Industry Profile: Ariel Hyatt

— By Larry LeBlanc (CelebrityAccess)



This week In the Hot Seat with Larry LeBlanc: Ariel Hyatt, author, and founder and owner of Cyber PR.

To use a Brit idiom: Ariel Hyatt has more “front” than Brighton.

This enormously self-confident dynamo, founder, and owner of Cyber PR, a boutique public relations firm based in New York City, has been helping artists and business entrepreneurs with public relations, social media and content strategy services for more than two decades.

The NYC-born native, a regular, take-no-prisoners speaker on the music industry and entrepreneur conference circuits in North America (who has also spoken in 12 countries), has written four critically-acclaimed books on social and new media.

Her latest book, “Crowdstart: The Ultimate Guide to a Powerful and Profitable Crowdfunding Campaign,” has just been published.

A provocative step-by-step guide to what to do during a 30-day crowdfunding campaign in order to reach a fixed financial target, “Crowdstart” further outlines the steps needed before a campaign can be launched, and it includes a social media and online PR guideline in order for artists to boost public awareness.

Hyatt was first drawn to crowdfunding a decade ago after speaking on a panel with the founder of the first documented crowdfunding website ArtistShare, musician, composer, and educator Brian Camelio, one of the fathers of crowdfunding

After several years of advising clients on crowdfunding campaigns Hyatt herself launched a crowdfunding campaign in 2013 which raised $61,000 for a book project.

And Hyatt naturally wrote about the experience on her company website, “Running my crowdfunding campaign was brutal,” she says. “I realized just how much work goes into a 30-day campaign. During it, I was stressed out of my mind, and completely uncertain that I would make my goal of $50,000.”

In essence, crowdfunding in the music community attempts to replace what labels had been paying out in advances for recordings and touring. There was little need for crowdfunding before the collapse of the traditional music industry system.

Yes and no. I think that absolutely it (the collapse) has contributed tremendously. I remember when I started doing publicity that even independent artists, they could make money. They could sell CDs. One evening at a club, if they had a captive audience even of 200 people, if 20 or 30 of them each walked away with a $20 CD on top of a decent door deal—when I was a booking agent a normal door deal was a good couple of hundred bucks on a Monday or a Tuesday, up to the $500, $600, $700, and $800 on the weekend—put that down with the additional $800 they just got from selling CDs. If they were a smarter artist, and they had a little line of merchandise, they could have a decent $1,000 night on a Monday and Tuesday. They could have a $2,000 night on Wednesday and Thursday. They could make money.

There were niche artists like Ani DiFranco in the United States, and Raffi and Loreena McKennitt in Canada who successfully pioneered the independent sector in the ‘80s and ‘90s.

Sure. You are talking about the top earners. But I represented a stable of 10 or 20 artists that were grossing $500,000 a year at the time. No problem. That is not a thing anymore. On top of that, they would have a nice delicious film and TV licensing check once a year for $10,000 or $20,000. I had an independent hip hop artist who had a prime (music) placement on a CBS-TV show for $60,000. These types of checks don't come in for my clients anymore. We don’t see numbers like that anymore. It’s (the business has) all been cannibalized. It’s not just (revenue lost from) the majors. It’s film and TV licensing. It’s the clubs being owned by one corporate entity, and so on. It’s supply and demand.

For years the only business guide for independent music artists was Diane Sward Rapaport’s 1979 breakthrough book “How to Make and Sell Your Own Recording.” But most artists don’t want to handle own business. In “Crowdstart” you argue that any artist or group should be spending 30% of their time on business. But that doesn’t happen.

No, because as an artist, they don’t decide to be an artist because they want to spend 30% of their time doing anything but music. They don’t want to spend 1% of their time on anything other than making music. That’s the number one complaint that I get from clients.

One thing an artist should consider before crowdfunding is whether there a demand for what their record, right?

Yes, they should do that, and part of creating the demand is understanding that it’s (crowdfunding is) not just a money grab. It is something that has an emotional connection. I think that they can create something that is a demand without having created a huge footprint for themselves if they have a good community of people that respond. But I would agree with you, and that is why I think that so many crowdfunding campaigns don’t succeed because the demand isn’t there at all, and neither is the community. They have neither thing.

In “Crowdstart” you discuss the start-up period before launching a crowdfunding campaign. People might be taken aback at just how much preparation is needed for a 30-day campaign.

Yeah, I say it pretty simply in the book. I say, “No crowd, no crowdfunding.” That (crowdfunding) is something that is also propagated by the media. You read about these huge successful crowdfunding campaigns from the likes The Coolest Cooler, Amanda Palmer or Zack Danger Brown. Fill in the blank. People see all of these people getting huge and extraordinary amounts of money, and so they think, “Oh, that’s easy. I’ll just set up a page.” Or they know somebody that had a good success. It’s not that easy.

[In 2012 singer/songwriter Amanda Palmer’s campaign on Kickstarter raised $1.2 million in 30 days from 24,883 backers. A sizable feat for an artist without a record label, radio airplay, or even significant touring success. When her campaign passed the $1 million mark, Palmer tweeted a photo of herself with the words "one fucking million" scrawled on her naked torso.]

I concur that the media has made crowdfunding look easy. You contrast in the book why Amanda Palmer was so successful with crowdfunding while Björk floundered. Much of the difference between the two came down to Amanda having a substantial newsletter list. Something like 80,000 people were following her.

That’s the rumor. She didn’t tell me that herself. From Dresden Dolls onward, the woman was a genius, always. (Entrepreneur and talent manager) Emily White of Whitesmith Entertainment, who was on the road with her, talks about this a lot on (conference) panels. She has often pointed out that Amanda and her team had a knack for building her email list, and were amazing at communicating with followers. She has talked about the fact that Amanda had a deep talent for getting peoples’ email addresses out of them. They had a mobile number that went on the road with them, that wasn’t her mobile number, but it was a mobile number of the tour manager, and people would text it with feverish excitement. Amanda had this digital connection way, way before she ever asked anyone for a penny.

According to the business crowdfunding platform Fundable, the average money raised through crowdfunding is around $7,000, and 60% of campaigns don’t even get to that level.

Well, 60% of all campaigns don’t get to 100%. It’s not to say that 60% fail because if you are on Indiegogo and you make $3,000 out of a $5,000 raised, it doesn’t count toward 100% raised, but it’s still in the 60%. It’s a bit of a skewed statistic. But I was really surprised about the average campaign being $7,000. Again, this is where the media will make you believe that everybody who has ever done a crowdfunding campaign has tried to raise $50,000, $100,000 or $1 million, and that just not the case.

According to Kickstarter’s statistics, as of May (2016), the 235,593 projects had been launched on its site, and only 105,777--35.98%--reached their fundraising goals. That means more than 60% of the projects on Kickstarter received no money at all. Kickstarter updates the numbers of campaigns and amounts raised at least once a day.

In “Crowdstart” you emphasize that an artist raising 30% of their set goal in the first week will likely have a successful crowdfunding campaign. This means they need to work hard seeking pledges before and at the beginning of their pledge launch.

Yeah. That’s another statistic that is fascinating. I actually didn’t know that when I launched my own (book) campaign in 2013. It was (CD Baby founder) Derek Sivers who taught me that. He learned that from (author, entrepreneur, and marketer) Seth Godin. A lot of my personal experience was woven into “Crowdstart.” I was a couple of days into my campaign, and Derek sent a donation. He also sent a link to an article that Seth Godin had written. The basic upshot takeaway from the article was that nobody wants to fund a loser. That’s really true. He asked if you have a mailing list of 20,000 people, and if you ask 20,000 people all at one time, “Hey, come fund my thing.” If hundreds of us clicked over in the first 10 minutes after receiving your newsletter, and we saw that the thing (total raised amount) was at zero, it’s like, “This can’t be good. It’s at zero.” If I did get there, and it’s got $5,000, “Now I’m in.” Nobody wants to be the first one to the dance, right? If there are more and more people on the dance floor, more and more people join. That’s human nature.

At PledgeMusic you can’t see what has been raised.

No, you can’t see where it is at PledgeMusic.

You make the point that people should not do crowdfunding on their own because it’s a very lonely job. An emerging artist may not have the skills to do it themselves, but also doesn’t have the money to bring in other people to help build their careers.

Yeah. I was on a Twitter chat recently talking about crowdfunding, and it was very interesting to see the bristling reaction to that. When someone asked, “What is the number one piece of advice you can give around a crowdfunding campaign?” I said, “Don’t do it alone.”

Everybody snapped back at me immediately. “Well, I don’t have money to pay somebody.”

Okay, wait a minute. Don’t go there. It’s not about money to pay somebody. It (support) can be their husband, their wife, their sister, their brother, their mother. Someone who is a champion for them. Someone who is, hopefully, technically savvy so they can help with the heavy lifting. But going it alone---what you will see if artists get “Crowdstart” and they start working their way through it—it’s a lot of steps to do a crowdfunding campaign, and execute it for 30 days. We are human beings and things can happen to us. In 30 days, who knows? A family member can fall ill. They could lose their job. Their child could have something happen. Thirty days, on an average, a human being might experience something that it is not just awesome. So you have to account for that, too. That there might be a little bump in the road that might take you off the campaign for that day or those few days or whatever. If they had someone to help them, and say, “I’ll send the emails today” or “I will handle the social postings that need to happen” or “I will go online and thank everyone that is communicating with us or are donating today” or to do every step of the way. It’s going to be so much help. So much more helpful than just feeling like, “Oh God, over the next 30 days I have to crush this.” On top of doing all of the stuff that they do every day, whether they have a full-time job as a creator, or a part time job as a creator, or they have a part-time job as a family member. We all have other things that we do, and crowdfunding is all-consuming.

So many artists still don’t have a fan-based newsletter list that goes out regularly.

Yes. There’s your first step right there (in crowdfunding).

If all the artist is doing is putting their hand out for funding that can offensive. “Send me money.” Why?

Exactly, and that’s what part one of my book is about. You don’t want to be that person. You don’t want to come out of nowhere. And that’s Sales 101. It’s not even Sales 101, it’s Humanity 101, right? If I meet you at a party, and I walk right up to you, and I just dive in and starting talking about what I’m doing, what I’m up to today, I’m all of a sudden really socially awkward, and uninteresting. However, if there is something else I’m asking like, “What brings you here? What have you been up to today?” Anything. “Aren’t these mini hot dogs delicious?” There are a million things that you can say to a stranger to open them up to a conversation. We all know that there are people who are genius at that, and there are people who just need to understand the science of that.

People being courted for funding are looking for an emotional connection.

Absolutely.

Some people don’t realize that with some of the crowdfunding platforms it’s all or nothing. Like with Kickstarter, if an artist is even a dollar below their goal, they don’t disperse the funds.

No, they don’t. PledgeMusic, it says that it’s all or nothing, but the beautiful thing about PledgeMusic is that they really work with artists if they see that they are not going to get to 100% (of their goal). They will help them adjust their campaign midstream so they will not end up with an unfunded campaign.

PledgeMusic, however, takes a bigger percentage of the money collected than the others.

Yes, and you know what? I am so sick of artists whining about that. Guess what? They give artists a rep. There’s someone that they can get on the phone. They analyze your whole social presence. They will help you. There’s no other platform that has the hands-on aspect that Pledge has. So artists are paying for that and, yes, they are paying a little bit more, but they are also paying a little bit more to guarantee their success. So once you begin to add in the average (fee) that Kickstarter takes plus the credit card fees, it’s not that much more.

PledgeMusic feels like a small time label of yesteryear walking you through the process whereas Kickstarter it feels like, “We’ll see you later.”

Totally. You are paying for that relationship with PledgeMusic.

GoFundMe has no preexisting conditions.

Yeah. But GoFundMe tends to be more of a website if you have a catastrophic health issue, or an animal gets sick or your house gets flooded, or you can’t make your rent. It tends to be a platform that is more for getting assistance. It’s not one that I would really recommend for setting up a creative project. It’s not designed to do that.

Whereas PledgeMusic was developed to for artists to tap into their fan base.

Exactly. It’s run by people in the music industry. Benji (Benji Rogers, founder/CEO, PledgeMusic) was an artist. I used to go and see his band. I have known Benji for years and years. Also, Benji is the son of music managers (son of artist Susan Rogers, and stepson of promoter/manager Tony Smith). It is literally in his DNA to think about artists first. So PledgeMusic is not a bad home for artists and bands.

[PledgeMusic CEO Benji Rogers comes from a notable UK music industry family and, a musician himself, he released five albums. He founded PledgeMusic In 2009 to fund and release an independent record under the name Marwood.]

Indiegogo?

Indiegogo is also wonderful. They have got great tutorials. They have got a lot of tools to help you. It’s a partial fund site so if you wanted $10,000 but you only get $4,000, $5,000 or $6,000, you can keep all of that money. I think that if you are going through the pain and anguish of a crowdfunding campaign, and you don’t fund it 100%, you should keep whatever money that you fund to. That is only fair. I think that your fans are delighted to give. If I’m going to give, I’m going to give to a winner or a non-100% campaign. Either way, I feel happy to be pledging. IndieGoGo is great for that.

Also great is that if you have a non-profit or you want to give part of the money to charity, IndieGoGo has a 501(c)(3) umbrella program (whereby a nonprofit organization is exempt from federal income tax) so you don’t have to set up your own not for profit. You can use theirs, and you can donate a portion of your campaign to a charity of your choice which, for many of us, is a wonderful option.

As a new artist or band with a local club level buzz, what’s my first step? Should I record an EP rather than an album?

An EP is smart. A single is also smart. We are living in a singles-driven world so why not start with a single? Get something that you are proud of. That looks and sounds great out, and see what the reaction is. You can do a lot on your own with a single.

Facebook and YouTube are useful to artists, but there are limitations in their use.

Totally. There are more sophisticated options like NoiseTrade (the global online direct-to-fan distribution platform). Places where artists can begin to build a little mailing list. Where they can get a little bit of exposure. So there are lots and lots of options with just one single. But yes, step two, work toward an EP. Try to get yourself a bit of publicity.

SubmitHub is one of the easiest ways to share songs with music bloggers.

SubmitHub is a godsend to any independent artist looking to get some blogger feedback. So there are plenty of things that you can do on your own. And I think that the biggest lie that emerging or indie artists or artists starting out get told is, “You need a publicist.” Or that, “You need a radio promoter.” They skip all of the most important steps. Like “Do I have music that doesn’t absolutely suck?” Or “Do I have something that looks good?” That is important because a blogger will tell them if they don’t look good enough. Very quickly.

What’s the next step after successfully crowdfunding? Hiring someone to further develop a career? This is your follow-up book.

My follow-up book can be, “What the hell do I do with the money that I have raised?” A lot of the time the truth is this: It does cost money, even though it costs considerably less than it used to cost, to record, mix, master, and release music. It still costs money to do it right. You still need people with talent to contribute. One of the biggest problems that we are facing right now is the glut of too much mediocre music. It hasn’t been vetted. As you have said (in the past) an artist can go down to Nashville, and there’s a ton of talented session musicians, and studios manned by capable people but, if you come to them, it’s not their job to write the songs, right? Their job is to make it (the recording) sound as good as it can sound. So I think there is just an incredible amount of stuff that isn’t necessarily in need of publicity.

So an artist has to ask themselves, “Why am I raising the money? Am I raising the money to reimburse myself? To cover the costs of making that record, mastering it, mixing it, getting the right graphic designer to design it, and even hiring a copywriter to write a fabulous story so that I’ve got something to get myself to the next level?” There are so many ways to spend money after a project is funded. I see that most artists and musicians are really just trying to get the album paid for. Few of them have the wherewithal to go, “What am I going to do? Do I want a promotion company? A marketing company?”

All that should be budgeted within the costs of the recording.

It absolutely should.

Even a decade ago, I was advising artists to budget up to 40% of the recording budget toward promotion and marketing afterward.

My teacher (author, businessman and motivational speaker) T. Harv Eker would say 70% to marketing, 30% to creating the product. At his marketing seminars, he often speaks about the need for artists to focus 70% of their time on marketing, and sales versus 30% on the product--in the case of artists, their art. As a creator, that’s (the financing breakdown is) a bitter pill to swallow because they want the art to be as expensive as it can humanly be. But I will ask them, “Do you know anyone with a fabulous Rickenbacker (guitar) you can borrow? Do you know anyone who has a studio? You don’t need a million dollar to play a million-dollar guitar.

You operate a PR company. How many artists approach you wanting to hire you as a publicist, and haven’t got the money?

So many. Of course.

What are your PR clients these days?

We have a beautiful little stable of clients that spans the gamut. We just signed an amazing artist from Los Angles, MJ Ultra. We have an amazing singer/songwriter Jacob Davich from Los Angeles. We also have (the all-female Florida American band) the Krickets, and singer/songwriter Jetty Rae from Michigan. We are again working with Canada’s Jody Quine for her new release. We did a campaign with her in 2013. She’s about to go on a 45 city tour. So we have a really cool roster of clients right now.

Let’s talk about some of the ways an artist can raise their profiles other than having a mailing list. A few years ago the Holy Trinity of social media was Facebook, MySpace. and Twitter. Probably, it’s Facebook, LinkedIn, and Twitter today. In the early days of Facebook, it was a terrific resource for artists seeking to market themselves to followers. It can still be an effective social tool, but the obstacles there have significantly increased over the years. Facebook doesn’t make it easy for artists today.

No, they don’t. The thing that removes the obstacles on Facebook is money.

You have to advertise.

Yep. Advertise. Boost hosts. Do your custom audience. There are many fabulous techniques. It’s not even worth complaining about anymore. It is what it is.

[A recent report indicates that Facebook curates 2,000 news stories for the average user every day. The average user only reads 200 of these. The other 90% are not seen.]

How do you evaluate Facebook Live?

Facebook Live is great. It’s wonderful. It’s a great way to bring people toward an artist or band. It’s absolutely worth experimenting with to see how many of your Facebook friends respond. It can be a great thing to do during your crowdfunding campaign. “Let’s have a little hang and I will play some acoustic songs, and you can ask me questions., and I can talk about my campaign and we can do a Pledge-A-Thon.” There are all kinds of things that we can do using Facebook Live. It’s a great way to connect to people in real time.

I like the photo sharing site Pinterest that allows you to "pin" images to virtual boards to create digital scrapbooks on your page. You like Woobox.

Woobox is just a great tool to connect your apps on Facebook, but I have to say Instagram too. We have to give it up for Instagram. I see more and more people touting that as their #1 favorite social channel.

So many artist pitches through newsletters and blogs aren’t compelling to me as a journalist. You have talked about being in an elevator with Devil Doll’s frontwoman Colleen Duffy who described her band as, “Jessica Rabbit meets Joan Jett and throw a cowboy hat on every once in a while — that's what you would get with Devil Doll.” I’m so there for that.

It’s one of my favorite pitches. It’s a client I worked with years ago, but that pitch was just so compelling. You knew exactly what she was doing. She looked like that, and the whole thing. So that’s one of my favorites.

Most bios coming across my desk are poorly-executed.

Yeah. It’s such an art to write a bio. It’s a lost art. Length has nothing to do with good. I think that’s the old school. Throw it all in there. No one cares.

What do you advise clients about their websites?

A website in 2016/2017 and beyond should not cost a lot of money. The days of the $5,000 plus website are history. A website exists to do two things.

One, to give you the who, where, where, what, and why. To give an artist their own online platform. We don’t need to explain to anyone that they don’t own Facebook. They don’t own Instagram. They don’t own Twitter. They have to have their own shingle with their little space online.

So that’s reason number one.

Reason number two is that the website should exist to help them to turn it into income. Some kind of income. So whether or not it’s owned media that they are using to attract clients or whether where they are showing their talent when they playing next, merchandise they are selling, tour dates, they should understand that it is a function. Of course, you also want it to be the hub of where your newsletter, your social media, your updates, news...there are standard things that should be on it. Don’t spend at lot. Just make it move quickly, and tell people exactly what they need. Don’t make it too artsy. Just make it navigable.

Forget developing all the creative Flash adds that require considerable bandwidth.

Oh, God yes.

I used to joke, “the better the website, the worse the band.”

It’s like the nicer the sound guy, the worse the sound. You know there are certain standards in the industry.

Band websites are destination based. Artists aren’t converting people into fans anymore with a website. If someone comes to their website, they are already likely a fan.

Absolutely.

I know bands that have been incredibly successful in using their website to host a hub with other similar bands.

That’s how CD Baby started (in 1998). Derek Sivers just started selling some albums for his friends. That’s a brilliant idea. That’s how the best record labels work. “If you like me, you will probably like this too.”

In your book, you mentioned you experienced your house burning down.

It did. In 2005.

What was the cause?

A faulty extension cord plugged into an air conditioner. Turns out you are not supposed to put an extension cord on an air conditioner Didn’t know that.

Did you lose everything?

I didn’t lose everything, miraculously, but I lost a vast majority of things for sure.

That’s certainly a life changer. It must have shaken you up.

It did. It did because there is a lesson. A lot of us get this lesson if we have a house crisis or if someone very important to us dies, and you are sifting through all their stuff thinking, “Oh my God.” It really struck me that most of the things that we own have less meaning than we think. Not everything. There are truly priceless things. Photographs of precious memories. Jewelry that your great grandmother owned. Something that has been in your family for a long time or a drawing that your three-year-old made for you. If those things get burned up in a fire, it’s devastating. You can’t replace those things. However, the lesson from losing all that stuff was that it is just stuff. It may have been beautiful stuff or stuff that was meaningful to me or well-curated stuff but, you know, I live in a house now, and it’s full of beautiful, well-curated stuff. So things come back to you. When you have a moment where you do lose everything something better, maybe, is around the corner. So that’s a possibility. In my case, I lost all of this stuff in a fire. I was literally homeless. I had to move in with my parents.

Again.

(Shrieking with laughter) Like what?

After all, you moved back in with your parents following university.

I know. What really happened after the fire is that mother got very sick. Very sick. So sick that we thought we wouldn’t have her around anymore. It was a few weeks after my fire. So there I was in the section of the hospital where it’s 24-hour access, and there’s a private nurse. Most people in that section don’t come out. My mother was in a coma, hooked up to every possible machine. It was horrible. They told my dad and me, “If she wakes up, she probably won’t know who you are.” She had a horrible accident where she was found underwater. So it was drowning. They didn’t know if she had lost brain function. So I was standing there in the hospital watching her in a coma with the machine after being told, “We don’t know if she’s in a vegetative state.” I just thought. “All of the things that just burned up in the fire are meaningless.”

Your mother lived. She’s now okay?

Oh God yes. She’s 81-years-old and is totally amazing.

[Ariel’s father is Gordon Hyatt, an award-winning writer and television producer. Her mother is author and career development professional Carole Hyatt is known for developing the Leadership Forum, a program to provide leadership guidance for women in executive or entrepreneurial business roles. In 2002, Ariel and her mother were featured on “The Oprah Winfrey Show,” where they discussed the challenges of balancing a family and a business life.]

Both of your parents are acclaimed in their individual careers. Both have been important to you, but your mother was inspirational to the path you chose in life.

I recently went to a conference for entrepreneurs, and there was some really cool research and studies about people that are entrepreneurs, and most people had a parent—in most cases a father—who inspired them to be entrepreneurial. In my case, it was my mother. I had no fear in starting my own business which I did when I was very young.

You were 23.

I remember calling my mom to ask if I should start my own business. She was like, “Hell yes, start your own business.” A lot of musicians and artists that I work with have a family member that wasn’t a creative or didn’t do their own thing, and there’s such a fear around that. They hear, “You better get a back-up job.” Or, “It’s not a real job.”

You are an only child.

I am an only child.

What university did you attend?

I went to Clark University in Worcester, Massachusetts. It was a small liberal arts school. I was a theater major.

After graduation, as I said, you moved back in with your parents.

There was no work in the music industry. They lived in Manhattan. So c’mon.

You leave out a few things in your resume. Like working as an associate producer at WNEW-FM for $69 a week and working at the PR firm, Kathryn Schenker and Associates. Weren’t you an intern there?

I was a glorified intern, meaning she paid for my lunch. But yes. That was my first year out of university.

When did you work at WNEW-FM?

Way before Kathryn. I only spent a few months at WNEW. It was a very interesting time to be there. We were up against Howard Stern when Howard was the king of the world. The internship I had was working with (Pat) “Paraquat” Kelley). WNEW spun through this long list of DJs trying to get some (morning) market share away from Howard. But it was literally a suicide mission. Finally, they just threw in the towel and said, “We are just going to play music.”

You also worked at a record store in Manhattan called NYCD.

Exactly. I worked at the record store at night and worked for Kathryn during the day.

While at university you had interned at several fashion public relation firms.

I did. I was at Keeble, Cavaco & Duka (KCD). It was a very rich and incredible experience because it was a little bit like a “Devil Wears Prada” scenario. I was an intern, but I was there for every summer between university and all of my early years.

[Recognized for its award-winning campaigns for Bergdorf Goodman, Keeble, Cavaco & Duka is noted for helping to bring several American fashion designers to prominence, including Stephen Sprouse, Bill Robinson, Charlotte Neuville and Gordon Henderson. In the 1990s. the agency also represented such designers as Gianni Versace, Ronaldus Shanask, and Robert Lee Morris.]

You also worked in London for Lynne Franks Limited.

Yes. Lynne Frank in London is the ad firm they based (the BBC-TV sitcom) “Ad Fab” on. That was a nightmare. They sent me home crying every day. They didn’t like Americans, especially not young American girls. It was one of the hardest experiences of my life. Lynne is a legend. I met her once. When I was quitting That was the one time. She was actually very kind to me when I was quitting. It (working there) was a real lesson about culture. It was such a different culture there. I wasn’t prepared for it.

Was it love that took you to Boulder, Colorado in the mid-‘90s?

It was. It was love of an independent band called the Samples (on What Are Records?). I had done a visiting semester in Boulder, and I fell in love with the town. I had grown up in New York City where what anybody talks about is, “What do you do?” It was very refreshing to go to a place where people asked, “How many days?” I didn’t know what anybody was talking about my first few months in Boulder. It was, “How many days did you ski this season?”

Rob Gordon launched What Are Records? from a loft in New York City in 1991 before relocating to Boulder shortly afterward.

A friend in Boulder sent me a newspaper article that they had bought a building and were moving. So I marched myself down to their office in New York City and I said, “I would like a job.” They laughed and said, “Well you can have an unpaid internship.” So I left my $14 lunches at Kathryn Schenker’s office and started interning for free at What Are. Very soon afterward, my internship was parlayed into a job which paid me a whopping salary of $12,000 a year. I worked there for a year and relocated with them to Boulder. From there, I moved on to a concert promotions company, which was great, and then I started my own business.

How did it feel writing “Crowdstart,” your fifth book?

It felt really good. I really wanted to put something together that was hopeful and useful.

And make money on it.

Well, I’m not going to make shit on this. Do you know how much that editor cost me?

Yeah, but the book is your professional calling card for conferences and picking up new clients.

(Laughing) We’ll see.

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 a 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
Stephen Budd, Stephen Budd Management 07/13/17
Bruce Burch, University of Georgia Music Business Program 10/09/09
Deborah Burda, Kentucky Exposition Center 08/03/07
Patti Burgart, IEBA 06/07/02
Jordan Burger, The New Musiquarium 01/22/01
Ron Burman, Roadrunner Records 08/25/06
Suzanne Cadgene, Elmore 05/19/06
Karen Cadle, KGC Productions 03/12/04
Gary Calamar, KCRW 07/10/09
Charles Caldas, Merlin 07/05/10
Brian Camelio, ArtistShare 02/29/08
David Campbell, AEG Europe 08/02/10
Tom Cantone, Foxwoods Entertainment Group 10/20/00
Tom Cantone, Foxwoods Resort Casino 07/03/03
Tom Cantone, Mohegan Sun 08/30/09
Ashley Capps, A. C. Entertainment 05/21/04
Rio Caraeff, Vevo 07/12/11
Mike Carden, Eagle Rock Entertainment 08/16/11
Charles Carlini, Carlini Group 05/16/08
Mark Carpentieri, M.C. Records 05/27/05
Mark Carpentieri, M.C. Records 01/10/11
Troy Carter, Coalition Media Group 06/07/10
Daniel Catullo, Coming Home Studios 06/22/08
Raffi Cavoukian, Folk Singer/Children's Entertainer 05/11/16
Jeffrey Chabon, Chabon Entertainment Group 08/22/02
Mike Chadwick, Essential Music & Marketing 08/01/12
Rob Challice, Coda Music Agency 03/27/13
Tom Chauncey, Partisan Arts 01/11/02
Tom Chauncey, Partisan Arts 10/04/11
Lisa Cherniak, Artists Against Racism (AAR) 07/20/01
Bob Chiappardi, Concrete Marketing 06/13/03
Joel Chriss, Chriss & Co. 10/04/02
Michael Chugg, Michael Chugg Entertainment 09/14/01
Michael Chugg, Chugg Enterprises 10/02/09
Gary Churgin, Harry Fox Agency 09/13/10
Vinny Cinquemani, S.L. Feldman & Associates 12/13/12
Barry Coburn, Ten Ten Music Group 03/28/11
Matthew Cohen, Green Room Productions 10/19/01
Ted Cohen, TAG Strategic 01/10/13
Lisa Cohen, Associated Booking Corporation 02/10/06
Steve Cohen, Music + Art Management, Inc. 03/09/07
Dan Cohen, Music & Memory 01/12/17
Michael Cohl - Part 1, S2BN Entertainment 03/06/13
Michael Cohl - Part 2, S2BN Entertainment 03/13/13
Bryan Coleman, Union Entertainment Group 02/14/12
Mamie Coleman, Fox Broadcasting 07/05/12
Dennis Condon, Disneyland Resorts 07/13/01
Peter Conlon, Peter Conlon Presents 05/20/05
Tony Conway, Buddy Lee Attractions 10/06/00
Allen Cook, TOURtech 04/16/15
Tomas Cookman, Cookman International 09/05/03
Alex Cooley, Alex Cooley Presents 07/12/10
David Cooper, Foxman.com 10/31/03
Jay Cooper, Greenberg Traurig, LLP 05/23/11
Julie Coulter, Near North Insurance Groups 06/07/01
Amy Cox, Deep South Entertainment 02/09/07
Michael O. Crain, Crain Law Group, LLC 10/09/13
Charlie Cran, The Strawberry Music Festival 04/05/10
Jim Cressman, Invictus Entertainment Group 06/06/12
Russ Crupnick, MusicWatch, Inc. 07/23/15
Todd Culberhouse, Vision Management /Vision Records and Entertainment 09/05/08
Tony D'Amelio, Washington Speakers Bureau 04/21/06
Ruth Daniel, In Place of War 08/09/17
Ray Danniels, Standing Room Only Management, and the Anthem Entertainment Group 03/05/15
Ken Dashow, WAXQ-FM (l04.3 FM) - New York 09/08/06
Hal David, Lyricist 07/26/11
David Davidian, Independant Lighting Designer/Director 06/18/04
Anthony Davis, D&L Entertainment Services, Inc. 03/02/01
Chip Davis, American Gramaphone/Mannheim Steamroller 05/31/02
Mitch Davis, Tempest Entertainment 07/16/04
Jeff Dawson, Canadian Recording Services 06/08/08
Desiree Day, USO Celebrity Entertainment 08/10/01
Shauna de Cartier, Six Shooter Records/Six Shooter Management 10/23/13
Gene DeAnna, The Library of Congress 02/21/12
Vincent Degiorgio, Chapter 2 Productions 08/01/13
Tony DeLauro, DeLauro Management 12/23/04
Valerie Denn, Val Denn Agency 04/30/01
Val Denn, Val Denn Agency 03/06/14
Robert DePugh, Alligator Records 07/29/05
Tom Derr, Rock Ridge Music 10/29/04
Paul Dexter, Masterworks Lighting Design and Road Cases 12/10/04
Marty Diamond, Paradigm 01/22/10
Glenn Dicker, Redeye Distribution/Yep Roc Records 07/07/06
Barry Dickins, International Talent Booking Agency 06/06/13
Jim Digby, Event Safety Alliance 09/01/16
Mark Dinerstein, The Knitting Factory 11/17/06
Neill Dixon, Canadian Music Week 03/03/16
Thomas Dolby, Musician, academic, technologist, and author 11/09/16
Jasper Donat, Music Matters 2009/Branded 04/24/09
Jim Donio, National Association of Recording Merchandisers 04/22/11
Marc Dottore, M. Dottore Management 04/11/03
Tim Drake, The Roots Agency 12/12/08
Mike Dreese, Newbury Comics 11/23/11
Charles Driebe, Blind Ambition Management Ltd. 09/22/06
Jeremy Driesen, Ray Bloch Productions 09/07/01
Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of 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
Elliot Lefko, Goldenvoice 09/21/17
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Música e Cultura 05/04/17
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Paul Reed, Association of Independent Festivals (AIF) 06/14/17
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Jack Ross, APA Canada 09/07/17
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, ItsAboutMusic.com 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Peter Shapiro, Ideal Entertainment 04/16/04
Seth Sheck, Access Pass & Design 01/03/03
Seth Sheck, ACCESS Event Solutions 06/22/16
Seth Shomes, The Agency Group 11/12/14
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Michael Simon, The Harry Fox Agency 08/14/13
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Peter Smidt, Eurosonic Noorderslag & manager Buma Cultuur 07/17/13
Garrison Snell, Gyrosity Projects 02/23/17
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
Nikki Solgot, Circle Talent Agency 02/18/15
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Deb Suckling, SUGARRUSH Music 07/27/17
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Mandar Thakur, Times Music 08/06/15
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
Adam Tobey, Concert Ideas 08/24/17
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Marsha Vlasic, Artist Group International 05/31/17
Mat Vlasic, Bravado 06/28/17
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Kirt Webster, Webster PR 02/03/16
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Adam White, Author 09/14/16
Lisa White, Pearl Street Warehouse 10/04/17
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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