Industry Profile: Tom Cantone

— By Larry LeBlanc

This week In The Hot Seat with Larry LeBlanc: Tom Cantone

There's nothing old school about Tom Cantone, the savvy VP of Sports and Entertainment at the Mohegan Sun in Uncasville, Conn.

He oversees sports and entertainment bookings at the 10,000-seat Mohegan Sun Arena, and the 350-seat Wolf Den. He works in conjunction with Mohegan Sun talent buyer Jim Koplik, chairman of Live Nation's Northeast Region.

Cantone, a three-decade veteran of the casino, entertainment, hotel and resort industry, pilots a well-funded marketing juggernaut that soaks up entertainment dollars via an unbeatable and rich offering of live music, restaurants, clubs, shopping and, of course, gaming.

He rarely, if ever, hears an agent or manager today say, "My act won’t ever play a casino.”

That’s because U.S. casino resorts--with the massive buying power of a $40 billion entertainment and gaming industry behind them--represent a powerful nationwide concert distribution network now attracting today's younger concert goers as well as a traditional baby boomer base which has discretionary money to spend on gaming.

Concerts have become a primary part of business for casino resorts in the U.S. As such, venues like Mohegan Sun have recruited industry-savvy staffers, and significantly increased their concert production capabilities in recent years.

Casinos have long been viable alternatives for touring acts, providing venues and paydays for artists to live out their twilight years. But casinos are increasingly being chosen as prime stops for contemporary touring acts.

At the same time, casinos are seeking out talent that will attract an audience for the next 20 years. So while country, adult contemporary and comedy remain popular for bookings, rock, R&B, and even hip-hop acts are on the upswing at these venues.

Rather than hosting acts past their commercial peak as has been the case in the past, casinos are increasingly competing with major market arenas in attracting shows. They are booking acts on their way up the charts.

Over three decades, Cantone has piloted more than 450 casino debuts, including: Norah Jones, the Dixie Chicks, Rihanna, LeAnn  Rimes, Enrique Iglesias, Jerry Seinfeld, Diana Krall, Alicia Keys, Pink, Gloria Estefan,  Eddie Murphy, Jon Stewart, India Arie, Sheryl Crow, Jeff Foxworthy, and Nas.

Jerry Seinfeld's first post-TV gaming-hall gig after the series finale of his hit sitcom, "Seinfeld" was an unprecedented “thank you” to Cantone, then VP of entertainment at the nearby Foxwoods Resort Casino in Mashantucket, Conn. Starting in the mid-'80s, Cantone would regularly have Seinfeld open shows for such musical acts as the 5th Dimension and Four Tops at the now-demolished Sands Hotel in Atlantic City.

Although Indian gaming has been around since the 1970s, it was only after the federal Indian Gaming Regulatory Act of 1988, and the success of Foxwoods, which debuted in 1993, that tribes began replacing their simple structures with elaborate hotel casinos featuring theaters, state-of-the-art sound and lighting, and professional crews.

The Mohegan Sun Arena opened in Nov., 2001 and quickly altered the entertainment landscape in New England. Major network and cable television broadcasting companies, including CBS, NBC, ABC, FOX, ESPN and CNN have all produced events through this arena.

From Harrisburg, a graduate of Penn State University, Penn. Cantone, began his career at the Hershey Entertainment and Resort Company in the ‘80s. Numerous promotions led to him becoming dir. of corporate marketing, overseeing all of Hershey's 16 operating divisions, including its sports, entertainment, theme park and hotels.

Next, with no gaming experience, he was hired on as VP entertainment at the Sands Hotel & Casino in Atlantic City.

In 1987, developer Donald Trump brought Cantone aboard as VP of entertainment, promotions and advertising for Trump Castle Casino Resort. Trump subsequently promoted him to the top spot as corporate VP of entertainment for the Trump Taj Mahal Casino and Trump Plaza Hotel Casino. He stayed with Trump until 1991

In the mid-90s, Cantone worked for the Dallas-based Hollywood Casino Corporation. As VP. of studio and retail marketing, he developed a business strategy to guide the "Hollywood" brand name into new gaming jurisdictions near Chicago and Memphis. He also structured an unprecedented joint venture with Hollywood studios to open the first studio store of its kind at the Hollywood Casino properties.

In addition to his corporate role at Hollywood Casino Corp., Cantone also was named VP of entertainment at the Sands Hotel & Casino. The four years Cantone was again with the Sands, the company boasted the largest increase in operating income of any Atlantic City casino and set an industry record for slot revenues.

In 1998, Foxwoods Resort Casino recruited Cantone to join its senior management team as VP of Foxwoods Entertainment Group. For the next nine years, he directed the entertainment operations of the 1,400-seat Fox Theatre, the 4,000-seat Fox Arena, the B.B. King Nite Club, B.B. King Dance Club, as well as, two lounges.

Cantone also created the Foxwoods News Network (FNN), which won a Telly Award for excellence in employee communications; and launched WIN-TV to promote casino amenities to guests

Cantone joined Mohegan Sun in 2007.

Does the gaming world get into your blood?

Every day is like the first day on the job. I’ve never grown tired of what I do. I’m blessed getting up every day. I look forward to going to work. I don’t know what I would do (if I wasn’t doing this).

One of the benefits of what I do is that I get to meet people who influenced me. I am friends with people I listened to on the radio. Now we are friends for life. Sometimes, I’ll think to myself, “This is crazy. How come I am in this position?” And the friendships that you gain are something that are not talked about. You know who your friends are in life. You also know who the pretend friends are.

The casino business once seemed recession proof. Is that true today given the current economic climate?

Not any more. What happened is that we all woke up one morning to half of our money gone. All of our 401Ks (retirement plans) and our savings were out. People (previously) had comfort levels knowing that there was a nest egg. We are still crowded here but people aren’t spending as much. It is the same story everywhere else. People still want to go out. They are still having a good time. They are just not spending on the same levels as they used to.

[The Mashantucket Pequot Tribal Nation that operates Mohegan Sun’s nearby rival the Foxwoods Resort Casino in Mashantucket, Conn., issued a statement this week acknowledging the effect of the recession and increased competition after Standard & Poors had downgraded the tribe’s credit rating to CCC from B+ and put it on a "credit watch"

The tribe said it had initiated discussions with its lenders "about potential debt structure options, including a range of refinancing and recapitalization alternatives."]

Does this recession force you to be more innovative with bookings and marketing?

No question. You have to really reinvent yourself. But I’ve always felt that this business was event-driven, even when the times were good, because there’s a sameness of the products in the casino world. Some (products) are newer; some are older. What turns the eye is the perception of a house being more hip to what is going on with the world. Anyone who taps into American pop culture enough to make their place come more alive wins the day and wins the weekend. It is where people will want to go. Events drive the personality of a property in addition to its physical plant.

Mohegan Sun has a great physical plant. It has great shops and cool restaurants. The environment here is very attractive. A lot of casinos try to do that (kind of physical plant) so they have some “wow” factors built in. But you have to create a reason, more often than not, to have people come today.

The word “casino” seems outdated. In most cases, what is there is an entertainment complex with a hotel, a casino, and a show room.

That is the theme that I have been pushing for decades. Steve Wynn, who is the leader of the pack when it comes to innovation in the (gaming) industry, dropped the name casino when he went to the Mirage Resort. The word “casino” is a misnomer. The modern day mega facilities have a casino in them but they are really entertainment complexes that have live venues, themed restaurants, special events, and the best of the best entertainment on any given night.

[The Mirage, which opened in Las Vegas 1989, set new standards for size and lavishness for casino/hotels. It featured an indoor forest and an outdoor volcano.]

But the primary business of the resort is the casino?

It is the cash cow. No question about it. It is the cash cow and the driver (of crowds). But, from a marketing perspective, you have to know how that fits and works with live entertainment. You just can’t book (acts) alone without understanding that piece.

The basis for everything we do is the casino. It may be veiled in our approach because with a casino you have to be careful in how you position it. Whether it is entertainment--a restaurant or special events or whatever it is--the casino is the basis of everything we do. All these, however, are under the entertainment umbrella we are in.

The business you are in is entertainment.

Entertainment is defined as a fun place to go to a restaurant; a fun party to attend; a fun club to go to; a fun activity. Even on the casino floor all of the games now, video poker and so on, are themed after fun as well as television and stars, everything from “The Sopranos” to “Star Wars.” It is all about entertainment.

Concerts do sell hotel rooms and fill restaurants and other things. You can’t gamble 24 hours a day.

Well, sometimes that is good and sometimes bad.

The demand in this market for players for a hotel room, especially on a weekend when they are pouring in from New York and Boston, is so high that we don’t have that as a challenge. If we know that we are going to have a high demand show coming in, we prepare for it, and we block for it. So we don’t really need (entertainment) as a room motivator. On occasion, we do.

In our venue, we are 99% occupancy all year round. We don’t have as many hotel rooms as they would in a Vegas property. We have 1,200 rooms. In Las Vegas, they have thousands of rooms. They have more availability. Here we sometimes block (book for shows) and it works fine; and, other times, the opportunity cost lost on those rooms versus the player that would have been in them is negative. That’s where you put your business hat on the show business side the value of that customer versus someone else in that hotel room. You have to really measure the effects of that.

It does spike our room rates when we have major event. To that end, the value of the rooms go up.

I know you have a strong data base with customer information. You now utilize Facebook and Twitter?

We are getting into social marketing. No question. Our database is substantial, and we use it constantly. We are refining it. We know what shows people will like. We have data base sales for everything from rock and roll to comedy to country. We also have the ethnic shows broken down. We do a great Asian business here. A lot of our Asian shows do really well. We will use (the data base) as a marketing tool for specific drivers of business but it is really more of a mass marketing tool. It does spin off into certain specific segments that we want to attract.

For years many headliners and their representatives wouldn’t consider a booking with a casino.

When I was starting out (in the ‘80s), the casino raised the red flag (with agents and managers) and a wall went up. Contemporary acts of the ‘80s viewed casinos as the last stop. Something that you did in the twilight of your career a la Vegas. Today, I rarely hear (from an agent or manager), “They will never play a casino.” Now, it is pretty much the starting gate.

If an act is selling out in most markets, what is the benefit of playing venues like this? What do you say to them?

It depends on what they are trying to achieve. A lot of it has to do with routing. A lot has to do with the guarantees. A lot has to do with the promoter. We have a partnership with Live Nation. We work with Jim Koplik (Chairman of Live Nation's Northeast Region). That helps us to get from point A to point B. And a lot has to do with our reputation. People have recognized that this is a thriving venue in the league of Radio City Music Hall and Madison Square Garden.

I can’t speak enough about the technical expertise that we have in this building. Acts coming here know that they are going to be getting top-notch and experienced help. It really is an A-list of technical help in addition to the act. A lot of these (crew) guys have been on world tours, and they know everyone.

The commercial power that a casino property brings to the table as an independent stand-alone venue is unmatched.

Yes. You have the automatic traffic flow of the age groups that (many entertainment companies) are going after, and there’s one-stop shopping there. That’s why the concert industry have embraced the casinos. There’s an automatic empire built around distribution that is already built in; and (the show is) built around marketing plans already done, and built around a data base that (an act) will never get until they play here. And, it’s all one stop shopping.

Do you mostly book one-nighters?

We do one or two night bookings. I don’t like to do more than that because the market is not big enough. We are in a smaller market that draws heavily from major markets. I’d rather sell out and have the problem of having no tickets left than having shows to fill.

In the Spring of 2008, Billy Joel performed 10 sold-out shows at Mohegan Sun, and set several attendance records.

On the entertainment side, the biggest thing in the casino business, for this property and for me, was Billy Joel. It was the biggest deal I have ever been involved in. Dennis Arfa (Joel's booking agent since 1976) and I go back years. I would always approach Dennis--from when I was in Atlantic City until I came up to New England—and ask, “How can I get Billy Joel to do a casino?” It never happened. One day, Dennis and I were having a friendly lunch and, of course, I brought the subject up again. The idea of breaking a (casino) record intrigued Billy and it intrigued us as well. We did 10 sold-out shows in a row. He sold out every show instantly. That, to me, is one of the great casino entertainment stories.

Agents and managers used to talk about casino bookings as “found money.” Are fees more competitive today?

Yeah, because the talent pool has shrunk in the past 10 years. It is a combination of a lot of reasons. The acts are getting older. Some are retiring. The influx of new fresh talent doesn’t always take up the slack that was removed. So the availability of major names that will do well at a big venue, there aren’t as many as there used to be.

What happens (with the limited talent pool) is that it sometimes forces you into repeat engagements that you normally wouldn’t want to do. My rule has always been a year (between bookings) in the market. But sometimes you have to fill dates, and you will replay an act. You can almost trend down (the audience). An act won’t do as well the second time and definitely not the third time.

You are renowned for booking acts early on in their careers, including Jerry Seinfeld, Diana Krall, Alicia Keys, and Pink. Recently, you booked Taylor Swift, as well as Chickenfoot  You mix the old with the new?

You have to because you need to tee up the next generation and get them used to your facility, your brand, and your operation. You want them to become comfortable with where they are going and build a little bit of loyalty, although I think that is overplayed a lot of times. But there is a sense of comfort when you have been someplace, and it was a good experience and it is fun. All of those things combine.

The next generation, you can’t ignore, but you still have to know where your business slice of the pie is.

Yes. It is still very much skewed older with a lot of younger names that spice the pie up and, on occasion, that makes everybody feel young. The baby boomer generation will never be old. They were not raised that way. They will be 75 or 80 years old and will still think that they are young.

Gaming venues often say they now attract a 25+ audience, but it’s really a 55+ audience.

Well, on the gaming side that’s true. On concert nights, they are through that door like the demo that you want. The 25+ are going to come, and they are even younger even for Taylor Swift and the Jonas Brothers. The audience, of course, is older for Billy Joel. He is a perfect demo for a casino environment. But you have to mix (the bills) up. I have always found that if you spice up your line-up with what’s happening now it enhances your entertainment program. As opposed to the same names coming in and out of your rooms, the same time, the same place. You don’t want to do the same.

Having 19-year-old Taylor Swift in your venue is a sign that things have changed.

Her audience is 65% female, mostly young girls. We love the drop off crowd. We love the crowd that brings mom and dad. Britney Spears set that tone years ago. Our gaming numbers are very strong when we have those high-profile, younger nights. Dad is in the casino playing, and mom and the daughter are watching the show.

Given that yesterday's headbanger is today's 40+ fan, when you book Korn, Godsmack and Staind, does that mean dad is watching them while mom is in the casino?

No question. It makes sense to attract mom and dad when you don’t think it is a mom and dad crowd. The combinations are pretty good. (Gaming) does spike during those types of nights.

In Las Vegas and Atlantic City, the competition is intense. It is less competitive in the New England market?

I have always felt that you can upstage (others) whether you have 11 or 12 venues sitting outside your door or there’s two venues. You can upstage anybody any time if you have the right things. Like having personalities.

Over the years, you have spiced bookings up by bringing together the cast of “The Sopranos” having Super Bowl most valued players or members of the New York Yankees make personal appearances; and booking" Deal or No Deal" with Howie Mandel.

To me that is all entertainment. That is live entertainment.

The craziest thing I’ve ever done was when I got the Jets and the Giants to do a touch football game on the roof top of Trump Marina in Atlantic City when the NFL was on strike. I had (CBS Sports analyst) Phil Simms and there were all of these guys in their uniforms playing football. It was carried live on (local) radio. We did a party afterward. It was the talk of the town.

You got “The Sopranos” cast together at Foxwoods.

We were the first to do the entire cast. We did it at least four times. Every time I said that this is the last time it would be the biggest thing we’d ever done. (The first booking) was by accident. We just did it. I got to know (cast members), and they all got together one night, and we made it work. It was huge. It was bigger than any major concert that I’ve ever booked with the exception of Billy Joel. We had the biggest gaming nights of the year when they came.

What would “The Sopranos” night consist of?

It was a high profile meet-greet-party. I would get them all together—including  James Gandolfini, and Michael Imperioli--and have a private event for the hundreds of people. The audience took pictures. They had dinner. We showed (film) clips. We did Q&As. Everybody would hang out. It was a touchy-eely thing. It wasn’t like you couldn’t talk to (the actors) or not approach them. it was a really unique thing.

You booked " Deal Or No Deal" at Foxwoods.  You knew host Howie Mandel from booking him years before at The Sands Hotel?

In Atlantic City. He still has the jacket I gave him. He still talks about it. Howie’s great. It’s hard to put into words the value of relationships. People cynically will say (a booking) is about money. Yes, it is. But the deciding factor, more often than not when you get into a competitive bid, is the personal relationships that you are lucky enough to have over the years. That is an intangible that has the house advantage. When a guy like Howie Mandel knows you, and he’s someone who does get offers that are even, maybe, better—(having a relationship) is sometimes the difference why a person might stay or go.

Your relationship with Jerry Seinfeld led to him performing at Foxwoods immediately after he left his TV show.

It was the highest compliment I ever got. In Atlantic City, I booked Jerry frequently as an opening act. In his mind, I was giving him work. Of course, he went on to his big success at NBC, and stopped performing (at casinos and resorts). One day, I was in New York at a Bill Cosby function that Jerry was hosting. We ran into each other with his manager George Shapiro. Jerry and I gave each other a big hug and asked about each other. I said, “You should come up and play Foxwoods some time.” He said “Call George, and let him know.” I thought he was being polite. But I did call George. When George called back, he said that (the booking) was Jerry’s “thank you” for all of the years that I had booked him. It was his first (live) play following the TV show.

When B. B. King finished a show at Foxwoods in 2000, you asked him and his manager if they wanted to do an entertainment partnership. A year later, Foxwoods opened its first outside joint venture, the B.B. King Nite Club, and the B.B. King Dance Club.

At the time, we were going to be building some new venues. So I threw that (idea) out in a conversation with B.B. He’s the nicest guy in show business, so I had the comfort level to talk to him about these kinds of things. We were talking and the idea came up. He said he’d love to do it. We made it happen.

The night we opened, we had B.B. King and Clarence Clemons. It was Clarence’s birthday and, by luck, Bruce Springsteen showed up to celebrate it with him and B.B. So one night on a small stage in front of 300 people here’s Bruce Springsteen, B.B. King and Clarence Clemons jamming for two hours. The president of the property was standing next to me, and said, “This is surreal, isn’t it?” It was one of the high marks in my career. You would have to pay Bruce Springsteen an unbelievable amount of money to show up and play.

Did you get a good grounding in the resort business working at the Hershey Entertainment & Resort Company?

Hershey was a great place to start. It baptized me into all of the worlds that I am doing now--from the theme park industry to the arena industry to the hotel/resort industry. I got my feet wet there fresh out of Penn State where I had a Liberal arts education. I was history major.

Did you book shows at Hershey?

Oh yeah. My first booking was Sonny & Cher. I greeted them off the jet that Hugh Hefner loaned them. Down the steps they came, and I presented them with a 10 pound Hershey bar. They were playing Hersheypark Arena (in Hershey, Pennsylvania).

How did you come to work at Hershey?

It was a complete accident. I wrote for a few small town papers while at college and I interviewed the GM of Hersheypark, Bruce McKinney (who later became president/CEO of Hershey Entertainment & Resort Co.) in the midst of the redevelopment of the complex from an amusement park to a theme park a la Disney. After it was printed, I sent him the article with a thank you note. Then I got a call to interview for a position there. That moment changed my life.

You started out as publicity and press relations manager at Hersheypark. And you were only 22.

I was put into this job and I had no experience. Bruce McKinney had belief in me. I was promoted frequently through the company for the next 9 years. I ended up as the dir. of corporate marketing for the entire company. Bruce believed in me; gave me the opportunities; and opened all of the doors. He’s the reason why I am where I am now. I made the most of every opportunity I could. Had I not been hired at Hershey I don’t know what I would be doing today.

Hershey didn’t have casinos.

Our casino, our cash cow, was Hersheypark. So I learned that was where to base all of the marketing efforts to cross-promote. (Hersheypark) was always the basis for everything that we did.

[Hershey Chocolate owner, Milton Hershey built Hersheypark for his workers and their families to relax. Opened in 1907, it included large picnic lawns, a band shell, and a stage for vaudeville productions. Attractions were gradually added  over the years. The park was fully revamped during the ‘70s and was transformed from a small regional park to one of the most popular and innovative amusement parks in the United States.]

You concluded a booking for Elvis Presley to appear at the Hersheypark Arena the day he died?

I had negotiated a deal with Col. Tom Parker. I was young, and I didn’t know I couldn’t call Col. Tom Parker but I did. He was putting a secondary market tour together. We had a big meeting, and we sealed the deal. I’m driving home and I was so happy being a young guy who had just booked Elvis Presley. There was a song on the radio as I was driving. I sort of had a weird feeling because the station I was listening to didn’t play that kind of music. The announcer said, “That was the late and great Elvis Presley who died today.” (Aug. 16, 1977). I pulled to the side of the road and thought, “Oh my God, the biggest booking of my life just died.”

Do you miss the Sands Hotel in Atlantic City? For 20 years, it dominated the Atlantic City strip in entertainment. It was the first casino there to offer poker. It must be hard to drive by the site with it being torn down in 2007.

It is. The alumnae of that one property have made an impact all over the world in gaming. There are Sands’ alumnae now running some of the biggest casino operations in the world or have key spots. It was a cool group of people. The team had a chemistry. We knew that we weren’t the biggest. We didn’t have the most fire power but we outgunned everybody. It was a small joint that we made happen. We were trying to be innovative, trying to different.

You certainly were given considerable latitude in booking The Sands.

It was (from) the support that I had from the top (management). They liked what they saw in whatever I brought to the table, and they had the faith to let me run.

But you had no experience working in Atlantic City. You didn’t even know people there.

I was a walk-in in Atlantic City. I knew nobody. I wasn’t a friend (of a friend). Usually in the casino world, they hire people they are comfortable with to protect their back. I knew nobody. They recruited me. I walked in and I didn’t know anybody. I left there knowing everybody. Today, (Atlantic City) is my second home.

You worked with Donald Trump from 1987 to 1991. You eventually handled three Trump properties.

The Taj (Trump Taj Mahal Casino) was the venue at the time. It was bigger and I could do 5,700 people. We opened with Elton John and I had Sylvester Stallone backstage and I had his brother Frank playing in the lounge.

You worked with Trump when he was the center of a great deal of media attention.

I was with Donald when he was the focal point of just about everything that was going on in this country. It was a fun to be along for the ride. We had a great 4 1/2 years. It was a fun experience for me, especially running multiple properties. I was constantly on the go, moving from place to place. Wherever we went, people thought we were going to be buying them. There was a lot of excitement when we would make a move here and there. There were a lot of firsts there. We created a couple of really cool shows called “Tonight Live” that was a talk show and a lot of stars came on. Atlantic City was always fun for being able to create new opportunities for entertainment.

You left gaming for a short period. Were you burned out?

I wanted to own a little something, and start up something else. I had the opportunity to do that. But I fast realized that I was made to be in this industry so I went back to it fairly quickly.

While working at The Sands, you made the connection between casinos and Hollywood both being in the entertainment business. You opened the first studio store of its kind at the Hollywood Casino properties In 1992.

Today, I wonder how that was pulled off. When we rolled out the Hollywood Casino idea, I went to every Hollywood studio, and got them to form one partnership together. It was the first time that they all got together under one roof to do one thing. I had to do a lot of selling and convincing to get everybody to buy into this concept. We were a new outlet for them. It was the first time they’d ever sold videos in a casino. We were able to do a lot of (events) that the studios were able to help us with. In turn, we sold their video product very well.

[Participating studios included MGM/UA, Turner Entertainment, 20th Century Fox, Warner Brothers, MCA/Universal, Paramount, Sony’s Tri-Star Pictures, Disney, HBO, and Showtime]

Paul McCartney has put the brake on the rumor that he plans to embark on a final world tour next year. As a Beatles fan, you’d like to book him some day?

In the entertainment business, I measure everything—what I like or dislike—by how I grew up listening to the Beatles. I did get to meet Ringo (Starr) here for a 8 or 10 minute one-on-one.

Being a Beatles fan and a drummer, I have the Ludwig Beatles’ (classic oyster black pearl) drum set that my dad bought me when I was growing up.

He came out of his dressing room and very politely asked me in. I brought my book “The Beatles Anthology” and he signed it. He saw the picture of my daughter sitting at the drums. He said, “Look at that.” I said, Yeah I have your drum set. I asked him how he came to choose that drum set. That Black Oyster Pro was a new design, and (Ringo having it) really changed everything in the drum world. It became an iconic part of the Beatles’ history. He said, “It was the only one in the window. It could have been pink, and I would have bought it.”

Larry LeBlanc 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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John Boyle, Sanctuary Music Group 03/19/04
Jeff & Todd Brabec, Writers/Attorneys 01/03/12
Bill Bragin, Joe's Pub at the Public Theater 08/08/03
Joel Brandes, Avenue Management Group 11/02/08
Joe Brandmeier, Moving Pictures 03/15/02
Scooter Braun, SB Projects 12/13/10
Billy Brill, Billy Alan Productions 11/11/05
Doug Brown, Talent Buyers Network 09/21/01
James Browne, Sweet Rhythm 11/01/02
Tony Brummel, Victory Records 05/17/09
Charlie Brusco, TBA Entertainment Corporation 10/13/01
Del Bryant, BMI 05/18/07
Cortez Bryant, Bryant Management 12/06/10
Bruce Burch, University of Georgia Music Business Program 10/09/09
Deborah Burda, Kentucky Exposition Center 08/03/07
Patti Burgart, IEBA 06/07/02
Jordan Burger, The New Musiquarium 01/22/01
Ron Burman, Roadrunner Records 08/25/06
Suzanne Cadgene, Elmore 05/19/06
Karen Cadle, KGC Productions 03/12/04
Gary Calamar, KCRW 07/10/09
Charles Caldas, Merlin 07/05/10
Brian Camelio, ArtistShare 02/29/08
David Campbell, AEG Europe 08/02/10
Tom Cantone, Foxwoods Entertainment Group 10/20/00
Tom Cantone, Foxwoods Resort Casino 07/03/03
Tom Cantone, Mohegan Sun 08/30/09
Ashley Capps, A. C. Entertainment 05/21/04
Rio Caraeff, Vevo 07/12/11
Mike Carden, Eagle Rock Entertainment 08/16/11
Charles Carlini, Carlini Group 05/16/08
Mark Carpentieri, M.C. Records 05/27/05
Mark Carpentieri, M.C. Records 01/10/11
Troy Carter, Coalition Media Group 06/07/10
Daniel Catullo, Coming Home Studios 06/22/08
Jeffrey Chabon, Chabon Entertainment Group 08/22/02
Mike Chadwick, Essential Music & Marketing 08/01/12
Rob Challice, Coda Music Agency 03/27/13
Tom Chauncey, Partisan Arts 01/11/02
Tom Chauncey, Partisan Arts 10/04/11
Lisa Cherniak, Artists Against Racism (AAR) 07/20/01
Bob Chiappardi, Concrete Marketing 06/13/03
Joel Chriss, Chriss & Co. 10/04/02
Michael Chugg, Michael Chugg Entertainment 09/14/01
Michael Chugg, Chugg Enterprises 10/02/09
Gary Churgin, Harry Fox Agency 09/13/10
Vinny Cinquemani, S.L. Feldman & Associates 12/13/12
Barry Coburn, Ten Ten Music Group 03/28/11
Matthew Cohen, Green Room Productions 10/19/01
Ted Cohen, TAG Strategic 01/10/13
Lisa Cohen, Associated Booking Corporation 02/10/06
Steve Cohen, Music + Art Management, Inc. 03/09/07
Michael Cohl - Part 1, S2BN Entertainment 03/06/13
Michael Cohl - Part 2, S2BN Entertainment 03/13/13
Bryan Coleman, Union Entertainment Group 02/14/12
Mamie Coleman, Fox Broadcasting 07/05/12
Dennis Condon, Disneyland Resorts 07/13/01
Peter Conlon, Peter Conlon Presents 05/20/05
Tony Conway, Buddy Lee Attractions 10/06/00
Tomas Cookman, Cookman International 09/05/03
Alex Cooley, Alex Cooley Presents 07/12/10
David Cooper, Foxman.com 10/31/03
Jay Cooper, Greenberg Traurig, LLP 05/23/11
Julie Coulter, Near North Insurance Groups 06/07/01
Amy Cox, Deep South Entertainment 02/09/07
Michael O. Crain, Crain Law Group, LLC 10/09/13
Charlie Cran, The Strawberry Music Festival 04/05/10
Jim Cressman, Invictus Entertainment Group 06/06/12
Todd Culberhouse, Vision Management /Vision Records and Entertainment 09/05/08
Tony D'Amelio, Washington Speakers Bureau 04/21/06
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
Peter Denholtz, CelebrityAccess 11/29/00
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
Mark Dinerstein, The Knitting Factory 11/17/06
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
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
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
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
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, Turntable.fm 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
David Hart, The Agency Group 02/20/04
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Seth Hurwitz, I.M.P. 04/20/09
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
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
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Larry Lieberman, 4EverWild 03/28/03
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
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
John Meglen, Concerts West/AEG Live 02/21/13
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Tamara Saviano, American Roots Publishing 07/22/05
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, ItsAboutMusic.com 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Peter Shapiro, Ideal Entertainment 04/16/04
Seth Sheck, Access Pass & Design 01/03/03
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Michael Simon, The Harry Fox Agency 08/14/13
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Peter Smidt, Eurosonic Noorderslag & manager Buma Cultuur 07/17/13
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Fenton Williams, 04/04/08
Del Williams, Right Arm Entertainment 04/18/08
Bryan "Birdman" Williams, Cash Money Records 09/13/11
Paul Williams, ASCAP 10/19/11
J.P. Williams, Parallel Entertainment 10/03/12
Kurt Willms, Green Room Productions 09/20/03
Chris Wilson, Heartbeat Records 03/02/07
Tony Wilson, Factory Records/In The City 06/01/07
Tom Windish, The Windish Agency 07/26/10
John Wiseman, XL Touring Video 05/05/06
Thom Wolke, Twincloud.com 02/08/02
Michael Wood, City Lights Entertainment 08/08/08
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, CultureCatch.com 07/27/07
Jeremiah “Ice” Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
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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