Industry Profile: Charles Caldas
By Larry LeBlanc
This week In the Hot Seat with Larry LeBlanc: Charles Caldas, CEO, Merlin.
With more than two decades of experience in the independent music industry, Charles Caldas, as CEO of Merlin, now stands guard protecting the sector’s interest within this new world of emerging technology and global distribution.
London-based Merlin is a non-profit organization representing independent music companies on a global basis. As former CEO of Australia’s Shock Records, Caldas has a comprehensive understanding of the mechanics, drivers and needs of the independent sector, including its global power.
To its dismay, the independent sector has discovered in recent years that it can be marginalized in industry negotiations over music use.
Independents were outraged with the initial MySpace Music offering in 2008, in which only major record labels were granted ad-revenue sharing deals and equity stakes.
Until MySpace Music’s subsequent deal with Merlin, independents and unsigned artists faced being shut out of the revenue stream generated by ads on MySpace Music pages. Now the same eligibility and level of participation is offered to all independent labels licensing content to the service.
Launched at MIDEM in 2007, Merlin was quickly ratified by independent trade associations, as well as by leading independent labels, distributors and aggregators from around the globe.
MySpace and others may have figured that the music business is still the Big Four (Universal, EMI, Warners and Sony). However, independent labels represent about 30% of the global recording business today.
Caldas argues that the continued strength of iTunes and the massive uptake of users on Spotify in Europe illustrate that such services are succeeding because they are offering their customers a full choice of major label and independent music.
However, new services seeking to license music for online usage can go to Universal Music and practically tie up a quarter of the world's repertoire in a single deal. Independents may have long railed against the barriers to entry in the mobile and online spaces, but until Merlin came along, it was difficult for larger web sites and carriers to effectively deal with the independent sector.
The creation of Merlin made it a reality that there would be one global body representing the rights and interests of independents in such negotiations.
Merlin struck its first licensing deal in 2008 with the Sweden-based streaming service Spotify, where it is estimated Merlin members now account for over 10% of usage across the six European countries in which it operates.
Merlin has since inked key agreements with: simfy, Germany’s largest streaming subscription service; British Sky Broadcasting’s Sky Songs, an on-line audio streaming service and digital audio store; U.S. music subscription service iMesh; Irish music video web site Muzu.tv; the music community website Audiotube; and CatchMedia’s Play Anywhere, a cloud-based music service.
Merlin now has 6,000 label members from 25 countries, including such recording companies as: !K7, The Beggars Group, Aggro Berlin, Domino, True North, Naïve, Tommy Boy, One Little Indian, and Kontor Records, as well as such distributors as Kontor New Media, State 51, Virtual Label and Redeye.
Among the independent artists it represents are Vampire Weekend, Arctic Monkeys, Tosca, Bjork, M.I.A., Franz Ferdinand, Last Shadow Puppets, FIDO, Animal Collective, Scooter, Tiesto, White Stripes, Tom Waits, and the Pixies.
Caldas came to Australia from South Africa in the late 1970s when he was 12. His parents decided to migrate there to avoid having their son being conscripted into the South African Army.
After playing in several bands during university, Caldas got his first job in the music industry packing boxes. He joined Shock Records a year after David Williams, Frank Falvo and Andrew McGee launched the company, and he climbed through the ranks to become CEO.
For its first few years, Shock Records was perceived as just a hip indie label. Then it started having dance and pop hits, and international labels like Beggars, Koch and Epitaph came knocking on its door for distribution in Australia.
Today’s Shock is Australia’s largest independent music company.
Caldas, who moved to London in 2007 to head Merlin, has served as a board member of the Worldwide Independent Network (WIN), the Australian Recording Industry Assn., and the Australian Independent Music Association.
How many members does Merlin have?
At last count we are up to around 10,000 labels represented.
How much catalog?
We don’t tend to talk in numbers of tracks.
It was 1.5 million tracks 18 months ago.
I’m sure it is more than that now, but the measure that we have really taken to using is looking at market share. There’s two ways of looking at market share. One is pure Soundscan, looking at the broad market. In the UK, based on the official chart company figures, we (Merlin members) are just over 11%. In the U.S., (where the market is) slightly more fragmented, It is probably just under 10% which is healthy.
When we then look on practical applications where we have done deals, such as our long standing deal with Spotify, the market share there--depending on territory--varies between 11% and 16%. So we are definitely in that 10% to 15% band of value. So, this is not a bunch of long tail repertoire that is marginal.
The argument for different tier payments for tracks is that the majors are selling hit or popular tracks.
This is something we have looked at and something that we have talked to the services about a lot. Let’s look at the most successful music destinations. There’s LimeWire, The Pirate Bay and the (various) BitTorrent sites. Then, there’s the legitimate side with iTunes and in Europe there’s Spotify, which we have this massive success with. Something that they all have in common is that whatever you want is there. The offering is pretty much comprehensive. Customers have come to expect that. So, if you then build a service that has an incomplete offering, whether by design or by ignorance or by having an underlying belief that independents don’t matter, it’s inferior. It is just inferior in the marketplace.
This notion of value is important with independent repertoire.
I just gave a talk on this recently, and this was one of the things that struck me as I was trying to explain to people why Merlin was created. Part of it was the obvious thing. That as the market went from a regional network model to a global model- where once you put something online it is available globally and services weren’t limited by geographical boundaries in the way that physical retail was - It became a lot more complicated for independent rights holders to get on these services. Even if they were a very important big label or distributor in Europe, getting the attention of a service being run out of the U.S., on a global basis, is very difficult. And, from the services’ point of view, even though independent repertoire globally represents about 30% of the market, to effectively get to all of those (independent) people is thousands of thousands of conversations and negotiations, even with the (independent) aggregation that has happened in the marketplace.
The first thing we looked at was efficiency, but then this notion of value really hit me because what we essentially do is make it easier for services that are coming into the market to get the most important independent repertoire in the world in one place. The kind of labels that are attracted to what Merlin does are not the long tail, small bedroom operations.
Spotify has publicly said that Merlin repertoire represents over 10% of their overall business. That’s across all of their territories.
Certainly, Spotify’s perception is that independent repertoire is incredibly important to their business. I know what our share is. I don’t quite know what the entire independent market share is on Spotify. One thing that has been interesting, is that as you move up the monetization layers, and the more expensive the (Spotify) service gets—it starts with the ad-funded portion, and goes right up through the mid-tier subscription to the mobile subscription, which is the most expensive--our market share goes up. So people that pay for music, and who pay the most for music, seem to also consume music broadly.
Independent music can be somewhat exclusive in that it can’t be purchased everywhere.
People who consume at places like Spotify, whether you consider them early adopters or advanced web users, they are demanding. I think that they support the sites that give them what they want. Certainly, one thing that we have discussed with Spotify, and what they feel has been a successful strategy for them, was not launching their service until they had the consumer offerings from a repertoire perspective. They didn’t want somebody coming to the site and being able to find Green Day but not being able to find the White Stripes.
Has that been their concern about not launching in the US?
I’m not privy to that. My impression is that Spotify has a very clear vision. In the way they launched and (that they) held the European launch until they got the product right. I’m sure that they are taking the same approach with their American launch.
MySpace Music overlooked the independent sector. That has happened again and again.
As you say, we have seen it over and over again. Part of it comes from this misperception of where the value is in the market and, I think, probably at its core, that the (online) business wasn’t initially put together by people who had any level of sophistication and understanding of the music market.
Those large corporate entities of AOL Music and Yahoo Music, those entities when they came in, didn’t really engage with the independent sector, or they engaged with one or two companies. We have heard so many times that, “We’ve got a million tracks from The Orchard, so we’re fine. We have the independent sector covered.” They are taking this totally numerical approach to licensing, which is wrong. “We have a million tracks. That should cover us.”
They consider the music industry, but they don’t follow music.
Yeah, and we still come across this kind of thinking, particularly with companies coming into the market with the kind of (attitude) “Let’s just start the service, and we’ll worry about paying for music later, and see if anyone sues us.” They will look at who can do them the most damage first. That was always the majors because they were the most litigious, and they had the resources, time and energy to do it.
Of course, there’s been the RIAA (Recording Industry Association of America) prepared to do battle as well.
Yes. But what I don’t understand, is that services that come into the market and, for no reason that I can see other than a mind set, they will ascribe a different value within their service to independent repertoire. This was one of the cornerstones of the formation of Merlin - the fact that a long-term, healthy and competitive music market, that allows innovation and creativity, cannot have a two-tier system of remuneration. You can’t maintain a healthy independent sector when it is getting paid substantially less than its competitors are getting paid. It just is not sustainable.
Merlin has changed the perception of the indies in the marketplace.
Absolutely. In the last six months, it has started feeling like that. It is a couple of things. Partly, it’s us and the work that we’re doing to change the perception of the value of independent repertoire. There’s been this association for too long that independent, being unsigned or independent, equals bedroom artists. You look at the Billboard charts this year, and look at the UK charts in most years; but this year, I suppose, it’s sticking out a little bit more, independents are more than holding their own. The notion of independents as providers of front line content, and of hit repertoire, is something that took awhile—and, still I think in some cases, it takes awhile to get across to people.
The independent sector has become more important as the majors have had to deal with consolidations and roster cut backs.
The other thing that is happening as this market evolves and as the consumption of music increases, whether by legal or illegal means, those (former) barriers of entry to retail on the rawest level aren’t really there anymore. What we (now) see, is the (strong) performance of independent repertoire on digital services that don’t have limited shelf space in the way that physical retail used to. You used to have to buy your racking. Obviously, those with the most money bought the most racking, had the best positioning and all of the rest of it. Whether on Pandora, Spotify or on iTunes, independent repertoire performs above what people perceived (it did) in the physical market.
Merlin has made deals in the past year with Sky Songs in the UK, and Irish music video Web site Muzu.tv; and, in May, with simfy, Germany’s largest streaming subscription service.
We have also concluded a deal with AT&T for its new U.S. mobile service, and we are close to the completion of a deal with Vevo. There are more (deals) coming.
How did Merlin miss out on the free, advertising-supported U.K. streaming service We7 that launched in 2007?
There are a few services that would have made a lot of sense for Merlin to deal with, but we came along after the fact. There’s another yet-to-launch service called Catch Media, which is kind of a cloud computing service. They are in the process of launching. There are a number of deals there.
What is your sense of the overall music industry?
On a broader view, there’s no doubt that it is an extremely challenging environment. I think that some of what has led us there has been some incredibly short-term thinking. There’s been a focus on extracting short-term value, as opposed to building something that is long-term and healthy, an eco system that sustains the broadest possible range of not only music producers but music services.
The Kazaa settlement in 2006, as well as the initial MySpace Music deal that favored major labels, led to a renewed desire among the independents to more aggressively press for equal treatment in a digital music market.
Absolutely. I totally agree. If you take a long view of this, which we have to, this is different than coming into the market and trying to turn a short-term buck. We are really trying to build an infrastructure that will be important to the independents into the future. We had to have those arguments to flush out the issues. It was not necessarily going out and picking fights, we were getting sand thrown in our face.
The Kazaa settlement was pretty early on.
Well, I think with Kazaa there was a belief that the industry trade bodies, the RIAA, and IFPI were going to do that (a settlement) on behalf of everybody, which clearly wasn’t the case.
Up to the initial MySpace Music deal, the leading independent labels still felt they would be treated equally and fairly by the new services. They then discovered they weren’t being invited to the table.
No. Look, there are layers and layers if you start looking into what, where and how the digital space has developed in regards to independent repertoire. If you talk to the biggest independents, they clearly don’t like being lumped in with this kind of long tail perception.
I have been in the independent sector for my entire music life. I ran Shock in Australia for a long time, and I was in a band before that. I’ve been in this world and I’m probably as cynical as the next person when it comes to how much independents are able to ignore the fact that they are independent and (must) create something that is of a mutual benefit to them.
Merlin has been extraordinary. From the very first day, we gathered a lot of memberships very quickly, and from the leading independents first, which I thought was most encouraging. It was created by the leading independents on a global basis, outside of those core companies that really worked first to put it together.
Merlin was part of a suit against XM Satellite Radio Holdings for copyright infringement which is nearing settlement.
XM is a two year old lawsuit we have been participating in over the recordable Inno (recording) device. We will feed that (settlement) through to our (members) over the course of the year. There have been other settlements that we’ve done that have to remain confidential due to the nature of the agreements.
Has a settlement been made by Merlin with LastFm over its Artist Royalty Program?
I couldn’t comment on that. But I would say that was reasonably astute.
The lawsuit with XM indicates that there is another side to what Merlin does.
The other side of what we do is copyright infringement work. Not against users or consumers, but, essentially, against services that have settled with the majors or are in the process of being sued or settling with the majors. One of the things that struck us all at the inception of Merlin was that what was really missing in the Kazaa instance was somebody out there gathering the evidence, and putting claims in on behalf of independents in those kinds of cases.
When did you leave Shock Records?
I left Shock in the middle of 2005.
What did you do for two years prior to Merlin launching?
I consulted for awhile. The initial intention was that I was going to take a step (back) and take on a more international, strategic role.
You had a spinal infection in those two years.
I was hospital for two weeks and in bed for probably another 5 weeks. Then it was a couple of weeks of recovery. For most of the first year, I really wound down. I spent some time in Portugal with my family.
One of the things peaking your interest was the digital side of business.
We dabbled with a few things when I was at Shock in terms of selling music online. But the whole digital explosion peaked my interest. So, I started doing consulting to local companies looking to build online stores and working with companies looking to acquire online rights. That’s eventually how I got into the Merlin thing. I was in Europe, on one of these consultancy things, and I went to a meeting at Popkomm (in Berlin) where independents were discussing the challenges of the digital market. I don’t quite recall how or why, but somewhere in there I got offered the (Merlin) job. I think because I was the only person that they knew that wasn’t employed already. I was at a loose end.
So I consulted for a little while. It became obvious very quickly—because I spent time talking to both sides of the equation; talking to services and talking to independent rights holders, looking at where the impediments were, what the problems were, and what was or wasn’t needed.
Did you have a concern about moving from Australia to the UK to operate Merlin?
No. I have lived in lots of different places in my childhood. My wife and I have always been great travelers. We both still have a healthy sense of adventure. The kids were young enough that we both felt this was a great opportunity to spread our wings and try something new.
The first year's financing for Merlin came from IMPALA (The Independent Music Companies Association). How is Merlin funded now?
It is now funded from taking a portion of the funds that we generate on behalf of the members, from the legal settlement side, and from the commercial side.
At the time, the climate was that independents were going to be squeezed out of markets as the major labels and publishers further merged.
IMPALA was seeing it. Merlin ended up being something that IMPALA and labels from outside of Europe very quickly supported. On the political side, IMPALA was fighting an increasing consolidation of the (European) market. On a practical side, we had the side-lining of independents in these settlements happening. Also, there was the difficulty in establishing the value of independent repertoire with the emerging digital services. There were a lot of things going on that demanded action.
It made practical sense to base Merlin in the UK, where there’s a viable system of independents, and such healthy independent music industry associations as the Assn. of Independent Music (AIM), and the Worldwide Independent Network (WIN).
Yeah. The fundamental difference that strikes me every time I go to the U.S. is that in Australia, Europe and the UK, these markets have managed to maintain a distribution path to the (retail) market that’s not in the hands of the majors. It’s not like (that) in the U.S., where outside of one or two truly independent distributors, you are in the hands of wholly-owned subsidiaries (of majors) like ADA (Alternative Distribution Alliance) or Fontana.
You were born in Johannesburg, South Africa.
Both my parents are Portuguese. My mother grew up in Mozambique; my dad migrated there to look for work. He was a fitter and turner (a person who manufactures and assembles mechanical parts), which is a lost art. Somebody who made dies for tool making. We were in South Africa in the mid-70s. There was (military) conscription, which was compulsory in those days. I don’t think either of them wanted me to end up in the army. So they looked to where they might have a more stable future, and they applied for Canada, the U.S. and Australia. I don’t quite know how the decision was made, but Australia won out in the end. I was 12 when we left.
That was a turbulent period in South Africa.
Oh, it was. Just before we left was the time of the Soweto riots. We were living in Johannesburg. I still have some family there. I think for my parents this was not what they had signed up for. And I don’t think they were great fans of the government. They went to South Africa looking for a better and more stable life.
Have you been back to South Africa since?
I went back for a conference a couple of years ago, very briefly. I went to a family wedding awhile ago.
Do you feel more Australian?
Probably somewhere between Portuguese and Australian. Portuguese from my parents and my family there now that I have become very close to. So, I’ve got that side of me. Obviously, Australia was my formative years.
Before joining Shock Records, you had worked in the warehouse at another company?
There was a company called Musicland, which was a tiny distributor that went out of business. I was in my 20s. I had finished school. I was one of these people who took an awfully long time to finish school. I went to at Monash University in Melbourne for five years.
I am a film critic, apparently. It was a Bachelor of Arts (degree) and I majored in film theory. At university, I was trying to find as much time as possible to play in a band and work at the university radio station so I could get the occasional free record.
What was the band?
It was a late ‘80s, early ‘90s indie acoustic pop band, These Future Kings. We did an album, an EP and some singles through this label called Rampant. I played guitar and wrote half of the songs.
[These Future Kings came about in about 1985 when Caldas met Perry White at Monash University in Melbourne. Both had a radio show on the university radio station, and both played in local bands. Caldas was in Gothic Farmyard; White was in Polar 1500. These Future Kings’ debut album “Carnival” was produced by sound engineer Tim Cole of Not Drowning Waving. It was followed by a 4-song EP called “After This.” There is also an unreleased second album "Via Dolorosa” but the label folded before it was released. Afterwards, Caldas and Perry performed in a band called The Lost Highway.]
What did your parents think of 5 years in university and playing with bands?
My mother died when I was quite young. I was very lucky that I had a father who just believed that I would find my feet. He believed in me and thought as long as I had a passion and interest in what I was doing, and that I was following my heart, it would all work out. I was very lucky that there wasn’t a lot of pressure.
What position did you have at Shock when you joined in 1989?
I was again packing boxes. I had gone off traveling. I went to Portugal for the first time to meet family that I didn’t know (previously) that I had. They were mostly in Lisbon and up north. I came back broke, staying at my dad’s place, and I got a phone call from David (Williams), asking if I wanted a summer job because there was one coming up. Someone was going on honeymoon. So I filled in, doing box packing and selling records on the telephone.
Six of us worked in a house. It was a summer job, working in a sun room when it was 100 (F) degrees outside, and everybody smoked. I’m sure it would not pass any health inspection in current history.
The company certainly grew.
Distribution in Australia in those years was very fragmented. Au Go Go Records in Melbourne had a small distribution arm; Waterfront Records in Sydney had a small distribution company and Mushroom Records had (a distribution arm). My memory of doing (early) deals were people turning up at the front door with a box of singles, and asking if we would sell them, and us saying, “Yes.” If they sold, they would come and pick their money up. If they didn’t sell, they would come back and pick their singles up. It was certainly fun. It coincided with, I suppose, the real coming of age of the independent sector where we came to have SubPop, Creation, 4AD, Epitaph, Beggars Banquet and Koch.
Shock became part of a global independent network that emerged.
Absolutely. You would go to MIDEM, and there was a true network of people introducing (independent product). If someone in the States was looking for a metal distributor, then they would be sent to talk to our metal label manager. Or, if it was a dance label, we’d have our dance guy there. And similarly, (music) that we knew that people were looking for, whether it was in Germany or the UK, we’d send it to them. We virtually had sister-and-brother companies around the world. We felt we were part of something.
A DVD division was created at Shock called Kaleidoscope.
The DVD thing was very much driven by David. One of his great ideas was to aggressively get into DVD very early. There was a sense that, in the same way that the music industry really diversified as Shock grew, the same thing was happening to home video. There was a lot of amazing product out there that just couldn’t be handled by the majors.
When you left, how many people were under you?
Certainly, in excess of 130. It feels like it took an instant (for the company to grow), but over a few years it went from that front room to something more serious.
What was your role as CEO?
I was much more looking at the strategic direction of the business. As with many independent companies, the company was blessed by having passionate, knowledgeable and dedicated people working for it. People who had stayed there for a long time and really believed in what they did. So, a lot of what I did was to make sure that there was enough space for those people to do what they cared about.
Did you oversee the international business?
Yeah. Certainly, for me, one of the foundation stones of Shock was its international reputation. I felt that the relationships with our key partners were very important, and with the merging labels that we started to deal with. I did spend an awful lot of time traveling and spending time with our partners, trying to understand what they needed, and trying to build our service around that.
The Offspring’s album “Smash” debuted at #1 on the ARIA chart and stayed there for three weeks in 1995. Who got the multi-platinum award at Shock for the 450,000 copies sold in Australia?
A lot of people got that one. That really marked the beginning of a time when there were a lot of records that sold very big volumes.
Was the company ready for that kind of success?
Yes and no. Yes in terms that we had had enough minor successes. We had had some chart success with (former Saints guitarist) Ed Kuepper, a local artist; with Primal Scream; and with some things on Beggars Banquet. And we had the retail relationship in place. And we had had a broad enough music offering by that stage. A market like Australia was not only strong in straight alternative rock but we had a good metal section. We had punk rock, and dance managers. So we were spread out broadly.
Not long after the Offspring, we had a local label called Central Station Records, which had two or three #1 records, including Hocus Pocus ("Here's Johnny") in the space of six months. They also launched a dance compilation series “Wild,” built around a radio station (Wild FM), which was selling in the 100,000 to 150,000 unit range. We had “Bleach” with Nirvana and had done Sepultura, and (beginning to distribute) Roadrunner was around the same period.
There were a lot of really successful records and we had enough breadth that we didn’t succumb to the kind of the massive rise and fall that other (distribution) companies went through in the aftermath of the Offspring’s (massive hit album).
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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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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