Industry Profile: John Jeter

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: John Jeter, author/co-owner of The Handlebar.

John Jeter can not only talk the talk, he can write about it.

The irascible Jeter oversees bookings for The Handlebar, a 520-capacity concert facility that he, his wife, Kathy Laughlin, and his brother Stephen launched in Greenville, South Carolina in 1994.

His experiences as a club owner are joyfully told in the splashy, starry memoir “Rockin’ A Hard Place” being issued Nov. 1, 2012 by Hub City Press. It will be available on Amazon.com, as well as an e-book on Kindle and Nook.

When The Handlebar was evicted from its original funky location at the treasured Mills Mill, it re-opened in a former Oldsmobile dealership on East Stone Avenue in 2001.

The Handlebar re-opened with a separate, expanded bar and restaurant, along with a larger concert hall, and more refined atmosphere.

It was a dicey $1 million investment amidst a neighborhood where gas stations and empty lots outnumbered established retail businesses and where unfriendly neighbors declined to roll out the welcome mat.

Over the years The Handlebar has presented over 2,500 shows including performances by John Mayer, Joan Baez, John Hiatt, Janis Ian, David Sanborn, Dr. John, Bela Fleck, and the Zac Brown Band.

Jeter worked for over a decade for such American newspapers as the Chicago Sun-Times, the St. Petersburg Times and the San Antonio Express-News. He had earlier also earned a master's degree from Columbia University's Graduate School of Journalism in New York.

In 2009, after six attempts, Jeter sold his first novel “The Plunder Room” to Thomas Dunne Books (St. Martin's Press) without a literary agent.

He still doesn't have one. He doesn’t need one.

“Rockin’ A Hard Place” is your eighth book.

Yeah, but the other ones (all but one unpublished) sucked.

Your 2009 novel “The Plunder Room” did well.

And I’m really proud of that. The thing is that this one I like it better. It’s also the hardest thing that I have ever done. I don’t know if I am ever going to write again. It was just that hard. It was brutal (completing).

When did you begin writing “Rockin’ A Hard Place?”

That’s a really funny story. Hub City Press is an amazing little publishing house just up the road in Spartanburg. The editor Betsy Teter came to me a year ago October and said, “I want this book.” Her and her husband would come in for shows, and she had overheard me saying that I wanted to do a Handlebar book. So she said that she wanted the book. “I’m going to have you submit a chapter at a time.” “Yeah, okay. I will do that.”

So every now and then, I am submitting a chapter. It’s really hard, and it’s getting to be a little tedious. And it’s not that much fun because I am sort of opening my veins and I have to do a lot of research. Meanwhile—and Betsy doesn’t know this—I am collaborating on a thriller with Glen Craney, a friend of mine out in California. We are just having fun with this thriller. It’s an international political thriller that we haven’t been able to sell. So I am kinda dicking around with that, just really trying to put this thing off.

Finally, it occurs to me that the deadline for this (book) is January 1st of this year (2012). I have six weeks to finish this dumb ass thing. So Kathy goes to St. Louis for Christmas and leaves me here. I sit around in my boxer shorts, and T-shirt and I’m working 12 hours a day on this thing.

When you began going through your memories for the book, did you have any moments of self-discovery? Often, at the time, you aren’t aware of some things.

Man, that’s an amazing question. I think honestly Larry that the reason I wrote the book was to force myself to ask the question of why I did it (opened a club) and to drill down to what did it mean to me to create a (deeper) relationship with my brother, Stephen (who gave John a kidney in 1984). My brother and I have always been close, almost like twins. So my initial thinking about going into business with him was sort of my way of saying, “Y’know, you saved my life, and now I want to create a dream with you. I want to take a dream, our dream, and make it a reality for you and for us.”

Well, okay, so it really didn’t work out that way, because of the vagaries of the music business and lots of personal issues, some of which are in the book. Really, the way it has turned out that my wife, Kathy, runs the place, day-in-day-out and everything else, and I’m just the talent buyer.

What does Kathy think of the book?

She hasn’t read it.

She didn’t read any of the chapters?

No. She’s one of the best editors I have ever met, ever. When St. Martin's Press bought “The Plunder Room” Kathy said, “The manuscript is not leaving the house until I read it.” “Well, they have already bought it.” “I don’t care, I’m going to fix it because there’s a lot wrong with it. I know that there is.” I said, “Okay, not a problem.” But this time around, she said, “I just don’t have time.” She also said, “It (the book) makes me a little nervous. What if you made shit up?” I said, “I didn’t make up anything?” She said, “But you have this habit of embellishing and being hyperbolic, and a little emotional, and a little melodramatic."

And you said?

“Well, you can’t let the facts get in the way of a good story.”

My wife hates it when I describe people in a story with a coarse or profane noun.

My editor said the same thing. “You can’t use that word.” We actually ran the book by two lawyers. The second lawyer said, “Nah, nah, no. You can’t call that guy that. You can’t go into moral turpitude.” I’m like, “C’mon, where’s the fun in that?”

The section in “Rockin’ A Hard Place” on booking agents alone…

Don’t get me started. How could it not be an antagonistic relationship? How could it not be? I have the brick-and-mortar (club); they want my money. Period.

In any other business, you’d be in a service relationship with them. But you aren’t.

That’s right.

You were once told to get out of the entertainment business by an agent you were negotiating with.

That just tore me up.

In no other business would that happen.

No. It’s like I said in one little passage (of the book) that it’s like going into a store and you don’t see something that you want to buy, and the clerk at the store says, “You’re a douche bag.” Like whoa, “I don’t want to shop here.” And being told, “You don’t have enough money to shop here.”

I spend a half a million dollars a year on artists, right? So I get “The Plunder Room” published and I go to this huge (weekend-long) Southern Festival of Books in Nashville. Not one artist or agent showed up. Not one.

You also asked several managers and agents for an artist quote for the jacket of “Rockin’ A Hard Place.” Other than Dar Williams, nobody stepped forward.

No. At the same time, they (agents and managers) will all say that this whole business is all about relationships. It’s all about favors.

Okay, yeah.

“The Plunder Room” was also literary fiction. That’s so far outside of everybody’s wheelhouse. People were like, “Yeah, forget about it.” This agent I had done business with for 15 years was crowing about how great the book was. He loved it. He said, “Yeah, I went to the library, and got it.” I was like, “You went to the library? I spent how many thousands of dollars on your acts, and you went to the freaking library?”

[“The Plunder Room” chronicles the lives of four generations of a quirky family.]

At the same time, agents can be helpful to talent buyers.

Oh God, yes. I find it interesting that it doesn’t have to do with the agency. It has to do with the agent.

In your opinion who are some of the good guys?

Scott Clayton (at Creative Artists Agency). I love the guy. And Brad Madison at Mongrel Music. Brad’s parents live in Charlotte so he sort of feels like a homeboy. That’s the other thing that gets me too. Okay, we are a tertiary market. These guys (agents) are in San Francisco, L.A., Nashville, New York, Chicago and what not. They don’t have a clue (about us). They don’t have any idea what our venue looks like. We have had three or four of them come through in the last 12 years since we’ve been here. They see the room, and they go, “Wow. This is really cool.”

No shit.

We have had bands come here and say, “This is bullshit.” We ask, “What do you mean?” “We have never played this room before.” “Well, you are going to have to ask your agent and your manager because we have tried for 12 years, and we just can’t get a hold of them.”

A college intern Charlie Jennings taught you about spreadsheets and dealing with major talent agents.

I love Charlie. Back in The Mill days, I was doing really dopey stuff. My offers were like, “We will pay you $500 plus 70% after $750 with a $10 ticket.” (Agents) were going, “Sure, we will take that.” Now, it’s a totally different ball game. These guys are coming in and they are saying “minimum bid”—“bid” what’s that about?—minimum offer is five grand. Not here. Not now. Not anymore.

Both clubs have had a separate bar or pub area.

We wanted the same vibe that we had at the Mill here. The Mill had two separate rooms. We had our café bar or pub in one room; and then the listening room in the other. We had to have that separation. Our revenues more than doubled (in the new location) and, of course, our expenses tripled because it’s a bigger place. That's another thing that is funny. The pie doubles, and the agents say, “Well, the (artist’s) pie now doubles.” I’ve had guys tell me that they want 105% (of the door). I have had guys say, “Your offer has to come in a lot bigger than this because I know your bar is going to crush it.” I’m like, “Keep your hands out of my bar. How am I supposed to make money?”

While there are concert facilities available at Furman University, and Bob Jones University, and Charter Amphitheatre nearby, what other venues for music are available locally?

There’s the Peace Center for the Performing Arts and the Bi-Lo Center. The Bi-Lo Center is a mile and a half from here.

Greenville is not a major play market.

Oh, God no. Hell, Springsteen couldn’t sell out here. It’s two sides of the same coin for me here, really. One is that I really see myself as kind of an artist/educator. I really like the challenge of being able to educate people. For instance, it always amuses me (about people discovering acts). The other night I went to see Jackson Browne at the Peace Center. If it wasn’t sold out, it sure looked like it was. And opening for him was Sara Watkins. People were saying, “Wow. She’s really good.” And I’m like, “Yeah.” We’ve had Nickel Creek here a bunch of times, and we’ve had (singer/fiddler) Sara Watkins here a couple of times at least.

You have kept ticket prices low at The Handlebar.

We try to. One of our partners said, “How come you don’t get what The Birchmere (in Old Town Alexandria, Virginia) does? They are getting $45, $50, $60, $70 for a ticket?” “That’s because they have three million well-heeled lawyers; I’ve got 60,000 freaking car mechanics. C’mon. It’s a totally different market.”

Metropolitan Greenville has nearly 700,000 people.

There’s that but I spent a couple of days putting together U.S. Census Bureau reports that basically show comparative differences in income and disposable income in this market as compared to other markets. There’s no money here.

Also people know what they like, and what they don’t like.

Yes they do and in a market this size it’s kind of hard to reach out to people and say, “Listen, if you like so and so, then you will really like this act.” Some guy was giving us a hard time recently saying, “Where are the big names?” Well look, we’ve got John Hiatt coming back in September. You can spend your $30-35 but what about so and so? It’s sort of similar, and they may blow up to be pretty big one day. And the ticket is $8. It’s, “No. We don’t care.”

Name artists that you personally like.

There are just so many of them. Really. So many of them that I can’t keep track. What’s really sad is that you do shows with the ones that you really love, and you get your ass kicked and all of a sudden you just aren’t into it anymore.

You must have favorites?

Shinedown. Those guys are just awesome. A couple of years ago, those guys called us up and said that “We’ve got a date. We want to come back to your room. We know we are too big for your room.” I asked, “When is it? The answer was that it was in seven days. “We want a lot of money but you can do it.” We sold the show out in three days. That was the only time that has happened where it (the act) was way too huge for us already. But it was, “We are going to dance with the one that brung us” type of thing. I’m a huge John Hiatt fan. The fact that he’s coming back here (Sept. 20, 2012), that is just so cool. I tell people that the four greatest rock shows are Springsteen, Hiatt, Fred Eaglesmith, and Dave Alvin. Dave Alvin’s a stud.

What do you like about Fred Eaglesmith?

Everything. I really like his wit. He’s funny. His music is great. I like the way he writes. And he’s a nice guy. One of my favorites too is Josh Ritter. I think that kid is a freaking genius. I love Will Hoge. For the longest time, Will wanted to be Springsteen but then he sort of grew into himself. It was like, “Wow.” In 2008, Will was coming home from the studio in Nashville at 2 A.M. He was on a moped (scooter), and a van plowed into him and nearly killed him. He came out of that. Last year, he released an album called “Number 7.” It’s a really great record.

The Zac Brown Band played The Handlebar so many times that it seemed like they were almost the house band.

Yeah, it felt like it. It is just amazing for me to watch these guys. You are sitting there one day giving (Sugarland’s) Jennifer Nettles a hug and everybody (in the club) going completely crazy, and the next day you are seeing her on the Grammy Awards or with Jon Bon Jovi. It’s just incredible. Some artists skyrocket, and some of them don’t. Some I wish I had gotten (to book), and with some it’s never going to happen.

Thirty years ago, music fans were aware of most artists. Today, it’s hard to keep track of them all.

A big part of our problem is that we have been pigeon-holed as folk. I just sent an email to CAA because we have a new territorial guy there. I said, “Look, we really want to focus the next several months on metal, hardcore, stoner, and some really hard rock. That’s what I want to see because some of the shows have been huge."

Are fans of certain music genres more loyal?

Oh my God, metal. The harder—but not too hard—like melodic metal will do well. Let’s say Shinedown, for instance. They are radio friendly hard/alternative rock. Screamo hardcore punk can get a little bit dicey in terms of booking. We have a station here WTPT, The Planet (licensed to Forest City, North Carolina). If they play it, we are good.

What was your first job?

My first job was in 1981 working for Rupert Murdoch (News Corporation) at the San Antonio Express-News, the afternoon paper which was really “screamer” (a racy tabloid-style newspaper). So I’m overnight on the copy desk, right? I am sitting next to this guy name Peter. He had a handlebar mustache, and rode his bike to work. This guy was hysterical. I’m watching him. I’m 21-years-old, and he’s typing a story about oil or something like that. He’s writing, “Analyst said; analyst said; analyst said.” I asked, “Peter, who are these analysts?” He said, “Beats the hell out of me.” I was like, “Okay. I love this. Let’s keep doing this.”

You worked there also as a features reporter.

I worked in features but toward the end it got a little ridiculous because they had me covering the beauty pageant beat. It was all Page Three girls.

Afterwards, you were at the Chicago Sun-Times.

I was a rewrite guy and a reporter and an assistant city editor.

On the rim?

Yeah, I was on the rim (copy desk) of the city desk. I loved Chicago but the problem was that I had really serious hip problems. I was 26-years-old and one of the youngest people ever as assistant city editor at the Sun-Times. I was in heaven. That was back when newspapers were thriving, and newspapering was a sport. I had just graduated from Columbia J School (Columbia University School of Journalism) in New York.

Why did you leave Chicago to go to St. Petersburg, Florida?

I was in so much pain because of my hips. I had to take these drugs for my kidney transplant. Three years after the transplant, I had to take these drugs, and there’s an unfortunate side effect in that they eat your hip bones. When you are 26-years-old—especially in the ‘80s—no doctor would touch you. They said, “If we put a prosthetic hip in you, you are going to wear it out in a couple of years.” One doctor told me, “If I give you a hip replacement you will wear it out in a few years, and you will be crippled for the rest of your life.”

That’s what he told me. I was like, “Holy shit. So I guess not.”

So (Florida) was kind of let's do the geographic cure thing. Maybe, if I move I will leave my hip pain here. That didn’t work out so well. But what did work is that I am in Florida, and guess what’s in Florida? A whole bunch of old people. And what are they doing with old people there? Replacing their hips. In Orlando, I found a guy who said, “We have this new technology. We replace hips every day. They are mostly old people, but we will do you.” It turned out that I could only have one hip replaced.

You were a copy editor at the St. Petersburg Times.

I was. I started as a police reporter, and that was just hell. I was in the Tampa bureau, and I was running around. It was insane. I was still in a lot of pain (from hip problems) and that was miserable. They had the biggest race riots ever when I was there. They had some guy who slaughtered his whole family when I was there. I was only there a couple of years. I just couldn’t take it anymore.

Is that where you met Kathy?

Exactly. Ralph Ingersoll had opened the first daily (newspaper) in years in St. Louis which is her hometown. It was the old St. Louis Sun, the tabloid. Well, it lasted nine months. She was really a star there. When the paper folded, they went out of their way to find jobs for those people. Kathy had interviews all over the country. Just everywhere. She wound up at the St. Pete Times.

[Estimated to have lost nearly $30 million, the Sun’s collapse was followed by the destruction of the newspaper kingdom that Ralph Ingersoll II had built on a foundation laid by his legendary father, editor of FORTUNE, and former publisher of both Time and Life. Ingersoll was allowed to keep newspapers he had acquired in Ireland and England during his buying spree financed with $500 million in junk bonds marketed by his close friend, Michael Milken, but had to surrender all his newspaper properties in the U.S.]

It’s funny but our first date was really ridiculous. I took her to my favorite barbeque joint—where we wound up having the rehearsal dinner (for our wedding) and then I took her to see “Henry and June” which was like soft porn. Then I think I was like, “I gotta go because I have to go get shit-faced with a friend of mine” or something. I was wildly off the chain in those days.

[“Henry & June” (1990), directed by Philip Kaufman, is loosely based on the book of the same name by the French author Anaïs Nin, and tells the story of Nin's relationship with Henry Miller and his wife, June. “Henry & June” was the first film to receive the Motion Picture Association of America’s rating of NC-17 which had been devised as a replacement for the X rating.]

So love at first sight?

More or less. It was weird because I then moved in with her. I quit the Times. “I can’t put up with this. I should be doing all kinds of things but I have just been relegated to the copy desk and I have just had enough of this.” I didn’t dress the part. I didn’t look the part. I didn’t play the part. I didn’t do any of that stuff. I was an alcoholic journalist. “Let’s go party.”

Like most newspapers was there a star system at the St. Petersburg Times back then?

Oh yeah. Unless you were one of these really well-dress white guys from Indiana, you weren’t going to go anywhere. Shoot, I was a sporting alcoholic with city desk experience from the (Chicago) Sun-Times. And they were like, “Hey listen. The only thing that you are capable of doing here is reading 2,000 inches of obituaries, and school lunch menus.” The hell with that.

How did you convince Kathy to marry you, quit her job, and move to Greenville to operate a club?

That’s still a mystery to me. I was totally out of my mind. I think about it, and it’s still, “What the hell? What the hell?”

You both quit your jobs, got married, and took off on a six week honeymoon.

Yeah, and we had our biggest fight ever in Kamloops (British Columbia). We had a hell of a knock-down, drag out fight. Not literally. Our six week honeymoon took us from St. Petes along the Gulf Coast, down through Texas down into Baja, California up Highway One through the north-west into British Columbia, and back down through Montana. We did Banff, and Lake Louise and all that. Unbelievable.

You knew you were coming back to run a club in Greenville with your brother Stephen?

Yeah. I had gone to see The Mill before we had left. Then we left. Within days, my brother is calling every rest stop, pay phone, anything that he can find, “You have to get back. You have got to get back.” Kathy is saying, “Well, we have this itinerary. We have this trip. We aren’t going back.” We finally did abbreviate our trip by a week.

In the book, you describe seeing folksinger Tish Hinojosa perform in a small club in Santa Fe, New Mexico, while on your honeymoon.

That was hysterical.

You talked to her tour manager.

Or whoever he was. He was at the merch booth, which was a coat check room.

At the time, however, you didn’t know about agents or managers.

“Don’t I get to meet the star? There are only six people in the building, c’mon.” I didn’t meet Tish until later when she is standing in our venue, and in our kitchen. She was with William Morris at the time. Oh la-di-da. I thought, “This snottiness is kind of cool.”

Your first artist at The Handlebar at the Mill was Livingston Taylor.

Well, that was because my brother and I had gone to see Liv at McDibbs (in Black Mountain in North Carolina). We just loved McDibbs. We just thought, “This is so cool.” A little brick box. That’s really what we wanted. We came to find out that—regardless of what you do—it’s still the music business. You can have a brick box or you can have this or that other thing. It’s still a bitch (to operate)

At The Mill, The Handlebar was very much a boutique club.

Yes, it was a boutique club. It was the funkiest coolest space. You walked down this long dark hallway that was so creepy. The first people who came into The Mill to buy tickets for Livingston Taylor we looked at them like, “Are you out of your minds?”

We squeezed in as close to 300 chairs as we could get, and the thing could only physically hold 220. Physically. So there were chairs on top of chairs. People were eating their knees.

The venue was shaped like an E?

Yeah, it was shaped like an E. The front entrance, which was in the rear of the building, was in the very middle of that E. So you walked in, and the lobby area was really cheesy and weird. You walked through the lobby and turned left down this long hallway about half the length of a football field. You don’t know where you are going. All of a sudden, you are surrounded by all of these sparkly, twinkly lights and really cool chairs and all of these beautiful old rafters. Really cool. And then you walked into another room down a ramp, and you walked into this listening room and you’d think, “that is just so cool.”

Did the city hassle you in the early days or did anyone care you were there?

The only people who cared was the South Carolina Department of Revenue. A guy wandered in with knuckles dragging the ground and said, “We read about you in the paper. We charge you 5% tax on every ticket you sell.”

Oh shit.

The first thing that I learned, the first thing that I learned, when I opened up this business is you open your doors and freaking everybody has their hands out. Everybody. Your vendors. Your bank. Your parents. It’s not just the music business either; it’s any small business. When Obama talks about that you didn’t build this (business) on your own; no you sure didn’t. You either asked somebody for help or someone came after your ass for money. Anybody who thinks otherwise has never done this before.

You had the legendary Chicago blues singer Junior Wells at the club 16 months before he passed away in 1998. He continued performing until he was diagnosed with cancer in the summer of 1997.

That show was amazing. There were 150 people in the room, maybe. The same with Nils Lofgren. Those were like the highlights for me. I’m looking around and there’s probably 150 people in The Mill in this cool-ass room. And there’s nobody there. C’mon.

A few years later, the legendary singer/songwriter Mickey Newbury played two shows before he passed away in 2002 following a prolonged battle with pulmonary fibrosis.

He’s on his way to dying. He’s telling how he’s in so much pain. He sits down, picks up this guitar, and he starts singing. I’m like, “Gawd dang.” It is almost like the angels took over and took his voice into the clouds. Then he starts to whistle.

Are those the type of shows where you lose money and think, “Heck, I’ll make it back another night? The hell with it.” Is that what you learn over time?

The real tragedy is that I still do that. But my wife has said, “Enough. We are not doing that anymore.” I’m a slow learner. We have retooled the entire booking procedure. Instead of turning around an offer in the space of an hour, if someone gets an offer in the space of a week it’s a miracle. We are looking (at artists) with a fine tooth comb. I really wish that there was some sort of organization or union or something for promoters where we are all talking to each other. Where we are all sharing spreadsheets. Pollstar and CelebrityAccess are nice but we need to get real time stuff instantly.

In 2001, the club moved from the Mill Centre location to East Stone Avenue in the North End of Greenville.

Well, we got kicked out.

The building you took over had been an Oldsmobile dealership?

Yeah, an old car dealership. It’s very cool and it’s a big space. It has the barrel ceiling with the steel trusses. Our capacity is based on parking which really sucks. We hold 520 (people) because our capacity is based on parking, which is a city zoning thing. We could get 600 or 800 people in here, but we can’t.

Why didn’t you go to the West End?

Oh because the rents were just out of control. We had no money. The partners we got into bed with told us from the front end, “We’re not going to outfit a building that doesn’t belong to us.” They had to own the building.

When Kathy and I first moved to town, the West End was a place you didn’t go. It was Crack Town. It was broken sidewalks, and broken windows. You just didn’t go. Pendleton Street was “oooooh.” It didn’t take but a couple of months for people to start sniffing around. All of a sudden, the rental rates tripled.

[The Handlebar has been credited for giving the North End of Greenville a shot in the arm. The businesses that followed—boutiques, music stores, restaurants and art galleries—replaced crumbled buildings, and sidewalks. Recently, with some prodding from North End merchants, the municipality has drawn up a Stone Ave. master plan for road diets, pocket parks, and mixed-use projects on vacant land. As well, a $200,000 streetscape project has been green-lighted.]

When you moved the club to the North End, it was quite a seedy neighborhood. Do you now feel vindicated by the recent redevelopment of the neighborhood by the city.

This will tell you a lot about my character. Do I feel vindicated? Sure. Twelve years after I got here? Hello. C’mon guys.

Your fights with a neighbor over sound emanating from the club were fierce.

That wasn’t funny. The guy managed to change the city’s whole noise ordinance. The entire city.

Were city officials sympathetic with you after repeated calls from this one neighbor?

No. They have never been (sympathetic). Not one city council member has ever stepped foot in here. It’s a real conservative town. Kathy would save my ass. While I’m mouthing off to the cops, she’d be saying to me, “Dude, you just have to be such a jackass. You are your worst enemy. Go inside, I’ve got this.”

Where are you from originally?

Dad was in the military. He graduated class of ’55 from West Point. We lived everywhere. My first rock concert was Alice Cooper at a velodrome in Germany. By the grace of God, I was born in (Columbus) Georgia at Fort Benning. Dad was at Ranger School. He has said he showed up at bedside with Ranger paint all over his face as soon as I was born.

Did the constant moving contribute to your character? Give you a natural ability to deal with new people?

Oh God yes. Absolutely.

Such a mobile life tends to give people an insecurity but also a superiority complex.

Oh, I’m an elitist arrogant snob. No question. But at the same time, I can find almost anything to talk about, or have something in common with just about anybody. I have either been there, done that or I’ve heard about it from somebody who has.

Has it helped you with your dealings with managers and agents?

No. Artists, yeah. It’s really funny. Earlier, I talked about being an educator and trying to educate the market here, but I do see myself as an artist. I have this book coming out, and the novel came out. So I have been on that side too. It sucks when you get rejected. It sucks. But we are getting 3,000 queries (for bookings) a year. I know what it’s like to get rejected. The guy who calls me up, and says, “I want to play your room.” And I say “No” and he says, “Well, you’re an asshole.” I get it. I get that.

You have traveled widely, from Europe, Hong Kong, China, Vietnam, and southern Africa throughout the Caribbean, Central America, and to Cuba, and more. Was this early in your life?

No. All of the time. I really miss that. My first dream was to be in the State Department and then I looked at the State Department Test and I thought, “I’m just not that smart. That’s not going to happen.” After realizing that I wasn’t going into the State Department, my real dream was to be a foreign correspondent. I wanted that more than anything. Of course, with my hips and everything else, it’s not going to happen pal. You just aren't built for those jobs. Not a regret because there’s nothing you can do about it.

You were the first son of a U.S. Army helicopter pilot to retrace his father’s footsteps in Vietnam in 1988.

The twentieth anniversary of Tet (Tet Offensive) in 1988. We flew into Bangkok (Thailand) because it was then illegal (for Americans) to travel (to Vietnam) them. You had to fly to Bangkok to see if you could get a visa. Well if you pay enough money you are going to get a visa. We did. And then we flew from Bangkok to Hanoi. Gosh, what a beautiful town. I still picture all of the gold everywhere. The villas that are painted gold. The dusk, and the golden buildings. We had no idea (what to expect). We got off the bus (from the airport) and it was like, “Where the hell are we?” I was really there as a reporter. I had taken a vacation to go. I was at the Sun-Times but I was on my way out the door. We flew from Hanoi to Da Nang and then drove with a guide down Highway 1 (National Highway 1) all the way down to Saigon (since renamed Ho Chi Minh City). We stopped everywhere. We stopped in Hue, which was gorgeous. We stopped in Dalat in the Central Highlands, which was unbelievable. I would live there. And then Saigon which was a trip. We wandered into the Rex Hotel and I took pictures of it and Dad just went nuts. He said, “Do you see that rooftop balcony? We used to grill steaks up there.” He never talked about being there.

In 1988, it was rare for Americans to be in Vietnam.

Oh yeah. They (Vietnamese) pointed at us and said, “America number one.” See the Russians were still there. The Cold War. The Vietnamese hated them. We came in and it was, “Americans, what are you doing here? You are aliens. You are strange.” This was really cool. But it was intense. We were in Hue. It’s deathly quiet and we were in the Citadel. It’s misty and it’s beautiful and it’s quiet. All of a sudden we hear bam, bam, bam. We ducked. It was like the ghost of the Marines. One of the guides then told us that it was a wedding celebration. It was the creepiest weirdest thing.

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
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
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
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
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
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
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
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
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
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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