Industry Profile: John "J.T." Toomey

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with John "J.T." Toomey, owner 25/8 Management.

This summer, veteran American tour manager John “J.T.” Toomey launched 25/8 Management.

He had spent the previous 12 years tour managing Journey, and wanted to re-focus his career.

So far Toomey’s life hasn’t, however, slowed down an iota.

After being married in the Philippines in July, he moved his son to Albuquerque, New Mexico in order to study for a PhD in linguistics.

Then Toomey coordinated the talent for two northern California music festivals in September: Folsom Street Live in Folsom, and The 25th Anniversary of B.R. Cohn Charity Fall Music Festival in Sonoma. He also co-produced a corporate event with Cee-Lo Green in Las Vegas.

At the same time, Toomey was fiercely structuring his agency and his own management clientele that has come to include veteran Bill Champlin and newcomers Frobeck, Eddie Bush, Rosie Hart, and the Miles Schon Band.

Based in Healdsburg, California, Toomey’s 25/8 Management team consists of: John “Grinder” Procaccini, Steve Conway, Patricia Sklar, Mark Braunstein, Maggie Sichel, and longtime Grateful Dead publicist Dennis McNally,

Conway directly manages Nathan Dale, and the Blues Rose Band; while Procaccini directly manages Fairhaven, and former Nightranger guitarist Jeff Watson.

Toomey’s life in the music business began by playing in a country rock band while in high school in Healdsburg. After high school, he worked for the local agency which had booked his band. Six months later, he launched the Head Start Talent Agency that booked the Sons of Champlin, Cold Blood, Stoneground, and Norton Buffalo, whom he also managed.

After a two year stint as tour manager for the Steve Miller Band in the late ‘70s, Toomey again hit the road with Elvin Bishop, George Thorogood, and others.

In the 1980s, he joined up with Bill Graham Management, and worked as a tour manager/accountant for Joe Satriani, the Neville Brothers, and Pat Benatar among others.

Eventually shifting over to Bill Graham Presents, Toomey continued to tour manage and also oversaw settlements on major traveling festivals including WOMAD and H.O.R.D.E.

During his career, Toomey has managed tours for Steve Martin, the Gin Blossoms, Crowded House, Stewart Copeland, Tora Tora, John Hiatt, Bush, Yes, Greg Allman and Friends. He also worked two years with Sammy Hagar.

Why name the company 25/8 Management?

I came up with 25/8 because, obviously, it’s one better than 24/7. We spend so much of our time running around, spending our life doing business that it seems like 25/8 to me. That can be a good thing or it can be a bad thing. With the management company, I think that it is going to be a good thing.

Management is one of the most difficult jobs in entertainment. Managers are part psychologists, part baby sitters, etc. Why open up a management company in this economic climate?

For a number of reasons. One of the primary things is that after working 30 plus years as a tour manager; tour accountant; and, as you just said baby sitter, and part-time psychologist as well as part-time travel agent--I have had an opportunity to work with a cross-section of other managers. Some have been extremely successful; some have not been so successful. Some I have seen make brilliant maneuvers on behalf of their clients; and I’ve seen others where I have scratched my head and thought, “How the hell did this guy bring this artist this far? He hasn’t got a clue.”

With all of these years of working with others managers, I feel that I have picked up a lot of things that would benefit me going back into the management business, and that would be an asset to my artists.

So that is one of the reasons that I decided to do it.

One of the other reasons is that after again traveling around the world for 30 plus years, I’ve gotten tired of the travel thing. However, I haven’t lost my passion for music. The travel has gotten old, but my passion for the music is undiminished. I have been that way all my entire life. Music has always been such a passion for me, and I love working with talent.

You have directly signed for management a number of young acts, Frobeck, Eddie Bush, Rosie Hart, and the Miles Schon Band.

I am finding out that I like working with developing talent. It’s much more fluid; and it’s more exciting when you get a gig. That it really means a lot. It’s not like working an older heritage---or jaded may be the word---act. There’s a lot of excitement in doing this.

How did you plan out the management company?

After 12 years with Journey as their tour manager, I left them on the first of March this year. It took me a couple of months to put this (company) together and find a team that I felt comfortable and strongly about.

You launched 25/8 on July 1st.

What I had been doing for the three to six months before was that I had been scouting. I came off the road with Journey last year, and I started looking around the Bay Area, as well as around the United States. I started looking for talent that I could investigate so I could build a stable. I need a stable of talent because as we all know, the music industry revolves around talent; whether that is songwriting or performing talent.

So I went out on this (discovery) quest. It brought me back to the days when I first started out in this business. Going to clubs every night; going to see bands; and having people send me demos and on and on. I was looking to build a stable of talent that I could launch with this company.

You have ended up with 4 newcomer acts as well as Bill Champlin, whom you have worked with for years.

He’s what I like to call my heritage act. Frobeck was my first find. I had never even heard of them before. I found these kids because I went to friends who work in the business in north California, and I said, “Give me four acts you think are happening right now. Pretend that I am having a friend come in from out of town, and I want to take him out to see some new, unsigned, raw talent. Who would you say?” I got back all of these lists; I’m compiling them; and I see that the name Frobeck comes up on 4 of the 7 lists. So I bought their record, and then I went and I saw them, and then, I met them face to face. We started a relationship. I started what I like to call, “Doing the dance.” They are just such amazing, talented musicians but, even more importantly than that, these guys are also fine, salt-of-the-earth, feet planted firmly in the ground guys. Not guys who say, “Dude, I will do anything to be a rock star.” That wasn’t what they were after. They are high-quality writers. Their songs knocked me out.

With developing acts, it’s usually 3 to 5 years before there’s significant revenue generated.

Normally, you are right……

If it’s that time period, and you have a sizable staff, where’s the revenue to fund your management company?

That’s a simple question. You are right. Like any business, whether it’s a restaurant or whatever business that you start, if you go into business thinking that you are going make money the first year, you are kidding yourself; and it’s obvious you have never done it before.

I am personally bankrolling the whole start-up (of 25/8) and the floating of this company until it can make some serious revenue. We are making revenue now on commissions because we are booking dates for all of our artists. We are booking dates ourselves. So there is a little bit of revenue coming in.

Also Grinder (John “Grinder” Procaccini) came on board with his existing production company, Chilibop Entertainment Group. So through that, he and I now are able to offer corporate clients, small festivals and so on a production aspect to this company. We do it through Chilibop, and I am paid separately for my services accordingly.

How are you organizing the management of each of your acts?

Here’s our approach. We find the talent. We sit down with them and have long discussions with them about what their aspirations are; what their vision for their career is; and get whatever input we can get from them about direction.

Then we have a frank conversation about the realities of the business.

With a new band like Frobeck, it’s a total education process for them. With a guy like Bill Chaplin, who has been around the block a 100 or 2 times, then it’s not such a big deal.

For the young developing acts, we chart out their careers and do a game plan. I like to use a lot of analogies. In this case, I will use the ocean. Frobeck has never been out on that ocean. They have been in a few streams and maybe even a couple of rivers. So they don’t really know how to do this. If they did, they would have done it before I met them.

So, we sit down and we chart a course for their career. We take the long view; and we do short views. We have goals, and time lines--signposts as it were. It basically is what you do if you are doing a business plan for a straight kind of business.

Once we do that, and once we have targeted our next moves; the next (immediate) move is to build a team around each of these artists. We’re the main part of the team because we are the management but they all need a record company. They all need a booking agent. We also look into the publishing, and we set some goals with what we want to do with that.

We are at that point right now with all of these acts where we have targeted the teams that we need to put around each of them. Now it’s a hustle for me to interest an agent. It is such a key part of a career. I can’t stress that enough. You can’t do anything nationally or internationally (without an agent). And it is not just “finding a booking agency.” It is really more about finding the right agent.

A believer.

Right. You’ve got to find a believer. You have to get someone who has the passion and the vision (of the band) and who will work hand to hand with management.

Do you take an overall percentage or do you do splits on publishing and merchandising?

Now we are in an overall position. Our percentages are based on the entire gross. I am not a music publisher, yet. Believe me; I have designs on doing that.

From the great managers you have worked with, what did you learn that you could adapt for your business?

What did I learn from the great managers---the few great managers I worked with? Believe me, they weren’t the majority; only the minority. If anything they were anomalies to the whole (business).

But what did I learn?

One of the key things that I learned was that you have to always listen to what your artist is saying to you. That is really important because they have to feel at all times that they still have control over their own lives, and over their own careers. Even though that is sometimes not the case. Some management have their artists running all over the country. It’s about money. It’s about, “We have this opportunity or that opportunity.” The line gets blurred with what is the best thing for this person (artist) as a human being. Is it putting them on a bus for 18 months straight, where they are going to get run-down and unhealthy and get bad habits and not be home with their family, or any number of things? You have to consider that artist as a human being, and you have to know where they are coming from.

Should a manager insulate an artist from bad news?

You have to. You really don’t have any choice. There are certain things that happen and certain things that come up that you have to insulate them from. For whatever the reason, you just have to make your best judgment (call) that you know what it is, and that it is probably better that he doesn’t know about this or doesn’t know all of the details that went into this. Or you’d spend half of your life trying to explain to your artist how this came to this point and that’s a waste of your energy.

There are managers who spark problems, and then ride in as the savior.

I have worked with those kinds of people. I call them “drama queen managers.” You are right. They set it up so they can ride in on the horse and be the hero, “Aren’t I great?” and “You couldn’t live without me.” It’s bullshit.

What are some of the worst management decisions you’ve come across?

I have seen a couple of managers advise their artists to do something that they knew---or they felt that in the long run probably wasn’t going to be best for them. A perfect example is that I have worked with management with a band that has a new record. Of course, the band thinks it’s going to go #1, and they are going to get Grammys, and all of this bullshit. But the reality is that the manager, even though he’s smiling, and patting them on the back, he knows that the new album is not even going to get close to even reaching the (sales) bar that they set on the previous album.

If I was that artist’s manager, I would say, “Okay guys. You know what? This is an okay record. Let’s just step back from this. I think what you really should do is to try and write your next #1 song because I don’t hear it on this record.” Now that is being brutally honest with your artist.

Do that as a manager, and you may be shown the door quickly.

Well, I guess you can be replaced; but let’s face it, if you get hooked up with an artist or a band, you are entering into a relationship, in essence. It is not quite a marital relationship—you are not having sex—but on all of the other levels that is what it is. If you have 4 or 5 artists like I do, I feel sometimes like I have 4 or 5 relationships going on. And I have to juggle all of those. Just like with your lover, you have to give her attention, and know her well enough to know when to back off. It is the same thing with talent. Talented people, they are different. They are different from you and I, and from the rest of the world.

How do you look back on your 12 years with Journey?

I didn’t think that I would ever work with one person (act) for 12 years. I look back on it as a great learning experience. This was probably the only time in my career that I was working with a band that was trying to make a comeback. I was right there in the beginning in 1998. Once (former singer) Steve Perry’s non-involvement was written in cement, and they made the decision to find another singer, and move forward with their career and hopefully have a resurgence, I was right there at that point.

Without Steve Perry, was it difficult for the band to carry on?

Well, during the first couple of years, it was just god-awful. Hideous to tour and try to make any money for them. Listen, it would be scary and risky--at best--to go, “We’re going to go out without the voice and without the identity that we have had for our whole career. We are going to get someone else to replace him. We are going to start out again at the bottom of the food chain and try to gnaw our way back up to the top of the food chain.”

To navigate those kind of waters takes some luck, obviously; but it also takes a game plan. They had some of those things in place when they made this decision to do it; but, with all of those fine intentions and game plans, it is still a dog eat dog world out there.

So, I worked with them from that point right up to March (2011) where they are now riding high. They are so fortunate, and so blessed. It is such a rare opportunity (in the music business) to have this second window open up for their career. We were talking about publishing before. They are making more money now, I know for a fact, than they did in the ‘80s when they were on the top of their game. They are just loving it.

[On Nov. 10th in New York, Journey received Billboard’s Legend of Live award, a lifetime achievement award that Bob Roux, Live Nation regional president presented by reciting the tour routing of the band’s first month of a nearly year long tour in 1978. It was impressive: 22 shows in 26 days. "Shit Neal," Roux said, "I can see why you went through so many lead singers."

"This last year was by far the best," said Journey co-founder Neal Schon, the only member who has been in the band for its 38-year existence. "It's all about the fans, all about the music. We've always been about the performance, writing good songs. (Singer) Arel Pineda brought us back into the forefront, really regenerated us. There's really no end to it. We have worked our asses off this year."]

As their manager, Irving Azoff has the contacts, of course.

One of things about Irving I admire is that when he sees an opportunity he goes for it. I admire that in anybody. Anybody who can see an opportunity, sees the potential in an artist, or sees the potential in a business transaction opportunity, and they go for it? My hats are off to them.

In life, that is sort of what this is about. There are people who see the writing on the wall—see the opportunity or hear that knock---and they go for it. Sometimes they jump with both feet as a leap of faith, and they go for it. Then there are others that see it but don’t take that leap or don’t take that chance or don’t go for that brass ring for a number of reasons. Who knows why? Maybe they are comfortable in their own box in life. Irving is one of those types of guys who always has had the foresight to see an opportunity. He goes for it, and I admire that.

If a band is doing 40 dates with Live Nation as a headliner, and grossing $100,000 a night, how does it come home with money? What are the pitfalls on the road?

Let’s back up to the beginning. Here’s what they do. They look at the tour that has been offered them. The cities, the routing, and the travel. They get all of those things on the table. Then they look at their own internal operation. Their team. Where they might waste money. Where they will absolutely need this person on staff to do this job and, maybe, don’t need this other person. They have to make their own team---the band, the crew, everybody that is involved with the tour—and everything as lean and as mean as possible, especially in this day and age.

Yeah, we have all seen the excesses. It’s having three people on staff to do one job because two of them can’t do it and the only guy that shouldn’t be out there is covering the asses of the other two that don’t know what the hell they are doing.

Where are they going to bleed money on the road?

They are going to bleed money on overpriced security people when there’s probably someone who knows what they are doing and can do an entire tour. They are going to waste money on having wardrobe and makeup; having a masseuse; and having their own caterer traveling on the tour.

The parameters you gave me is that this band is making $100,000 on a major 40 date tour. Even though the income is good, why waste money? They have to look inside to their own team. See where they are wasting money there. Payroll is one of the biggest costs of any tour. The second thing is that they need to look at their travel. They need to travel as economically as possible. If they can get by with three buses instead of five than they should do it. If they can get by with 8 tracks rather than 12, they should do it.

So a headliner can save money by keep a rein on internal and travel costs?

I have worked with so many bands that if I had a fraction of the money that I felt that they wasted on tour I’d be a rich man.

I will give you just one little example.

As you know, bands get done with the show at 11 or 11:30 PM, and they get on the buses, and go to the next city. In most cases, they are pulling into their next city—their next tour stop—at 5 or even 6 and 7 in the morning, sometimes. Well, the theory is that you get to the city, and to your next hotel that you check in at 11 A.M. Well, I have worked with bands that don’t want to be inconvenienced. They don’t want to stay sleeping on the bus for a few hours. When we get there, whether they are having insomnia or whatever the reason is, they are still awake or they wake up when we get there, and they want to occupy their room immediately. At 5, 6 or 7 in the morning, whatever it is.

In being able to do that, you have to block book (rooms) for the night before. Every time you do that, you automatically double your hotel accommodations costs. There is so much money wasted in that area.

Let’s talk about first-class travel versus coach travel in airplanes. It used to be that it was just a little bit more (expensive) for first-class, maybe 50% more. Well now it’s two to three times more. So is it really necessary to fly first-class? Is it necessary for your ego to have to be in first-class when the flight is only two hours? If you are flying from San Francisco to Denver, do you need to do 6 first-class tickets for the band? Is that really, really important?

Okay, if you are doing a cross-country flight, from New York to L.A., it’s a 6 hour flight, and if you feel that you can afford to do first-class, then go for it. I have flown first-class, and I would always prefer to be there, especially if someone else is paying.

An opener act probably making $1,000 a night should jump in the van and hang a light at San Diego?

Yes sir, that is exactly what they should do. That is exactly what they need to do. Those old days when your record company would advance you tour support—it would be a recoupable advance—that they gave to the promoters or the tour promoter, those days are over.

The road is full of stories of drug and alcohol escapades, and abuse. It’s hard to get a celebrity to stop drinking or taking drugs. Everybody around the artist has a financial stake to protect but they also could be fired if they stepped in.

True. Those kinds of problems are best dealt with off of the road. Anybody who thinks that they can take an artist out on the road, and try to get them to clean up while touring is stupid. Those things are done best off the road at home going to rehab or whatever.

Alcohol and drug abuse are often tolerated until bad behavior starts costing money.

Here’s the lesson I learned from Mr. Bill Graham, and that is this. If you see someone in your organization who is either bad for what you are doing or bad for your artist or whatever, you cut them out like a cancer. And those are Bill’s words. “You cut them out like a cancer.” Even if it’s an employee that has been to loyal to you for 15 or 20 years, you have to do that. Not only are you trying to keep the health of your own company intact but someone giving your artist drugs or partying too much—or being basically a negative—becomes a liability.

Name a few great road managers. These are the hidden people in the music business.

We have always been the frontline guys. We are out there in the trenches. I know that. I look up to guys like the Allman Brother Band’s manager Bert Holman. He’s still out there with the Allmans. He goes everywhere with them. He’s been their manager 15 or 20 years.

I have also had the privilege of working with, and knowing for years, Benny Collins, who is a production manager. A production manager, if they are good, is on the same level as a tour manager. He was Herbie Herbert’s right hand guy in the early years of Journey. From there, he went and worked with Michael Jackson; and has worked with all of the Jackson family in one form or another. He also has worked with Madonna. He’s a heavy hitter.

What managers do you seek to emulate?

The first one that comes to mind is Herbie Herbert. Not because of his affiliation with Journey—we know that whole story. I was there, and I watched it. Herbie was the kind of manager that always had morals, and in this business that is hard. He always tried to do the right and fair thing by everybody, including his artists and outside his artists. Herbie was mentored—like a lot of us were to an extent in those days—by Bill Graham.

There is also Mick Brigden who works with Joe Satriani (and also manages Chickenfoot), and Morty Wiggins, who has worked with the Neville Brothers and Gin Blossoms).

You played bass guitar in a country rock band Good Time Charlie Filth while you were in high school. Was the band any good?

I thought we were good. We were popular locally. We were 16 and 17 years old. I lived in a little town called Healdsburg (California). I was in high school. I got bit like everybody else in 1963 and 1964 by the Beatles and all of that stuff happening. I was blessed to be growing up an hour from San Francisco. Once I turned 16, and got my license I was on my way there. I was 16 years old when I bought my first car. Then there was no stopping me.

My parents were extremely liberal and understood and encouraged my participation in music. They didn’t have much of a problem I don’t think when their little boy was running out every weekend to go to The Fillmore (Auditorium), The Carousel or out to the Great Highway to the Family Dog (shows) and seeing all of this great music. That’s what I started doing, I started going as often as I could. That, of course, went from going on weekends when school was out to sneaking off on a Wednesday and going down to see the three-act $2 Fillmore nights. Oh my gawd, what an education that was.

Meanwhile, you were playing with Good Time Charlie Filth.

Yeah, they was very exciting times. What happened for me was that I got totally got caught up in this (music) thing, and my passion was lit. During my junior and senior years in high school, we were playing school dances and other things around northern California. We were really popular so we were working a lot. We each would have a couple of hundred dollars for the weekend and we were having fun. If you were in high school and making $200 a week in those days, you were damn lucky.

Of course, when you all graduated from high school, the band broke up.

When high school got out, reality slapped everyone in the face. The guitar player ran off and got married, and another guy went into the service. The band broke up. I went, “Oh man. I don’t want to start from scratch. I put two years of my life and energy into this band.”

What did you do?

I decided to call the people who were our booking agents. It was the Brainerd Talent Agency, a real sweet mom and pop operation, run by Roy and Jan Brainerd. Salt of earth people. I told Jan that the band had broken up, and I asked if there might be a job for me there. She said, “Sure. Be here tomorrow. You can take our car down to San Francisco, and pick up one of our artists that are coming in. Remember in those days, rock and roll was just starting to really take off. Roy and Jan people were old school. I get there the next morning, get the car, and they hand me a piece of paper. It has a flight number on it; an arrival time; and underneath it is (the name), the Irish Rovers. That was my assignment to meet this group of Canadians. I remember that was so nervous. I didn’t want to fuck up. I was so quiet.

How did you come to open up the Head Start Talent Agency.

After working with Roy and Jan for about 6 months, I realized “These guys are never going to get it about rock and roll. It’s all fine and well that they are making money with these kinds of (adult contemporary) acts, but this is not my future.” So I got a State of California booking agent license, and I opened my own company. I had it for about 6 years. I was doing okay. I was getting better and better bands. When I got the roster to where I had Sons of Chaplin, Cold Blood, Stoneground, a little bar band called Elvis Duck, and a couple of other acts, I decided it was time to make the move down to Marin County, and open my office there. Once I did that my world opened up a lot more. I met a lot more people there, and I was down where most of the rockers were.

You later began working full-time as a tour manager/ tour accountant.

I started in ’88. I did Joe Satriani, and I did three years with the Neville Brothers. That was ’89 through to ’91. What an incredible chapter in my career the Neville Brothers were. I have two time periods that I worked (directly) for Bill Graham. As a tour manager, I worked for Bill Graham Management (formed by the legendary impresario in 1977 as an adjunct to his pioneering Bill Graham Presents concert promotion business) from ’93 through to ’95. I did a number of their acts. Then I went away from the management, and did a few other tours. Then I started doing a lot of their tours including the Gin Blossoms, and I did some more touring with Joe Satriani. Then I did some independent stuff.

Then I was hired at Bill Graham Presents as a salaried employee starting in ’95. I was there to ’97. I was doing everything. I was doing settlements. They would send me out to settle shows. Bill Graham Presents was getting pretty deeply involved around with festival dates. The first thing they did was Lollapalooza (in 1996). I reported back to the Barsotti brothers (Peter and Bob), Danny Scher or Bill Graham.

As a Canadian, I’m not familiar with the Barsotti brothers.

Peter was Bill’s art direction guy, and was responsible for all of the Day On The Green large stage facades, and later he oversaw the festival tours that Bill Graham Presents did. Bob was Bill’s go-to Grateful Dead guy who probably worked more Dead shows than anybody at Bill Graham Presents, including Bill himself. Bob had a knack for being able to deal with police departments, city hall permit people, city councils etc. He was very good at persuading them that doing a Dead show in their town would be a good thing for their local economy. He underplayed the negative aspects of these kinds of shows to convince the cities to approve the permits etc.

Any golden tour moments?

A more recent golden moment for me was with Journey the second time we went over to Europe four years ago. We did a couple of shows that were just amazing. The audiences had been waiting a long time to see Journey. They had not, outside of Japan, cultivated any kind of an international following over the years. So, we got to Ireland, and we played this show in Dublin (on June 25, 2008 at The National Stadium, one of Ireland's best known boxing venues).

From the second they walked onstage, we knew that it was going to be one of those special nights. There were only 2,500 or 3,000 people there, but every one of those people came to sing. The band had to stop during the first couple of songs two or three times. They were just simply blown away. Suddenly, you have chorus of 2,500 people in a small room, and it is overwhelming.

The internet has greatly helped heritage bands like Journey stay in the public’s mind.

I think that’s good because I run into kids all of the time who have no idea of our musical history or its legacy. I was recently talking to someone at Live Nation in a dressing room, and I mentioned buying some CDs. He asked me what I had bought. I told him that I bought the prized “Super Sessions” with Al Kooper Stephen Stills, and Mike Bloomfield. He had never heard of Mike Bloomfield or Al Kooper. He said, “Stephen Stills? Who used to be with Crosby, Stills & Nash?” Here’s Al Kooper who has such an incredible legacy, an incredible history with all of the groups that he work with. His whole story is just amazing; and this kid didn’t even know who Al Kooper is.

It was at that point that I realized that there are people in high positions in this music business right now that have no clue where any of this came from. It would be like you and I being accused of not knowing about Chuck Berry and the early ‘50s development of rock and roll.

[Al Kooper began his professional career as guitarist in the Royal Teens that recorded "Short Shorts," which reached #3 on Billboard’s pop chart in 1958. As a Tin Pan Alley songwriter, Kooper's songs were recorded by Gary Lewis, Gene Pitney, Pat Boone, Freddie Cannon, Lulu, Lorraine Ellison, and Donnie Hathaway.

In the mid-‘60s, Kooper was a member of the Blues Project, and then he co-founded Blood Sweat & Tears, remaining only for its 1968 debut album, "Child Is Father To The Man." He began his production career with "Super Session" in 1968 featuring Mike Bloomfield and Stephen Stills. He is celebrated for his organ work on Bob Dylan's "Like A Rolling Stone."

Kooper is, perhaps, best-known for discovering Lynyrd Skynyrd and producing their first three albums. He has also overseen productions for the Tubes, Nils Lofgren, Eddie & The Hot Rods, Ray Charles, B.B. King, the Staple Singers, Lorraine Ellison, Bob Dylan, Joe Ely, Thelonious Monster and Green On Red.]

Even within the live music business, contributions by former powerhouse figures like Frank Barsalona, Bill Graham, and Barry Fey are in danger of being overlooked.

You know what the root reason for that happening? It is the natural development progression of this industry that has been accelerated by the internet in the last 15 years. It accelerated the growth of the short attention span.

The business of presenting live music has changed so much over the years.

When I started in the business, I watched that formulation of agents, regional promoters, and the whole (live music) network. I was right smack dab in the middle of all of that stuff, and I loved it. It is what I refer to as “the days of the golden triangle.”

When an artist went out on tour, there were three key players in that tour. Obviously, there was the artist. Then there was the promoter, and there was the building (venue). (As a manager or tour manager), you developed relationships more with the promoters over the years rather than the buildings. The promoters were building solid relationships with the buildings and with managers over the years.

In any given city in America during that period, there was a “golden triangle” of touring. An artist and their manager and their agent would contact the promoter for the region that they were going to tour through and cut a deal. The promoter would in turn cut a deal with the hall. And the artist was on their way.

One of the things that was so great about it was that any given time in your artist’s career--whether they were working their way up; or were on top; or were on the backside of their career—there was kind of an unwritten understanding between the three entities that if a show bombed then the promoter had recourse. They could go to the band and ask them for a reduction or they could go to the building and ask them to cut them some slack on some of the expenses so that he didn’t get put out of business. So he would be there for you (the artist) the next time.

I saw so much great co-operation between those entities in those days. I thought that was a great model.

Now let’s bring it up to speed (to today).

MTV came along and the visibility of artists suddenly became huge overnight on television. That was a good thing, but it was also the beginning steps of the growth of short-term attention spans.

We are seeing that now in this business, even right down to the fan base. Everybody is so friggin’ bombarded these days. There is so much content coming in whether it is one your phone or your computer. My gawd, it’s insane.

What we used to do in the old days with an act was look at the long view, say with a Bonnie Raitt or Bob Seger, where you knew you would have to tour and work really hard building pockets (of support), and build regional markets and fan bases. All of that long hard work---that absolutely worked quite well then—all that hard work has been accelerated because of the instant access to people all over the world with the internet.

There was a time when the North American concert field was divided into 20 or so empires, local promoters with strong regional roots. That structure also began to disintegrate in the late ‘80s.

What was happening concurrently (with MTV) was that we started seeing rollups. It started with Bill Graham and other promoters, even before the SFX buyouts. A couple of key promoters like Bill said, “Why don’t I build my own amphitheatre. Then I don’t have to rent. I will own the place.” So we started seeing that happening. Of course, the whole amphitheatre/shed vision became quite popular. As soon as that started happening, that was also the start of the breaking of that “golden triangle.” Suddenly, you had a promoter who was not only the promoter but he was also the landlord.

And Michael Cohl's Concert Promotions International scooped the Rolling Stones from Bill Graham in 1989, buying the tour and merchandising rights to their Steel Wheels Tour, and basically telling the local promoters, "Here's the deal."

Michael Cohl was brilliant. Brilliant. Anyone who could steal the Stones from Bill has got to have something on the ball. When Bill (earlier) went to the Stones and said, “I will do this tour. You don’t have to give me a fee. I just want the merchandising.” That was a brilliant opportunity. They went, “Er, T-shirts, sure.” That was the most brilliant thing I had seen him do up to that point. So to come in, and swipe the Stones away from Bill--a relationship that had been going on for awhile---Michael Cohl was brilliant. CPI, are you kidding me?

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
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Música e Cultura 05/04/17
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Paul Reed, Association of Independent Festivals (AIF) 06/14/17
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, ItsAboutMusic.com 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Peter Shapiro, Ideal Entertainment 04/16/04
Seth Sheck, Access Pass & Design 01/03/03
Seth Sheck, ACCESS Event Solutions 06/22/16
Seth Shomes, The Agency Group 11/12/14
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Michael Simon, The Harry Fox Agency 08/14/13
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Peter Smidt, Eurosonic Noorderslag & manager Buma Cultuur 07/17/13
Garrison Snell, Gyrosity Projects 02/23/17
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
Nikki Solgot, Circle Talent Agency 02/18/15
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Deb Suckling, SUGARRUSH Music 07/27/17
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Mandar Thakur, Times Music 08/06/15
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Marsha Vlasic, Artist Group International 05/31/17
Mat Vlasic, Bravado 06/28/17
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Kirt Webster, Webster PR 02/03/16
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Adam White, Author 09/14/16
Adam Wilkes, AEG Live Asia 10/13/16
Fenton Williams, 04/04/08
Del Williams, Right Arm Entertainment 04/18/08
Bryan "Birdman" Williams, Cash Money Records 09/13/11
Paul Williams, ASCAP 10/19/11
J.P. Williams, Parallel Entertainment 10/03/12
Kurt Willms, Green Room Productions 09/20/03
Chris Wilson, Heartbeat Records 03/02/07
Tony Wilson, Factory Records/In The City 06/01/07
Tom Windish, The Windish Agency 07/26/10
John Wiseman, XL Touring Video 05/05/06
Thom Wolke, Twincloud.com 02/08/02
Michael Wood, City Lights Entertainment 08/08/08
Keith Wortman, Blackbird Presents 03/22/17
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, CultureCatch.com 07/27/07
Jeremiah “Ice” Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
Kevin 'Chief' Zaruk, Chief Music Management 06/10/15
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06

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