Industry Profile: Seth Goldstein

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: Seth Goldstein, chairman and co-founder, Turntable.fm.

Seth Goldstein creates companies.

One day earlier this year, his partner in several ventures, Billy Chasen told him about an idea for a chat room with avatars and music.

Goldstein’s reaction was, “Hey, that’s genius.”

As a result Turntable.fm was launched by the pair with a single tweet on May 19th, 2011. With little fanfare it hit 140,000 users within the month.

Today, the service is attracting 50,000 unique visitors per day, and is hitting a million songs a day streamed.

Meanwhile, Goldstein has raised $7 million in support of the service from such luminaries as Guy Oseary, Troy Carter, Jimmy Fallon, members of the Roots, former Myspace Music executive Courtney Holt and venture capitalist Fred Wilson of Union Square Ventures, who is also a member of Turntable.fm’s board.

Just unveiled is an iPhone app that, unlike the web-based version of Turntable.fm—which requires users to be Facebook friends with a turntable user to access the site—is open to all comers. Any Facebook user can access Turntable.fm.

Chasen has said that Turntable.fm was spurred by "the need to bring the social value back to digital music."

Turntable.fm is, in fact, a formidable communal online music service in which users can create or join rooms where music is played. There, they can take turns spinning tracks for one another from one of five DJ spots represented by their avatars.

Rooms are equipped with a chat box, and users can rate the songs they hear, as well as purchase them through iTunes or Amazon’s music store or add the songs to the Spotify queue.

Navigating the maze of rooms is simplified by Turntable.fm‘s integration with Facebook. When users enter the site, they start at a lobby. At the top of a list of rooms are the ones in which their Facebook friends can be found.

Turntable.fm enables listeners to follow other users and receive emails when they start DJing. DJs earn points when listeners approve of their songs.

An entrepreneur and investor, Goldstein has long focused on the business and design of social applications on the internet.

After receiving a B.A. in Dramatic Literature from Columbia University’s Columbia College school in 1993, he started Riverbed Media that created interactive projects with contemporary American artists Robert Wilson and William Forsythe.

In 1995, Goldstein founded Sitespecific, which pioneered online advertising solutions for companies like Duracell and Travelocity. It was acquired by CKS Group in 1997.

In 1999, he became an entrepreneur-in-residence at Flatiron Partners, where he built a practice in “pervasive computing,” investing in companies Kozmo, Modo and Vindigo.

In 2002, Goldstein created Majestic Research, the first Wall Street research firm to mine primary data for hedge funds to forecast the financial performance of public companies. Majestic Research would be acquired by Investment Technology Group in 2010.

In May 2005, Goldstein handed over the reins of Majestic Research to a new CEO in order to focus on Root Markets with trader Lew Ranieri and the Chicago Board of Trade, creating the first financial exchange for online mortgage leads.

Two years later, he moved in San Francisco, started SocialMedia.com, a leader in online display advertising. SocialMedia was acquired by LivingSocial this year.

In 2010, Goldstein and Chasen launched Stickybits which connects digital media to real-world objects via barcodes. But after it failed to connect with consumers, they switched to Turntable.fm.

Turntable.fm is headquartered in New York, where Chasen, its CEO and co-founder, is.

Living in Marin County, California, Goldstein regularly commutes to New York, and Los Angeles.

You start companies?

Yes.

Starting any new business is exciting.

It’s like having a kid, though it’s not nearly as important. But, it’s hugely exciting. There’s a period where you are planning, and you are plotting; and you have huge ambitions and expectations. Then you put it together, and you launch and the reality seeps in terms of what you have brought to the world, and what people think of it. To a certain extent, like your children, you think that your kids are the cutest things in the whole world. It doesn’t mean that everybody else always thinks that.

So, as it relates to Turntable, what’s been nice is that everybody else does think it’s the cutest kid in the world. We are not bragging about it because other people seem to be so excited about it.

Have you been involved with other music-related ventures?

God no. Why would...the history of music startups is littered with bodies. Going into this is the last thing that we wanted to do—or the last thing that I would want to do as an entrepreneur would be to get into the online music business. Every entrepreneur I have met along the way that has done various forms of music startups, they looked like they came out of World War II or Viet Nam.

It’s a dicey time to invest in a music-related service. The music industry is at a crossroads, and there are rights issues. Where’s the money for an investor?

I don’t think they are looking at investing in music per se because there are huge taxes (costs) in terms of overheads of labels, in the licensing, and everything else associated with it. However, what investors have been trained to do in recent years is (understanding) the value of engagement. You see it with Facebook, right? You see it with Twitter. You see it with these services that have really captivated the attention of the consumer. Since a lot of these companies don’t monetize day one, the proxy for monetization is engagement. How long is a consumer staying on a service, and how often are they coming back? Then, in the case of social media, how viral is it? Can the (service) market itself by the virtue of the fact that friends are telling friends about it? So, when you factor in those different perimeters, music is really an important glue that can hold people together in a sustainable kind of media service.

But the revenues generated…

I would say that Pandora has made a number of investors wealthy who had no ulterior motive other than making money. Pandora doesn’t have direct licenses. They are not hanging out with the stars. Spotify is doing quite well. It is raising more capital in increasingly high valuations. YouTube is not a music service per se but there’s a ton of music that goes through it. I think that there are more startups that have figured out how to incorporate music as a key engagement mechanism.

For Turntable.fm, you have raised $7 million. That doesn’t sound like much.

Considering the fact that we only have eight people (as employees) and that our costs are modest, it’s plenty. The thing that I have learned, and the people around me have learned, is that the more people you bring on, and the more complicated things get, the more product development slows down. So we are trying to be very mindful of doing as much as we can with as little as possible. We want to make sure that we have a decent runway. As we scale our costs in terms of licensing; in terms of international expansion; in terms of infrastructure build out; those (costs) will increase, and it wouldn’t surprise me if we raise more capital down the line.

Was it you who brought in Guy Oseary, Troy Carter, Jimmy Fallon, members of the Roots, and former Myspace Music executive Courtney Holt as investors.

Yes.

You also brought in Fred Wilson of Union Square Ventures, who is now also a member of the company's board.

Billy is in New York, and he has long wanted to work with Fred. They are only a couple of blocks away.

How did you and Billy meet in 2005?

I met him because I came across one of his interactive art pieces on the web that really fascinated me, so I reached out and we built a relationship. It was an online art project that kind of visualized peoples’ click streams. I thought it was beautiful, and I tracked him down.

We started spending time together.

We worked on a project called Downfly in 2006 that was a mechanism for people to pass down websites that they liked to their friends. The more time they got passed down, the higher they would rate. It was kind of a new way of surfing the internet.

[Downfly, a Firefox extension, allows users to email webpage links to one or more friends, without having to cut-and-paste the URL in their email message. Downfly can track where those links go, if friends forward them to others.]

Then I decided to move out to California with my wife and my kids, I had wanted to live out in San Francisco for awhile, and my wife (Tina Sharkey) got a job opportunity to run BabyCenter (as its chairman and global president) for Johnson & Johnson. I went to California to start SocialMedia, and Billy and I put things on hold. He went to an incubator called Betaworks, and became the founding engineer. The two of us took our project, and we merged it into Betaworks, which is very, very popular and successful. We are both investors in Betaworks.

Billy built Chartbeat (Chartbeat.com), which is a fantastic product. He was there for a couple of years. Then as I was building out SocialMedia, I brought in an executive, and Billy and I re-connected in 2009, and plotted the concept of Stickybits.

[Chartbeat is a real-time analytics service that enables people to understand emergent behavior in real time and exploit or mitigate it. It is used by some of the most popular sites on the web, including the Onion, Mahalo, Pitchfork, and DailyKos.]

What went wrong with Stickybits?

We didn’t have the consumer adoption. It was a little early in the market as far as bardcode scanning.

[Stickybits launched in March, 2010. The Stickybits app allowed users to scan bar codes of purchased products, or develop bar codes of their own, in order to connect physical objects with online content and contests. Basically, the first person that attached to the code was considered the moderator, and could delete anything added afterwards.

Prior to Stickybits, Billy Chasen, who has a Batchelor of Science in computer science from the University of Michigan, co-founded Betaworks, where he created Chartbeat.com, a real-time analytics service, and Firef.ly, a chat service.]

What impressed you about Turntable.fm when Billy brought it to you?

Of course, I’ve had had a long-standing relationship with him so I know that he’s extremely talented and visionary. I am very open to his ideas, and we have been collaborating for awhile. I guess in February, he talked about this idea that he had been sitting on. We talked it through. It seemed promising as a small project. It didn’t seem like it would turn out to be the big play that I think we have in front of us now.

Why did you think it would be only a small project?

It seemed very niche. If you described it in a vacuum, it’s chat rooms with avatars and music, right? So there’s no sense that this is going to be the next great online music platform. It was more about this is more of a novelty. People will think it’s kinda cute. But clearly it taps into something so much deeper.

What online models are you following? Obviously, Facebook.

The models are clearly with Facebook and YouTube, Twitter, fourSquare and Instagram consumer services. We are totally committed to the consumer experience. We just grew organically with minimalist advertising.

It started with just a single tweet on May 19th.

There was a single tweet. Basically, that’s how it started, and it just grew. It was very much organic, and viral and all of those good ways of marketing a service very authentically. So we weren’t talking to the press. We weren’t advertising, obviously.

Why has Turntable.fm caught fire so quickly?

One (reason) is that people like to promote their tastes. Not everybody, but certain people. When they start DJing, they like to promote what their tastes are. Their intent is based on their own ego to tweet it, and share it by Facebook. Secondly, the more friends that are on the service, the better it gets. If you are in a small room with five friends, and you are listening to music together, it is an extremely compelling experience.

How many visitors per day?

We have around 50,000 users a day. We are streaming a million songs a day. We cover a lot of people. If you start playing a song on Turntable, and if you Facebook that out to your newsfeed, it will show up in front of 100, 200 or 300 of your friends on Facebook. So we have great coverage that way. It doesn’t mean that 60 million people (from Facebook) are using Turntable. Far from it. But we have an audience (at Facebook) that we can go after.

What is the average time for a user on the service?

I don’t have a session line. There are people who spend 10 hours a day, but I don’t think that is our average. Our challenge is that we need an experience that is both intensive for those who want to spend hours but also something that is more passive for those that really use us as a music service, as a radio service.

There are already complaints of user burnout which you are going to have to address.

Absolutely. People sort of throw themselves into it for a couple of weeks; they lose a ton of productivity; and they just shut it down. So we have the high class problem of how do we turn down the addictiveness, and stretch it out so that we titrate the engagement as opposed to requiring people to interact so intensely.

These are still early days for Turntable.fm. As you build on different features, it will change.

I think so. We are going to be very careful about things like advertising monetization. We are very focused on—first and foremost—respecting the audience that we have; making them feel like we are listening to them; and that we are committed to supporting the kind of experiences that they have had and want to continue to have. At the same time, we want to expand the audience and introduce new people into the service. We have some ideas this Fall for activating college campuses who aren’t on the service and who don’t read TechCrunch or read Billboard.

The audience remains quite exclusive.

It is small. It is the sort of sophisticated, urbane San Francisco, New York, and L.A. music and technology scene. It’s a great place to start. A lot of the key influencers are there. We are fortunate to have as investors some great leaders from the industry—celebrities, record company executives etc.—and we’ve got great venture capital behind us. We are making solid progress in our conversations with the (music) industry in terms of licensing. That is going well, but (the service) is still niche. We have ambitions to have tens, if not hundreds of millions of users. But that is going to take a fair amount of time, and it will require that we cross the chasm.

An iPhone app is just now available.

It has done exceedingly well.

When will an Android app be available?

We are working on it.

With the emergence of digital, music virtually stopped being a social experience.

It is just an evolution. Music was always social. Then, with digital, it was more convenient, but it could also be much more individualistic.

We put our headphones on to hear music, and we ignore what is around us.

Originally, music was social, whether it was Mozart playing in the chamber of his patrons or concerts or us playing vinyl in our living rooms. It always had a social component. Then digital music arrives, and it is more convenient but that also led to a certain kind of isolation and alienation. You’ve got this great technology. You’ve got music you can bring anywhere. It is incredibly convenient. You can download it, etc. But you get these images of people tuning out to their surroundings on a train in Manhattan with listening (to music) with their ear buds in. With Turntable, I think we can make the digital music experience social again.

Turntable.fm is like having a great record and inviting some of your best friends over saying, “You’ve got to hear this album.”

Yeah, I think that’s very consistent. The other thing happening in some of these rooms is that there are some great fun games. During Hurricane Irene, there was a hurricane room and people had to play everything from Bob Dylan “Hurricane” to “Here Comes The Rain Again” (the 1984 hit by Eurythmics).

There’s been rooms where you share the music you first heard the lyrics to. I was up (on the site) and somebody played A Tribe Called Quest—it was clearly someone younger than me—and I chose between Blondie’s “Heart of Glass, and the Rolling Stone’s “You Can’t Always Get What You Want.” I chose the Rolling Stones, and I chatted a bit, about that is what my parents played for me when I was asking for things (as a kid). It created an emotional connection that transcended the music itself.

Facebook is trying to evolve; Turntable.fm will evolve as well in time.

Well, yeah. I think that the most important thing is getting broader market appeal, that people find it and they stay engaged. On the monetization side, there are some really good examples out there like Zynga in terms of virtual goods that have figured out ways of making money that not only don’t hinder the consumer experience but actually enhance it.

Can this service get too big? Is that a concern?

It is something that we try to manage with regards to room size. We don’t allow more than 200 people in a room. Even 200 is a rather noisy experience. I think that the best experiences are with 20 people; not 20,000 people. So our challenge is, how do we scale to become a truly mass market music service while at the same time maintain the level of intimacy and vulnerability and emotional conversations that happen in these smaller rooms?

You are an expert in advertising on the internet. How will advertising playing a role in monetization of the service?

I don’t think that it (monetization) will take the form of ads. I think it will be in the form of sponsorships. I think that brands will have an opportunity to bring great artists into Turntable to sponsor their music, and their DJing to our audiences. It’s good for the consumer because the consumer will get access to musicians; and it’s good for the brand because it will be associated with that good experience. Then the artist will be able to get paid.

What type of brands?

I’m thinking more like traditional advertisers as how it relates to record companies and the agents and the managers, working with all of them (artists) first and foremost to share some of the best practices that other artists are doing to stay in participating on the platform. The other week Lady Antebellum, through Borman Entertainment, had their new album ("Own the Night”) coming on Tuesday (Sept. 13th) morning, so Monday night they were all in a room playing music from the new album to 200 fans. Everybody in the room was giggling and talking about how they couldn’t wait the album the next day at Wal-Mart.

You are talking to labels on several levels: the promotion and marketing departments; and the business affairs department for licensing.

Yeah. The business affairs, and the legal conversations preempt a lot of the creative marketing conversations because we really can’t go down the path of integration with the labels until we are on solid footing, and until we’re all on the same side of the table. The relationship with the industry is very constructive. We definitely want to continue to make our service more interactive, and introduce new features that might require direct licensing. So we want to pursue that, but at the same time we have got the service that we have that is compliant with the DMCA, and can be thought of as an internet radio service.

[Turntable.fm operates under the U.S. Digital Copyright Millennium Act which enables companies to stream music from content libraries without charging for it, but does put some restrictions in place.

Under the DMCA, non-interactive webcasts, and online simulcasts of terrestrial radio can play music without directly negotiating licenses with labels and music publishers.

Instead, they can play music under a statutory license that requires them to pay rights-holders a per-stream royalty through SoundExchange, the sole entity designated to collect royalties operating under the Section 112 and 114 of statutory license.

To be considered non-interactive, a service must satisfy certain requirements, including that listeners not be allowed to pick songs to hear on-demand.

If a service streams records where the customer can choose what is to be heard—which would constitute an interactive or an on-demand transmission—or provides advance play information, the service operator must get permission directly from the sound copyright owner, and negotiate a fee.]

Turntable.fm had to pull down its international service because of licensing issues.

Exactly. DMCA doesn’t cover international territories. So it was cut and dry. Frankly, I think that one of the overriding interests on our behalf of securing direct licenses is to have access to international markets.

Turntable.fm has to be international. What are your plans?

I think that it is going to be tied to securing licenses. One of the benefits of building direct relationships with the labels is being able to secure international access which you can accomplish through being a statutory rate.

What has to be in place for Turntable.fm to offer international licensing? Besides needing direct licenses, you would have to have significantly more revenue.

It really depends on how we do it. There’s structuring. Without getting too much into it, I think that the labels are aggressive. They believe in the full value of the content that they own, and they want full value for it. That being said, they are reasonable. They don’t change their minds. They are not irrational. They just believe that what they own is extremely valuable.

So it is really an economic conversation. In so far that we are succeeding in growing, and they don’t want to kill the goose. As they want any kind of promising online music service—they want them to grow and prosper so they can pay more money to them down the line.

Are labels more accepting of new online businesses? Is there a new attitude?

I don’t know if it’s new. It’s an insider industry. So if you work with the right people who have worked with the right people before…it’s almost like a family business. I think that it’s a lot about trust. They have been taken advantage of in the past. Companies have come in and really tried to fleece them or they have agreed to things, and then regretted it. There’s a cautiousness from where they are coming from.

Labels don’t want to build another business like they felt they built MTV.

Correct. And they built YouTube.

How did you come to focus on the business and design of social applications when you have a B.A. in Dramatic Literature at Columbia University?

It is a longer conversation, but I was a child actor, and I developed a real interest in directing, which is really all about engaging an audience and different forms of interactivity, onstage. From there, I started developing CD-ROMs with contemporary artists like Robert Wilson and Bill Forsythe. That was through 1993 and 1994. Then the web emerged, and I had good skills producing multi-media.

You started one of first online technology companies, Sitespecific.

I never thought of it as technology per se. I just thought of it as different forms of multimedia, and interactive media. It just led sort of naturally…Sitespecific, as a name, really refers back to avant garde of the ‘60s and ‘70s in terms of land art and performance art. That’s how I was raised. And I was always curious (about interactive media and technology).

Your father is a technologist.

He’s a software engineer. In time, I got more interested, not just in the human interaction, but how do investors work and operate? How do you make money to startup? How do you sell a business? That led me to work with Fred (Wilson) and Flatiron Partners as an entrepreneur-in-residence.

Was being at Flatiron a turning experience in your career?

It was an opportunity to get onto the other side of the table. I had been the entrepreneur that was always looking for capital. Initially I was an entrepreneur-in-residence there. Then I became an investor; and I became the investor looking to give capital. Deciding that was really interesting in terms of understanding the dynamic. It was also a totally bizarre moment, and probably an unique moment in our history in terms of being in internet venture capital in 1999.

[Founded in 1996 by Fred Wilson and Jerry Colonna, Flatiron Partners was the first New York venture-capital firm dedicated exclusively to the Internet. It invests in content, e-commerce, services, and software companies.]

Things were changing in 1999.

It was the tip of the bubble. I was investing all of the way up to the top, and I was watching things explode all the way down to the bottom. It was exciting, and it was one of a kind (experience) and I wouldn’t trade it for anything, but it wasn’t sustainable. I walked in and made money faster than I could imagine. Then I lost money faster than I could imagine.

Quite a jump going from being an entrepreneur to investor.

I didn’t have the patience for being an investor in the end. I was too young. Some people are built to be more patient, and really being able to enable other entrepreneurs. I still had a lot of entrepreneurial energy in me. And, it’s very important as an investor not to compete with your entrepreneurs; not to solve things, but to listen to their solutions. If they are wrong, let them make mistakes. I think that being a dad has probably made me a much better and a much more patient investor, and manager. And I am pretty active. I have been active as an angel investor and an investor in early stage venture funds.

An investor has to have patience, but he also has to be able to walk away from a project that is not working, and be prepared to lose an investment.

Yep. You have to be able to take risks.

Majestic Research was developed to mine primary data for hedge funds to forecast the financial performance of public companies.

There was a lot of data out there. Companies can’t say anything (about business) except at the end of the quarter, and Wall Street is kind of retracting so hedge funds are blossoming. So you put that all together, and say if you can systematically find and extract data about internet companies and consumers companies across the internet, and turn it into research, and there are more and more hedge funds out there with more and more money, it’s just good business.

Markets keep emerging due to the internet.

I am always looking for interesting problems out there. They are going to get bigger and bigger. You want to invest in markets that are going to get bigger, not smaller. So to be able to create solutions now for problems that are going to get bigger, you are by definition adding value.

Will the evolution at Turntable.fm be intentionally gradual so you can maintain, and better grow the service?

Yeah, we have had a lot of conversation about, “How do we stay cool? How do we stay authentic?” We want to grow because in order to build a business, we have to have ultimately millions of engaged users. But if we build too quickly, we are going to alienate the core audience that has been there for us.

Are you a music person yourself?

I think we are all music people.

C’mon, you are really a business person.

I love music. I have never been in the music business. I have never played music. And I am having a great time. Doing this when I am 41, as opposed to when I was 25, I’m not taken by the celebrities, and the personalities that I am meeting. I have met with the head of every label, and with many of the legends out there—both on the talent and the label side. They are great, but they are just like everybody else. In the end, I have to build a business, and return capital to my investors.

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.”

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Mike Chadwick, Essential Music & Marketing 08/01/12
Rob Challice, Coda Music Agency 03/27/13
Tom Chauncey, Partisan Arts 01/11/02
Tom Chauncey, Partisan Arts 10/04/11
Lisa Cherniak, Artists Against Racism (AAR) 07/20/01
Bob Chiappardi, Concrete Marketing 06/13/03
Joel Chriss, Chriss & Co. 10/04/02
Michael Chugg, Michael Chugg Entertainment 09/14/01
Michael Chugg, Chugg Enterprises 10/02/09
Gary Churgin, Harry Fox Agency 09/13/10
Vinny Cinquemani, S.L. Feldman & Associates 12/13/12
Barry Coburn, Ten Ten Music Group 03/28/11
Matthew Cohen, Green Room Productions 10/19/01
Ted Cohen, TAG Strategic 01/10/13
Lisa Cohen, Associated Booking Corporation 02/10/06
Steve Cohen, Music + Art Management, Inc. 03/09/07
Dan Cohen, Music & Memory 01/12/17
Michael Cohl - Part 1, S2BN Entertainment 03/06/13
Michael Cohl - Part 2, S2BN Entertainment 03/13/13
Bryan Coleman, Union Entertainment Group 02/14/12
Mamie Coleman, Fox Broadcasting 07/05/12
Dennis Condon, Disneyland Resorts 07/13/01
Peter Conlon, Peter Conlon Presents 05/20/05
Tony Conway, Buddy Lee Attractions 10/06/00
Allen Cook, TOURtech 04/16/15
Tomas Cookman, Cookman International 09/05/03
Alex Cooley, Alex Cooley Presents 07/12/10
David Cooper, Foxman.com 10/31/03
Jay Cooper, Greenberg Traurig, LLP 05/23/11
Julie Coulter, Near North Insurance Groups 06/07/01
Amy Cox, Deep South Entertainment 02/09/07
Michael O. Crain, Crain Law Group, LLC 10/09/13
Charlie Cran, The Strawberry Music Festival 04/05/10
Jim Cressman, Invictus Entertainment Group 06/06/12
Russ Crupnick, MusicWatch, Inc. 07/23/15
Todd Culberhouse, Vision Management /Vision Records and Entertainment 09/05/08
Tony D'Amelio, Washington Speakers Bureau 04/21/06
Ruth Daniel, In Place of War 08/09/17
Ray Danniels, Standing Room Only Management, and the Anthem Entertainment Group 03/05/15
Ken Dashow, WAXQ-FM (l04.3 FM) - New York 09/08/06
Hal David, Lyricist 07/26/11
David Davidian, Independant Lighting Designer/Director 06/18/04
Anthony Davis, D&L Entertainment Services, Inc. 03/02/01
Chip Davis, American Gramaphone/Mannheim Steamroller 05/31/02
Mitch Davis, Tempest Entertainment 07/16/04
Jeff Dawson, Canadian Recording Services 06/08/08
Desiree Day, USO Celebrity Entertainment 08/10/01
Shauna de Cartier, Six Shooter Records/Six Shooter Management 10/23/13
Gene DeAnna, The Library of Congress 02/21/12
Vincent Degiorgio, Chapter 2 Productions 08/01/13
Tony DeLauro, DeLauro Management 12/23/04
Valerie Denn, Val Denn Agency 04/30/01
Val Denn, Val Denn Agency 03/06/14
Robert DePugh, Alligator Records 07/29/05
Tom Derr, Rock Ridge Music 10/29/04
Paul Dexter, Masterworks Lighting Design and Road Cases 12/10/04
Marty Diamond, Paradigm 01/22/10
Glenn Dicker, Redeye Distribution/Yep Roc Records 07/07/06
Barry Dickins, International Talent Booking Agency 06/06/13
Jim Digby, Event Safety Alliance 09/01/16
Mark Dinerstein, The Knitting Factory 11/17/06
Neill Dixon, Canadian Music Week 03/03/16
Thomas Dolby, Musician, academic, technologist, and author 11/09/16
Jasper Donat, Music Matters 2009/Branded 04/24/09
Jim Donio, National Association of Recording Merchandisers 04/22/11
Marc Dottore, M. Dottore Management 04/11/03
Tim Drake, The Roots Agency 12/12/08
Mike Dreese, Newbury Comics 11/23/11
Charles Driebe, Blind Ambition Management Ltd. 09/22/06
Jeremy Driesen, Ray Bloch Productions 09/07/01
Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of Denver’s Division of Theatres and Arenas 08/23/10
Paolo d’Alessandro, International Solutions 06/25/14
Ros Earls, 140dB Management 02/19/14
Art Edelstein, Festival Productions 12/01/02
Bruce Eisenberg, Audio Analysts 08/31/01
Martin Elbourne, The Glastonbury Festival 12/18/09
Michael Elder, Red Entertainment 03/17/06
Tod Elmore, Sixthman 11/24/06
Paul Emery, Clear Channel Entertainment 11/19/04
Arty Erk, Citrin Cooperman 04/27/16
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock ’n’ Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gélinas, Festival d’été de Québec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Chris Gero, Yamaha Entertainment Group 10/26/16
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Steve Gietka, SMG Entertainment 03/19/14
Darren Gilmore, Watchdog Management 03/17/16
Daniel Glass, Glassnote Entertainment Group 10/16/14
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Neil Goldberg, Cirque Productions 04/16/14
Martin Goldschmidt, Cooking Vinyl Group 09/29/16
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, Turntable.fm 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Justin Kalifowitz, Downtown Publishing 04/20/17
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Elliot Lefko, Goldenvoice 09/21/17
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Música e Cultura 05/04/17
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Paul Reed, Association of Independent Festivals (AIF) 06/14/17
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Jack Ross, APA Canada 09/07/17
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, ItsAboutMusic.com 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Peter Shapiro, Ideal Entertainment 04/16/04
Seth Sheck, Access Pass & Design 01/03/03
Seth Sheck, ACCESS Event Solutions 06/22/16
Seth Shomes, The Agency Group 11/12/14
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Michael Simon, The Harry Fox Agency 08/14/13
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Peter Smidt, Eurosonic Noorderslag & manager Buma Cultuur 07/17/13
Garrison Snell, Gyrosity Projects 02/23/17
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
Nikki Solgot, Circle Talent Agency 02/18/15
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Deb Suckling, SUGARRUSH Music 07/27/17
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Mandar Thakur, Times Music 08/06/15
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
Adam Tobey, Concert Ideas 08/24/17
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Marsha Vlasic, Artist Group International 05/31/17
Mat Vlasic, Bravado 06/28/17
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Kirt Webster, Webster PR 02/03/16
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Adam White, Author 09/14/16
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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