Industry Profile: Stefan Kohlmeyer
By Larry LeBlanc
This week in the hot seat: Stefan Kohlmeyer, CEO, Bach Technology
Two decades on from the development of the digital audio encoding format MPEG-3, digital audio may now have evolved to be a compelling content provider.
Last month, Bach Technology, one of the leading providers of technology and applications for the digital music market, unveiled MusicDNA at MIDEM as ďthe successor to MP3Ē; and as a way to make buying legal downloads more attractive.
The rollout of MusicDNA will be staggered over this year with the full commercial rollout expected over the summer.
Bach Technology, based in Norway, Germany and China, has been involved with the development of digital music since 1986. Its founder and president Dagfinn Bach pioneered the MP3's music application.
Among the Investors of MusicDNA is Karlheinz Brandenburg, the inventor of the MP3 algorithm. Bach's technology partner is Germany's Fraunhofer Institute for Digital Media Technology (IDMT) where the MP3 was developed.
Bach Technologyís CEO Stefan Kohlmeyer, 42, is a veteran of the German media company Bertelsmann AG.
Kohlmeyer started his career in 1995 as a trainee with Bertelsmann Book Club China in Shanghai. In 1997, as Interactive Media / Logistic Manager at Bertelsmann Book Club China, his team launched the Bertelsmann Book Club website, possibly the first e-commerce site in China.
In 2000, as managing director, Kohlmeyer set up Bertelsmann Online China, the first international online retailer operating in mainland China.
In 2002, Kohlmeyer moved to Sydney to become COO of Bertelsmann Direct Group Australia, managing the operations of the Bertelsmann Book & Music Clubs in Australia and New Zealand. Two years later, he returned to Shanghai and invested in, and became a partner of eDongcity, a mobile entertainment service provider.
In 2007 eDongcity was acquired by the global mobile entertainment company Buongiorno/Mitsui. Kohlmeyer was COO of Buongiorno China until joining Bach in 2008.
Among the music companies to sign up to MusicDNA so far are: The Beggars Group in the UK; and Matador Records in the U.S. Among the service providers onboard are Norwayís InProdicon; UK retailer PeoplesMusicStore; and R2G in China.
R2G, whose online music store Wawawa has a catalog of more than one million music tracks, will integrate MusicDNA into their service to provide a search and recommendation service.
Unlike older technology, MusicDNA is based on the open standards, MPEG-7 and XML. Bach is the only company offering full end-to-end MPEG-7 integration, ensuring interoperability and compatibility with external programs and systems. So MusicDNAís files will be compatible with MP3 players, including Apple's iPod.
MusicDNA uses the same audio compression technique as MP3 (itself a form of lossy data compression) but adds significantly more, including richer metadata than is allowed by MP3.
MusicDNA technology enables a large amount of metadata to be packaged alongside an MP3. This metadata--in essence the MusicDNA--allows for a detailed description of media files including generating Music playlists based on such attributes as mood, energy and even the electro-acoustic properties of tracks.
It also includes editorial content including from lyrics and artwork through to updated content such as an artistís Twitter stream, blog posts, and latest news.
The companyís customized multimedia content can go with whatever music package the consumer wants, whether albums or individual tracks.
Additional content appears alongside the MP3 in a customizable App-driven player that is freely available to download. Content automatically updates whenever the player is connected to the internet.
Only legitimately purchased tracks will update, and pirated versions will remain as static files.
MusicDNA can analyze consumers' music choices and help them find exactly what they want at a digital store or in their own digital music collection. The technology offers 13 "descriptors" (description categories), ranging from genre, mood, tempo, and aggressiveness to density to help pin down the type of music sought.
MusicDNA technology would allow rights holders--music label or artist-- or retailer to send updates to the music file and enables rights holders to up-sell concert tickets, merchandise, music videos and other exclusive content Ė either purchasable alongside the track itself or at any future point.
Pricing of MusicDNA rolls will be at the discretion of rights holders, label, and artist, or retailer involved.
A recent report by Forrester Research, the independent American technology and market research company, argued that the future of the music industry lies in allowing fans greater interaction and customizability with their music files
MusicDNA, incorporating user-customizability and inter-platform compatibility, may represent the New Frontier.
Was MIDEM a success for your company?
We had a blast there. We were completely taken by surprise that MusicDNA made such a splash in the media, and had such a good response from the industry. It was great for us. Very positive.
In the past, music recommendation was difficult to sell. Now everyone is interested at looking at these formats.
If we had introduced MusicDNA three or five years ago, everybody would have said, ďNo. We donít need it.Ē The industry is at a point where they are thinking that they have to give (or sell) more than a digital recorded file. They are thinking, maybe, that they have to improve files, and give users a better experience. (They might think that) MusicDNA is a very good vehicle for doing that. Things like this need time. Changes are never made overnight.
A number of independent labels have signed up for MusicDNA, but the major labels have yet to commit.
We are currently in talks with all of the major labels. The feedback that we are getting from them is very positive. These are big corporations, and the process with big corporations is slower than with smaller companies. The feeling that I get is that they clearly get what is behind MusicDNA and the opportunity of it. My guess is that it will be only a matter of time until we have one or two of them on board.
With the new CMX album download format-- that includes a CD, lyrics, artwork, and videos--the majors seem to have recognized the need for richer content.
I am very positive in regards to this. Three of the four major labels have their own initiatives with CMX. We are now trying to evaluate how we can work there together. So the majors are already thinking in the right direction. How quickly can we now make it happen? I donít know but Iím quite optimistic.
A pivotal move in the market too was the introduction of ITunes LP by Apple.
It broke the ice. Everybody is now saying, ďWe need more rich media.Ē Labels are now going in the right direction with the thinking that there are things (online products) that users can customize; that thereís an open standard; that there are updates; and that there should be ways to make it user friendly. It is the perfect timing for us.
For years, the music industry, reeling from illegal file sharing, had fought against most technology. Do executives now better understand technology and its uses to their business?
The key industry players are better equipped these days. There now is a younger generation in key positions. They are more technology keen. At the same time, technology has moved more into the day-to-day lifestyles of every one of us. So, we are in a much better position (to launch) than 10 years ago.
Still, after MTV and ITunes, the music industry doesnít want to have a third party so dominant in its industry.
Yeah but I think this is a little bit different. The comparison between us and MTV is not right. iTunes is in the consumer business. We are not operating a consumer business. We are providing platforms that the consumer businesses can grow again. This is the fundamental difference.
With MusicDNA, the labels and others can also take back control of pricing.
Yes. We make it clear that we provide the technology; we provide the infrastructure but what the content is, and what the labels are making out of it is up to them. In this way, the major labels wonít lose any control over their pricing or their products whatsoever.
ITunes has set the agenda for the structure of music pricing.
I would not say (music labels) lost control over (music pricing). They are glad that there is a legitimate player that is able to sell their product versus all of the freely available stuff on the internet. In this industry, as you say, nobody really wants anyone else to be a really dominant player in the market. This is not only in the music industry, it is in any other industry.
The music industry has gone through a basic re-think in how to sell music and content.
If you look at what has happened in the 10 or 15 years after MP3 came up, the initial reaction (to it) was shock. Then, there was a restriction with DRM. Now, we are at the end of the phase of trying to make the numbers work and trying to find different business models, either by subscription or combining it with another device. I see a little bit of a light in the tunnel in which the (music) industry is going back to the product, and thinking, ďMaybe, we have to make the digital product better so we can charge again.Ē
Why has it taken so long to evolve the MP3?
The .mp3 was developed 20 years ago, but it only got good market penetration about 10 years ago. It took 10 years for it to take off. It was only when the Winamp player [was introduced] that it suddenly became a household tool. Sometimes, the technology that everything is based on is around for some years but the time has to be right (for developing a market).
[In 1994, the Fraunhofer Society released the first software MP3 encoder called l3enc. The filename extension .mp3 was chosen by the Fraunhofer team in 1995. With the first real-time software MP3 player Winplay3 released the same year 1995, many people were able to encode and play back MP3 files on their PCs.
The popularity of MP3s began to rise rapidly in 1997 with the advent of Nullsoft's audio player Winamp, and the Unix audio player mpg123. In 1998, the Rio PMP300, one of the first portable MP3 players, was released.
The small size of MP3 files enabled widespread peer-to-peer file sharing of music ripped from CDs. Napster, the first large peer-to-peer file sharing network, launched in 1999.]
The interaction within MusicDNA is the most exciting aspect.
Absolutely. This is where we have the great hope that the artists, and the labels can work with this interaction. Nothing is better, for example, that in the future if you are listening to your favorite artist and, simultaneously, you get the message that he is currently in a Starbucks in Copenhagen drinking coffee. You feel real close to this. Artistsí fan relationships can be very easily triggered and grow with this technology. I think that this is how we can bring back additional value to fans.
Bach Technology is seeking third party developers to use MusicDNA?
Yes. It is very important for us to get the message out that we donít want to control the (music) market. We donít want to push our players to every music lover in the world. Basically, what we want to do is to develop technology for others so they can invent even better players than ours. We want to have third party developers to develop music-related products.
This would be similar to collaborations and development that came with MP3
Yes. This proved to be very successful.
You still see a future in downloading despite the growing popularity of streaming.
We, as a team, believe that it wonít be one thing only. There wonít be only downloads. There wonít be only streaming. Every delivery method has its advantages and disadvantages. We think that at the end of the day there will be a healthy mix between pre-loads, downloads and streaming.
Pandora and Last.fm use collaborative filtering, relying on both technology and human editors; other services are based on music-purchasing behavior. MusicDNA offers consistent categorization akin to personalized radio DJ that scans every track in the vendorís inventory.
MusicDNA is, in essence, media extensions that include how to analyze this information, along with textural rich media; multimedia information, and business intelligence. Whatever Last.fm has on information could also be fed into the (MusicDNA) music journal container. So one doesnít exclude the other.
Instead of relying on editors' individual tastes, MusicDNA can analyze a buyer's music choices and help him find precisely what he wants at a digital store or in their own digital music collection?
Exactly. The files are so intelligent that you can develop your own personal DJ (files) but how you analyze this information can also be combined with information from the collaborative filtering. We think that these two informations together give the best choices.
Itís easier for everyone today to produce and release music. Itís about how (consumers) can filter all of the music. Thereís too much (music product) out. Itís about how you make it easy for the consumer to filter what they like or they donít like. In the entire internet, thereís so much information available. The question is, ďHow do I get easy access to the exact information that I want?Ē Itís good that thereís a lot of information available, but you need some tools to make easier for the user to get a better grip on it, and get the right thing for them.
Why did you pick the music industry to launch MusicDNA? There are more lucrative fields, including the film industry.
Thatís a very good question. Yes, MusicDNA can be used elsewhere, but I would say that the biggest immediate value comes from music because it can be compared to the MP3; and itís a very plain product. You have just the recorder, some basic information, and the current MP3, and thatís it. If you go immediately to film, the immediate value is not as apparent. But, for music, it is immediately apparent the value that it brings. So the music industry is a natural choice.
As bandwidth increases, there may be other usage?
Yes. The entire container can hold to 32 gigabytes. It doesnít make any sense to put all of the (films) into it because then weíd have the same experience as ITunes LP where you have to download 500 megabytes. If I do this in China, Iíd switch my computer on in the morning and (only) in the afternoon the content would finally be there. Initially, there will be videos, and video links. Before a full (film rollout), maybe, weíll start with first 20 second clips or something. The bandwidth will evolve in a way that you can enlarge it. I donít think anyone (like a studio) wants to immediately put films into it.
MusicDNA could be used by large businesses for in-house communication, particularly if it was a global firm.
You mean everything within this MusicDNA contain roll?
Thatís a very nice thought. I havenít thought about that yet. I still have a tunnel view of trying to make MusicDNA happen with music. In essence, you could use it for that. Iím not sure. Maybe, there are some other smarter products out there than Music DNA.
Currently, corporations use memos or postings on their home websites to inform employees and customers of product development. MusicDNA could send audio, textural and multimedia files bundled to their mobile phones or Blackberrys.
Put everything in one single roll and you have everything immediately available. Yes, I think that this makes sense.
For example, Toyotaís current recall could be immediately explained to its dealers and customers with a MusicDNA rollout.
Thatís a very good idea, Larry. I was not thinking that it could be used in that sense but it would be possible. And, itíd come with a nice MP3.
As well, dealers and customers could be instantly updated by Toyota.
Yes, I think that the updates are important.
How will the updates be done for music?
If you are a user, you have it locked into your music service. Each time you are online, the music service recognizes you, and sends a new data roll bar. Then you are getting the updates.
With MusicDNA, the consumer gets more.
This is what is most important. That they think they are really getting a special product. Currently, if you purchase a MP3, itís a very dull shopping experience. Iím sure you can remember buying your first record, ďWow. This was an experience!Ē You have to spruce up the product today so people feel that they have something special.
Put back the emotional experience into buying music?
Yes. I think that this is necessary. If you go into a store, and buy a product, they package it nicely etc. They make it special. You are buying something that makes you proud to have. With MP3, music got too devaluated. Itís not a special thing anymore to buy it; and itís not special anymore to own. It is very hard to ask a consumer to pay for something where the perceived value is so low. I think that itís very necessary to work on the product; the product value; and, especially, on the emotional component. When that is all there again, you will see, I think, a willingness by the consumer to pay for (music) again.
Do you think physical will disappear or will it transform itself? People seem to like the shopping experience.
The share of physical product will definitely decrease in my opinion. That it will disappear completely? I donít believe so because there will be a niche. Vinyl didnít die out completely. The CD will not die out completely. It may be repackaged. Instead of getting a plastic box, you might get an entire book with the CD. This will be like a collectorís item that you will want to have in your shelf at home.
So many music stores are boring.
This is a very sad development. That is not only for music (retail) but itís the same for books that also became a low volume mass market product. (A product) deserves special attention. If, as an industry, you are not giving it special attention, it wonít work (sell).
How did you come to be involved with Bach Technology?
In essence, my entire career has been involved in distributing media content to consumers. My career started with catalogs. Then it went to the internet, and then to mobile. I think that (technology/applications) is the next thing. You can now try to distribute media so that we are the product itself. It is just a natural flow. I met Dagfinn Bach, the founder of the company, in China in 1998. He was working on a project with Nokia to distribute music via mobile phones. He contacted me about getting some music for this project. We kept in touch with each other. Then we decided to utilize this amazing technology, and build a commercial product on top of it.
What brought you to China?
I studied Chinese at Hamburg University. Normally, you go for a year of studies in China at a university to improve your language skills. I didnít want to go to the university. An opportunity with Bertelsmann for an internship for a year came up. Then, after 8 months, my boss asked me if I wanted to stay. It was a very quick decision. I said, ďYes. Thatís exciting. Letís stay in China.Ē Iíve stayed for a long time.
R2G, whose store Wawawa has a catalog of more than 1 million music tracks, is integrating MusicDNA into their search. A good market template?
Yes. Itís a very good showcase. We are happy that R2G is sort of a guinea pig for us. We are curious to find how what the consumer reaction will be. We are, especially happy to do it with a partner that is passionate about music. Letís see in a few months from now what the results look like.
When you began working in China in the mid-90s, e-commerce was almost negligible there. There were cultural, logistical, regulatory, technical and other challenges in building the e-commerce business there.
It took many, many years for the e-commerce business to develop there. It is just now that e-commerce is soaring there. The infrastructure there was not ready back then for that kind of business. We (Bertelsmann Online China) set up the first e-commerce store. We were clearly five years too early.
Credit cards werenít prevalent as a means of payment in China then. Debit cards were being used, but they werenít the preferred choice. Consumers preferred to buy products with cash.
There was no widespread use of credit cards; and the delivery systems were not in place. You also always had to think that you were not operating in a small market. China is not like Germany where everything is accessible within a few hours. China is huge. To deliver a parcel to a small city 3,000 kilometers away is quite a challenge.
In building e-commerce there, you had to do cash on delivery?
Yes. The infrastructure (for e-commerce) was not there. You had to build it on your own. For a catalog or an e-commerce company, it is not your core competence to deliver, and get the cash in. Traditionally, in other countries, there are service providers that can do this. In a market like China you had to do everything by yourself.
Has e-commerce improved in China over the past 15 years?
It has improved dramatically. There is no comparison anymore to, say 1995. Itís a completely different world out there now.
According to Chinese government figures, about 84% of Chinaís nearly 300 million Internet users download music over the Internet, and most of it is used for cell phone ring tones.
I think that the current number of mobile phone subscribers is 600 million. That is a penetration rate of about 50 percent which still means that there is a lot of growth still to come in comparison to other markets. But itís enormous.
Labels, managers, and artists in the West are still trying to figure out how to monetize music in China.
It is absolutely difficult. How the Chinese (music) artists are monetizing is that they are not making their monies from recordings. They are making their money from TV appearances, advertising etc. They are building a brand. The traditional model of monetizing on record sales is not working there.
The Chinese government seems to have made little effort to get illegal music off the internet.
In terms of getting illegal services out, it is not only about the music. Basically, it is about counterfeit product being on the market, whether itís Nike shoes or whatever. (Counterfeiting) is everywhere. It needs a lot of determination by the government to stop all of these. Itís a real challenge. Itís a real effort. I am sure they can. But the effort is tremendous. Itís like fighting against a wind mill.
[The Beijing No.1 Intermediate People's Court recently ruled in favor of Chinaís top search engine, Baidu, saying its links to music downloads does not constitute piracy.
The court ruled that Beijing-based Baidu offers the searching service for pirated MP3 files, but does not actually pirate the music itself, and therefore bore no responsibility to pay any damages. Baidu's music search service is highly popular and Google, Baidu's main rival, now offers a competing service in China.
Universal Music, Sony BMG Music Entertainment Hong Kong and Warner Music Hong Kong had sought to have Baidu remove music links they say infringe their copyrights in a lawsuit filed in 2008.
A Chinese court also ruled recently against the labels in a similar lawsuit against Sohu, a Chinese portal and search provider.]
Has Google Music made an impact in China since being launched last year?
No. Not really. This is very disappointing because Google is a legal service. It is completely for free whether or not you stream or download. It still has failed to have an impact on the music market in China. This is very disappointing. But Baidu, idonkey, and Wawawa offer a better user service than the Google service. The Google service is not very music centric. It is more like a standard search. You feel a lack of passion (of music) there. This is why I feel confident that initiatives like Wawawa, which is online as a music store, will be more successful because the people who are operating it are very passionate about their product. This is what Google lacks.
Many online music sites are like that. They feel like they are run by people who arenít music fans.
Thatís the problem. It clearly is. I started my career with the Bertelsmann book club. They were only successful because the people, who ran this business and presented the product, really loved their product. If this doesnít come across, then it gets very difficult.
With many online music sites, thereís an apparent conflict between commerce, and being truly music centric or having an on-going dialog with their users.
What still doesnít workóand digital hasnít changedóis that the backlist (catalog) is still not working (selling) very well. Everything is incredibly hit driven and marketing dollar driven. I hope this will ease up in the future.
Editorial content on most online music sites is pretty poor.
If you are currently trying to operate a digital retail store, your margins are extremely tight. Basically, you canít afford to employ a lot of people to concentrate on the editorial part. If the margins are higher, thereís more room to hire more people and to improve the editorial.
Does the ad funded model for online music sites have the best chance in China?
There are only a few websites in China triggering enough page use to make this model work. We have to look into it again. We have to work together, and operate a web portal with the labels, the developers, and manufacturers, and find a good way of how to monetize (music on line). I donít think that an ad funded model will be the Holy Grail in China. I seriously doubt it.
How do you keep up with Western music while living in Shanghai?
It is not easy. Now we have this R2G service, but itís not easy. When I wanted to buy the first time from iTunes, they rejected my Chinese credit card. I wanted to buy legally and I couldnít. Then I had the smart idea of using my German credit card, and that worked. Music services donít make it very easy either. Itís not easy to get a hold of new music in China I can tell you.
Well, thereís Chinese pop.
It has all gotten a lot better. When I came in í95, the music in China was really terrible but it got substantially better. Thereís some music around now in China. It has really improved.
If (top singer/songwriter) Jay Chou is playing, the stadium is filled. The big Chinese acts, whether they are from mainland China, Taiwan or Hong Kong, they are hugely popular. The acts that do have a problem with entering (Chinese) markets or playing these concerts there are the Western artists
Most western acts are either unknown in China or their material might not get past the censors there.
I would say that it is largely the first thing. Basically, they are not known, and the record companies are not making an effort to market these artists. They are not being properly marketed, and nobody knows them or are going to their concerts.
The Black Eyed Peas have played dates in China several times.
When the Black Eyed Peas played there it was absolutely packed, and it was a local (audience). Then you go to an Elton John concert, and itís completely empty. Itís hard to make a good pick of who should play there.
Weíre not close to having Madonna play Shanghai yet.
No but we had the Rolling Stones there in 2006 which was quite exciting. I hope that this year will be significantly better than last year. U2 or Coldplay probably canít play there, and Oasis was canceled last year on short notice. It was unfortunate. But, there are bands like Linkin Park who really make an effort to be there. They are doing a good job there. They are a frontrunner of how to work the market in China. They are starting to build a valuable brand there.
[Oasis had planned play in Beijing and Shanghai in 2009 but the Chinese government revoked the performance licenses already issued for the band, and ordered the shows canceled. According to the shows' promoters, the concerts were called off when Chinese authorities had discovered band member Noel Gallagher had appeared at a "Free Tibet" benefit concert in the United States in 1997.]
Where are you from in Germany?
I was born and raised in GŁtersloh. The town where Bertelsmann is based. My first encounter with Bertelsmann was may when I was around 4 to 5. My father worked there for over 30 years, in the early days still with the (company's) founder Reinhard Mohn.
While growing up were you a music fan?
Yes I was into music. Music and soccer.
You didnít become a soccer star.
No. I am not in South Africa this year. What a disappointment I didnít make it. I wasnít able to succeed (as a soccer player) in Germany. So I started to revise my soccer career in Shanghai (with the Shanghai Krauts) but, as you see, I am not in South Africa this year.
Did you have much music in your life growing up?
Not necessarily from my parents but from my older brother. Heís five years older. He had his own band. Of course, when he had a record at home, I had to listen to it as well. That helped a lot. We also listened to (the late BBC DJ) John Peel all of the time. He was amazing.
All the great western rock acts would go to Germany when you were growing up.
My first big concert was Led Zeppelin. I think it was their last (European) tour (in 1980). I would say that had a major impact on me over the years. What is a little bit disappointing is that only a few German bands made it internationally over the years. There were Kraftwerk and the Scorpions etc. but, in comparison, to a relatively small market like Australia, there arenít a lot of German bands that made it internationally.
On one hand, maybe, it is the language; but, on the other hand, it is, maybe, the mentality. There is a sense that the German speaking market is big enough. There are 100 million people with Austria and Switzerland. Itís a huge market so there is no need to go out from there. If a band is coming from Scandinavia, if they really want to get big, they have to get out.
Domestic music is up in many international markets including Germany, Italy, and the UK. Multinationals arenít as able anymore to readily create global superstars with U.S.-based acts.
Itís nice to see that local music rules. So every country has its local heroes, and they are often occupying the charts. This is nice to see.
[In Germany, local music's share of the market rose from 48% in 2003 to 62% in 2007 and down slightly to 52% in 2008. ďGerman audiences have rediscovered their own language,Ē Volker NeumŁller, managing director of the Berlin-based artist management company 313 Music told Billboard magazine (December 20, 2008). ďIf you're not releasing German-language product, you've failed to see the signs of the times."]
Amazon's Kindle and Sony's Reader are becoming popular. As a former book seller, what are your thoughts on e-books?
I donít have one yet. I donít think that all books in the future will be electronic. It is great for traveling. It is great to keep all your favorite books around or having newspapers there. But, it is still different having a physical book in your hand.
Should we be worried about books now being devaluated like music?
I completely agree with you in regards to your worries that books may get devaluated. It is one of the problems. This is what the music industry went through and this is what we have to fix now. If you take an ordinary CD and just put it in the catalog, nobody is interested in it. Itís about making an effort to package the products right.
It has to be a joint effort.
There is nothing more important than trying to make the product better.
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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P.J. Bloom, Neophonic, Inc. 01/24/11
Rishon Blumberg, Brick Wall Management 06/27/03
Justin Bolognino, Learned Evolution, and The Meta Agency 04/25/13
Steve "Chopper" Borges, Total Pro and Borse Techos 03/03/06
Les Borsai, Mediocre Management 01/30/04
Shane Bourbonnais, Live Nation Canada 03/21/08
Jeff Bowen, Sears Centre Arena 03/13/08
Rick Bowen, Mystic Music Experience 07/11/08
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
Ron Brice, 3rd & Lindsley Bar & Grill 06/08/16
Billy Brill, Billy Alan Productions 11/11/05
Doug Brown, Talent Buyers Network 09/21/01
James Browne, Sweet Rhythm 11/01/02
Bob Brumley, Brumley Music Company 02/17/16
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
Raffi Cavoukian, Folk Singer/Children's Entertainer 05/11/16
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
Dan Cohen, Music & Memory 01/12/17
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
Allen Cook, TOURtech 04/16/15
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
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
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 Denverís Division of Theatres and Arenas 08/23/10
Paolo díAlessandro, 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 íní 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 Gťlinas, Festival díťtť de Quťbec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Chris Gero, Yamaha Entertainment Group 10/26/16
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Steve Gietka, SMG Entertainment 03/19/14
Darren Gilmore, Watchdog Management 03/17/16
Daniel Glass, Glassnote Entertainment Group 10/16/14
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Neil Goldberg, Cirque Productions 04/16/14
Martin Goldschmidt, Cooking Vinyl Group 09/29/16
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, Turntable.fm 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Justin Kalifowitz, Downtown Publishing 04/20/17
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
Andrť Mťnard, Festival International de Jazz de Montrťal 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 Mķsica 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 OíConnor, 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
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, ItsAboutMusic.com 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Peter Shapiro, Ideal Entertainment 04/16/04
Seth Sheck, Access Pass & Design 01/03/03
Seth Sheck, ACCESS Event Solutions 06/22/16
Seth Shomes, The Agency Group 11/12/14
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Michael Simon, The Harry Fox Agency 08/14/13
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Peter Smidt, Eurosonic Noorderslag & manager Buma Cultuur 07/17/13
Garrison Snell, Gyrosity Projects 02/23/17
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
Nikki Solgot, Circle Talent Agency 02/18/15
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Mandar Thakur, Times Music 08/06/15
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Kirt Webster, Webster PR 02/03/16
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Adam White, Author 09/14/16
Adam Wilkes, AEG Live Asia 10/13/16
Fenton Williams, 04/04/08
Del Williams, Right Arm Entertainment 04/18/08
Bryan "Birdman" Williams, Cash Money Records 09/13/11
Paul Williams, ASCAP 10/19/11
J.P. Williams, Parallel Entertainment 10/03/12
Kurt Willms, Green Room Productions 09/20/03
Chris Wilson, Heartbeat Records 03/02/07
Tony Wilson, Factory Records/In The City 06/01/07
Tom Windish, The Windish Agency 07/26/10
John Wiseman, XL Touring Video 05/05/06
Thom Wolke, Twincloud.com 02/08/02
Michael Wood, City Lights Entertainment 08/08/08
Keith Wortman, Blackbird Presents 03/22/17
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, CultureCatch.com 07/27/07
Jeremiah ďIceĒ 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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