Graham Parker (Marco Antonio)

Industry Profile: Graham Parker

— By Larry LeBlanc (CelebrityAccess)

This week In the Hot Seat with Larry LeBlanc: Graham Parker, GM, WQXR-FM.

In his heart of hearts, Graham Parker probably wishes that John Kander, and Fred Ebb had written "Theme from New York, New York" as a classical piece for piano in the 1970s.

Since taking the helm as GM in 2010, Parker has led WQXR-FM’s transformation into a global destination for classical music, with a strong boosterism to anything that is excellent classical music in New York City.

Parker is a one-piece New York Tourist Board orchestra conductor.

Classical 105.9 WQXR is New York City’s only 24-hour classical music station, presenting classical recordings as well as live concerts from the Metropolitan Opera, the New York Philharmonic and other New York City venues. In addition, WQXR produces a broad range of events in The Jerome L. Greene Performance Space.

Integrating on-air programming with digital initiatives, Parker has overseen the growth and launch of Q2Music and Operavore on-line channels, securing WQXR's role as a digital music source, while successfully cultivating new listeners for classical music; leading the cheerleading section for newer classical artists on a global scale; while retaining the core of the station’s cherished, established programming.

Born in London, England, Parker holds a Bachelor of Science degree from Oxford Brookes University. Trained on flute and piano, he took up conducting at college.

Arriving in New York City in 1995, Parker answered a newspaper ad that led to him working in both marketing and concert production at the New York Philharmonic. Next, he held positions at the Chamber Music Society of Lincoln Center, where he produced the “Great Day in New York” and “Beethoven 2000” concert series.

Parker then served as GM of the Brooklyn Philharmonic, where he managed the artistic, orchestral, education and outreach activities of the organization. During an 8 year tenure as executive dir. of the Orpheus Chamber Orchestra that followed, Parker is credited for revitalizing the company’s artistic vision and brand.

In 2009, Parker received the Helen M. Thompson Award from the League of American Orchestras.

In 2009, the WQXR frequency was sold for over $40 million. Why was the frequency so valuable?

Well, it’s important to remember that is what the New York Times put the station on the market for. That was the price for the 96.3 FM frequency. We have changed frequency since. That was the price determined by the market. People have said to me that 96.3 was, perhaps, one of the best spots on the FM dial in the #1 radio market in the country. Certainly, 96.3 is an extremely powerful signal. It is also smack dab in the middle of the FM dial. So that is what the Times priced it at. They were obviously able with (New York Public Radio president/CEO) Laura Walker’s leadership, and our board’s leadership to put a very, very clever deal together with Univision (Univision Communications Inc.), the Spanish music station, WQXR and WNYC, and the New York Times.

As you know, at 8 o’clock on Oct. 8th, 2009, the frequency flipped. Univision and WQXR flipped frequencies. WQXR got to retain its call letters, its website and, of course, its brand, and we started broadcasting from 105.9. All of the monies changed hands in the right way. WQXR got to be born as a new radio station.

[In 2009, the New York Times Company sold WQXR in a series of transactions with a division of Univision Communications Inc., and public broadcaster WNYC. The New York Times Company traded the 96.3 frequency to Univision Radio in return for the 105.9 frequency of Univision's WCAA. Univision paid the New York Times Company $33.5 million to trade broadcasting licenses with The Times. WNYC then paid the New York Times Company $11.5 million for 105.9 FM’s license, equipment, and the WQXR call letters and website. As a result of the deal, WQXR became a non-commercial public radio station operated by WNYC as part of New York Public Radio.]

The big change was transforming WQXR from its commercial model to a commercial free public radio model.

Yeah that was obviously when I joined. I was the first GM the company hired to run the station in its new format.

Under the new ownership.

With new ownership, but also a public mission rather than a commercial mission for the first time in its 72 years. It is really exciting to think about QXR in that new world. Making it relevant on a mission basis, as a public service, and as a broadcaster. We are not at the beck and call of advertisers, and beholden to their whims. We can really set a tone, and a vision for what we believe the sound and the quality of the sound of the station should be as well. Yes, we had to create new funding, create a membership base, create a foundation base, create a major donor base, and have patrons and sponsorship and all of the rest in underwriting (operating costs). All of these new models have been things that we had to do. It’s been really exciting thinking them all through. Some have taken longer to ramp up than others, but we have seen a lot of success. It’s about showing New Yorkers that this is a new QXR that is relevant, and is working really hard in the community to bring the very best of the city out to biggest audience possible. That seems to be resonating with people.

Being a commercial free public radio station is a big furnace that has to be continually fed through contributions from members, individual donors, private foundations, pledge drives and whatever. In essence, you are always seeking money to survive.

I definitely spend a decent amount of my time fundraising. There’s no doubt about that. That is a skill that I had coming in here, and Laura Walker was keen to put it to work for the betterment of QXR. It’s been really fun, and quite gratifying, and rewarding to have the conversations with foundations, major donors, and the corporate community and hear their feedback on what we are doing, and have their support on what we are doing.

As you say, there’s the whole membership model. We do say very proudly in public radio that the majority of our funding comes from individual listeners. It is entirely true, and we now have a very large membership base for QXR. We had none when we started on October 8th, 2009. We have had to build it from scratch and, yes, it needs constant tending with the funding and pledge drives, and with direct mail, and whatever tactics we deploy. They are always being tweaked and looked at because we have to keep that membership base growing.

What is your annual operating budget?

The annual operating budget of NYPR is a little over $70 million. We do not file the different brands separately. We don’t break out QXR separately from the company.

How is the funding organized?

We have the three funding streams: membership, the underwriting, and the philanthropic. Definitely, membership is the largest of the group. It’s a lot of money to raise every year.

Certainly fundraising is helped by WQXR’s sizable popularity. Its weekly cume averages. approximately 625,000-650,000, is quite high for classical radio station. Add in a strong web presence, and all of that helps the profile of the station with potential donors.

Look, when we started QXR here, there was a skeleton website. The old QXR had an okay website, and the stream listening was relatively small. We have seen huge growth in the streaming numbers since we launched as a public station. The radio numbers are strong, as well. Yes, so when you add those two things together, and you also add not only the local, but the national and the international traffic, we are reaching a very big audience that is beyond our primordial broadcast area.

WQXR broadcasts from studios and offices in the Hudson Square section of Manhattan?

Yep. Hudson Square in SoHo on (160) Varick Street. We are on three floors of a custom built-out studio. We have top of the line equipment, space, and light. Of course, the area is already maxed out. We grow really fast around here. But it’s a great space. I think, initially for QXR, classical musicians generally didn’t go below 57th Street. They would just bounce around between 55th and 57th Street.

Many of those musicians perform uptown or are in pit bands of Broadway productions.

I’m talking about the soloists. But we have created, in essence, a new downtown location for high-quality classical music conversation, and performance with our Jerome L. Greene Performance Space, which is part of the fabric here. It’s a 125 seat performance space with HD cameras, and great audio capture ability. WQXR produced about 20 to 25 events in there (annually). As a company, we do a lot more than that. (Recently) we had Lang Lang, members of the Berlin Philharmonic, and (tenor) Michael Fabiano, who won the Richard Tucker Award. The list goes on. It’s a real hub of the very best in classical music. (American composer) John Luther Adams did a listening party for his new Pulitzer Prize-winning (for Music) piece (“Become Ocean”) in Surround sound there. We took all the chairs out, and people laid on the floor, and listened to the piece. We have had 10-year-old kids doing master classes there. We have had public school kids in there doing programs. So we just don’t go with the Lang Langs, and the Josh Bells. We really want to capture everything that is going on in the classical world in New York. Not just the soloists.

You operate a couple of translator stations do you not?

We do. We have a translator outside of Poughkeepsie, and we also bought a station in Ossining, New York. It was an old community station, WDFH, that we renamed WQXW, covering northern and central Westchester County. So we have translator just outside of Poughkeepsie, and then we have the QXR, and the signal from the Empire State Building.

WQXR’s program director is Matthew Abramovitz?

Yes, our program director is Matthew Abramovitz. We have a music director, Jenny Houser, and another person who assist Jenny as team. The programming team is two. Matt oversees all of the air (programming) at QXR including our hosts and all of the rest of it.

Matthew worked as a marketing consultant for Blue Note Records.

He did, and at Sirius (Sirius XM for 8 years). He’s a real radio guy. A tremendous asset to the team here. Someone who has really helped me. He has been here for five years, as well. He helped with the transition of ownership, and he has been our program director for four years. I walked into here with no formal radio experience other than listening to great radio. He has really supported me as I tried to learn as much as I can about radio, as well as bringing my own skill set to the table.

When many people think of WQXR, they think of the Metropolitan Opera broadcasts or the recent weekly radio series of concerts and recordings by the New York Philharmonic, hosted by Alec Baldwin.

We try to represent what’s going on in the city. Of course, the Philharmonic is our hometown band so we want to highlight their weekly show with Alec Baldwin. But we also have shows that we create ourselves. “Carnegie Hall Live” is a feather in our cap of 12 live national radio broadcasts from the three stages of Carnegie. We opened Oct. 1 (2014) with the Berlin Philharmonic. We had the Academy of Ancient Music in early November. We had (Russian concert pianist) Daniil Trifonov and, again, the list goes on. So we have “Carnegie Hall Live,” the Metropolitan Opera House (broadcasts) on Sunday, and the New York Phil. We do live broadcasts from all over the place including from The Frick Collection, the Metropolitan Museum, the Ecstatic Music Festival, the LPR (Le Poussin Rouge), Central Park in the summer, and from the Caramoor Music Festival in Westchester. Again, that is part of our New York commitment. We raised money from the Andrew W. Mellon Foundation which allowed us to double down on our ability to capture 60 to 70 live broadcasts a year from all over New York. It is really, really exciting to be there as extraordinary moments happen, and to be able to capture them all.

The live concerts gives WQXR a vibrancy and immediacy. Listeners aren’t just listening to the station’s record library.

I think that we have 33,000 records.

How do you plan out the programming of the live and the recorded components of the station?

It’s a balance. Some of our audience don’t want the chatter of a live broadcast. Some do. Some people complain, “Oh my goodness, I tuned in at 8 o’clock, and all I heard was talking for 4 minutes.” If they had stuck around for 10 seconds longer, they would have heard Simon Rattle conducting (Stravinsky’s) “The Firebird” live from Carnegie.

It’s a good pay-off, we think. It’s challenge always to find that balance for listeners.

Again, as a public station, we have made a mission statement that we want to be there to capture what’s going on in New York, and so we do. We choose as carefully as we can. We try to find programs that will stimulate, and excite folks as well as give them what they want which is excellent classical music. Of course, we challenge them as well. But you don’t want to create moments where people want to switch off or complain that all you are doing is playing the (classical) warhorses all day. It’s a constant juggling act that our program director leads with his programming team. We look constantly at the playlists, making sure that we have variety. We are constantly ripping new CDs of new interpretations (of traditional classical pieces). We want to be sure that we are not just always playing things from 20 years ago. We have Albums of the Week. It’s jigsaw puzzle to get through (the programming).

The majority of classical music listeners of our generation grew up with recordings by the Berlin Philharmonic with Herbert von Karajan or the New York Philharmonic with Leonard Bernstein, or the Philadelphia Orchestra with Eugene Ormandy. Of course, there are recent recordings of these beloved classics but they may be unknown to that audience. A balance has to be struck in the programming between the old and the new.

Right, we are constantly looking at new recordings. Absolutely. In the past month alone there were new separate sets of (Robert) Schumann CDs. Pablo Herras Casado did one. Yanik Nezet-Seguin did one with the Philadelphia Orchestra, and Simon Rattle did one with Berlin Philharmonic, and then there was one issued by the Chamber Orchestra of Europe, I think.

Conversely, not all classical listeners are open to the warhorses either.

When people say that, “You play too many of the warhorses,” I push back as follows, and obviously as politely as I can. I always remember that when I started my career at the New York Philharmonic in 1995, Kurt Masur was the musical director. He is pretty traditional conductor. His repertoire was not hugely broad and he got a lot of criticism for it. The press would ask, “Why are you conducting another Bruckner (No. 7 in E Major) Symphony? We have all heard it before.” He would say, “But someone in the hall tonight is hearing it for the very first time, and I want them to hear it played by the New York Philharmonic, and played live the best that I can deliver.”

That is a tremendous statement about remembering that not everybody in your audience has been listening as long as you have (to classical music), and someone listening to QXR right now may be a brand new listener to the station. I want to be sure that when they tune in that they hear the very best recording of the best music in the world framed by a host who really puts it into context, and gives them some ease in getting into it because that could shape their listening for the rest of their life. I want that to be a positive experience.

At the same time I was so grateful last year that Sony Classical issued “Vladimir Horowitz Live at Carnegie Hall,” a 41-CD, one DVD box set featuring the complete RCA and Columbia recitals of Horowitz recorded at Carnegie Hall from 1951 to 1978. Does WQXR jump on box set releases like that when they are released?

Absolutely. We do (promote) them in all different ways. Sometimes we will use them for pledge drive for major premiums. We will do them to give them away in regular air, “Call in and get this.” David Dubal. who was host on the old station, we brought him back. He’s from a different generation of hosts. What a knowledge of the piano repertoire, and pianists. He worked very closely with Horowitz. He and Horowitz and (Arthur) Rubinstein. There’s been no one better since then. So when something like Horowitz (at Carnegie Hall) comes out, we did a 12-part series on Horowitz so we could play Horowitz and deal with some of those recordings.

[Author/lecturer David Dubal had previously been music director at the defunct WNCN-FM, WQXR's competitor for decades. His program “Reflections from the Keyboard” was not continued with the transfer of ownership of WQXR to New York Public Radio. “Reflections From The Keyboard” returned to WQXR in 2013. Dubal is the author of numerous books including: “The Art of the Piano,” “Evenings with Horowitz,” “Remembering Horowitz.” “Conversations with Menuhin,” “Reflections from the Keyboard,” “Conversations with Joao Carlos Martins,” and The Essential Canon of Classical Music.”]

While WQXR is New York City-centric, it is also a national, if not international radio station due to the internet. A tricky position given the stiff competition in the digital space?

Yeah. That’s a great question. When I got to QXR, our place in New York, I think, had always been secure, but I took a serious look at the how we fitted into the fabric of the music-making world in the city. I really made sure that we cemented those links, those relationships, those partnerships so that we would always represent the sound of New York, and try to capture the sound of New York with all of the performers, the conductors, and the groups coming through.

As you said, in this highly competitive digital world that we live in. We think, and I think it has proven to be a good bet at this point, that projecting New York out is a pretty good calling card when trying to break through with all of those other stations out there. Other satellite services, peoples’ own CD collections, Pandora, YouTube etc. That New Yorkness, those unique things that we capture in the city, would make us a popular player in that field.

Were you influenced by the scope of the Metropolitan Opera’s HD theatrical series which has taken New York-based opera outside of the city?

I think that there are many good reference points. The Met is a good one. I think that I spoke about this in my interview for the job. That growing up in London, and growing up with the BBC, and Classic FM a little bit before the time that I left (the UK) that I really understand the power of anchoring yourself in a city, and projecting that out to the widest audience possible. I think that I brought that kind of discipline here when I arrived at QXR. All the time that I have lived in America (since 1995), I have only lived in New York. So I guess that I am a New Yorker now. I have always felt immensely proud of the city, and all that it has to offer. So it was kind of seeing what the city has, seeing the references points, and certainly the (example of the) BBC. Okay, QXR needs to own this, and this will be our calling card as we project out a more national, if not international, strategy.

The station’s calling card is “We’ve got New York.”

People ask, “Who is your competition?” They say, “You are the only (classical) radio station in New York. You don’t have any competition.” Well, that’s not true. In New York, as a radio station, we compete with lots of other music formats. Our listeners are not just pure classical listeners. When it comes to the digital landscape, yes, every radio station has a stream. We are also competing with somebody’s CD collection. We are competing with the “off” button. We are competing with lots of other radio stations. We are competing with YouTube, Pandora and Sirius XM and the rest of them, yes.

(We do have) that New Yorkness. And it’s just not the attitude and a sound. It also is the kind of concerts we can line up because we have the proximity to these artists, and these halls. We the relationships with Carnegie, and the New York Philharmonic, and the Metropolitan Opera House, and some of the smaller venues like LPR (Le Poussin Rouge), and the Merkin Concert Hall. These are the kinds of relationships we have. Some of which I had before I came here, and some of which I have cultivated. But it’s a challenge, even in the minds of even these cultural partners, for them to think about WQXR a little bit differently. Not as just a place that plays records, but we can really partner with them on Greene Space events or digital initiatives, or festivals. There are lots of things that we could do together that would amplify them and that would amplify us all at the same time.

Around 2000, Universal, Sony, and EMI began downsizing their classical departments, and dropping their recording commitments to orchestras, ensembles and soloists to concentrate on catalog reissues while Naxos built a brand with inexpensive classical recordings. Not that the majors are back fully in recording classical music, but with the popularity of Lang Lang, Lucy Kay, and the Two Cellos, along with popularity of recordings by such classical-based vets as John Williams, Joshua Bell, Katherine Jenkins, and André Rieu, we are seeing signs that the pendulum is turning back a bit.

I agree with you. The pendulum seems to be swinging back again to recording labels signing more artists. But the economic models have changed where risk may have to be shared a little further around. Where the artist needs to agree to really promote the record and, in essence, do a little bit of the “rock thing.” Record it (a CD), and then have it (selections) in their repertoire for 18 months, and really sell the bejesus out of it. Then, when they get to a venue, they go to the lobby afterwards, and sign the CDs. It’s not going to sell itself, anymore. Even some of the biggest names in the business, in confidential conversations that I have had with heads classical labels, they admit that even superstars don’t sell the way that people think that they might. Some (recordings) might blow up, but it’s harder (today) than everybody thinks.

With a global market now, a classical fan has a lot of choices including acts from all over the world to pick from. Traditionally, classical recordings came from Germany, Austria, the UK, and the United States Today, you can listen to the Danish String Quartet, which was selected as BBC Radio 3 New Generation Artists for 2013-2015.

And they are awfully good.

They are awfully good.

Absolutely, that’s true. In the U.S., we have different models of funding. Europe is still lucky in that there is still a lot of government funding for the arts, for radio and for the media, in general. It’s a little more cutthroat over here. Also, there are still very different sales trends. For example, Germany is still a physical product market. The UK, a High Street market. The U.S. is a digital market because there’s nowhere to sell the CDs now that all of the (retail music) stores have gone out of business. In Japan, there’s still a high quantity of physical product being sold. Some (sales) are even drifting over to vinyl. The Berlin Philharmonic, their new Schumann box set, got wonderful reviews, and we have been playing it a lot on the station, and they also released it on (a limited edition) vinyl. They have gone both super high-end on Blu-ray and HD files and, at the same time, they pressed a bunch of vinyl, and it also sold very, very quickly.

What a great story.

I love observing this in life. There’s often a swing back to old-fashioned values because, sometimes, the new fangled thing isn’t quite what everybody thought it was. But, when it comes back it doesn’t come back to literally where it was, it swings a little bit forward. But all of those old fashioned values hold true.

Meanwhile, there are a spate of composers releasing new classical recordings.

Yes, the composer-led things, absolutely. You’ve got the younger crowd like Sufjan Stevens, Chris Thile, and Gabe Kahane. Gabe Kahane got signed by Sony Classical which is really interesting. He got signed by Sony Classical, but his first album is like (him being a) singer/songwriter, but it’s orchestrated. It has an orchestral texture. That is the kind of genre osmosis that is happening. I know Chuck Mitchell (SVP at Sony Masterworks U.S) who signed Gabe. We all recognized Gabe’s talent, but he (Chuck) didn’t sign him first do a guitar concerto with traditional selections. He had Gabe do a set of songs about L.A. (“The Ambassador”) which shows off his orchestration, and his songwriting abilities.

[Gabe Kahane’s “The Ambassador” is a set of chamber pop songs examining Los Angeles through the architecture of 10 of its buildings. The album, the composer’s debut on Sony Masterworks, was born as a commission by the Brooklyn Academy of Music which will present the stage incarnation Dec. 10–13, 2014 as part of this year’s Next Wave Festival. John Tiffany, who won a Tony in 2012 for his staging of “Once,” directs.]

WQXR is in the midst of Bach Awareness Month, an annual festival event celebrating classical composers.

November is a festival month, and we have exchanged different composers in and out of that over the years. We did two years of Beethoven, Mozart last year, and we are doing Bach this year. We are effectively calling it, “Bachstock, 30 Days of Peace and Music.” With these festivals, there has been a real opportunity for us to position WQXR as a real content curator. It allows our current audience to dive deep on a particular idea, and for us to attract a lot of new listeners who possibly wouldn’t have heard of WQXR. We often go pretty big with some media campaigns, and we have some really fun graphics.

What’s the long-term strategy behind this style of programming?

We are trying to get away from this stodgy way of thinking about a classical radio station or classical music in general, by using every tool in our toolkit; from the radio, from the web, from live events, from quizzes, from download devices. We use everything that we’ve got to bring the maximum impact to this big idea. It seems to have really worked. We tend to do two or three festival a year. The one in November seems to be the biggest one, right now. We see some good lifts in terms of new audience; folks who are discovering WQXR for the very first time. We are also seeing that they tend to stick with us which is nice as well. So we are seeing some traction there. That they seem to be enjoying these gateway moments, and they discover an art form that, maybe, that they knew a little bit, and they sort of forgotten about QXR, and they are now listening a little bit more which is always great. It’s a formula that seems to be working, and we are going to continue with it.

You received a Bachelor of Science degree from Oxford....

Oxford Brookes University. There are two universities (named Oxford) there (in the UK).

Though you were trained in flute and piano, you weren’t seeking a career in music at that point.

I wasn’t. I was a little bit confused about what I wanted to do. I did want to study music at college, but my parents were not in favor of that idea. Actually, my (high school music) teacher was one of the most important musical influences in my life. He used to call me Parker because that’s what you do at an all-boys’ private schools in Britain. He said to me, “Parker, you are good, but you are not that good” in terms of making a career as a performer. I was a decent singer and a conductor, but I kind of knew that I didn’t have it to make it as a true professional. But I always had a management skills and management interest.

And your short-lived career in hotel management?

The career in hotel management was that I love to cook. That was honestly it. I had decided to do that if I couldn’t study music. I did a lot of music while I was at school. I started conducting a lot, and I started getting involved with the Oxford University scene. I conducted a Gilbert and Sullivan Society, and I started doing some premieres. I sang in musicals. But when I came to the States I really wanted to see if I could drop the food management thing, and do music management.

How did you come to land in the United States in 1995?

I had a chance to come. I had a visa. I didn’t have a job, but I took a risk. Then I answered an ad in the New York Times. I didn’t know that it was for the New York Philharmonic. It was just a blind ad, “Major cultural institution is looking for a marketing assistant. Send your resume,” to this P.O. box. It turned out that it was the New York Philharmonic. They interviewed me a bunch of times. I was a very non-traditional candidate, as far as they were concerned, My boss told me that the reason that she hired me was because she couldn’t understand a word that I had said throughout the interview. My accent was really strong, and she saw Oxford on my resume, and she hired me.

You were also at the Brooklyn Philharmonic.

I went from the New York Philharmonic to the Chamber Music Society of Lincoln Centre, and then I was the GM of the Brooklyn Philharmonic . Then I went to run Orpheus (Orpheus Chamber Orchestra) and then I came here. I have stayed in New York for my whole music career.

You had some of those programming ideas featuring New York while at the Chamber Music Society. You did the “Great Day in New York” event.

Yes, we did “Great Day in New York.” We did the “Beethoven 2000 Festival.” I didn’t conceive all of those things, but I have been part of some amazing moments in New York history in the past 10 or 15 years. The people that I worked with. I look back and I think that I got to hang out with Kurt Masur, and the great (pianist/conductor) David Golub who passed away too early (in 2000). I turned pages for him in a rehearsal. It was like, “wow.” I have done some pretty fun things.

You were at the Orpheus Chamber Orchestra for 8 years?

Yes, I was the executive director for 8 years, yep.

During that time the Orpheus Chamber Orchestra recorded for EMI. Was it difficult getting major label support, or was the onus on you to record yourselves?

No, it was a partnership. It was definitely looking at the world of recordings. There are two Orpheus projects with EMI. They are both different. Both were aspects of the soloist having a contract with EMI, and we were working with that soloist on a number of projects.

Who are the soloists?

Jonathan Biss (“Mozart: Piano Concertos Nos. 21 & 22” in 2008), and Sarah Chang (“Vivaldi: The Four Seasons” in 2007). We were able to put these (recordings) together. What I did bring to the Orpheus (recordings) was a different way of recording them and also a different way of marketing them. No longer were we going to do these true recording sessions. We had to combine live performance because of the economics that EMI was willing to pay was just not there. But we wanted to record again. The other thing that we did was to record them, in essence, quietly, and then take them on the road once the CDs were out so that we could sell some CDs. The essence of doing the “rock thing” is to play the record that you have selling all over the stadium as opposed to the “classical thing” which is that you tour, play it (the musical selections) in as much as you can, then you record it, and then you try to sell it without ever playing the repertoire again which is kind of silly. So we tried it that way.

More classical music figures should consider that marketing route.

Look. the record business has evolved. That must have been eight years ago at this point since I did those recordings with Orpheus. The record business continues to evolve, and WQXR is in the position where we can act, if we so choose, as kind of a record label because we do 60 to 70 live broadcasts a year from all sorts of different venues. Some from our own studios, and some from outside of our studios. We have access to most of this material that we have recorded. So we can talk to artists about releasing them. We have released some things that we have recorded live on a commercial label.

Give me an example.

We did one specifically with John Eliot Gardiner and The Orchestre Révolutionnaire et Romantique. We did Beethoven (Symphony) #3 and #5. It was a live Carnegie Hall broadcast, and John Elliot really loved the quality of our recording and, of course, the playing of his amazing orchestra. I said, “Hey guys, have you ever released this?” They answered, “It’s funny that you mention it. We haven’t. We have a recording from The Barbican, and now we have your recording. How much would it cost to release this?” And, we negotiated with Carnegie for a pretty modest fee, to be honest, and it was released with our logo and Carnegie’s logo on the back. It’s fantastic. It went out on Soli Deo Gloria which is orchestra’s own label on which he has released all of the Bach cantatas. He has a very extensive discography since he was dropped by Phillips years ago so he releases himself. So this recording is now part of the Soli Deo Gloria label.

The future of any musical genre is with the younger generation. Over the years, we have seen severe cut-backs in music education programs. Nevertheless, you have made steps to address music education as a primary component of WQXR.

You are absolutely right. Focusing on kids and continual learning is really important. It was one of the reasons why we started our (current) instrument drive. It was a direct way for us to answer a significant need in New York in putting working instruments in the hands of New York public school kids. One reason that they don’t play instruments is that they just don’t have them. We wanted to be sure that we could help solve some of that problem by launching the instrument drive. It was very, very successful. Also the other thing that we say to people is, “Put the radio on for kids. The easiest, quickest, and cheapest thing you can do to put music in your kid’s life is just to put on the radio.” We are thinking of more deliberate ways, whether through digital initiatives or others things, to address the issue of engaging kids. We have done broadcasts of youth orchestras, and we have done kids events in the Greene Space. We are thinking about a more deliberate digital strategy that we can address to try and engage kids, as well as adult learners as well.

A recent headline in The Guardian in the UK read, “Parents think classical music is 'elitist' and only listen to pop.”

Well, what does The Guardian know?

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.

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Industry Profile Archives:
Mick The DJ, DJ/Enterpeneur 04/30/15
Joanne Abbot Green, CMJ Music Marathon and Film Festival 10/17/08
Lee Abrams, XM Satellite Radio 11/28/03
John Acquaviva, Fund Manager, DJ and Serial Entrepreneur 07/09/15
Jay Boy Adams, Roadhouse Transportation 05/04/07
Jamie Adler, Adler Entertainment Group 05/11/07
Gary Adler, National Association of Ticket Brokers 12/04/13
Rodney Afshari, Freeze Artist Management 03/01/02
JC Ahn, VU Entertainment 04/10/13
Steve Alaimo, Vision Records & Audio Vision Studios 05/26/06
Jaye Albright, Albright & O'Malley Consulting 07/19/10
Randy Alexander, Randex Communications 10/12/07
David Alexander, Sheer Publishing 07/21/16
Eva Alexiou-Reo, FATA Booking Agency 05/14/15
Marcie Allen, Mad Booking 12/14/00
Jeff Allen, Universal Attractions 08/16/02
Marcie Allen, MAC Presents 06/05/09
Marcie Allen Cardwell, MAC Presents 12/21/07
David Allgood, Bama Theatre 01/03/11
Patrick Allocco, AllGood Concerts 10/05/07
Michele Amar, French Embassy 05/26/16
Mike Amato, Rok Tours International 02/02/07
Jeff Apregan, Apregan Entertainment Group/Venue Coalition 09/30/15
Billy Atwell, AMP Studios 12/13/07
Bob Babisch, Milwaukee World Festivals Inc. 04/02/15
Tom Baggot, thebookingagency.com 05/02/03
Stephen Bailey, EPACC & Deleware Center For The Arts 02/06/04
Cary Baker, Conqueroo 05/11/11
Vince Bannon, Getty Images 07/05/11
Phil Barber, Barber & Associates 02/04/01
Camille Barbone, WineDark Records 12/09/05
Erin Barra, Musician/Producer/Educator 07/10/14
Ben Baruch, The Fox Theatre 09/27/08
Ben Baruch, By Larry LeBlanc (CelebrityAccess) 04/05/17
Paul Bassman, Ascend Insurance Brokerage 08/03/16
Adam Bauer, Fleming, Tamulevich & Associates 02/15/02
Ed Bazel, That's Entertainment International 10/05/01
Joachim Becker, ZOHO Music L.L.C. 01/12/07
Howard Becker, Comet Technologies 05/02/11
Mark Bego, Author 06/15/07
Jim Beloff, Flea Market Music 09/20/10
Richard Bengloff, The American Association of Independent Music (A2IM) 09/12/13
Seth Berg, South Bay Music 01/30/09
Aimee Berger, 2 Generations SPA Music Management 09/24/04
David Berger, Future Beat 10/29/14
Barry Bergman, Music Managers Forum 03/14/03
Steve Bernstein, Relix LLC 09/30/05
Mark Berry, Attack Media Group 04/07/07
Scott Billington, Rounder Records 01/17/12
Jeffrey Bischoff, Cinder Block 03/24/06
Sat Bisla, A&R Worldwide/ Musexpo 03/29/10
Nina Blackwood, Sirius Satellite Radio 07/14/06
Adam Block, Legacy Recordings 11/07/13
P.J. Bloom, Neophonic, Inc. 01/24/11
Rishon Blumberg, Brick Wall Management 06/27/03
Justin Bolognino, Learned Evolution, and The Meta Agency 04/25/13
Steve "Chopper" Borges, Total Pro and Borse Techos 03/03/06
Les Borsai, Mediocre Management 01/30/04
Shane Bourbonnais, Live Nation Canada 03/21/08
Jeff Bowen, Sears Centre Arena 03/13/08
Rick Bowen, Mystic Music Experience 07/11/08
John Boyle, Sanctuary Music Group 03/19/04
Jeff & Todd Brabec, Writers/Attorneys 01/03/12
Bill Bragin, Joe's Pub at the Public Theater 08/08/03
Joel Brandes, Avenue Management Group 11/02/08
Joe Brandmeier, Moving Pictures 03/15/02
Scooter Braun, SB Projects 12/13/10
Ron Brice, 3rd & Lindsley Bar & Grill 06/08/16
Billy Brill, Billy Alan Productions 11/11/05
Doug Brown, Talent Buyers Network 09/21/01
James Browne, Sweet Rhythm 11/01/02
Bob Brumley, Brumley Music Company 02/17/16
Tony Brummel, Victory Records 05/17/09
Charlie Brusco, TBA Entertainment Corporation 10/13/01
Del Bryant, BMI 05/18/07
Cortez Bryant, Bryant Management 12/06/10
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
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Música e Cultura 05/04/17
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Paul Reed, Association of Independent Festivals (AIF) 06/14/17
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, ItsAboutMusic.com 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Peter Shapiro, Ideal Entertainment 04/16/04
Seth Sheck, Access Pass & Design 01/03/03
Seth Sheck, ACCESS Event Solutions 06/22/16
Seth Shomes, The Agency Group 11/12/14
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Michael Simon, The Harry Fox Agency 08/14/13
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Peter Smidt, Eurosonic Noorderslag & manager Buma Cultuur 07/17/13
Garrison Snell, Gyrosity Projects 02/23/17
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
Nikki Solgot, Circle Talent Agency 02/18/15
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
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
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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