Industry Profile: Barry Bergman

— Music Managers Forum

Veteran manager, music publisher, speaker and consultant Barry Bergman is the founder and president of the Music Managers Forum in the United States. An outspoken advocate on artist rights, he has testified on Capitol Hill serving the interests of artists.

The Sixties
As a young man, Barry Bergman was hanging out at Greenwich Village coffeehouses, listening to music while attending New York University where he acquired a Bachelor of Science degree in Marketing and Management. After graduation, unsuccessful attempts to be employed within the music business on a full-time basis sent Barry further downtown where he became a stockbroker with Steiner, Rouse & Company. While employed on Wall Street, Barry created Free Enterprise Music Company, a record production and publishing company, signing recording artists and songwriters.

The Seventies
Several minor successes and networking landed Barry his first full-time job in the music business for the well-established publishing company, The Edward B. Marks Music Corporation. He signed several big artists and played a key role in the launching of the careers of Meat Loaf, AC/DC, John Paul Young and Flash and the Pan. Barry was made vice president, Professional Manager.

Barry joined United Artists Music in the capacity of vice president, Creative Affairs, where he was responsible for professional department direction and promotion of the recording careers of writer/artists and self-contained groups signed to United Artists.

The Eighties
Barry left corporate life to become a music business entrepreneur, forming Barry Bergman Management, representing recording and performing artists, Ellymax Music Company and Wood Monkey Music, representing songwriters.

Barry has published more than 150 songs recorded by various artists including Michael Bolton, Cher, Kiss, Joan Jett and others. Three of Barry's biggest hit singles were Don't Shed A Tear‚ recorded by Paul Carrack on Chrysalis, Don't Close Your Eyes‚ by Kix on Atlantic and Kathy Mattea's‚ Love Travels on Mercury.

The Nineties
Barry founded and became and president of the International Managers Forum in the United States. The IMF was formed to further the interests of managers and their artists in all fields of the music industry, to provide a forum to discuss the issues and problems facing the music industry manager and to educate and disseminate information regarding areas of interest to managers.

Barry was retained as an expert witness in the well-publicized music industry trial of‚ The Cameron Organisation vs. Marie Dixon.

On June 28, 1995, representing the International Managers Forum, Barry testified before the House Judiciary Subcommittee on Courts and Intellectual Property in a hearing on H.R. 1506: "Digital Performance Right in Sound Recordings Act of 1995." Through his efforts and other industry leaders, President Bill Clinton signed this bill into law on Nov. 1, 1995.

In 1998 Barry became a business consultant to the entertainment industry. His artist clients included Dan Zanes of the Del Fuegos, Donnie Purnell of Kix and the Christian rock band MXPX. Barry began corporate consulting Sony Music of Canada and entered into the new economy with EMusic.com, where he advises the content department and also licenses and purchases catalogs for them.

In addition to consulting and publishing activities, Barry started public speaking engagements with the Seminar Center in New York City, where he lectures on the ‚"Art Of Music Publishing: What Every Artist, Band & Songwriter Should Know."

The IMF changed it's name to the Music Managers Forum, and Barry headed back to Washington D.C. in an effort to roll back a provision inserted by the Recording Industry Association of America into the Satellite Home Viewer Improvement Act of 1999 whereby SoundRecordings were made works-for-hire and artists lost their rights to reclaim ownership of their master recordings beginning in 2013.

The MMF along with several other artist rights groups convinced Congress and the RIAA of the need to repeal the controversial change to U.S. copyright law, and Bergman claimed another victory. In November 2001, six years of work came to fruition when Barry signed on behalf of the MMF, a landmark agreement whereby SoundExchange, the collection and distribution agency for Artists digital sound recording performance license fees, along with the major labels and artist groups, agreed to pay artist performance royalties directly to performers. This landmark agreement would also place SoundExchange under the joint control of recording artists and record companies.

Barry currently manages Billy Harvey, a singer/songwriter and producer based in Austin, Texas. He is currently in the studio producing the new Bob Schneider album for Universal. When he finishes this project, he will be making his own album. Barry also handles Marc Ribler, a New Jersey singer/songwriter, currently making his debut CD. Barry already had 30 of his songs covered by other artists around the world.

What inspired you to want to be in the management business?
It all started when my father took me to the first Alan Freed Rock and Roll show back in the 50's. I was so amazed watching the show that I knew this was the business for me.

You are often thought of as an activist as related to your activities with the Music Managers Forum. What does the association do?
On July 20, 1993, I recall sitting in Ballroom A of the Sheraton Hotel in New York City listening to a dozen artist managers from the U.K. sharing their vision for change, by working towards creating a unified artist management community around the world. That meeting marked the birth of the International Managers Forum in the United States (IMF-US) after its inception in the U.K. in September 1992. We have since changed the name to Music Managers Forum (MMF-US). The MMF quickly established itself as a force in the music industry and is proud to have over 1, 000 members with chapters in the United States, U.K., Canada, Australia, Netherlands, France, Germany, Norway, Denmark, Sweden and Finland.

Until it's formation, music managers were a segment of the industry who did not have their own association. They had to work alone, make mistakes alone, and negotiate with the powerful corporate giants on their own. There were no means of sharing and learning from the experiences of other managers, no forum for discussing common problems or concerns and no specific formal training. They just learned from their own mistakes.

All this changed since the inception of the MMF. The MMF has attracted a growing number of members worldwide, including managers of some of the most successful artists and record producers in popular music, as well as managers of artists who are not yet signed. New technology, new legislation and the strength of the multi-national record industry has made it more important than ever for individuals to work together if they want to have a say in how the music business develops in the future. Individuals cannot easily have their voices heard or their views recognized, which is why the MMF has a vital role to play in ensuring that the industry evolves fairly and profitably for all who work in it.

In an effort to improve communication between members of our industry and the management community, we established an executive board that now consists of 17 members located in New York City, Los Angeles, Chicago and Denver. We set up a specific agenda and set out to represent what we felt were our members primary concerns. Our goals are to further the interests of managers and their artists in all fields of the music industry, including live performance, recording and music publishing matters.

During the first few years, the MMF conducted monthly educational seminars with very impressive panels moderated by industry experts on topics as diverse as SoundScan, BDS, A&R, Agents and Promoters, Trade Magazines, Music Publishing as well as The State Of Retail, How To Build A Buzz and the Art Of The Deal.

We took an active role in making our voices heard in Washington, D.C. when we lobbied our lawmakers to pass H.R. 1506 "Digital Performance Right In Sound Recordings Act Of 1995." On June 28, 1995, I testified in Congress to attempt to secure for all artists and managers a performance right on future digital transmissions. I presented our case on behalf of the artists while other industry groups delivered their agendas. All artists celebrated a major victory on Nov. 1, 1995 when then President Clinton signed the act into law.

Throughout these hearings I kept pressing for artists to receive direct payment of these future digital performance royalties. The MMF kept this issue in the forefront of our agenda, and on Nov. 7, 2001, six years later, this goal was achieved when it was announced that "SoundExchange, Record Labels and Artist Groups Reached Agreement To Pay Artist Performance Royalties Directly To Performers And To Change SoundExchange Structure." The MMF participated as a signatory to this landmark agreement and now holds a board seat on SoundExchange, the digital performance rights collection society.

When TLC and Toni Braxton went into bankruptcy, the RIAA tried to portray artists as going bankrupt in order to get out of their recording contracts. The RIAA tried to spin this as a prevalent practice in order to get a law passed holding artists to their recording agreements in spite of bankruptcy. The MMF fought this action vigorously until it became a non-issue, as we always believed that recording artists should be held to the same exact standards as every other citizen in our country.

On May 25, 2000, I submitted written testimony to Congress in connection with the Hearing On Public Law 106.13: Re "Works Made For Hire." We worked feverishly with a coalition of other industry groups and succeeded in our efforts to rescind without prejudice the 1999 "Work-For-Hire " amendment to the Copyright Act.

We are currently involved in trying to stop further media consolidation and will be involved in making our voices heard, as will be Senator Russ Feingold in helping to push forward his bill.

The MMF is also the U.S. representative for AURA, the Association Of United Recording Artists, a non-profit organization that represents featured recording artists and producers with regards to performance and broadcasting income. We are currently on a mission to help North American recording artists collect their foreign performance royalties. Through our international umbrella organization, the IMMF is an NGO, which is a Non Governmental Observer at WIPO, which is the United Nations agency that sets policies and creates treaties relating to Intellectual Property. I welcome any active managers who are interested in being a member to get an application form at our website. Our address is www.mmfus.com.

What are your feelings about the controversial seven-year recording contract deals?
The time has come for this to become law, and it will happen in the not too distant future. An artist should be able to move to another situation if they so choose after a reasonable time. Free agency is good for competition and will also insure that the labels exhibit more sensitivity and treat their artists properly if they want to hold on to them We all know how expensive it is to break a new act, and the claim by the labels that they will be tortured financially if the artist leaves them after seven years is bogus because it will be musical chairs with all the labels. They will equally lose and gain acts from each other. Should any one label have a mass exodus, they better take a good hard look at what they are doing wrong.

How do you feel about some record companies planning to ask for part of touring, merchandise and management income in return for a less constrictive recording contract?
It's a desperate last-ditch attempt to grab replacement revenue for declining sales from the artist. Small specialty record companies have been doing these kinds of deals for years. It can make sense in some cases with non-mainstream artists where the entire pool of revenue for the genre is too small to support an investment in an artist recording based on the record profits alone, but it's unlikely to become a viable arrangement for a mainstream artist.

As it is, a successful new artist has to pay the freight for 10-15 other acts that cost the label money (and they aren't happy about it at all). Under the proposed kind of arrangement where a share of concert and merchandising revenue would have to be paid as well, a successful act would pay a lot more than they already do, albeit for a smaller number of records.

It's inevitable that as the industry moves towards an artist services model, the artists will have to find partners that can serve their needs in all areas. Are the labels going to be it? The acts pay their managers a percentage of income from all sources (in most cases) because the manager participates in all the artists' activities. At this point, the record labels do not have the ability to add any value to the concert or merchandising business. They aren't in that business at all. It seems unlikely that the managers would find the labels proposal attractive. It just takes the industry standard ‚bad deal‚ for a new act and makes it far worse if the act does become successful.

How do you feel about the free downloading of music off the Internet?
If the copyright owner of the song and the master recording gives permission or makes it available, then it's perfectly fine to get a free download. It becomes a problem when permission isn't granted and someone in the public offers it and then someone else downloads it for free. I have heard all the pros and cons concerning this issue; however, I don't condone people using or taking other people's property without permission or paying for it. We have a word for this kind of behavior. It's called stealing.

How do you feel about the two entities proposing to sell live CDs of the performance to concertgoers right after the show?
It's a good idea if you can get everyone involved on board. You need permission from the label, the publisher and the artist. You need to consider that all performances may not be to the artist's liking and that the management of the venues may want to participate. If Clear Channel becomes active in this venture, will they allow DiscLive to compete with them, especially when they control a lot of the venues? Very few artists are as collectable as Bruce Springsteen and Pearl Jam when it comes to live recordings, so we'll need to be patient to see if demand is there and if it's as easy and as good as it sounds. The verdict is still out on the viability of this venture.

What was your involvement with Emusic?
In late 1998 I started to consult entertainment technology companies and was retained by Brian Brinkerhoff, an EMusic executive to help him with content acquisitions. I was there at the very beginning and was very impressed with their business model. They were the first fully licensed and legal service to offer digital downloads. I lost the account when Universal bought the company in 2001.

What is the future of the music business from your perspective?
Like many others, I believe that the near future of the music business is going to be about a radical, irrevocable change in the way that people connect to and consume music. This change has been going on -- to some degree -- for several years now, but it has started to gain serious momentum that has now become visible in the industry numbers. The numbers are about to get a lot more dramatic. The collapse of the traditional music retail sector is imminent and that a retail collapse will inevitably be followed by the collapse of the physical distribution network presently owned by the major labels. And while radio will continue to be around for a long time to come, it will continue to diminish in importance with respect to marketing music.

In order to survive, the record industry will have to move away from relying upon the traditional mass marketing approach of introducing new music and move towards serving sustainable micro markets -- away from radio towards word of mouth communities of like-minded consumers. As the pundits have been saying for years, the future of music, like the future of entertainment in general, is undoubtedly about consumer empowerment and choice -- getting what you want, when and how you want it. The future of the industry really is a sea of change in the entire relationship between creators and consumers. This change is overdue and inevitable.

The good news is that there are very clear indications that people continue to love music as much or more than they ever have. For all the doom and gloom in the record business, the concert industry is extremely healthy and the use of music in movies and video games seems to increase each year. It's the method of marketing and distributing pre-recorded music that has become out-moded.

Who are the winners and losers in the future industry you depict?
The two principal winners in the future music business are consumers and the established artists. The consumers will get what ever they want, and the established artists won't need to rely as much upon the industry machine in order to reach and serve their established audience. It will be possible for the artist to own and control a much larger part of their traditional business by communicating directly to the consumer. As a result, the artists will be able to participate in a myriad of completely new revenue streams by garnering a higher share of their existing customer. Of course, the artists will need partners that are savvy in the ways and means associated with this new style of business. I am quite sure that those artist services will start to rapidly emerge over the next few years.

The losers have really yet to be determined. Certainly, it looks like it will be very tough for traditional music retailers over the next decade. The labels will survive in some form but will continue to diminish in importance if they can't accommodate the necessary changes required to reflect the rapidly evolving music market. It's going to get a lot worse for the incumbents in the industry before it can get better. The evolution of the business will become a revolution over the next two years.

What role do you expect to play in this impending industry (r)evolution that you describe?
I've always worked on the artist's side of the industry and that won't change. As president of the MMF I will continue to be an advocate for artist rights. In addition, I expect to be a part of leading the industry revolution. I've been representing a company over the past few years that I believe has discovered and developed the secret to the future of the music industry.

InDIMENSIONS Entertainment Group has developed a business model that enables artist empowerment by connecting the fans to each other. It's a very elegant model based on partnerships that gives the artist control over their future. The model has been implemented, tested and proven over the course of three years. They have driven significant revenues from new revenue streams outside of the main stream for a very established Canadian act Blue Rodeo. They have recently signed the first established American artists and are due to launch ZiggyMarley.com Inc. InDIMENSIONS is everything that I've talked about above. You will be hearing more about them very soon.

How would you contrast what InDimensions Entertainment Group is doing as compared to the business models of MUSIC TODAY and ARTIST DIRECT?
The orientation of InDIMENSIONS is completely different than those other companies. The focus of InDIMENSIONS is community development. They've figured out how to use the artist brand to create, build, study and market a community of like-minded people. By facilitating the community's interest‚s InDIMENSIONS is able to build sustainable commercial marketplaces.

First industry job
In 1975 I was appointed Director Of Promotional Activities at Edward B. Marks Music Corp., an old line music publishing company founded in 1890.

Career Highlights
My involvement in the development of the careers of AC/DC, Meat Loaf and John Paul Young. Forming my own companies, Barry Bergman Management, Wood Monkey Music and Ellymax Music. Launching the Music Managers Forum-US (MMF-US) in 1993. Testifying in Congress on H.R. 1506 the "Digital Performance Right In Sound Recordings Act of 1995" Playing a key role and submitting written testimony in the Hearing on Public Law 106-13 Re: "Works Made For Hire." The MMF-US participated in helping to rescind without prejudice the 1999 "work-for-hire" amendment to the Copyright Act.

Career disappointment
The realization that great talent needs even greater luck to become successful. Talent alone doesn't insure success as I learned with a former client who was born extremely gifted yet constantly experienced opportunities that would always fall apart. I continue to believe that one day this tremendously gifted guy will finally break through and receive what he deserves and has worked so hard to achieve.

Greatest challenge
I need to be more accepting of the stupidity and ignorance I encounter on a daily basis.

Best business decision
Making the decision to go out on my own after leaving United Artists Music in 1981. Twenty-two years ago my greatest fear in life was not having a job and not having a paycheck. Today my greatest fear in life is having to get a job. Funny how things change.

Best advice you received
To become the person I was born to be and let go of the person I was raised to be.

Best advice to offer
Always feed your faith and your doubts will starve to death.

Most memorable industry experience
Testifying in Congress on behalf of Artists on H.R. 1506 the "Digital Performance Right In Sound Recordings Act Of 1995".

What friends would be surprised to learn about you
That I'm very much a loner.

Industry pet peeve
The lack of vision and leadership at the top levels of many companies.

Office paraphernalia
CDs, CDs and more CDs and vinyl albums, vinyl albums and more vinyl albums.

If I weren't doing this, I would be doing...
...A shrink or a social worker, which I've become by default.

Industry mentor(s)
I don't really have anyone I consider an industry mentor; however, there are a few wonderful souls I respect like Tony Martell with his T.J. Martell Foundation and Gene Bowen with Road Recovery. These two men turned personal tragedy and turmoil into helping others through their many years of service work. Tony and Gene are an example of people who help make our business an industry we can all be proud of.

Barry can be reached at 212-213-8787; e-mail: barrybergman@earthlink.net

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Neil Goldberg, Cirque Productions 04/16/14
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
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
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
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
David Hart, The Agency Group 02/20/04
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
Seth Hurwitz, I.M.P. 04/20/09
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
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
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
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
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
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
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Larry Lieberman, 4EverWild 03/28/03
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
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
John Meglen, Concerts West/AEG Live 02/21/13
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
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
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
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
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
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Tamara Saviano, American Roots Publishing 07/22/05
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
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
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
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
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
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
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
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, CultureCatch.com 07/27/07
Jeremiah “Ice” Younossi, A-List Talent 09/20/09
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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