Industry Profile: David Berger

— By Larry LeBlanc (CelebrityAccess)

This week In the Hot Seat with Larry LeBlanc: David Berger, CEO, Future Beat.

Future Beat has already blazed a trail in live music by producing imaginative VIP programs for more than 125 tours over the past two years.

Operated by David Berger and Andrew Tenenbaum, the Beverly Hills, California-based VIP ticketing company creates premium ticket packages that offer front-of-the-house seating; meet-and-greets with artists and bands; access to soundchecks; backstage tours; Q&A sessions; as well as exclusive artist merchandise.

At premium prices, VIP programs have provided substantial opportunities for artists to generate new revenue streams derived from fans willing to pay whatever the market will bear to be at a concert.

Among Future Beatís clients have been Kiss, Aerosmith, Lil Wayne, Wiz Khalifa, Yellowcard, the Fray, Def Leppard, Fleetwood Mac, Ringo Starr, ZZ Top, Jeff Beck, Peter Frampton, Lynyrd Skynyrd, Kendrick Lamar, 2 Chainz, Juicy J, Joe Satriani, Steve Vai, the Doobie Brothers, Yes, Cheap Trick, Chance the Rapper, the Weeknd, New Edition, Linkin Park, Trace Adkins, Trisha Yearwood, and Little Big Town.

Bergerís experience in venue ticketing dates back to the late Ď80s, when, as a high school student, he worked at the Newbury Comics retail chain in Boston, overseeing the in-store Ticketron machine, which offered computerized event ticketing. After acquiring his Bachelor of Science degree in electronic media from Northern Arizona University in Flagstaff, he worked directly for Ticketron in Boston and later in San Francisco where he also took on a second job at Bill Graham Presents.

In 2005, Berger joined Signatures Network, a maker of music-related merchandise, helping to develop the concept of high-end premium ticket packages at the company.

Following the acquisition of Signatures Network by Live Nation in 2007, Berger founded the companyís VIP ticketing division and produced VIP programs for Live Nationís global and North American tours, including for such artists as U2, Prince, Madonna, Roger Waters, Rush, Tom Petty & the Heartbreakers, Sting, Ozzy Osbourne, Drake and others.

Following Live Nationís merger with Ticketmaster in 2010, Berger was instrumental in creating the new companyís premium ticketing division, VIP Nation before co-founding Future Beat.

In essence, Future Beat presents VIP programs that offer front-of-the-house seating, meet-and-greets, tours of backstages, and exclusive merchandising?

Yeah. We do backstage tours, access to pre-show soundchecks, and Q&A sessions with the band. Obviously, the exclusive meet-and-greet. Some bands offer side stage access for the first three songs for a select amount of fans to get onstage, and watch from the side stage.

Basically, itís (VIP is) always a great seat. If itís a GA (general admission) show, itís early entry so the fans can get in early, and get up close (to the stage). Get their spot. Front row. The first 10 rows. The first 15 rows.

I just did Kiss, and we did a very successful backstage tour where the fans meet the band and all that; but they go backstage and they check out the dressing rooms. They meet the lighting guys, and the sound tech. They can get onstage and sit behind the drum set, and they can hold Gene Simmonís bass guitar. Fans like all that stuff.

Itís the bandís management that hires Future Beat?

Yes. The bandís management is always involved in what they (an act) are going to offer. I work directly with the artistís management.

The bigger the group, the more appeal to fans?

Well, no. Every artist has a dedicated fan base. Obviously, some bands are more popular and have been around longer than others. At Future Beat, we produce programs for artists who have been around for some time, and we produce programs for upcoming or new artists. All types of artists in all music genres.

Future Beat does the entire tour for an artist?

Yes. When we produce the program for the entire (North American) tour, and overseas as well.

How big a staff do you have?

We have a small staff. We have 6 people. I have a great system. I have my customer service department. We have some project managers, and accounting staff.

Andrew Tenenbaum is your partner in Future Beat?

Andrew works with the financials, and he helps with legal matters. I worked with Andrew when he was at MBST Entertainment which reps a lot of big time comedians and actors.

Does Future Beat have dedicated staff on a tour supervising the VIP packages or do you utilize the bandís touring staff for things like meet-and-greets?

We have someone on the road or we have someone from the tour staff that is going to produce it. It depends on the tour. I do have VIP coordinators that are outside of my office staff that I do hire to go on the road to produce these programs. Itís important that the coordinator has the experience; has been on the road; and also fits the vibe of the band. They have bunk space. They are part of the crew. Their job is to produce the meet-and-greets. There are only coordinators when there are meet-and-greets or some kind of fan experience.

What do you suggest to the manager of a headlining act when pitching a VIP program?

Every conversations starts with, ďWhat is the band comfortable with doing?Ē Obviously, what I need is the tour plan. How many dates? Where is the band playing? What size venues? Whatís the average ticket cost? Will the band do meet-and-greets? Will they do autographs? Will they allow fans into soundcheck? Every program is diverse in that they do meet-and-greets or they donít. They may spend more time (with fans). They may do a Q&A. They, maybe, will do a soundcheck or they donít. They will meet X amount of people.

Every package is different. So then what?

Once I have what the band and management is interested in, and are willing to do--and I have the tour dates, and the pricing--I put together a detailed proposal with all of the financial numbers that basically says, ďHereís the package. I will come back to you.Ē

So we have an initial talk, and then I come back with a detailed proposal that shows them at X amount of dates that this is the pricing; this is what the band will make; here are the package details.

Thatís when the band and the management decides what they want to do. Once itís approved, that is what we do. I work very closely with the agent. The agent gets me the itinerary with the promoter contacts. I contact the promoters. They put me in touch with the box offices. I sell on the main ticketing system; whether itís Ticketmaster or not Ticketmaster. I sell packages on the primary ticketing system. The same system that the general tickets are being sold in. No matter who the artist is. No matter what the venue is. No matter what ticketing system. It takes a lot of detailed work to get in there. To build these offers, but the package is exposure and it helps generate the sales. It helps create revenue for the artists.

But you do sell all of the VIP packages on the main ticketing system?

Thatís one thing that I do differently than a lot of other VIP companies. Every ticket, and every package that is sold, I sell on the primary ticketing system. I do not take tickets off system. I place these packages on the same page as the general tickets are being sold.

Why do you do that?

Well, it maximizes the revenue in the package sales. Thereís also more awareness (of the VIP program). I can do a (VIP) package for a band, and they can tweet and post it and message it, and send an email to their mailing lists, and let all of the hardcore fans know that, ďHey thereís a tour, and there are going to be these special packages. Hereís where you get them.Ē That hardcore fan base will buy them (packages) anywhere. I could sell them (VIP packages) through Future Beat or any other ticketing system because that hardcore fan base will buy them no matter what. But what about everybody else that doesnít know?

By having the VIP offer on the main system, the placement is there along with the general tickets for fans who donít know about the offer.

Yes. They can see the package descriptions. They can see the pricing. They know what the normal ticket sells for and they can do the math. ďOkay, Iím spending an extra $100. What am I getting for the extra $100?Ē They can see it (the added value incentives) right in front of them. ďIím getting a ticket in the first 10 rows. Okay, thatís worth something. But Iím also getting a cool shirt. Or a silk-screened poster. Iím getting a laminate. Iím going to meet the artists etc.Ē That value is one of a kind and that helps maximize the revenue.

What is the price range of VIP packages?

It really depends, again, on the artist. A meet-and-greet, and first five row (seating), and soundcheck access, and merchandise, Iíve done some really big tours where the price gets up there. Generally speaking, if a manager asks what I recommend that we price these at, Iím pretty conservative about the pricing. With these packages, itís the artistís brand, and the artistís name that we are representing. So itís not healthy to come up aggressive with crazy pricing and packages that, maybe, donít have a lot of real value to them because you are really taking advantage of the artist, and the fan.

Today, thereís considerable anger directed toward the ticketing market in general over the mark-up on tickets as well as such practices as presale, premium, VIP, auctions, etc. How does that affect your business?

I look at it in two ways. It is a business, and it does generate a lot of money for the artist. And Iím good at generating money for the artist in the VIP world. I see numbers. I know numbers. I have them in my head. I can make money for any artist who wants to do this. I have. But, at the same time, what is important to me personally is the value and the care and the human touch that goes into these programs. I canít overemphasize that enough.

Have you had to advise managers and artists that they were being too aggressive with the pricing of their VIP programs?

I have. I respect the artistís and the managerís decision of what they want to do, but I do suggest pricing. When I discuss these programs with management, I give them suggested pricing. My whole thing has been about creating value; getting the great seats; creating great experiences; and not taking advantage of the fan by overcharging. I feel like you have be fair about the pricing. Itís a business. Thereís money to be made. Thereís money that should be made, definitely. And there are fans who want these packages. They want them, definitely. They will spend, but why take advantage of them? If you are way too aggressive with the pricing, and the value is not really there, fans may buy it but they may feel a little bit disgruntled. Thatís not a good representation of the band. It hurts the bandís image. It hurts their name. The next time that band tours that hardcore fanóand itís the hardcore fan that is buying these packagesómay not want to buy that package again because they didnít have that (memorable) experience. It was overpriced. They didnít get good customer service. The product they got was cheap. It wasnít worth the money. So thatís not a good thing.

To paraphrase Garth Brooks, just because an artist can overcharge, doesnít mean they should.

Not all packages are ďVIP packages.Ē Some of them are ticket packages or ticket and merchandise packages. I donít want to name artists because I donít want to use their brand to backup what Iím saying, but there are artists who say ďVIPĒ is not their thing. They do not want it to be known as a ďVIP package act.Ē So what does it become? It becomes the same package, but they strip away all of the VIP (associations) and they classy it up a little bit. It becomes what the tour name is, a ticket package with great seats, merchandise, and probably no fan experience whatsoever.

Thereís money to be made in simple ticket and merchandise packages. These packages donít need the meet-and-greet or the Q&A or the soundcheck or the backstage tour. You can have zero artist involvement, and still secure the better tickets, get really creative with the merchandiseómake real quality merchóand make the artist a lot of money. So, itís all about the language, and about how you present that package.

How do you scale a VIP program for an emerging act?

I do a lot of small groups. The small groups still have that a fan base that wants to meet them. I have been hit up by the agencies to produce programs for brand-new artists on their first or second tours. That are playing 300 person rooms. I have done small artists who are [playing to] 300 seat rooms. Troubadour size rooms and I have made the artist $20,000 or $25,000 at the end of the tour. That may not be a lot of money but, to that artist, it just paid for his tour manager, or it paid for a trailer or insurance. It paid for something.

Whatís the VIP strategy involved with emerging acts?

The ticket face is going to be $15 or $20. We will still do a meet-and-greet, and do a soundcheck and fans will still get the cool merchandise. We will make it (the package) $45. Itís very inexpensive, but thereís still a lot of value there. It still generates that revenue for that artist. Iíve done some artists that are so new.

We live in a world where artists are huge celebrities.

I agree.

For the fan, itís often like meeting somebody bigger-than-life.

Yeah. Fans want to meet that artist. Everybody is living in that social media world where they are on Facebook, Twitter and Instagram. I think for a fan who meets that artist, and gets that photo with the artist to post, and share it with their friends and the family, thatís what itís all about for them. Itís like, ďHey, check me out.Ē

For meet-and-greets, how long do fans generally get with the artist?

It depends on the artist, and it really depends on how many fans are meeting the artist.

Do you try to limit the number of fans in meet-and-greets?

Yes, definitely. I would say 50 (fans) meeting is pretty comfortable. Most of them happen pre show. There are artists who do want to meet the fans after the show.

I heard Peter Gabriel lets fans attend soundchecks which I thought was kinda cool.

I do a lot of soundchecks. Listen, fans love it. Obviously, with the soundcheck the fan gets the better seat as well. So itís extra value. Listen, they can go to soundcheck but when the show starts, they have the better seat.

Do different groups have different VIP programs running simultaneously? I saw Nickelback on the ďHere and NowĒ tour, and it seemed like they had several levels of meet-and-greets going on.

Nickelback did meet-and-greets. On one of their tours, they did these little coves that were part of the stage design where they would let roughly 15 or 20 people in on each side of the stage. The second time around (on the ďHere and NowĒ tour) we upped it (the experience). It was supposed to be more like a bar scene where there were tables in there. That idea came from what I did for Princeís tour for Live Nation three years ago, and we created the Purple Circle (VIP Table Seats). The show was in the round so there were four sections. A section on each part of the stage. The stage was designed as the symbol. There were tables and waiter staff. It was cool. Fans got up really close. If they wanted to stand and dance they could. If they wanted to sit and drink, they could. Yeah, itís a great experience for the fan.

Does the promoter participate in the VIP revenue at all? After all, you receive the top tickets from them for all shows.

Itís a deal between the artist, the management and the VIP provider. Thereís a contract there that allows the VIP provider to secure the better seats for this type of package or for a fan club. I work with the artists, and itís (ticket sales are) in a lot of the artistsí tour deals. My job for the artist is to create value-added, cool packages for their fans. So their fans donít get ripped off by the brokers. So the fans are getting some one-of-a-kind experience. Yes, it does cost money. It does cost. But, in return, there is something for it. The promoter gets their ticket face (value), and the difference goes into the artistsí pot.

There are still fans left out screaming, ďWhy canít I get the best tickets? This is my band that I have supported, forever. I canít get great seats. I canít get backstage.Ē I understand them being pissed off.

The packages that I sell are open to anyone in the general public.

Anybody with money.

Anybody with or without money. Yeah, they need money to buy it.

With the rise of secondary ticket market a ticket that first sold at $75 then may sell for $150. So whatís is that ticket really worth?

What is it really worth? Itís still worth $75.

Maybe, the promoter underpriced the ticket.

Yeah. Thereís always a fan. Every artist or bandóand I mean every artist and or bandóhas a dedicated fan base that will spend extra to get the better seat. To get up close and to have that experience. They will pay. The fanatics will pay. When you put tickets on the secondary market, and the brokers get it, yeah, there is somebody out there who will pay for that.

Major artists became attracted to VIP programs after they saw tickets to their shows being sold in the secondary market for $300 to $400. They learned that there are fans willing to pay whatever the market will bear to be at a concert. Many artists, managers, and agents think pricing and distribution should be an artistís decision and that artists deserve at least part of that resell revenue.

Exactly. Why should this revenue go to a third party or to the broker network? VIP tickets are a great way to generate really great ancillary income directly for the artist; take care of the fan base; provide some value; provide an experience; and not have that revenue go to a broker. The brokers are ripping off fans. The brokers, they have a crazy network. They go in, and they get the better tickets. They sell them on the black market.

Itís not a black market. Re-selling tickets is legit in all but a couple of states in the U.S.

Right, itís legit. But even on Craigslist or online whatever, they are getting the better tickets. Listen, thereís always somebody there to buy the tickets. They are taking advantage of the fan. I believe in VIP. I think a lot of times the VIP packages are underpriced for what they (tickets) are sold on the secondary system.

What do you think of paperless ticketing in curbing the secondary market?

Any way to prevent the brokers from getting the better seats, selling them at really outrageous prices, taking advantage of the artists and the bands, and the hardcore fan base is a good thing.

It has proven impossible to prevent scalpers. People who want a ticket will get it at any price.

Exactly. If you are a real fanatic and you are a dedicated fan you will do anything you can to find that tickets whatever price itís sold out if you have the money itís there to buy.

As we talked about previously, Future Beatís VIP packages are listed on Ticketmaster and other ticketing sites.

Yeah, I work with Ticketmaster and I sell all of the packages on Ticketmaster. They (the listings) are on that main ticketing page for the event. If itís a Ticketmaster contracted venue, and the show is being sold on Ticketmaster offering packages for that tour, and that show, that package offer will be on that same ticketing page on Ticketmaster as a general ticket.

Do VIP packaged tickets sell faster than other tickets when listed like that?

Yeah, they move very fast. But also they have an initial rush of sales, and then they do stay on sale for quite some time. Up to one or two weeks prior to show date the packages are available. After the first couple of weeks, we do get a lot of the sales, but sales do continue until the packages come off sale.

You only put up a certain number of packages?

Yeah. I hold X amount per show. Then if the packages are not selling, I will work with the promoter to release tickets. My whole thing has always been working with the promoter. Releasing tickets that are not selling. Being flexible. Being easy. Coming from the box office world, and knowing how people shit on the box office management, Iíve always been kind to the box office people. I donít really push them. I make it easy for everybody. Therefore, I do get the better seats and it makes it easier.

You have been producing VIP programs for over a decade.

I must have done over 500 tours. I have always put in the creativity. I have always been cautious of the pricing. I am always checking out the wording (of the VIP offers). And a big thing, customer service. Customer service is very important to these programs. It is important to have strong customer service for that fan. If they have questions about the package. There may be concerns. They are running late. They may need to change their name on the ticket.

Itís about the follow-up.

The follow-up is huge in VIP ticketing. You are selling product. You are selling experiences and packages to the hardcore fan base. They are paying top dollar and they need to be taken care of. So itís about customer service, and providing the details, making sure that fan is taken care of. We want to answer as many questions as we can before they go in there so when they meet the artist they are relaxed. They know what they are going to get, and they are going to have a good time. Customer service is really important. The pricing is really important, and how you present the packageóthe description--make it very clear what people are getting.

Promoters have long had exclusive ticketing clubs. Of course, Shelley Lazar has been running SLO VIP Ticket Services for years, and there is also CID Entertainment as well as Live Nationís and AEG Liveís own in-house operations. Of course, Citi has VIP concert opportunities for its cardholders.

Iím not really re-inventing the wheel so much. Where does the wheel start? I donít know. (Michael Cohl) and Arthur Fogelís group, The Next Adventure (TNA sold to SFX in 1999) before they became Live Nation Global? They did golden circle. They created the VIP idea in a way by their pricing. Created that higher pricing for the better seats. Definitely Shelley got into this as well, as did Signatures around 2004 when they started to package. Taking the better tickets and selling them to fan clubs and stuff and, maybe, adding merchandise.

Thatís when I came in. Around 2004 and 2005. I started working at Signatures. I had already been working at Ticketmaster for a long time so I knew the ticketing background.

[Signatures Network, formerly known as Sony Signatures, Inc., was founded in 1993 in San Francisco. At the time of its sale to Live Nation Entertainment in 2007, Signatures Network held the rights to market and license merchandise for more than 150 artists, including the Beatles, U2, Bruce Springsteen, Justin Timberlake and the Grateful Dead.]

You are one of the handful of veterans in the VIP supplier world.

I donít ever want to be quoted as saying I was the creator (of VIP packaging) because there was the golden circle, and there were promoters who were being creative with their ticketing. But, yeah, I would say that I helped put together the VIP packages and made them mainstream. Iíve always been quite creative. I do care a lot about the consumer, and the consumer experiences. What they are getting. The value. I think that value is really important. I think that is what I added to it (the VIP sector). I think that I helped put a lot creativity, and lot of care and a lot of value into the package programs.

In the early days, fan ticketing programs were about assuring that customers had good seats.

When I got into the VIP world in 2004/2005 there really werenít VIP packages. A few were kinda doing it, but it wasnít mainstream at that point. The promoters werenít really doing what was called VIP packages. In some cases there was some kind of golden circle.

Working with artist management, promoters would secure the better seats and combine them with merchandise to create these fans packages which was very new at the time.

Yeah. It was like the golden circle (concept) and that was only for really for the tickets. When I got into it at Signatures in 2004, we had more creative packaging. We secured the better tickets, and we bundled them with really cool merchandise, and the fan experience. At first, they (the VIP packages) were sold through the fan club/artist website. Tickets werenít sold on the main ticketing system. They were sold through the fan club. Fan clubs were popular 10 years ago. The fan club subscription was popular. That was the model. So we would take tickets off the system and sell it through the fan club. Bundle it creatively. It became some great revenue for the artists.

With the fan clubs, the idea was the artists were going to reward those people who had been fans for years.

Definitely. And that was with pre-sale tickets and no packaging. That was like buying a subscription for $20, $30 or $40, and with that subscription you may get a piece of merchandise, a shirt or some smaller item, and you would get access to the better tickets. That was a way for that Łber-fan to get the great seat and, in return for their spend of the fan club subscription, they would get some kind of merchandise, and value back. That is really what VIP became. That is where it sort of came out of in a way. Going back to what I said earlier, I think that is why I really added a lot to it was just being creative, and providing value and not taking advantage of the fan. Not gouging the fan with really extreme pricing. Thatís been my motto forever.

Big festivals like Bonnaroo, and Coachella have since utilized and maximized the VIP template.

Definitely. They took the template, and they applied it to the festival setting. Most of the promoters are creating their own VIP programs for the festivals. Festivals are more venue based or festival based packages. They are not an artist package. I work with the artists. The programs that I produce are artist branded. When I go out there. I represent the artist.

Whereas festivals are packaging and branding their event.

Exactly and with that you are getting some kind of GA seating in the special VIP section and, maybe, you go backstage. But not really.

People who buy festival VIP packages arenít into roughing it at an outdoor event. Their attitude is, ďI donít want to sit in the mud with the audience. I want to be backstage or to have special access. I want to be splitting a beer with Brad Pitt.Ē

They may get a glimpse of some celebrities but the are not really hanging with them. Itís not like the real VIP section. Itís the fan VIP section where they have some concessions (to purchase food and drinks), and itís easier to get to the restroom. Some companies do travel packages. They meet and they greet you (at the airport), and they have your hotel booked, and they shuttle you to the event. Only to go into your pseudo VIP section, and still but the concession food, and be in the heat, and still have to deal with the traffic. It what it is. I have stayed away from festivals. My focus has always been on the artist and the fan.

Do you have access in casinos when your acts play those venues?

I do a lot of casinos. If you are a manager, and you say we are going to do packages for the artist, and the agent gives me the itinerary, then Iím going to get packages on every single show I can. I just did a Michael McDonald/Toto tour. I do a lot of country. I do Air Supply, and Peter Frampton tours. These are casino dates. ZZ Top. Whatever it is I do it. Nine times out of ten (shows), I would say, Iím offering the (VIP) package. Casinos always comp the high rollers and they get the meet-and-greet. We really try to get our paying customers in first.

Future Beat offers exclusive artist merchandise for its VIP packages.

All of the merchandising that is available on the packages is exclusive to the package only. You canít buy it on the merch line. You canít buy it online. You wonít find it in any store. The designs and merch itself is only available in the package. I work with a lot of cool designers, and we are working with artist management which give us a lot of great photos and logos and ideas. Then we cough up these merch items. Of course, the artistís management, and the band has to approve it all, but thereís a lot of creativity there.

What type of merch do you sell?

Hoodies, T-shirts, lithograph and silk-screen posters, tote bags, hats and so on. We give a lot of laminates, meet-and-greet laminates and sometimes just commemorative laminates. What does a commemorative laminate really get you? Nothing but the laminate. We bundle the album a lot with the packages, and work to get those Soundscanned which helps the artists. We bundle DVDs. When I was at Live Nation, I did the Ozzie Osbourne Ouija board (for the 2010-2011 tour). When I did Roger Waters, we made a replica of The Wall that was really well done.

Iím working on some really different merchandising items that Iím going to begin to offer. That havenít been done before. Thereís no artist memorabilia anymore. When I have the opportunity, and when the artist allows me to be really creative, I always try to create some really nice and unique pieces. They become memorabilia. They just donít become merch. I really like that. I really like making really unique and different stuff and fun stuff that goes beyond the merchandising line which become a piece of memorabilia, and becomes a memory.

All of this goes back to when you worked at Newbury Comics in Boston, and Mike Dreese (CEO and co-founder) had all that music-related memorabilia in his stores.

Oh yeah. Big time. Newbury Comics was a full of fun stuff.

What Newbury Comic outlets did you work at?

I worked at the Boston store, and at the Cambridge location. I also worked at the Government Center for a little bit in Boston.

I know Newbury Comicís original store on Newbury Street, and the chainís second outlet, the Harvard Square store.

Yes, the Harvard Square store. The first time out of the house when I was able to go out with my friends I used to go to Harvard Square. That was my hang all of the time. I used to go to The Garage, the Mall in Harvard Square.

You grew up in Boston?

I grew up in the western Ďburbs of Boston. We moved around Brookline, and the Cambridge area. Boston is a cool city. Iím glad to have grown up there. Itís a tough city. They keep it real in Boston. They tell you how they feel. I respect that. Thatís something. Today, Iím an east coast guy living in LA.

My background is that I have always been into music. Going to concerts,, and movies growing up. I got my degree in electronic media, and was a DJ. All of the type of things that you do when you are really young.

While in high school, as you said, you worked at Newbury Comics.

I worked at the cool record store. I loved it. That was cool experience. That wasnít an easy job to get back then. Iíve always been eccentric, enthusiastic and passionate. That has always come across. It was a cool job. And working that ticket machine was really cool. It was a good experience. Itís funny that that experience kind of started it for me in a way without me knowing. It wasnít like I was trying to start something or become something. I was never, ďWhen I grow up I want to produce VIP packages for some of the biggest bands in the world.Ē

It was a Ticketron machine offering computerized event ticketing.

Well, yeah they had the whole Ticketron machine there. The big ticket on sales used to be on Sundays. There wasnít the internet yet. So concerts would be promoted on the radio and through the newspapers and stuff. The big on sales were every Sunday. Fans would line up or sleep out if there was a big show with a big artist. They would go to the ticket outlets, and sleep overnight.

You could really feel the excitement for live music back then. You knew when there was a big show like Led Zeppelin. Thereíd be 150 people in front of a store.

Yeah, yeah. I liked that. It was exciting. It was good seeing people excited and being the guy who was behind the ticket machine. It was cool. We used to wrist band everyone, and get everybody in line. I used to run the machine and run the on sales.

Then you went to college in Arizona?

Yeah. I went to Emerson College (in Boston) for a little while. I was big into the rave scene in 1991. í92 and í93. Early on in Boston. First or second generation. Early rave. I was going to Emerson, and I was really into the music, and I was young. I wasnít focused. I didnít want to do school I ended up leaving. Too expensive. Not totally being focused. I ended up going to Northern Arizona University in Flagstaff. I got my Bachelor of Science (degree) in electronic media. It was basically a communications degree studying film, TV, public relations, and mass communications.

Moving from Boston to Arizona must have been challenging at that age.

Arizona was actually a great experience. Flagstaff is just an incredible place. I had a great education there. But after being in the high desert for a few years I was ready to go. But you donít know what to do when you leave college.

So what did you do?

I went back to Boston. My first job was at a dot-com called ICAST. It was an entertainment dot-com owned by (internet powerhouse) CMGI. I made all of the layoffs, but eventually everyone got laid off. That was when the whole dot-com thing started to crash in 1999. The market got flooded with people looking for jobs. I needed a job. I needed to pay rent. Ticketmaster was hiring. It wasnít the sexiest looking job, but it was still related to music. So I applied. I beat out a lot of people. I got the job because of my experience. Because I had worked on the Ticketron machine when I was at Newbury Comics helped me get that job. I was at Ticketmaster in Boston for a year as an event programmer. So I met Don Law and all of the (local) promoters. Weíd build their shows on the system. We build the ticket type. Weíd build the show. Put together all of the financials. The whole thing.

Then you went to San Francisco.

I just got sick of Boston so I left. I had an opportunity to move to San Francisco. No job. Really, no friends. I needed a job.. I had left Ticketmaster (in Boston) cold. ďThis really isnít my thing. I donít want to be in Boston anymore.Ē I had always wanted to be in San Francisco. So I just quit. I had a little bit of money. I drove to San Francisco. I needed a job, Guess what? Ticketmaster was hiring, and I applied and I got the job. I was a client rep, and I was an event programmer. I worked all of their shows. It was a great experience. I worked with some really great people there.

How did the job working at Bill Graham Presents come about?

There was a Dead show and they needed some help because there was scalping going on. They asked for some Ticketmaster employees to come down there to be there if thereís any problem with the ticket stub scamming.Ē There are ways to tell if a ticket is real or not. I did that and it was a great opportunity. I befriended the manager of the box office at the Warfield Theatre

You ended up managing the box office at the companyís famed venues, the Fillmore and the Warfield Theatre.

I became the box office supervisor. I was there for four years or so. I worked at Ticketmaster during the day and then I worked shows at Bill Graham Presents--which was SFX--at night. I was working 70 or 80 hours a week. I loved it. I loved working the Fillmore. I loved hearing the Bill Graham stories. I admire him. Obviously, Iím too young that I never met him. You hear crazy stories. His story of being an east coast guy and a Jew going out west and making it was inspiring to me.

Then you went to Signatures Network.

Yes, I left Ticketmaster and went to Signatures Network. Then they got bought by Live Nation, and I created the VIP Division of Live Nation. Then I created VIP Nation.

How did you get to Los Angeles? Through Live Nation?

Yeah Live Nation brought me down in 2009. Then I left in 2011.

You worked at Live Nation, and you arenít Canadian?

(Laughing) I was really close with Riley OíConnor, and I know Gerry Barad and Bret Gallagher. I worked for (Michael) Rapino. So I know the Canadians (there). Steve Herman, and Arthur (Fogel).

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 ďMusic From Far And Wide.Ē 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
Stephen Budd, Stephen Budd Management 07/13/17
Bruce Burch, University of Georgia Music Business Program 10/09/09
Deborah Burda, Kentucky Exposition Center 08/03/07
Patti Burgart, IEBA 06/07/02
Jordan Burger, The New Musiquarium 01/22/01
Ron Burman, Roadrunner Records 08/25/06
Suzanne Cadgene, Elmore 05/19/06
Karen Cadle, KGC Productions 03/12/04
Gary Calamar, KCRW 07/10/09
Charles Caldas, Merlin 07/05/10
Brian Camelio, ArtistShare 02/29/08
David Campbell, AEG Europe 08/02/10
Tom Cantone, Foxwoods Entertainment Group 10/20/00
Tom Cantone, Foxwoods Resort Casino 07/03/03
Tom Cantone, Mohegan Sun 08/30/09
Ashley Capps, A. C. Entertainment 05/21/04
Rio Caraeff, Vevo 07/12/11
Mike Carden, Eagle Rock Entertainment 08/16/11
Charles Carlini, Carlini Group 05/16/08
Mark Carpentieri, M.C. Records 05/27/05
Mark Carpentieri, M.C. Records 01/10/11
Troy Carter, Coalition Media Group 06/07/10
Daniel Catullo, Coming Home Studios 06/22/08
Raffi Cavoukian, Folk Singer/Children's Entertainer 05/11/16
Jeffrey Chabon, Chabon Entertainment Group 08/22/02
Mike Chadwick, Essential Music & Marketing 08/01/12
Rob Challice, Coda Music Agency 03/27/13
Tom Chauncey, Partisan Arts 01/11/02
Tom Chauncey, Partisan Arts 10/04/11
Lisa Cherniak, Artists Against Racism (AAR) 07/20/01
Bob Chiappardi, Concrete Marketing 06/13/03
Joel Chriss, Chriss & Co. 10/04/02
Michael Chugg, Michael Chugg Entertainment 09/14/01
Michael Chugg, Chugg Enterprises 10/02/09
Gary Churgin, Harry Fox Agency 09/13/10
Vinny Cinquemani, S.L. Feldman & Associates 12/13/12
Barry Coburn, Ten Ten Music Group 03/28/11
Matthew Cohen, Green Room Productions 10/19/01
Ted Cohen, TAG Strategic 01/10/13
Lisa Cohen, Associated Booking Corporation 02/10/06
Steve Cohen, Music + Art Management, Inc. 03/09/07
Dan Cohen, Music & Memory 01/12/17
Michael Cohl - Part 1, S2BN Entertainment 03/06/13
Michael Cohl - Part 2, S2BN Entertainment 03/13/13
Bryan Coleman, Union Entertainment Group 02/14/12
Mamie Coleman, Fox Broadcasting 07/05/12
Dennis Condon, Disneyland Resorts 07/13/01
Peter Conlon, Peter Conlon Presents 05/20/05
Tony Conway, Buddy Lee Attractions 10/06/00
Allen Cook, TOURtech 04/16/15
Tomas Cookman, Cookman International 09/05/03
Alex Cooley, Alex Cooley Presents 07/12/10
David Cooper, Foxman.com 10/31/03
Jay Cooper, Greenberg Traurig, LLP 05/23/11
Julie Coulter, Near North Insurance Groups 06/07/01
Amy Cox, Deep South Entertainment 02/09/07
Michael O. Crain, Crain Law Group, LLC 10/09/13
Charlie Cran, The Strawberry Music Festival 04/05/10
Jim Cressman, Invictus Entertainment Group 06/06/12
Russ Crupnick, MusicWatch, Inc. 07/23/15
Todd Culberhouse, Vision Management /Vision Records and Entertainment 09/05/08
Tony D'Amelio, Washington Speakers Bureau 04/21/06
Ruth Daniel, In Place of War 08/09/17
Ray Danniels, Standing Room Only Management, and the Anthem Entertainment Group 03/05/15
Ken Dashow, WAXQ-FM (l04.3 FM) - New York 09/08/06
Hal David, Lyricist 07/26/11
David Davidian, Independant Lighting Designer/Director 06/18/04
Anthony Davis, D&L Entertainment Services, Inc. 03/02/01
Chip Davis, American Gramaphone/Mannheim Steamroller 05/31/02
Mitch Davis, Tempest Entertainment 07/16/04
Jeff Dawson, Canadian Recording Services 06/08/08
Desiree Day, USO Celebrity Entertainment 08/10/01
Shauna de Cartier, Six Shooter Records/Six Shooter Management 10/23/13
Gene DeAnna, The Library of Congress 02/21/12
Vincent Degiorgio, Chapter 2 Productions 08/01/13
Tony DeLauro, DeLauro Management 12/23/04
Valerie Denn, Val Denn Agency 04/30/01
Val Denn, Val Denn Agency 03/06/14
Robert DePugh, Alligator Records 07/29/05
Tom Derr, Rock Ridge Music 10/29/04
Paul Dexter, Masterworks Lighting Design and Road Cases 12/10/04
Marty Diamond, Paradigm 01/22/10
Glenn Dicker, Redeye Distribution/Yep Roc Records 07/07/06
Barry Dickins, International Talent Booking Agency 06/06/13
Jim Digby, Event Safety Alliance 09/01/16
Mark Dinerstein, The Knitting Factory 11/17/06
Neill Dixon, Canadian Music Week 03/03/16
Thomas Dolby, Musician, academic, technologist, and author 11/09/16
Jasper Donat, Music Matters 2009/Branded 04/24/09
Jim Donio, National Association of Recording Merchandisers 04/22/11
Marc Dottore, M. Dottore Management 04/11/03
Tim Drake, The Roots Agency 12/12/08
Mike Dreese, Newbury Comics 11/23/11
Charles Driebe, Blind Ambition Management Ltd. 09/22/06
Jeremy Driesen, Ray Bloch Productions 09/07/01
Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of Denverís Division of Theatres and Arenas 08/23/10
Paolo díAlessandro, 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 íní 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 Gťlinas, Festival díťtť de Quťbec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Chris Gero, Yamaha Entertainment Group 10/26/16
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Steve Gietka, SMG Entertainment 03/19/14
Darren Gilmore, Watchdog Management 03/17/16
Daniel Glass, Glassnote Entertainment Group 10/16/14
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Neil Goldberg, Cirque Productions 04/16/14
Martin Goldschmidt, Cooking Vinyl Group 09/29/16
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, Turntable.fm 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Justin Kalifowitz, Downtown Publishing 04/20/17
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
Andrť Mťnard, Festival International de Jazz de Montrťal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Mķsica e Cultura 05/04/17
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley OíConnor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Paul Reed, Association of Independent Festivals (AIF) 06/14/17
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, ItsAboutMusic.com 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Peter Shapiro, Ideal Entertainment 04/16/04
Seth Sheck, Access Pass & Design 01/03/03
Seth Sheck, ACCESS Event Solutions 06/22/16
Seth Shomes, The Agency Group 11/12/14
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Michael Simon, The Harry Fox Agency 08/14/13
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Peter Smidt, Eurosonic Noorderslag & manager Buma Cultuur 07/17/13
Garrison Snell, Gyrosity Projects 02/23/17
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
Nikki Solgot, Circle Talent Agency 02/18/15
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Deb Suckling, SUGARRUSH Music 07/27/17
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Mandar Thakur, Times Music 08/06/15
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Marsha Vlasic, Artist Group International 05/31/17
Mat Vlasic, Bravado 06/28/17
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Kirt Webster, Webster PR 02/03/16
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Adam White, Author 09/14/16
Adam Wilkes, AEG Live Asia 10/13/16
Fenton Williams, 04/04/08
Del Williams, Right Arm Entertainment 04/18/08
Bryan "Birdman" Williams, Cash Money Records 09/13/11
Paul Williams, ASCAP 10/19/11
J.P. Williams, Parallel Entertainment 10/03/12
Kurt Willms, Green Room Productions 09/20/03
Chris Wilson, Heartbeat Records 03/02/07
Tony Wilson, Factory Records/In The City 06/01/07
Tom Windish, The Windish Agency 07/26/10
John Wiseman, XL Touring Video 05/05/06
Thom Wolke, Twincloud.com 02/08/02
Michael Wood, City Lights Entertainment 08/08/08
Keith Wortman, Blackbird Presents 03/22/17
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, CultureCatch.com 07/27/07
Jeremiah ďIceĒ 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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