Industry Profile: Bruce Iglauer

— By Bob Grossweiner and Jane Cohen

Back in 1971, Bruce Iglauer, a 23-year-old blues fan, used a tiny inheritance to record and produce his favorite band, Hound Dog Taylor and the HouseRockers. Following his heart, he quit his day job with Delmark Records and began promoting Hound Dog Taylor and his new record company full-time. Thirty years later, that company, Alligator Records, is home to some of the world's premiere blues and roots rock talent and is regarded by fans and the media alike as the top contemporary blues record label in the world.

Iglauer, a native of Cincinnati, first fell in love with the blues in 1966. A live performance by the great Mississippi Fred McDowell struck him deep inside. "It was as if he reached out and grabbed me by the collar, shook me and spoke directly to me," Iglauer recalls. After that show, Iglauer, a student at Lawrence University in Appleton, Wis., immersed himself in the blues. He hosted the blues show on his college radio station and began making regular pilgrimages to Chicago to see Muddy Waters, Magic Sam, Junior Wells, Otis Rush, Carey Bell and many other stars in the ghetto blues clubs. When the college activities committee was in need of a band, Iglauer convinced them to book blues legend Howlin' Wolf. Iglauer was disappointed with the promotional push given by the university. He knew he could do better, so he offered to guarantee the costs of bringing in Luther Allison -- out of his own pocket -- in exchange for full control over the promotion. Luther's two shows were completely sold out.

Bob Koester, founder of the prestigious blues and jazz label Delmark Records, was impressed with Iglauer's promotion of Luther Allison, a Delmark artist. When Iglauer moved to Chicago for good at the beginning of 1970 Koester hired him as a $30-per-week shipping clerk. At night, Iglauer hung out at the South and West Side clubs, soaking up live blues every chance he could get. He often accompanied Koester to the studio, where he watched blues greats such as Junior Wells turn their magical sounds into classic blues albums.

Now Iglauer wanted a hand in producing classic blues albums as well. He spent a good deal of time and energy trying to convince Koester to record Hound Dog Taylor and the HouseRockers. Iglauer had been spending his Sundays hanging out at Florence's Lounge on Chicago's South Side, where Taylor would jam all day long. Iglauer loved the band's raw, high-energy bottleneck blues sound, and was convinced that aggressive marketing -- much like his Luther Allison concert -- could bring Hound Dog's music to a whole new audience of younger record buyers like himself. When Koester declined, Iglauer resolved to record the band himself, and Alligator Records (named after the way Iglauer clicks out rhythm patterns with his teeth when he likes a song) was born.

Alligator Records was created to make one record, Hound Dog Taylor and the HouseRockers.

Recorded live in the studio in just two nights during the spring of 1971, the album captured the band at the height of their powers. Hound Dog and his band simply plugged in and played the same beat-up guitars through the same raggedy amps they used at Florence's. At a cost of $900, Iglauer produced a direct-to-two-track master tape -- no overdubs -- that he mixed as they went along. With the remainder of his inheritance money, he pressed 1,000 copies of the album.

That fall, Iglauer loaded his brand new albums into the back of his Chevy and hit the road, visiting progressive rock and college radio stations and record distributors between Chicago and New York. "FM rock radio was pretty loose back then," says Iglauer. "DJs were programming their own shows. As each DJ went on his or her shift, I would hand them a copy of the album and say something like, "This is a record I produced by my favorite band. Would you play it?" And instead of having to get the word from the music director or wait for national chart positions, the DJ usually said, 'Far out. Wow. Sure, man!' Then I'd go to a distributor and say, 'I've got two or three radio stations in your area playing this album. Want to sell it to the stores for me?' Which, of course, they did."

As response to the album grew, so did the amount of time Iglauer spent conducting Alligator business during working hours at Delmark. He became an all-in-one label, booking agent, road manager, business manager, driver, promotion man, and publicist for Hound Dog. Nine months after the release of the album, he left Delmark to run Alligator Records full time.

Full-time did not mean financial success during the early 1970s. The company was run out of Iglauer's tiny apartment, filled with stacks of record cartons and a shipping table next to the bed. Each record had to finance the next one, which meant Alligator released about one record a year. Luckily, those records continued to impress fans and critics and sell enough to keep the label going. Albums by Big Walter Horton, Son Seals and Fenton Robinson all contributed to getting the fledgling company off the ground.

During this time, the face of radio changed considerably. "Free Form Progressive Rock" was replaced by "Album Oriented Rock" stations where owners found there was big money to be made by trimming play lists to include only those artists with mainstream name recognition. By the end of 1973, the new AOR format was firmly entrenched. Fortunately, many non-commercial stations (and a handful of commercial stations) continued to mix blues into their regular formats or featured dedicated blues programs. And, even without regular radio play, Alligator continued to be a favorite of print media everywhere. The small stable of Alligator artists toured heavily, enjoying more and more visibility outside of the Chicago area. Gradually, their schedules grew to between 150 and 200 shows a year, making live performance the primary means of exposure for Alligator artists and their music.

In 1975, Alligator got a shot in the arm when the label began its long association with the Queen of the Blues, Koko Taylor. Taylor had been a sensation at Chess Records with her version of Willie Dixon's "Wang Dang Doodle." "Bruce helped me as much as I helped him," recalls Taylor. "It was a very small company at the time, but it was the best thing that ever happened to me. My career didn't start until I got with Alligator." Her debut Alligator album, I Got What It Takes, won the label its first Grammy nomination.

Alligator hired its very first employee in 1975 and Iglauer moved himself and his label into an old three bedroom house on Chicago's North Side where he also lived. Records were warehoused in the basement and kitchen. In 1976, Alligator received another Grammy nomination, this time for Hound Dog Taylor's posthumously released Beware Of The Dog album.

1978 saw the release of the first three volumes of the critically acclaimed Living Chicago Blues series (the final three volumes appeared in 1980), albums that featured the cream of the crop of Chicago's under-recorded blues artists. Rolling Stone called the series, "the definitive modern blues collection...these albums should not be missed." Included artists were Jimmy Johnson, Eddie Shaw, Left Hand Frank, Carey Bell, Magic Slim, Pinetop Perkins, Johnny "Big Moose" Walker, A.C. Reed, Scotty & The Rib Tips, Lovie Lee, Lacy Gibson, Billy Branch, Detroit Junior, Luther "Guitar Jr." Johnson, Queen Sylvia Embry, Big Leon Brooks, Andrew Brown, and also Lonnie Brooks, who would go on to record seven full albums for Alligator and become one of the label's shining stars.

Also in 1978, guitarist Albert Collins joined forces with Alligator. Collins was the first non-Chicago artist signed to Alligator and the first to come to the label with a big reputation and high visibility. Collins had been signed to major labels and profiled in Rolling Stone. "Because of Albert Collins," recalls Iglauer, "the media perceived Alligator had become a major blues label." Collins' label debut, Ice Pickin', earned yet another Grammy nomination for Alligator. In all, six Alligator recordings received nominations between 1975 and 1978, representing almost half the records the label released. Within the music community, Alligator had developed a reputation as an aggressive and businesslike independent label, but for the most part mainstream record buyers remained unaware of the label's existence.

As Alligator made its way into the new decade, more and more people were paying attention to the small blues label. In 1982, the label won its first Grammy award with zydeco pioneer Clifton Chenier's release, I'm Here!. Then, two years later, Alligator signed legendary guitarist Johnny Winter. Winter was largely perceived as a rock star, but came to Alligator to get back to his blues roots. While Koko Taylor and Albert Collins were well-known among blues fans, Winter was the first Alligator artist with mainstream rock radio name recognition. His first album for Alligator, Guitar Slinger, won the label another Grammy nomination. The recording went on to become the first Alligator album to break into Billboard's "Top 200" chart.

Blues-rock guitar heroes Lonnie Mack (along with guest/producer Stevie Ray Vaughan) and Roy Buchanan joined Alligator's ranks soon after Winter came aboard. These big-name artists gave Alligator radio, press, and retail credibility that didn't exist before. For the first time, Alligator was a major player outside the hard-core blues market.

Alligator's upward trend continued when Albert Collins joined forces with guitarists Johnny Copeland and Robert Cray (who was almost unknown at the time). Together they recorded the now-classic Showdown!. The album earned Alligator its second Grammy award and remains one of the label's top-selling recordings ever.

By 1985, the time had come to move the label's headquarters out of Iglauer's house and into a nearby building. With only seven full-time employees, Alligator was exerting major label-scale promotion efforts, sending over 3,000 promotional copies of each album to radio stations, retail outlets and press contacts all over the world. The label maintained its own promotion, publicity and marketing departments. International manufacturing and distribution deals brought Alligator's releases to dozens of countries including Canada, Japan, Australia, Brazil, Argentina, and throughout Europe. Alligator artists kept themselves in the international spotlight by playing at major festivals worldwide. Alligator had grown from releasing one or two albums a year to an average of about 10 a year, with a majority of the production duties handled by Iglauer personally.

The late 1980s and 1990s marked a period of enormous growth for the label. With a steady stream of recordings by world-class blues veterans like Koko Taylor, Son Seals, Luther Allison, Charlie Musselwhite, Lonnie Brooks, James Cotton, Buddy Guy, Junior Wells, Albert Collins, Carey Bell, Clarence "Gatemouth" Brown, Elvin Bishop, Katie Webster, Billy Boy Arnold, Long John Hunter, John Jackson, and Cephas & Wiggins, Alligator's roster read (and still reads) like a Who's Who of traditional and contemporary blues. By 1991, with 125 releases in the catalog, one thing was clear: Alligator Records was the biggest and most successful blues label in the world.

Alligator turned 20 years old in 1991, and commemorated its anniversary by releasing the best-selling compilation, The Alligator Records 20th Anniversary Collection. The celebration continued when Iglauer loaded Koko Taylor, Lonnie Brooks, Lil' Ed & The Blues Imperials, Katie Webster and Elvin Bishop into a bus and hit the road for a cross-country tour. The Grammy-nominated live album, The Alligator Records 20th Anniversary Tour, documented the all-star caravan. Noted filmmaker Robert Mugge (Deep Blues) produced a film about Alligator and the tour, the critically acclaimed Pride & Joy: The Story Of Alligator Records.

Since 1991, Alligator has continued to grow and produce some of today's finest contemporary blues albums, as well as reissuing a few gems from the past. In 1993 and 1994, the label released a series of reissues of vintage material from the Jackson, Mississippi-based Trumpet label, including sides by Sonny Boy Williamson, Big Joe Williams, Willie Love and Jerry McCain, as well as deep gospel sides by The Southern Sons and other harmony groups. New releases by younger artists like Lil' Ed and the Blues Imperials, C.J. Chenier, Maurice John Vaughn, Sugar Blue, Michael Hill's Blues Mob, Dave Hole, Little Charlie and the Nightcats, William Clarke, Steady Rollin' Bob Margolin, and The Kinsey Report continued to break new ground and attract new fans.

Meanwhile, Koko Taylor's 1993 release, Force of Nature, earned another Grammy nomination and widespread critical and public acceptance. Chicago Mayor Richard M. Daley, recognizing Koko's contribution to the music world, declared March 3, 1993 "Koko Taylor Day" and presented the Queen of the Blues with a coveted "Legend Of The Year Award." In 1994, harmonica ace Charlie Musselwhite recorded his strongest and most critically acclaimed album, the Grammy-nominated In My Time. During the decade, Tinsley Ellis, Kenny Neal, Lonnie Brooks and Little Charlie and the Nightcats were reaching larger and larger audiences, as were William Clarke, Dave Hole, Saffire--The Uppity Blues Women and the rest of the roster.

In 1994, Alligator signed Luther Allison, whose label debut, Soul Fixin' Man, marked the reemergence of this blues legend (who was originally a vital factor in Iglauer's decision to pursue the blues). Allison quickly rose to national prominence, appearing on National Public Radio's All Things Considered as well as on "Late Night With Conan O'Brien." Allison made two more albums before his untimely death in 1997, earning a Grammy nomination for Reckless. His posthumously released Live In Chicago earned another Grammy nomination in 1999.

Marking its 25th anniversary in 1996, Alligator released the two-CD set, The Alligator Records 25th Anniversary Collection, that featured 38 songs (over 146 minutes of music) from throughout the label's history, including previously unreleased songs from Hound Dog Taylor, Roy Buchanan, and Albert Collins & Johnny Copeland (from the famous Showdown! sessions). From the hard rocking Texas swing of Long John Hunter to the Piedmont blues of acoustic duo Cephas & Wiggins to the solo acoustic Delta blues of Corey Harris, Alligator has continued to take chances as well as release albums by established stars.

With the company's 30th anniversary at hand, Iglauer and his staff are still growing, still pushing the blues envelope. In the late '90s, new artists were emerging -- young singing sensation Shemekia Copeland, the groundbreaking, visionary work of Corey Harris, the addition of blues rocker Coco Montoya and first-generation blues songster John Jackson kept Alligator Records at the top of the blues world. Soul/gospel greats The Holmes Brothers (with multi-million selling artist Joan Osborne producing), kicked off Alligator's 30th anniversary year with their label debut, Speaking In Tongues. Almost immediately upon release, Chicago Tribune rock critic Greg Kot labeled the album, "The first great release of 2001." The addition of singer/pianist Marcia Ball to the Alligator roster brought even more attention the label's way.

To mark its 30 years, Alligator is releasing The Alligator Records 30th Anniversary Collection, another stellar two-disc set, but this time with a twist. The first disc contains studio material from the label's archives, while the second disc features all live tracks -- including some previously unreleased barn-burners from Albert Collins, Little Charlie and the Nightcats, C.J. Chenier, Lil' Ed and the Blues Imperials and Son Seals. As an extra bonus, the second disc also features a CD-ROM section containing over three minutes of the only known live footage of the great Hound Dog Taylor.

Since its inception, Alligator has always been committed to new technologies. In the 1970s, the company produced LPs, cassettes and 8-track tapes. In the 1980s, Alligator was the first blues company to produce CDs, and in the 1990s, Alligator was among the first blues labels to market its catalog over the Internet through its website (www.alligator.com). At its web site, Alligator fans can read the latest news, check artist bios and tour dates as well as listen to a streaming Alligator radio station and purchase CDs and other items.

Even now, after 30 years, Alligator Records is still fueled by the same principles that established the label in 1971. Although the staff size has increased to 19 full-time employees, the focus hasn't changed. Iglauer is as driven as he ever was. "I just want to keep bringing the blues to new fans and getting them as excited about the music as I am," says Iglauer. "Alligator should be the label that's exposing the next generation of blues artists and bringing their music to the next generation of blues fans. I want the future of the blues and the future of Alligator Records to be one and the same." If the last three decades are any indication, the future for Alligator and for the blues looks very bright indeed.

What is the current state of the blues vs. five years ago, 10 years ago? This is a crucial time for the blues. For the last 30 years, the audience for blues has generally been growing, except for a fallow period from the late '70s though the mid-80's (when synth-dance rock was popular), blues had attracted a stead stream of fans, crossing over from the rock market. Artists like [Paul] Butterfield and [John] Mayall started this off in the '60s. George Thorogood carried the torch in the dark '70s, and Robert Cray and Stevie Ray Vaughan were the crossover artists of the '80s into the early '90's.

Since then, Blues hasn't attracted a lot of new fans from the rock world. This is because AAA radio (which carries the spirit of the old free-form format of the '70s) got tighter and less bluesy. Blues has become a bit passe. Plus, the "first generation artists" like Muddy [Waters], [Howlin'] Wolf, Albert and Freddie King, John Lee Hooker, and many more, have died.

Right now, two things need to happen to revitalize the blues market and bring new fans - someone needs to emerge as a new, young blues hero (or heroine); with the loss of so many first generation artists, the hardcore blues world (the converted fans) need to find a new "star," not necessarily someone young or rockish, just some charismatic. Luther Allison was set to inherit this mantle when he died at 57. Right now, probably Shemekia Copeland is in the best position to do this. Other good candidates are Bernard Allison, Michael Burks (my guy), maybe Deborah Coleman. But right now, there is not a true blues festival headliner except old schoolers like Koko Taylor, B.B. [King] or Keb' Mo' (very crossover, but really more of a singer-songwriter with a blues touch.)

Where are the main blues markets for touring in the United States and internationally?
Typically, the strongest U.S. blues markets have been Chicago and the upper Midwest, Northern California, the Northeast corridor and Colorado. There are strong local scenes in Texas and the Southeast, but less touring clubs and venues. Overseas, France, Benelux and Spain are good markets. It's hard to tour in England as they don't have a lot of clubs.

Why did you get into management?
I really didn't want to be a manager. When I started, there were so few booking agents interested in this kind of music that I began booking. When some decent agents emerged, my artists needed help in tour coordination, making media opportunities, etc. When this began costing too much time and phone bill money, I began charging commissions. Thus, I became a manager out of necessity. There is still very little professional level management in blues probably because the top grossing handful of blues artists makes about as much money as middle-level rock bands, and most touring blues bands are at the van level. Therefore, commissions aren't big, and blues artists aren't very tempting to managers who want to make a decent living!

Are there any conflicts being a record company owner and managing acts on the label?
Only in the case of recording contracts. And as I offer my only two managed acts (Koko Taylor and Lonnie Brooks) the best deals that I give anyone else, isn't a big conflict. Also, our management deals are handshakes, so the artists can walk away at any time. At various times we've managed other artists, like Son Seals, Albert Collins, etc. But I see management as a service, not a profit center.

What kind of acts do you look for to sign to Alligator Records?
Good ones! Seriously, we're a blues and blues-based label. I look for artists who have their own statement to make, who are true to the blues tradition without copying what's been done before, and who have onstage charisma. I need artists who can take care of their own business, lead a band, and don't have significant drug or alcohol problems. I found you can't make a good musician into a good bandleader. They are two separate skills. Mostly, I follow my gut. I have to be personally excited about an artist, and feel who fits the Alligator "family."

How do you feel about Napster being shut down?
Pissed that it didn't happen earlier. Stealing a recording and a composition is just like stealing a car. Theft is theft. If people who own both a master recording and the songwriting rights want to give it away promotionally, great! But stealing is something, and then "trading" it for other stolen goods is still theft. If someone stole my desk chair, I don't think that anyone would be saying "desk chairs ought to be free." Why say that about music?

The biggest victims are not only the labels and artists, but also the songwriters and their representatives, the publishers. I'm very concerned about various marketers of stolen goods springing up all over the world, and also about the amount of CD burning that goes on. It's ever increasing. If labels, big and small, can't generate enough money to promote and market new artists, then we will live in a world of oldies, where no one new can get in the stores or on the radio because their pockets aren't deep enough.

Many artists can make records on their own now' it's gotten cheaper to record (not necessarily to record with quality, but to record something). But it's gotten much, much more expensive to buy your way into the record stores and onto the radio. This is where the labels come in. We provide the much-needed dollars that take an artist from being talented to being known, and the know-how about how to make that happen.

If the profit margins of the labels are eliminated, no new artists will become known. It's a very, very scary time for the future of recorded music.

Greatest challenge
I guess just surviving. Alligator has had so many close calls. In 30 years, we've lost key artists like Hound Dog Taylor, Albert Collins, Luther Allison, Roy Buchanan and so many more. We've had over 50 distributors fold up or go bankrupt. We've had hundreds of supportive radio stations change format. I never wanted to be a businessman, but I've had to learn to be a good one just to survive. And I'm working harder now than I did 30 years ago, even though I have 18 other people to help me.

Do you foresee any industry trends?
As I said, I think the blues needs a messiah to jump start the next blues boom. Right now blues is 1.5% of the record market. It would be great to be 2.5% of the record market. I think that we need a new format of recording to replace CDs (maybe DVD audio) to get people excited about buying music again. Music sales overall are flat. This is true for blues too. There are too many other forms of entertainment and less and less hours to be entertained.

I'm a bit glum about the immediate future of the record business. I think we'll see a lot of cutbacks at the majors and some bankruptcies among the independents. A lot of people who are music people but not business people will leave the industry.

Career highlight(s)
Man, so many. Mostly I think of live performances that have been thrilling - our 20th anniversary tour, Hound Dog Taylor at Ann Arbor, Son Seals in Toronto (when he truly found his own style), Albert Collins in Chicago at the Tiny Wise Fools Pub in his early gigs with the Icebreakers, Luther Allison at the Chicago Blues Festival (and elsewhere), Shemekia Copeland's Chicago Debut at Legends, and dozens more.

And in the studio, my first Hound Dog albums, of course; recording Professor Longhair's last album (God, what a thrill); Lil' Ed making his debut album in three hours; Albert Collins and Johnny Copeland creating "Black Cat Bone" for the Showdown album that won a Grammy; Lonnie Brooks lying on the floor of the studio playing a thrilling solo on "Voodoo Daddy" for his first album, etc. Receiving the Grammy for Showdown with Albert, Johnny and Robert getting a lifetime achievement award from the Blues Foundation (a festival I helped found); talking the parole board into releasing Fenton Robinson after only nine months in jail for a manslaughter conviction for which he had already paid a terrible price; and choosing the talent for the Midwest Blues Festival in South Bend., Ind. for a lot of year.

Career disappointment
Not a lot. The people I could have signed if I thought they were ready - Robert Cray, Stevie, Susan Tedeschi, Keb' Mo' (all in their younger years); not getting a Grammy for the Professor Longhair album; going to too many funerals.

Best business advice
Learn what you're doing before you set out to do it. Don't learn on the job like I did. There isn't time any more to make mistakes in this industry. Commit to only a few musicians, and commit to them for life. Don't record any music you don't love or don't understand. Don't be in it for the money, there's never enough money. Be in it for the music. Music will get you through times of no money better than money will get you through times of no music.

Best business advice received
Don't spend money you don't already have.

Worst business advice
I've gotten way too much of it to pick a highlight. Probably "trust me."

Best business advice to share
Same as best business advice received.

Something people would be surprised to learn about you
I grew up on Rogers and Hammerstein and can sing (badly) almost every song from "Oklahoma," "South Pacific" and "The King and I."

Office paraphernalia
Lots of alligator toys, hand puppets, masks, hats, planters, etc. Mounds of audition tapes.

Industry pet peeve
I got in it for the music. Now it's being run by lawyers and accountants. Oh, and records that don't have real drummers.

Bruce can be reached at 773-973-7736 Extension 17; e-mail: info@allig.com Alligator Records Home Page

— Bio written by Marc Lipkin

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

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