songs on "Yankee Hotel Foxtrot") already.

[As word of Wilco's turmoil with Reprise Records had spread, interest in its upcoming album “Yankee Hotel Foxtrot" intensified. Prior to its split with Reprise, the band had scheduled a tour to begin in Sept. 2001, assuming the new album would be in stores by then. Though it was months from signing its Nonesuch contract, Wilco went ahead with the tour, posting the album on its web site for free streaming beforehand. Without an album in stores, the mostly sold-out tour played to thousands of fans who knew “Yankee Hotel Foxtrot" by heart. The album also surfaced on some critics' best-of lists for 2001.]

By that point, your fans might stream the record but they also wanted ownership.

We actually said to them at some point, “Look we are happy to let you guys listen to this album as much as you want. We are happy to let you tape shows” which Wilco has always done—“record them, trade them whatever—but once in awhile we have to come to you, and ask you to buy something. In order for this thing to continue happening the way you and we hope it will, you have to go to the record store now and buy this record. Then you can go back to whatever, downloading free live shows or whatever you want to do and we aren’t going to give you any grief about it.” We actually sent out an email something very close to what I just said. “The band needs you to step up and prove everybody wrong here and go out and buy the record.” Everybody (in the music business) said that if we streamed the record, it was going to be a disaster.

I’m not sure if ownership is a factor today for fans.

I think it depends on who your audience is. Even from that (early) decision to now, it’s a different ballgame. We still do (streaming). We still believe that music is the best weapon we have to work with, but you have to be careful. Not everybody is going to step up the way you want them to. We know that. Wilco fans are a pretty smart bunch generally, and you can talk to them. We can have a conversation and we can ask them to do certain things. They do step up and do what we need them to do most of the time, and I suspect that will happen again with this record.

["The Whole Love" is being officially released Sept. 27, but the band put the entire album up for streaming on Sept. 3rd for one day only.]

What is Wilco’s fan base?

Probably about 400,000 to 500,000 (people) worldwide. I figure that there is probably well over a million people that own a Wilco record. That’s just a guess. It’s somewhere between one and two million. Maybe, there is 300,000 plus that own all or most of them. We have based this decision (for a label) on those kinds of numbers. That it was economically viable for us to do it. If we just maintain where we have been, we will come close (to being profitable), and I suspect we will do better than that.

Radiohead’s model of “pay what you can” isn’t enticing to you as a business model?

We have talked about it at certain periods of time. We have done similar things. We did an EP where you could download it for free but we asked people to give a charitable donation. A couple of years ago (in 2009), Wilco recorded the Woody Guthrie song “The Jolly Banker” during the mortgage crisis. Nora Guthrie called us and said, "someone has to record this song soon because it is so right on time. Will you guys do it?” I called Jeff and told him, what Nora had said; and got him the lyrics; and they cut the tune. We just decided to (release) it as a download and tell everyone to make a donation to the Woody Guthrie Foundation and Archives which is a place that always needs money.

When "A Ghost is Born" leaked in 2004, one fan site began soliciting donations from listeners who just could not wait until street date without downloading it. The result was a $15,000 check for Doctors Without Borders.

We suggested the charity, and worked together with them. It was one of those things that you realize at one point that we can’t keep sticking our fingers in these holes in the dam. We have to deal with the water. That was kind of the result to that.

Should Nick Lowe be checking his bank statement with his song “I Love My Label” being the B-side of Wilco’s “I Might” single?

I guess we’ll see. I hope that it does well for him. He did it tongue-in-cheek in a different way—a different sort of message behind it than the one that we have done. But it’s the same song. I love Nick’s music.

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.”

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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
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

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