Industry Profile: Ben Turner

— By Larry LeBlanc

This week In the Hot Seat with Larry LeBlanc: Ben Turner, dir., Graphite Media

Ben Turner’s world is the dance floor.

Turner is director (and owner) of Graphite Media in London, England. Formed in 2001, the company--with a staff of 5--acts as a broker between the music world and brands, working with such top-flight firms as Sony Ericsson, Singstar Playstation, Budweiser, Smirnoff, and Orange RockCorps.

The company also manages the internationally renowned DJs Rob da Bank, and Tom Middleton; and represents electronic pioneer Richie Hawtin for new business.

A former Melody Maker writer, Turner founded the highly-influential Muzik magazine in 1995 when he was just 21. Today, Graphite Media publishes the Pacha and the Soho House magazines. Turner has authored two books, “Cream X 10” and “Ibiza—Inspired Images From The Island of Dance.”

Turner has produced over 50 TV shows on dance music culture for ITV and Channel 4 in Britain.

Currently, he is a director of Bestival, one of the Britain’s leading music festivals, as well as a director for Sunday Best Recordings, and the under-18s brand, Let’s Go Crazy. He is also the founder and deputy chair of the Association of Independent Festivals in the U.K.

In 2008, Turner and BBC Radio 1 DJ Pete Tong, launched the International Music Summit in Ibiza. IMS 2010 takes place from May 26th - May 28th at the Ibiza Gran Hotel.

The event brings together an invited selection of leading players in the global music scene. IMS invites not only the electronic music community but also advertising, radio and label representatives.

IMS 2010 will feature a keynote interview with producer Mark Ronson; a one-to-one interview with Alexandra Patsavas of Chop Shop Music Supervision; such speakers as Ted Cohen from TAG Strategic, and legendary producer Arthur Baker; as well as such leading music figures as David Guetta, Luciano, Annie Mac, Erick Morillo, DJ Skream, Pedro Winter / Busy P, and Robin Millar.

Today, the impact of electronic music—still referred to as dance music by many---is prevalent once more as the Black Eyed Peas, Lady Gaga, Kelis, Taio Cruz, Jason Derulo and Iyaz rev up the RPMS with productions by such in-demand producers as David Guetta, Jacques Lu Cont, J.R. Rotem and RedOne.

In the late '80s, Britain’s dance scene exploded. While DJs became superstars in the U.K. and Europe, they rarely broke out in America until the late '90s, when American alternative radio embraced Daft Punk, the Chemical Brothers, and Moby. But the genre quickly lost its mainstream popularity, particularly in America.

While the DJ culture remained a force internationally, the genre moved to an underground status in the U.S. The genre also remained off pop radio until recently.

Clearly, it has returned as an international force again.

A decade ago dance music started being branded as electronic music.

I have been very keen to use the word electronic because I found from meetings that I would attend post the start of the millennium that there was a real negativity toward the word dance. I think (the name change) was an important way to redefine the genre in the eyes of brand managers at big blue chip companies who had read in the newspaper that dance music was dead. Then it must be dead. Also everybody approached (dance music) in a different way. When dance music became so mainstream a lot of what came out, and was in that Billboard club play/Top 20 chart, I would say was not really dance music.

Having DJs Pete Tong and Rob da Bank on BBC Radio 1 provides a good platform for the genre in the UK, if not internationally.

To be honest, living in the UK, if Radio 1 didn’t exist, you’d sometimes wonder where electronic music would be. They haven’t let go. There was a time they wouldn’t put (electronic) stuff on their playlist but just the specialist output from 7 P.M. onwards is amazing. What’s happening now is that people all over the world are listening to Rob da Bank and Pete Tong, whether it is through the Internet or on Sirius or XM satellite in America.

Rob gets a lot of international attention because of his BBC Radio One show that is broadcast on the Internet. The Bestival (a three-day boutique music festival run by da Bank and held annually at Robin Hill country park on the Isle of Wight, England) has got a lot of interest from all corners of the world because it is such a high bench mark for how a festival should be presented and curated.

[Peter Tong is known worldwide by fans of electronic music for hosting such programs as “Essential Mix” and “Essential Selection” on the BBC radio service, which can be heard through Sirius/XM in the U.S. as well as via Internet radio streams. Rob da Bank (aka Robert Gorham) presents a Friday-night/Saturday-morning show, “Rob da Bank,” on BBC Radio 1 from 5am-7am, focused on promoting new music.]

Electronic music was probably the first musical genre to embrace the online world. The magazine world that I used to be in--the dance magazine market, it massively imploded as it has with most music magazines. (British DJ/producer) John Digweed used to say to me that as much as how we used to love Muzik magazine—the magazine I ran—that all his audience was now online. He told me, “I don’t need a magazine. I know my audience, and I interact with them. They live on online.”

We were the first genre of music to really live online. It was always a very global sound because of the very nature of it not being song-dictated, of not needing a vocal to make it work. I think that was then followed and mirrored by the global audience. Everywhere you go around the world, from Brazil to Los Angeles to China, you plug into a very similar industry and like-minded people.

America was one of the last markets to embrace electronic music. Now French house producer/ DJ David Guetta works with the Black Eyed Peas.

David Guetta has become a face that people associate with dance music. Whenever anyone thinks about his music what he’s done and the doors he’s opened, he’s amazing news for everybody.

I was involved in a show called “Dancestar.” I was the creative director on that show when it came across to America (as “Dancestar USA”). We had three amazing years. The first year it was on MTV. Then MTV 2. Then we went onto a cable channel. We tried too hard to get that onto network television. It fell short just because people in positions of power didn’t think that the genre was ready for it.

If that show, with the level of investment we put into it, appeared right now in the United States, it would be a very different proposition. What David Guetta has done is that he has put a face to the genre. (Previously), people thought it was a very anonymous genre even though to people like me these DJs are icons and superstars. Paul Oakenfold was the only name anybody had heard of at Fox or ABC (when we were pitching ‘Dancestar USA’).

This is a real testing time for electronic music, really.

When dance music exploded before, it spectacularly imploded. A large topic at the summit (International Music Summit 2010) is “Okay, guys we are back in this position where the spotlight is back on everybody. How are we going to sustain this, and not make the mistakes that everybody made 10 years ago?”

Isn’t it safer for the genre to be bubbling under the mainstream?

Dance music is most comfortable sitting just under the mainstream and every now and then popping its head into the mainstream but also sitting as a subculture. That is where I think it is most comfortable.

David Guetta is obviously projecting the scene back out there again. The spotlight is on us again. In a way, of course, that’s great. But people have still got to keep the principals of what this genre is about, and not sellout. Not take the mad money offers that are out there. All of the major record companies in the States are now trying to buy up UK dance labels or they are trying to have an English act (on the roster) or they have to have a dance act on their books. It is just like it was 10 years ago. It is quite funny to see. The difference this time is that all of the major players currently controlling dance music saw this 10 years ago. I would hope they would look very carefully at what moves that they do take, and what offers they do take because (labels) jump off of this stuff as quick as they jump on it.

The whole spirit at the conference year one (in 2008) was how we are an independent movement being run by independent principals and that we don’t need the majors. I remember Jason Ellis who works at EMI (as head of A&R for EMI dance imprint Positiva) coming up to me at the end of the conference and saying, “I think nobody wanted me to be here.” I said, “That’s not true. It is just is that (independence) is what this genre is about. It doesn’t need you (label) guys. It’s great when you guys come in, and you get it right. But it can exist without you.” That’s what this genre is all about. The spirit of independence.

By keeping the entrepreneurial spirit, you also have the ability to better create the music as well. That it doesn’t become something else.

I don’t think anybody ever wrote a great dance album by being told what to do by an A&R man. I don’t think it has ever happened. I just don’t think that’s what the music is about. Give me an example where an A&R man made a major label dance record that was great.

Graphite Media works as a broker between brands and music. Who have you worked with?

We have booked a load of talent for Sony Ericsson, Budweiser, and we have booked Smirnoff’s global talent for a couple of years. We currently do Orange RockCorps which is an amazing initiative in the U.K. The only way to get a ticket is to do four hours of volunteer work. We curate all of the musical lineups for that.

[RockCorps is a production company that promotes volunteering in exchange for concert tickets. RockCorps uses the slogan: “Give 4 Hours, Get 1 Ticket.” RockCorps’ funding comes from partnering with brands who are seeking to create marketing programs that have a theme of social change.]

You put Mark Ronson together with Duran Duran for a Smirnoff show.

I spent a year trying to make that happen. It was on, it was off and it was on again. I didn’t let it go. It was a truly genius partnership that has now resulted in Mark Ronson producing the Duran Duran album. That came off the back of the Smirnoff gig that we put together in Paris. We put Faithless together with a Russian Orchestra. We also did a Smirnoff show in China (Shanghai) where Tom (Middleton) and Hard-Fi worked with a Chinese drum orchestra which didn’t speak a word of English. Tom translated it into the most incredible performance.

[On July, 2 2008 in Paris, Mark Ronson performed a unique live set with Duran Duran for an exclusive, invitation-only performance. Together, they showcased specially re-worked versions of some of Duran Duran's classic hits that were created by Ronson, along with tracks from the band's album, “Red Carpet Massacre.” Ronson & the Version Players also performed songs from his album, "Version" with Simon LeBon as one of the featured vocalists.]

What are brands seeking when they come to you?

A lot of the brands think that they can step into the music industry and get this or that because they can wave a cheque book in front of them. It doesn’t work like that. We save brands a huge amount of time by knowing if a certain act will do something. We’ve got a very good feel. If a brand gives us a brief and says, “We’ve got X amount of money. This is what we want them to do. Here are the rights that are needed.” We can pretty much tell them instantly which acts will do it; tell them whether they will need more or less money; and tell them whether the rights they want to put through are achievable.

So many brands just ask for the world?

They’ll say, “Everything you’ve got.” We manage to cut through a lot of that. Part of our expertise is knowing how to curate the right musical lineup for a brand that gives off the right brand impression. Also knowing how to acquire the rights that they need as well as being able to deliver what the brand expects.

We did an amazing event for Sony Ericsson last year when they were launching three phones into the European market. They gave us a bit of a brief. We came straight back with an idea where, in front of a 700 media audience, we recreated Vivaldi’s “Four Seasons” in a contemporary, largely electronic form. We used people like Goldie, Sister Bliss from Faithless, Ms Dynamite, Kano, Layo & Bushwacka! All sorts of people. We used a film director (Andrea Arnold), and actors. We created this theatrical 30 minutes. Everything was done on the day. Nobody was allowed to do any work beforehand. They turned up and they had a day to rewrite “The Four Seasons.” They each did a season. Then we performed (the piece) on the spot for 30 minutes.

It was an amazing event where the artists were truly inspired. This act enabled these artists to do something of real musical value. That’s everything that we strive for with these brand deals. It just isn’t a budget exercise. Who would have ever given either Mark Ronson or Duran Duran the money to go and experiment and do what they did? Nobody would do that. So, actually these brands are serving a very good purpose if handled correctly.

[On October, 7 2009 at London's P3 warehouse, Sony Ericsson created a one-off music spectacular for the launch of its new Satio handset. The event gathered a collective of music producers--Goldie, Layo & Bushwacka!, Sister Bliss & Tom Middleton, teamed them with Kano, Scroobius Pip, Ms Dynamite & Booty Luv and challenged them to stage Vivaldi's “The Four Seasons” in 7 hours. Live support came from the Bays and the Heritage Orchestra, with visuals provided by DJ Yoda who mixed footage provided by Academy Award winning film director Andrea Arnold shot on the new Satio handset.]

How many people are expected for the conference this year?

If you include speakers and media, it’s about 700. It is about 450 paying delegates. It’s a nice number. Not too big, and not too small. I take my hat off to Sat Bisla and Musexpo. When I went to see Musexpo in Los Angeles in 2007, it was that size. It was that size that I loved about it. When you have a small gathering you get good people. It’s as simple as that. When you go too big, you lose people. They don’t want to be hassled.

That (size) comes with challenges. We have invested a lot of time and, at this stage, there’s been no return. But, we are very proud of what we have created. We are delivering something that is different from all of the other conferences that are out there.

A 1990 Channel 4 documentary was largely responsible for introducing you to the Balearic beat of Ibiza.

To this day, it’s the best documentary ever made about the island of Ibiza. I saw it and I had to go there. It was during a time that I was very into a label called Boy’s Own. The (documentary) was inspiring. So I went on holiday there, and begged this guy to go with me. After 7 nights in 14, he begged me to leave because he couldn’t handle it. Every night, we were hearing all these DJs on this paradise island. I was 17 then. I have been back (to Ibiza) every single year since. The least I’ve been back is four times in a year. Mostly about 15 times a year. I keep going back there. I keep finding new sources of inspiration. That turned into us doing a few events there. We also produce a lifestyle magazine for Pacha, the dominant club there. It puts DJs next to Hollywood stars next to big pop stars in a very cool way. It has become the Ibiza bible.

[Ibiza, the Spanish-owned Balearic island, located in the Mediterranean, has had a reputation as a party haven since ‘60s. Dance music arrived on the island in the late ‘80s, leading to more than a decade of booming business, during which many of the world's biggest clubs—including Privilege, Space, Eden and Amnesia—set up on the island.

In 2008, however, the local authority, the Consell Insular de Ibiza, passed laws aimed at curbing Ibiza's 24-hour party lifestyle. The new legislation forces discotheques to close between 6 a.m. and 4:30 p.m. and made unlicensed villa parties illegal.]

Has the government restriction chilled down the scene in Ibiza?

It definitely has. It has put quite a few people off. I think the numbers (of tourists) have been hit as a result. I think that there are reasons why they did what they did that were sensible. We live in a different world and people should be responsible. I think certain elements of (the legislation) were right to do.

I have seen some terrible flashpoints. You’ve got 2,000 cars with people completely off their faces going one way; and then you have 400 cars with people taking their kids to school the other way. It is not a very pleasant mix.

But, equally, the villa part (of the legislation) is absurd with the extreme that (authorities) have taken it to. I do think that they are biting the hand that feeds. Surely, it is much better to have people in a nightclub between 6 A.M. and 10 A.M. than running off to all different parts of the island, and doing different things. People are going to still party. They are not going to go to bed when they are on holiday at 6 A.M. The island’s clubs don’t get busy until 3 A.M. The Spanish lifestyle of eating at 11 P.M. and going to a club at 2 A.M. well, fine but then don’t shut the doors on people four hours later.

The conference offers location, location, location.

I’d say content, content, content. I don’t get any content out of any of the other (electronic music) conferences, apart from ADA (the Amsterdam Dance Event), really. What we try to do is to present things in a slightly different way. Seven people sitting on a panel does not make for a good panel. We have tried to strip some of that back. We bring people from all over the world to talk. If you only give them three minutes to speak, it doesn’t make any sense. We just wanted to find new ways of presenting content. We also make sure that none of the panels overlap so there’s real focus. Not only that, we are making content on site. People create the IMS anthem of the conference in front of the audience. These are obvious things but nobody else is doing them.

It’s noteworthy that acclaimed American music supervisor Alexandra Patsavas of Chop Shop Music Supervision is being interviewed at the conference.

I am finding that increasingly that TV shows on the big networks in the U.S. want more cutting-edge music, and electronic music fits that bill. I have also been to quite a few conferences and Alex is clearly the number one (music supervisor) out there. The IMS is a lot broader than just being about electronic music. It is our general focus, but there is a lot that the people from the electronic world can learn from people who don’t work in electronic music and vice-versa. It’s good to have some people from outside so we can draw from everybody’s experiences in the wider music industry.

Graphite works closely with Rob da Bank, Tom Middleton and Richie Hawtin, Oxford-born Canadian passport.

We manage Rob da Bank, and Tom Middleton. We don’t manage Richie Hawtin but we represent him for new business opportunities. We are talking to various potential brand partners to be associated with his Plastikman tour. Rob da Bank’s career includes us being a director of his record label Sunday Best (which includes the acts Grand National and Kittie Daisy & Lewis) and the Bestival festival.

How did you hook up with Richie Hawtin?

My previous life was as a journalist. I worked for Melody Maker. We had a 4-page dance section there. We were fighting within against jaded rock hacks. It feels like we have been doing that ever since. I went out to interview Richie and see one of the projects he did in the Packard Plant building in Detroit. So we have had a very strong connection with him. We were a big part of pushing him in the UK through the rock press at the time which made him stand out from a lot of the DJs at that time. I just felt that this guy is a true icon. He’s a truly unique maverick and one of the smartest people in the music business, never mind the electronic business.

Tom Middleton has a long history in ambient and deep house.

Tom was around at a similar time as Ritchie. He was in an act called Global Communication with Tom Pritchard (in the ‘90s). People to this day will say they did some of the best chillout music ever made. Tom is one of the quickest and smartest producers. We do great stuff with him with a lot brands and a lot of TV and film. He’s just so talented. It was at that Shanghai gig for Smirnoff’ where I had a conversation with him saying that we wanted to manage him. Tom understands the brand world, and he’s a genius at the music thing. He is such an asset. He is so articulate. He can explain and convey what he he’s trying to do in a way that very few can.

How did you get involved with this music as a fan?

Listening to John Peel. His (BBC Radio 1) show was the audio version of reading the NME or the Melody Maker. The way he would drop in a track by 808 State or A Guy Called Gerald or LFO. I wasn’t old enough to be around the first wave of the raves. But when John Peel played that kind of music, it had an element of indie music slant to it. It wasn’t rave music. It was much more profound, really. So, it was listening to his show that really opened my eyes to a lot of music.

When I started going to London to work for Melody Maker, I started sampling a bit of nightlife, and that was it. I was completely down that path. I went to a few clubs in London that were hugely influential in my life, like Love Ranch and places like that. Coming from Oxford where nightclubs were about people getting drunk, having a fight and buying a burger at the end of the night, it was quite incredible to hear this music. I didn’t know anyone. I would stand in Love Ranch on my own for hours. I got in on the guest list, and I would just listen and dance and just absorb it. That was it. I just wanted to give up every possible moment of my weekends in those sorts of places listening to music.

[The Leicester Square Saturday club night The Ranch--as it was known--exploded the London club scene wide open as the first West End nightclub with a 6 A.M. license. It was also one of the first club nights to tour the U.K. in the early ‘90s.]

You were hired at Melody Maker at 16?

I was an intern working there for free for work experience. I was commuting into London from Oxford every day. I just want to be involved. By the end of that summer it was like, “My God I can’t go back to the real world.” I told my parents, who were both teachers, that as much as I admired what they had done, that this (music journalism) is what I wanted to do. I loved being a part of it. I was an obsessive NME, Melody Maker, Sounds reader. I just wanted to be in that world. Pushing and promoting music. I was at Melody Maker from 1989--when I was 16--to the late ‘90s.

Initially, I was hired to run the picture desk because they just wanted to find me a job. I had written a couple of quite lame articles. Once I was fully in there, whilst I was filing photographs and looking at very hot photos of (actress) Patsy Kensit in the picture file, I got to know certain people that would come in. Like Jeff Barrett who was running Heavenly Records, and the guys from Boy’s Own, an iconic label that I idolized. I was the only person in this rock paper that was knowledgeable and passionate about what they were doing. That just grew and grew. Eventually, (the editors) gave me a little column, and that column just grew each week. Then they gave me a section called Orbit. Within three months of launching it, (Melody Maker editor) editor Allan Jones said to me, “Look, I don’t understand what the hell you are doing, but whatever it is, keep doing it.” Alan is an amazing and legendary character, but he really didn’t get dance music.

The reason he said that was that R&S Records from Belgium had just booked 7 double page spread color adverts in the middle of Melody Maker. No major record company had done that for three years.

When did you launch Muzik magazine with IPC?

Melody Maker was owned by IPC (IPC Media). So I was already within the company. The launch of the magazine came in 1995. We then ran the Muzik Awards from 1996 to 1999. Then I set up Graphite in 2001.

You fought hard at Melody Maker for dance music before launching Muzik.

As much as being at Melody Maker was probably the most important part of my career, it quickly turned. The people who gave me the chance were suppressing dance music from the pages of the magazine. I was on a mission. Mixmag (also owned by IPC) was doing incredibly well at the time but I found Mixmag to be a very depressing read. I’d open up the magazine and there would be six pages of (DJ) Jeremy Healy fishing. I’d go, “What the hell does this say to me with what I’ve been listening to---Underworld or the Chemical Brothers or these really important acts making really important music?

I went to the top (IPC) brass upstairs kicking and screaming about how angry I was that I couldn’t get more than 4 pages a week in a 70 page newspaper (Melody Maker) and that Mixmag was doing the genre of music and the record industry a disservice. They did some research and the research came out massively in our favor. That Mixmag’s advertising was all clubs and what we wanted was a magazine where all of the advertising was from record labels. That was my background from having worked at Melody Maker.

(Muzik) was about treating this music with care and attention. People would say that we were too serious with the magazine. I’d say, “Well, I don’t care. This is a serious thing that we are doing. This is not about DJs going fishing.

[IPC Media closed down Muzik in 2003.]

When people release electronic product today, is it their intention to sell product or to promote personal appearances and other things?

Unfortunately, the way the record industry has changed what you have outlined is sadly ringing true. I don’t want to state the obvious but what everybody is saying is true. It used to be that the gig was to promote record sales. Now, it is completely the other way around. I don’t think any of us are happy with that but that’s the way it is. That was never what we set out for record labels to be there for.

Richie Hawtin is a great example of someone with this incredible brand and culture around him. He’s an artist but he’s also the agent and he’s also owns the publishing and the master usage. Suddenly, it all works. If the record sells 2,000 copies, well it’s still promoting his career in a massive way.

Something that we are trying to get into the minds of these DJ in this genre is that they need productions out there—like four or five a year, if not more just to keep their name in the market because the kids are moving on so quickly from one name to the other. They are not hanging around for a lot of people. You have to keep engaging with them.

That engagement is vital when the media generally does not cover the electronic genre.

I have been hugely pleased to see a great media reaction with Richie’s Plastikman project that is out there now. We haven’t aggressively gone after much media. That will come when product gets released. But the general media pickup is there. Richie’s first Plastikman live show was the Time Warp Festival with 30,000 people. His Coachella performance was amazing.

You are just seeing in the LA Times, LA Weekly, the general acceptance of this genre of music is there. It is accepted. I don’t feel the fight is quite what it was. I think that the challenges, as I said earlier, are not what places can we get it to that we are not already in, but it is how this genre going to sustain itself and not implode again.

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