Industry Profile: David Israelite

— By Larry LeBlanc

This Week In The Hot Seat With Larry LeBlanc: David Israelite

National Music Publishers' Assn. president/CEO David Israelite has had a busy 2008 battling for copyright legislation and regulation in the digital and physical arenas.

His year was dominated by the U.S. Copyright Royalty Board (CRB) mechanical right royalty proceedings which pit music publishers, record labels and digital music services against one another. This was the first mechanical right royalty proceedings before the CRB since the emergence of legal online music services.

In Oct., the CRB set the royalty rates paid for digital permanent downloads, physical product and ringtones. All payments prior to the decision were negotiated by the respective parties.

The NMPA had sought an increase from the current 9.1 cents to 15 cents per download. They also asked for an increase in the physical rate to 12.5 cents from the current 9.1 cents.

The Recording Industry Assn. of America had sought significant cuts from upwards of almost 50 per cent of the current rate, and tried to convince the CRB that the flat rate calculations used to pay songwriters should be changed to a percentage of the label's revenue.

This argument fell on deaf ears in the CRB, as they maintained the 9.1 cents mechanical royalty song rate for both physical and digital albums and chose to adopt the NMPA pay proposal without amendment.

Meanwhile, it set the mastertone rate at 24 cents,

The CRB also adopted the terms of an earlier settlement, between NMPA, the Nashville Songwriters Assn., the Songwriters Guild of America, the RIAA and the Digital Media Assn. rates for a mechanical royalty rate at 10.5% of revenues, less composition performance royalties, for interactive streaming and limited downloads. The rate applies to this year with an 8.5 per cent rate for the preceding 6 years.

The physical and digital album rates and the mastertone rates are retroactive to Jan. 1 of this year, while the settlement goes back 7 years.

Furthermore, music publishers will have the right to seek a 1.5 percent late fee, calculated monthly.

Israelite hails the decision as a positive development for all songwriters and music publishers.

Israelite chalked up another key victory earlier in the year, the passage of the Higher Education Opportunity Act, which includes a provision directing publicly funded colleges and universities to inform students and employees about policies and procedures related to illegal downloading and distribution of copyrighted materials.

He also oversaw passage in the Senate of the Enforcement of Intellectual Property Rights Act of 2008. The bill, dealing with violations of intellectual property, has since been signed into law by President Bush.

Founded in 1917, the NMPA represents more than 800 American music publishers. Its mandate is to protect and advance the interests of music publishers and their songwriters in matters relating to the domestic and global protection of music copyrights.

In 2005, the NMPA hired Israelite and relocated its headquarters from New York to Washington to facilitate increased interaction with Congress, the Administration, the federal judiciary and other intellectual property trade groups.

Battling to significantly strengthen the ability of American law enforcement to deal with the growing problem of theft of copyrighted property while accruing political capital in Washington is role in which Israelite is well suited.

From 2001-2004, Israelite served in the Bush Administration as the Deputy Chief of Staff and Counselor to Attorney General John Ashcroft,

In 2003, he became the Chairman of the Intellectual Property Task Force, created by Ashcroft to examine all aspects of how the Department of Justice handles intellectual property issues. The task force dealt with such intellectual property related issues as criminal law, civil law, international treaties and obligations, legislative and regulatory proposals, and public awareness.

Prior to his appointment to the Department of Justice, Israelite served as the Director of Political and Governmental Affairs for the Republican National Committee. From 1997 through 1998, He served as Administrative Assistant to Missouri Senator Kit Bond, and was the Senator’s campaign manager during his decisive Senatorial re-election win in 1998.

Israelite practiced law in the Commercial Litigation Department of Bryan Cave in Kansas City, Missouri from 1994-97. He earned his Juris Doctor from the University of Missouri-Columbia School of Law in 1994, and received a B.A. in political science and communications from William Jewell College in Liberty, Missouri in 1990.

While the decision to name an intellectual property enforcement coordinator—a position created by the Prioritizing Resources and Organization for Intellectual Property Act signed in October by President Bush--will likely be pushed back until after President-elect Barack Obama takes office Jan. 30, this “Copyright Czar” will certainly be someone with experience working in Washington, with expertise in copyright law and—in Israelite’s view—someone who values protecting intellectual property.

Are we going to see a Copyright Czar named before President-elect Obama is sworn in on January 20, 2009?
I’d be surprised. I don’t know when we will see one. Administrations tend to focus on cabinet and high-level White House appointments first and then these other positions filter their way through the system. So I have no idea when we are going to hear about the Copyright Czar. It is more important for me that it is the right person than the announcement coming soon.

Among the names being floated are Hal Ponder, director of government relations at the American Federation of Musicians; and Michele Ballantyne, senior VP of federal government and industry relations for the RIAA.
I wouldn’t put a lot of creditability into these early speculations about who is being considered. I picked up an issue of the Washingtonian magazine from a few weeks ago, that speculated on cabinet picks by Obama. None of the people named so far were on the list. Not even close. It goes to show that this type of speculation can be pretty out there.

Is it important that it be someone who has a balanced viewpoint of copyright issues, of copyright enforcement, as well as someone who understands technology and label issues?
Obviously, there are many different viewpoints about policy, technology, and access issues. The one thing fairly consistent in trying to organize the executive branch’s response to criminal activity and violation of current law is that the law is the law. There are people who wish the law was different but there aren’t a lot of different viewpoints on that the law is what it is. And the government ought to be enforcing the law.

You chaired the task force on intellectual property in 2003 within the Department of Justice. Didn’t that task force look at the broader question of how to strategically target piracy?
Yes, we looked at the broader question of the problem. The Bush administration followed the task force with their Stop Initiative [The Strategy Targeting Organized Piracy Initiative] that was an attempt to get the different agencies to start co-ordinating together. This next step is having a co-coordinator in the White House that will work with several different agencies.

This Copyright Czar will co-ordinate with different federal government departments?
There is a very broad mandate to pull together different resources. There are functions at the State Department, at the Department of Homeland Security (with customs and border control), at the Treasury Department, at the Patent and Trademark Office and, obviously, the Justice Department. One thing that doesn’t change is that the law enforcement at Justice that remains independent. The White House and the executive branch don’t have the ability to pull prosecutorial power away from the Justice Department.

Are you encouraged that VP-elect Joe Biden has been a strong supporter of copyright? He sat on the Senate Judiciary Committee through which all intellectual property-related bills pass. Last year, he sponsored the RIAA-backed Perform Act.
Biden has been a good friend to copyright and to the music industry. That tends to be true for people who are on the judiciary committees. A lot of folks are encouraged that he is in the administration, and hoping that he will have a role in picking the new coordinator.

If everything in Washington is about politics. and you are closely identified with the current Republican administration, do you foresee problems dealing with a Democrat administration as well as Democrat-run House and Senate?
No. Our issues tend to be non-partisan. (We deal with) either someone who is a supporter of copyright and music or they are not. It’s pretty equal between the two parties. I have worked hand-in-hand with both Democrats and Republicans.

Also, the Justice Department is a non-partisan body. The four years I was there, particularly my work on the Intellectual Property Task Force, I worked with Democrats as well as Republicans in Congress.

Lobbying is a quite a relevant part of your job in representing songwriters and publishers before Congress, is it not?
We are very active in lobbying. Although it has been less part of the job than I expected when I took it. It tends to be more litigation focused than lobbying because of what’s been going on in the industry. I think what is happening is that we have reached that point where for a long time we didn’t have the proper laws or give the proper attention to intellectual property theft. It has gotten so bad that people now are getting it and are starting to act.

You have publicly indicated that you were happy with the recent Copyright Royalty Board decision although the rates are far less than what you proposed. Why were you happy?
We were happy for a lot of reasons. We had requested 12.5 cents for physical, and 15 cents for digital, the other side requested an abandonment of the penny rate and record labels proposed a 45 per cent cut of our current rate, using current pricing; and the digital companies proposed a 55 percent cut from our current rate. We didn’t get the increase we were looking for but we kept the penny rate and they didn’t get the cuts they were looking for.

You were obviously worried about a roll back.
We were absolutely worried about that. The parts of the decision we were most pleased with was ringtones at 24 cents, and the late fee. (Ringtones) was a huge victory. I don’t know if enough people have focused on the importance of the late fees (1.5 per cent per month). It is an enormous victory for our industry. It has been an ongoing problem getting songwriters paid on time. Now we have this power of 18 percent (annual) compounded interest on late payment.

There was also the settlement on interactive streaming. That may have also have been the biggest victory you had in the case, though it wasn’t the judge’s decision.
At the beginning of the trial the record labels had argued that our value for interactive streaming is .56 percent of revenue and the gaming companies were arguing we had no right. We ended up settling for 10.5 percent of revenue with a good definition of revenue. That 10.5 per cent of revenue is among the best rate in the world.

So (in baseball terms) I’d call (the overall Board decision) getting a triple. It wasn’t a home run. Getting a bump in digital (royalties) would have been a home run . But we are happy with keeping the penny rate, not taking (royalty) cuts, with the ringtone rate, and getting the late fee.

The late fee will force labels to either pay publishers and songwriters quickly or make it unattractive for them to handle the overall licensing of songs.
Absolutely. Record labels (in the U.S.) have the legal right to pass through our license and collect royalties. But what we have done with the late fee is made it more unattractive to them. If they choose to act as the pass through agent, they now take responsibility for the late fee. On downloads, (U.S.) record companies currently do pass through our rights but with subscription services they have not so far. There is now a big disincentive for them to do it in the future.

The rate proceedings are not over yet. There is a chance for a rehearing.
I won’t be surprised if the record labels decide to appeal the decision. On Nov. 24, the final determination was sent out by the Copyright Royalty Board. That gives the Register of Copyrights (Marybeth Peters at the Copyright Office) 60 days to publish [in the Federal Register]. Once it is published, parties have 30 days to appeal.

An important piece of legislation for you was the Higher Education Opportunity Act that gave colleges tools to better monitor and maintain their systems.
One of our biggest problems has been rampant piracy on college and university campuses, often over networks controlled by the colleges and universities. What goes on at these schools is that it is really a crucial point in many peoples’ lives, in terms of the attitude students will form about a respect of intellectual property for the rest of their lives. (The Act) is only the beginning of the fight.

The legislation is about the awareness of piracy and educating the student community?
I would like to see our government much more active and involved in this type of (education) effort. Everyone has a role to play in it. It’s education for everybody. It also is education for the music industry which made some big mistakes in this fight early on. There is still catch-up to be done by the industry to give people a choice that makes it easier to turn them away from the type of activity that would lead to theft.

One of the things that became very apparent was the necessity of a legal digital market place if you want people not to turn to the illegal digital marketplace. That obviously was a problem in the very beginning (of music downloading) when the only option if you wanted to acquire music in a digital format was to do it illegally.

But a lot of music kids want today is just not available legally online or in stores. The songs may be in genres like metal, alternative or Americana or be from foreign sources. People can’t buy the tracks legally online or at stores.
That’s a legitimate problem but I don’t think it justifies stealing. At the same time, the best way to combat stealing is to make it easy and affordable to acquire music in a legal way. So it’s a good point but it doesn’t’ justify the behavior. And it is a fair point we’d do better in our fight against piracy if we had more (music) available.

There really aren’t that many licensed outlets online to get music.
There aren’t that many but there certainly are enough that the consumer can acquire music in a legal fashion now. And the market is going to drive (demand) now. The more demand for these types of product, you will have more competitors in the marketplace.

Music is everywhere. it is hard for people to connect to the idea that someone should be paying for it, somewhere in the system.
The challenge of our generation is to create an economic environment where the people who create can make a living. How do we monetize all of this wonderful new technology, this incredible access to music in a way that creates a business environment? It is the biggest challenge facing the music industry while more music is being accessed than any time in history, and there are more applications for music than any time in history.

With the erosion of physical sales, mechanical rates for publishers and songwriters are down but performance royalties are up. There’s seems to be greater revenue streams from synchronization royalties, including from video games, TV shows, film…so many different uses.
Absolutely. A publisher who used to have mechanicals be their biggest source of income is now seeing performance (royalties) either rival or overtake mechanicals. Synchronization is becoming a much bigger part of the pie. So is the exploitation of lyrics and tablatures. People accessing lyrics and tablatures is something that was forgotten for a long time. Suddenly, people are now focusing on it. That is a growing field for us.

It is often overlooked that under U.S. copyright law controlled composition cannot be applied in the digital world in contracts after 1995. How does that affect publishing revenue streams?
As the market is becoming more digital, we are effectively getting the rate bumped up because there is no controlled composition on digital products. We get the full 9.1 cents whereas on physical product there may be a three-quarter rate or a 10 song cap on an album, whatever else that is in the controlled composition.

You got passage of the Enforcement of Intellectual Property Act of 2008 pretty quickly.
That bill is a personal favourite of mine because much of what is in it was from my task force. It took four years for it to be enacted into law. I was working on it for a long time. There were some serious objections from senators, the White House and others early on. But we addressed a lot of the concerns. Once we did, it became a fairly non-controversial bill.

The bill is very specific on the violations of intellectual property issues, where others haven’t been.
Absolutely. But we didn’t get everything we wanted. We had hoped to get a civil enforcement power at the Justice Department. That was dropped from the final bill. However, much of what was in the bill was very important, and we are very happy with it.

What do you have on your plate in 2009?
We have a class action lawsuit against Google and YouTube right now. YouTube has not paid one penny to any songwriter or publisher, even though it is making millions of dollars in advertising and music is clearly driving traffic at YouTube. The record companies have done deals with YouTube but (YouTube and Google) have not done those same deals with publishers and songwriters. This is an enormous priority for (the publishing) community going into next year.

Google paid $1.65 billion to acquire YouTube. What were they buying? They were buying a place people go to watch other peoples’ property. It is unconscious able that the people who created the content aren’t sharing in the revenue from the source.

At what stage is the class action lawsuit?
We are in the discovery phase. We’re being deposed in a few weeks in the case. It will heat up now that we are in discovery.

Any other legislation likely to be put forward in 2009.
There is an orphan works bill that didn’t make it this year. it might be brought up again in 2009. It is something that is of great interest in our community. There is also a net neutrality debate going on involving what restrictions can be put on Internet traffic that is pretty controversial. These are a few things that that we will be watching.

There’s also this performance right [Performance Rights Act] for record labels and artists that got to a hearing, and a markup at a subcommittee level last year but got stopped. We are generally supportive but don’t want our income stream from broadcast radio to be negatively affected by any new right. So the (RIAA has) to introduce a new bill, and then try to bring it out to the full committee level.

A performance right is long term goal of U.S. record labels. The United States is one of the few countries without such a right.
I don’t think its going to happen any time in the immediate future but we will be supportive of it as long we can be protected. We are the only country in the world that doesn’t have it which is a problem (in getting paid for performance rights by other countries).

[Note: American copyright law protects two distinct sets of rights in music: rights associated with the musical composition (the song), and the musical recording (the master). The U.S. Copyright Act gives the copyright owners of songs the exclusive right to perform the copyright work publicly - but this does not extend to owners of the masters. This means that radio broadcasters must pay songwriters and publishers for the songs they play, not artists and labels.]

Larry LeBlanc is widely recognized as one of the leading music industry journalists in the world. Before joining CelebrityAccess in 2008, Larry 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, the London Times and the New York Times.

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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
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
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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