Industry Profile: Alexandra Patsavas

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: Alexandra Patsavas, owner, Chop Shop Music, Inc.

Alexandra Patsavas pays attention to background sounds the way the rest of us pay attention to our breathing.

Leading up to a rash of shows returning to the airways for another TV season this month, the lights have stayed on late at Patsavas’ Chop Shop Music over the past months as her music supervision staff toiled on music for such TV programs as, "Grey's Anatomy," "Private Practice," "Chuck," "Gossip Girl," "Rescue Me," "Mad Men," "Supernatural," and the debut of “Hart of Dixie.”

As well, Chop Shop Music have been supervising music for such feature films as "The Twilight Saga: Breaking Dawn," “A Better Life,” "Water For Elephants," and “Fun Size.”

Patsavas’ musical instincts are razor-sharp and legendary.

She is renowned for her ability to match the exact right song with a scene for maximum emotional impact. She starts with the feeling of the film, and then she creates a mood around it. She resists using this or that band if it's only a priority for a label, network, studio or whatever. Instead, she seeks out music from far-flung sources that will fit the mood she's creating; and that also will open up the film.

Besides working with about every contemporary major music act you might name, Patsavas has also provided the cinematic breakthroughs for an impressive list of emerging bands, including Death Cab for Cutie, Modest Mouse, the Killers, Snow Patrol, the Fray, Florence & the Machine, the Black Keys, Metric, Paramore, and Muse.

Growing up in Chicago’s suburb of Glen Ellyn in the '80s, Patsavas was a Glenbard South honors student who spent much of her free time at record stores such as Wax Trax or catching bands at local clubs.

Patsavas studied politics at the University of Illinois in Urbana-Champaign, Illinois, but dropped out during her junior year.

She came to Los Angeles in 1990 to work in the mail room at Triad Artists. This was followed by a two year stint at BMI, where she was introduced to the world of music supervision.

Director Roger Corman recruited Patsavas to coordinate music at his Concorde Films. By the time she left nearly three years later, she had worked on close to 50 low budget films.

In 1998, Patsavas formed Chop Shop Music Supervision, which she ran initially out of her Hollywood apartment. The company’s first projects included the independent feature film “Happy, Texas” and the acclaimed sci-fi television series, “Roswell.”

In 2003, Josh Schwartz hired Patsavas to supervise the music for his ground-breaking drama about Southern California teenagers, “The O.C.” which ran for four seasons.

Meanwhile, Chop Shop music went on to supervise a long list of television shows including: "Carnivale," “Without A Trace,” “Life On Mars,” “Numb3rs,” “Fastlane,” “Boston Public,” “Tru Calling,” “1-800-Missing,” and “Criminal Minds”; as well as the films "The Invisible," “New In Town,” "Remember Me,” and "The Dilemma."

In 2007, Patsavas launched Chop Shop Records, which is distributed by Atlantic Records. The label’s roster currently consists of Scars On 45, Anya Marina, Milo Greene, Marina and the Diamonds, the Republic Tigers, and Mackintosh Braun.

Over the years Patsavas has produced soundtracks for such TV shows as "Mad Men," "Grey's Anatomy," "The O.C.," "Rescue Me," “Gossip Girl.”

She has, in fact, produced four original soundtracks for “Grey’s Anatomy.” The latest, “Grey’s Anatomy Original Soundtrack Volume 4,” was released Sept. 13, 2011. It features tracks by Cee Lo Green, Lykke Li, Scars on 45, Peter Bjorn and John, the National, the Boxer Rebellion, Delta Spirit, and the Republic Tigers.

Due in stores and online Tuesday, November 8, is "The Twilight Saga Breaking Dawn—Part 1” soundtrack on Chop Shop Records.

Patsavas was the music supervisor for "Twilight," "The Twilight Saga: New Moon," and "The Twilight Saga: Eclipse.” Combined, the three soundtracks have sold more than 7.5 million copies worldwide.

Studio executive Mike Medavoy’s memoir in 2002 was titled “You’re Only As Good As Your Next One.” Is that still true in Hollywood?

I think that you are as good as your collective body of work; I’m not so sure that it’s exactly about the next one.

Of course, you do amass credits and relationships over time.

I’ve been lucky to work as a music supervisor for the same groups of creators and producers for a long time. You develop a short hand, and can work together on all sorts of different projects.

A busier time than usual?

Pretty busy. But the fall is particularly busy, in general, for me as we launch a new season and new shows. You spend a little time finding your way. Of course, this is also the eigth season of “Grey’s Anatomy,” another show with (creator/executive producer) Shonda Rhimes, and Betsy Beers is the executive producer. I was hired to do the pilot, and they were very focused on giving music a character’s voice and that choice has really resonated with the fans over time.

Was it fun returning to “The Twilight Saga” film series?

Oh, for me, of course. What an opportunity to work on a project that people care about so much.

Music has been important to Bill Condon’s work over the years. Is he very hands on with music?

Very, very hands on. I can’t reveal the track listing (for the soundtrack). It will come out November 8th.

[Bill Condon is best known for directing and writing the films “Gods and Monsters,” “Chicago,” “Kinsey,” and “Dreamgirls.”]

Do you really receive 500 music submissions a week?

Pretty close.

What staff do you have?

I have five staff (members) and I have an intern. John Rubeli is on the record side (Chop Shop Records), and then I have three full-time (staffers) on the music supervision side. One gentleman who splits his time between Chop Shop Records, and Chop Shop Music Supervision, and there’s our poor overworked intern who does whatever needs to be done.

Who scrutinizes the music you are sent?

Anything not horrifying is put into our iTunes. We are on a Final Cut Pro editing system so we put our music into an editing system in order to house it all, and tag it correctly. It’s enormous.

You are 43 this year working in an industry fixated with youth.

So many of my colleagues are my age that I don’t really feel it--producers, directors, editors. But I know what you are saying. I also spend a lot of time focusing on picking up music for “Gossip Girl” or “Twilight” fans. So I definitely think that I have retained some understanding (of youth culture).

Can you enjoy music for itself rather than gauging where it might be placed in a film?

Again, I know what you are saying, but I still get carried away (by music), although I certainly think about music differently as a music supervisor than I did before I did this job. I think how it would fit behind dialogue to make the audience feel. I spend a lot of time thinking about how music makes someone feel.

You aren’t someone in a restaurant who hears music in the background, and thinks, “That would so fit this project.”

Usually at a restaurant, it is songs that I already know, but that I can’t turn off. I am still programmed to listen to what is in the background. It is just so much a part of my life that I am always listening to what is on in the background.

The independent music supervision field has exploded in the past decade. A highly competitive field today?

Yes. Of course, it’s been with (a growing number of) cable and network shows alike, but I do think that with A&R jobs being less available that music supervision has become more of a destination. Sort of a second choice (for a career).

A few decades ago, there were only a handful of music supervisors; studios had in-house people handling music.

And they still do. The VP of music oversees every aspect of that network or studio’s programming. It is an intense, and an enormous job. We rely on them all of the time--to sort through problems; to talk about on cameras; to help with fees--absolutely. We really rely and depend on these people.

You are working on multiple projects. How do you get your head around the diversity of music needed for all of the projects?

I work…how do I explain this? I am a person who has a business who works like I work for somebody. I keep very regular hours. I have a very organized office. I have amazing coordinators, and I have created a system--not about the creative aspect--but the back office. Of course, we clear, and we negotiate fees for the songs on all of these projects. That’s the part of this job that gets lost sometimes. If you can’t successfully negotiate and clear music, and maintain good respectful relationships with these long-time members of the film and TV community, you can’t really get anything done.

How are you paid?

A music supervisor gets paid per episode. With soundtracks, it depends. Usually for the music supervisor, there are points. It’s a very standard process.

It is a very collaborative relationship providing music for a television show or a film. It’s not like you are sitting in a dark room with earphones on.

Oh, music supervisors have agents just like the DP (director of photography) and the editor. We interview for every project that we do. So, yes it’s incredibly collaborative. A music supervisor doesn’t exist on their own. We exist within the context of a film or television or commercial, whatever it is that we are working on.

Who would you audition for the VP of music at a studio or a network?

Perhaps in the early days I would start with exactly that--somebody from the film music community at whatever studio and get vetted and move on to the directors and the producers. But now I get called for projects and I interview with whoever that creative is. In television it is a producer-driven medium so it’s Josh Swartz or Shauna Rhymes or Matt Weiner; in movies you have an interview with the director.

Does the film director or TV producer have the last call on the music in a project?

Absolutely. We are finding options to carry out the (film) director’s vision; or the producer’s vision in television.

You look at scripts and, maybe, a rough cut?

I often get hired on a TV show for the pilot; and for a movie before it has been shot. Every project starts with a dialogue with the creative to define what the objective is for the music. Sometimes, music is front and centre; and sometimes it’s not. Is it period? Is it current? Should it be music that people know? Should it be music that the audience is introduced to for the first time? The mechanics of supervision can include creating a theme song; anything on camera; anytime a character hums something, dances to something. These are all part of the music supervisor’s job.

Do you send film directors and TV producers CDs or MP3s of music you think might work?

Yes. I send lots and lots of choices. I think that a good music supervisor cannot get a…it’s part of that collaborative process that you were talking about earlier. It’s very important to always remember that we are working for the creative, and carrying out their vision.

Someone rarely mentioned in the process are editors. They must have to be music centric.

Editors are so key. I feel that you cannot overstate the importance of an editor. I think (that their role) is covered in the editor’s magazine The Cinemaeditor from ACE (American Cinema Editors). I think I have read a few articles about the musicality of editors. I know editors who actually cut to a tempo. You can watch them editing. “Is it 3/4 time?” They use music (in their editing).

I always work to get clearable current music down to editorial as quickly as possible so that they can start shaping the movie to music that the director or the producer has in mind. But you are right, their role cannot be overstated. I have a close relationship with so many editors that I have had the privilege of working with now for years

How do you get a feel for a project looking at an early draft script?

I think that if you know the (creator’s) personality, if it’s a Shonda (Rhimes) script or a Josh (Schwartz) script, you can sorta figure it out. As the scripts come further on into the series, you hear the character voices. I hear the speaking voice of the actor when I am reading a script. I think it’s the same intuitions for music. And, as I mentioned before, I have had long-term relationships (with the creatives).

Do you go on the set?

No. I’m on the set only if there’s an on-camera band or a complicated dance sequence. Otherwise I spend all of my time at the snack table, and it doesn’t go well.

You seem to have a lot of leeway in what you do.

I have worked with incredibly adventurous creatives. Of course, Josh worked on “The O.C.” At the time he was the youngest showrunner ever on a network television show (the youngest person in network history to create a network series and run its day-to-day production). He had, and still does have a real interest in new music. He is always at shows.

We were able to develop a short-hand. (With “The O.C.”) he was very specific about what kind of music that he wanted, I think you don’t serve the project well ever to short change. The job of the music supervisor is to find the very best song. I often get asked, “Are you interested in indie music rather than major label music?” I think that the job is to find the very best song for the scene. It is a very different process than putting out an album where there's touring; and does the band get along? All of these factors that enter into making and putting out an album. All I need is one amazing song that the creative feels is the best fit to enhance the drama that they brought to screen.

Working with Josh Schwartz in “The O.C." was a turning point for you. It went on for four years. Being 26, he would have grown up with the indie music.

It was such a dream come true. Of course, they decided to build a set, The Bait Shop (a fictional new night club and concert venue), and the character (Ryan Atwood played by Benjamin McKenzie) was very natural. I think we did 13 or 14 (artist) on-cameras throughout the series, as well as creating a series of covers for the show. Those were all things that Josh made space for. We did six soundtracks over the four seasons.

[For four seasons, the opening strains of Phantom Planet's "California" marked the start of Fox TV's "The O.C." to millions of fans.

The show featured a fictional all-ages venue, The Bait Shop, and an audiophile character Seth Cohen (played by Adam Brody), who had a penchant for Death Cab for Cutie.

“When the "O.C." thing happened, we went through a whole host of emotions,” recalls Death Cab For Cutie’s guitarist/producer Chris Wall. “When we got the first request for that, they hadn't even aired the pilot, and we said, "Sure, why not." It was one of the first licensing things we did and we didn't think it would be a big deal. For a while after it got huge, we thought, "God, we're the "O.C." band forever, stuck in this box." But we realized it was only a chapter in the band's history, and we had albums and a fan base and it wouldn't be the only thing we ever did.”

In 2003, Josh Schwartz had written a pilot for Warner Bros. TV and Wonderland Sound and Vision which was produced with him as creator and executive producer.

“The O.C.” quickly became a teen favorite after debuting on the Fox Network in Aug, 2003, attracting 9.7 million viewers for its first season.

The show became well known for its music designed to reflect who the characters were. Bands including Death Cab for Cutie, the Walkmen, the Killers, Modest Mouse, the Thrills, Rachael Yamagata, and the Subways guested on the show. “The O.C” also premiered many new tracks, including from the Beastie Boys, U2, Beck, Coldplay, Gwen Stefani, and the Shins.

In 2007, after four seasons “The O.C.” was canceled due to a drop in ratings.]

Josh Schwartz is known for being very hands-on as a producer.

He is very hands on. I have been lucky enough to continue to work for him on “Chuck” and “Gossip Girl” and I am currently supervising his feature “Fun Size” that he has directed. We are just getting into that now.

You were an honor student at Glenbard South in the Chicago suburb of Glen Ellyn.

My father taught at College of DuPage in Glen Ellyn, and my mom was a retired high school librarian. So yes I grew up in Glen Ellyn.

[The village of Glen Ellyn is a suburb of Chicago, about 20 miles west of the city. Performance artist and musician Laurie Anderson was born in Glen Ellyn, and Brian St. Clair, drummer of Local H is from there.]

As a teenager, you hung out at Wax Trax Records! on North Lincoln Avenue in Chicago.

I did. I definitely bought some vinyl there, and I went to all-age clubs like Medusa’s and, of course, The Cabaret Metro which is a force, and The Avalon. Chicago has a great music scene.

Were you a good girl in terms of you being an honor student or a bad girl in terms of going out and smoking, and hanging out?

I was a very good girl.

Like Molly Ringwald’s character in “Pretty in Pink.”

I was a little quirkier than Molly. I was a kid who was in drama, and on the speech team. I was one of those kids. Of course, I was a big movie fan. The John Hughes’ movies had all come out while I was in high school, and they had an enormous impact on me.

What did you study at the University of Illinois?

I studied political science. My father taught "poli sci." It was always in the house and it was something that we talked about. I was very interested in politics. I still am.

Traditionally, Chicago has been a hot bed of politics, and Democratic.

Not so much in the suburb. It was pretty conservative.

You dropped out of university in your junior year. Were you distracted by booking bands there during that year?

I was distracted, but I also really thought that there was something there for me (in the music industry). I really felt that I wanted to be an agent. I wouldn’t ever have been able to name music supervision. Being a kid from Chicago, to me the music industry was the booking industry because that is what I could see. Producing was outside my ability as far as running the board. There were people that I knew who were label reps. I didn’t have the ability to be a DJ. I tried that for the college radio station and I was completely unable to put a record on, and talk at the same time. That did not go well. So a career in radio was not going to happen for me. That was an obvious. But I had many friends who went on to have careers in radio from U of I.

Booking bands is like landing on the ground floor of the music industry.

It is the way in for many, many of us. For so many of us that are in the music business now, we started at either college radio or whatever the entertainment board is called at the university that you attended. It was funded, of course, by the school, as were the college radio programs. Of course, music or rock and roll is so much more than just your ears. It’s a lifestyle. It’s fashion, and an identity, especially at a big school like the University of Illinois, which has the biggest Greek System in the country - sororities and fraternities. But the counterculture is always equally as strong there as well.

Booking bands also gives a newcomer access to the highest echelons of the music industry. You are dealing with agents, and managers. That’s pretty heady at a young age.

You’re right. You watch the displays go up at the record store; the college (label) rep comes in; someone is advancing the show, of course from the label, from the agency; and the manager is involved. You are absolutely right. It is heady stuff at that age, and I was just trying to sort out how to do it.

Did you book any cool bands?

I did. I booked quite a few national acts. They Might Be Giants, Camper Van Beethoven, Royal Crescent Mob, and Jane’s Addiction. This was all about 1989. This was such a brief moment in the scope of what I have been doing. I didn’t do it for very long.

But it provided a base for your career.

Right.

How long did it take you to get a job once you got to L.A.?

I had a job to come to. I had booked a few of the Triad Artists roster over time. So when I came out to work in Los Angeles, I had a job. I was lucky.

Many people come to Los Angeles to try to break into the business without a job.

I was brave but I was not that brave. I arrived in Los Angles in 1990 to work at what was then Triad Artists in Century City which, of course is now William Morris Endeavor Entertainment. I was in the mail room. I didn’t know how to drive, and I moved to Los Angeles. I basically learned how to drive, and figure out this city while taking very important packages to very important people who, of course, live on long, windy roads.

[In 1992, The William Morris Agency purchased Triad Artists. The acquisition brought 50 agents and a client roster that included actor Bruce Willis, country music star Vince Gill, and the Red Hot Chili Peppers.]

Anybody working in the mail room with you who became well-known later on?

No. I was only there about a year. Many well-known clients, of course, were there. My particular mailroom class, I didn’t keep in contact with, except for John Rubeli, who runs Chop Shop Records. He and I were in the mailroom together. That’s where I met him. He had Doc Martens so I knew he was one of the music trainees rather than one of the lit (literature) or actor trainees.

Music was low on the totem pole for many talent agencies in that era.

I was so focused on music. I didn’t even really see the other departments at the agency. Then I went to work at BMI for about three or four years. First I was with Rick Riccobono, (VP of writer/ publisher relations) I was his second assistant. Then I worked for Linda Livingston (director of film/TV relations) in the film and TV department.

Was that job an eye-opener for you?

It was the first time that I was exposed to what I do now, so it was an eye opener. It was the first time that I was able to understand that there was a whole separate part of the music industry, and that music supervisors existed. Of course, I knew composers existed, but this was a whole new side.

Was BMI a good place to make contacts?

It was a great place to be young and because I was in the vice president’s office I was able to watch. Yeah, was a great place to learn.

Did you see a lot of films?

Yeah. But mostly I went to a lot of shows.

You went on to work at director Roger Corman’s Concorde Films.

I was there two and half or three years. I worked for a very generous head of the (music) department Paul DeFranco. I was the music coordinator, and I really got to learn. Of course I had seen cue sheets at BMI, but I learned about the process of how to interact with the director; how to spot a film; how to determine if a project needed score or source; and then I learned how to carry out the things that we talked about.

One strength you had as a young person working with older creatives was that you knew what was happening in music whereas they didn’t. That was your ace card.

But also we were very low budget. You are allowed to fail. You are allowed to be creative, right? You can take chances. The first movie that I supervised was “Caged Heat 3000” (in 1995). A friend of mine, Aaron Osborne, was a production designer, and he was directing his first movie. Of course, we had very little money. Aaron was into alternative rock, and new music. I was allowed to take many bands into the studio, and we created songs for “Caged Heat 3000.”

There was a soundtrack.

That’s right; there was a soundtrack. If you are lucky, I will send you one. Cooper created the artwork for the soundtrack. He was a well-known artist at the time. I learned a lot working there. I got to be more comfortable in a recording studio. Of course, these were the days that there was actual tape.

[The Cinemadisc soundtrack of “Cage Heat 3000” features the Melvins, the Ape Hangers and Fu Manchu, among others. The film’s shrill come-on on the VHS version blared, ”3000 Years. 2000 Women. 1000 Ways to Punish Them!”]

It was a big step to form Chop Shop Music Supervision in 1998.

I had worked for Paul De Franco at Concorde; I had spent a year at PM Entertainment which is another low budget film company; and then I started Chop Shop. I felt like that was the route for me. That the independent route was the way that I might be able to do some projects that my mother might be able to see. Then, of course, I did “Happy Texas” (in 1999) and I started doing more and more things.

Your first television series as a music supervisor was “Roswell” just after you opened up Chop Shop.

It was, yeah. It was my first television show. I wanted more than anything to do television when I started. I co-supervised with Kevin Edelman. Dido was the theme song (“Here With Me"). We used bands like Radiohead, Coldplay and Doves. It was a wonderful show about alien teenagers in Roswell, New Mexico. Jason Katims was the show runner. Of course, he does “Friday Night Lights” (as head writer and executive producer) and many other things.

With (“Roswell) we sort of went after this British other worldly thing to support the other world alien teenagers. I will never forget clearing “How To Disappear Completely” by Radiohead for “Roswell.” I thought that it was my birthday and Christmas and everything else. I was elated. I was absolutely elated with it. To me, that was the moment where everything seemed possible.

[Precedent-setting in television for its musical scope and its placement of music, “Roswell” featured an abundance of songs by unknown and star acts; as well as unreleased tracks, and major hits.

Among the acts featured were: Coldplay, Dido, Travis, Doves, Ash, Ivy, Gus Gus, Sheryl Crow, Sarah McLachlan, Dave Matthews Band, Smashing Pumpkins, Mandy Moore, Blink 182, Counting Crows, Foo Fighters, Hole, and the Stereophonics.]

Many bands didn’t want to do television back then.

That’s true, but it’s not that way anymore.

It has been said that the growing use of music by unknown acts in TV and film is because Hollywood doesn’t have to pay big bucks for top acts or big hit songs.

I don’t think that’s true. I really don’t. I think that we go after the kind of bands that….We had Jem cover (Paul McCartney’s) “Maybe I’m Amazed” on “The O.C.” We have used some very big songs and small songs. It’s about feel more than anything else. I really do. I know that isn’t a popular things to say.

Arcade Fire turned down “The O.C.” Was it you they turned down?

I don’t even remember, anymore. I am sure that it was. I have never licensed Arcade Fire. They are certainly notoriously not interested in licensing.

Nirvana used to be a holdout.

Nirvana is definitely more open. Things have shifted.

In 2007, you opened a record company, and you were executive producer of the web series “Rockville, CA” that ran on “TheWB.com” in the spring of 2009. Why the different projects?

I’m interested. It was a great privilege to be able to co-produce (“Rockville, CA”) with Josh. He asked me, and I screamed “yes.” I am interested in new things.

Has the label turned out the way you wanted?

The label has been such a good experience for me. I have never worked at a label. This has given me such an understanding of how hard it is to break a band; and how hard everybody works.

When I started out (in music supervision), especially during “The O.C.” days, I would get calls from (label) marketing departments asking, “How about this track? This is the focus track.” I would almost immediately focus on not that track. I don’t think I understood how difficult it was (breaking an act).

I don’t have a large roster. I have a pretty focused roster, which is how I like it. I like to be able to pay attention to the acts, and have specific types of acts. I have so enjoyed having the label, and I have been able to put out some soundtracks with it as well.

There are obvious synergies at Chop Shop between the music supervision side and the label side. You have, for instance, put Scars On 45 in different projects.

They are so likeable and present. I liked them instantaneously. Their manager Steve Nice came over and played me some music and I just thought, “How could this band be unsigned?”

Other than new signing Milo Greene, the label roster is pretty well what you started with. So it’s been about development?

That’s right. That was what it was intended to be.

Are your mom and dad proud of you and the career that you chose.

Yeah, they are.

I would imagine that anytime one of your shows airs that there are phone calls from your family.

Music is not the first choice for your Greek daughter--your only child. I think that it probably seemed completely impossible that I would leave Chicago, and move to California. It took me a long time. It took me about 10 years.

You were supposed to marry a Greek dentist back home, right?

Exactly. I don’t know, it’s not too late.

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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Nina Blackwood, Sirius Satellite Radio 07/14/06
Adam Block, Legacy Recordings 11/07/13
P.J. Bloom, Neophonic, Inc. 01/24/11
Rishon Blumberg, Brick Wall Management 06/27/03
Justin Bolognino, Learned Evolution, and The Meta Agency 04/25/13
Steve "Chopper" Borges, Total Pro and Borse Techos 03/03/06
Les Borsai, Mediocre Management 01/30/04
Shane Bourbonnais, Live Nation Canada 03/21/08
Jeff Bowen, Sears Centre Arena 03/13/08
Rick Bowen, Mystic Music Experience 07/11/08
John Boyle, Sanctuary Music Group 03/19/04
Jeff & Todd Brabec, Writers/Attorneys 01/03/12
Bill Bragin, Joe's Pub at the Public Theater 08/08/03
Joel Brandes, Avenue Management Group 11/02/08
Joe Brandmeier, Moving Pictures 03/15/02
Scooter Braun, SB Projects 12/13/10
Ron Brice, 3rd & Lindsley Bar & Grill 06/08/16
Billy Brill, Billy Alan Productions 11/11/05
Doug Brown, Talent Buyers Network 09/21/01
James Browne, Sweet Rhythm 11/01/02
Bob Brumley, Brumley Music Company 02/17/16
Tony Brummel, Victory Records 05/17/09
Charlie Brusco, TBA Entertainment Corporation 10/13/01
Del Bryant, BMI 05/18/07
Cortez Bryant, Bryant Management 12/06/10
Stephen Budd, Stephen Budd Management 07/13/17
Bruce Burch, University of Georgia Music Business Program 10/09/09
Deborah Burda, Kentucky Exposition Center 08/03/07
Patti Burgart, IEBA 06/07/02
Jordan Burger, The New Musiquarium 01/22/01
Ron Burman, Roadrunner Records 08/25/06
Suzanne Cadgene, Elmore 05/19/06
Karen Cadle, KGC Productions 03/12/04
Gary Calamar, KCRW 07/10/09
Charles Caldas, Merlin 07/05/10
Brian Camelio, ArtistShare 02/29/08
David Campbell, AEG Europe 08/02/10
Tom Cantone, Foxwoods Entertainment Group 10/20/00
Tom Cantone, Foxwoods Resort Casino 07/03/03
Tom Cantone, Mohegan Sun 08/30/09
Ashley Capps, A. C. Entertainment 05/21/04
Rio Caraeff, Vevo 07/12/11
Mike Carden, Eagle Rock Entertainment 08/16/11
Charles Carlini, Carlini Group 05/16/08
Mark Carpentieri, M.C. Records 05/27/05
Mark Carpentieri, M.C. Records 01/10/11
Troy Carter, Coalition Media Group 06/07/10
Daniel Catullo, Coming Home Studios 06/22/08
Raffi Cavoukian, Folk Singer/Children's Entertainer 05/11/16
Jeffrey Chabon, Chabon Entertainment Group 08/22/02
Mike Chadwick, Essential Music & Marketing 08/01/12
Rob Challice, Coda Music Agency 03/27/13
Tom Chauncey, Partisan Arts 01/11/02
Tom Chauncey, Partisan Arts 10/04/11
Lisa Cherniak, Artists Against Racism (AAR) 07/20/01
Bob Chiappardi, Concrete Marketing 06/13/03
Joel Chriss, Chriss & Co. 10/04/02
Michael Chugg, Michael Chugg Entertainment 09/14/01
Michael Chugg, Chugg Enterprises 10/02/09
Gary Churgin, Harry Fox Agency 09/13/10
Vinny Cinquemani, S.L. Feldman & Associates 12/13/12
Barry Coburn, Ten Ten Music Group 03/28/11
Matthew Cohen, Green Room Productions 10/19/01
Ted Cohen, TAG Strategic 01/10/13
Lisa Cohen, Associated Booking Corporation 02/10/06
Steve Cohen, Music + Art Management, Inc. 03/09/07
Dan Cohen, Music & Memory 01/12/17
Michael Cohl - Part 1, S2BN Entertainment 03/06/13
Michael Cohl - Part 2, S2BN Entertainment 03/13/13
Bryan Coleman, Union Entertainment Group 02/14/12
Mamie Coleman, Fox Broadcasting 07/05/12
Dennis Condon, Disneyland Resorts 07/13/01
Peter Conlon, Peter Conlon Presents 05/20/05
Tony Conway, Buddy Lee Attractions 10/06/00
Allen Cook, TOURtech 04/16/15
Tomas Cookman, Cookman International 09/05/03
Alex Cooley, Alex Cooley Presents 07/12/10
David Cooper, Foxman.com 10/31/03
Jay Cooper, Greenberg Traurig, LLP 05/23/11
Julie Coulter, Near North Insurance Groups 06/07/01
Amy Cox, Deep South Entertainment 02/09/07
Michael O. Crain, Crain Law Group, LLC 10/09/13
Charlie Cran, The Strawberry Music Festival 04/05/10
Jim Cressman, Invictus Entertainment Group 06/06/12
Russ Crupnick, MusicWatch, Inc. 07/23/15
Todd Culberhouse, Vision Management /Vision Records and Entertainment 09/05/08
Tony D'Amelio, Washington Speakers Bureau 04/21/06
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
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
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
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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