Industry Profile: Garrison Snell

— By Larry LeBlanc (CelebrityAccess)



This week In the Hot Seat with Larry LeBlanc: Garrison Snell, CEO, Gyrosity Projects.

Brash and blatant as a 30-time NASCAR race winner, Nashville-based Garrison Snell should be praised highly for his clear-eyed vision, and his realistic take-no-prisoner style to music marketing.

Launched in 2015 by the 23-year-old Snell, Gyrosity Projects focuses on using digital solutions to drive business goals for its clients in industries ranging from music to healthcare.

Gyrosity Projects offers digital advertising services, content creation, and access to a variety of web applications that make traditional music marketing services more affordable. Among the services are advising clients on Email automation, social media content, digital advertising, search engine optimization, and website development.

In January, 2017 Gyrosity Projects rolled out its Crosshair platform that offers a DIY approach to searching, and directly messaging streaming playlist owners. Crosshair uses playlist and user data from approximately 500 active playlists and tastemakers to analyze an influencer's existing content. It recommends music based on the demographics of users most likely to follow their channels. It does the same thing for artists based on their existing music and audiences.

Music has long been Snellís driving passion. At 16, while still in high school in Bentonville, Arkansas, he launched Red Dog Music Group in order to locally book bands he was working with as a drummer.

An unexpected U-turn in Snellís career came when he was passed over at Belmont Universityís School of Music but, with a quick switch to study business, he applied to Belmont-affiliated Curb College of Entertainment and Music Business, and graduated in May, 2016.

Do you have partners in Gyrosity Projects?

There are none. Gyrosity is what I started when I left [Nashville digital marketing agency] ThinkSwell. I literally left ThinkSwell the Monday after I graduated college (May 2015). I have been doing this every working day since I graduated.

I would imagine at college you had a marketing major.

No. It was a business degree from the Curb College like pretty much everybody. I didnít have a minor, but I was in the honors program. It was in the honors program that I learned a lot about organizational development, and leadership stuff, which is how now we have 14 people all under the age of 30 all working for me which is insane. Most of them are full-time. I remember vividly at the beginning of my sophomore year telling a friend that I was starting to manage artists. He told me, ďYouíd be a really good marketer.Ē I said, ďI will never do marketing. I want to do artist management.Ē Look four years later, holy cow, whatís going on?

Where are you based in Nashville?

We are in The Gulch. If you go down 11th Avenue thereís a building called Gulch Crossing (at 1033 Demonbreun St.). You know where (the strip club) Deja Vu is? We are across the street and down about 100 yards down on the right. Just before (the historic) Cummins Station.

Have most of Gyrosity Projectsí clients been from Nashville?

Most are from here but we have clients in California, a couple in New York, one in Jersey, and a couple in Atlanta.

Up to this point, Gyrosity Projects has been primarily dealing with overseeing Email automation, social media, digital advertising, and websites for its clients?

It is all focused on whatever is going to drive a business goal for the client. We dial up the contract based on what they are trying to accomplish. Itís usually content creation and ad heavy driving traffic back to a site to make a sale or to make a conversion of some sort.

We only now seem to be scratching the surface of whatís possible in digital marketing. In many cases, artists hire third party companies that still seem to deliver a limited ďone fit for allĒ template. Am I wrong about that?

You are not wrong at all. Before I graduated from Belmont University, I worked for a marketing agency here in town as I said, and I had hired a couple of firms previously to that for outside clients. It was kind of the same spiel over and over again. We call ourselves an agency, but our pitch is based on business development. So if thereís not a business goal attached to it (a project) we donít normally do the contract. Clients hire us because they know that these techniquesóthat everybody doesóbut there are techniques that we specialize in that do drive business. And they are just looking at us to drive new lines of business for them. Whether it be in music or healthcare or fashion or whatever. That is a dramatic change, honestly, in the narrative from the agencies that I used to work for.

Contracting a third party for digital marketing is done across the board in the music industry.

You are absolutely right. The pitches that I saw previously didnít seem to focus on why the client was hiring the marketing agency to begin with. There was a focus on the knowledge gap and not on if the third party agency was going to drive toward a business goal. The clients would say, ďHey, Iím independent. Iíve got some funding. Iím looking to grow my numbers so I can make an argument to a booking agent.Ē Instead of dialing up a recipe for that goal, weíd just say, ďWell, Facebook is the answer to all of your problems.Ē Theyíd say, ďWell, Iíve never tried a Facebook ad. Letís do that.Ē You try it for a couple of months, and we didnít do inherently good marketing.

At what stage of an artistís or a bandís career do they need social media in order to work toward some marketing goals?

I think, obviously, the very fricking beginning. But it depends on what you are asking. If you are asking a business question or a relationship question.

A band or artist today not only has to be able to utilize social media but be able to make it all work toward building fan-based relationships as well. A lot of acts donít have those tools in the early days of their career.

Yes. You are right. We just put out a video with one of my guys here who is an independent artist, Curtis McCabe. He works here as my client relations guy. The video talks about options that independents have in terms of resources that they can spend, and the tools that they can get for the resources. Thereís a whole bunch of digital tools available. You can either spend money to get somebody else to do it (the marketing) for you or you can spend a lot of time doing it yourself. I think when you contract with a company likes ours is when you reach a point where outsourcing is a business strategy, and not out of laziness or out of a desire not to understand it. I donít think personally that you, as an independent artist, have any room in the beginning to not be crushing it on social yourself.

Do It Yourself or DIY is a mantra term long praised to the sky by the indie music sector but, in truth, the strategy rarely is applied. So many artists remain uneducated about the marketplace

You have to ask why that is.

Maybe it should be called DI-Together in that artists could work in a collective with other similar artists.

That concept existed before social meeting, right? Youíd meet a band in a town or at trade shows. Yeah, I donít see why itís not the same concept.

Thereís so many things that can be done around existing social media and marketing-related platforms that are available.

I agree. I think that it comes to a point whether or not you are involved in a collective or you doing some of it yourself, spending time and money on a team that does it well that should be a business strategy. We outsource our PR (public relations). We donít do PR. I could hire a PR person but, at this point in time, it makes the most sense to outsource it to a good friend.

Public relations is highly specialized.

It is.

So many artists and managers still arenít educated enough about social media.

I have watched so many independent artists get so frustrated with social because they donít understand what the point is. They donít see the forest for the trees. They miss the fact that you are just connecting with people. You are literally just making friends. For us, we challenge all of our clients to really think about their personality. Who they are as people. If you werenít a musician person how would you be talking to people? Stop trying to promote yourself as a musician, and promote yourself as an individual with a personality that brings an emotional value to someone by way of music.

Too many artist websites still fall short of providing even basic information.

I recently spoke at Belmont University, and I had a lot of people ask, ďWhere would you even start (as an artist)?Ē Get your site up with all of the information, and the world is going to want to know about you. Start making content that is natural to you, and that represents your personality. Try to remove yourself from the fact that you make great music, and just think about being a great person who creates a space for people via music.

You recently wrote in a blog that you donít see that there will be many new fundamental tech concepts arriving in 2017 that we haven't already been exposed to.

I donít. I see it as a year of consolidation. Thereís more M & A (mergers and acquisitions) on the books at the recent Horowitz (Andreessen Horowitz) in the past decade I think is what they said. I keep an eye on the VC firms, and what they are putting out. The content. I just donít see any new earth-shaking technology. I just see a lot of maturation of how we use them.

Instead, firms in this sector will likely lean more toward account-based marketing. Marketing to each of their customers' accounts using the tech already available to the best of their ability. You saw the recent Forrester report that 37% of marketing leaders said improving customer experience is their second-highest priority, behind growing revenue?

Yes, I did. Actually, itís weird here because our floor here has Nashvilleís new Forrester office. So I got to meet those dudes and got to know them a little bit. I donít know. Thatís just what is coming to me. As an agency, we are just trying to make sure that we are still using technology in the best recipe that we can. Itís not so much that we can run an ad. We know how to do that. Itís what recipe are we dialing for you to mature that relationship with your fans?

As customers become more educated and more engaged no longer will knowing just how to run a Facebook ad campaign be enough to attract new music clients.

The problem is that everybody thinksóand this will be the year that it changesóbut everybody thinks that with technology because of the cool tools that we get, that is the answer to everything. Itís not. The fact that you can run a Facebook ad is supercool, and itís amazing, but itís the drip by drip and the step by step process that you have to go through to mature a relationship with someone. The Facebook ads just make it easier to start that and to continue that.

Being an independent musician is hard in todayís music business environment. They have to be a musician, a manager, a label head, a social media expert, and a digital marketer. Thatís a lot of hats to wear.

It is. Yes, itís funny but my dad (bassist/singer David Snell) was in Nashville in the early 2000s with a band called the Chase Buchanan Band doing the independent thing. He had some funding, and he ended up blowing a bunch of money with an agency called Echo Music that doesnít exist anymore. So I grew up with a picture of those guys with my dad in his early Ď20s. At the bottom of this promo photo, it said, ďCopyright Echo MusicĒ in 2001 or, maybe, earlier.

What then happened?

He ended up going back to Arkansas and getting a real job, kind of giving up on music as a career because of how much money that he blew. He was really thinking as a musician and not as---I donít want to use the word entrepreneur because itís overused---but not as a small business owner.

There are companies in Nashville that seemingly find potential clients at the bus station as artists and songwriters come to town.

One hundred percent. I love that Nashville is so open. The problem is that you do have people who come here because the pickings are easy.

So many industry figures in Nashville will invite emerging artists, songwriters and managers to breakfast, hang out and party with them, but they arenít either likely to sign the artists or songwriters or offer the artists competitively great songs.

I donít disagree with you. I am good friends with a lot of the publishers and people here. Yeah, my dad experienced all of that in the Ď90s. I have just got a soft spot for the independents. When I started this company we had independent budgets to work with so we had to get good at making something out of nothing.

What led to the development of the Crosshair platform? Are you still in a beta stage with it?

Good question. Starts out of Gyrosity Projects being a marketing agency, right? We have this kid Mitchell Rose, a pop artist who I had been managing for quite awhile. Heís a vocalist from the School of Music at Belmont, and he has produced some stuff. He brought me an independent budget for his first song (ďCandyĒ) to be on the internet, and said, ďI want to put together a release plan for my song for the end of 2015.Ē

I really liked the song, and he had a budget to work with. Great. So letís take a swing at some different promotional tactics here.

Playlisting was going to be important, right? That was something that he was adamant on. So we decided weíd shoot for the moon. We spent a bunch of money going up to New York to meet with the Spotify team there. We hired a PR company and did the whole song and dance. We met everybody. The Spotify team is awesome. They are great people. They listened to the music. I thought that they liked it, but we didnít see any play with that. I assuming that it was because they didnít see where it would go. I donĎt know why they didnít add it. They were good with us, but they chose not to playlist it.

What happened next?

I had to look around and go, ďOkay, we have a little bit of a budget left. Playlisting is still important. What can I do with this money, and with the time that we have left?Ē We looked at hiring local agencies to do independent playlist promotion. The prices were just too high. It just didnít make any sense. So I decided that I was going to build a web app that would do this, and that we would manually go out and recruit these (internet music) influencers and get them onto a web app that would allow Mitchell and anybody else we service to do this.

From that point, it has developed. It initially started as a tool that companies could license and their staff would use. Then we demoed it with a bunch of people, and they said, ďThis isnít what we want. What we want is a tool that does this for us.Ē

Developing the Crosshair platform took several trials over a year. How did you fund its development?

I had never previously raised money for operations. Everything that this company has done has been built on revenue. But I did raise some money for developing Crosshair.

How much?

I wonít tell because we didnít announce it. Last summer, there was a bit of seed money. It was in the five figures, and in October (2016) we raised six figures from two different companies. Basically, we spent that first bit of money in July last year, and we just didnít spend it well. Then in October we got the product back and felt that it wasnít good. So I had to go out and get some more money. I found a company in New Zealand that was willing to partner with us.

What company?

Iím not going to give that out. Itís a family organization. We raised six figures from them and gave away only a very small share, which is nice. We worked from October of last year to January to release this current version. So you can consider all last year an attempt at a beta. Then we did a bit of a beta in the last of the year. Saw a lot of positive results. Went live with it at the top of January (2017). Ran into some problems, and fixed most of them, and now we are just trucking along. We have done a couple of hundred songs since which is great.

Influencers and curators are not that easy to attract.

You are absolutely right. The majority of the money was spent sourcing those people. The development was 25% of the investmentóthe actual coding of it, which is not a bad thing. A long story short we launched this first version and ran ďCandyĒ through it last February and got 13 playlist ads. Five weeks later, it threw him onto 756,000 Discovery Weekly playlists.

Nashville alternative bluegrass-styled band Judah and the Lion utilized Crosshair to promote the track "Take It All Back," securing placement on independent playlists that helped propel the song to 9 million Spotify streams. The track eventually became the band's first #1 hit, topping Billboard magazine's Alternative songs chart the first week of January (2017), its 19th week on the tally

Yeah. We worked that song three different times. They had an earlier version they put out, and they used Crosshair. Then they put out ďTake It all Back 2.0Ē and we worked that twice. We did two campaigns for them. Part of the reason (behind the length of time) was that they stuck through the entire process. All through the three different platform iterations. Just really stuck it out with us. We were not the only ones working that song, of course, but we got it secured on a few independent playlists.

Currently, qualifying Crosshair influencers must have follower counts that reach 500 for a Spotify playlist; 1,000 for a Twitter or YouTube account; or 2,500 for an Instagram feed?

Yes, those are true except for Spotify. We are removing that limit now and focusing on playlists that have active listeners. Right now, depending on the platform, itís follower-based. Every influencer has to apply. We are quantitatively assessing their engagement rate. For Spotify, itís hard to do that. but we do look at songs that they have added to their playlists, and look at an artist profile that is, perhaps, little known, and does that playlist show up as a Top 5 that drives listeners? We will check it out. If you get added enough Spotify gives an alert, ďThis is a popping song, right now.Ē You take a look at it, and at some of their playlists like Viral 50 which are updated on user action.

Itís not unlike following secondary market radio airplay decades ago.

No. I have heard that from a couple of different promoters that this is a very familiar model for them which is why I think itís so interesting to independent radio promo. This is a place where they are developing acts to go when they canít afford radio.

Does Crosshair take in account playlists from Apple, Amazon or Google?

We have a couple of Google playlists and a couple of Amazon lists. We donĎt have any Apple lists yet. But we have other influencers too. Like popular YouTube channels. Popular Instagram accounts. We have music supervisors on there who are looking for undiscovered music, and placing stuff.

Crosshair is trying to figure out what music impresses influencers and curators that shape streaming lists as well as those film and TV music supervisors seeking to pick up independent music for projects.

Yes, 100%. For me, the logic was that an independent artist can get my suggestions just as easily as signed artists so why shouldnít we approach music supervisors to view undiscovered music on our platform? And they took to it.

Crosshair isn't just about increasing streams and breaking new music: It's also about developing relationships and building foundations that can sustain careers.

Yes.

So that leads to the use of chatbots, and utilizing Mixpanel which tracks user interactions with web and mobile applications and provides tools for targeted communication with them?

Mixpanel, we use for Crosshair. Itís an analytics (service) platform, right? We built chatbots. Chatbots arenít super hard to use these days.

Chatbots are great for giving support to super fans.

Absolutely. The reason that we use chatbots for Crosshair is because we are being asked a lot of the same questions, and I wanted to save peopleís time so they (fans) can just talk to this bot. If they have any other questions my team can see the messages and can them jump in, and talk to them. Mixpanel has just been a great tool about how people are interacting with the web app. It tells us week over week what people are gravitating towards. If we test features or if we introduce new features, it shows how quickly they (users) see them. It also tells about how active people are. Are they logging on every day? What are they doing? And thatís a very good question. We wonít know the answer to that until we install the Mixpanel.

Weíve had decades of drilling down deep on research for radio and TV consumer habits but Iím not sure the same level scrutiny is being utilized to drill down to consumer use of streaming or social media.

No. It absolutely isnít. You can draw assumptions, but thereís nothing straight up. I do wish that there was. I was talking to a mathematician recently to see if we could calculate internship of a playlist based on the public data that we get from Spotifyís artist insights. We can draw some conclusions, but itís not quite relevant conclusions. You would be generalizing at best.

Spotify likely doesnít want to attract that level of scrutiny either.

No. For sure. For us, it would provide a better product. I just want to have that out in the world.

Country music marketing in the digital world has lagged behind EDM or hip-hop nichť marketing.

Yes. I try to keep my eyes on them as much as much as I can. I was just in New York, and I went to L.A. for four days. I have a lot of friends in both of those cities that I went to college with, or who I met through college and that are now working in electronic and dance and hip-hop and mainstream pop. I have a good friend, Markus Hwang, who is the only hip hop guy at a management company. Heís the senior manager for M-Theory. He and I spent four hours recently going over what they doing. I am trying to learn from people like him, and bring it back to here.

Is there a body of people your age in the industry comparing notes?

There sure is. It has gotten more widespread this year for me. A lot of the relationships that I built at Belmont have started to blossom because these people are now two years out of college, and they have gotten decent jobs, and they are starting to make a few decisions. For instance, Markus has tried to throw us some business. Jeremy Gold, who just moved from Warner Music Nashville to Starstruck Entertainment to work as their director of digital, heís a real good friend of mine. We were in the honors program together. Heís now blossoming into his own, and we are going to work on some projects together which is great.

You are also deeply involved with YEP Nashville (Young Entertainment Professionals).

YEP has been really great with me. They put me on the board of directors when I was a sophomore at Belmont. I was the only college kid to be on the board up until Katie Roth (Creative Nation) who joined awhile back. Iím currently the co-chair of their board of directors and have been for two years at this point.

[YEP Nashville is a social group for the next generation of up and comers in the entertainment industry. It is designed to allow young professionals to get to know one another and meet new people to help expand their network through social gatherings.]

With it showcase parties and other social events, YEP Nashville provides substantial networking opportunities.

It sure does. YEP has helped a lot of people. Itís one of the primary reasons I got to meet people. But YEP did not help me mature those relationships. It teed me up for them, but everything after that point came down to me maintaining and working those relationships.

Iím going to your hometown of Bentonville, Arkansas for the Power of Music Festival in April.

Thatís awesome. Enjoy the town. I love Bentonville. It was a great to place to grow up.

The headquarters of Walmart, the worldís largest retailer, is located there. The retailer is very visible throughout Bentonville

Honestly, people say we did, but I didnít notice the 2008 (economic) crash living there. It happened, but I donít feel like we noticed much of it there. There were housing problems and some minor issues there, but I didnít see gas prices change. It just didnít feel like we suffered that much.

You werenít born in Bentonville though.

No. I was born in Jonesboro, Arkansas. I then lived in McRae, Arkansas, a town of about 300 people between kindergarten and 7th grade. Then in the 7th grade, we moved to Bentonville.

Was your dad a professional musician or was music a part-time thing for him?

No. He was a musician. He and my mom married just out of high school, had me, and he came to Nashville to play. They got a divorce over him coming to Nashville. He came to Nashville and blew a bunch of money with his band. The fact that he blew a lot of money was the thing that caused my parents to divorce. So I lived with my mom while he moved back to Fayetteville. He continued to play locally and be part of the Arkansas music scene. But now that me and a bunch of my brothers are out of the house, heís back to playing now almost every week. He probably earns an extra $50,000 a year just playing music, which is great.

With the Shotgun Billys?

The Shotgun Billys probably do 10 to 15 dates a month around the southeast. It is with dudes he played with in high school and early college.

Meanwhile, your mom is saying, ďThankfully, my son is not a musician.Ē

Well, itís funny. I came to Nashville originally to play drums. At Belmont, I did not get into the School of Music. My dadís a bass player so he and I played a lot together when I was in high school.

Were you in bands other than playing with your dad?

Yes, I was. There were a couple. There was one called the Catfish Playboys and another one called Lifeline, which was a ska band. It was a high school band that my dad helped me out with. A bunch of high school buddies.

When did you become involved with music?

Probably the 6th grade. When we lived in McRae, my dad played in the high school marching band, and my mom played in a marching band. I wanted to be in a marching band. They put me in percussion. From 6th grade on, I played percussion and then joined the drum line in high school, and marched with the football team and all that good stuff.

Early music education has been a pivotal experience for so many people in our industry

Yeah. My high school career was so much different than my college career. In high school, I didnít know what I wanted to do. I had no interest in doing anything other than playing music. I never thought I would be doing anything different than playing music. And I wasnít that good at it. I didnĎt realize that I wasnít that good at it. My band directors, a husband, and wife, they were not easy on us at all. I really pushed back on them. I just did not straight out put the time into being a good musician. I enjoyed the social aspect, and I enjoyed the emotional release of it. When I got pissed off, I enjoyed playing piano or drums. I enjoyed playing with my dad. I didnít realize until I got to Belmont how bad I was. I realized that my strengths were never in performance. They were in coordinating and finding business angles for the people that I was with. Creating opportunities for them.

Were you then a country music fan?

Yeah. I grew up listening to early 2000 country. Thereís a band that was kind of rejected by Nashville that is one of my favorite bands of all time. Cross Canadian Ragweed. They are also one of my dadís favorite bands. Their old stuff from early 2000 is still some of my favorite music of all time.

Cross Canadian Ragweed was from Oklahoma but was like a Southern country rock band.

Yeah, they were Southern rock. Kinda angry. The band could kind of be considered like Ian Moore from Austin. But my dad and his band mates were always into Southern rock; just a little bit under the table blues-influenced Allman Brothers kind of stuff. My dad fricking loved Cross Canadian Ragweed. They have a song called ďAnywhere But Here.Ē The second verse is about them getting rejected in Nashville.

At the age of 16 you founded Red Dog Music Group to book one of your bands into clubs. That sounded more legit than saying, ďIím 16, and I have a band.Ē

Yeah, the people I was calling at these bars and Mexican restaurants we would be playing, they didnít really have the time to talk to me. So it was, ďCool. Send me a website, and send me a video.Ē All you had to do from there was give them the contact information, and it was all good. It was about trying to justify myself in the first couple of sentences. I needed a way to just to deflect any scrutiny. We would show up (at the venue), and we were a bunch of high school kids, and they would be like, ďOkay, cool.Ē

Did Red Dog Music Group have a website?

It did. It was when I was in high school. I guess at that time it was either a WIX site or WordPress. It was something that we had some videos that our guitar playerís dad took. They werenít good but they were what I had to work with at the time. I didnít know what good was. I just knew what these people needed to see from us in order to get the opportunities for the band. I was just trying super hard to figure out what quality was needed for the band. For the people that I was representing. What did they need, and what could I create to get them there?

Were the bands any good?

The ones in high school, they werenít very good, but there were some kids that I managed in college that were freaking awesome. Matt Enik (who attended Belmont Universality as a music business major), he was the first one that I cut my teeth with. I booked him a tour that was like 32 dates, 6 states, May to August our sophomore year, and made something like $35K.

Thatís pretty wild.

It was. It was all fairs and festivals, mostly from contacts that I had back in Arkansas and Western Virginia. We got the tour. That entire summer.

Were you playing drums in that band?

No, they wouldnít let me. Itís funny but the band and I didnít get along very well. They fired me half way through the tour and the next week is when I got hired by Ronnie Dunn (of the Brooks & Dunn duo) at Little Will-E Records.

Why did you settle on trying to attend Belmont University? Due to its closeness to Nashville?

I actually wanted to go to Vanderbilt University (in Nashville) but I just didnít have the money. I am always trying to hedge my bets, and my thought was that ďI can go to Vandy, and I play music in Nashville. I can have a Vanderbilt degree in something. Hedge my bets if I donít want to do music anymore.Ē Vandy just didnít make any sense financially. Belmont is where I got fellowship money. So it made sense to go there. I never wanted to go anywhere other than Nashville. I just didnít have any interest in any other city. I didnít visit any other city.

While attending Belmont you bounced around working at different companies in Nashville. Working six months here and six months there. Were you doing an apprenticeship at any of these companies?

No. I am just a really bad employee. Quite honestly that was literally it. The Ronnie Dunn gig was the longest I had. Yeah. I never found an organization in music in Nashville that I interned for or worked at that I liked enough to want to stay. That appreciated me enough...

But you also had your sights set on being an entrepreneur.

Yes, but I just felt that the key was to work for a long time in these places as part of the business to some time in my 40s or something. It just did not work out that way. I literally walked into work on Monday at ThinkSwell, and the boss sat me down and said, ďI know you arenít happy. Do you want to let this go?Ē I said, ďYeah. I think thatís what Iím going to do.Ē And then four clients came with me.

Many older music industry people have it together, but you also likely met music industry veterans who donít have a clue what they are talking about when discussing marketing today. Do you sometimes roll your eyes when you hear some of the marketing philosophies or strategies that you figure arenít right?

Yeah, I do. Thereís a respect thing. You want to respect their tenure, and you want to respect the position, but the fact of the matter is that if it doesnít work, it doesnít work.

Obviously, some of the people you worked for didnít want to listen to you.

The only person who ever did was Ronnie, and I really appreciated him treating me the way that he did. For the most part, everybody else that I worked for it was driven by their desire to be heard and to be important. When they heard this 23-year-old who was making too much noise, they wanted to shut him up. The only way that I could find a way to be heard was to do it myself. I donít know if I will be in business, I hope that I will be in business in yearóI imagine that I will beóbut even if I am not this is the most that I have been able to practice these philosophies that I believe, and they actually work.

You are working within a music industry still trying to figure out marketing in todayís volatile retail environment.

You know what I think one of the biggest issues is? Everybody is too scared to make a mistake. That seems to be inherent to music. I realized a year and a half ago, ďHoly crap, if I just stop caring, and just start doing what I believe in, Iíll be okay. I may make a mistake; I may not. But people canít fault me for doing what I believe in.Ē

Even if you make a mistake, you arenít likely to repeat the mistake.

Yeah, and people forgive mistakes. For some reason. Maybe, thatís why people in Nashville donít sign stuff. The will take you for Sunday dinner, but they wonít sign you. They are scared to make a mistake. I donít know, man. I just firmly believe that if you are willing to jump in and make a bunch of mistakes, and if you donít give a crap about what people are saying about you, then you will come across some really awesome stuff. And if itís working, people will say, ďMaybe I should listen to him.Ē I donít know. Itís just weird to me that the reason that many of these people canít innovate is that they are too scared to make a damn mistake.

Larry LeBlanc is widely recognized as one of the leading music industry journalists in the world. Before joining CelebrityAccess in 2008 as senior editor, he was the Canadian bureau chief of Billboard from 1991-2007 and Canadian editor of Record World from 1970-89. He was also a co-founder of the late Canadian music trade, The Record. He has been quoted on music industry issues in hundreds of publications including Time, Forbes, and the London Times. He is co-author of the book ďMusic From Far And Wide.Ē

Larry is the recipient of the 2013 Walt Grealis Special Achievement Award, recognizing individuals who have made an impact on the Canadian music industry. He is a board member of the Mariposa Folk Festival in Orillia, Ontario.

.

Industry Profile Archives:
Mick The DJ, DJ/Enterpeneur 04/30/15
Joanne Abbot Green, CMJ Music Marathon and Film Festival 10/17/08
Lee Abrams, XM Satellite Radio 11/28/03
John Acquaviva, Fund Manager, DJ and Serial Entrepreneur 07/09/15
Jay Boy Adams, Roadhouse Transportation 05/04/07
Jamie Adler, Adler Entertainment Group 05/11/07
Gary Adler, National Association of Ticket Brokers 12/04/13
Rodney Afshari, Freeze Artist Management 03/01/02
JC Ahn, VU Entertainment 04/10/13
Steve Alaimo, Vision Records & Audio Vision Studios 05/26/06
Jaye Albright, Albright & O'Malley Consulting 07/19/10
Randy Alexander, Randex Communications 10/12/07
David Alexander, Sheer Publishing 07/21/16
Eva Alexiou-Reo, FATA Booking Agency 05/14/15
Marcie Allen, Mad Booking 12/14/00
Jeff Allen, Universal Attractions 08/16/02
Marcie Allen, MAC Presents 06/05/09
Marcie Allen Cardwell, MAC Presents 12/21/07
David Allgood, Bama Theatre 01/03/11
Patrick Allocco, AllGood Concerts 10/05/07
Michele Amar, French Embassy 05/26/16
Mike Amato, Rok Tours International 02/02/07
Jeff Apregan, Apregan Entertainment Group/Venue Coalition 09/30/15
Billy Atwell, AMP Studios 12/13/07
Bob Babisch, Milwaukee World Festivals Inc. 04/02/15
Tom Baggot, thebookingagency.com 05/02/03
Stephen Bailey, EPACC & Deleware Center For The Arts 02/06/04
Cary Baker, Conqueroo 05/11/11
Vince Bannon, Getty Images 07/05/11
Phil Barber, Barber & Associates 02/04/01
Camille Barbone, WineDark Records 12/09/05
Erin Barra, Musician/Producer/Educator 07/10/14
Ben Baruch, The Fox Theatre 09/27/08
Ben Baruch, By Larry LeBlanc (CelebrityAccess) 04/05/17
Paul Bassman, Ascend Insurance Brokerage 08/03/16
Adam Bauer, Fleming, Tamulevich & Associates 02/15/02
Ed Bazel, That's Entertainment International 10/05/01
Joachim Becker, ZOHO Music L.L.C. 01/12/07
Howard Becker, Comet Technologies 05/02/11
Mark Bego, Author 06/15/07
Jim Beloff, Flea Market Music 09/20/10
Richard Bengloff, The American Association of Independent Music (A2IM) 09/12/13
Seth Berg, South Bay Music 01/30/09
Aimee Berger, 2 Generations SPA Music Management 09/24/04
David Berger, Future Beat 10/29/14
Barry Bergman, Music Managers Forum 03/14/03
Steve Bernstein, Relix LLC 09/30/05
Mark Berry, Attack Media Group 04/07/07
Scott Billington, Rounder Records 01/17/12
Jeffrey Bischoff, Cinder Block 03/24/06
Sat Bisla, A&R Worldwide/ Musexpo 03/29/10
Nina Blackwood, Sirius Satellite Radio 07/14/06
Adam Block, Legacy Recordings 11/07/13
P.J. Bloom, Neophonic, Inc. 01/24/11
Rishon Blumberg, Brick Wall Management 06/27/03
Justin Bolognino, Learned Evolution, and The Meta Agency 04/25/13
Steve "Chopper" Borges, Total Pro and Borse Techos 03/03/06
Les Borsai, Mediocre Management 01/30/04
Shane Bourbonnais, Live Nation Canada 03/21/08
Jeff Bowen, Sears Centre Arena 03/13/08
Rick Bowen, Mystic Music Experience 07/11/08
John Boyle, Sanctuary Music Group 03/19/04
Jeff & Todd Brabec, Writers/Attorneys 01/03/12
Bill Bragin, Joe's Pub at the Public Theater 08/08/03
Joel Brandes, Avenue Management Group 11/02/08
Joe Brandmeier, Moving Pictures 03/15/02
Scooter Braun, SB Projects 12/13/10
Ron Brice, 3rd & Lindsley Bar & Grill 06/08/16
Billy Brill, Billy Alan Productions 11/11/05
Doug Brown, Talent Buyers Network 09/21/01
James Browne, Sweet Rhythm 11/01/02
Bob Brumley, Brumley Music Company 02/17/16
Tony Brummel, Victory Records 05/17/09
Charlie Brusco, TBA Entertainment Corporation 10/13/01
Del Bryant, BMI 05/18/07
Cortez Bryant, Bryant Management 12/06/10
Bruce Burch, University of Georgia Music Business Program 10/09/09
Deborah Burda, Kentucky Exposition Center 08/03/07
Patti Burgart, IEBA 06/07/02
Jordan Burger, The New Musiquarium 01/22/01
Ron Burman, Roadrunner Records 08/25/06
Suzanne Cadgene, Elmore 05/19/06
Karen Cadle, KGC Productions 03/12/04
Gary Calamar, KCRW 07/10/09
Charles Caldas, Merlin 07/05/10
Brian Camelio, ArtistShare 02/29/08
David Campbell, AEG Europe 08/02/10
Tom Cantone, Foxwoods Entertainment Group 10/20/00
Tom Cantone, Foxwoods Resort Casino 07/03/03
Tom Cantone, Mohegan Sun 08/30/09
Ashley Capps, A. C. Entertainment 05/21/04
Rio Caraeff, Vevo 07/12/11
Mike Carden, Eagle Rock Entertainment 08/16/11
Charles Carlini, Carlini Group 05/16/08
Mark Carpentieri, M.C. Records 05/27/05
Mark Carpentieri, M.C. Records 01/10/11
Troy Carter, Coalition Media Group 06/07/10
Daniel Catullo, Coming Home Studios 06/22/08
Raffi Cavoukian, Folk Singer/Children's Entertainer 05/11/16
Jeffrey Chabon, Chabon Entertainment Group 08/22/02
Mike Chadwick, Essential Music & Marketing 08/01/12
Rob Challice, Coda Music Agency 03/27/13
Tom Chauncey, Partisan Arts 01/11/02
Tom Chauncey, Partisan Arts 10/04/11
Lisa Cherniak, Artists Against Racism (AAR) 07/20/01
Bob Chiappardi, Concrete Marketing 06/13/03
Joel Chriss, Chriss & Co. 10/04/02
Michael Chugg, Michael Chugg Entertainment 09/14/01
Michael Chugg, Chugg Enterprises 10/02/09
Gary Churgin, Harry Fox Agency 09/13/10
Vinny Cinquemani, S.L. Feldman & Associates 12/13/12
Barry Coburn, Ten Ten Music Group 03/28/11
Matthew Cohen, Green Room Productions 10/19/01
Ted Cohen, TAG Strategic 01/10/13
Lisa Cohen, Associated Booking Corporation 02/10/06
Steve Cohen, Music + Art Management, Inc. 03/09/07
Dan Cohen, Music & Memory 01/12/17
Michael Cohl - Part 1, S2BN Entertainment 03/06/13
Michael Cohl - Part 2, S2BN Entertainment 03/13/13
Bryan Coleman, Union Entertainment Group 02/14/12
Mamie Coleman, Fox Broadcasting 07/05/12
Dennis Condon, Disneyland Resorts 07/13/01
Peter Conlon, Peter Conlon Presents 05/20/05
Tony Conway, Buddy Lee Attractions 10/06/00
Allen Cook, TOURtech 04/16/15
Tomas Cookman, Cookman International 09/05/03
Alex Cooley, Alex Cooley Presents 07/12/10
David Cooper, Foxman.com 10/31/03
Jay Cooper, Greenberg Traurig, LLP 05/23/11
Julie Coulter, Near North Insurance Groups 06/07/01
Amy Cox, Deep South Entertainment 02/09/07
Michael O. Crain, Crain Law Group, LLC 10/09/13
Charlie Cran, The Strawberry Music Festival 04/05/10
Jim Cressman, Invictus Entertainment Group 06/06/12
Russ Crupnick, MusicWatch, Inc. 07/23/15
Todd Culberhouse, Vision Management /Vision Records and Entertainment 09/05/08
Tony D'Amelio, Washington Speakers Bureau 04/21/06
Ray Danniels, Standing Room Only Management, and the Anthem Entertainment Group 03/05/15
Ken Dashow, WAXQ-FM (l04.3 FM) - New York 09/08/06
Hal David, Lyricist 07/26/11
David Davidian, Independant Lighting Designer/Director 06/18/04
Anthony Davis, D&L Entertainment Services, Inc. 03/02/01
Chip Davis, American Gramaphone/Mannheim Steamroller 05/31/02
Mitch Davis, Tempest Entertainment 07/16/04
Jeff Dawson, Canadian Recording Services 06/08/08
Desiree Day, USO Celebrity Entertainment 08/10/01
Shauna de Cartier, Six Shooter Records/Six Shooter Management 10/23/13
Gene DeAnna, The Library of Congress 02/21/12
Vincent Degiorgio, Chapter 2 Productions 08/01/13
Tony DeLauro, DeLauro Management 12/23/04
Valerie Denn, Val Denn Agency 04/30/01
Val Denn, Val Denn Agency 03/06/14
Robert DePugh, Alligator Records 07/29/05
Tom Derr, Rock Ridge Music 10/29/04
Paul Dexter, Masterworks Lighting Design and Road Cases 12/10/04
Marty Diamond, Paradigm 01/22/10
Glenn Dicker, Redeye Distribution/Yep Roc Records 07/07/06
Barry Dickins, International Talent Booking Agency 06/06/13
Jim Digby, Event Safety Alliance 09/01/16
Mark Dinerstein, The Knitting Factory 11/17/06
Neill Dixon, Canadian Music Week 03/03/16
Thomas Dolby, Musician, academic, technologist, and author 11/09/16
Jasper Donat, Music Matters 2009/Branded 04/24/09
Jim Donio, National Association of Recording Merchandisers 04/22/11
Marc Dottore, M. Dottore Management 04/11/03
Tim Drake, The Roots Agency 12/12/08
Mike Dreese, Newbury Comics 11/23/11
Charles Driebe, Blind Ambition Management Ltd. 09/22/06
Jeremy Driesen, Ray Bloch Productions 09/07/01
Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of Denverís Division of Theatres and Arenas 08/23/10
Paolo díAlessandro, International Solutions 06/25/14
Ros Earls, 140dB Management 02/19/14
Art Edelstein, Festival Productions 12/01/02
Bruce Eisenberg, Audio Analysts 08/31/01
Martin Elbourne, The Glastonbury Festival 12/18/09
Michael Elder, Red Entertainment 03/17/06
Tod Elmore, Sixthman 11/24/06
Paul Emery, Clear Channel Entertainment 11/19/04
Arty Erk, Citrin Cooperman 04/27/16
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock íní Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gťlinas, Festival díťtť de Quťbec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Chris Gero, Yamaha Entertainment Group 10/26/16
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Steve Gietka, SMG Entertainment 03/19/14
Darren Gilmore, Watchdog Management 03/17/16
Daniel Glass, Glassnote Entertainment Group 10/16/14
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Neil Goldberg, Cirque Productions 04/16/14
Martin Goldschmidt, Cooking Vinyl Group 09/29/16
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, Turntable.fm 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Justin Kalifowitz, Downtown Publishing 04/20/17
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
Andrť Mťnard, Festival International de Jazz de Montrťal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Mķsica 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 OíConnor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Paul Reed, Association of Independent Festivals (AIF) 06/14/17
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, ItsAboutMusic.com 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Peter Shapiro, Ideal Entertainment 04/16/04
Seth Sheck, Access Pass & Design 01/03/03
Seth Sheck, ACCESS Event Solutions 06/22/16
Seth Shomes, The Agency Group 11/12/14
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Michael Simon, The Harry Fox Agency 08/14/13
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Peter Smidt, Eurosonic Noorderslag & manager Buma Cultuur 07/17/13
Garrison Snell, Gyrosity Projects 02/23/17
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
Nikki Solgot, Circle Talent Agency 02/18/15
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Mandar Thakur, Times Music 08/06/15
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Marsha Vlasic, Artist Group International 05/31/17
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Kirt Webster, Webster PR 02/03/16
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Adam White, Author 09/14/16
Adam Wilkes, AEG Live Asia 10/13/16
Fenton Williams, 04/04/08
Del Williams, Right Arm Entertainment 04/18/08
Bryan "Birdman" Williams, Cash Money Records 09/13/11
Paul Williams, ASCAP 10/19/11
J.P. Williams, Parallel Entertainment 10/03/12
Kurt Willms, Green Room Productions 09/20/03
Chris Wilson, Heartbeat Records 03/02/07
Tony Wilson, Factory Records/In The City 06/01/07
Tom Windish, The Windish Agency 07/26/10
John Wiseman, XL Touring Video 05/05/06
Thom Wolke, Twincloud.com 02/08/02
Michael Wood, City Lights Entertainment 08/08/08
Keith Wortman, Blackbird Presents 03/22/17
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, CultureCatch.com 07/27/07
Jeremiah ďIceĒ Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
Kevin 'Chief' Zaruk, Chief Music Management 06/10/15
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06

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