Industry Profile: Sat Bisla
By Larry LeBlanc
This week In the Hot Seat: Sat Bisla, founder/president, A&R Worldwide/ Musexpo
There’s are few figures in the entertainment industry as enthusiastic about new music as Sat Bisla.
The British-born founder/president of A&R Worldwide was one of the earliest drum-beaters in the careers of such artists as Coldplay, Dido, Missy Higgins, Keane, Faithless, Fatboy Slim, Ting Tings, Sam Sparro, Sixpence None the Richer, H-Blocks, Rammstein, The Temper Trap, Lily Allen, the Chemical Brothers, and others in America.
A&R Worldwide, an independent artist discovery and development company based in Beverly Hills and London, oversees two annual music, media and technology conferences--Musexpo in Los Angeles, and Musexpo Europe in London.
As well, the company is a founding partner in the annual festival One Movement For Music in Perth, Australia, and programs the affiliated conference One Movement Musexpo Asia Pacific along with Sunset Events and Chugg Entertainment.
These events attract an unmatched mix of leading worldwide figures in radio, A&R, film/TV music supervision, publishing, new media, technology, and artist management as well showcase impressive emerging musical talent from all parts of the world.
Musexpo 2010 will take place April 25-28 at the London West Hollywood Hotel just off the Sunset Strip. The focus of this year’s meet is on solutions, innovation and inspiration for a music industry seeking to build lasting binds between artists, fans and the industry.
Among those speaking at the event will be: Harvey Goldsmith, founder, Harvey Goldsmith Presents; Steve Schnur, worldwide head of music & marketing, EA Games; Craig Kallman, chairman/CEO, Atlantic Records Group; Ron Fair, chairman, Geffen Records; Big Jon Platt, president, North America creative, EMI Music Publishing; David Massey, president Mercury/Island Records Group; Jason Flom, president, Lava/Universal Records; John Kirkpatrick, Sr., VP & chief marketing officer, Hot Topic; Nick Gatfield, president New Music North America, UK & Ireland, EMI Records; Ruth McCartney, CEO/co-founder, McCartney Multimedia; George Ergatoudis, head of Music, BBC Radio 1; and artist managers Troy Carter (Lady Gaga), Robert Reynolds (the Killers).
Bisla has had a multi-faceted and colorful career in the music industry. He has worked as a DJ, club booker, A&R scout, journalist, label consultant, and artist manager (Rob Dougan, Kate Havenevik, and Pilot Speed),
In the late ‘90s, Bisla launched A&R Network, an independent artist discovery and development platform that was soon acquired by Clear Channel Communications, then the world's largest concert promoter and radio conglomerate. Bisla then ran its operations as VP for A&R Network for three years.
A&R Network had a subscription web site dedicated to informing music industry professionals about promising acts available for recording contracts, licensing, management, publishing, and legal representation.
When Clear Channel decided to step back from A&R Network, Bisla founded A&R Worldwide (later partnering with Entertainment Ventures Jim McKeon and Steve Smith) with a similar template. He also played a key role in the discovery and signing of many new artists while also writing a weekly A&R column for the radio trade publication, Radio & Records.
Bisla, for example, was the first American radio DJ to support Britain’s Dido. He played her track "Flowerstand Man" from a Faithless demo tape in the summer of 1995 on KFSR in Fresno, California. For almost a year, Bisla worked with Cheeky Records in trying to convince American labels to sign Dido, and radio programmers to play Dido with little success before she signed with Arista in the U.S. in late 1996.
In 2006, Bisla reached an agreement with Entertainment Ventures partners Steve Smith and Jim McKeon to acquire A&R Worldwide.
Bisla then founded Pangaea Entertainment Group, the home to the A&R Worldwide and Musexpo brands. Pangaea is also parent to Passport Approved, a two-hour weekly import syndicated radio show hosted by Bisla. He also hosts “M.I.A.,” a twice-weekly radio show for Germany’s Motor FM.
It’s a bit crazy producing two 3-day industry conferences within 6 weeks of each other on different continents.
It’s like putting an A&R dinner together on steroids. Last year, we had about 400 people at the European event. (In Los Angeles) we will never have more than 700 delegates. That’s our maximum capacity.
When did Musexpo Europe and One Movement in Australia start?
We started Musexpo Europe in 2008. One Movement in Perth is in its second year. That came about because Michael Chugg (executive chairman of Chugg Enterprises) came to the LA event a few years ago, and was impressed.
These events are boutique-styled.
At the end of the day (the music industry) is about music. I’ve always felt like that if we can make a positive difference in the industry, and if everyone contributes in a positive way, we will have a healthier eco-system, and we will all benefit.
Musexpo is not our core business. We are lucky if we break even. We put so much back into taking care of the guests (delegates). Every meal is taken care of. As you know, that’s not cheap in LA. Most of it is out of (our) pocket if not covered in full with sponsorship support. The same in Europe.
There are a lot of different conferences in the world. This is an event that truly is created by music people. It started off as a dinner. That’s really important. That’s why we provide free meals throughout the entire event. I think that it is so important.
There’s more personal connect when you are sitting across from someone?
Correct. Our goal always has been innovation and inspiration. I feel that there’s not enough of that in our business these days. So there is no agenda (at the conferences). You are guaranteed great music. I think we do a great job of filtering (and then presenting) great music from across the globe. We have a total of 30 acts. We never do any competing showcases.
Why only 30 bands?
If you go to a lot of (music industry) events, you will see 2,000 acts, and they are playing in a donut shop. That’s pretty insulting to the artist. (Our event) is about generating outcomes. You can’t do that by having hundreds of acts. Also, if artists are traveling thousands of miles, and are making an investment to come over, you should have the best sound system, the best venue, and the best lighting. You should treat them like guests. That’s what they get when they come to the LA event. They get a couple of the best venues on the LA Strip, The Whisky A Go Go, and The Viper Room. We make sure that they are well looked after, and that they are in the right mind-set to perform at their best. Obviously, what’s generated makes us look good too.
These conferences, while music-related, attract executives from fields other than music.
That’s because of what we do day-to-day with A&R Worldwide. We work with cross platforms across the globe, from technology companies to A&R people to artists to radio to film and TV people. That’s the business we are in.
The art of A&R has diminished in recent years. Fewer people know a great deal about songwriting, song selection, picking a producer, performance, marketing, or radio and press anymore.
I know. The old (music industry) adage goes that (A&R) is lifeblood of all things music. And, it truly is because without proper artist development you are not going to have that next superstar act or that next artist that changes someone’s life. Whether it an artist who sells 10 copies or sells 100 million, you still need a great song. You still need a great artist to be able to perform those songs. You still need great artist development. You also need to have great infrastructure to be able to capitalize on the back of those songs.
Even the basics of A&R—song selection and performance—are things that are often overlooked today.
The younger generation of A&R, and even people outside the day-to-day artist development world, have no understanding today of what it takes to create a song; to go into the studio; to find the right producer, mixer and engineer; and to find the right studio in order to be in the right kind of creative environment. Then putting the live show together, the imaging, the marketing, the promotion, and the PR.
That’s what an A&R person used to do.
All of those things. Also developing relationships. It boggles my mind how so few people in our industry today focus their energies on that, unlike those of us who grew up in a business where it was the artist, and a relationship factor (was important) They think that by being on Twitter, Facebook, MySpace or other social media, they are covered. That’s their rolodex. But it’s not. It’s a virtual rolodex because very few of those relationships actually materialize into anything creative--like a face to face.
You have to follow-up social media activities with a face-to-face?
Nothing beats that. I hear people say that they have had 15 million views (via the internet) but then you find they have had, maybe, 200 sales. That’s where there’s a big problem today. They don’t realize that relationships are real.
Well, the music business is still probably more accessible than any other business.
It is. Absolutely. But technology has changed that. You are accessible virtually (through social networking) but not as accessible face to face anymore which I think is a real shame.
Many new artists today have no creative friction from within the industry. There’s nobody on hand to direct them.
I think you are right. It’s there but it’s not there enough. We need to do a better job of mentoring the next generation. They also have to have that passion and hunger to want to learn, to work hard, and to engage as we did when we were kids.
People I have respected and learned from over the years, they still have that passion for music. You still see that excitement for music from these people. There’s the knowledge that some of these (veteran) industry people have. But there isn’t any mentorship program today. Over the years, we have ended up having two kinds of people in our business. The passionate ones. They love music, and it’s in their blood. And the fashionites. They are in music because it’s cool. I think what people have forgotten is that it is about the music first. It still really is.
The diminishing of services at labels in recent years has given birth to a lot of different service businesses. Including your own.
Well, it has. But this is what I’ve done for the past 25 years. I was always wearing multiple hats. People thought I was crazy. “You are trying to be a radio and club DJ, a journalist, a booking agent, a (personal) manager? What are you doing? You should focus.” But I wanted to learn as much as I could about music, and the business of music. I thought that how I could truly understand that back in 1984 was by having experience in all of these different things. Before my wife and I had kids, I would do things just out of good will. If I was a friend of an artist, I would do everything I could for that artist. And a lot of that good will (from then) resonated with what we have been doing for the past 10 years.
About service businesses, I think that, yes, a whole plethora of different companies have popped up. A label still has the ability to do what they have always done but if they have to bring in people then they have that same kind of vision. The problem is that you sometimes have—not just with labels but any kind of business today—is that because of this age of technology, people have lived so much in the virtual world that they have not had the experience in a reality based world where they have real life experiences. That’s where the disconnect has been with a lot of this younger generation. As people get older and retire, we are losing that work force that has that ability to multi-task.
You have worked in several fields within the music industry. Did those varied experiences give you a fuller understanding of the industry than if you had worked in only one area.
Absolutely. That’s the whole reason why I did. I got excited about learning new things. I didn’t just want to just obtain people’s knowledge; I wanted to create my own vision and imagination. Being in this kind of creative business, one can certainly learn from other people, and from other people’s knowledge, but you also have to have imagination and creativity.
You also have to have, I think, a real genuine passion and understanding of the music but also the business too. It’s not an easy thing to do. Some of those who are more critically minded manage business very well; they are business minded but they don’t understand the creative aspect very well. When you can get people who can understand both (business and creative), and understand both well and know how to marry the two together, you are going to have a great success with all involved. That’s why I got into this business. I love music. I wasn’t good enough to be a musician but I thought I had at least a good ear for a great song.
Finding new talent is easier now because there are so many avenues for music to be heard. How much music do you receive weekly?
On an average week, I receive 80 to 100 releases. Physical and digital. I still love vinyl. I still love the CD. I don’t do cassettes anymore but, if the music is good, I don’t care where it comes from. Just as long as it’s good and it makes a mark on the emotional music meter. There are certain places I will go to on the Internet but most times it will be a manager, radio friend, producer or an A&R person who sends me something.
Can you still listen to music for enjoyment?
Oh, absolutely. I do that every single day. Especially with the radio show which is based purely on artistic merit. I still get excited when I hear a song in someone’s office. I will walk in, and ask what it is. “Can I have a copy of that?”
Is there anything better than getting a great piece of music?
Well, it changes your life. There’s nothing in the world that can have that connection like music does.
You were born in England, and lived in Wolverhampton?
I was born in England. My parents were from India--from Punjab. I moved from England to Fresno, California when I was 14. Between high school and college I moved back to England a few times.
What did your dad do?
Both of my parents were blue collar workers. They had regular factory jobs. England was going through an industrial recession in the late ‘70s, and early ‘80s. So they moved to America. I followed suit later.
Your family left for America and you followed two years later?
Yeah. My family is very close and my grandparents, who had helped raise (me along with my two younger and two older brothers), were devastated that all of us were moving to America. So my mom and dad reluctantly said that one of my brothers and I would stay a little bit longer, instead of us all leaving at once. It was very difficult. I was very close to my parents and my grandparents. So I said “Okay, I’ll do it.” But, after a couple of years I couldn’t take it anymore. I really missed my parents.
Did you encounter prejudice growing up in England?
In England, yeah. It was tough because back in the ‘70s, there was the (working class youth) skinhead movement and the neo-Nazi movement in the UK. To be spat on, and to be told, “Hey Paki, go back to where you came from”—and I was born there—it was a tough pill to swallow. And, to see my grandmother and my mom sworn at, and spat on, it wasn’t easy.
England doesn’t feel like your country?
I’ve always felt like a citizen of the world. I was born in England. So I consider myself British. My parents were from India so I consider myself British Indian. England is my home. I have a lot of great friends who were born and bred in England that were like family to me. They were great. Like in any culture, you are going to have those who are very narrow-minded. There were knuckleheads who had no understanding of whatever values I and other people had. You just tend to ignore them. (The situation) made me say to myself that, “I’m going to show these guys.” Not through fists. Not through swearing. Not through bricks. But by doing something with my life, and making a difference.
Wolverhampton is quite working class.
It was a tough place to grow up in but I would never change anything. It really taught me the value of a great work ethic, integrity and also having passion and a vision. You had to. It was a struggle (there) so you had to do (work hard) to better yourself.
Was Fresno any better?
Fresno was a different set of challenges. It was reverse discrimination. I was the only kid at the school that they had been seen from England who was brown. Most of the kids there thought England was the capital of London. They thought London was a country. It was a cultural shock (for me). Surprisingly, I was embraced by the Mexican gangs in school, and also by the Vietnamese. It was an interesting experience. I went from one armpit to another (from Wolverhampton to Fresno). But, at the same time, by talking to people, and making them understand and me understanding where they were coming from, we ended up getting along really well.
What did you study at Fresno State University?
Initially, I took journalism. Then I changed my focus to (studying) broadcasting and television. I went back to London to study journalism at the London School of Journalism for about a year and a half. After graduating, I couldn’t get work and I moved back to America, and got involved in radio.
You’d always had a strong interest in music.
I give a lot of credit to my parents. Every Sunday morning while having breakfast —from when I was five onward-- they would make me and my siblings sit around and listen to Indian music. But, in the evening my mom and dad would let me listen to John Peel (on BBC 1). (Their attitude was), “If you like music then listen to the music that we grew up with as kids, but also listen to music you want to listen to.” They were really good about letting me listen to music.
What attracted you to working in radio?
When I moved to Fresno I’d listen to radio and I wouldn’t hear the kind of music that I had grown up listening to (in England). When I had moved, I had taken some of my music collection with me. So I would call the local radio station (KFSR-FM in Fresno on the California State University Fresno campus), and I’d request all of these British bands that I had grown up listening to. Of course, the DJs had never heard of them. I would call several times a day. The DJs would recognize the voice. One of them finally said, “Why don’t you come into the radio station and bring these records with you so we can hear them? Stop calling and harassing us.”
It was bands like Siouxsie and the Banshees, and Ultravox. I ended up having this meeting and they said, “We find this music interesting. Have you ever thought about DJing.” I had never DJed. They suggested I work as an intern and they would teach me the basics of radio. (KFSR-FM DJ) Radio Rich said “Come onto my show, and I’ll show you the (sound) board.” So, at the age of 17, they brought me on board to basically be the news reader at the station. They also gave me import program, "The Import Show.”
Within a year, according Birch Radio (rating surveys), the show was the highest rated daypart (show) on Fresno radio.
With the popularity of your show, local clubs started calling you to DJ.
Listeners started saying, “You have to bring this DJ into the club.” I had never mixed a record before. Never beat mixed or scratched. I had to learn everything from scratch. No pun intended. As the fan base grew, I was able to draw between 2,000 to 3,000 people to gigs. Some of the big promoters started hiring me to DJ.
You got pretty good.
I got pretty good. I DJed for 18 years before I packed up my turntables.
You continued working in radio.
I went from KFSR to commercial radio in Fresno. I ended up doing some work at KMGX with Kevin Carter who was PD. That was my first professional radio gig. Then I started doing an import show at KRZR. I got high ratings but the PD and consultant didn’t want to fragment their day time audience. It wasn’t who they were, which was an active rock station.
However, KKDJ’s PD Willobee (aka William Carlan) and I met, and he loved my show. I put together a business plan for Willobee, and the station (since renamed KMJ Now), after some research by (rock radio consulting firm) Jacobs Media decided to switch over to being an alternative station. I was music director there for a couple of years. I also did an import show called "The Cutting Edge." The station got a lot of recognition not just locally but internationally.
Between 1984 to 1993, you did some freelancing writing for the (radio tip sheets) the Hard Report and Friday Morning Quarterback. You also traveled overseas seeking out new music.
Basically, I was traveling around the world meeting people trying to get free records for the radio show. I figured that staying with family or friends or staying in a hostel would cost me “this much” but, if I was getting all of these free records, it would save me “this much” (buying music).
I would write letters to different record companies overseas and say, “I’m coming over in three months. Can I have a meeting with you?” And some would write back and say “Sure, c’mon in.” I would then go to these record companies and tell them I had a record show and ask if I could get some free records. Some of these people helped me out, others didn’t.
You moved to Los Angeles in 1995 and worked for the radio trade magazine Album Network, and its alternative spin-off, Virtually Alternative.
I was the associate radio editor and also the international editor. That became the start of what I do today (in A&R development). I worked with Steve Smith and Gary Bird at Album Network. Later, I joined Radio & Records and did the column “A&R Worldwide.”
Beginning with Album Network, a lot of the A&R people were checking out the acts you were writing about.
Then I got a call from Yigal Dakar who was running the college department at Interscope. He wanted me to come in and meet with Tom Whalley (chairman/CEO of Warner Brothers Records), and (Interscope co-founder) Jimmy Iovine and Ted Field because the acts some of the A&R guys were picking up on were through my column. (Yigal) asked me to be an A&R consultant. I asked, “Well, what does an A&R consultant do?” He told me that the company would pay me a consulting fee to bring them music. I said “thanks but no thanks” at first. But I ended up working with them. I worked with Dido before she got signed and before she had any interest and I helped her get on the radio (in the U.S.). As a result of that, as well as Fatboy Slim and a bunch of other bands, people started paying attention to me, and I started getting more A&R consulting gigs.
How were you paid?
At the time I got a flat retainer. I ended up getting a ton of bands deals in the United States. For me, it was great that there was more international music being heard.
You weren’t offered points on future records?
I didn’t know about that kind of stuff until later. It was Mel Medalie at Champion Records (Dido, and Faithless) who offered me a couple of points. I said I didn’t feel right taking (points) because I just loved the music. I said, “I don’t think I’ve earned it.” He said, “You’re crazy.”
Then Nic Harcourt offered me a job at KCRW. I did that for a couple of years. Nic and I became friends when he was at WDST (in Woodstock, New York). He was always one of those guys I talked to about music.
During this time, our magazine (Album Network) had been acquired by Bob Sillerman of SFX Entertainment and subsequently by Clear Channel. (SFX was sold to Clear Channel Communications in 2000).
By that time, I had realized that with all of this international access to music evolving with the Internet that it was time to evolve an online platform bringing all of the knowledge together.
That was the New Music Network?
At the time it was called Globally Challenged (changed to New Music Network and then A&R Network in March 2001). I thought that the industry was somewhat challenged in a global context. I did it out of my own house first, and then I ran out of money. So I approached Tommy Nast (then publisher of The Album Network) and asked if he’d be interested in buying it. He asked what revenue I was generating. It was zero. He liked the concept, and said if I could make it into monetary thing he thought it might work. So I approached him and Steve Smith (then COO of SFX) with a business plan and they subsequently said they’d do this. I came up with the name A&R Network, and sold it to Clear Channel. I ran A&R Network for Clear Channel for about three years.
TO: The first week I helped this artist (17-year-old singer/songwriter) Bonnie McKee. The songs were there but the production wasn’t. Nicolos Jodoin redid one song and we sent it to A&R people, and it went crazy. It was Tom Whalley’s first signing at Warner Bros. (as president/CEO).
Why did Clear Channel get involved with your New Music Network. To grow future stars?
I think that what happened is that when I approached them with this (A&R) concept, I had done a lot of good will for many years. So they had heard all of these managers and artists saying that I had done right by them. They knew I had been involved with Dido, Coldplay, and Keane before they got record deals. These were all multi-selling acts by then. So they started doing the math that this could be a good business to be in. It was about continuing discovering and developing these acts but now in a way Clear Channel could take them to the next level.
With antitrust allegations swarming around Clear Channel, anything they could do to say that they were helping young talent would be positive.
Yes, they could deflect a lot of criticism by saying, “Yes, well look at all of the good stuff we are doing.” I also saw the leverage that they had with the consumer and my thought was that if you could bring the consumer, the industry and the artist together we could take this to a whole another level.
Within a week of start-up, you had about 100 acts selected
It was a purely editorial choice. Anything that I felt was really exciting we would feature them. On top of that, I was sending weekly emails to different tastemakers around the world (publishing). I would combine their and my picks once a month and put out this email saying so and so at radio loves this band blah blah.
Why did Clear Channel lose interest?
Within a three month period we had over 30,000 artists signed up. Clear Channel was blown away by the reaction. But they didn’t know how to monetize (the activity). I wasn’t a sales guy. I was a music guy. They realized that it was costing more and more to maintain this (business), and the money wasn’t coming in quick enough.
Musexpo started with dinners?
Dave Holmes (then at Nettwerk Management) and I were having lunch at Café Med on the Sunset Strip in 2000 when I was doing some consulting work for him. We were talking about all of these people who loved music but who didn’t spend time talking to each other. So we thought why don’t we just start doing a bi-monthly dinner and invite a couple of friends. That’s how it all started. It started as this two person dinner, and it grew to 150 people coming to these dinners in a year.
The first year of Musexpo in 2005 just marketed itself.
Basically, I went through my rolodex and had the people who had come out for the dinners. I sent out an email to them letting them know through the A&R World Newsletter about this event. We had almost 600 people the first year. That was the only way we marketed the event. I felt that it couldn’t be forced. It had to be grown organically. Even today you don’t see us taking out very many advertisements.
You then partnered with Steve Smith and Jim McKeon to build A&R Worldwide, including Musexpo.
When my contract ended with Clear Channel, Steve said he loved what I was doing, and he was keen to support my idea. We had a three year plan, and from 2003 to 2006 we worked together. I bought back the names (in 2006).
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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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 Denver’s Division of Theatres and Arenas 08/23/10
Paolo d’Alessandro, International Solutions 06/25/14
Ros Earls, 140dB Management 02/19/14
Art Edelstein, Festival Productions 12/01/02
Bruce Eisenberg, Audio Analysts 08/31/01
Martin Elbourne, The Glastonbury Festival 12/18/09
Michael Elder, Red Entertainment 03/17/06
Tod Elmore, Sixthman 11/24/06
Paul Emery, Clear Channel Entertainment 11/19/04
Arty Erk, Citrin Cooperman 04/27/16
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock ’n’ Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gélinas, Festival d’été de Québec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Chris Gero, Yamaha Entertainment Group 10/26/16
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Steve Gietka, SMG Entertainment 03/19/14
Darren Gilmore, Watchdog Management 03/17/16
Daniel Glass, Glassnote Entertainment Group 10/16/14
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Neil Goldberg, Cirque Productions 04/16/14
Martin Goldschmidt, Cooking Vinyl Group 09/29/16
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, Turntable.fm 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Justin Kalifowitz, Downtown Publishing 04/20/17
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
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 “Ice” Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
Kevin 'Chief' Zaruk, Chief Music Management 06/10/15
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06
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