Industry Profile: Ann Kline

— By Larry LeBlanc (CelebrityAccess)

This week In the Hot Seat with Larry LeBlanc: Music supervisor Ann Kline, owner, Casa Kline.

Ann Kline may not be able to recall the year she was blissfully wed, but she can slice through a thousand music tracks to snag the music cue she heard a year ago that is now needed for a TV series she's working on.

A high-flying independent music supervisor in Los Angeles, Kline has recently been working on such leading TV shows as "Shameless," and "Under The Dome" as well as the recently-axed ABC series, "Black Box." In addition, she's overseeing music for two new TV series, "Battle Creek" and "Aquarius."

For much of her career until 2010, Kline headed the music department for John Wells Productions, a Los Angeles-based company that produces such top-flight TV shows as "Shameless," "ER," "Third Watch," "Wing, “Trinity," and such feature films as “White Oleander," "Nearing Grace," and "The Company Men."

As well, has Kline supervised music for the TV series "Studio 60 on The Sunset Strip," "Pan Am," "Harry’s Law," and "A Gifted Man" and worked on such films as "20 Dates," "The Babymakers," "Suicide Kings," and "Jackie Brown." .

After earning a B.A. from the University of California, Los Angeles, and a Juris Doctor degree from Southwestern University School of Law, Kline worked as an attorney at the music department of the William Morris Agency dealing with a lot of the same legal issues that face a music supervisor including copyright, licensing, and performance rights

Her legal background has been invaluable in her career as a music supervisor responsible for finding the music for TV shows and films, and clearing the necessary licenses. It gave her the legal grounding, and vocabulary to conduct negotiations at every level of the entertainment industry.

What television projects are you currently working on?

"Black Box" we finished. “Under The Dome,” I am just finishing up. I am working on “Shameless." It won't start airing until January. I'm also working on two new shows. One is "Battle Creek" created by Vince Gilligan and David Shore that is produced by Sony Pictures Television. It's going to be on CBS as a mid-season show. I am also working on a show "Aquarius" which is a period piece (starring David Duchovny) that takes place in Los Angeles in 1967, the "Summer of Love." It's going to be on NBC as a mid-season show. I think it is a (13-week) mini-series, maybe. I don't know if they have determined that or not.

So you are wearing flowers in your hair?

It is such an amazing show. I am so excited by it.

That '60s period was such a wonderful time for LA-based music with the Sunset Strip happening.

Oh my gosh. Amazing. Every genre. It has been such a cool experience.

There were local bands like the Doors, the Byrds, and the Seeds happening.

Yep. We are using a lot of the Seeds.

And there were Chicano rock bands in East Los Angeles like Thee Midnighters who covered "Land of a Thousand Dances." Have you heard their version?

I totally have. The series has been so much fun. It's funny because it also gets you into such a state of mind when you do something like this. You dress a little bit differently. I think that I’ve washed my hair a lot less (laughing).

You are no longer exclusively working with John Wells Productions?

No. I still work with him all of the time, but I’m not exclusive to him anymore. “Shameless” is John's only show on TV right now. So I do “Shameless” for him.

Do you work from your home?

I could work from my house, but I come into an office every day. In my office, I am surrounded by music. This workspace that I have, it just works so much better for me. When I'm at home, I am much more easily distracted. Just by weird little things. Like, I think of my home phone so differently than I think of my office phone. I don't know why. It's almost like contaminating it to make a business call on it. I do work from home, sometimes, if I have to or depending on meetings because the studios that I work for are in all different parts of town. Sometimes, it's easier to be at home. But, for the most part, I am much more productive at work.

Well, you can listen to music anywhere.

My sound system is way better at my office.

How do you listen to music?

I import everything into my iTunes, and I keep it all on a separate drive that I can take everywhere with me. Then I play it on my iTunes on my laptop through a Bose sound system.

How do you charge for your work? Would you, for example, charge more for a pilot? I would because of the additional work load and stress.

I would too, but that's not how it works. I have so many friends in different aspects of the TV business. In wardrobe, in casting, and whatever. The pilots for them are great. I guess they get paid more. It's just a one time thing usually, (for them). For a music supervisor, it's not the case (of getting paid more). I don't know if it's just me. I think that it's pretty set across the board. The thing is, and I think most of us feel that it (music supervising) is such a job of passion. Once you read it (a script), or talk to the director, whatever it is--and I probably shouldn't say this--but I’m in. So when they say, "I only have this much money"--I'm like, "Are you sure?" But I'm already in. It's already in my head. I already love it.

When someone wants a favor with a substantially lowered rate it never works out. Better to turn the work down or do it as an unpaid favor.

Every time that I do a serious favor, it turns into the biggest nightmare. Let's just call it a favor. But yeah.

Is there a standard rate for supervising music or do some supervisors get higher rates?

Some people do get higher rates but, even in saying that, there's not that much difference. I think that what makes a difference is having a show on the air for a long time.

Being in demand.

That definitely it as well. When you say, "I just can't," they somehow can find more money. But the thing that is great is that you will usually get a bump (salary raise) every season. So if you are lucky to have an "ER," by the end it's a great gig. You can use that rate (to negotiate new productions). I can say that on “Shameless” for the first season, we were so crushed (in budget) that I did it probably on the lower end (of the pay scale). By the end of the season, John was saying, "You end up scoring it (the show), let's find a way to make it more fair." It all works out if you work for good people, I think.

How do you balance having multiple shows in production at the same time?

I honestly like it so much better when I have a lot of shows at once because you just get into the groove of listening to music all of the time. For "Aquarius," obviously, I'm listening to tons of period music. So when something comes up in another show, like they will want something for Frank (Gallagher) for “Shameless”-- "Hey, what's a great '60s song that we can use for Frank in a scene?" or whatever, that becomes the easiest thing to do for that. When I need punk or something for another show, I have so much of it from “Shameless” that I know exactly where to find it, and it works. Everything seems to come together. I’m better when I work on a lot of shows.

With a television pilot, there's high expectations from the executive producers, the studio, and the network. Everybody wants everything right because they want the series picked up. That's a tough challenge for you in overseeing the music.

Pilots are the hardest, hardest assignments. I probably do two or three pilots a season, and most don't get picked up. It is so arduous, and so intense. So much is on the line for those shows. The burden is so heavy, especially in post production. You are all that is left. Music is one of the few things that can change (a show). It's almost always up to the (musical) mix. At the mix (sessions), you are still changing (the feel of the show). The studio comes in, and the network comes in. They have these notes, "This scene feels slow" or "In this scene, I don't feel that they are in love." The only thing that you can really change, except changing the mix of the score, is to change the song. It's so hard that I can't even tell you. It's hard to not lose perspective as well. You are like, "I thought that this song was amazing. Is it not amazing?"

A frayed nerves time?

It really is. But I did a pilot this season called "Clementine" which, I think, might get picked up as a summer series for ABC. It's still in limbo. But it was a brilliant experience. The writer Dean Georgaris, the director Michael Dinner, and myself were all so much on the same page musically. it was a great experience. We talked about it (the music) right from the script. We went back-and-forth with music throughout the whole process. It really was, in terms of the music, easy in post production. They shot it with the songs in mind, and everything worked really well. It was a great experience. That's definitely not the norm. Dean is more of a feature writer, and he's very into music. He's brilliant with music, and he knows so much about it. So I think that had a lot to do with it.

[ABC Studios' "Clementine" centers on habitual criminal Clementine Ross (Sarah Snook) who digs in to the mystery of her origins after she becomes the target of a group of zealots who fear she possesses latent supernatural abilities that she will one day harness for either profound good or monstrous evil.]

The misconception of TV licensed music is that sync fees can substantial but you and your peers work with small budgets.

Yeah, very small. Sometimes it's liberating when you know that you can’t have any big songs. That you know that we can only afford one major label song an episode. I don't mind that. It is more work, and sometimes dealing with independent people can be a little scary. Or you are educating an artist or a writer or whoever it is about licensing.

Are new artists or songwriters aware that they may be low-balled on a television synchronization license, but might make it up on performance right (as writer and/or publisher) when the show is broadcast?

A lot of very independent artists don't have any idea of performance income or they have the wrong idea. I find it so fascinating that you will get into discussions, and explain it to them, and hook them up with ASCAP or BMI or SESAC, and then you find yourself half an hour into a conversation about getting it right.

That there are two licensing negotiations on the table. One for the master rights; the other for the music publishing rights.

Exactly.

How often have you tried to pick up a song, and the rights aren't cleared or there's another writer or publisher not mentioned in the negotiations?

All of the time. It happens less than it used to. There must be more professional companies pitching independent artists. Whatever it is. But still once or twice a season, I will run into one of these problems. It’s always because you have been misled. About 90% of the time, there's been a miscommunication. It's nobody's fault. Nobody did it (misled) on purpose. You realize that, but if one of the writers is with Major publishers) EMI or Sony or whatever, it is a real problem when your entire fee for a song is $1,000.

Often music supervision is about trying "get us a song that sounds like this song which we don't want to pay for."

Yeah. I did "Pan Am" which was fascinating in that way and now with "Aquarius." It is sort of the same thing that we do for “Shameless." We use tons of indie bands that we can afford, but also it makes more sense for the series anyway. That (indie) feel is organic to the series. But I have found the same thing has been true decade after decade. There are all these amazing artists that aren't the major label artists or they were on smaller labels that got bought by these licensing companies or whatever. You haven't heard these songs but they are authentic to the time and they are awesome.

“Shameless” has been a groundbreaking series since it began airing in 2011 using music by independent bands like Spoon, Ra Ra Riot, Superchunk, Airborne Toxic Event, Earlimart, Rosebuds, Exitmusic, and Wavves. Some episodes have up to 30 songs where a regular hour-long drama might have five.

A lot of that comes out of that not having a composer. We do use a lot of music but it's not like 35 featured songs (per episode), for sure.

[Showtime’s drama "Shameless" follows a struggling working-class Chicago working-class family, the Gallaghers. When John Wells, began pitching the show, he had to fight efforts to locate the show in the American South or in a trailer park. He explained, "We have a comedic tradition of making fun of the people in those worlds. The reality is that these people aren't 'the other' – they're people who live four blocks down from you and two blocks over."]

As the majority of the "Shameless" episodes don’t use a composer, all the music heard is licensed music. That's different than "West Wing" where an episode often wouldn't have music.

Sure. It's such a different model than that. It kind of came out of when we were trying to find the sound for the show. The way that John works is sort of like that we will sit together in editing for ages just trying different things. Seeing what works. Usually, we are working with a picture editor, and we are trying existing scores to see what works. We never even tried a score in it ("Shameless"). We were just using different indie bands to figure out the sound, and then we thought we would go to a band and ask them to score. By the time that we finished the temp, we were so happy with the way that it sounded, and John was really nervous about having a score written for the show would just eventually fall into more of a melodramatic role. These characters so don't feel sorry for themselves. John just feel that there's no room for that in the series. So we just kept going with it.

Music has been used to greatly expand the Gallaghers' character.

I think that it has helped show that they are really unconventional and independent thinkers. I can't think of any of the actual Gallaghers or any of their close group would listen to Top 40. They do what they do. It's funny because a director might come in with a song that they chose, and we will try to get it into a scene. It feels a little oddball. There was an episode last year where Debbie (Emma Kenney) is doing the Dance Dance Revolution (music video) game. We put in an iconic pop (song) to what she is dancing to. It's so funny to see her because she's such a fish out of water in that atmosphere, and with that music. It's just not what you normally see. So it (music) can be really effective using it the opposite way as well.

Does the geographic location of “Shameless” being in Chicago come into play in picking music for the show?

Yeah. We definitely listen to a lot of local Chicago bands. But it's really more about the song itself than trying to fit it in because music is so global now. Everyone has an IPod or an IPhone. Everyone hears music from all over. Even more so if you are a kid in a not so great area. You might music more on the internet than in your neighborhood anyway.

From the theme song "The, Luck You Got" by the Detroit trio The High Strung, the music in "Shameless" is what these kids would listen to. None of them are mainstream. They probably don't go to stadium shows. They are club goers.

You are exactly right.

TV shows are usually produced, packaged, and shipped out quickly. A film may not come out for a year or more. There's more of an immediacy with the music used in television.

Yeah. It definitely depends on the show. Sometimes we are right up against the air date. Everything that I’m working on right now is for mid-season. So I can’t say that this is going to air next week on “Shameless.” It’s not as immediate, but it still is (for me) because of the way studios work you are still going to finish it, and mix it. In some ways, it’s more helpful when it’s super immediate. With “Under the Dome,” I could say this episode is going to air on July 23rd. So it was easy to tie into things. In a marketing sense, that’s a great way to approach music when you don’t have a lot of money because it’s a win/win. I wish we had more of that with the shows.

With “Aquarius,” it doesn’t matter, obviously, but for the other shows that I am working on it’s nice when you can tie into a release or something like that or know it’s supposed to be a super popular song, and that it is. Instead of guessing six months into the future. But aside of that, regardless, TV is much faster-paced than film. In some ways that makes you more creative and, in some ways, it limits your creativity because you can’t have something written specifically for the show or explore many options. You have to make it happen.

You also have to make it happen quickly. If you can’t get a piece of music you want, you have to replace it immediately.

Exactly. You might be researching a song that you really want to use, and you see that there are six writers, and that they all come from different companies. You think, “Well, how is that going to happen? It might but we better have a backup.”

Does working in cable give you more freedom and flexibility than working on a mainstream network show?

Absolutely. Just not having to worry about the language is a big, big plus. From working on “Shameless,” I completely forget all of the time (about lyrics). I was doing an ABC family show "The Lying Game" a few years ago, and it would blow by me all of the time. We used quite a bit of music. Sometimes I would pull something from “Shameless.” Hearing bad words in a song didn't mean anything to me because I was so used to it. Thank God they would ask for the lyrics every week. You have to send them to Standards and Practices (the network department responsible for the moral, ethical, and legal implications of the programming that network airs). I would look at the lyrics and I'd go, "My God, we have to pull the song. Or we have to flip that word or take it out."

In her interview with me at Canadian Music Week in Toronto recently, songwriter Diane Warren told me about her song, "I Don't' Want to Miss a Thing" being used for a blow job scene in the 2002 film "The Sweetest Thing." Any similar experiences?

A company that I work with a bunch, we were having a meeting about something and they were saying that one of their artists said to them something like, "We were so happy to have a song in '“Shameless”' until we saw this scene where she's pulling out this giant dildo, and sodomizing somebody." I was like, "Did I not mention that?" As I said, you get so desensitized. I try to be much better in my scene descriptions, but some times you do forget.

Licensing recorded music for television and film is a relatively new business.

When I first started, it was really the giant soundtrack era for films, but it was not something that people thought about for TV at all.

When did you start music supervising?

I started supervising in '95.

You did "In Cold Blood" in 1996.

"In Cold Blood" was a TV movie. But I did a bunch of TV pilots for John. I can't remember what they are called. And then a series called "Trinity" (1998) where John just said, "I think that music should be as good as everything else in our television series. As good as the acting and the sets and everything. Music is really really important." So I did that series for him, and then we just kept doing more and more TV. He was one of the first, I think, show runners to think that way.

I think Michael Mann's "Miami Vice," which ran on NBC from 1984 to 1989, paved the way for contemporary music on TV.

Yeah, that's true.

One of the pioneers of music in film was the late John Hughes. You grew up loving music, and watching his soundtrack-driven films like "The Breakfast Club," "Some Kind of Wonderful," "Sixteen Candles," and Pretty in Pink."

Oh my God. I think that has so much to do with loving this job. I will watch his movies every time that they are on. They means so much to me. All through high school, you'd hear those songs, and you would daydream.

I can almost imagine scenes from "Sixteen Candles" because of the music used.

Absolutely, yeah. I think that was so so so formative. He was amazing.

Are those pitching you music aware of your requirements, and the characteristics of the shows you are working on?

The people that I deal with consistently are very aware. But there are a few outside (the entertainment business) or new people to the game or artists themselves who will say, "Hey, I sent you that song. You said that you liked it. When are you going to use it?" Or something like that. Truly. It is as if we had time to listen to every single thing; then write an email about it; and then use it. In general, people don't know what the process is but I think, that every year people learn more and more. Certainly, the companies that I deal with the most--and there are so many of them now--really truly do understand.

Do some just shoot blind, and hope for a song placement?

People have become much better about absolutely understanding what we are working on, and what the needs are. You are right. It used to be more like, "Hey, I heard that you used this song." I would get the craziest things. Like, "You have a character named Abby, and here's a song called 'Abby.'" Just crazy stuff. It's super easy to research now. You can watch a show online. You can run through a few episodes. Showtime does a great job with their website. You can look up every episode of “Shameless” and see every single song; listen to them; and really get a feel for the type of music that is mostly used in it. That helps.

Once you have short listed a song you then have to focus on the quality of the selected music. Often versions aren't great quality.

I remember a long time ago when I first started supervising certain companies or certain bands would be like, "If we know you are using it, we will send you a DAT. The master that we want you to use." It never happens anymore, but it used to be much more common.

In some ways it is easier with a period piece because with the way that it plays on screen, it doesn't have to be as clean as a pristine digitally remastered (version). I have run into that a lot on period shows. That they (the master recordings) haven't been cleaned up or remastered. But also sometimes the music editor will tell me because they listen to it on such a better sound system, and they are really tuned into that. I can send them the five songs, and then they might come back to me and say that this master has clicks on it or it's not good (quality).

Outside of studio input, final say on music on a TV show is with the executive producers. You may have 5 directors in one season. A film production is a more collaborative than a TV series. Very different approaches to overseeing music.

They are very, very different in that respect. With a lot of the shows that I work on though, there will often be three EPs (executive producers), sort of a show runner, a director, and a writer. Or sometimes they are the same person, John Wells writes, directs, and is a special runner. He definitely has final say. A lot of the time, the EP will be a director, and they direct the biggest episodes and the directors, in-between, come and go. Most show runners, most EPs, try to be very respectful to their directors. Every show that I have worked on, we take the director's suggestions and ideas super seriously, and we will always place a song for their cut and listen to it and then decide, based on if it works for the show and the budget and everything else, if we can use it.

With film there might be a dozen separate entities focused on music depending on what the financing is or what the studio is. At what point do you get fully involved with a film?

Every film is different. Some are really post production heavy. You aren't looking at a lot of on-camera performances, and stuff like that. The films that I have done more recently--and I haven't done a ton--have been where the director, and I have had a super close relationship. So I have known about the project since they started on it. I will have had the script from the beginning, and we are sending music back-and-forth, and talking about it from the start. I don't know if that is typical. I don't do big studios films. So I can’t even speak to that process.

Go back to a time when you did do big studio film. In 1997, you worked as a music coordinator on "Jackie Brown," "Cop Land," "Dangerous Ground," and you worked on "Suicide Kings" as a music supervisor. How was it back then?

I would have to say that even back then the films that I did we definitely started in post production. "Cop Land" we had started earlier because there's a lot of on cameras. He's (Sylvester Stallone's character) obsessed with (Canadian pianist) Glenn Gould and there's a lot of piano pieces that had to be picked ahead of time. But the majority of source (music) really played as source. It was put in after. With "Jackie Brown" Quentin (Tarantino) wrote all of the songs in. So even though we were in pre-production it was there. Every song was scripted. He's amazing.

Opening "Jackie Brown" with Bobby Womack's "Across 110 Street" was so incredible.

I know. It's brilliant. It read exactly the way (in the script) that it looks. It's crazy because a lot of times in films and TV you will read and there's music scripted in and you will picture it in your mind. "Oh, I can see how that could work." But a lot of times, it doesn't work at all in post (production). You put the song in, and it doesn't play the way that it was envisioned. Maybe it's because the writer, and the director had different visions. Whatever it may be. In that film, it was mind-blowing how every single thing worked. That's the mind of a genius.

You went to Beverly Hills High School with Lisa Brown and PJ Bloom who are also music supervisors.

It's funny about the three of us. We were in the same grades in high school, and I think that we were all born within three days of each other. I know we are all early May.

What was it like attending Beverly Hills High School?

It's a big public high school. But I had a real good experience there. I loved it. It was great. We had a DJ that played at lunch, and there were a lot of people really into music. All different kinds of music. I have three brothers. They all went there. You could walk to school. There's a big artist culture in Beverly Hills, obviously. So I think that inspires that (environment).

After high school, you went to UCLA for a B.A. in what?

Art history. I love art. It was sort of that I had no idea what I wanted to do after college. I loved going to school there.

Well, you could travel through France, and visit the great museums.

That's what I did first. Then I came back (to Los Angeles) and it was the middle of a recession and there were no jobs in art. And people weren't buying art.

So you returned to school?

I went to UCSD (University of California, San Diego) for my first two years and then transferred to UCLA. My parents were definitely, "Follow your heart. Go to a great school, and do what interest you. But I think also in the back of their minds was, "She's going to go to law school, eventually."

So it was preordained you'd go to law school?

Maybe in a small way. Two of my brothers are lawyers. But when there weren't a lot of jobs, my dad said, "You either have to find a job or go back to school."

Your father Norman Karlin was quite a famous academic.

Thank you for bringing him up. That's so sweet.

[Norman Karlin, a member of the Southwestern University School of Law faculty for nearly 35 years, passed away on in 2004 of natural causes.

After serving in the U.S. Army during World War II in both Europe and Asia where he earned the Bronze Star and Purple Heart, or Karlin completed his law degree at the University of Chicago in 1949. He practiced law in Chicago for more than two decades, specializing in zoning and land use law.

In 1970, Karlin moved to Los Angeles and joined the Southwestern faculty where he became one of the key architects of Southwestern's Conceptual Approach to Legal Education (SCALE), an intensive two-year program of study leading to the Juris Doctor degree. He taught in SCALE from its inception in 1975, covering virtually every aspect of that curriculum with a main focus on Constitutional Law, Contracts, and Law and Economics. In the traditional program, he taught Contracts and the Private Property and Eminent Domain Seminar. He became Professor of Law Emeritus in 1997.]

Your father taught at Southwestern for nearly 35 years.

Yes, and he was a great attorney before that. My oldest brother Louis (Karlin, a deputy state attorney general from Los Angeles) just won a U.S. Supreme Court (search and seizure) case. All of my brothers were super into music, and influenced me my whole life.

Were you still living at home during college?

I did. I lived at home all through UCLA, and all through law school.

You got to travel to school every day with your father.

Yep. We would often drive to school together. It was one of the best times of my life for sure.

It's Tuesday afternoon, and you are in Professor Linn's copyright class at Southwestern and...

How do you know all this?

You are learning music...

Copyright.

Copyright. Not quite a riveting subject to study.

I thought it was riveting. I really did. I think it had a lot of influence on me. My first summer after law school, I clerked for a judge in criminal court which is what I thought I was going to end up doing, and it was so intense. By the end of the summer, I knew that was absolutely something I could not do. That’s when I switched my focus to entertainment (law).

In Linn's class even when he would talk about "rear window." I was really excited about my first song that I had to clear for "rear window." It was like, "This is really happening."

What's a "rear window?"

"Rear window" is a term used to describe copyrights that can expire, and the author’s heirs would have to renew it. It’s named after the (1954) film, because that’s the case that determined the law. The basic idea is that back when copyrights were for limited terms, if they expired and the author had died the rights would revert to the heirs. But, know one really know who the heirs are until the author has actually died. Anyway, this doesn’t happen anymore, because US copyrights are for life of author plus 70 years. I was clearing "Piano Man" for "ER" and it was one of these "rear window" songs so Billy Joel’s daughter (Alexa Ray) was the likely heir and, as her guardian, he signed off her.

You graduated in 1995.

I think 1995, yes.

Did you work for a law firm before joining the William Morris Agency?

I started working for William Morris when I was in law school. I had worked for a law firm I think, while I was studying for the LSAT (the admission test for law school). I started working for William Morris sometime in my second year of law school.

Did you start at William Morris in the mail room as many did in that period?

I always worked in the legal department. I had a lot of friends in the mail room including my husband (Josh Cline) when I was at William Morris. When we were just dating, he was in the mail room at ICM.

At William Morris, you were handling licensing and rights issues?

What I did pretty much exclusively was deal with the legal aspects of the touring contracts. It would have to do with liability issues, exclusivity, and insurance. All that kind of stuff. It was a lot of dealing with (promoters) Bill Silva and The Nederlander Organization and a lot of fairs.

A great job but not necessarily a job for a person as creative as you.

Exactly. You are exactly right, and it was not for my personality. I would drive to work every day psyching myself to call these promoters, and argue about the language of the contracts. I am still kinda shy, but I was so shy back then. I think in the beginning, I didn't even know who these guys were. I read a music industry book where it said that "on the music industry scale even lower than lawyers are concert promoters."

Would you be looking for liability issues in the contact?

Yeah. Making sure that the indemnification was definitely the most important thing. Also, things like a proper force majeure clause (a contract provision that allows a party to suspend or terminate the performance of its obligations when certain circumstances beyond their control arise, making performance inadvisable, commercially impracticable, illegal, or impossible). Just making sure what would happen if our band showed up or if they didn’t ,and if it was raining. Part of how I got the job was that they needed someone. William Morris owns Lollapalooza and I think there had been a giant accidents at one of the early Lollapaloozas. So they were so entrenched in that they needed more help.

Your husband Josh has something you haven’t yet got, an Emmy.

Thanks for mentioning that (laughing). Maybe this (Music Supervisors) Guild will be able to change that. The music supervisors just started a guild, and one thing they are lobbying for is for music supervision to be recognized by the academies.

A proud moment when Josh received the Emmy?

So proud. When he was starting Sample Digital, the company that started this digital delivery of dailies, our lives were insane because we would both be in pilot season. Every single day there'd be somebody calling that the dailies aren't there. It was a month of non-sleeping stress. It was crazy. But I am so proud of him.

[In 2013, Josh Kline won a Primetime Emmy Engineering Award for overseeing the development of, patenting, and bringing to market Digital Dailies, revolutionizing the review and approval process in the film and television production industry.]

Josh is now at the Box, the Silicon Valley-based cloud content management firm, as Head of Media & Entertainment.

It's cool he's at these companies that I use so much. I use Digital Dailies almost every day and I use Box all day long, every day.

Is Josh still trying to get a film version of "Star Blazers" off the ground?

He is. (Director) Chris McQuarrie, that's his next project, I think, after he finishes "MI5." So that will be exciting. Josh has had that property since we started dated. We got married in '97 or '98. I can't remember. We started dating in '91. Shortly afterwards, he optioned that. Right away Walt Disney Pictures was interested. Then almost 20 years later, it's still chugging away. It's been a crazy process.

Do you watch your work when it's on television?

Usually. It depends on how many times that I have already seen it. Something no matter what, I will watch. If "West Wing" is on TV, I will watch it because I am just so obsessed with that show. I love watching “Shameless” as well. Almost everything I will watch. You also want to hear the mix.

Do you sometimes think, "What the hell was I thinking when I did that?"

I will look at a group of songs that I have suggested a year ago or so that I remember being excited about. I will have a scene where they have asked for a dance club number, and "We have no money." I will think, "I have that nailed. I just did that last season." I will listen to the songs, "What was I thinking?"

Can you enjoy a TV show or film without focusing on the music?

Absolutely, yeah. I can get lost in something. When something is not good, it's harder to get lost in. But when something is great, and it's all working I totally get into it. Or I will be so impressed by something. Something like "Pitch Perfect," the (2012) film about a college women's acapella singing group.

Tell me about the magic of finding a piece of music after a long search and the moment you sync up the music, and you think, "Oh my God, it's perfect." A cool feeling?

It's the best feeling. It's really special. And then you just hope that your aren't crazy, and everybody else will feel the same way.

You call your assistant into your office, and say, "You gotta see this!"

Hundred percent. That's exactly what I do or I make Josh watch it if I am at home.

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.” Larry is the recipient of the 2013 Walt Grealis Special Achievement Award, recognizing individuals who have made an impact on the Canadian music industry. He is a board member of the Mariposa Folk Festival in Orillia, Ontario.

.

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
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
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
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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