Industry Profile: Seth Sheck

— By Larry LeBlanc (CelebrityAccess)

This week In the Hot Seat with Larry LeBlanc: Seth Sheck, CEO & founder, ACCESS Event Solutions.

Put a half-dozen live music industry veterans together and talk will likely turn to how many tour laminates, VIP backstage passes or event security badges they’ve collected over the years.

Seth Sheck, CEO & founder, ACCESS Event Solutions in Sparks, Nevada will beat all such challenges without breaking a sweat.

For any major sporting event, concert or event with a celebrity or political figure in North America, it’s a darn good bet that ACCESS had something to do with the design and manufacturing of those credentials.

ACCESS Event Solutions began as ACCESS Pass & Design in 2002, an event credential company that soon integrated technology into passes that were otherwise just ink on paper. The company has since developed a state-of-the-art proprietary software platform to oversee credentials of any type, whether it’s a general admission ticket, the GOD event promoter pass and everything in between for any live event.

ACCESS’ prime list of clients runs from the New York Yankees, the San Francisco Giants, the Baltimore Ravens, Daytona 500 in sports to such music artists as Jay Z, Linkin Park, Justin Bieber, Drake, and Guns N’ Roses to TV shows “Saturday Night Live” and “The Voice” to big-scale political and religious events.

Reno-born and raised Sheck has had considerable experience in the credentials industry. He worked two stints with T-Bird Entertainment Printing & Graphics, one of the first companies that made backstage passes. After leaving T-Bird the second time, he decided to start ACCESS Pass & Design with T-Bird co-workers Brad Diller and Frank Himler as partners.

Two years ago Sheck rebranded the company’s as ACCESS Events Solutions and bought his partners out.

ACCESS Event Solutions is often listed as being located in Reno, Nevada but the office is in Sparks, east of Reno.

Most people don’t know Sparks.

Are you kidding? Home of the Great Basin Brewing Company, the Nugget Casino Resort, and Nevada’s first licensed brothel, the Mustang Ranch is east of town.

There you go. That’s our end of town. Where my wife Alma and I live is the last exit east of Sparks. It used to be out in the boonies.

ACCESS operates from a 10,000-square-foot facility in the Oakcrest Business Park in Sparks?

In the heart of Sparks on Greg Street.

ACCESS has 23 people on staff according to the company’s website.

I think that it’s closer to 27. The website is scheduled to be updated on July 1st. My wife Alma and I own 100%. We are totally self-funded. We have no investors.

Does the company work in five continents?

We have had our team on five different continents working with an older version of our software.

How do you and Alma divide duties?

Alma and I, obviously, live together. We (car) pool together. We share an office together. We travel together.

Many couples have difficulty with such closeness in their businesses.

We really enjoy it. We are best friends. Alma is the director of administration and HR, I am founder and CEO. The roles are very separate. Obviously, there’s plenty of crossover because it’s our company. She handles all of the hiring and firings, and all of the administrative things. We look at it (the company) like it’s a big ball, and we are both on the surface of the ball. Her job is to maintain everything inside the ball. My job is to be on the ball looking out, trying to make the ball bigger. But we end up doing it all together. It all gets blended.

It’s been long overlooked that in the ‘90s you created the die cut laminate pass, often referred to as the matrix laminate. Lammies had been awkwardly-designed pouch laminates.

Well, I did, yes.

The die-cut pass you developed became popular not just because it looked so much cooler, but it offered the ability to shape code laminates just like satin passes, which made the passes easier to identify.

What really hurts is the die cut laminate, where the artwork goes edge to edge--there’s no clear plastic pouch around the paper insert--I created that, and I never get cred for it. Every time I see it on TV or in the movies or on the sidelines or backstage, and it’s something we didn’t make, it just drives me nuts. The world adopted this new kind of pass, and it shows a level of innovation. If I got hit by a bus tomorrow, and if I am remembered for anything in changing the world in the tiniest way, that’s my claim to fame, I think.

One of the first times we used it was in Canada at Mosport Park (in Bowmanville, Ontario). There was a big festival called Eden Fest there (featuring over 50 other acts including the Tragically Hip, the Cure, Porno for Pyros, Bush, Live, the Goo Goo Dolls, and Ani DiFranco. ICON were the producers. Every shape we made for a satin we made for a laminate to roll out this idea of a die cut laminate. It was enormous. I put them all on a board and saved them all.

Do people collect and sell passes?

They are sold all the time. Everybody asks the question, “How many old backstage passes do you have? Is there a way you can sell and monetize them?” The question is the most popular question to me other than “Do you get to go backstage at every show?” The truth is that we didn’t want to be both a security company and a company where the average Joe could get an all-access pass. It’s a confusing message. I recently had a conversation with Kevin Lyman with the Vans Warped tour. Kevin said, “Dude, pay me a 15% licensing fee, take every one of the Warped tour passes that you have done since day one, and make shower curtains and other things for college kids.” We have always had those type of conversations, but he was the first one to bite, and say, “Let’s do it.” We’ll see what happens.

When an artist approaches ACCESS Event Solutions for passes who is doing the contacting? The artist’s tour manager, production manager, security director? Or all three?

I’ve had instances where it’s been all three.

Do each have different criteria or demands that encourage them to come to you?

You know, I’m not sure. I think that part of it just might be the relationship. Take Linkin Park for example. Jim Digby is the production manager. He’s the one that will reach out to me first. I don’t know if it would be that way if I didn’t have that relationship with him. He might have a security guy reach out to us, and just deal with it. That’s a very good question. I have never considered when it was a personal preference or if there is a reason that he wants to do it.

Over the years, and certainly with increased security issues, the manufacturing of passes has become more complicated. Also the larger the tour, the more passes needed, and there will be different security clearances. Years ago, you’d just run off a handful of die-cut passes. It’s more complex in nature today.

Yeah, it is. I like to think that I personally brought innovation to a space that is quite often using old technology. Ink on paper, there’s nothing new about that. We were the first to go full digital, and the use of holographic foil stamping, and die-cutting, there’s nothing new about that. The equipment that does that is hundreds of years old.

Correct me if I’m wrong. A satin pass is usually intended for use the day of an event. The laminate for a full tour.

That is the general line of thinking. The satins are more for daily event staff and guests. Anybody who gets a laminate, it’s a little more permanent. I’ve gotten both when I’ve come to a show. I’ve gotten a satin, but more often than not, I would get a laminate that says, “Come back and say hello to me in the production office.” Most satins won’t get you back that far.

Satins are also multi-purpose in that they are, perhaps, color-coded. and marked off to where a person can and can’t go.

That is kind of a budgeted option. It is one that we offer where you can put four options on a rectangle pass, and just change the colors, and just use a sharpie to block out the versions of the pass or the levels of access that you don’t want them to have, leaving exposed where they can go. But those are kind of far and in between today. Maybe some of the smaller bands will go that route because they can’t afford a full security pass system with different shapes, colors and designs and such.

With a major act tour how much advance notice do you need to manufacture the requisite passes?

Well, here’s the thing. We at ACCESS are famous for our fast turnaround. The fact that we are full digital means that....in the old days we used to print offset lithographic printing. You would have to wait for the ink to dry, especially with something like cloth satins. That would take days. With our new technology and with our special process, satins we can print and run in the same day. I can actually get a call...Let’s take Justin Bieber, for example. This recently happened. I got a call on the weekend that some small access passes went missing. It was a security threat, and they needed a new set of passes created for a show in two days. We got that call on the weekend, and the job shipped out on a Monday or a Tuesday.

Years ago, a client would ship you artwork, and there would have been back-and-forth approval. Today with computers and with high-speed internet access, and with digital technology, artwork can be sent and returned digitally. Technology has made turnarounds easier, and faster.

Oh yeah. I remember cutting (the masking film) Rubylith, you know that ruby-colored acrylic transparent paper, and using sharpie (razor) knives on (light) tables. The process was with big giant cameras, and photo-ready art. That’s a thing of the past now. Everything now is digital.

You have an in-house design department but, with global touring demands for the major acts, do clients have more concise ideas for their security pass artwork than in the past?

That’s kind of a loaded question. Justin Bieber again. That’s someone you would think that would have a team of people showing him designs that he approves, and then they send to us. But instead, they sent a photo and said, “Go nuts. Design something from scratch. Make sure that this photo is in there.” So I can’t even break it down by percentages (of receiving advance artwork). It’s a roll of the dice. I can tell you that our team really gets excited when we get the chance to work from the ground up, and they are able to show off their skills. It’s less exciting, obviously, if someone says, “Here’s the artwork, print this.” So it’s a little bit of both. There’s also something in between where somebody will send us something that isn’t good quality. That we can repair or make it better so that it will reproduce well.

Your team will create great art, especially if they think the act is cool.

Absolutely. They take great pride. In fact, in some cases the only reason that we get repeat business from certain clients is because of our artwork. They know that we are more expensive, but they like our artwork, and they trust our art department and our turnaround time. Things are worth paying a little more money for.

Do you keep logistic books on clients, indicating what their past needs were?

Oh yeah. Our infrastructure is as about as modern as it gets. The whole shop is run on a very modern ERP system (Enterprise Resource Planning system) integrated with the sales force software that is integrated with our intelligent website that is integrated with our phones system and our online store. I get calls and emails all the time, “What did we do last year when we did blah blah blah. Can you look it up and send it to me?” We get those calls all the time.

ACCESS Event Solutions also prints itinerary books.

We do print itineraries. The art department hates it just because it’s not very creative. But we have made the itinerary book a sexy thing. Our designers took those words on a white page and they put in color, background images, and cool boxes and they do all kinds of cool designs. Our books are gorgeous. But they are more expensive.

Do passes for sports and music events differ?

In some ways, sports is very predictable. The seasons come and go the same time every year. We know when it comes, and we are ready for it. So, in that sense, it’s very predictable, and from the design standpoint, much of it very utilitarian, meaning that they need media credentials, and it has to be different from last year. It has to have this date and “We are playing at this stadium.” That sort of thing.

Obviously, passes differ for home and away games.

Well, yeah. For example, we do the Yankees. All the media and field passes are specific to Yankee Stadium, but when those guys play in a different venue they are subject to wearing the credentials of that team there.

What are differences of laminates and day passes in sports?

With baseball, for example, laminates are for the permanent staff and crew and returning members of the team. Everybody else gets a paper hang tag. It’s obviously a lot cheaper. It’s not laminated. It has a little an elastic tag on it that they can wear around their neck. What we do with all of the passes that we print is that we promote the security factor. So even though the paper hang tags are less expensive than the laminates, everything ends up with some sort of a watermark on it. We put on watermarks. We also put UV watermarks that can only be seen with a black light. Security features? We like bar codes, serial numbers, holographic foil. So even if someone ends up trying to sell one of these things on eBay. We protect the community by keeping an eye on eBay for the online sale of live (current) passes even if it’s not our customers just because we want to be good stewards for the industry. We do have a set-up with eBay that we can pull passes that we can prove are current.

What led to you investing $2 million in a proprietary software platform, an integrated technology platform for the now common RFID/NFC coded badges and wristbands?

Yes. Even before Intellitix was opened a year (from 2011), I could see which way the wind was blowing with technology. But it just wasn’t that. We go to other trade show shows, right? Because it’s not just music. We are in sports. We do film and TV conferences. Everybody needs a credential. Every event needs a credential. So we are all over the place. We had been going to some marketing trade shows and the notion of activating a brand, and kind of tracking attendees’ experiences from conferences and trade shows, it didn’t take a scientist to understand that the times were changing and that we needed to partner with—which is the path we choose originally—a company that was doing something like that. We worked with Thinaire out of New York, and with Fish Technologies (in Addison, Texas). But our customers are used to superfast turnarounds and super high-quality service, and products. Not to say anything bad about our partners but, with technology, it just takes so much more than turning around a fast print job superfast.

Most people don’t know the difference between RFID and NFC coded badges or wristbands.

All of the things fall under RFID (radio frequency identification). It’s more about proximity. One is less secure and long range which is good for tracking people and seeing patterns but it isn’t very secure. That’s what everybody refers to as RFID. Near Field Communication or NFC is where you have to be in proximity. You have to be close to be able to read (the serial data), and it’s far more secure. The standards are very much higher.

[Radio frequency identification (RFID) is a generic term used to describe a system that transmits in the form of a unique serial number for an object or person wirelessly, using radio waves. RFID enables readers to capture data on tags and transmit it to a computer system, without physical contact. Near Field Communication (NFC) is a subset of RFID that limits the range of communication to within 4 inches. RFID has a wide range of uses while NFC is generally used in instances where security is needed, such as when integrated into mobile phones.]

And you can use NFC with any smartphone.

Yes. Every smartphone, including Apple, but Apple keeps their system closed so you can only use it with Apple Pay.

Technology now plays an important role at festivals in providing a more personalized experience for audiences. RFID and an NFC coded badges or wristbands allow brands, artists, and promoters to connect directly with an audience. Meanwhile, event promoters can control entry levels to areas, including limiting stage access, scheduling of meals, and VIP tracking.

Yes, and here’s something that most people don’t realize. RFID is the buzz word, but it’s certainly a lot more expensive. It’s our goal with our Mission Control app (which allows immediate access to data associated with the pass holder via the cloud-based data on-site) to print a barcode on every laminate that we produce. To give users the ability to download our app onto their devices for free, and take advantage of a couple of features for free. If they want the full suite of features then, of course, we will charge extra for that. Our codes do the exact same thing that RFID does. RFID is just a bar code that is made out of a metal tag. It is just a unique number.

How have you come to understand all of the technology shifts and the innovations in your field? Do you have a college degree?

No.

With increased security sophistication, the manufacturing of passes has become a challenging if not a daunting field.

Well, the thing is that it is daunting because it is constantly changing. What’s happening, in my opinion, is that the ticket has now become an integrated credential, and it is integrated with some form of technology. Our goal with Mission Control, and as a credential company, was to understand that if everything went through Mission Control whether it is a general admission ticket as credential to the Access All Areas (sometimes referred to as the Universal Pass) all of the way back to the GOD pass for the owner of the event that everybody associated with the event before, during and after would be in our system. And there’s some power in that.

At the same time, annual spending of festival sponsorships is increasing because such events are deemed the best way to reach a relevant audience.

So there’s a sponsorship play. That’s why we are integrated with Eventbrite. It (ticketing) is all-important to the event producer. The event producer has ultimate control over who gets to go where, when, and for how often, and if they get meals etc. And they (event promoters) also have access to all that data.

With an event wristband having RFID, there’s probably no reason to have a paper ticket anymore.

That’s exactly what I’m talking about. We have wristband manufacturing partners but I’m looking at acquiring a wristband manufacturer because as a credential company, knowing that wristbands with RFID are now becoming a considered credential in my opinion, then we need to close the loop on that. Having to use third-parties is just too risky. We can’t control price. We can’t control turn-around time. We can’t control quality.

As a 360-degree type company, you need to close the circle.

Wristbands are another form of credential but we don’t manufacture them in-house currently. In fact, nobody is manufacturing these things in America. They are all get made, to some degree, in China because getting those RFID tags on the printed ribbons, that’s intensive labor, and America can’t compete.

Those wristbands do provide tiered-level of access for crews. With an all-day festival, a promoter doesn’t want an overabundance of people having access to a stage. They can do hour-by-hour stage access.

We did that for the first time for Live Nation for HARD Summer festival, and the Day of Dead (in 2014).

Hour by hour access to areas, including the stage?

Yes. That’s what Mission Control does. Mission Control is where it’s not the wristband. It’s not the credential. We make the credential today. We are eventually going to make the wristbands too. Imagine a world where the credential provider also has software that is tied to the credential. And all of these credentials, all they are is a credential with a unique number that needs to be associated to someone. Once that happens in the system (that is cloud-based) and hopefully that system is Mission Control, now the event producer or the artist liaison or media person in charge of handling media can go back to you, send you a request form, “Hey Larry, how many passes do you want? What are you looking for? Fill out this form and submit it.”

A long way from holographic foil stamping, and die-cutting wristbands or laminates.

This is still going to take place because you are still going to show up at the event. They are going to mail you your credential, whether it’s a wristband or a laminate with foil and bar code or, hopefully, RFID. But they are going to mail that to you. What will have happened is that they have associated your name to that credential; that unique ID on that credential will be in our system. Inside of our system they have clicked what stage you can be on and for how and which VIP area you can get into. If you can get backstage. If you’ve got catering. If you have got all of that. Do you get a radio and a golf cart? All of that can be manned by Mission Control. That’s the idea. The big idea is that every single customer that calls us for a credential could use a system like this to some degree. Even to just turn a pass on or turn it off.

Every credential that we produce will have at least a bar code on it that any phone on the planet can read. You can download our app for free. We aren’t there yet. We are a few months away from making that announcement but at least the very basic features will be given away. Like the ability to turn a pass on or off. So if somebody steals passes or they lost passes or they were being sold online or whatever, you could deactivate the pass.

There is a generational apprehension that may be an issue. Millennials are an experience generation. They want you to take them somewhere unique. Older people are more nervous about the use of technology. They have concerns about companies gathering information about them.

Well, the privacy issue, remember that it’s opt-in. So when you pay for your ticket, and your ticket comes in the mail in the form of a wristband, it comes with a little note that says, “In order to get into the event you need to activate your credential.” The amount of information that is asked for may vary from event to event, and how long the event producer keeps the data may change because every state has different laws. I think that California has the most strict (data) laws, and everybody is going off of California’s law. But there’s only a certain period of time that you can keep somebody’s personal information, but you can anonymize the data.

if a wristband can track people at an event, it would feel like Big Brother to some people.

Yes. As you said, you and I are quite a bit older than most of the Millennials out there who are paying for these tickets. They are all on social media. They share everything. They don’t give a shit who knows about them. It doesn’t even actually bother me. I’m on Facebook, and tell everybody, “Hey guys, I’m leaving for New York for a week.” They don‘t know if I have somebody at the house or if there’s an attack dog at the house.

[According to Nielsen Entertainment’s Audience Insights Report on Music Festivals millennial festival fans are almost twice as likely to use Facebook to access music than the U.S. average. Music festival fans also use social media more than the average American. In general, they’re more likely to use it three or more times a day, and they’re especially active across social networks while attending live music events.]

We are now seeing competition by festivals to further enrich the fan experience. Providing further connectivity like this will likely lead to an enriched event experience.

Absolutely, it will lead to it. The reality is that the part of the system that is access control that is critical to every event and what our entire business is built on becomes commoditized. It becomes the part that is expected and the giveaway. The extra stuff is what people will charge for. That’s why we decided to get into the software space because any ticketing company can now do access control. “Why do I need a pass company?”

Let’s talk about your background. In the late ‘80s, you managed the Reno rock band Midnight Sky. Why didn’t the band happen? They recorded an impressive 6-song self-titled album with a top producer at Granny's House Recording Studio in Reno.

Yeah. Boy, you really did do your homework. The producer was Bjorn Thorsrud.

Bjorn went on to work with the Smashing Pumpkins, the Daddy Warhols, and others. Why wasn’t the band successful outside the region?

The band was probably the highest paid band in the region because it was the only band that had a manager negotiating on their behalf. We really worked hard to build a crowd. Every one of our shows, we had a huge following. Anytime that we’d play, there would be 100 or 200 people. The bars loved to have us play, but it’s a small town. It gets saturated. We got to be big kids on the block for a few years. At the end of the day, they were trying to hold onto to the Bon Jovi/Def Leppard days, and then Nirvana happened, and grunge was hitting the world like a sledge hammer.

Hair bands were starting to die out.

Yeah, they were starting to die out. They just wouldn’t let it go. I was like, “Cut your hair. Get a flannel shirt, and let’s ride the wave. It’s a business.”

Were you a good manager?

I cared. I certainly cared, and I worked hard. I don’t know if I was any good. I didn’t know what I was doing. The thing is that they had asked me to sing.

Had you been in bands previously?

No. I can’t play an instrument. I can even sing karaoke unless I’m really drunk. We were sitting in high school at Reno High, and Pete Murphy the drummer said, “Hey, we’ve got a band. With your personality, would you be interested in singing?” I said, “Hell, yeah.” Pete was really popular. He was like the quarterback on the football team. I was just some punker nobody. So I thought, “Here’s my shot.” I went out there, and I completely choked. I didn’t even try. I said, “I am not a singer. I am not going to be the guy onstage, but I’m passionate about music so why don’t you guys let me help you out?” And Pete became the lead singer.

You were born and raised in Reno?

Yes. My dad was born in a camp in Germany. He came to America and he lived in L.A. and then moved to Reno to avoid the big earthquake scare. That’s where he met my mom. My mom stayed in California and my dad worked for the state of Nevada for a mental health institute.

A camp in Germany...

It was more of a freedom (displaced person’s) camp. It was after America had come over (to Europe). They were starting to deal with the refugees, and starting to bring people over (to the U.S.). His family was from Poland originally. Everybody on his side of the family, every one of them, was lost to the Holocaust.

Were you waiting on tables while managing the band?

Oh yeah.

In 1990, while waiting tables, you met Tony Perry of T-Bird Entertainment Printing & Graphics, one of the pioneering tour pass companies.

Yeah. That was weird. I was obviously a better waiter than I was a manager. It was at Spinnakers Restaurant, the first restaurant at the Meadowood Mall.

What attracted you to working at a tour pass company? That you could still work in music?

He told me what he did, and I couldn‘t believe it. I said, “I don’t know how someone could make a living making backstage passes.” When he said who he worked with---the Rolling Stones, Billy Joel, and David Bowie—I was like, “Holy shit.” I still didn‘t believe it. I asked him for his business card. At the time, not that I was interested in the backstage pass business, but I thought that if I got into that business it would get me deeper into the music business which would help the band. Of course, the band fell apart sooner than the backstage pass business did.

[T-Bird Entertainment Printing & Graphics was a wholly owned subsidiary of Thunderbird Printing, then owned by Pete Peterson, and later Walter Huff.]

How long did you chase Tony before he hired you?

It was at least a year. I drove that guy nuts. There was no internet, no email. All I had was his address on a business card. So I went to the office and saw what he was doing with my own eyes. I was like, “Holy shit, this is real.” I hounded him, regularly. He knew how badly that I wanted the job. I had no doubt that he needed the help, and I was going to be the guy that helps him. It’s funny how things work. How weird the world works. Here and I am. He’s dead. I bought his company. He fired me. I hired him back 10 years later. I had to fire him but we remained friends, and then he ends up killing himself by accident (in 2014 from an overdose of methadone). It’s such a crazy thing.

Tony Perry was a pretty wild character.

Tony was a maniac. He was probably bi-polar. He was just out of control. You either loved him or you hated him. I was at a point where I was hating the guy. He would yell and scream. He was just completely out of control. So I said, “Let Tony go, and I will take over T-Bird.” And that’s what happened. I took over T-Bird.

You eventually joined Tony at Perri Entertainment as VP of sales

It was a year later. He started Perri Entertainment about a year after he got fired. Then we started losing accounts. That’s when I realized that this business is all about relationships. He had somebody take me out to dinner. The night I got wooed into Perri Entertainment I said, “Here’s the deal. I want a laptop; I want one of those giant cell phones; I want $500 a week; I want commission; and I want a title that says VP of sales. I figured that I might as well as go for it all. It was important for me to look important.

You were laid off from Perri Entertainment in 1992. Out of work, you borrowed some money and opened a nightclub in Reno called Slaphappy's the following year. The club featured bright yellow happy faces on black barstools, using the tagline, "Come sit on a happy face at Slaphappy's.”

Yeah, that was absurd. It was a club where the band played. So I knew the owner and he was in trouble with taxes. He needed $20,000 to cover the tax bill or he was going to lose the property, and the bar. I borrowed 20 grand and said, “For 25% of the property, and 51% of the business, I will save your ass.” We cut the deal and he ended up being a creep. He later (allegedly) killed two people, and implicated me in the crime, and then threatened my life. Now we are friends again.

The club featured live entertainment, and different music each night.

Every night was supposed to be something different. Hip hop was the only music that paid the bills, but that was the one where about two in the morning the guns would come out. It didn’t matter how much security there was.

How long did you run the nightclub?

I doubt that I made12 months.

Then you did one of the coolest concept ideas I’ve ever heard. You had a 900 number called “CODE RED” that offered internal police communication recordings, and 911 calls.

Yes. That coincided with (the reality TV show) “Rescue 911” with William Shatner. It was so expensive to program. 900 numbers at the time were still big. The O.J. Simpson case had just happened and we had all of those tapes. Every time you call 911 what you are calling is a Public Safety Answering Points or PSAP. We were telling people we were doing a show to compete with “Rescue 911” and we needed to use these 911 calls that they were getting. All of the recordings. They were sending this stuff from all over the country. It was a cool idea. We got all of the O.J. stuff but we ran out of money.

Plus, the internet was exploding and the recordings could be put up online by anybody.

It was destined to fail.

Then you did the Lake Tahoe Talent Expo which also failed.

Yep. Lake Tahoe Talent Expo another series of shitty partners and bad decisions. I pumped everything I had into that and lost my ass, basically. I tell people all of the time that I have far more failures than success stories but they all got me to where I am today.

Next, you returned to T-Bird Entertainment working as a janitor, and as a secretary. Cleaning toilets too?

Yep. I painted the building and I cleaned the place.

In 2001, you attempted to buy T-Bird Entertainment but Thunderbird Printing wouldn’t sell. So you started Access Pass & Design with partners Brad Diller and Frank Himler, both employees of T-Bird Entertainment. Access Pass & Design opened for business Jan. 2, 2002. Why the partners?

In the very beginning, I needed Brad’s money. He was an artist.

[Over the course of his life Brad Diller has been a cartoonist, bartender, baker, carpet layer, and a writer. His first cartoons appeared in 1992 and ran continuously until 2000 when he left the newspaper business to pursue a career as a freelance illustrator. His comics have appeared in Funny Times, the Cleveland Plain Dealer, the Charleston Daily Mail, the now-defunct Nashville Banner, and the Reno Gazette-Journal, as well as various other smaller papers. He published his first book, “The Neighbors Have Two Flamingos,” in 2011.]

You three got turned down for a business loan by eight banks.

We went to the university and we had them build a business plan that we took to eight banks. Nobody read it. We didn’t even read it. Finally, the last bank in town that we went to the guy was young enough. I brought a pack of Creed samples with me from the last Creed tour. I asked if he liked the band Creed. He said “Yeah” and I started throwing the passes on his desk. I said “We want to do this. We’ve done it. We’ve got the relationships. We just need a good start.”

How much funding were you seeking?

I put in about $35,000. Brad put in about $60,000, and Frankie put in $15,000. I think that we went to the bank for another 60 grand or something.

What did you need the money for? Printing equipment?

When we started, we had computers, folding tables, and our cell phones. We had one copier, and we had an old press from Frank’s dad that was like a bucket of rust. Frankie somehow got that to run to die cut. That’s how we got started but yeah we needed new equipment.

Both partners left the company two years ago.

When I made the decision to become an event solutions company, a technology company, and to change it from being a pass company, Brad was already on his fourth cartoon book. And Brad was17 years older than me, he was getting tired and wanting to do something else. I had asked him to be president because I wanted somebody to run the show so I could travel around with my beautiful wife Alma and we could make bigger deals, do business development, and build relationships and know that the company was covered. But Brad was really focused on his cartoons more so than the business. We sort of had a bit of a blowout and, maybe, within two months Frankie thought that he might find something on his own as well. So they both left.

When did you change the name of the company?

It was 2 ½ years ago. Let me explain the name change. ACCESS Pass and Design really limited us to passes and design. That’s why we changed that to ACCESS Event Solutions And we changed our logo to make it more modern. One dimensional like Facebook and Twitter.

You have recently decided to invest in the Offbeat Arts & Music Festival that takes place this year Nov. 3-6 in Reno.

It’s a multi-venue festival. Its first year was last year and ACCESS was a sponsor because I knew the guys who put it on. Alma and I like being big fish in a small town. Reno is a small town. We wanted ACCESS to be a participant. After the first year, they broke even, which is pretty insane. All of the bands got paid. No debt. So I thought, “Well if on the first year they can break even, they have a shot.” They came back for sponsorship dollars, and I was like, “Okay we’re happy to sponsor again. We will be the biggest sponsor you guys have ever had at this point two years in a row.” So I asked them for an equity position, and they gave it to us.

Is there much competition for live music in the local market?

There’s no competition in the market. Well, what do you consider competition? There’s no arts and music (festival) in the Reno/Sparks area. Reno has a mess of big events in town, but there’s no music festival.

Most music acts would be coming to the casinos.

Yeah, the casinos have traditionally booked their own talent, but Live Nation is now booking the big theater in the Grand Sierra Resort.

Well, the Reno Events Centre has plenty of shows, including Slayer and Anthrax on October 23rd.

Hey, I’m down. I got hurt in the pit in a Slayer show when I was in my mid-30s. I don’t know what the hell I was thinking.

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, and a consultant to the National Music Centre in Calgary, Alberta.

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Industry Profile Archives:
Mick The DJ, DJ/Enterpeneur 04/30/15
Joanne Abbot Green, CMJ Music Marathon and Film Festival 10/17/08
Lee Abrams, XM Satellite Radio 11/28/03
John Acquaviva, Fund Manager, DJ and Serial Entrepreneur 07/09/15
Jay Boy Adams, Roadhouse Transportation 05/04/07
Jamie Adler, Adler Entertainment Group 05/11/07
Gary Adler, National Association of Ticket Brokers 12/04/13
Rodney Afshari, Freeze Artist Management 03/01/02
JC Ahn, VU Entertainment 04/10/13
Steve Alaimo, Vision Records & Audio Vision Studios 05/26/06
Jaye Albright, Albright & O'Malley Consulting 07/19/10
Randy Alexander, Randex Communications 10/12/07
David Alexander, Sheer Publishing 07/21/16
Eva Alexiou-Reo, FATA Booking Agency 05/14/15
Marcie Allen, Mad Booking 12/14/00
Jeff Allen, Universal Attractions 08/16/02
Marcie Allen, MAC Presents 06/05/09
Marcie Allen Cardwell, MAC Presents 12/21/07
David Allgood, Bama Theatre 01/03/11
Patrick Allocco, AllGood Concerts 10/05/07
Michele Amar, French Embassy 05/26/16
Mike Amato, Rok Tours International 02/02/07
Jeff Apregan, Apregan Entertainment Group/Venue Coalition 09/30/15
Billy Atwell, AMP Studios 12/13/07
Bob Babisch, Milwaukee World Festivals Inc. 04/02/15
Tom Baggot, thebookingagency.com 05/02/03
Stephen Bailey, EPACC & Deleware Center For The Arts 02/06/04
Cary Baker, Conqueroo 05/11/11
Vince Bannon, Getty Images 07/05/11
Phil Barber, Barber & Associates 02/04/01
Camille Barbone, WineDark Records 12/09/05
Erin Barra, Musician/Producer/Educator 07/10/14
Ben Baruch, The Fox Theatre 09/27/08
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
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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