Industry Profile: Harris Goldberg
By Larry LeBlanc (CelebrityAccess MediaWire)
This week In the Hot Seat with Larry LeBlanc: Harris Goldberg, president/owner, Concert Ideas.
Harris Goldberg knows that live entertainment is a major draw at college venues across the country, but he likely wants to keep that his secret.
For nearly four decades, his feisty Woodstock, New York-based agency, Concert Ideas, has been the prime power player in the sector, serving as the middle agency between colleges and talent.
While many big American booking agents are wary of trying to set up concerts directly with students or even work within an academic mode, Goldberg and his six staff assist both parties with artist bookings, price negotiations, production, and everything in between, including educating student talent buyers about what in-demand acts may be seeking.
In most cases, colleges are represented by a student-run campus-entertainment board, which oversees which acts are brought to the school.
Presenting talent at any American educational facility can be difficult due to rules and restrictions imposed by the school, including guidelines for doing business on behalf of the school. There may also be security and policing stipulations.
As well, students live in their own “bubble world” and are difficult to reach through traditional forms of advertising. Radio, television and newspapers have little relevance anymore in promoting live shows. Digital marketing, particularly e-mail blasts, has become effective in marketing such events.
Nearly 75% of college tours run during the spring, when most colleges are seeking to buy talent for year-end blowout events for outdoor festival-type settings, gymnasiums, auditoriums, ballrooms, theaters or arenas.
Even in this tough economy, campuses are an attractive target. With thousands of students eager to ease the stresses of college life by watching their favorite act perform, America’s campuses are the ideal place to develop newbie talent.
As well, there are plenty of established bands who know that the college market is where the bulk of their fan base is, and there are enough agents and managers who know that as well.
Acts that used college markets as a key developmental step in their careers include: the Dave Matthews Band, Third Eye Blind, R.E.M., Hootie and the Blowfish, Phish, the Counting Crows, Uncle Kracker, Lifehouse, and Weezer.
Also, the decade-old, annual MTV Campus Invasion tour has brought exposure on the college circuit to Muse, Moby, Wyclef Jean, Cobra Starship, Hoobastank, Fabolous and Talib Kweli.
Why do you still do what you do?
Why do I do what I do? I don’t know. I still love music. I don’t know if that’s the reason. It’s what I have learned to do. I came very close to going to law school, but I didn’t. I am not sure that me being in the music business—in my position—is any different than selling a CD at Wal-Mart. I think we can say that middle agent has never been considered a glorious part (of the music business.) But I do what I do and I think that I do it well.
Concert Ideas acts as a middle agent?
I don’t think we are a middle agent. We are a buying service for college. We represent the college’s needs, the (bigger) agency represents the act’s needs. We help with everything from advertising plans, to where they print tickets, to where they get the sound and lights from, to trying to get the lowest possible price and, most importantly, getting them dates with the act that they want.
Some schools will call (us) up out of the blue; some schools, like the University of Connecticut, University of Rochester, Binghamton University, and University of Massachusetts, we have worked for those schools forever. There’s such a trusting relationship there.
You keep quite a low profile in the industry.
I don’t have to be on the front page of Billboard, or written up by this or that magazine. We do our work. This company has been successful. We’re not a company that borrows money. We are not promoting the shows.
Don’t you have two offices?
We have a satellite office in Indianapolis with (talent buyer) Dave Stevens who works for us (since 2001). I’ve had a few people work for me and one of them came to work a year and he’s been here 14 years, which is Adam Tobey (senior VP). He’s number two (here) and he will take over the company. He’s been amazing on the booking front. I have six people working for me now.
What is the reach of the agency?
We book concerts throughtout the country, but there are more schools in the Northeast. Especially in spring time, you can route things. You can’t route too many things in Nevada, but we do California and Oregon too.
Spring is the big season for college bookings?
Yes, it’s the big season. This office did more than 400 shows last year at colleges. That’s a lot. That’s Homecoming, Spring Flings and so forth. What you do for Homecoming you can’t do for Spring Fling. And with comedy bookings, what you can do for Homecoming, you can’t do for when the parents are there. We don’t work for clubs. We don’t have that relationship with clubs.
How do you work in a sector that is continually changing?
You either adapt or you don’t. You develop a relationship with directors. Students change every year. Directors, you have to have relationships with directors.
Is this a sector of live music that agents at bigger agencies are jittery about working?
I don’t think that colleges are respected by agents or acts. It is (about) when (an act’s) career is building or when their career is waning or they throw in a college date. But it is a very useful thing to build acts through college. Acts come through the college circuit, and build up followings.
College is where the base of support is for so many established acts.
Absolutely. But then (colleges) are ignored by their agencies because “We have to play in a major city venue” or this or that.
Acts could do an “exclusive” booking at a school, and still keep a market clean.
To some extent they will do that.
As the middle party, how do you balance the needs of the students and the needs of the acts?
The most important thing that we found out is that you don’t lie to the agents; and you don’t lie to schools.
The most important thing is that we are not out there lying to the schools or lying to the agents that this act is worth this or that much. You have to be straight forward (to agencies and managers), and say, “You know what? This doesn’t work in colleges.”
It used to be—and I haven’t seen this in the last 10 or 12 years—that acts have carried sound and lights with them in general. But it used to be, “Let me add another $1,000 to put a generator on (the contract), to rent a generator.” Doing things like that, you end up pricing yourself out of all markets.
The schools don’t have to make a profit.
No, but they are interested in breaking close to even. The economy has changed too. We aren’t there to lose money either. The schools are not there to lose money. (Their attitude is), “We’ll supplement or we’ll break even or we’ll lose a little money here.” But they can’t say, “Okay we can lose $30,000 on a show and walk away and be happy.”
But schools can often pay higher guarantees.
With the downturn in the economy are schools cutting back or, perhaps, going with two or three smaller bands instead?
No. There’s a big thing in April that I call “Stupid Money Times.” There are three weekends in April that people fight over the same acts. I will offer $20,000 to an act that should be getting $10,000 because we need them for that (specific) week. I will offer $100,000 to an act that should be getting $60,000 or $70,000. I don’t want to go through who, but I have done this within past year. It’s become stupid money. But, it can be justified if they sold the tickets, and if they have budgeted what they can or cannot lose. There may now be only two weeks (like that) with Coachella now expanding to two weekends.
Both parties rely on you to take care of details.
We take care of details. Not me alone—me and my staff. I will give you an example. I booked my first show at the State University of Fredonia (SUNY), which is right below Buffalo, six years ago. We had booked the Dropkick Murphys. I got a call that the show was canceled. At the end of the day, the phone rings in my house, not in my office—so I can pick up a call. I didn’t get the call (from the band,) the girl from the school heard from the road manager at midnight the night before the show. Then, I got the call. The girl was very upset, “What am I going to do? It’s 12 o’clock at night. The show is the next night.”
I start thinking, “Who’s around?” It’s a $15,000 or $20,000 show. “Who’s around?” I remembered that we had booked a number of dates with Reel Big Fish. I had them in Rochester, New York at 4 o’clock the next afternoon. So I called their tour manager, and we put the deal together.
That’s where you build reputations. Anybody can book a show with a telephone—it is what you do before and after the show. The Dropkick Murphys couldn’t make the gig at the last minute, it happened at midnight—and that’s what (schools) are paying us for. They are paying for (us solving) the problems; for, hopefully, holding their hand; and walking them through (the date), and doing this and doing that. We are there to help in any way possible.
With tours, that kind of thing can happen as well.
We booked the Crocs NextStep Campus Tour with OneRepublic and Fabolous two years ago. We booked the whole tour. Of course, he (OneRepublic singer Ryan Tedder) played basketball the day before, pulled his Achilles tendon and they canceled the rest of the dates. We had to fill in with another act that was around and who could open for the four or five dates that we still had to do.
That’s what we are there for. We are there for not disappearing. We are there to take your details, make sure that they have not been fucked up.
[In 2008 OneRepublic was forced to cancel nine shows, after lead singer Ryan Tedder suffered a serious tear to his Achilles tendon just before the band was to play Central Michigan University on their college tour. The injury required immediate surgery.]
You get to work with many artists at the start of their career.
Well, yeah. A lot of people came out of the college circuit—that’s true—Dave Matthews and Springsteen. We booked Dave Matthews for $1,000 or $1,500 a night. I can think of a thousand people from Red Hot Chili Peppers onward. They were begging us to give dates away for the Chili Peppers. They were a blues funk band. It was in their early days. O.A.R. was built in the college market. Do you know who has done a nice job in the college market? Third Eye Blind. They still have a career because of the college market.
Any new acts impressing you?
Do you know who’s an interesting new act? Brett Dennen, and CAA has him. He’s managed by the people who manage John Mayer (Mick Management). He has opened for Dave Matthews a few times. He has a song “Sydney (I'll Come Running).” Take a listen to it. Also, “Ain’t No Reason,” another song he has now. He reminds me of what Paul Williams used to look like—a munchkin with red hair. He’s a very interesting artist. There are a lot of those.
Due to routing, it’s often possible to land a hot act for a college date. John Peters at MassConcerts told me recently how he had the chance to book U2 early in their career at Tufts University for $3,000.
I did seven dates on U2. I have a poster on my wall from RIT (Rochester School of Technology) for U2 on April 28, 1983). I did the seven dates for U2 at, I think, $7,500 (per show). It was a big thing. There was an agent at the time, Ken Kohlberg, who said, “C’mon they are going to be big. You’ve got to help me out.”
How often do you hear those two phrases?
Oh, I hear “Help me out,” or “The album is going to be great,” and “The price just went up because the album is going to be great.” But I think that this business is a business that eats its own. I am also a member of an organization that I believe that does the same thing, NACA (the National Association for Campus Activities, established in 1960) which has an (annual) college booking conference. What it is (in the sector is the attitude) that you develop an act, and you either grab the money quickly, and you ruin the career of the act.
Comedians are very visible on the college circuit.
We have always booked comedians. We have probably done 25 or 30 dates with Lewis Black over the years. To me, he’s the best of the best. We did lots of dates with Dave Chappelle in the time. We did dates back in the day with Eddie Murphy and everybody else. I booked Jon Stewart two or three years ago.
Booking comedy is also sometimes a safer move because it has a wide appeal to students from all walks of life.
Well, a lot of comics are not the most friendly people in the world, either.
Do you book acoustic shows for campus coffee houses?
We don’t do a lot of those. We book a few. Who you deal with on the acoustic scene or for coffee houses is different than who you do for the dances and major concerts where you are dealing with four different committees.
Do you book guest speakers?
Oh yes, but not as many as we should. We booked Karl Rove debating Howard Dean at Albany last year. (Adam) Taylor, in the office, has booked Barbara Walters.
Where are you from originally?
Providence, the East Side.
How did you become a booking agent?
I went to a college that no longer exists, Windham College in Vermont (located in Putney, Vermont on the campus that is now Landmark College). I booked Sly & the Family Stone there. I think it was for $10,000. I’ve got the contract still in my drawer. He didn’t show up, but I booked it. I don’t know if he canceled beforehand or not.
You hooked up with other schools for block bookings?
I found out that if I put my school together with x, y, z schools in Vermont we might be able to get a better price. It was still small potatoes. Then when I got out of college I took a year off. I came to visit someone in Woodstock, and I stayed, and I started putting shows together.
You started putting together dates for artists.
I started putting together dates. There was a college agency (College Entertainment Associates,) which was in its waning years. It was run by Eddie Micone, who is now at Paradigm in New York. I sorta became competition to them but they were running out. I just filled a void, and developed it as a business.
When did Concert Ideas start?
1978 or 1979.
Acts like Harry Chapin, Jackson Browne, and David Bromberg were college staples during those years.
A friend of mine (Mark McKenna of Band Artist Management) now manages David. I learned more about booking when I started out in this business by putting five or six David Bromberg dates through Magna Artists in New York—a real nice commission booking—than when I did a Green Day date. You learn more (while working) on their survival, and with your own survival.
Colleges have traditionally been an entry point for people wanting to get into the music industry.
I booked a few dates with Rob Light (managing partner, Creative Artists Agency) when he was in Syracuse. At the same time Mike Piranian, was at SUNY Albany; Mike was at CAA, he repped Dylan at CAA. He died of a heart attack. Who came out of radio at Syracuse University was (Live Nation talent buyer) Harvey Leeds. Harvey’s brother Steve (VP Talent and Industry Affairs, SIRIUS/XM) was also at Syracuse, I think, also.
[Mike Piranian passed away in 2000 at the age of 48. His clients then included Kiss, and Lenny Kravitz. He had worked with Rod Stewart, Stevie Nicks, and Bob Dylan.]
Are colleges still a fertile ground for music industry talent?
Oh yeah. I see a lot of bright talents. I wish half of them I could hire. In CAA, they have brought up certain people. They have an (agent) program. Someone that was coming to be a national agent, they took to California to study for three months. If they worked in my office, learned what we do, and learned how to get in the ground level of something, it would probably be just as much an education. Not the CAA way, but they’d understand how schools work and everything.
At certain schools, there are people who think that they are going to move on and become managers in the entertainment business. I tell them, “Go to law school you will learn more.”
People used to work from the bottom up.
That’s true. If they trained as an agent, they were put in the mail room. Chip Hooper is one of the wonders (of the business). He’s one of the principals of Paradigm, but he’s also (the agent for) Dave Matthews, Phish, and O.A.R.
I remember Chip showing a book for the Missoula Mountain Band. He worked for the Good Music Agency. At a NACA convention in Chicago, I took him out to a Burger King because there was nothing open. So for the next two or three years we were trading things back and forth. He’s sending me gift coupons and I sent them back to him. But Chip learned from the ground up. He learned the business. He learned how to book big things, and small things.
You were also a manager.
I have managed two people in my life. One was (singer/songwriter) Tim Moore, who I still think is an incredible songwriter; and Denny Dent who was a rock and roll painter. He painted six foot high canvases of Jimi Hendrix and other artists. He developed this (rock and roll) art form, and he was making quite a bit of money—$50,000 a night. He did a lot of corporate (shows), and a lot of colleges. He built up a big college following; but he got more or less too expensive for the college market, but he still did a few dates a year. He developed his art a year after John Lennon was shot (in 1980).
[Denny Dent has been described as the world's only "rock and roll painter".
His performance—which he described as a "Two-Fisted Art Attack"—consisted of him rapidly painting on a six-foot-tall black canvas with multiple brushes in both hands, as well as painting with his bare hands to a musical accompaniment. Over the course of a few songs, he would complete a portrait of such artists as John Lennon, Jimi Hendrix, Elton John, Mick Jagger, Billy Joel, Frank Sinatra, Tina Turner, and others.
Performing before 300,000 people at the Woodstock '94 concert, brought Dent sizable celebrity. Ira Robbins of New York Newsday described his appearance as, "The weekend's first defining moment... The prayers of the crowd... had finally been answered." Dent died in 2004 at the age of 55.]
Tim Moore is a damn good songwriter.
He’s an incredible songwriter. (His song) “Second Avenue” is a classic. Listen to “Yes” which became a very big hit in South America (#1 in Brazil for 10 weeks). Tim never broke through like he should have. “A Fool Like You” is going to be re-recorded someday. It is still an amazing song. "Rock’n’Roll Love Letter" is another one that almost became ubiquitous but (his version) was killed by the Bay City Rollers. The problem was that every time Tim would want to release a song, someone else did the same song. Art Garfunkel released “Second Avenue” and they both killed each other. I have heard that Keith Richards loved (his original version of) "Rock’n’Roll Love Letter.”
[Tim Moore and Todd Rundgren were both members of the Philadelphia blues band, Woody’s Truck Stop. Moore later joined the Muffins, who recorded for RCA Records. Next, Moore teamed up with Daryl Hall to co-found Gulliver which released one album on Elektra Records.
While living in Woodstock, New York in the early ‘70s, Moore signed with the Paramount label. As his single "Second Avenue" was climbing Billboard’s Hot 100 chart in 1974, the label abruptly ceased operations. At the same time, Art Garfunkel released a competing version of "Second Avenue" which peaked at #34 on the Billboard Hot 100. Moore's version stalled at #58. Moore went on to record for Asylum Records with little success.
Performers who have recorded Moore's compositions include: Cher ("Love Enough"), Bay City Rollers ("Rock’n’Roll Love Letter"), Etta James ("Charmer"), the Records ("Rock’n’Roll Love Letter"), Maxine Nightingale ("I Think I Want to Possess You"), Ian Matthews ("A Fool Like You"), and Cliff Richard ("Love Enough").]
Did you manage Tim during that "Second Avenue" period?
Did I manage? If you are a hit artist, you manage. If you aren’t a hit artist, you mis-manage. He had his own label through Paramount, and then signed with Asylum Records. The record came out and I think that was the time that (David) Geffen was involved with Cher, and his interest in the music business went out the window. But there were some great people at the Asylum label. (Elektra-Asylum chief) Mel Posner, Freddy DeMann who was the assistant head of promotion, and Ralph Ebner who, I think, ran the NY office.
It’s disappointing that Tim never quite broke through as an artist.
Sometimes it happens, and sometimes you miss by a….We came very close to signing with Clive (Davis) as opposed to Geffen. Clive had just gone over to Arista. Who knows if we should or shouldn’t have?
Speaking about beautiful songs. Do you know who I loved as a songwriter and who I still think is one of the best? Tim Hardin—“If I Were A Carpenter.” He lived in Woodstock, and I helped him out with a couple of things. He came so close. If you refer to him, and say, “You have to listen to this person,” people say that Rod Stewart recorded his songs (including "Reason to Believe”). On his first two albums (“Tim Hardin 1” and “Tim Hardin 2”), when you can hear the plucking of the strings on guitar, that’s a gem to me. That was the beauty of him.
You own a music publishing company.
I wish I owned more (songs). (I have songs by) Tim Moore and Robbie Dupree. Basically, that’s it. I own part of the copyright from “Steal Away” by Robbie Dupree (which reached #6 on Billboard’s Hot 100 chart in 1980). I helped finance that record. At one time, we were close friends, parted as friends, and now we’re back being friends again. (My management partner) Johanan Vigoda has part of the rights to (Jerry Jeff Walker’s) “Mr. Bojangles.” He negotiated the first Beatles’ deal in the country representing the record company Vee-Jay Records. Then he was Atlantic Records’ first corporate lawyer. He goes back.
[Johanan Vigoda, in fact, was Steve Wonder’s long-time lawyer, and was the judge in the extended version of "Living For The City" who sentences the young man to 10 years in prison.]
Students live in a bubble world. They study, and work. Isn’t it hard to reach those students with traditional advertising?
Yeah. Nowadays, it has even changed even more so with the internet. What we found out also is that people from—let’s take the University of Connecticut for example—people from Hartford, Connecticut do not go to Storrs, Connecticut. People in Storrs go to concerts in Hartford, but it’s not the reverse. So they are living in an insulated community. That is how they have decided to market (events) there. The internet has become important but newspaper ads don’t really do anything. College kids don’t read newspapers.
Does campus radio airplay have any impact?
Not really. Even though campus radio is something, I’m not sure a lot of people listen to campus radio anymore. (Years ago) people would (be played) on the radio who would come to town. It was more than just a college radio station. There’s still a big one (WFDU) in New Jersey at Fairleigh Dickinson University (in Madison,) which I think is more of a commercial station than it is a college station. But the rest of them, you listen to them over the wires of the heating pipes. Now those are going because people get the internet radio.
The live music market has certainly been since transformed.
How about the promoters who started out years ago, like Don Law, and Larry Magid—who started out in the famous club scenes in Boston and Philadelphia? There was something great about that whole scene. I don’t see it anymore. I think that stadium plays have taken away all of that stuff. If you ever were in Don Law’s Tea Party club in Boston, you saw people like Joe Cocker, the Who, Led Zeppelin, and Roshan Roland Kirk. It was amazing. There was a whole circuit of those types of clubs. Also at the same time Dennis Arfa was promoting shows through his company Layla Productions, and started his own company, Home Run Agency, booking Billy Joel. Bruce (Springsteen) was being booked by Barry Bell at Premier. We booked a lot of college shows at that time.
Live music has become big business.
It’s become more about T-shirts, and that type of crap. It’s overkill. We eat our young. When it comes to stadiums, and you have to pay $20 for Ticketmaster, then you pay a surcharge for parking even though you may take the subway (to the venue), who wants to go?
With a Gold Express Card, you can meet your favorite act. Where’s the mystery?
No. Give me a black American Express card and I’m impressed. I actually think (the mystery) is the whole thing about music. The mystery of rock and roll was what was interesting. When you become ubiquitous, when you become so out there, there’s no mystery left. There’s nothing about it. Wasn’t it exciting when you knew Cat Stevens and nobody else did? I come from an era when at a college you took speaker systems outside, and played the new Beatles or Rolling Stones records. When is that done right now? It was exciting at that time.
Larry LeBlanc is widely recognized as one of the leading music industry journalists in the world. Before joining CelebrityAccess in 2008 as senior editor, 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, and the London Times. He is co-author of the book “Music From Far And Wide: Celebrating 40 Years Of The Juno Awards.
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Gary Churgin, Harry Fox Agency 09/13/10
Vinny Cinquemani, S.L. Feldman & Associates 12/13/12
Barry Coburn, Ten Ten Music Group 03/28/11
Matthew Cohen, Green Room Productions 10/19/01
Ted Cohen, TAG Strategic 01/10/13
Lisa Cohen, Associated Booking Corporation 02/10/06
Steve Cohen, Music + Art Management, Inc. 03/09/07
Dan Cohen, Music & Memory 01/12/17
Michael Cohl - Part 1, S2BN Entertainment 03/06/13
Michael Cohl - Part 2, S2BN Entertainment 03/13/13
Bryan Coleman, Union Entertainment Group 02/14/12
Mamie Coleman, Fox Broadcasting 07/05/12
Dennis Condon, Disneyland Resorts 07/13/01
Peter Conlon, Peter Conlon Presents 05/20/05
Tony Conway, Buddy Lee Attractions 10/06/00
Allen Cook, TOURtech 04/16/15
Tomas Cookman, Cookman International 09/05/03
Alex Cooley, Alex Cooley Presents 07/12/10
David Cooper, Foxman.com 10/31/03
Jay Cooper, Greenberg Traurig, LLP 05/23/11
Julie Coulter, Near North Insurance Groups 06/07/01
Amy Cox, Deep South Entertainment 02/09/07
Michael O. Crain, Crain Law Group, LLC 10/09/13
Charlie Cran, The Strawberry Music Festival 04/05/10
Jim Cressman, Invictus Entertainment Group 06/06/12
Russ Crupnick, MusicWatch, Inc. 07/23/15
Todd Culberhouse, Vision Management /Vision Records and Entertainment 09/05/08
Tony D'Amelio, Washington Speakers Bureau 04/21/06
Ray Danniels, Standing Room Only Management, and the Anthem Entertainment Group 03/05/15
Ken Dashow, WAXQ-FM (l04.3 FM) - New York 09/08/06
Hal David, Lyricist 07/26/11
David Davidian, Independant Lighting Designer/Director 06/18/04
Anthony Davis, D&L Entertainment Services, Inc. 03/02/01
Chip Davis, American Gramaphone/Mannheim Steamroller 05/31/02
Mitch Davis, Tempest Entertainment 07/16/04
Jeff Dawson, Canadian Recording Services 06/08/08
Desiree Day, USO Celebrity Entertainment 08/10/01
Shauna de Cartier, Six Shooter Records/Six Shooter Management 10/23/13
Gene DeAnna, The Library of Congress 02/21/12
Vincent Degiorgio, Chapter 2 Productions 08/01/13
Tony DeLauro, DeLauro Management 12/23/04
Valerie Denn, Val Denn Agency 04/30/01
Val Denn, Val Denn Agency 03/06/14
Robert DePugh, Alligator Records 07/29/05
Tom Derr, Rock Ridge Music 10/29/04
Paul Dexter, Masterworks Lighting Design and Road Cases 12/10/04
Marty Diamond, Paradigm 01/22/10
Glenn Dicker, Redeye Distribution/Yep Roc Records 07/07/06
Barry Dickins, International Talent Booking Agency 06/06/13
Jim Digby, Event Safety Alliance 09/01/16
Mark Dinerstein, The Knitting Factory 11/17/06
Neill Dixon, Canadian Music Week 03/03/16
Thomas Dolby, Musician, academic, technologist, and author 11/09/16
Jasper Donat, Music Matters 2009/Branded 04/24/09
Jim Donio, National Association of Recording Merchandisers 04/22/11
Marc Dottore, M. Dottore Management 04/11/03
Tim Drake, The Roots Agency 12/12/08
Mike Dreese, Newbury Comics 11/23/11
Charles Driebe, Blind Ambition Management Ltd. 09/22/06
Jeremy Driesen, Ray Bloch Productions 09/07/01
Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of Denver’s Division of Theatres and Arenas 08/23/10
Paolo d’Alessandro, International Solutions 06/25/14
Ros Earls, 140dB Management 02/19/14
Art Edelstein, Festival Productions 12/01/02
Bruce Eisenberg, Audio Analysts 08/31/01
Martin Elbourne, The Glastonbury Festival 12/18/09
Michael Elder, Red Entertainment 03/17/06
Tod Elmore, Sixthman 11/24/06
Paul Emery, Clear Channel Entertainment 11/19/04
Arty Erk, Citrin Cooperman 04/27/16
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock ’n’ Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gélinas, Festival d’été de Québec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Chris Gero, Yamaha Entertainment Group 10/26/16
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Steve Gietka, SMG Entertainment 03/19/14
Darren Gilmore, Watchdog Management 03/17/16
Daniel Glass, Glassnote Entertainment Group 10/16/14
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Neil Goldberg, Cirque Productions 04/16/14
Martin Goldschmidt, Cooking Vinyl Group 09/29/16
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, Turntable.fm 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Justin Kalifowitz, Downtown Publishing 04/20/17
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Música e Cultura 05/04/17
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Paul Reed, Association of Independent Festivals (AIF) 06/14/17
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, ItsAboutMusic.com 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Peter Shapiro, Ideal Entertainment 04/16/04
Seth Sheck, Access Pass & Design 01/03/03
Seth Sheck, ACCESS Event Solutions 06/22/16
Seth Shomes, The Agency Group 11/12/14
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Michael Simon, The Harry Fox Agency 08/14/13
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Peter Smidt, Eurosonic Noorderslag & manager Buma Cultuur 07/17/13
Garrison Snell, Gyrosity Projects 02/23/17
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
Nikki Solgot, Circle Talent Agency 02/18/15
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Mandar Thakur, Times Music 08/06/15
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Marsha Vlasic, Artist Group International 05/31/17
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Kirt Webster, Webster PR 02/03/16
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Adam White, Author 09/14/16
Adam Wilkes, AEG Live Asia 10/13/16
Fenton Williams, 04/04/08
Del Williams, Right Arm Entertainment 04/18/08
Bryan "Birdman" Williams, Cash Money Records 09/13/11
Paul Williams, ASCAP 10/19/11
J.P. Williams, Parallel Entertainment 10/03/12
Kurt Willms, Green Room Productions 09/20/03
Chris Wilson, Heartbeat Records 03/02/07
Tony Wilson, Factory Records/In The City 06/01/07
Tom Windish, The Windish Agency 07/26/10
John Wiseman, XL Touring Video 05/05/06
Thom Wolke, Twincloud.com 02/08/02
Michael Wood, City Lights Entertainment 08/08/08
Keith Wortman, Blackbird Presents 03/22/17
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, CultureCatch.com 07/27/07
Jeremiah “Ice” Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
Kevin 'Chief' Zaruk, Chief Music Management 06/10/15
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06
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