Industry Profile: Mick The DJ
By Larry LeBlanc (CelebrityAccess)
This week In the Hot Seat with Larry LeBlanc: MICK the DJ.
At 37, MICK is one of hottest DJs on the planet.
Not only has he spun music at private parties for such celebrities as Kanye West, LeBron James, Jay-Z, and Will Smith, but he has held court at celebrity-laden events in Cannes, London, Davos, Miami, Berlin, Mumbai, Los Angeles, Tokyo, Dubai, Las Vegas, Barcelona, and New York City and worked for such major corporations as Spotify, Nike, Twitter, Yahoo, Playboy, Yahoo, Red Bull, Audi, and Ralph Lauren.
He has also consulted on projects for HBO, scored national television commercials for Adidas, and starred in a Microsoft Bing national TV commercial.
Whenever back home in New York City, MICK, formerly Mick Boogie, is often found behind the turntables at the trendsetting upscale clubs Up and Down, 1OAK, and others.
Born Mick Batyske in Youngstown, Ohio, MICK grew up in the nearby village of Poland. HE attended John Carroll University where he earned both a B.A. and MBA in marketing.
While attending John Carroll University, MICK worked as a college radio DJ, and later for Z107.9, the major urban station in Cleveland. While attending grad school, he had decided to turn his music hobby into a career. By 2008, MICK had decided that if he was to continue with music as a career that he needed to move to New York City.
As an investor, MICK has been involved with the startup of numerous companies including Localeur, and Stublisher.
You travel more than 225,000 miles a year?
It’s probably more than that. That’s the average. It’s a lot.
You manage yourself?
How do people find out about you to hire you?
It’s a bunch of different ways. I am very much a relationship guy. I treat everybody like my friend until they prove otherwise. I enjoy communicating with people. When I meet people it’s not like, “Hire me.” It’s “Hi man, what’s going on?” We develop really human personal relationships. What happens from there is that it (the relationship) just grows exponentially. People will then say, “You should meet this guy. You should know him.” Then I will meet the person, and they will put me through to their networks, and vice versa. It ends up becoming like this big spider web of really amazing contacts that all come from meetings.
There has to be more to it than that. Like the quality of your work.
First of all, I do a good job. I’m good at what I do. I am also great with the people that I do work with as well. It kind of self- propagates that way. So that’s one way (of getting work). The other thing is that I am relatively media savvy. I just started working with a PR company in the last month or two, The Chambers Group. Before that I had pretty much done everything in-house. But I have a great perception of how I should be covered, and what I should be featured on.
This comes from someone with a marketing background.
You are doing something that could be a hobby, you are able to make a living doing it, and it’s something you enjoy. So many people hate their jobs.
That’s very true. I realize that, and I appreciate that. I have plenty of days where I have the same issues that everybody else has with their jobs. Whether they are heart surgeons, plumbers, or bus drivers, everybody has those days where things are a little bit iffy. That happens on my side as well. I realize that I get to travel the world doing what I love. When you distill all of the random elements out of it, the crux of what I do is pretty fun.
Why the change in name two years ago from Mick Boogie to MICK?
Before I answer that, let me ask you why do you think that I did that because you are smart.
I thought Mick Boogie had lived out its shelf life. It belongs more to the club world. MICK is more international, and better suited to the corporate world.
I would say that you are pretty spot on with that. Mick Boogie, I chose the name in the first place because I wanted a very ‘90s hip hop sounding name, and a hip hop sounding name in general. It worked for me for that era. But as my career changed and as my brand has changed, and as my sound has changed, and my clientele has definitely changed, it got to a point where it was very limiting, and a very finite name....
And a name difficult to market internationally.
Right. For me there were a couple of things that I noticed. One was that there was a lot of open space with the name Mick. There’s only Mick Jagger. It wasn’t like my name was John.
You have MICK in caps.
I write it more like a brand. I do it more as a company. I don’t use the word DJ that people will stick in front of my name. I just do MICK one word, all caps. Mick Boogie just sounded dated. I realized that as I was growing up with my personal life and in my career, and as I was moving into these other areas—I do a lot of public speaking--a lot of the times when I do those various things like the public speaking, and I’m on panels, often I find myself on panels with big marketing people at tech companies or with people from big media agencies, and everybody has their (personal) name. For me, that name would instantly diminish my credibility in the eyes of the audience because I had this kind of weird funny name. I was up there with all of these other people. We are all as smart as each other in different fields, but my name was creating a situation where it was lowering my playing field. So cleaning up the brand, and altering my name not only did it help in that regard, but it helped tremendously with my clients, with work coming in, and with my income coming in. Everything has completely grown dramatically for me.
What reaction do you get from people when you say your name is only MICK?
It’s interesting seeing peoples’ reaction when they ask, “What’s your Instagram?” I’m like, “MICK.” It’s a 20 minute loop of me telling them “MICK.” It instantly makes them think if they don’t know me, “If he has that name on Instagram, he must be doing something right. Perhaps we should be paying more attention to him.”
Having a Centurion American Express black card with just MICK would be the ultimate.
Maybe, I need to do a bunch of events for them, and put that into my rider.
How do you set your work fees?
It all really depends. I don’t really believe in set rates. I think it’s important to be realistic.
Well, I work on a scale of low but fair; medium but fair; and high but fair. Usually, you get taken advantage of working at low but fair. So I work at the high but fair level where’s there’s respect for what I do from clients.
I agree with you. I am definitely at a point in my career where the rates are very good and very fair. I have certain bench marks that I stick with. That being said, the beauty of being self-managed is that I can also evaluate opportunities on an opportunity by opportunity basis. If there is some amazing charity event, or an up-and-coming thing in a world that, perhaps, I need to make sure that I want to be in, I am able to very quickly agree to do it. It’s so similar to these start-ups in the entrepreneurial culture that everybody tries to be part of right now. If you are at Ford, General Motors or Pepsi and you want to make a decision like that, it takes three months and 200 people to make a decision. But if you are lean start-up, you can make that decision in 30 seconds, and then press a button on your phone, and that decision is done. That is exactly the same model that I apply to my career. I don’t have to go through a team of 17 people to find out if I want to accept a gig at, maybe, less than I would want or on a day that I normally would not work. I am quickly able to decide “Yes,” or “No,” and make that change. That’s a great strength for my career because it enables me to not miss out on a lot of opportunities.
How often does a potential client try to low-ball you and says, “Mick, this would be really good exposure.”
Oh, it happens all the time. That’s where my third eye comes in. I know the difference between when that is actually true or not. A lot of times that is true. There are a lot of times where doing something like that has helped me. But there are a lot of times when that is just utter bullshit.
People often want creative people to work for free or for a lesser fee.
I had something like that the other day which I had to decline. I said, “I wish you the very best with your event but flying in 3,000 people from all around the world to your event in one of the biggest cities in America, and your sponsor is one of the biggest, and this is really your budget? Either I don’t believe you or your event is so bad that it’s going to horrible.” There was no way the numbers that they were telling me equated to any of the things that they were using on their deck to promote their event.
But there are times when you will work for a low fee or no fee.
There’s also an element of giving back that I believe in. There are charities and things that I work with. If it’s something that I believe in, I will do it for whatever their budget is because this game has been very, very good to me. So, if there’s an opportunity for me to contribute back, I will. I just did something for an awesome charity here in New York, Delete Blood Cancer. They do some amazing things. I did a benefit last year for Housing Works that tries to help eradicate aids in the homeless. Things like that -- if I am available, I am only happy to donate some time. Maybe, I can’t do the whole night but, maybe, I can come in for a couple of hours, and do what I can. That’s important. At the end of the day I am healthy, I have a home, and it’s because of DJing. If I can do something to help out other people who don’t then I’m more than happy to help out.
On the celebrity circuit you are comparable to a wedding DJ in that you play records people mostly are familiar with. In clubs, you can be more cutting edge, “Here’s something you have never heard.”
Right, exactly. That’s funny that you say that because what I try to do is merge those worlds when I do events. We have all been to a million events where you hear a DJ, and you are going, “Oh my gawd, why are you playing that?” What I try to do is to find way to give people that familiarity, that comfort, and that spirit that makes them feel at ease with those situations, but I do it through my ears and through my vision. Whether that is me remixing something live, or spending some time finding the most amazing remix that nobody has ever heard from some kid’s SoundCloud page that only has 30 listens. But I found it and it’s really great and I play it. Essentially, this is the new version of digging in the (vinyl record) crates, if you will. I try to find ways to make sure that when I am at these events that I don’t sound like that (like a by rote DJ). But at the same time people walk away not realizing that they didn’t hear all of the stuff that they wanted to hear. There’s a grey area and that‘s honestly one of the reasons for my success because I am able to split the difference.
Your product is being a DJ which is also your brand, but you are expanding that brand by working with different companies. Are you moving more and more toward the business side?
I have always had a business, and an entrepreneurial mind. I have two companies that are doing really well that I did some start-up angel investing in, and I am always looking for more opportunities. I am working with Stublisher, and a company called Localeur, which is kind of a travel app which is based on how people should experience a city as a local versus as a tourist trap or over commodity type of thing like Yelp where people can pay for the use. It’s really doing well.
You don’t see doing DJing forever?
No. I don’t plan on doing this forever. Let me rephrase that. I will also do this but there will come a time in my life when that scales back down to the innocence and the creativity, and I do it for pure artistic expression versus for financial gain.
Are you talking about like your early days as a DJ in Cleveland?
I am just talking about the hip hop that I love, that made me fall in love with the form in the first place. By that I mean I get to go around the world and do all of these amazing things for all of these brands, I’m very blessed, but the gigs that I will do for like...if I get the chance to open for a De La Soul or a thousand people straight up who love music, those are the gigs that I do for my heart because those are ones when I’m 80-years-old and looking back, I will remember those.
Do you do any club residencies anymore?
Up and Down, and 1 Oak are the clubs that I will do a couple times of month when I am in New York. It’s good to way to keep tab on the pace (of club music). A lot of times when you are on the brand circuit, you are not necessarily playing the newest record that comes out the day that it comes out. You are not necessarily getting the kid who spent all day on SoundCloud that knows everything the minute that it comes out. It’s (playing clubs is) a great way to keep your ear up, and to sharpen your skills.
You had invested in Mixstream, the mixtape streaming site.
We ended up stopping that. I just really felt like that mixtapes was in a different direction than where my career was going. As a time cruncher, it was taking a lot of time, and I just want to put that time, and effort into other things.
The golden age of mixtapes was probably 8-10 years ago. Today, there’s so much social media traffic that a mixtape doesn’t have the same traction.
I agree. I’ll still put things out which correspond with big events or big things that I’m doing because it is important, but I don’t do that for fun anymore. For the most part they are calculated, and well-thought-out. But I have been able to take the business stuff that I wanted to do and expand it, and have been working with these other start-ups. Now a lot of my DJ clients are some of the biggest media and tech companies, whether it’s Twitter, Yahoo or Spotify. Those are global clients of mine, and they have become friends as well.
Nike as well.
I’ve done a lot with Nike as well as Adidas. I really love working with big brands and helping them solve first and foremost their musical problems. Sometimes that leads to other opportunities.
Other than playing product launches or conferences for these brands what other roles do you play with them?
It all depends. For more fashion and sneaker brands I have done some stuff outside of DJing, like scoring a commercial. I do a lot with EA Sports, where I curate all the music that goes into basketball video games, such as “NBA Live.” I have been doing that for several years. Now I am able to apply the thought processes that I have learned in music to help back with some of the things that I have invested in, like consulting and giving different opinions on experiences that I’ve had even though the companies that I am involved in have nothing to do with music. One is travel and one is experience or technology. I just have been around so many things that I have qualified opinions in those worlds as well. I love that.
While working at radio stations early in your career, a well-known urban artist would come by, and you’d grab them for a beat or so, and put together a mixtape. In essence, you were doing audio selfies.
Yeah, that’s an analogy. You can make that case. I lived in a market, and in a state where there was not a lot going on at the time. When anybody would come to Cleveland for anything they would have to come through our radio station.
While attending John Carroll University, you worked at WJCU 88.7, and later for Power 107.5 in Columbus, and Z107.9, Cleveland’s commercial urban radio station.
I didn’t really have access to the bigger artists until later. I used to do college (at WJCU). The Power thing was a Columbus station that I was on for only a month. Z107.9, that was the big urban station in Cleveland. I was on there for several years. I used it when I got out of college to help pay for my grad school. I was able to cultivate a lot of access (to urban artists) because when these artists are in New York and LA or Miami they had a trillion things that they needed to do. When they would come to Cleveland, there really wasn’t anything for them to do. So they would do whatever we wanted them to do at the radio station. I was able to use that to my advantage when somebody came through.
Obviously, the bigger the artist the less you are going to get, but what was very fortunate was that a lot of the guys that came through got really big after the fact. So whether it was someone like 50 Cent, G-Unit who blew up, or rappers like the Clipse, all these people, when they first started, they would come through and we would be very fortunate. There’s a lot of lightening in a bottle. They ended up becoming some of the biggest names in the past 10 years.
You did “The Pre-Up” mixtape featuring Eminem in 2006, “The Graduate” with Kayne West in 2007, “1988” with Adele in 2008, and “UknowBigSean” with Big Sean in 2009. Not all mixtapes you have done were back then, though.
No, no. The Big Sean was more recent. The Adele thing was quite awhile ago.
The “Dilla-Gence”mixtape with Busta Rhymes was back in Ohio?
I’d like to say that was ‘07 or ‘08. It was right before I moved to New York or when I moved to New York.
In the urban community a mixtape is a business calling card. That’s how Drake got known for example.
Oh yeah. It’s an audio business card. You mention Drake. Before he blew up, he used to listen to my mixtapes. He has said that in interviews. He did an interview with XXL Radio a few years ago where he mentioned a mixtape I did (“And Justus For All”) with a real awesome group called Little Brother that broke up. But they all went onto individual things. 9th Wonder (aka Patrick Douthit) is a Grammy-winning producer, Phonte (Phonte Coleman) started (The) Foreign Exchange, and I think also got nominated for a Grammy. Before all that they were in Little Brother, and I did a mixtape with them, and Drake has mentioned in interviews how that mixtape was his favorite thing, and it had really inspired him on his career. He told me that when I met him. That was kinda cool. It’s interesting know that how big he is, and how iconic he is, that when he was starting that he was listening to something that I put together and, if that influenced him even remotely , even slightly, that’s just cool.
When you do anything like that, and I don’t do it much anymore my career has changed drastically over the years, but from that era of time, I put a lot of time and effort into those (mixtapes) and you never know who is going to hear them. That goes from everybody from Drake to Coldplay to Gwyneth Paltrow, who has put songs I did on her cooking site. Even with so-called regular people. I have been on many airplanes, and people will tell me that they heard something on a mixtape I did, and they will show it to me on their phone. It never gets old (hearing that). I take that as a compliment that somebody would take the time to take something that I did, and put it on and enjoy it.
You attended the Grammys and saw Jay-Z and Coldplay performing “Lost” formatted to match the version you did on a mixtape.
Yeah. We added a verse, and he came out, and did it. I was at those Grammys and it was crazy. It was surreal. It was when social media was really starting so we weren’t really able to get as much traction from it as we wanted to. I would have definitely had made that a lot better known today.
While you had Drake coming up to you and singing your praises, you have been able to collaborate with some of your boyhood heroes like producer Jazzy Jeff, and hip hop legends GZA, Buckshot and Bun B.
Absolutely. Jeff was the first DJ that I ever heard, and it (“He's the DJ, I'm the Rapper,” the second studio album by DJ Jazzy Jeff & The Fresh Prince, released in 1988) made me want to explore this culture, and this art of DJing. It was the first cassette that I ever brought with my own money. I still have the cassette. For us to be not just collaborators but friends at this point, it’s pretty cool. It’s a great example of life coming full circle. If you work really hard, and be a good person, and try to do the right way, stuff sort of works out.
Some of the mixtapes by people like DJ Green Lantern (James D'Agostino) are incredibly creative.
Oh yeah, he was a big influence on my mixtapes. What I liked about the mixtape culture—and I haven’t talked about this stuff in years—there were like two schools of thought for mixtapes. People who put stuff out really quick like the DJ Clues of the world, and then there were people who put stuff out creatively like the Green Lanterns of the world. What I tried to do was try and find that sweet spot right in the middle where I could be creative, but I could also be fast. I might not be the fastest, and I might not be the most creative, but I was the guy who was creative and fast.
Also on the fast side of providing mixtapes was DJ Drama.
Yeah, yeah. Actually, that is even a better example. He created the idea of the artist doing the tape, and being the creative force.
What you and others were doing with mixtapes five years or so was still underground. We have since seen DJs like David Guetta move up to being a global mainstream artist. Still mixtapes are part of your heritage.
Yeah. My career started to shift by that point, but what I’ve always tried to do is to keep a toe in the world that I have come from. The world that I came from isn’t a world that is going to pay my bills the way that I want them to be living in a brownstone in Brooklyn but one thing that it does is that it keeps my heart and my soul and my spirit very much even keel.
What led you to deciding to come to New York?
I finished grad school, I think in '05, and DJing was what I was doing up to that point. Then I decided just to give it a little more time, and I thought, “If I’m going to do this. I’m going to have to move to New York because that’s the only place to have a chance to grow this.” So it (moving) was great vitamin into my spirit. I got married in 2008, and two weeks later we moved.
When you came to New York you didn’t start out at the bottom as a DJ. If you had come from New York, you would have. It may have taken another 4 or 5 years for you to breakthrough.
You arrived in New York as the digital social world was taking off.
Exactly. For me it was a perfect storm of my career doing well, and I was able to move here. I was in a very happy place because I had just got married. There’s a real confidence and assurance that come from knowing you have that part of your life got of locked down.
And to be working in the city where people never sleep.
I was able to come in with much more of a business focus because I wasn’t worried about girls or partying. That helped. That was a little bit of help. All of that kind of played a part. Then I realized a few years ago that being the DJ really isn’t even my job. My job is the other 22 hours of the day. I didn’t even want to have a small business anymore. It’s a real legit business and my product is showing up for a couple of hours every night.
Does your wife Rana get involved with your business?
She does when I need her to help. The best thing that she does for me is it’s not like where I say “I’m running late, book this flight” or “I can’t go to the bank.” She will do that stuff too, but the best thing for me is that she is just an amazing sounding board. We will go at it. I will be dead set on one idea that think is the best in the world, and she will think that it sucks. Sometimes I’m right, and sometimes she’s right. Most of the time the truth ends up being somewhere in the middle. We do a great job of balancing out things on our own.
What work does she do?
She does a lot of stuff in the fashion world like fashion production, behind-the-scenes stuff. She’s kind of a jack-of-all trade.
Did you meet at grad school?
We met after I finished grad school. She lived in Detroit, and I lived in Cleveland. She happened to be in town for a basketball game, and I saw her there, and we got married one year from that date.
With a birth name like Mick Batyske, you are of Polish extraction?
Yeah, my dad is Polish. We used to go to a lot of polka things when I was little. I remember a guy called Happy Louie. We went to many an amusement park, and watched polka as a kid.
How did you get from Youngtown, Ohio to traveling worldwide while working in era where you have to be an artist, a platform, and a brand? You are a brand now, right?.
You never thought this type of career would develop when you started out DJing?
Definitely never. Like every musician, every DJ and every artist, at least when I started--I think that it’s slightly different for this generation--but I started out very innocently. In my bedroom practicing whatever I was doing. Your goal really is to just impress your friends. People in high school think that you are cool for doing it. That’s a victory. That’s a win.
It also gives you an identity in high school as well.
Yeah, exactly because not everybody is going to be the smartest guy in the class or not everybody is going to be the jock or the cheerleader. It gives you other opportunities to do something that is cool. So that was music for me.
You weren’t a jock for sure. You were a fat kid....
I was very fat.
You have no athletic ability of note.
That’s what my wife tells me.
I read the story of you trying to throw basketballs to impress her on your third date.
That was our third date, and I was lucky I got a fourth one.
How do you protect your ears if you have earphones on most of the time? What earphones do you use?
I use a bunch of different earphones. Truthfully, I’ve gotten to the point now where I am DJing most of my events without earphones. I have perfected using wave forms on the laptop (computer) to line up the songs. I use headphones, maybe, for two gigs a month, if that.
Have you ever been scared about hearing loss?
No. I don’t turn my monitors up very loud either. I’m quite sure that my hearing is not as good as it should be for my age, but I am very cognizant of that. So I am not trying to do anything to blow my ears out. Not saying that using earphones does that. (Laughing) I’m waiting for somebody to pay me to use their earphones. Until that happens, I’m cool without them. Also I find it a challenge to do it without earphones.
Do you still work with vinyl?
I use the vinyl when using Serato, which digitally controls my music. I don’t do a lot of gigs where I play out with vinyl without the computer anymore. I still have all of my vinyl.
You are the guy who scratched your mom’s music collection because you worked the turntable with no mat underneath.
I messed her records up. I ruined them.
What music did she have?
She had some cool stuff. What I loved about hip hop growing up was that they took samples from so many different things. I distinctively remember early on in high school, when Run-DMC made their comeback, and they had Pete Rock doing a lot of production for them. They had this really great song that Run-DMC, Pete Rock and CL Smooth did together called “Down with the King.” To this day if you listen to the instrumental of that song it sounds very angelic. There are choirs and strings. Even if you don’t like hip hop, if you heard it, you couldn’t deny that the beat is very moving. I remember that I would look at the single, and try to figure out what the sample was. It was from the “Hair” soundtrack, and my mother had the “Hair” soundtrack. This was when I was first figuring out how all of this went. That was definitely one of the records that I messed up. I would play it—and I didn’t understand how all of this works. When Pete Rock produced it, he slowed it way down; he boosted the bass; and he chopped it up. There were things in it sound that sounded amazing the way that I heard it. Then when I heard her (“Hair”) version I was like, “What the hell is this?” But then I found that I needed to figure out how much work that people were putting into these hip hop beats. A lot of times you are just stealing music, you didn’t realize that musicality had to go into taking one sample, and changing it into a million other things.
Of course, the Puff Daddy era came out, that was like we are just going to rap over an entire Diana Ross song. But sampling, when it’s done at its best, is impressive.
It’s like listening to great jukebox selections.
You know what was great about that was that I firmly believe that when people were really sampling a lot--before the rules got really regimented and restrictive--it enabled people who had curiosity to learn and discover so much music that they had no business learning. I didn’t really come of age to listening to music until the ‘90s there was no way that I was going to learn all of this obscure stuff in the ‘70s, and ‘80s.
You weren’t hearing that music anymore on the radio.
No I wasn’t, and my parents weren’t music professors or hippies or people that had enormous record collections. When I would listen to A Tribe Called Quest, Beastie Boys, Public Enemy and all of that stuff, I would scrutinize all of the samples. It was like a whole hidden society. Who were all of these bands? From there, you would discover something else. “Oh, I really like Sly Stone. He was inspired by these guys.” That was such a fun time. A lot of those artists that got sampled—they were definitely right to say that we weren’t getting enough money for their contributions, sure--but what they didn’t realize is how many people like me learned because of that. I would never heard of a Blood, Sweat and Tears, Rare Earth, Steely Dan or any of these groups if it wasn’t for hip hop.
You’d hear Prince sampling Joni Mitchell’s “Help Me” in “The Ballad of Dorothy Parker” or using her “A Case of You” for “A Case of U.”
It was so interesting things like that. The best example for me Beastie Boys’ Paul’s Boutique” (1989) and De La Soul’s first album, “3 Feet High And Rising.” The level of cleverness of what they sampled you couldn’t make those albums out today. I don’t think they could legally put out “3 Feet High And Rising” because of the samples on that. I don’t think they could put it on iTunes, the amount of samples on that. There’s some weird things going on there.
Do you have friends over to the house socially, and you have to keep playing music saying, “You gotta hear this.”
Oh yeah. My wife and I were in just in a restaurant. The music was really good and my ears are just so trained. We were outside sitting on a patio and she couldn’t hear it. I was like, “Did you hear that?” She says, “No.” I say, “They are playing this really weird Biggie Smalls’ B-side.” I am really stroked that they are playing this at a family restaurant. I was like, “This is awesome. And you don’t hear it?” I was like freaking out, “You don’t hear it?” I’m slapping the table, and she’s like, “Dude, I don’t hear it.” It just how my ears are. I absolutely hear it.
Larry LeBlanc is widely recognized as one of the leading music industry journalists in the world. Before joining CelebrityAccess in 2008 as senior editor, he was the Canadian bureau chief of Billboard from 1991-2007 and Canadian editor of Record World from 1970-89. He was also a co-founder of the late Canadian music trade, The Record.
He has been quoted on music industry issues in hundreds of publications including Time, Forbes, and the London Times. He is co-author of the book “Music From Far And Wide.” Larry is the recipient of the 2013 Walt Grealis Special Achievement Award, recognizing individuals who have made an impact on the Canadian music industry. He is a board member of the Mariposa Folk Festival in Orillia, Ontario.
Industry Profile Archives:
Mick The DJ, DJ/Enterpeneur 04/30/15
Joanne Abbot Green, CMJ Music Marathon and Film Festival 10/17/08
Lee Abrams, XM Satellite Radio 11/28/03
John Acquaviva, Fund Manager, DJ and Serial Entrepreneur 07/09/15
Jay Boy Adams, Roadhouse Transportation 05/04/07
Jamie Adler, Adler Entertainment Group 05/11/07
Gary Adler, National Association of Ticket Brokers 12/04/13
Rodney Afshari, Freeze Artist Management 03/01/02
JC Ahn, VU Entertainment 04/10/13
Steve Alaimo, Vision Records & Audio Vision Studios 05/26/06
Jaye Albright, Albright & O'Malley Consulting 07/19/10
Randy Alexander, Randex Communications 10/12/07
David Alexander, Sheer Publishing 07/21/16
Eva Alexiou-Reo, FATA Booking Agency 05/14/15
Marcie Allen, Mad Booking 12/14/00
Jeff Allen, Universal Attractions 08/16/02
Marcie Allen, MAC Presents 06/05/09
Marcie Allen Cardwell, MAC Presents 12/21/07
David Allgood, Bama Theatre 01/03/11
Patrick Allocco, AllGood Concerts 10/05/07
Michele Amar, French Embassy 05/26/16
Mike Amato, Rok Tours International 02/02/07
Jeff Apregan, Apregan Entertainment Group/Venue Coalition 09/30/15
Billy Atwell, AMP Studios 12/13/07
Bob Babisch, Milwaukee World Festivals Inc. 04/02/15
Tom Baggot, thebookingagency.com 05/02/03
Stephen Bailey, EPACC & Deleware Center For The Arts 02/06/04
Cary Baker, Conqueroo 05/11/11
Vince Bannon, Getty Images 07/05/11
Phil Barber, Barber & Associates 02/04/01
Camille Barbone, WineDark Records 12/09/05
Erin Barra, Musician/Producer/Educator 07/10/14
Ben Baruch, The Fox Theatre 09/27/08
Ben Baruch, By Larry LeBlanc (CelebrityAccess) 04/05/17
Paul Bassman, Ascend Insurance Brokerage 08/03/16
Adam Bauer, Fleming, Tamulevich & Associates 02/15/02
Ed Bazel, That's Entertainment International 10/05/01
Joachim Becker, ZOHO Music L.L.C. 01/12/07
Howard Becker, Comet Technologies 05/02/11
Mark Bego, Author 06/15/07
Jim Beloff, Flea Market Music 09/20/10
Richard Bengloff, The American Association of Independent Music (A2IM) 09/12/13
Seth Berg, South Bay Music 01/30/09
Aimee Berger, 2 Generations SPA Music Management 09/24/04
David Berger, Future Beat 10/29/14
Barry Bergman, Music Managers Forum 03/14/03
Steve Bernstein, Relix LLC 09/30/05
Mark Berry, Attack Media Group 04/07/07
Scott Billington, Rounder Records 01/17/12
Jeffrey Bischoff, Cinder Block 03/24/06
Sat Bisla, A&R Worldwide/ Musexpo 03/29/10
Nina Blackwood, Sirius Satellite Radio 07/14/06
Adam Block, Legacy Recordings 11/07/13
P.J. Bloom, Neophonic, Inc. 01/24/11
Rishon Blumberg, Brick Wall Management 06/27/03
Justin Bolognino, Learned Evolution, and The Meta Agency 04/25/13
Steve "Chopper" Borges, Total Pro and Borse Techos 03/03/06
Les Borsai, Mediocre Management 01/30/04
Shane Bourbonnais, Live Nation Canada 03/21/08
Jeff Bowen, Sears Centre Arena 03/13/08
Rick Bowen, Mystic Music Experience 07/11/08
John Boyle, Sanctuary Music Group 03/19/04
Jeff & Todd Brabec, Writers/Attorneys 01/03/12
Bill Bragin, Joe's Pub at the Public Theater 08/08/03
Joel Brandes, Avenue Management Group 11/02/08
Joe Brandmeier, Moving Pictures 03/15/02
Scooter Braun, SB Projects 12/13/10
Ron Brice, 3rd & Lindsley Bar & Grill 06/08/16
Billy Brill, Billy Alan Productions 11/11/05
Doug Brown, Talent Buyers Network 09/21/01
James Browne, Sweet Rhythm 11/01/02
Bob Brumley, Brumley Music Company 02/17/16
Tony Brummel, Victory Records 05/17/09
Charlie Brusco, TBA Entertainment Corporation 10/13/01
Del Bryant, BMI 05/18/07
Cortez Bryant, Bryant Management 12/06/10
Bruce Burch, University of Georgia Music Business Program 10/09/09
Deborah Burda, Kentucky Exposition Center 08/03/07
Patti Burgart, IEBA 06/07/02
Jordan Burger, The New Musiquarium 01/22/01
Ron Burman, Roadrunner Records 08/25/06
Suzanne Cadgene, Elmore 05/19/06
Karen Cadle, KGC Productions 03/12/04
Gary Calamar, KCRW 07/10/09
Charles Caldas, Merlin 07/05/10
Brian Camelio, ArtistShare 02/29/08
David Campbell, AEG Europe 08/02/10
Tom Cantone, Foxwoods Entertainment Group 10/20/00
Tom Cantone, Foxwoods Resort Casino 07/03/03
Tom Cantone, Mohegan Sun 08/30/09
Ashley Capps, A. C. Entertainment 05/21/04
Rio Caraeff, Vevo 07/12/11
Mike Carden, Eagle Rock Entertainment 08/16/11
Charles Carlini, Carlini Group 05/16/08
Mark Carpentieri, M.C. Records 05/27/05
Mark Carpentieri, M.C. Records 01/10/11
Troy Carter, Coalition Media Group 06/07/10
Daniel Catullo, Coming Home Studios 06/22/08
Raffi Cavoukian, Folk Singer/Children's Entertainer 05/11/16
Jeffrey Chabon, Chabon Entertainment Group 08/22/02
Mike Chadwick, Essential Music & Marketing 08/01/12
Rob Challice, Coda Music Agency 03/27/13
Tom Chauncey, Partisan Arts 01/11/02
Tom Chauncey, Partisan Arts 10/04/11
Lisa Cherniak, Artists Against Racism (AAR) 07/20/01
Bob Chiappardi, Concrete Marketing 06/13/03
Joel Chriss, Chriss & Co. 10/04/02
Michael Chugg, Michael Chugg Entertainment 09/14/01
Michael Chugg, Chugg Enterprises 10/02/09
Gary Churgin, Harry Fox Agency 09/13/10
Vinny Cinquemani, S.L. Feldman & Associates 12/13/12
Barry Coburn, Ten Ten Music Group 03/28/11
Matthew Cohen, Green Room Productions 10/19/01
Ted Cohen, TAG Strategic 01/10/13
Lisa Cohen, Associated Booking Corporation 02/10/06
Steve Cohen, Music + Art Management, Inc. 03/09/07
Dan Cohen, Music & Memory 01/12/17
Michael Cohl - Part 1, S2BN Entertainment 03/06/13
Michael Cohl - Part 2, S2BN Entertainment 03/13/13
Bryan Coleman, Union Entertainment Group 02/14/12
Mamie Coleman, Fox Broadcasting 07/05/12
Dennis Condon, Disneyland Resorts 07/13/01
Peter Conlon, Peter Conlon Presents 05/20/05
Tony Conway, Buddy Lee Attractions 10/06/00
Allen Cook, TOURtech 04/16/15
Tomas Cookman, Cookman International 09/05/03
Alex Cooley, Alex Cooley Presents 07/12/10
David Cooper, Foxman.com 10/31/03
Jay Cooper, Greenberg Traurig, LLP 05/23/11
Julie Coulter, Near North Insurance Groups 06/07/01
Amy Cox, Deep South Entertainment 02/09/07
Michael O. Crain, Crain Law Group, LLC 10/09/13
Charlie Cran, The Strawberry Music Festival 04/05/10
Jim Cressman, Invictus Entertainment Group 06/06/12
Russ Crupnick, MusicWatch, Inc. 07/23/15
Todd Culberhouse, Vision Management /Vision Records and Entertainment 09/05/08
Tony D'Amelio, Washington Speakers Bureau 04/21/06
Ray Danniels, Standing Room Only Management, and the Anthem Entertainment Group 03/05/15
Ken Dashow, WAXQ-FM (l04.3 FM) - New York 09/08/06
Hal David, Lyricist 07/26/11
David Davidian, Independant Lighting Designer/Director 06/18/04
Anthony Davis, D&L Entertainment Services, Inc. 03/02/01
Chip Davis, American Gramaphone/Mannheim Steamroller 05/31/02
Mitch Davis, Tempest Entertainment 07/16/04
Jeff Dawson, Canadian Recording Services 06/08/08
Desiree Day, USO Celebrity Entertainment 08/10/01
Shauna de Cartier, Six Shooter Records/Six Shooter Management 10/23/13
Gene DeAnna, The Library of Congress 02/21/12
Vincent Degiorgio, Chapter 2 Productions 08/01/13
Tony DeLauro, DeLauro Management 12/23/04
Valerie Denn, Val Denn Agency 04/30/01
Val Denn, Val Denn Agency 03/06/14
Robert DePugh, Alligator Records 07/29/05
Tom Derr, Rock Ridge Music 10/29/04
Paul Dexter, Masterworks Lighting Design and Road Cases 12/10/04
Marty Diamond, Paradigm 01/22/10
Glenn Dicker, Redeye Distribution/Yep Roc Records 07/07/06
Barry Dickins, International Talent Booking Agency 06/06/13
Jim Digby, Event Safety Alliance 09/01/16
Mark Dinerstein, The Knitting Factory 11/17/06
Neill Dixon, Canadian Music Week 03/03/16
Thomas Dolby, Musician, academic, technologist, and author 11/09/16
Jasper Donat, Music Matters 2009/Branded 04/24/09
Jim Donio, National Association of Recording Merchandisers 04/22/11
Marc Dottore, M. Dottore Management 04/11/03
Tim Drake, The Roots Agency 12/12/08
Mike Dreese, Newbury Comics 11/23/11
Charles Driebe, Blind Ambition Management Ltd. 09/22/06
Jeremy Driesen, Ray Bloch Productions 09/07/01
Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of Denver’s Division of Theatres and Arenas 08/23/10
Paolo d’Alessandro, International Solutions 06/25/14
Ros Earls, 140dB Management 02/19/14
Art Edelstein, Festival Productions 12/01/02
Bruce Eisenberg, Audio Analysts 08/31/01
Martin Elbourne, The Glastonbury Festival 12/18/09
Michael Elder, Red Entertainment 03/17/06
Tod Elmore, Sixthman 11/24/06
Paul Emery, Clear Channel Entertainment 11/19/04
Arty Erk, Citrin Cooperman 04/27/16
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock ’n’ Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gélinas, Festival d’été de Québec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Chris Gero, Yamaha Entertainment Group 10/26/16
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Steve Gietka, SMG Entertainment 03/19/14
Darren Gilmore, Watchdog Management 03/17/16
Daniel Glass, Glassnote Entertainment Group 10/16/14
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Neil Goldberg, Cirque Productions 04/16/14
Martin Goldschmidt, Cooking Vinyl Group 09/29/16
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, Turntable.fm 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Justin Kalifowitz, Downtown Publishing 04/20/17
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, ItsAboutMusic.com 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Peter Shapiro, Ideal Entertainment 04/16/04
Seth Sheck, Access Pass & Design 01/03/03
Seth Sheck, ACCESS Event Solutions 06/22/16
Seth Shomes, The Agency Group 11/12/14
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Michael Simon, The Harry Fox Agency 08/14/13
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Peter Smidt, Eurosonic Noorderslag & manager Buma Cultuur 07/17/13
Garrison Snell, Gyrosity Projects 02/23/17
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
Nikki Solgot, Circle Talent Agency 02/18/15
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Mandar Thakur, Times Music 08/06/15
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Kirt Webster, Webster PR 02/03/16
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Adam White, Author 09/14/16
Adam Wilkes, AEG Live Asia 10/13/16
Fenton Williams, 04/04/08
Del Williams, Right Arm Entertainment 04/18/08
Bryan "Birdman" Williams, Cash Money Records 09/13/11
Paul Williams, ASCAP 10/19/11
J.P. Williams, Parallel Entertainment 10/03/12
Kurt Willms, Green Room Productions 09/20/03
Chris Wilson, Heartbeat Records 03/02/07
Tony Wilson, Factory Records/In The City 06/01/07
Tom Windish, The Windish Agency 07/26/10
John Wiseman, XL Touring Video 05/05/06
Thom Wolke, Twincloud.com 02/08/02
Michael Wood, City Lights Entertainment 08/08/08
Keith Wortman, Blackbird Presents 03/22/17
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, CultureCatch.com 07/27/07
Jeremiah “Ice” Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
Kevin 'Chief' Zaruk, Chief Music Management 06/10/15
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06
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