Industry Profile: Gary Churgin

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: Gary Churgin, president/CEO, Harry Fox Agency.

For nearly a decade as its president/CEO, Gary Churgin has led the drive for dynamic change at the Harry Fox Agency, making it more client-focused while bringing a greater understanding of rights management, the administration of rights, and the acquisition of rights throughout the music industry.

Best-known as a licensing clearinghouse for music publishers, New York-based HFA -- a wholly-owned subsidiary of the National Music Publishers Association (NMPA) -- is America’s leading provider of licensing and royalty calculation and distribution services for the music industry.

Representing more than 27,000 music publisher principals, which in turn represent the interests of more than 150,000 songwriters, HFA issues the largest number of licenses for the use of music in physical and digital distribution formats.

The right of mechanical reproduction was added to the U.S. Copyright Act in 1909 in response to the rise of the player piano which was the first widespread use of recorded music.

The predecessor of HFA was formed in 1927 by the trade association of leading music publishers, the Music Publishers’ Protective Association (now the NMPA), as a service to its members to offer synchronization licenses on their behalf. The service was later expanded to offer mechanical licensing as well.

A young Russian immigrant named Harry Fox was the clerk in charge of handling these transactions. By 1938, Fox had become GM of the NMPA, and was handling the licensing, collection and distribution activities as the agent for the music publishers.

Over time, the administration of these duties became associated with him, and the area was collectively known as the Harry Fox Office. He remained the head of the firm until his death in 1969. The same year, HFA was officially incorporated as a wholly owned subsidiary of the NMPA, with Fox’s close associate Al Berman heading the organization.

In the mid-70s, it was Berman’s testimony before Congress that was instrumental in upping the U.S. statutory rate for mechanical licenses from 2 cents, which had been in effect since 1909. During his tenure through 1984, the music industry saw the introduction of CDs and music videos.

For a time, the NMPA and HFA were merged organizations, but HFA was once again separated in 2000.

Churgin was appointed the president/CEO of HFA in 2001 following the decision to separate HFA and NMPA after 15 years of combined operations.

Under Churgin, HFA was transformed from being a clunky analog era operation reliant on paper-based processing, into a sleek, software-powered online business that has since expanded its offerings, adding licensing for online subscription services, lyrics, ringtones, digital background music, and plenty more to its primary business of mechanical licensing.

Churgin came to HFA with over two decades in banking and management. He joined HFA from Citibank, where he held numerous roles, the last as Director of Electronic Bill Presentment and Payment at Citibank’s e-Business. Prior to joining Citibank, Churgin was VP and Director of Information Systems at Edward S. Gordon Company. He also held several positions in a management capacity for the City of New York.

Churgin has a Master of Public Administration from the Wharton School, University of Pennsylvania. He earned a B.A. from Washington & Jefferson College.

By 2005, HFA had moved beyond its core business, and had begun offering administrative services, providing the company with a significant new source of revenue growth.

In 2008, the U.S. Copyright Royalty Board (CRB) set the royalty rates, paid for digital permanent downloads, physical product and ringtones. All payments prior to the decision were negotiated by the respective parties.

This was the first mechanical right royalty proceeding before the CRB since the emergence of legal online music services.

The NMPA had sought an increase from 9.1 cents to 15 cents per download. They also asked for an increase in the physical rate to 12.5 cents from 9.1 cents.

The Recording Industry Association of America (RIAA) had sought significant cuts from upwards of almost 50 percent of the current rate, and tried to convince the CRB that the flat rate calculations used to pay songwriters should be changed to a percentage of the label's revenue.

This argument was rejected by the CRB, as they maintained the 9.1 cents mechanical royalty song rate for both physical and digital albums and chose to adopt the NMPA pay proposal without amendment. As well, the CRB set the mastertone rate at 24 cents.

The CRB also adopted the terms of an earlier settlement, between NMPA, the Nashville Songwriters Association, the Songwriters Guild of America, the RIAA and the Digital Media Association setting a mechanical royalty rate at 10.5% of revenues, less composition performance royalties, for interactive streaming and limited downloads.

Furthermore, music publishers were given the right to seek a 1.5% late fee, calculated monthly.

Meanwhile, HFA continued to transform its technology systems and business processes, adding new online applications for publishers and licensees.

A central part of its transformation has been the continued expansion of its song database, which links more than 3.5 million ISRC codes to their underlying musical compositions, including information on writers and publishing copyrights.

Today, HFA can handle every step in the licensing process—from preparing a licensing agreement, and providing data matching and copyright research services, to reporting and distributing royalties, and maintaining publishing ownership information. HFA can serve as an administrator for labels, digital distributors and others' direct licensing agreements with non-HFA-represented publishers.

HFA also provides collection and monitoring services to its U.S. publisher clients for music distributed and sold in over 75 territories around the world. It has reciprocal agreements with over 30 rights societies that collectively represent over 100 territories around the world.

It was announced Sept. 14th (2010) that HFA had made this year’s InformationWeek 500 list, an annual listing of the nation’s most innovative users of business technology. Included on the list for the second year in a row, HFA ranked #121, and was the only music company to be included. The 2010 list was revealed at a gala awards ceremony at the InformationWeek 500 Conference at the St. Regis Monarch Beach Resort, Dana Point, CA.

In 2009, HFA’s governing Board of Directors unanimously voted to extend Churgin’s contract. He will lead HFA through 2011.

The song registries of HFA, BMI and ASCAP contain more songs and creator information than what the music digital services hold. To some degree, HFA has become the database of record.

Yep, and we worked very hard to get there. We have about 3 1/2 million unique song codes in our database. That’s pretty substantial. We have worked very hard on linking tracks with our copyrights which assists us in matching that information and extracting it quickly and efficiently. Basically, we focused on getting the data.

In the past, we had this multi-level of criteria under which we would accept data to be entered into our system. It was really arduous and painful for companies trying to do that. I said, “We’ve got this turned around backwards. We have to make it as easy as possible to be able to provide song information and maintain our databases.” So we came up with a better, and a much more sophisticated matching technology, so that we have to have fewer data elements when a song is submitted. The idea was for us to be a sieve, and not be a dam. The sieve (model) works very, very well. There are little bits of grit (the system) keeps out; but most of the stuff (information) is able to flow through. That is because of the technological solutions that we have been working on, and that we continue to refine.

What percentage of income is collected from foreign users?

I don’t know what that number is, but the bulk of our collections are domestic. We have very good relationships with our international partners, the various collection societies. The reason that our (international) numbers are not big is because most of the U.S. publishers have sub-publishing agreements (outside the U.S.).

There are still publishers who continue to rely on HFA to be, in effect, their sub-publishers outside of the U.S.

Yes, although what we have to offer is much more limited than someone who is local, and there on the ground. They might be out there plugging the songs, and things like that. HFA doesn’t do that domestically, and it certainly doesn’t do that internationally.

How much publishing income is being lost to piracy today?

If I knew that number, I don’t think that I would be working here. I would be predicting interest rates, and making a fortune.

Is music piracy growing?

It’s too difficult to tell. There are no good meters or gauges that tick every time a P2P (file) moves across the network. There are a lot of people smarter than me who are trying to figure out how big (piracy) is and what it is all about. At the end of the day, piracy (for me) is what happened yesterday. I have to deal with what is happening today and tomorrow. That is not to put down the importance or the seriousness of piracy. Don’t get me wrong. What is interesting, is that our industry has been plagued by pirates for a very long time, way before there was a digital world. There were people selling records out of the back of cars. It’s not a new problem. It’s a serious problem, and it has definitely affected all of us.

It certainly was a landmark moment last year when it was announced that the HFA would distribute all mechanical royalties from Napster.

Well, yeah. I think so. Look, once you clear away the litigation, it’s time to move forward. They’ve got assets to be leveraged, and they complement our assets, which is terrific. That is definitely moving the ball forward.

[In 2009, a preliminary agreement between publishers and songwriters with the online file sharing service Napster to settle the class-action lawsuit that had been pending in federal court in California was reached. The agreement included terms under which the songwriters and music publishers will license their music to Napster's new membership-based service.]

A symbolic moment?

It was. Unfortunately, the number of people who popped the champagne cork could fit easily around my conference table.

Why no widespread celebrating over the agreement?

It was very important, but it was very subtle. You are one of the few people who recognize the importance of it. It is subtle. It is very subtle. You have to be what we say “real inside baseball” to understand what the implications are of that sort of commercial relationship, especially as we move forward.

[Under the agreement, Napster had to pay music creators and copyright owners $26 million in settlement of damages for past, unauthorized uses of music. Napster also had to render an advance of $10 million against future licensing royalties under a payment structure based on the Audio Home Recording Act. That legislation allocates to songwriters and music publishers royalties in a one-third to two-thirds ratio with copyright owners of sound recordings.]

Often, the last thing anyone starting an online music service looks at is attaining rights for the music.

Absolutely. There are cases of omission where they just don’t know, and there are also cases where they know what they are doing. They recognize that they are taking a risk and it’s “catch me if you can.”

Some digital services have said that if they have to pay royalties for music, it would put them out of business.

I think that part of (how music rights are viewed) is an education process. We see thousands of companies a year where they come to us to float the idea of what their new business will look like. We say, “Well, have you thought about the rights?” They go, “What are those?”

It is a very interesting problem. Look, rights management, the administration of rights, and the acquisition of the rights is very arcane. There’s a lot to it. It is not something that is quite as simple as people would like to think that it is.

The people that are using our music in the digital world are a different kind of customer than what we had 20 years ago, or even 15 years ago. If you think about it, there’s no real, serious barriers to entry (in the digital business), number one. Number two is that they have this rights thing that they have to take care of which is, in effect, the toll to get over the bridge.

They need to understand that.

Just because you want to buy a very fancy suit doesn’t mean that you are entitled to it. If it is a $1,000 suit from Canali or a $5,000 suit from Brioni, and you want the Brioni, you have to be able to pay the five grand. Otherwise you go for the $1,000 suit that might have one or two extra pair of pants.

How do people using music in the digital world differ as customers from the past?

First of all, they are trying to wrap a product (music) around (a business). It can be in the background. It can be in a variety of different uses. There is not necessarily a clear understanding of the consequence of that use; that they have to give a license. That they have to pay somebody for (the use of the music). That they have to track how much they use that song. Then, they have to calculate what the appropriate royalties are. Then, they have to know who they have to pay the royalties to.

If they didn’t go through Harry Fox, they have to go through 44,000 publishers to figure out who is the publisher of that particular song, and all of the things around it. People aren’t familiar with that. There are all of these books out there on how to be a music business wizard -- the (Donald) Passman book (“All You Need to Know About the Music Business”), the (Ty) Cohen books -- but (rights management, administration and acquisition) is not just textbook stuff. It is, as I said, somewhat arcane, and you really have to know what you are doing.

At the same time, there are creators who argue that it's okay to give their music away in order to pick up alternative revenue streams.

Is it wrong? Or is it an expression of an opinion, or an approach?

Then people say “See, the artists want to give away their music.” But not all artists, songwriters or copyright owners buy into that.

You said something very important, it is their music. Now, (their actions) has a ripple effect throughout the industry. But, if someone comes to you, and they want your music for free, and you tell them “no,” unless they become pirates, then “no” means “no.”

The music industry should emphasize that there are creators and owners with differing views.

Absolutely. But it is difficult, because the message is not an easy one to understand. As well, in the industry, with the songwriters and publishers, there’s fragmentation. To get one group, and to get everybody rowing at the same time, and going in the same direction, that takes time. I do think that the (publishing) industry is maturing through the leadership of people like (National Music Publishers' Association President/CEO) David Israelite and others to make sure that the message is clear.

The Copyright Act’s fair use provision allows for the use of copyrighted material without permission. However, the fair use concept is very loosely defined by the law. Many American schools refer to HFA as The Copyright Police because of its rigid copyright enforcement.

That’s true. Not a title I relish. I’d rather be "The Copyright Educator" or "The Copyright Professor" as opposed to "The Copyright Police." But that would mean a whole change within the industry.

You arrived at HFA in 2001. What a terrible time to come into the music business.

It has been an amazing, amazing experience. Our board -- which is all publishers and clients of HFA -- I think it took a lot of guts (for them) to do two things. One was to do this self-assessment to establish and understand whether or not they were prepared for the future, especially a future where there was so much uncertainty. The only thing that was going on (in the music industry) on a current basis was litigation, which is a hell of a combination.

I think that the board was also very brave to bring somebody in from the outside that would look at things in the cold hard light of day, and come back and say, “Here’s what we need to do.”

You came from banking. Why did you take the job?

First of all, it was an extraordinary opportunity. Number two, each one of the jobs that I had held throughout my career are very different, but there is some level of synergy between and among them. The challenges that this job presented was sort of an accumulation of all of the different experiences that I had. Whether it was change management, whether it was technology, whether it was financial services, or whatever it might be. This brought me to the apex, if you will. I was very very lucky to be afforded the opportunity.

I don’t know the number of people inside and outside the industry that were interviewed, but I felt that I was in an uniquely difficult position because I was not from the industry. I view myself very much as a quick study. Being dropped in the middle of a situation has never been difficult for me. This was just in a different world with different words and different issues. As my wife Amy said, “You can’t fall off the floor.” So I took the job.

You came into a company that was viewed as being in the past.

Well, I think that in a good day we were in the past. On every other day it was even worse. We had this terrible, terrible legacy that was very negative on the part of our clients, the publishers, and our customers who were then, principally the record companies. We had to change that. We changed it into a much more service-centric model where the client comes first. Our job is to figure out and solve whatever their issues are as quickly as possible.

When you arrived at HFA, the controlled-composition clause, with its three-quarter rate with record clubs was a significant issue.

Exactly. I will never forget that when I first got here, (our clients) started talking about the clubs and the three-quarter rate and steam was coming out of everybody’s ears. I had to ask, “What the hell is everybody talking about?” I quickly learned what that was about, and ultimately, over time, we were able to fix that.

[The controlled-composition clause permits a record company to lower or put a cap on the number of musical compositions on a physical album for which a label is required to pay a full mechanical royalty.]

The three-quarter rate is still the practice in the U.S. for physical goods.

Well, it’s a practice that has been going on for a very long time. It’s not something that is new. I think that there are aspects of it that I’m sure that people would like to see changed and reformed. I think over time those things get fixed too.

It’s not necessarily your battle. When the HFA makes licensing deals (with licensees), it's acting as a conduit rather than making decisions about rates.

It’s the publishers’ and the trade associations' (to negotiate). What we are here to do is license and make sure that commerce continues to move smoothly and swiftly independently of all of the other things that are going on.

Within your first year, there was a complete overhaul of HFA’s back-room systems. Had that started before you came?

No. They hired me to take the company’s technology, and to transform it into whatever was necessary to support and operate within the digital world. It was more than a technology change that occurred here. It was an entire change of the DNA. The entire makeup of the company, and its approach to its clients and its customers.

Central to HFA’s transformation was a "need for speed." The rise of digital entertainment placed new demands on HFA. So that change was quite a challenge at the time.

Yes, and it continues to be. Philosophically, an important thing that we’ve followed is the ongoing care and feeding of our technology platform so that we never get behind the eight ball when it comes to being able to service our clients and our customers. By doing that, you don’t end up with some of the serious issues that some of the larger publishers, and some of the larger record companies have experienced, where they will spend a lot of money on their copyright and their royalty systems and then not do anything for four or five years; then have to spend twice as much to fix things and bring things where they need to be to satisfy the requirements of the marketplace.

This transformation came against the backdrop of declining mechanical revenue caused by a drop in recorded music sales and as the music industry was rolling up huge legal bills fighting illegal downloading. In 2003, there was an 11% loss of the job force at HFA.

The staff was at 155 (people) when I got here. We’re down to 133 folks who work for us now, including a substantial number of technologists as well as people with expertise in licensing, distribution and compliance examinations, and overall royalty collections.

A lot of the reduction in the work force has been managing through change. The fabric (of the company) has changed, somewhat, and the skill sets have changed. A lot of the reduction in headcount has been through attrition.

What is extraordinary is that while we have been in the process of reducing staff whenever possible, we increased the amount of transactions that we are processing by over ten-fold. In a given year (previously), we would typically do about 240,000 or 250,000 licenses. Now, we administer millions of licenses a year.

[The total number of licenses administered by HFA by the end of 2009 was 18,736,726.]

Your first few years at HFA were also marked by mechanical right royalty proceedings which pitted music publishers, record labels and digital music services against one another. This wasn’t resolved until 2008, when the U.S. Copyright Royalty Board (CRB) set the royalty rates paid for digital permanent downloads, physical products and ringtones.

In 2005, HFA changed its licensing terms, however.

There was a lot of change going on. There was a lot of uncertainty. What we had to do was manage against that. So, when that (royalty) process started, each one of the different sides put forth their model of what it all should look like. We made a decision that we weren’t going to wait until the CRB decision came down to modify our software. We began the process of looking at the different models; and we started to build business requirements. So, when the CRB findings came down, we were prepared and ready to go with whatever model that was going to be. So, when the rate was finally established, we were able to, in a very timely way, produce statements and distribute money from as far back as 2001 and 2002.

[In 2005, the HFA, tired of waiting for royalty rates for online music subscription services to be negotiated, changed its licensing terms for new subscription services, asking new subscription services to pay the greater of 12% of gross revenue, a certain per-play penny rate, or 25% of the total amount paid by the services for all content.]

You had the breakouts already.

Exactly right. So when the decision was finally handed down by the CRB, we could continue the development process, and produce a timely result for the publishers.

The CRB decision set royalties, but other issues were then created, including those by usage, and even by music publishers now having the right to seek a 1.5% late fee, calculated monthly.

There was a codification of how rates were to be calculated. What people didn’t realize until the rates came out, was how difficult it was to administer that. It created an opportunity for us to develop a line of business where we would -- for a fee -- calculate what royalty should be paid as a result of whether it was volume, whether it had to do with users, or whether it was advertising-based.

There are five models that, in fact, were advanced by the CRB for which we have created this system to make those distributions, and do those analyses. As a result of that we have developed a line of business, the Administration Services Business, where licensees come to us to manage their back office. To actually do the royalty calculations for the digital world. All of those pieces, people now come to us, including Napster, Nokia, Ultimate Guitar, and Media Net.

In 2005, HFA began offering administration services to its clients and introduced such new tools as eMechanical, a web-based mechanical licensing application that enables users to apply for licenses for physical and digital products online. As well, Songfile—the research and licensing component—was substantially upgraded.

Songfile had been around for a while, but that was a period when we made modifications to Songfile. For example, if you wanted to get streaming licenses, you could go to Songfile. It wasn’t just a matter of getting regular mechanical licenses but providing licenses that support the digital world. All of those different kinds of things. To handle (interactive or on-demand) streaming, and PDDs (Permanent Digital Downloads).

All of this had to do with the emergence of the digital marketplace?

Sure, and recognizing the volume that we were going to be dealing with. We have eSignature (the electronic approval system), where licenses are agreed to and signed electronically. What would take days now takes 30 or 40 seconds. We are able to handle the volume in a way that would appear to be inconsequential to our clients but, the fact of the matter is, that there was a lot of work and foresight into how our various technologies needed to be designed to address our clients’ needs.

Typically, what we did in the past was that we did what was important for us, without thinking about what the consequences were for our clients. We also believed in a 'one size fits all' solution set which, again, was not necessarily beneficial to the client. We recognized that we have several levels of sophistication, as publishers, as people working with technology, and working with new (usage). As a result of that we have a variety of different licensing solutions as well as solutions for adding songs and registering songs with us as opposed to, “There is one way to do this, and you will do it our way.”

[In 2004, HFA processed more than 2.3 million license requests, nearly 90% of which were for digital formats like ringtones, downloads, on-demand streams and tethered downloads.]

HFA evolved into a one-stop shop for publishers that can quickly add a song to HFA's system, modify song data, distribute money and issue licenses.

The approach became more customer-focused, and customer-centric. Meanwhile, we tried to ensure that the solutions that we were devising addressed the problems that are important to syncour clients.

What we have done over time is develop a very collaborative model where we work very closely, not just only in our company, but with our publishing clients, with our licensees, whether they are record companies or DSPs (digital service providers). With all of those folks, we had to have more of a symbiotic relationship, which I believe that we have been able to achieve, and a very collaborative relationship. As a result of that, the satisfaction that our clients have in the quality and level of service and technology seems to grow and grow over time.

HFA stopped handling sync rights in 2002. You then said that they were "a very labor-intensive, inefficient and a costly configuration to license.” With digital distribution, and user-generated content increasing the variety of audiovisual products that include music, a re-entry into the sync space seems logical.

We were losing over a million dollars a year in the sync business. We weren’t really in the position to lose any money,

Since completing its major tech overhaul, HFA no longer relies on so much manual labor to handle licensing requests, add and update titles in its database, and track income. So will HFA go back into the sync business?

Well, we are examining that. What I suggest is that you watch this space over the next 180 days. I am hoping we will have something more to say about sync and Harry Fox.

Are labels still dragging their heels on pending and unmatched monies owed publishers?

I think that the process is moving along. I’m sure that somebody, somewhere, must be dragging their heels, but I can certainly say that across the industry there is progress. There was a MOU (Memorandum of Understanding) that was signed by the publishers to deal with pending and unmatched (monies). There was a large sum of money that was in Phase I that moved through the system. We are now working on Phase II. I think those were unexpectedly large sums of monies that the publishers received, and it hopefully compensated them for the use of their work.

I think that the Best Practices Group (between participating publishers and participating record companies) is trying to figure out the optimum way to ensure that things get licensed very quickly. If it is licensed quickly then the money can move quickly, and distributions can move quickly. All of those things have a very positive effect.

I would say that the MOU is doing what it is supposed to do and think that everybody recognizes that it solved a very serious problem that had been occurring for years and years, and that the money is moving as it should move.

[The term “pending and unmatched” refers to estimated royalties that have not been paid to a publisher or HFA because a record label has not obtained a license, or matched a license to a royalty obligation. A label is often unable to complete a license request due to lacking information about a composition, when that composition’s ownership is in dispute, or when it believes that it is entitled to a reduced or controlled rate.

For at least a decade, HFA’s pending and unmatched program had enabled money to move through the system while licensing matters were sorted out. Not all labels, however, brought their licensing up to date, making it difficult for HFA to distribute all of the funds to publishers and songwriters on titles.

The Memorandum of Understanding (MOU) was entered into in 2009 by the NMPA), HFA, and the RIAA in response to the imposition of the late fee by the CRB’s 1998 ruling. The MOU created a program whereby the publishers and the record companies work together to improve mechanical licensing practices, and encourage prompt dispute resolution. In exchange for waivers of certain late fees through 2012, the record companies must comply with the provisions of the MOU, including paying participating music publishers and foreign societies their respective market share of accrued pending and unmatched royalties.]

The pending and unmatched monies owed will get smaller as time goes by.

Sure. With all of these programs like our RCE (royalty compliance examinations), you fix the problem or address it in a better or a different way as part of the solution so that the money gets to where it is supposed to and gets out quicker and faster. So, the idea is that the pending and unmatched numbers never grow to the size that they ultimately grew to because we will have, as part of the Best Practices Group, ways in which to prevent that from happening again. And certainly not on the order of the same magnitude.

[The Best Practices Group is intended to improve communications between participating publishers and record companies. This includes regular meetings to review lists of unlicensed products. It also oversees implementation of the Best Practices and Default Rules that govern future licensing and payment procedures.]

In March (2010), you hired Elizabeth Perri, who has 15 years experience in marketing, to head a newly-created market and communications department at HFA.

Up until that point, HFA never had anyone running marketing for it. We never had a marketing function or a marketing report.

[Prior to joining HFA as VP, Marketing and Communications, Elizabeth Perri was VP of Product Marketing at Vonage phone service. During her 8 year tenure at Comcast, she was a principle architect in the development of Comcast Digital Voice, the home phone service. In her role as Senior Director of Product Marketing there, Perri led regional marketing teams. Prior to Comcast, Perri was Director of Bundled Services at RCN Cable, and launched its bundled service. Perri holds a Bachelor in Business Administration from The Wharton School of Business at The University of Pennsylvania.]

Why did you feel you needed such a department?

(After joining HFA), it took a long time before I ever spoke to anybody in the press. Until I had something good to say about what we were doing, or that I had something real to point to, as opposed to some PowerPoint slides, I wasn’t prepared to talk to anybody (in the media). Then, in 2003, we hired someone from Sony (Laurie Jakobsen) in the communications department. We needed to get the word out on what Harry Fox was all about. We had this old thing known as Harry Fox. Now, it was a new thing, and we wanted to explain that.

In 2009, HFA developed a full suite of licensing and royalty administration services, and expanded beyond its traditional mechanical licensing business.

Coincidentally, toward the end of the year in December (2009) or January (2010), we start to change. We had people doing new business development. But there was a set of skills and tools that our folks don’t have. So we brought in a sales teaching consultant who had trained the sales forces at American Express, Condé Nast and several other places. We needed our people to know how to talk to our clients.

Then, the other important piece (in going forward) was how to market what we do.

That’s not so easy to do, nor is it easy to be able to explain that. We were very lucky to get Elizabeth. She occupied a very unusual place in the marketing food chain at Comcast. She could deal with technologists and engineers. On the other side, she could deal with the consumers being compacted by the creations of the engineers. So we had someone who could talk tech and be able to combine that with the understanding of how consumers behave. If you think about what we do, it is exactly what we do. We interact on one side, with our technologists; and on the other side, we have to create the bridge of understanding with our users, whether the user is an individual, or whether it is a licensee, or whatever that might look like. So, we needed to have our brand looked at, and everything about how we presented ourselves; how we aren’t your grandmother’s Harry Fox anymore.

An exciting time?

I have to tell you that I love my job. I love my clients, I love my customers, and I love the staff at HFA. There’s a wonderful vibe here with all of the (industry) changes, and excitement that is occurring around us. It is palpable how exciting it is in the office here. Music is global. You can live anywhere to live it and appreciate it. It is accessible. It is ubiquitous. It continues to be exciting.

Larry LeBlanc is widely recognized as one of the leading music industry journalists in the world. He 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.

.

Industry Profile Archives:
Joanne Abbot Green, CMJ Music Marathon and Film Festival 10/17/08
Lee Abrams, XM Satellite Radio 11/28/03
Jay Boy Adams, Roadhouse Transportation 05/04/07
Jamie Adler, Adler Entertainment Group 05/11/07
Gary Adler, National Association of Ticket Brokers 12/04/13
Rodney Afshari, Freeze Artist Management 03/01/02
JC Ahn, VU Entertainment 04/10/13
Steve Alaimo, Vision Records & Audio Vision Studios 05/26/06
Jaye Albright, Albright & O'Malley Consulting 07/19/10
Randy Alexander, Randex Communications 10/12/07
Marcie Allen, Mad Booking 12/14/00
Jeff Allen, Universal Attractions 08/16/02
Marcie Allen, MAC Presents 06/05/09
Marcie Allen Cardwell, MAC Presents 12/21/07
David Allgood, Bama Theatre 01/03/11
Patrick Allocco, AllGood Concerts 10/05/07
Mike Amato, Rok Tours International 02/02/07
Billy Atwell, AMP Studios 12/13/07
Tom Baggot, thebookingagency.com 05/02/03
Stephen Bailey, EPACC & Deleware Center For The Arts 02/06/04
Cary Baker, Conqueroo 05/11/11
Vince Bannon, Getty Images 07/05/11
Phil Barber, Barber & Associates 02/04/01
Camille Barbone, WineDark Records 12/09/05
Erin Barra, Musician/Producer/Educator 07/10/14
Ben Baruch, The Fox Theatre 09/27/08
Adam Bauer, Fleming, Tamulevich & Associates 02/15/02
Ed Bazel, That's Entertainment International 10/05/01
Joachim Becker, ZOHO Music L.L.C. 01/12/07
Howard Becker, Comet Technologies 05/02/11
Mark Bego, Author 06/15/07
Jim Beloff, Flea Market Music 09/20/10
Richard Bengloff, The American Association of Independent Music (A2IM) 09/12/13
Seth Berg, South Bay Music 01/30/09
Aimee Berger, 2 Generations SPA Music Management 09/24/04
Barry Bergman, Music Managers Forum 03/14/03
Steve Bernstein, Relix LLC 09/30/05
Mark Berry, Attack Media Group 04/07/07
Scott Billington, Rounder Records 01/17/12
Jeffrey Bischoff, Cinder Block 03/24/06
Sat Bisla, A&R Worldwide/ Musexpo 03/29/10
Nina Blackwood, Sirius Satellite Radio 07/14/06
Adam Block, Legacy Recordings 11/07/13
P.J. Bloom, Neophonic, Inc. 01/24/11
Rishon Blumberg, Brick Wall Management 06/27/03
Justin Bolognino, Learned Evolution, and The Meta Agency 04/25/13
Steve "Chopper" Borges, Total Pro and Borse Techos 03/03/06
Les Borsai, Mediocre Management 01/30/04
Shane Bourbonnais, Live Nation Canada 03/21/08
Jeff Bowen, Sears Centre Arena 03/13/08
Rick Bowen, Mystic Music Experience 07/11/08
John Boyle, Sanctuary Music Group 03/19/04
Jeff & Todd Brabec, Writers/Attorneys 01/03/12
Bill Bragin, Joe's Pub at the Public Theater 08/08/03
Joel Brandes, Avenue Management Group 11/02/08
Joe Brandmeier, Moving Pictures 03/15/02
Scooter Braun, SB Projects 12/13/10
Billy Brill, Billy Alan Productions 11/11/05
Doug Brown, Talent Buyers Network 09/21/01
James Browne, Sweet Rhythm 11/01/02
Tony Brummel, Victory Records 05/17/09
Charlie Brusco, TBA Entertainment Corporation 10/13/01
Del Bryant, BMI 05/18/07
Cortez Bryant, Bryant Management 12/06/10
Bruce Burch, University of Georgia Music Business Program 10/09/09
Deborah Burda, Kentucky Exposition Center 08/03/07
Patti Burgart, IEBA 06/07/02
Jordan Burger, The New Musiquarium 01/22/01
Ron Burman, Roadrunner Records 08/25/06
Suzanne Cadgene, Elmore 05/19/06
Karen Cadle, KGC Productions 03/12/04
Gary Calamar, KCRW 07/10/09
Charles Caldas, Merlin 07/05/10
Brian Camelio, ArtistShare 02/29/08
David Campbell, AEG Europe 08/02/10
Tom Cantone, Foxwoods Entertainment Group 10/20/00
Tom Cantone, Foxwoods Resort Casino 07/03/03
Tom Cantone, Mohegan Sun 08/30/09
Ashley Capps, A. C. Entertainment 05/21/04
Rio Caraeff, Vevo 07/12/11
Mike Carden, Eagle Rock Entertainment 08/16/11
Charles Carlini, Carlini Group 05/16/08
Mark Carpentieri, M.C. Records 05/27/05
Mark Carpentieri, M.C. Records 01/10/11
Troy Carter, Coalition Media Group 06/07/10
Daniel Catullo, Coming Home Studios 06/22/08
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
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
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
Todd Culberhouse, Vision Management /Vision Records and Entertainment 09/05/08
Tony D'Amelio, Washington Speakers Bureau 04/21/06
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
Peter Denholtz, CelebrityAccess 11/29/00
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
Mark Dinerstein, The Knitting Factory 11/17/06
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
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
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
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
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, Turntable.fm 09/20/11
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
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
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
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
David Hart, The Agency Group 02/20/04
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
Seth Hurwitz, I.M.P. 04/20/09
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
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
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
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
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
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
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Myles Lewis, Denise Rich Songs 12/20/10
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Larry Lieberman, 4EverWild 03/28/03
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
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
John Meglen, Concerts West/AEG Live 02/21/13
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
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
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
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
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
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Tamara Saviano, American Roots Publishing 07/22/05
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
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Peter Shapiro, Ideal Entertainment 04/16/04
Seth Sheck, Access Pass & Design 01/03/03
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
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
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
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
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
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
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, CultureCatch.com 07/27/07
Jeremiah “Ice” Younossi, A-List Talent 09/20/09
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

.

Return to front page of ENCORE



© 2001-2014 Gen-Den Corporation. All rights reserved.
CelebrityAccessSM and Gen-DenSM are service marks of Gen-Den Corporation.

** ENCORE readers and those that utilize ENCORE features are bound by the ENCORE NEWSLETTER USE AGREEMENT. If you choose not to be bound by this agreement, please discard the e-mail and notify us of your desire to be removed from future mailings. **