Industry Profile: Bob Ezrin
By Larry LeBlanc (CelebrityAccess MediaWire)
This week In The Hot Seat with Larry LeBlanc: Bob Ezrin, Part One
You may know about Bob Ezrin but you probably don’t know his whole story.
Canadian-born Ezrin is an entertainment chameleon, an innovative production and technological wunderkind with a career that spans almost 40 years.
Ezrin is best-known as the music producer who has worked with Alice Cooper, Kiss, Pink Floyd, Lou Reed, Roberta Flack, Peter Gabriel, Dr. John, Rod Stewart, Berlin, Hanoi Rocks, Nine Inch Nails, the Jayhawks, the Deftones the Darkness, Jane's Addiction, L'Orchestra di Piazza Vittorio and many, many others.
For his production work and contributions alone to Lou Reed’s “Berlin,” and Pink Floyd's “The Wall” there should be a statue of him at the Rock and Roll Hall of Fame in Cleveland.
From January 2007 to July 2008, Ezrin was the chairman of Live Nation Recordings as part of Live Nation Artists. He had also produced Jay-Z's film "Fade To Black” in 2004.
And Ezrin’s career is still moving at a dizzying speed.
He was the stage director and music producer for the Pete Seeger 90th birthday concert at Madison Square Gardens on May 3rd that featured Bruce Springsteen, Dave Matthews, John Mellencamp, Arlo Guthrie, Joan Baez, Richie Havens and many others. He is currently working on the DVD and PBS-TV special of the event.
He is also currently producing a new Peter Gabriel album.
He is a co-founder and a partner in Bigger Picture Group– an artist development company in Nashville. Its first success is the Zac Brown Band (originally signed to Live Nation Recordings) via Atlantic Records.
He is a co-founder and partner in both Vega Musique, the Montreal-based music company; and The Nimbus School of Recording Arts in Vancouver which opened its doors recently.
He is a partner in the music technology company BeatKangz Electronics based in Nashville
He is, along with U2's the Edge, Gibson Guitar chairman/CEO Henry Juszkiewicz—with support from Guitar Center Music Foundation and the Recording Academy's MusiCares--a co-founder of Music Rising, an initiative that replaces the musical instruments that were destroyed or lost in Louisiana’s gulf coast region due to the hurricanes and flooding of 2005.
He is also a founder of MusiCounts, CARAS' music education initiative in Canada; and VP of the Mister Holland's Opus Foundation in the U.S.
Ezrin attended Oakwood Collegiate Institute High School in Toronto, graduating in 1967. By that time, he had married his high school sweetheart and had his first child David. His now ex-wife, Arlene Sarner later wrote a 1986 movie about the experience called “Peggy Sue Got Married.”
Sadly, David Ezrin, also a music producer, passed away on Dec. 4, 2008 in Los Angeles.
During high school, Ezrin studied classical piano and composition at the Royal Conservatory in Toronto. Later on, he and a cousin formed a folk duo called The Messengers. His uncle Sid Ezrin co-owned The Penny Farthing Coffee House, which had been the early training grounds for Joni Mitchell, Jose Feliciano, the Irish Rovers and Neil Young, in Yorkville Village.
Playing Yorkville Village in the ‘60s, Ezrin was part of the early music folk and rock scene in Toronto. Walk down the street, during an evening then and you'd hear such folk acts as Gordon Lightfoot, the Dirty Shames, Bonnie Dobson, the Stormy Clovers or such rock acts as David Clayton Thomas and the Shays, the Ugly Ducklings, Jack London & The Sparrow (later renamed Steppenwolf) and the Mynah Birds (featuring Rick James and Neil Young).
Buffy Ste. Marie wrote "The Universal Soldier" in Yorkville. Phil Ochs wrote "Changes" there, too.
Ezrin was an excitable young man in those days, an all-around golden boy, running around discovering life and new forms music for the first time.
His first big break came in 1970 when he was hired for “around $100 per week” by respected local music producer Jack Richardson to work at Nimbus 9 Productions, then riding high with the success of the Guess Who.
Soon afterwards, Ezrin got tapped to check out Alice Cooper at Max's Kansas City in New York. Recalls Ezrin, “The place was filled with people wearing spandex and spider eyes. They all had black fingernails and black lipstick. And they all had deathly white complexions."
Despite not having any production experience, Ezrin brashly convinced Richardson that he could work with Alice Cooper and Richardson gave him the chance. Ezrin produced the 1971 classic “Love It To Death” album with the hit single “I'm Eighteen.”
Ezrin and the band then delivered three stunning albums in a row: ”Killer” (with “Under My Wheels”;“School’s Out” which soared to no. 2 on the Billboard Top 200 album chart; and “Billion Dollar Babies” which reached no. 1. on the strength of its singles "Elected" (which peaked at no. 26 on the Billboard pop singles chart); "Hello, Hooray" (no. 35); "No More Mr. Nice Guy" (no. #25); and the song "Billion Dollar Babies" (no. 57).
Ezrin's reputation, of course, skyrocketed. Offers from other major acts followed, most notably Kiss, Lou Reed, Peter Gabriel and Pink Floyd.
In 1993, deciding to slow down his record production work, Ezrin co-founded 7th Level that developed and published educational and entertainment CD-ROMs including an innovative series of Monty Python games.
In 1999, he co-founded Enigma Digital, a pioneering Internet radio provider that he later sold to Clear Channel, where he became vice-chairman of Clear Channel Interactive before joining Live Nation Artists Recordings in 2007.
Bob Ezrin was inducted into the Canadian Music Hall of Fame during the Juno Awards in 2004. He was inducted into the Canadian Music Industry Hall of Fame in 2006 as part of the Canadian Music Industry Awards.
Where are you living these days?
We are based in Fort Lauderdale (Florida). We have a rental (home) in Nashville and we keep a summer place in Toronto as well.
There seems to be a circle of life to your work today. You are again working with folkies; working with (former Live Nation chairman) Michael Cohl whom you’ve known for 40 years; and working with Peter Gabriel who you produced over three decades ago.
Isn’t that great? You are right. There has been a circle of life. Having lost my son David in December, I basically went underground. I stopped thinking about things like work and what I was going to do next. It was almost divine intervention that the things that fell into place first involved long-time friends and re-connecting to my beautiful past and to my youth. I don’t know why or how that happens but it happened and it has been cathartic to me.
What led to you becoming chairman of Live Nation Recordings?
What brought me into Live Nation was my relationship with Michael. Cohl (now a partner in S2BN Entertainment). I was also then working with Randy Lennox (president & CEO of Universal Music Canada) on the first all-rights artist development company. Also, in another co-venture with Universal Music Canada, we had signed Elsiane (the duo of singer/songwriter Elsieanne Caplette and drummer Stephane Sotto) to Vega Musique in Montreal.
The concept behind Live Nation Recordings sounds similar to the development company you had been planning with Universal Canada.
Randy and I were talking about doing a similar thing on a much smaller scale. We were going to start (in Toronto) and try to build it to become larger and more international. We weren’t going to do just Canada. Canada was a great place to start.
What happened with that Universal Canada co-venture?
Well, it got interrupted. We were pretty close (to a deal). Michael Cohl was going to be an investor originally. Instead of investing, he made me an offer I couldn’t refuse to do this big thing with Live Nation. He talked about the kind of scale they were dealing with and so on. “Would I come in and run the recording and publishing side of the business?” At that time, I thought it was a little more than that just recording and publishing. But whatever, it was a huge opportunity to really push the model.
Was the idea that you would helm the record company that would have Madonna, Jay-Z, Shakira and Nickelback and others?
Yeah, I was hired to run the recorded side of that business.
You were hired despite the fact that you have never run a record company before?
It was because I had never run a record company before, not despite of it. We didn’t want a record company. We didn’t have a record company. The things that record companies do the best, we were going to rent from record companies.
You still would have had recorded music to push through distribution systems.
The mandate was to find new systems. Today is like those early days on the web. This is a new frontier where people are finding new ways to connect with stuff that they love. We haven’t quite found the economic model yet but it will develop because we live in a free market system and economics will prevail.
This wasn’t just about selling recorded music. In fact, that was just one part of the equation. It really was about putting the artist directly in line with the people who love them. Creating a larger fan for them wherever possible. And then making sure that those fans had much better access and much more dynamic access to the stuff that the artists they loved were creating.
It’s a great idea. But I’m not sure that any of us, looking back, would agree with some of the business moves that were made. But some of them, we do.
The Live Nation 360 deals with Madonna, Jay-Z, Shakira and Nickelback encompass future music and music-related businesses, including albums, touring, merchandising, fan club, web site, DVDs, TV & film projects and associated sponsorship agreements, are based on performance but the money being discussed sounds impressive.
I think these guys (Live Nation executives) were just looking at the next touring cycle or two and the investments they were making was pretty safe money with the artists that they were dealing with. It certainly was a lot of money and scary to people who were uninitiated.
With Michael Cohl leaving Live Nation and with reports that Michael Rapino (president and CEO of Live Nation) was considering doing licensing deals on an artist-by-artist basis, you also left?
Were you disappointed?
Somewhat. Yeah. Fundamentally, sure. Disappointed that we never got to execute on an idea. I was dedicated, along with Michael, to building a new model for artists that would address the realities of the modern business and to also helping people to find new ways of connecting to their audience directly.
You are a co-founder of and co-partner of the Bigger Picture Group in Nashville that has the Zac Brown Band released via Atlantic Records. The band had been signed to Live Nation Recordings. What happened there?
When Randy Lennox and I were planning our co-venture, I began looking for companies to roll-up. I believed that the strongest genres, in terms of viability, were country, children’s and Christian music as well as comedy. I looked at various companies, including Broken Bow Records (which has released recordings by Jason Aldean, Joe Diffie, Craig Morgan). I called and talked to (fellow Torontonian) Allan Kates (COO of Broken Bow). He was intrigued by what I was talking about and he came to MIDEM so we could talk. We met and became instant friends.
While at Live Nation I had tried to either purchase (Broken Bow) or come up with a different construct for where Allan and (Broken Bow’s chief creative officer, producer) Keith Stegall would be the Nashville arm of the operation.
Mike Luba (then president of Live Nation Artists) and I signed the Zac Brown Band that Keith had produced to Live Nation Artists. Then this whole thing blew up which meant there was no Live Nation Recordings.
I then decided just because there no Live Nation Recordings that didn’t mean there should be no us. So I spoke to Allen and Keith about forming a partnership. Bill Hein (former Live Nation Recordings GM) came down here and we formed Bigger Picture Group.
The purpose of the label is to develop new talent and provide them with all of the resources and infrastructure that they need to develop and run a healthy career We can do the same with some established artists too. Provide them with a career solution in a box.
The Atlantic deal turned out to be great for Zac Brown and for us. We love our friends at Atlantic Records. We love working with them and we are hoping that that relationship will continue to grow and deepen. Craig Kallman (chairman/CEO of Atlantic Records) is fantastic. He’s a real music guy.
Being the stage director and music producer on the Pete Seeger 90th birthday concert at Madison Square Gardens on May 3rd must have felt like going back to summer camp for you.
Yes, there were moments when I could stand back and smell summer camp. While it was a little bit of going backwards, it was an awfully lot of dealing with current realities. Some of these people have become such big stars that wrangling them all and getting (all of the performances) into a coherent 4 1/2 hour show was really something. It was one of most difficult but rewarding jobs I’ve ever had.
It was huge job. Just huge. So many moving parts. So little time. So many things to control. And that is when I am the happiest guy in the entire world.
[Among those on the Seeger birthday bash bill were Bruce Springsteen, Joan Baez, Dave Matthews, Emmylou Harris, Kate and Anna McGarrigle, (Kate's children Rufus and Martha Wainwright) Kris Kristofferson, Ramblin' Jack Elliott, Bruce Cockburn, Billy Bragg, Richie Havens, Tom Paxton, Taj Mahal, Arlo Guthrie, Del McCoury and Roger McGuinn.]
We had 70 guests for a 4 1/2 hour show. We ended up with 38 songs. We had Springsteen, Matthews, Mellancamp and some of the great folk royalty like Joan Baez and some of Pete’s life long friends like Tom Paxton. And (rock guitarist) Tom Morello, who turned out to be one of the most versatile of all of the people there, played with everybody. And Roger McGuinn who was just fantastic.
Everyone there had to have their moment in the sun.
And we had to figure out how to do that. At the same time (we had to) tell the Pete Seeger story and make sure everybody got included. And make sure that there was an arc to the show. That the audience had an emotional experience. Not just the feeling of sitting there for 4 1/2 hours hearing song after song.
Reconnecting with this music and with some of the people I had loved as a teenager, was wonderful. Some of these were people I never thought I would have an opportunity to work with. To be on a stage working with Joan Baez was such a huge thrill. And Emmylou Harris who is so fantastic. I sat in Emmy’s living room working on “The Water is Wide” with her. When I left, I called my wife and said, “Okay, I can die now. I have seen heaven.”
Pete Seeger and the Weavers were among the first folk artists your generation heard.
My family was a musical family. We did a lot of singing around the piano and in the living room. Even though my father tended to be conservative, he unwittingly inculcated me with some left wing values in introducing me to the music of Pete Seeger and the Weavers and the other folkies of the time.
Folk singer Oscar Brand was hosting several TV shows in Canada in the ‘60s. There are several YouTube clips of Joni Mitchell performing on his show before she was famous.
My uncle (Sid Ezrin) was a half-owner in The Penny Farthing Coffee House on Yorkville Avenue (in Toronto). Not only was I introduced to folk music as a young kid but, as a teenager, I used to sit in the audience chewing though my braces on a baguette and trying to drink cappuccino while watching this beautiful blond-haired girl from out west named Joni Anderson. And watching this amazing blind kid Jose Feliciano and of course, there were (the local Dixieland band) Jim McHarg’s Metro Stompers.
[While Joni was playing in the basement section of The Penny Farthing, Chuck Mitchell and Loring James came into town and played upstairs. Joni later married Chuck.]
Did you perform at The Penny Farthing?
I played in the basement as Bob Ezrin and I played there as a duo, the Messengers with my cousin Nancy (Cole).
Were you any good?
The Messengers were pretty good. How good can a 15-year-old with braces be? My big number of the night was the “Canadian Railroad Trilogy” by Gordon Lightfoot. It’s my favourite song ever. I wrote some things but we mostly covered other peoples’ stuff. We would do folk music.
Sid Ezrin was renowned for collecting stereo equipment. He also had one of the first stereos in Canada.
He had the first stereo which my parents and we kids smuggled (into Canada) from a family vacation in Buffalo, New York in 1959. Sid was a lawyer with an absolute passion for music. He had Ampex tape recorders, transcription turntables, microphones. Plus, the largest privately-owned jazz collection in Canada.
You worked briefly at CBC-Radio in the ‘60s.
I started writing sketch material for Howard Bateman, a producer at CBC Radio’s “Sunday Morning.” I was just a kid. I was 17 or 18. I had a vision of becoming a writer.
Were you out of high school yet?
I had just got out of grade 13 at Oakwood Collegiate Institute at that time (1967). I had finished my year early because I had been invited to leave he school. I ended up writing my grade 13 exams on my own. I was looking for any kind of work from selling encyclopedias to selling comedy sketches to the CBC. Then these people at “Sunday Morning” gave me a break.
How did you come to work on the theatrical production of “Spring Thaw ’70?”
When Howard Bateman (and John Uren) leased the rights to (the annual revue) “Spring Thaw,” and decided to do “Spring Thaw ’70,” he hired me as his script editor. My job was to compile a script of sketch comedy written by people like Hart & Lorne (with the future co-creator of “Saturday Night Live” Lorne Michaels and Hart Pomerantz). It was also decided that it’d be a good idea to modernize the show and to have a rock music score rather than the usual Broadway-type score.
The musical director of the show was (arranger) Allan Macmillian who wasn’t as comfortable then with coming up with rock material as he was with pop material. So I volunteered to become his assistant musical director. My job was to go out and get the music and arrange the music for the stage. I hired my friends and the band Icarus (with Eddie Schwartz who’d later write “Hit Me with Your Best Shot” recorded by Pat Benatar ) which I happened to co-manage with Michael Cohl to be the house band. Then I went out looking for music. Some of which the band wrote and much of which was written by other people, including a promising young writer I met in Ottawa named Bruce Cockburn.
In a way, this was my introduction to what later turned out to be my style of production. Which is working with people on their material, on the arrangement and on an effective live version of songs.
It was rich cultural time in those days in Toronto.
Toronto underwent a cultural eruption in the middle to late ‘60s that produced an inordinate amount of talent and personalities--many of whom are still successful to today. Some of whom changed the face of their industry. From great writers to television talent to film makers and musicians.
At a club called The Global Village downtown on any given night you would find Lorne Michaels and Hart Pomerantz onstage doing comedy. (Film maker) David Cronenberg talking to Ivan Reitman in the back about his latest movie. And the members of Rough Trade huddling and trying to figure out what they were going to do on their first album.
Allan Macmillian was a partner in Nimbus 9 Productions with (arranger/composer) Ben McPeek, (producer) Jack Richardson and (engineer) Peter Clayton. Is that how you came to work with Jack?
On working with the “Spring Thaw” music, Alan said, “I’d like to introduce you to my partner. I think he could use this kind of assistance.” I came in the door thinking that I was going to be a manager. Not knowing that management didn’t mean working on peoples’ music. Jack said, “I think the word you are looking for is ‘producer.’ C’mon in kid.”
[The Nimbus 9 partnership stemmed from the partners’ collaboration on music for a Youth campaign for the Coca Cola account and working on Honda commercials. It was the Guess Who’s frontman Burton Cummings on the “Two-wheeled Freedom on a Honda?” ad in 1967. It led to Richardson discovering that the band’s recording contract with Quality Records of Canada was expiring. The debut Nimbus 9 album was “A Wild Pair” in 1968 that featured the Guess Who and the Staccatos (that later became Five Man Electrical Band) made exclusively for Coca-Cola. It reportedly sold 85,000 copies and led to the Guess Who being signed direct to the Nimbus 9 label.]
Jack Richardson was Canada’s first major music producer.
The first world class producer in the classic sense in Canada was Jack. He came from the advertising world but he had quickly recognized after doing “The Wild Pair” for Coca Cola that the Guess Who was an amazing talent. He thought that they were under-appreciated (in Canada). He literally mortgaged his house to buy them out of their Quality Records’ contract and launched them to be one of the biggest bands in the world at the time. That is pretty remarkable.
You are a co-founder of and partner along with Jack’s son, producer Garth Richardson in The Nimbus School of Recording Arts in Vancouver that has just opened. So Nimbus 9, the name lives on.
Yeah, isn’t that great? That is so fantastic. Both Garth and I believe that there is an art to what we do. There is an art to making great recordings. Not just making hit records but making great recordings. Things that will endure. And there’s an art to working in that environment that is applicable not just to us making recordings but to life in general. The things you learn being an effective studio person are life lessons that will inform everything you do going forward. We think that is important that kids should have that kind of an education. We have looked at the landscape. There are some very good schools out there but there aren’t enough of them.
We also believe that what Jack Richardson taught us in that classical style was unique and special and needs to be passed on. So much of what we’re doing is really regurgitating what we learned and maybe filtered through 40 years of experience and refined to be a bit modern. But the fundamental principals still hold true. So the idea is that we do something to keep that spirit alive and teaches the art and science in the way that we were taught.
What did you pick up from going to the Eastman School of Music in Rochester, NY. for two weeks when producer Phil Ramone came to teach the first recording workshop there in 1970.
I picked up a lot. I was a human sponge. By the time I walked out of Eastman, I understood signal path and I understood how a console worked in a general sense. I lost whatever fear I had of knobs. They let me mix which was amazing. They let me in the studio at night to play with the equipment. I lived every single moment either in the little studio room or sitting at someone knee and asking questions and making notes or observing. Then we did a live recording with the Paul Winter Consort. It was a wonderful learning experience in the real world.
Was working with Alice Cooper your “high school” as a producer?
Oh, it was my grade school. It was kindergarten. Talk about jumping into the deep end. I saw them in New York and I felt that there was something there we had to do. I came back to Toronto selling to save my life and theirs. Jack finally said, “Enough already. If you like them so much, you do it.” I said, “I’ll do it” with all of the bravado of a 19 or 20 year old. I leapt into it without any knowledge of how to do it. I’d done a few sessions with Jack. Just a few. I had been in the studio about five or six times, mostly on the other side of the glass, playing. Not really understanding the technology or the producer’s role.
The only thing you had to go on with how Alice Cooper sounded was their two Straight Record albums “Pretties For You” (1968) and “Easy Action” (1970) which we were pretty tame.
Honestly, I listened only to a small amount of those albums and ignored them from that point on.
You recorded “Love It To Death” at RCA’s Mid American Studios in Chicago where Jack Richardson had recorded the Guess Who. You couldn’t record Alice Cooper in Toronto?
I’m sure we could of but we were dealing with an American band too with five members and the road crew and so on. They were living in Pontiac, Michigan. To get them all the way up to Toronto and to get them across the border, especially with the way that they looked would have been difficult. It wasn’t trivial.
Did Alice Cooper’s success at both AM and FM radio surprise you?
I wasn’t at all surprised. As far as I was concerned this was more than music. This was the beginning of a cultural movement. I wasn’t thinking of it in terms of (radio) frequency bands. I was thinking of it simply in terms of a segment of society, meaning kids and that I felt being one of them, that this was what was happening. Which was that we were adopting a more fantastical approach to our entertainment. We were beginning to embrace experimentation with the stretching of boundaries and the bending of norms. We were doing it politically already. We were kind of doing it lyrically in our music, but we hadn’t touched on things like how we dressed or what our sexual orientation was through our music.
Did you still have one foot in commerciality through working with Jack Richardson and all of that pop music “hit” environment?
Maybe that was imprinted on me in language but not in reality. Sure, someone would say, “You need a hit.” So I’d say, “You need a hit.” But I had no clue what a hit was. I think the bottom line was that where (the universality) came from was my classical and my folk training. From having some folk music in my background and having played folk music for so long, I understood what a really great song felt like. I had played a lot of them.
The Alice Cooper albums are ambitious for their time. You did string arrangements for them, for example
I learned on Warner Brothers’ dime. I decided that there just was nothing that couldn’t be done. it was that blissful ignorance of youth. So I was I able to roll forward and do things that shouldn’t or couldn’t be done, that were technically improper and upside down. But they suited the situation and captured what we needed to capture at the time. You listen back to it now and it’s pretty primitive stuff. But it was appropriately primitive. That is who they were then.
The original Alice Cooper wasn’t that good of a band. They were good but not great.
No but they weren’t that bad either. They were a lot better than they thought. It was a matter of them learning the discipline of recording, rehearsing material, really poring through it to make sure that what they were doing was working with the other members of the band and jettisoning stuff that was unnecessary. These were things that they had never thought about. You just get together and everybody plays and it just kind of works. Except in most times, it just doesn’t. You really have to do think these things through. I brought that sensibility to the group.
One of the most interesting albums you did in that period was Mitch Ryder’s “Detroit” album in 1972. You recorded an outstanding version of Lou Reed’s “Rock and Roll” with his band.
It’s not bad. Aside from the original, it is the best version of “Rock and Roll.” I loved working on that record. I loved the whole Detroit ethos and the simmering revolution that never was.
Did you get approached to produce MC5?
No. I never got asked to do MC5. There were different camps at that point. Alice was more on the psychedelic tip than the political tip. Nobody saw him as political, although he was, perhaps, more counter culture than anyone, just in a very assiduous way. What he looked like, what he stood for, the lyrics of his songs were much more about the reality of the youth counter culture than the MC5 and some of the other bands around.
Larry LeBlanc is widely recognized as one of the leading music industry journalists in the world. Before joining CelebrityAccess in 2008, Larry 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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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
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
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
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
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
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
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
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
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
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