|Mike & Jolene
Industry Profile: Mike Gormley & Jolene Pellant
By Larry LeBlanc
This week In the Hot Seat (s): Jolene Pellant & Mike Gormley, co-presidents Yes, Dear Entertainment.
Jolene Pellant and Mike Gormley are co-presidents of Yes, Dear Entertainment (YDE), a Los Angeles-based entertainment marketing, music publishing company and talent management firm.
YDE’s management clients include American singer/songwriter Quincy Coleman, and Danish singer/songwriter Simon Lynge.
Founded in 2007, YDE utilizes strategic marketing, including the use of new technology distribution outlets, supportive special promotions, and media events, to drive campaigns for music and non-music clients.
Pellant began her career in the entertainment industry at Los Angeles’ classic rock radio station KLOS handling promotions and marketing. At the same time, she was a music video editor at the Pop-Art Film Factory, and then worked briefly at modern rock station Y-107.
Following KLOS, Pellant moved to Avalon Attractions to oversee regional marketing. She was at the company for 8 years as it evolved from Avalon Attractions through SFX Entertainment and Clear Channel Entertainment to become Live Nation (since merged with Ticketmaster to become Live Nation Entertainment).
At Live Nation, she was VP of national marketing and oversaw dates by Aerosmith, Motley Crue, Def Leppard, Journey, Chicago, Earth Wind and Fire, Backstreet Boys, Fiona Apple, Damian Rice, Il Divo, Stevie Nicks, Don Henley and others.
Canadian Mike Gormley started out in the music industry as a musician and journalist in his native Ottawa. Later, he was a columnist at the Detroit Free Press and freelanced for Playboy, Creem, Billboard, the Chicago Sun-Times, and others.
Over the years, Gormley has managed the Bangles, Oingo Boingo, Concrete Blonde, Angelique Kidjo, Paul Schwartz, Anne McCue, Concrete Blonde, Lowen & Navarro and he oversaw the early film career of composer Danny Elfman,
in 1970, Gormley joined Mercury Records, based in Chicago, as director of publicity. He oversaw media for Thin Lizzy, the New York Dolls, Rush, Bachman-Turner Overdrive, the Runaways, the Ohio Players and others. He also successfully lobbied for the label’s signing of the New York Dolls, and Kraftwerk.
Moving on to A&M Records in Los Angeles as VP of publicity, and as assistant to A&M co-chairman, Jerry Moss, Gormley supervised publicity for the Police, Joe Jackson, Supertramp, Styx, Peter Frampton, Squeeze and others.
Gormley left A&M in 1982 and teamed with Police manager Miles Copeland to form the management firm, L.A. Personal Development which handled Oingo Boingo, Wall of Voodoo and the Bangles. Copeland left after 5 years and Gormley operated LAPD until teaming up with Pellant.
You didn’t set up Yes Dear Entertainment as just a management company.
MIKE: Management and marketing. We work with all aspects of the music industry. We are helping to sell tickets. We are helping to sell product. We are helping to establish artists. We are doing it as managers, and we are doing it as marketing people. It’s all together.
Do managers and acts have to adjust to the new reality today that many of the things that they previously took for granted they have to take care of themselves today?
MIKE: Yes. Jolene and I realized three years ago that we would be doing these things ourselves more so than ever. We are using our marketing background; particularly Jolene’s marketing background, and management background to present artists.
JOLENE: We farm our marketing service out to other managers. Marketing is such a key (component) for a management company to have. It’s an integral part of anything. Quite honestly, I think it’s integral for agents these days to really be on top of the marketing because it’s a tough, busy and competitive market out there in terms of the entertainment dollar. You have to find new and innovative ways to sell your tickets, products -- whatever you are selling. Without that sort of (marketing) background or having marketing as part of your team, you miss out on a lot.
There’s a gap still with marketing in the music marketplace
JOLENE: You are absolutely right. It is interesting seeing the awareness, or the enlightenment in recent years, as people are realizing what was (previously) missing from the label side of things. How everything was fragmented before. Now, you really do have to focus on marketing the artist overall because the revenue stream from the recording side has diminished considerably.
Synch licensing has become more important as recording revenue has diminished.
MIKE: Yes. There’s still life in publishing but nothing in the way it was. We do placement of songs.
Does Los Angeles still have a music industry community? Is a sense of industry community still there with the loss of so many jobs at labels?
MIKE: I’ve been out of that community for quite awhile. Jolene has been out of it for a little while. We still know a lot of people (in the community), and we see people all of the time. But there is no one place that I know of that people go to hang out and see each other. Not a real prominent one anyway...
It’s been awhile since a big band came out of L.A.
JOLENE: It has been awhile that a real big band has come out period. The music scene in L.A. has changed. It has fragmented. In the ‘60s and ‘70s, there was the Sunset Strip scene and that went into the ‘80s with the metal scene. In the ‘90s it became more indie and grungy. When the 2000s came along, there was the breakdown of the label system. That, as well as technology’s advancement, allowed people to do (work) from anywhere. No one had to come to L.A. any longer to launch their careers
At one time, an act had to come to L.A. They needed a date at the Whisky or The Viper Room. That was their perceived ticket to success.
JOLENE: Exactly. And, sometimes perception is reality. You could convince enough people that was the cool thing to do. It also used to be that a band had a moniker. They were a Geffen band or a Def Jam act or whatever it was. Everybody knew what that meant. I don’t think that’s the same anymore. Now, there are so many tools to use, and outlets to tap into. A label is almost artist dependent on how successful they are and each label is different.
If an act wants to sell bulk today they have to either be with a major label or be distributed by a major. If they want to make a good living, they can work independently. Decades ago, an act made it or didn’t make it. Today, an act can make it on different levels.
MIKE: Oh definitely. They can make a living. They may not get rich and they may not get famous in the way that it used to mean but they can still make a living. But it’s hard work. It’s really hard work. It’s not that it was easy before.
JOLENE: It’s clear that to be successful music funding and marketing are key. But there are quite a few innovative independent labels that are second and third tier to the majors. Some of them use major label distribution. An innovative independent can really get someplace these days. They are not as encumbered by the rules of a major label.
Independents are successful in rap and metal but not in many other genres. There are a few strong indies in country.
JOLENE: That’s true and I am not sure what the measure of success is with an independent. The people who have become successful as independents have usually been affiliated with or somehow bought by the majors over the years.
With 360 deals, major labels are really seeking more direct income.
MIKE: That’s true. If the label does the work, the so-called 360 deal may not be a bad thing because it puts them in the position of also establishing an artist’s career. They used to worry just about the next record coming out. They didn’t worry about the artist for the years to come. That was up to the manager. You would get into arguments (with labels) about not wanting to release that single or that you didn’t like the art work. Or something that helped the label but didn’t help the artist overall. Now, (with a 360 deal) they have to pay attention to all of that to some degree because they are going to have income from others areas. Therefore, it is just not about the record. It’s about establishing the artist so that income can rise in the performance, merchandise and other areas as well.
That’s a true partnership. I’m not sure that mindset is there yet at the labels.
JOLENE: I agree with you. The “let’s work together; spend our money together; and promote together’ form of thinking of hasn’t transcended all of the way yet. I think that people are still in their old habits of focusing on a record release or on a show.
Back in my radio days, it used to drive me crazy that I would get a call from a major label about an artist coming out with their new record. The label would spend gobs of money. My radio station would put together a huge plan for them to do (a campaign that was) really successful. A month or two months later, the promoter would come in and ask for the same thing. To spend money and do the whole (marketing) thing. If (only) they had done it together. By that time, my radio station was a little tired of that artist because we had spent a month on them. If only they (the label and promoter) had had a plan where they both thought of each other.
In the past, if a label lost interest, an act, it might lose a record. Today, with a 360 deal, if a label loses attention or pays more attention to another act, there’s more at stake to lose.
JOLENE: I agree. Also the problem is really about breaking a habit of thinking just about one (area) and not about the other. There are some labels that do both. You do see the launch of some records over the past few years that have successfully tied in the record launch and the the tour with the overall career. There’s the Coldplay launch of recent. I would give Josh Groban as an example of a label working in tandem with promoters, agents and managers to put out a successful marketing push. I think that those are learning experiences for people. Everybody has to get into the habit of thinking differently. Thinking beyond what they were used to thinking.
You didn’t go for distribution of any of Quincy Coleman’s records.
MIKE: We didn’t have distribution and never wanted it. She’s done well and tours a lot. She hasn’t done much in the past 18 months for various reasons but she was doing national tours and she had records out and she was doing national and local television. She was a very busy artist.
Lo-Max Records, the British home of the Go Betweens, has licensed Simon Lynge's album "A Beautiful Way to Drown" for release in Europe.
MIKE: The name of the album has been changed to “The Future” and it is coming out May 24th in the UK. Simon will be touring a lot in Europe. He’s doing dates with Ingrid Michaelson in the UK in May.
What are the other things you are working on?
MIKE: What we do is varied. Last summer we did the New York Dolls’ tour and CD release (“Cause I Sez So”) which was fun because I had worked with them in the ‘70s. We also worked with J.D. Souther, and with hip hop group Groovaloo. We do the (marketing for) the Great American Food and Music Festival.
JOLENE: We are just about to do a deal with Broadway Across America to do their (Los Angeles) date of Storytime Live which is their live version of the Nickelodeon show.
Music is transferable to other industries.
MIKE: We always thought that. We did the Great American Food and Music Festival last year in San Francisco This year it’s in Boston and New York and maybe other places. Jim Lewi produces.
JOLENE: Jim (president, Jim Lewi Events) and I worked a lot together when I was at Avalon (Avalon Attractions). This event is tremendous. The stars of the Food Network are the stars of the show. This year, we have Paula Deen, Tom Colicchio from Bravo’s Top Chef and Duff Goldman from The Food Network's show “Ace of Cakes.” It is really a blend of food and music on every level. It is an interesting case study in what’s popular right now. Last year, Bobby Flay was like looking at a rock star. He had girls screaming. Guy Fieri walked onstage, and it was like Sammy Hagar. He walked out to Sammy Hagar music, in fact. These (chef) guys have followings that are tremendous. It is really fun working with that event. It blends all of the things that people like and do.
Live event is where I’ve come from. The marketing of a live event is very similar (to marketing music products). You just have to figure out what you are marketing and then you can figure out the who and the where and all of that. I like the diversity of doing projects that are not necessarily music driven.
Mike, is it true you were supposed to go to Hamburg to work for PolyGram Inc. Iin 1979.
MIKE: Oh hell yeah. I was over there four or five times to the point of looking for a house and everything. Then they decided they wanted me to move to New York. Right at that time, I got a call from (A&M Record president) Gil Friesen asking me if I wanted to move to LA. I said, “You are bloody right I do.” I didn’t want to move to New York and I didn’t like the way the PolyGram corporation was pushing me around. I almost sold my house in Chicago thinking that I was going to Hamburg. Then they changed their minds. I would have been really stuck. I had a baby on the way, and I had a son. I didn’t like the way that they were treating me. Gil called and it was A&M Records. I just said, “Let’s go.” That’s what got us out to L.A.
PolyGram Inc., which had purchased Mercury Records in the early ‘70s, was then reorganizing its American label interests.
MIKE: In fact, for about a year I was not doing much music (publicity). I was establishing Polygram Inc. in America. I was flying to London and to Hamburg and meeting some very interesting people and dealing with some very high level people. I found it educational, but they started doing the corporate thing.
[In 1972, the Dutch electronics firm Philips and German electronics giant Siemens merged their record operations with Deutsche Grammophon to become PolyGram Inc. That same year PolyGram bought Mercury. In 1981, Mercury, along with other U.S. PolyGram-owned labels, which included Polydor, RSO, and Casablanca, would consolidate under the new name PolyGram Records.]
You arrived at A&M in 1979 with the emergence of the Police, Joe Jackson, and Squeeze. A pivotal time.
MIKE: I arrived there at the beginning of the end of the “family” label. It started becoming corporate. It had to. My lofty title was vice-president of publicity and assistant to the chairman. I ran the PR department, did the publicity on the Police, Squeeze and all of those Miles (Copeland) bands and other bands like Supertramp.
You were (A&M co-chairman) Jerry Moss’ assistant.
MIKE: I kind of ran The Moss Foundation. I would sit with Jerry and go over who should get what money at what point. It was more of a corporate thing. But Jerry was making his decision at that point to move out of the independent distribution world into working with RCA and, eventually, Polygram and Universal.
You left A&M in 1982 to start L.A. Personal Development with Miles Copeland.
MIKE: It wasn’t a big shift to go from A&M to LAPD because it was a lot of the same people. I knew the guys in the Police because I had met them when they hadn’t had a hit yet. I had done PR for them at A&M. So I knew the “family.”
MIKE: I was his partner for quite awhile, and I learned a lot from him. He’s a brilliant guy. He would have 10 ideas and one of them would be amazing and with the other nine you had to let him run his course.
At this point Miles was living in London.
MIKE: He didn’t even have a house in L.A. One of the reasons we got together was that he had signed Oingo Boingo and Wall of Voodoo, but the Police were at their hottest. He was never in town. He could never pay attention to these artists as much as he wanted to. He knew that I was tired of being a record executive. Going to meetings to find out what time the next meeting was. There was no creativity going on (at A&M) anymore. So, he said why don’t we start a company and it’ll be with Oingo Boingo and Wall of Voodoo. We did and within six months we found Bang which became the Bangles. And that’s what I did for most of the ‘80s. When Miles was around, it was crazy and creative. We would have fantastic conversations.
At Mercury and A&M you had done publicity. You had never done management. You must have been flying by the seat of your pants at first.
MIKE: I learned from Miles, but I was also in the deep end of the pool. Miles was going around the world with the Police. So I’m sitting there with Wall of Voodoo about to go on tour, and they needed a tour budget. I’m going, “What’s a tour budget? I called somebody who did that sort of thing and asked them to send me a blank form. And I put together the tour budget. I figured out how much it was going to cost, and I figured out how much they are going to make and here’s what we needed. And it worked. They went on the road and everything was okay.
More managers are marketing savvy today. They are taking marketing plans to labels and asking, “Where can you fit in?” It wasn’t as cut and dry in the ‘80s.
MIKE: I still have the marketing plan I put together for the Bangles in 1981 or early 1982. They didn’t sign with Columbia until 1983, I think. I don’t know if other people were doing that or not but we did at LAPD. That marketing plan stood through the non-Columbia years and, in fact, for the first couple of years at Columbia. The marketing plan was an LAPD plan for the Bangles, not for any specific label or record. We followed the plan until things really started taking off.
The Bangles were worked by a little indie label (Faulty Records) just like what’s going on now. By the time that they were signed by Columbia Records, they had a national, if not an international following, and they had done national tours and had been in a lot of magazines. It sort of irks me a little bit when I read about this new idea of (grass-roots marketing). I try to make it sound not like I’m not bragging but that’s what we did then.
Being that you came from a label background, and Miles Copeland had I.R.S. Records and had been working with the Police, you may have been a rarity. You both knew what had to be done so an act wouldn’t drop through cracks at a major label. That was important as the Bangle’s first Columbia release "All Over The Place" we didn't get much support from the label except from a couple of people on the west coast.
MIKE: Even once the Bangles signed with Columbia, there was a two-year period where they thought of them within Columbia as the little girl band from L.A. But they also got to be known as the band that wouldn’t go away because they would sell a couple thousand records a week. When we signed with Columbia, I said that it was not time to sit back. It was a time to kick ass. “Columbia is gravy. If we get something out of them, great. We have to keep on doing what we have been doing.” I didn’t make the decision all by myself. As a group, we realized that we had to keep on going the way we had been. That’s what happened.
Finally, we got the group into Radio City Music Hall with the Psychedelic Furs so that the Columbia people had to come across the street to see them. The New York (Columbia) people hadn’t even seen them.
Oingo Boingo’s song “Goodbye, Goodbye" appeared in “Fast Times at Ridgemont High” in 1982.
MIKE: That was first track that I had ever placed. The only reason I did it was that it would make some money. Oingo Boingo at that time was playing the Whiskey. So there wasn’t a whole lot of money floating around. This (the soundtrack) was an avenue. You could make good money then. You got good dollars. Now you get $500 or $1,000 as a startup situation.
What was good money then?
MIKE: It was good for us. I honestly don’t remember what we got paid. I just recall that we were ecstatic with that much money.
Often the attitude today is “sell us the track or we’ll get an unknown band.”
MIKE: That goes on but, back then, there weren’t that many bands
You were also music supervisor on several films.
MIKE: I did a few films. I got (film composer) James Newton Howard his first gig as a composer. It was a little film called “Head Office” (directed by Ken Finkleman in 1985) that was shot in Toronto.
And you oversaw music for “Adventures In Baby Sitting” (1987) as well as the TV series “The Equalizer” that ran on CBS, with Stewart Copeland doing the music.
MIKE: That was fun and it was pretty good income. I would have liked to have done more (music supervision) but I got involved in other things. It didn’t continue but it made me realize what (music supervision) is like.
Film supervision today is a full time job today. But, you and Jolene have been successful in placing your artists in films.
MIKE: We are always looking at that. As matter fact, we are about to sign Simon (Lynge) with a company that does music supervision full time because we recognize that it is a full time job to place things. We have a lot of things on our plate so we‘re about to do a deal with Secret Road (Lynn Grossman’s Secret Road Artist Management and Music Services) that is going to take care of Simon. They are already soliciting his music to some pretty big companies. We just completed the verbal side of the agreement.
JOLENE: Music placement has almost become the new radio because people are being introduced to music through their favorite television show as often, if not more often, than through their favorite radio station. Radio is so fragmented now with FM, satellite and all of the different HDs (HD Digital Radio) and everything else you can listen to online. They fill the void in terms of breaking music in a lot of ways. (Music supervisor) Alex Patsavas at Chop Shop MUSIC, gosh “Grey’s Anatomy” is responsible for breaking quite a few artists recently.
The impact of a song depends on the placement and the rare case of it being identified.
JOLENE: It does depend on the placement. Some of the ABC family shows and some of the Disney and Nickelodeon shows are now tagging the artists. You are right. (Identification) is not often and it’s about the individual placement. But (music placement in film or TV) is like getting airplay. If you are in high rotation you are going to get more notice than the guy who gets played on the specialty weekend shows.
Mike, you apparently talked Danny Elfman into composing the music for “Pee-Wee’s Big Adventure” in 1985. He didn’t want to do the film?
MIKE: What happened is that we got a meeting at Warner Brothers about this film. So we are on the lot and we are like lost kids. It was like, “Wow, Warner Brothers.” The meeting was with Pee-wee, Tim Burton--it was his first movie--and Phil Hartman who wrote it. It was a Friday, and Danny got the job. We weren’t doing cartwheels but we were thinking, “This is interesting.”
On Saturday, Danny called me and said I had to get him out of the deal. He had only scored a little movie that his brother had made (Richard Elfman’s “Forbidden Zone” in 1982) so he had a little bit of knowledge (about film composing). I said to wait until Monday, and I would talk to them. I found out there was someone called a music editor that neither one of us knew about. Someone who would help put some of the mechanics (of the music and film) together. We also made (Oingo Boingo guitarist) Steve Bartek part of the music team. Danny felt more comfortable with all that.
How long did the two of you work?
MIKE: 15 years. It ended in 1995 or 1996.
Did you make the deal for The Simpsons in 1989?
MIKE: Yes, and I got Danny his first four movies. After that we decided he needed an agent. We weren’t interested in any of the regular agents that worked with composers. They weren’t jumping at him. There was a guy working at Varese Sarabande Records, Richard Kraft, who was a music film nut. We talked him into becoming Danny’s agent. Now he’s one of the biggest agents in that field. Danny was his first client, and he’s still with him. Richard took on negotiations for Danny’s film work and I would oversee what was done, but I wasn’t on the phone with studios or anything. After a while, it was a matter of “yes or no.”
When did you and Mike meet, Jolene?
JOLENE: I was at Live Nation working as the VP of marketing along with several others. I enjoyed working there. At the end I think I was needing a change. I had my eye on going into management. I thought that it would be the logical next step. It turned out that it was.
At Live Nation, you did marketing campaigns for Aerosmith, Motley Crue, and others. What does marketing consist of when working for a promoter?
JOLENE: It’s advertising, promotion, overseeing the publicity, street retail, internet lifestyle, putting together campaigns in terms of where to spend the money and where to augment it with promotional campaigns in order to sell tickets and image the shows, the bands, the company, depending on whatever your assignment happens to be.
How many years did you work for the company?
JOLENE: I was there almost 8 years. From 1998 to 2006.
You started there when it was Avalon Attractions through SFX Entertainment, and Clear Channel Entertainment to Live Nation.
JOLENE: I think at one point my email tag said “Whatever we are called today.”
How did you come to be hired at Avalon Attractions?
JOLENE: (Founder and president) Brian Murphy and Brad Locker (now VP of marketing), called and asked me if I wanted to come over and work with them. I was at KLOS doing marketing. We had a really great relationship from that. I liked that live event world. I had liked working with those guys and coming up with creative things to help them.
At KLOS, you did promotions and marketing. Was KLOS your first job in the music business?
JOLENE: My first job in the music business. I was 19 when I started at KLOS. I started in the research department. I was looking for a part-time job while I was going to school. I was studying film at Cal State Northridge. I lived in L.A. not too far from KLOS. I saw a job posting at the university job board and remembered the radio station from when I was growing up.
You stumbled into music.
JOLENE: I was intending to become the female Steven Spielberg and we can see how well that worked out. I didn’t graduate. I was a couple units short of graduating.
You worked in films as a kid
JOLENE: Oh yeah. I did mostly extra work and some bit parts. I played Marlo Thomas’ daughter in a Christmas special (“It Happened One Christmas” in 1977). I was in ‘Back To The Future” (1985). Not big parts. I grew up in Alhambra which is near East L.A.
When did you work at Pop-Art Film Factory as an editor?
JOLENE: That was while I was going to school in the early ‘90s. I was crazy. I was working at KLOS. I was going to school full-time. I was editing music videos. I would leave the radio station, working either the morning or the afternoon, and then I would have either morning or afternoon classes at school, and then go straight to Pop-Art and edit to 2 or 3 A.M.
Did you work on any cool videos?
JOLENE: I worked on a Bodeans’ music video. I worked on a Kristen Hirsch video. One of my favorite was "The One” by WC and the Maad Circle. That music video was comical.
[WC and the Maad Circle, consisting of WC, Coolio, Sir Jinx and DJ Crazy Toones, released a pair of hip hop albums, “Ain't a Damn Thang Changed” (1991) and “Curb Servin'” (1995) and a few popular singles, notably "Dress Code,” "West Up!" and "The One.” WC left the group to work with gangsta rap supergroup Westside Connection with Ice Cube and Mack 10.]
Film houses use film students as grunts to edit music videos.
JOLENE: It was interesting being integrated into that musical world. I was really young at the time. I hadn’t edited much. But I was paid to edit. It was good.
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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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 Denver’s Division of Theatres and Arenas 08/23/10
Paolo d’Alessandro, International Solutions 06/25/14
Ros Earls, 140dB Management 02/19/14
Art Edelstein, Festival Productions 12/01/02
Bruce Eisenberg, Audio Analysts 08/31/01
Martin Elbourne, The Glastonbury Festival 12/18/09
Michael Elder, Red Entertainment 03/17/06
Tod Elmore, Sixthman 11/24/06
Paul Emery, Clear Channel Entertainment 11/19/04
Arty Erk, Citrin Cooperman 04/27/16
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock ’n’ Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gélinas, Festival d’été de Québec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Chris Gero, Yamaha Entertainment Group 10/26/16
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Steve Gietka, SMG Entertainment 03/19/14
Darren Gilmore, Watchdog Management 03/17/16
Daniel Glass, Glassnote Entertainment Group 10/16/14
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Neil Goldberg, Cirque Productions 04/16/14
Martin Goldschmidt, Cooking Vinyl Group 09/29/16
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, Turntable.fm 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Justin Kalifowitz, Downtown Publishing 04/20/17
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Música e Cultura 05/04/17
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Paul Reed, Association of Independent Festivals (AIF) 06/14/17
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, ItsAboutMusic.com 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Peter Shapiro, Ideal Entertainment 04/16/04
Seth Sheck, Access Pass & Design 01/03/03
Seth Sheck, ACCESS Event Solutions 06/22/16
Seth Shomes, The Agency Group 11/12/14
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Michael Simon, The Harry Fox Agency 08/14/13
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Peter Smidt, Eurosonic Noorderslag & manager Buma Cultuur 07/17/13
Garrison Snell, Gyrosity Projects 02/23/17
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
Nikki Solgot, Circle Talent Agency 02/18/15
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Mandar Thakur, Times Music 08/06/15
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Marsha Vlasic, Artist Group International 05/31/17
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Kirt Webster, Webster PR 02/03/16
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Adam White, Author 09/14/16
Adam Wilkes, AEG Live Asia 10/13/16
Fenton Williams, 04/04/08
Del Williams, Right Arm Entertainment 04/18/08
Bryan "Birdman" Williams, Cash Money Records 09/13/11
Paul Williams, ASCAP 10/19/11
J.P. Williams, Parallel Entertainment 10/03/12
Kurt Willms, Green Room Productions 09/20/03
Chris Wilson, Heartbeat Records 03/02/07
Tony Wilson, Factory Records/In The City 06/01/07
Tom Windish, The Windish Agency 07/26/10
John Wiseman, XL Touring Video 05/05/06
Thom Wolke, Twincloud.com 02/08/02
Michael Wood, City Lights Entertainment 08/08/08
Keith Wortman, Blackbird Presents 03/22/17
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, CultureCatch.com 07/27/07
Jeremiah “Ice” Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
Kevin 'Chief' Zaruk, Chief Music Management 06/10/15
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06
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