Industry Profile: Katherine McVicker

— By Larry LeBlanc (CelebrityAccess)

This week In the Hot Seat with Larry LeBlanc: Katherine McVicker, director, Music Works International.

Katherine McVicker succeeded in pulling a rabbit out of the hat last year.

In September, 2014, the veteran jazz agent decided to hang her own shingle out, opening her own booking agency Music Works International, based in Reading, about 12 miles north of Boston.

The agencyófocused largely on providing bookings for American acts in Europe and Africaóhas an outstanding roster that includes Dianne Reeves, David Sanborn, Jason Moran, Lalah Hathaway, Ruthie Foster, Plus Stars Lizz Wright, Kurt Elling, Vijay Iyer, Joshua Redman, Richard Bona, the Gloaming, Justin Kauflin, and Martin Hayes.

Whatís startling about her move is that from June 1987 until September 2014 (with a brief two year break) McVicker had held down a post as a booker at International Music Network (previously Scott Southard Talent) in Gloucester, Mass.

An encounter with Scott Southard, while she was working at the Berklee College of Music in the Performance Department, led to McVicker becoming a booking agent. Southard had launched his company 18 months previously, and offered McVicker a job. She began as an administrator. In time, she became the agencyís territorial agent for the North East, mid-Atlantic, and then the Southern region in the U.S. She left IMN for two years to live in Minnesota.

When she returned to the agency 1998, McVicker started overseeing IMNís roster of 10 world class artists for touring primarily in Europe with additional work in Africa, and the Middle East

The list of prominent jazz, blues and roots artists that McVicker has worked with in her career would fill out a book. A very, very big book.

It includes Norah Jones, Herbie Hancock, Wynton Marsalis and Lincoln Center Jazz Orchestra, Wayne Shorter, Michael Brecker, Hermeto Pascoal, Ladysmith Black Mambazo, Paco de Lucia, Lizz Wright, Mahlatini and the Mahotella Queens, Mike Stern, Joshua Redman, Chucho Valdes, Joe Lovano, Anat Cohen, Becca Stevens, John Scofield, Cassandra Wilson, McCoy Tyner, Milton Nascimento, Charles Brown, Angelique Kidjo, the Preservation Hall Jazz Band, the Mighty Clouds of Joy, the Bulgarian Female Vocal Choir, Charles Lloyd, Bela Fleck, Raul Midon, Kind of Blue, Marcus Roberts, Michel Camilo, and Tomatito among others.

Booking agent, however, was not McVickersí first job in the music industry. A trained musician and vocalist, she studied piano through high school into college. After graduating with a B.A. in sociology from the University of Massachusetts Lowell, she studied piano and voice at the Berklee College of Music, and then worked at Berklee for six years. As well, she learned the nut-and-bolts of live music by booking her own jazz and blues bands in the Boston area for 13 years.

You have entered a crowded field. You are either confident of your career plan or you have balls of brass.

(Laughing) Well, I have been doing it (booking) for a long time, and I know a lot of people. I have a pretty deep knowledge, particularly of the European markets. Itís been 18 years now that I have been working in Europe. I feel pretty sure that the artists that came with me understand what they want to do, and I think that I have the connections, and the understanding to do what they want.

You started the agency in September 2014?

At the end of September. I left IMN (International Music Network) on the 26th of September, and I started my company the Monday afterwards. Itís rolling pretty fast now. Itís incredible. Most of the summer tours are booked. I was really blessed to get a great roster. Things are going unbelievably well for me.

What staff do you have?

Right now I have a contract administrator, a finance guy, and an assistant; I would like to get one more admin person to help with a few things. Eventually, I will have to hire another agent, probably a U.S. agent. If I hire or get involved with another international agent, I will probably get somebody who is over there (in Europe).

How did you gather such a great roster of 13 artists?

How did I get these artists? First of all, I didnít really tell very many before I left (IMN). I may have told one or two. I didnít want people to have to choose what they wanted to do, and I felt that it was best for me to kind of make my departure from IMN (first). Most of them called after I left.

Had most of the artists on your roster been at IMN?

All except for Justin Kauflin, Lalah Hathaway, and Martin Hayes. Richard Bona used to be at IMN for awhile, and then he came back when I started my company. A number of these artists I signed to IMN, and others I have worked with for so many years. I was the responsible agent for a lot of these artists while at IMN. I guess when I left I was the person that they mainly knew at IMN, and that they trusted. I booked a lot of their tours. So they ended coming with me.

The result is that you have responsibility for quite an impressive roster.

I think that I am pretty much going to have to call it a day in terms of what I have on the roster. I donít want to get to the point where I canít get anything done because I have too much stuff in front of me. I donít take myself seriously, but I take my responsibilities seriously. It probably comes from being a musician. They get jerked around all of the time by people telling them a whole bunch of crap, and then not delivering.

Are you booking acts for U.S. events?

No. Iím not doing America at all. Iím only doing Europe, and I have always worked in Africa. I am going to do Australia, and New Zealand for a couple of people. I really am just focusing on Europe, right now. If I add another agent, it would probably be for the States.

How do your clients handle their U.S. bookings?

Some of them stayed with IMN for the U.S., and some have other (U.S.) agents that they work with.

There are few U.S. agents that book jazz acts direct in Europe.

Well, itís an unusual situation. IMN is one of the few U.S. companies that specialize in a lot of jazz artists. We always worked in Europe. So many of these American (booking) companies use middle or sub-agents in Europe. They donít really book the stuff themselves, but we always worked direct (at IMN). We only used middle agents in a couple of countries where itís very difficult to work direct.

You are essentially a one-stop working with US-based artists who may work with others agencies.

But Iím not a middle agent. I basically book everything direct. Itís great doing bookings in this way because I can really focus on developing careers for artists. The way I like to work is to be pro-active, as opposed to reactive. When I start developing things for artists working in international markets, I do think about whatís the best place for this particular artist in the major markets so we can continue to develop their profile for an extended development for their profile in Europe. Thatís the best way to go. You built it (a European profile) in really small ways. They might play a tiny club in Paris first. Then they go to the next biggest club. Then they play a theatre. Itís a building block kind of thing.

The ability to book direct in Europe is an incredible advantage for you.

Probably the people that are my competitors in a way are the European agents themselves. There are not that many peopleóthereís Ted Kurland (The Kurland Agency), and thereís IMNóthere are very few (U.S.-based) agencies that do it direct. I know that Monterey (International) and some of the bigger companies work with (European) sub-agents, but we go direct. I know all of these people. I know all these halls. I have been in a lot of these venues and festivals. I know a lot of these artists.

You were at IMN for such a long time.

Well, thatís right. 28 years.

In 1995, you left IMN, and moved to Minnesota for two years?

My ex-husband took a job in Minnesota so we went there for two years. He started a music program at one of the schools there. Unfortunately, it didnít work out, and we ended up coming back to the East Coast. While I was in Minnesota I booked some tours for some of my friends. Not international artists, but artists that I knew that came out of the Berklee (College of Music) community.

When you returned to IMN, you began booking acts in Europe. Did you want to move on from doing domestic booking?

No. It wasnít a choice. He (Scott Southard) had hired someone to take my old territory. I was gone for two years. He needed a European agent. I got thrown into the fire. I didnít have any idea about Europe. It really does work differently than the States. I paid some pretty heavy dues in the early days learning how the situation works there.

Do you recall your first business trip to Europe?

The very first one can tell you about. In 1998, I went to the ILMC (International Live Music Conference) in London. It was the first business trip that I ever took to meet promoters. I had been to Europe many times in the past during my hippy chick days. When I was 22, I back-packed around Europe for many months by myself. But that was the first business trip. ILMC was a much smaller conference back then. There were a lot of rock and roll people, and various people who do jazz and other things there. I was at that conference for many years. It was 13 years in a row I think that it was. That was the beginning of me being able to meet people (in Europe).

Are industry conferences helpful in making European contacts?

Thatís a recent development. It used to be that the way that I would primarily meet people was that I went to ILMC for a long time. It was kind of the only game in town. I was involved with ISPA (International Society For Performing Arts in New York) for awhile, but itís a really small organization. Mainly, I am still much more of a phone person. Of course, I do email, but you donít get to know your clients if you donít call them on the phone, and talk to them. So I talk to people, and over the years, I have gone to festivals and conferences. This is why I jumped onboard with jazzahead! (the annual international jazz trade show/conference in Bremen, Germany) almost as soon as it was put together (in 2006). It is a way to get everybody into one location, and meet people that you may have talked to on the phone for 10 years but never met. Itís great.

Until late Ď80s, American jazz artists tended to play select festival and club dates in Europe. The European jazz market seems to have since opened up considerably. Am I reading it wrong?

No. I think that the market has always been there, but thereís been some significant shifts in how Americans look at the European market. I want to say a few things here. The first thing is that when I first started working at IMN, I remember Scott talking about to the North Sea Jazz Festival (in Holland) and some of the big events that had been around for a long time. It used to be in the late Ď80s and the early Ď90s I think, itís my perception anyway, that if they (Europeans) didnít have Americans on their jazz festival, it wasnít really considered a jazz festival. A lot of these Americans (artists) really had the advantage of going over (to Europe) for festivals.

They were well-paid.

It costs a lot of money to go to Europeótravel and everything. On the other hand, it was still a pretty vibrant situation in the States in terms of the club market. I remember in the late Ď80s when we had a lot more radio available, you could put a band on the road from Boston and you could book clubs all the way to the West Coast. That doesnít exist as well anymore. American artist have become more cognizant of making a worldwide career for themselves, and that they have to build the markets in Europe just like they do here. They have to play hard ticket events. If they only go (to Europe) in the summer and play festivals, they are never going to develop a hard ticket audience because they are always going to be able to play festivals and get overpaid. They really arenít going to be able to build a sustainable (European touring) model.

Itís difficult telling an artist going to Europe that they will probably lose money for the first couple of tours if they arenít doing festivals. But if they do clubs and other venues, they might be able to build viable market there. Artists will likely say, ďI donít want to lose any money going to Europe.Ē

Thatís absolutely right. The other thing that happened in the í90s when there was still something happening in the record industry, with the (touring) shortfalls and investing in the market, some of the artists that had the benefit of that (support). Richard Bona, for example, had a tremendous amount of help from Sony. The company helped to cover shortfalls on several of Richardís early tours which helped to establish him in the marketplace. That doesnít exist anymore. The risk is much greater there now. You often see artists with tremendous success in the U.S. who donít want to start all over again in Europe. What I tell people is that at some point they are going to play every play there is to play in the U.S. and, if they donít develop an international career, they are going to limit what they could have as a sustainable career by alternating the different territories in which they play. When I do tours I am very mindful of how to make them work for people. Tours are a mix of festivals, performing arts dates, and club shows so the whole thing can work together. I also think that artists who only tour in the summer (in Europe) end up burning out their markets because they canít go to the same festivals every single summer. I donít care who they are, they have to alternate (territories). You canít go every year (to Europe) anymore.

As well, bookings for European festivals have become increasingly competitive.

Absolutely. Thatís true. As I said, it used to be that if a (European) festival didnít have American jazz artistsósince jazz is an American art form, one of our contributions to the music world--in general, people didnít feel that it (the festival) had a legitimacy. American artists got really used to being overpaid to play these festivals. In the meantime, the European scene grew up. What I have found over the past 10 years or so is that thereís a lot more competition within the European scene because they have grown their own jazz market. So when you have (American) artists demanding huge fees, with the way the economies are in certain places like Spain, Italy and Greece where they have a lot of difficulties financially, they (European promoters) have to make a choice about paying an American artist 20,000 Euros or getting an European artist who has a very strong following, and paying half the money. Americans have to re-focus their view of the (European) market, and look at it as more of a strategic part of their career instead of just a big payday. Thereís a lot more competition now. Itís a much different playing field than it used to be.

From the Ď20s to Ď70s American jazz artists were viewed as the originators the genre. Fast-forward to these times, there are matching notable jazz artists from all over the world that listened to the same records as their American counterparts. The pioneering artists may have been viewed as more authentic, but thatís hardly true anymore.

You get exactly my point of what I am talking about: The European scene growing up. There is a certain amount of---backlash is a bit severe of a term---but thereís more of an inherent conflict in all this. Americans have assumed that they are the true standard bearers of this music when, in fact, it has no boundaries. Who can say what is real jazz? Is it any less jazz if played by some Italian or German guy? No. It all adds to the entire diaspora of jazz. We should embrace how to collaborate with our European musicians rather than making it a conflict between who has the more legitimate right (to play jazz).

North Americaís jazz community has largely resisted embracing jazz musicians from overseas.

Absolutely right. I have been very vocal with my European counterparts by saying that itís time for the Europeans to start standing up to represent their artists, and really insist on collaborations. Let me give you an example. If thereís a festival in California that promotes their local youth orchestra out of the local high school or college, and they want to get them access with these big festivals in Europe, I think that the Europeans, in turn, should insist, ďLetís have a cultural exchange. We will take your high school jazz orchestra; you take our high school jazz orchestra.Ē

U.S. Border and Protection makes it so tough for foreign musicians to work in the U.S.

Itís ridiculous. There are so many more obstructions for the artist to come over here in terms of the visa requirements, and the overall expense. It really is unfair. Not only is it hampering this co-operation between the spreading of new ideas in jazz; itís really unfair that the Europeans should accept everything that we send over there, but thereís no co-operation on this side.

Since 9/11....

Since 9/11, it has become extremely difficult. I donít think anything is going to change until there is a reason that they have to change it. That it kind of eases up. I hope that is going to change. One of the things that I look to with this jazzahead! conference in Germany is that we bring up issues like this. We talk about how can we establish these collaborations and dialogues across country lines so we can have some kind of cultural exchange.

The Scandinavians certainly embrace jazz.

They really do, and there are so many interesting things that they do with the music as well. Interesting things with (Norwegian) artists like Nils Petter Molvaer, Jan Bang, and Arve Henriksen that they have done with the music in terms of adding electronics, soundscapes and things which is really interesting.

Does radio remain a viable marketing component in promoting jazz in Europe?

Oh yeah. In my opinion, thereís much more of a presence of (jazz) radio in Europe than in the States. Part of that has to do with that there is still a lot of involvement with their versions of NPR with their individual radio stations. It used to happen before, but itís almost universal now, particularly for festivals, that thereís almost always a radio component now. They do barter deals where they get free advertising. On a side note, a huge difference between the U.S. and Europe is that there is so much public support for culture (in Europe) which we donít have in the States. You do get a lot more opportunities to get on cultural arts programming and those kinds of things there. It may not be huge, but it still exists, and itís possible (to promote) there.

How do you see the jazz market in Africa evolving?

The challenge with Africa is itís always about making sure that the money is stable. What ends up happening in these developing markets is that if they want to put on a festivalóand I have had this happen many timesóif they want to put on a festival or an event, they are really dependent on one main sponsor. If the sponsor falls, the entire thing falls over. Well, thatís a challenge for anybody, but in a large market in a development situation (like the United States) if you lose your cell phone sponsor, you can go to a car company or something. There are fewer opportunities for people to support that kind of stuff (in Africa). Africa is a really interesting developing market. Most of the shows that I have done have been in South Africa, Mozambique, and a few shows in Angola. Northern Africa is a pretty reliable market for a lot of different acts although thereís been a lot of civil unrest in places like Tunisia. We do have to be a little bit careful, but I do think there should be tremendous opportunities there. The artists that I work with are really interested in going there. Itís a totally different audience, and an appreciative audience.

A very captive audience as well in that thereís not an abundance of American acts touring there.

Exactly.

Africa can also be routed as a half-way stop for artists on their way to Australia.

Yeah, depending where you fly into.

Does China show signs of being more open to jazz artists?

China is doing a few more things. I havenít been involved with booking there, but I have been a passive observer, and there are more opportunities in China now. Itís still pretty challenging in terms of getting in there. You really have to do it (book) far in advance because thereís a lot of visa and other administrative hurdles that you have to get over. But I think that it is opening up more. Do you work in Japan? I donít do any work in Japan. Some of the artists do extremely well in Japan. Itís a great market for David Sanborn for example. Most of them, like Dianne Reeves, go there once in awhile. Itís a market that you can probably play every 18 to 24 months. Itís not a market that you can go to all the time. Probably, I if do expand my European stuff (bookings) or international staff I would probably hire somebody just to do places like Asia, and South America. I donít have the bandwidth to take on those additional territories. It really is time intensive to do those other markets.

Booking in some parts of Europe and Africa is different than in North America, where you know for sure there is going to a show, and thereís a set advance. Do you ask for more than just an advance when booking some of the more remote overseas markets?

When you go places that are really far away or very hard to get to, you usually do either get an all-in fee where the cost of the travel is included or they are paying airfares on top. This is for sure for Africa and Russia and places like that. But the days of people having airline sponsorships are long gone. That doesnít exist anymore. What is most cost effective, of course, is to do routed dates. One of things that I try very hard in regional touring for the artist is to get partners to make consortiums. For example, Bucharest (in Romania), a market that on the edge of Europe, I would strive to get somebody in Turkey or Greece to take a show as well. If you are going to fly that far east, and if you can find other shows, it becomes more cost effective. If I send somebody to Africa or Russia, or anyplace where I am concerned about the reliability of the finances, say due to sponsorship unreliability, I make sure that we get all of the money in advance. At least a month in advance because I donít want the artist to even get on the plane if they donít have the money. Most of the clients that I work with in Europe, they are people (promoters) that have worked with for years. So I donít get that worried about it. A 50% deposit two months out. Thatís pretty standard.

In Europe thereís an established promoter infrastructure. In some African markets or elsewhere, you might be dealing with a promoter putting on their first event.

Exactly. I did the first Rwanda jazz festival, the Luanda Festival in Angola. I had the privilege to go there with McCoy Tyner which is something that I will always cherish. I had been listening to McCoy Tyner since I was five. So it was a huge thrill for me. Going with him to this particular show was a wonderful experience. What ended up happening was that the people who do the Cape Town International Jazz Festival did the production on that event. Thank God they did because if they hadnít had an experienced crew to do that show I think that it would have been very difficult. They had to bring a grand piano from Cape Town. They didnít have a good enough grand piano in Angola for McCoy to play. Those are the other things that you have to watch out for. Not just the money, but the production. To have somebody go there and they find that they donít even have a monitor system. So we are very, very careful about all of this stuff in these places.

Some equipment might not even work in certain regions.

That too. Or somebodyís acoustic bass gets wrecked in the airplane going over there. You just canít just trot down the street like you can in London, and get a different one.

How did you get from studying sociology at the University of Massachusetts Lowell into booking jazz acts?

I thought I was going to be an academic. When I went to school I thought that I was going to be on track to get a Masters and a PhD and be a college professor. When I went to school I studied sociology, and a lot of academic stuff.

Where are you from?

Iím from the Boston area. I grew up in Wilmington, Mass

You attended college in the era of when activist Jane Jacobs, who introduced sociology concepts in her influential book ďThe Death and Life of Great American Cities,Ē was arguing that urban renewal did not respect the needs of most city-dwellers. An influence?

Absolutely. So what happened was that I was in college when I was 19, and I met this guy from Denmark. I spent the summer of í74 in Denmark with him. That was the first time I went to Europe. Then I loved traveling. I also ran my first business. I ran a restaurant in Vermont for a season. I made a bunch of money. When I got out of college in í77, I traveled around Europe for 9 months by myself. When I came back I decided to go to music school. That was when I went to Berklee.

You went to Berklee College of Music where you studied piano, and voice. Then you worked at the school for 6 years. Had you studied music from an early age?

No. This is a funny story. My mother was an opera singer. Iím the youngest of three. My brother had trumpet lessons. My sister had guitar lessons. When it came to me, my parents said, ďNeither one of your siblings stuck with this so we arenít going to pay for you to take lessons.Ē So what happened was that somebody was getting rid of a piano. So I bought a piano at 14. It turned out that I was the one who stuck with it (an instrument). I had piano lessons all through high school and college. When I went to Berklee, they didnít really have a voice department in 1979 and 1980. They had two people who taught voice. So I was a piano major. Then I studied voice outside the school. Itís not like that anymore, but studied voice outside the school. I had my band....

What kind of band?

Well, I had this little blues thing that I did. And I sang jazz with my jazz band, Montage. I had been listening to jazz my entire life. Then I met someone who did a clinic at Berklee talking about how to make money playing music. It was like a light bulb went off in my head. I said, ďWhy should I continue to play jazz music for $50 a night? I can put a band together and we can play parties and I can be paid three times that amount.Ē The interesting thing was that we didnít start out as a wedding band. We started out doing corporate events That was my entrepreneurial personality.

How did Montage become so popular locally?

The interesting thing was that I met this guy who was doing (producing) videos. Nobody had video. It was the early days of MTV but, certainly at a local level, nobody had video. He said, ďI will do a video of your band.Ē We went to this nightclub in Boston, and we lip-synched this video. It was like a goldmine. I also discovered Music Planners International. In the Ď80s, when there was so much money around, all these big companies like IBM had meeting plannersóthey still doóand they would organize events. I had this video sent around to people at these corporations, and they hired my band, which was brilliant. Then we got in with (performing at) the Ritz-Carlton, and the Four Seasons. We made gallons of money.

Thereís always been great club scenes in Boston, and Cambridge.

But clubs donít pay any money. I was always about trying to make money. Show me the money. We did play at Ryles, Casablanca, The Willow, and Michaelís. All those jazz bars. This was a great way to make a bunch of money and because I had all people that were either students or teachers at Berklee, the playing was really high quality in the high band. Besides doing the corporate stuff, of course, we got into weddings and that sort of stuff. We had a really successful band. At one point we were doing 110 gigs a year

You saved enough money to buy a house. Thatís not so shabby.

Yeah. And through this experience I found that I really enjoyed the business part. It sounds funny but I didnít like being the female singer or the front person in the band. I liked to sing but I didnít really like to front the band.

Were you any good?

I was very good. I am a good singer.

Was the band performing any original material?

No. I never really had an aspiration to have a national career.

What were you singing?

So this was back in the day, right? We werenít like a ďChicken DanceĒ kind of band. We had a sophisticated clientele so we played jazz, and we played more funk and R&B, Janet Jackson, and stuff like that. You had to play music that people would know. Like we played dance tunes. Corporate would hire us because we could also play some nice jazz tunes and standards and swing. So I got to do that kind of stuff. Then I had my little side project (band) where did blues stuff. It was really fun. I stopped doing it when I moved to Minnesota in í95.

You stayed with Montage after coming to Scott Southard Talent in 1987?

Oh yeah, I started my band in í82 and I did it until í95. That was my separate life.

Did being a musician provide you with the tools to work with artists as an agent?

Oh, absolutely. I know what itís like to have a 3 A.M. lobby call, and to do six hours of travel, and then have to do a show. Iím mindful of those kinds of things (in booking tours). Itís not just about making the money, and booking the dates. You donít want to kill the band on the road. Itís hard work.

You played the same crappy bars, and did the same type of travel and dealt with side players who wanted more money. So you know what to expect.

Let me give you an example. While I was a U.S. agent, I was talking to a promoter in North Carolina---that I wonít name---and could not get this venue to agree to give the band a hot meal. They just said, ďWe donít do that.Ē I went back and forth with her over a period of a couple of days. Finally, I called her up, and I was so exasperated that I said, ďLook, you donít have to feed the band, but Iím telling you that if you have a bunch of hungry musicians out on the road showing up, and thereís nothing in their stomachs, you are going to get exactly that kind of show. Itís in your best interest to take care of them and treat them well so you get the show that you are paying all of this money for.Ē

Some club owners and promoters donít see that logic.

Well, they do this all of the time. They are watching pennies. We take it for granted that you get your hotel and your catering covered in Europe because the Europeans always do that. But thatís not always the case in the States.

Plus being a pianist you know what kind of piano to ask for in a contract for McCoy Tyner.

Well, yeah. Thatís their instrument. They canít do their best show with a crappy piano.

Do you tell new clients what is or isnít realistic about their career expectations? How do they react when you tell them they arenít being realistic?

I feel very lucky that I am in the position that I am because there are artists that I just donít take if I canít work with them. The basic thing is that we all have to get on the same page, and agree with what we want to do. I like to put it out there to people, give them my plan, and ask them to sign on to it. My position isóeven more so now that we have record industry collapsingóeverybody on their team should be coming with a certain level of expertise. They (artists) have to come to me because they believe that I know what Iím talking about and that I know what to. If they canít, at least start from that standpoint, I wonít be able to give them what they want. I have learned the hard way with a couple of artists where I invested a lot of time and effort in their careers; then they either didnít go forward on different tours that I put together for them, or they didnít consistently tour to get it (their careers) to the next level, so all that effort was kind of wasted. At this stage of the game, I only have a certain number of hours in the day, I just want to work with people who want to make a plan and execute it.

Quite often agents and managers are focused on the long-term whereas, due to finances, an artist may be thinking about next Monday.

Right. My job is to lay it out for them why they have to think about six months from now.

In truth, you likely are thinking about an individual artist 4 or 5 times a day whereas that artist is thinking 24/7 about their career. As well, they have advice from their spouses and friends. Some artists overthink their careers.

It makes me really sad when I see incredibly talented people who just cannot get out of their own way to make good decisions. It really makes me very sad. Artists who have been around for awhile, when they come to you, and they are looking for you to turn things around for them, they have to understand that if they have made a bunch of bad decisions that it takes awhile to unpick that, and get them back on track.

Often itís better not taking on a veteran artist due to their career baggage. Veterans will often fight you on your decisions.

Thatís right. Or, if they been burned a number of times, they donít have any trust for anybody. Thereís nothing that I can do about that. The first thing that I tell artists is, ďIím an entrepreneur, and I am agent. I can take advantage of opportunities for you, but I cannot build audience. If thereís nobody who knows who you are, and thereís nobody who is going to help bring that forward, what can I do about that? Thatís what your label and the other people in your team, including your publicist, have to get going.Ē

You sound like if your radar is set off in a meeting with a potential client you will say, ďI donít think this is going to work out. Have a good life.Ē

I might say to them, ďI donít know if this is the right moment, or if we have the right thing together, but stay in touch with me, and weíll see if we can revisit this another time.Ē But there are artists that I absolutely will tell, ďIím not the person for youĒ or ďI donít think we can do this together.Ē I recently said this to somebody who changed management. I know that I canít work with this manager. So why bother saying to him, ďLetís see if this will work outĒ when I know itís not going to work out? Itís just the way it is.

Agents take plenty of blame for career woes.

The biggest disappointment is that you book a great tour and something goes wrong. I did this great tour for Richard Bona but his bus sucked. I had nothing to do with his bus, but I booked the tour for him. (Laughing) Jeez.

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
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 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
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
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
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
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, ItsAboutMusic.com 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Peter Shapiro, Ideal Entertainment 04/16/04
Seth Sheck, Access Pass & Design 01/03/03
Seth Sheck, ACCESS Event Solutions 06/22/16
Seth Shomes, The Agency Group 11/12/14
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Michael Simon, The Harry Fox Agency 08/14/13
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Peter Smidt, Eurosonic Noorderslag & manager Buma Cultuur 07/17/13
Garrison Snell, Gyrosity Projects 02/23/17
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
Nikki Solgot, Circle Talent Agency 02/18/15
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Mandar Thakur, Times Music 08/06/15
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Kirt Webster, Webster PR 02/03/16
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Adam White, Author 09/14/16
Adam Wilkes, AEG Live Asia 10/13/16
Fenton Williams, 04/04/08
Del Williams, Right Arm Entertainment 04/18/08
Bryan "Birdman" Williams, Cash Money Records 09/13/11
Paul Williams, ASCAP 10/19/11
J.P. Williams, Parallel Entertainment 10/03/12
Kurt Willms, Green Room Productions 09/20/03
Chris Wilson, Heartbeat Records 03/02/07
Tony Wilson, Factory Records/In The City 06/01/07
Tom Windish, The Windish Agency 07/26/10
John Wiseman, XL Touring Video 05/05/06
Thom Wolke, Twincloud.com 02/08/02
Michael Wood, City Lights Entertainment 08/08/08
Keith Wortman, Blackbird Presents 03/22/17
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, CultureCatch.com 07/27/07
Jeremiah 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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