Industry Profile: Neil Warnock

— By Larry LeBlanc

This week In The Hot Seat with Larry LeBlanc: Neil Warnock

Following several consecutive tough years, the global touring industry is now taking a hard look at its basic business model.

However, London-based Neil Warnock, chairman of The Agency Group, began a major shift at his company in 2005.

In the face of the touring business contracting and consolidating, as well as seeing a lessened influence of the major record labels, and seeking to offer his clients additional services, the wily London booker recognized that a change was needed.

Not only was a new North American management structure put in place but Warnock expanded the agency significantly last year with the buy-out of the Kork Agency (Atmosphere, Peaches, the Gossip), and the launch of a Speakers Department following the acquisition of Roth Talent Associates.

The restructuring was also a reaction to The Agency Group's accelerated expansion in recent years as well as a reaction to facing mounting competition for new acts, and to keep existing ones within a fiercely-contested new global booking world.

During the past decade, with the rise in popularity of such groups as Arcade Fire and Death Cab for Cutie, booking competitors like Creative Artists Agency (CAA) and the William Morris Agency became increasingly interested in pursuing independent bands.

While a handful of smaller booking firms still maintain their independence, many boutique agencies have lately merged with larger agencies.

In 2004, Paradigm Talent Agency brought Monterey Peninsula Artists into its fold and acquired Little Big Man in 2006. Last month, it continued its expansion into music by purchasing the Nashville-based Christian music booking firm Third Coast Artists Agency. Last week, The William Morris Agency and Endeavor Talent announced a merger creating William Morris Endeavor Entertainment.

Warnock launched The Agency Group in 1981 after his purchase of the Bron Agency, where he had been managing director for 8 years. Previously, Warnock had been a director at NEMS Enterprises. In his teens, he had operated South Bank Artists, which handled college and univeristy bookings for Pink Floyd, Donovan, and Tyrannosaurus Rex in and around London.

The Agency Group is now one of the world’s leading booking agencies, with a roster of over 1,000 artists and offices in London, New York, Los Angeles, Toronto, and Malmo, Sweden.

Where are the future headliners coming from?

We have Muse coming through in the UK and France now. They are a stadium attraction and are growing quickly. There will be artists of their generation that will come through. The interesting phenomenon that we are now seeing is that kids will now download a single track, not an album. The difficulty that we’ve got (as a touring industry) is how do we build a career? How do we get recorded music into a fan base so that it stays a fan base. If people are a fan of three minutes of music, how do you make them a fan of the overall body of the artist’s work?

We are seeing artists in the UK having one big album, and then becoming an obscure artist. They didn’t build a fan base.

We have to get artists out there working. We’ve got to establish a fan base. We’ve got to insure that their website is very active. We’ve got to get them to react well with the customers that they’ve got, and then spread that (enthusiasm).

Where are our next live music customers coming from?

We have to approach our customers from a variety of ways, whether they are a young customer brought into a show by their parents or whatever. Okay, that’s the first level. Exposing them to live music. You want them to be excited by going to a live show, wherever they come in. The next thing is how do we get an experience that is affordable? We’ve got to look (at pricing) because now days there are so many other ways that people can be entertained. And music is competing with all of that.

If we continue (as we have been) or if we in any way rob our customers and they feel ripped off, or if they feel abused, then they will take their share option and money and go somewhere else. We have got to be aware of that. The customers has the ability to say, “No.” If we keep loading them up with extra charges, they will say “No,” particularly in the (economic) circumstances we are in now.

Forty years ago, when we were punters ourselves and just going out, it was all about music. That is what we wanted to hear and see. And we would generally be able to get into a show unless you wanted to see the Beatles or someone like that. Generally, you could get access. Now, it is more difficult. But, I think, this is where we have to be smart. We’ve got to be ticket smart. We have to look at all-ages shows. We have to look at how we identify our customers and don’t abuse (the relationship). Otherwise, we will go the way of the labels.

Should managers and agents, as well as promoters, be more realistic about what can be pulled out of a market?

Every one of us has to look at every single circumstance. We have to look at artists, their capabilities and at the venues we are going into. We have to look at how we are constructing deals for the artist and for our customers. In the end, if we can’t put those two things together as industry professionals, we are failing our artists and our customer.

How do you see the proposed Live Nation/Ticketmaster merger affecting the industry, if it goes through?

Whew, that’s a difficult question. It is an interesting time seeing if this merger goes through. Everybody has an opinion about it. Whether that is an opinion forged by sheer knowledge or speculation. It is taking place in a difficult time. Whatever happens, we as an industry have to look at that, in the end, if we don’t bring value for money to our customers, we won’t survive.

Can a boutique booking agency still work in North America? Or does it need to be bigger?

Some managers and artists will want to be with a small company where they feel they will be better looked after. They feel that if they’ve got the talent, and they are getting personal service, then they will be heard and they will get through (to the market).

So there’s an argument for the boutique (agency) set-up. But it doesn’t have to get crushed in the current climate.

Ever since I’ve been in it, the (booking) industry has ebbed and flowed with companies developing, growing, disintegrating, and amalgamating. It is a human being business we’re in; that represents other human beings who represent their products. And it is always going to have an ebb and flow. Every time, there’s an amalgamation that throws talented people, those people don’t necessarily go away. They regroup and come back in a different way.

Still, it must be intimidating for a young band or manager to look at The Agency Group. You must have to operate like a boutique agency for some clients.

Well, we do. We operate like a boutique because we don’t territorially book. That makes us very different from most of the other (agencies). When we take an artist on, it is taken on by an agent dedicated to that artist’s music, and who has a real desire to book the artist .

We hope we are being seen to give a very dedicated personal service to artists and that they are not being lost in the system. At the same time, artists have the backup of a bigger organization that gives them the clout to be seen where they should be seen, and gives them the services that they would want from a big company.

Certainly, agency business is more cut-throat today with the recent mergers and with mainstream agencies like the William Morris Agency and CAA working more with alternative music acts.

The business has grown. Last year, we had over 17,000 contracts on issue. In 2000, we had 2,000 issued. The volume, and where the agencies and the business have grown, has created the situations we’ve got now.

When we were smaller, when all of us were smaller, we were fighting in a much smaller pub. Now we are fighting in a big ocean. And we still all want to have the ability to take on that young new artist. What the bigger guys are doing now, along with us, is developing unsigned independent talent. We are supplanting the labels in being A&R sources.

In 2005, you took a hard look at the company’s basic business model and introduced sweeping changes. Why?

The way we look at the agency is that we have to provide services to people. I honestly believe that the music labels, prior to that, had been running from behind. They were not in the contemporary world to market their product. We were gathering more and more information for our artists in every part of the world to help managers make decisions about how they were going to tour; where they were going to put their emphasis on releases; and gauging the promotional time that they would give.

We were becoming more than just a booking agency by being a supplementary information service. At the same time, promoters around the world had started to beef up the information services that they had within themselves, in the end, record companies are now distribution sources and the rest of us are A&Ring, and developing the talent. Not necessarily totally A&Ring, but certainly developing the live platform of the artist as well as (providing services) for soundtracks and publishing or any other element that our artists want to get involved in.

Many managers have beefed up their own companies as well to include ancillary services.

You are 100% right. Different managers now have different areas that they are engaged in. Some are surrounding themselves with marketing tools and marketing people or seeking out different information pieces for the information highway.

Fifteen years ago, it was the labels dictating to us, particularly to us in the agency world, when they wanted artists to appear on the road. And they would arbitrarily move release dates without telling us. They didn’t consider that it was important enough to inform us about that, “We’ve decided to move the album release date by two weeks.” “What about the tour?” “We don’t really care that much about the tour.”

We are now telling the label where the artist will tour now. We know what the artist’s strengths are. We have situations now where record company doesn’t want to release (an album) in some territories and yet we will still take the artist there. We will almost say to the label, without being totally rude, “By the way the artist is going to appear in Paris. If you care to put the album out in France, we would be very obliged. But in your own good time.”

Twenty years ago, bands from North America didn’t tour extensively outside North America, except touring England, Germany or Japan.

I suppose you are probably right. But the talent I represented went a little further afield. A lot of Americans still suffer from a cultural shock of there not being a McDonald’s or a Starbucks on every other corner.

You encouraged Rush's management to book dates outside of North America in 1977. Also, their first South American shows in 2002 proved to them that they had fans there, and encouraged them to play other new venues. How did the South American dates happen?

It was a conclusion of a long, long campaign to get the band to go there. It wasn’t as much they didn’t want to go there. It was that they didn’t believe they could do the business there. They didn’t believe how big they were. I was saying to them that, “There’s Pink Floyd, the Rolling Stones and then there’s Rush in South America.” They went,” Don’t be silly.”

But the record sales for Rush didn’t reflect that popularity.

No but the groundswell of fan fever and the information I was getting from a variety of promoters always told me that. And, by the way, (low record sales) will be the same for Pink Floyd or the Rolling Stones in South America with how much piracy there is there.

It must drive you crazy that Rush doesn’t often tour?

Every other year that they don’t tour has driven me nuts. They don’t have a big desire, even in North America, to do a huge amount of work. So I’m always grateful when a few crumbs fall of the table, and they decide to do Europe or South America. Hopefully, some time they will go back to Japan. [The only time Rush played shows in Japan was in 1984.]

Will markets in Asia open more for Western music acts?

We have to look at China as the market that will establish itself in the future. But music will be only one of the many things that the Chinese market will look at, including sports.

It is a bit of a myth to (talk about) the integration of Western music into the Chinese culture. It will happen. But it’s going to be a lot slower than anyone imagines. And it will take a lot of work.

On the live side, I think China is a market that will grow. The information highway is driven through the mobile phone there. As marketing is done more through that medium, we will see the newer (Western) artists benefit from that form of marketing, far more than any of the historic artists.

Korean music is very big in China. Indigenous Chinese music--rock and pop music--is also big there. Just imposing Western music doesn’t impress them. There is no God-given right that we have that our artists will be big in their marketplace.

It is fair to say that the artists that I’ve had to tour there, including the Rolling Stones and with Deep Purple, the majority of people those acts play to are Western, not Chinese.

There’s also a lack of venues in China.

That’s absolutely right. In their culture there’s been no culture of a club or a pub circuit. There have been no growing grounds for artists in the same way there has been in the Western world. So the multi-purpose facilities are the ones being used. It is hard to find the right venues that suit the right artists.

The tragic events in November in Mumbai, India in which gunmen killed 171 people during a three-day siege has had a huge impact on Western artists not touring there as much.

I think that India went through a “night-of-the-long-knives’ as it were when all of that happened which has made them re-appraise how they secure their country, primarily for their own people.

Live music in India has always been based on sponsorship. If you haven’t got a sponsor, you don’t have a tour. What is happening now is that because of the resurgence of cricket and with it being the major attraction, a lot of sponsorship money is being deflected away from music and into cricket. It is becoming increasing difficult to tour there, not withstanding the security aspects, because you can’t always find the sponsorship. I think that’s why there have been a decrease--along with everything else--for the number of (Western) artists playing there.

You have been touring acts in the Russian market since the ‘70s.

I had Pink Floyd there while the Iron Curtain was still in place. They did a week in Moscow (in 1989). Status Quo, Deep Purple and a-ha have played there early on I’ve had a lot of our artists there since. Obviously, Deep Purple and a-ha still tour very comprehensively across Russia

Russia is in upheaval right now. Predictions are that it will take 3-5 years for stabilization there. How does that affect touring?

Economically, Russia, along with a lot of the other emerging markets, is certainly in upheaval. I don’t know if upheaval is too strong a word. I think that while we are going through what we are going through, touring markets that had become stable have now become unstable again. They are more difficult to tour in now.

How did you come to land at NEMS Enterprises in 1967 and become senior director of its contemporary music department? You were only 21 when you were hired.

I left school when I was 15, and I was an apprentice printer. I had a couple of semi-professional bands that I was booking into colleges. I got to know the social secretaries, the buyers. Nobody was then catering to these customers. So gradually, they turned to me, and asked if I could book this or that act for them. So I opened South Bank Artists which came to control the bookings of all of the major colleges and universities in and around London.

I gradually built up this huge client list of colleges so that all of the major (booking) agencies then would go through me to get their acts into the colleges. I was booking Donovan, the Doors, and Pink Floyd. I booked Tyrannosaurus Rex in a package with (BBC Radio 1) DJ John Peel for 75 pounds.

So your small company was a pretty powerful business card. What happened next?

I got a call from someone at NEMS I had been booking talent with, asking if I’d be interested in a job there. I thought, “Working for the Beatles’ company? ‘Scuse me. How much do I have to think about that?” So I went for a succession of interviews and ended up going there as a very junior agent.

NEMS was very cash rich because of the Beatles and everything else going on in the company. In 1969, the company bought the Bryan Morrison Agency which (booked) Pink Floyd, Tyrannosaurus Rex, Ansley Dunbar, the Soft Machine, the Incredible String Band, and Fairport Convention…the whole lot of the contemporary music scene and it was brought into NEMS.

These were the same artists you had been booking with South Bank.

Yeah, so I came to the (contemporary music department) much to the annoyance of the agents from the Bryan Morrison Agency who didn’t want to be in NEMS anyway. They taught me my job. They taught me that I had moved over from being a venue buyer to being an agency artist agent, to where I had to be looking at an artist’s career. That is what these guys from the Bryan Morrison Agency were doing. They were developing Pink Floyd for Pink Floyd and Tyrannosaurus Rex for Tyrannosaurus Rex. They were not doing this as part of the old regime where the promoter is king, and here is a bit of talent that is going to fill up the ballroom.

[The Bryan Morrison Agency had booked such then underground acts as Tyrannosaurus Rex, Tomorrow and Pink Floyd. Morrison's accountant Steve O'Rourke began to manage Pink Floyd in 1968, and did so until his death in 2003],

When you joined NEMS, band leader Vic Lewis was then the managing director. He wasn’t up on rock music.

Vic did all of the showbiz and jazz (bookings), and he looked after Cilla Black. He took on Donovan, but he didn’t know anything about Donovan. He thought he was some guy in a kilt. He phoned me and said, “A friend of mine has this act, Donovan. Would you help me?” So I did work on Donovan.

Another friend of Vic’s took on David Bowie, and I did some work with David Bowie. But those artists wouldn’t stay with Vic because he didn’t know who they were. And I was the junior at that time. I didn’t have that sort of position before the Bryan Morris office came in. Then we expanded with Humble Pie, Beck, Bogart & Appice, Deep Purple, although Deep Purple had been a NEMS’ client. I’ve been working with Deep Purple since 1967.

[In 1965 Brian Epstein bought the Vic Lewis Agency and appointed Lewis to the board of NEMS. After Epstein's death in 1967 Lewis's power increased and by 1969, he had signed Elton John to the agency. The company changed hands a couple of times, and when Lewis found himself unable to get along with new owners in 1977, he left.]

How did you come to head NEM’s contemporary music department?

At NEMS nobody was looking at the business side and (at first) I didn’t know about business. The accountant started asking me about things like projections. I’d ask what that was and how to do it. Slowly, the contemporary music department came under me. I became a director of the company by the time I was 25.

How did you come to be managing director of the Bron Agency from 1973 to 1980?

Gerry Bron had been on at me for awhile to join the Bron Agency. Then NEMS changed ownership and I didn’t want to stay with the new owners. So I went into Bron and brought all of my talent there. Gerry was then very active with his label (Bronze Records). Uriah Heap was at their height (of popularity) and Motorhead was soon after that and then Girlschool.

One of your first moves on your own was to open a office in New York. It didn’t work out. Why?

We opened Cricket Talent & Booking in New York. We had Simple Minds, Orchestral Manoeuvres in the Dark, Echo and the Bunneymen, and the Revillos. It was all esoteric English talent. We naively thought we would have enough volume out of our English side to make the company work. It didn’t. As well, we didn’t visit New York enough to make sure the company was being run properly. Whereas, now I am in New York once a month.

It was another 10 years before The Agency Group opened in New York in 1992. Were you making sure, you wouldn’t have a repeat of Cricket?

When Cricket went down, I was really struggling to make The Agency work.

What did you do in 1992 to launch in North America?

I was frustrated that I couldn’t get things done for my artists. I was having a conversation with Steve Schenck who managed Blue Oyster Cult. I said, “I have this band Nazareth who tell me that they can turn over (sell) in America.” He said, “I can book a Nazareth tour. I can book them into the same places that Blue Oyster Cult goes. We’ll get a license and issue the paper.” I went, “Oh, okay.” Then I was working with the Stranglers in the UK, and they wanted to go to North America. So I asked Steve if he wanted to get involved. And he said sure. So we set up in the Fisk Building (250 W 57th St.) in a, tiny office. That was the start of The Agency Group in North America.

It was very casual at the start?

It was very slow in terms of what we did. But then we took on another agent and (Agency Group president, North America) Steve Martin joined in 1994. Then we started to kick forward in a very different way, and the company began to grow.

You opened an office in Toronto in 1996 where you compete head-to-head with S. L. Feldman & Associates. Still, the office has signed such acts as Nickelback, Three Days Grace, and Billy Talent.

Ralph James and Jack Ross called me out of the blue about opening in Toronto. I told them I had no intention of opening in Canada. That I had enough problems in America. But they knew I had an affinity with Canadian music having represented Max Webster, Lee Aaron, Triumph and all of these Canadian artists in the early days. (Canada) was really a very good (talent) source for me.

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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Erik Dyce, City and County of Denver’s Division of Theatres and Arenas 08/23/10
Paolo d’Alessandro, International Solutions 06/25/14
Ros Earls, 140dB Management 02/19/14
Art Edelstein, Festival Productions 12/01/02
Bruce Eisenberg, Audio Analysts 08/31/01
Martin Elbourne, The Glastonbury Festival 12/18/09
Michael Elder, Red Entertainment 03/17/06
Tod Elmore, Sixthman 11/24/06
Paul Emery, Clear Channel Entertainment 11/19/04
Arty Erk, Citrin Cooperman 04/27/16
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock ’n’ Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gélinas, Festival d’été de Québec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Chris Gero, Yamaha Entertainment Group 10/26/16
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Steve Gietka, SMG Entertainment 03/19/14
Darren Gilmore, Watchdog Management 03/17/16
Daniel Glass, Glassnote Entertainment Group 10/16/14
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Neil Goldberg, Cirque Productions 04/16/14
Martin Goldschmidt, Cooking Vinyl Group 09/29/16
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, Turntable.fm 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Justin Kalifowitz, Downtown Publishing 04/20/17
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Música e Cultura 05/04/17
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Paul Reed, Association of Independent Festivals (AIF) 06/14/17
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
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 “Ice” Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
Kevin 'Chief' Zaruk, Chief Music Management 06/10/15
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06

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