Industry Profile: Kelli Richards
By Larry LeBlanc (CelebrityAccess MediaWire)
This week In the Hot Seat with Larry LeBlanc: Kelli Richards, CEO and president, The All Access Group.
Kelli Richards has more experience in dealing with the convergence of music, entertainment, and technology than almost anyone you can name.
Sheís had over two decades of experience championing these worlds, in fact.
Today, as president and CEO of The All Access Group based in Cupertino, California in the heart of Silicon Valley and host of All Access Radio, Richards strives to create alliances between large content and technology companies, major artists, and consumer brands.
Richards guides her clients through the maze of leading-edge technologies and connections in order to get their products to more people. According to this savvy, fast-talking entrepreneur, her focus is on ďstrategic rainmaking, and creating opportunities between innovative technologies for digital distribution, and branded entertainment content.Ē
For established music artists and celebrities, Richards engages direct-to-fan distribution channels to try to create new revenue streams that leverage their brand and extend their reach to more fans and broader markets.
Richards is widely-celebrated within both technology and music worlds for having launched digital music at Apple Inc. As director of music and entertainment markets from 1987 to 1997, she spearheaded all of the companyís digital music initiatives. She was a key part of a very small team which launched Appleís earliest music initiatives that led eventually to the company launch of the media player computer program iTunes in 2001 after her departure.
In the mid-90s, Richards co-developed PatroNet, the first Internet-based artist subscription service with her Waking Dreamsí partner, producer/musician Todd Rundgren.
A former A&R executive at EMI Records, Richards has co-authored several books, including ďTaking the Crowd to the Cloud Ė Social Media for the Music IndustryĒ as well as the book/DVD, "The Art of Digital Music," a compilation of interviews with 56 artists, producers, programmers, record label executives and music industry figures, including Glen Ballard, Chuck D, Thomas Dolby, Herbie Hancock, Jimmy Jam, Alan Parsons, Phil Ramone, Todd Rundgren and Don Was.
What do you do at The All Access Group?
Before this I had run music at Apple for a decade before iTunes. Thatís what got me engaged more actively on the tech side (of the music industry). When I left Apple (in late 1997) I basically took my job to the outside. I took the job that I was doing at Apple, which was being the person in charge of all of the music initiatives and the tech convergence, and I started working with disruptive technologies and working with tech companies and major artists, my two favorite groups of people. Bringing them together to create new opportunities.
If I am working with a major artist, I am leveraging all of my tech and brand relationships to help them with a digital strategy. If I am working with a start up tech company, I am bringing them relationships with big artists, and brand or tech companies; whoever they need (from) my network to accelerate their success. I am basically a rainmaker, but a very strategic one.
What artists have you worked with?
I have worked with about 300 artists over the past 14 years. I donít like to namedrop with the artists that I work with or I have worked with. I do work with artists sometimes in a coaching capacity; and, sometimes in a strategy capacity. But more what I do is bring them into my work with tech companies. So I am reaching out to that network of artists that I am in touch with and cherry-picking which ones would resonate and make sense for new technology distribution models to bring them revenue.
What digital strategy would you suggest for an upcoming band with a great record and a regional buzz?
Unfortunately, I donít work with indie artists. I only work with established artists that have a brand, and a following. I probably wouldnít be able to help them. Thatís a short conversation.
Why do you only work with major artists? In order to work on a larger canvas?
Yes. Because I deal on a bigger canvas. I want to be able to make things happen. I can do better for artists and expand their audiences because of their brand and their following than I can for a rising or an unknown artist. There are people who specialize in working with indie artists, I just donít happen to be one of them.
Itís not that I donít support indie artists; I think thatís the lifeblood of the business going forward. You have to have new artists, but I just donít find that I can do as much for them as I can with the bigger artists.
You have also worked with numerous big companies.
Sony, Cisco, Motorola, Apple. Big companies all the way down to start-ups that you have never heard of. Some of which blew away in the wind in the 2009/2010 era, and some of which are still standing--and new ones all of time. Thatís the power of being (based) in Silicon Valley, and I am very entrepreneurial.
Thereís still a disconnect between the music and tech worlds, is there not?
Frankly, thatís why I have had a career over the past 14 years. Thatís what I do. I help be a human bridge between those worlds, and I bring opportunity to both sides based on an understanding of how each works and the relationships that have been built.
Meanwhile, technology is changing so rapidly.
Thatís why I have been leaning more in that direction for quite a long time now. We drive what is coming next, and we create new models and new revenue streams for artists, and thatís exciting to me. That fulfills the vision that I had from a very young age.
Are people in the technology sector becoming more music savvy?
Not really but, again, thereís opportunity for me and others who do get (understand) that space. Whatís happening is more and more people are getting let go from labels and from the digital side as well. Those people are becoming peers and are consulting to the tech world. You see more of that happening all of the time. But, for the longest time, I was The Lone Ranger. There was me and, maybe, Ted Cohen and a couple of other colleagues. We were the only ones beating the drum (about music) on the digital side out there in the wilderness because nobody knew what we were talking about--trying to bring convergence between these two spaces.
I wouldnít say that the labels were in denial about technology butÖ
I would. I would say that. And why wouldnít that be? There was a (business) model that worked for over five decades where they were empowered and they had all of the profits. Why wouldnít they want to keep that?
Gracenoteís Ty Roberts recently told me that the people running the record business now are his peers and that they know the technology world better.
I would have to agree with that. But do we have to wait for that first generation to retire before we see a seat change? Probably.
So many managers have beefed up their companies with technology experts while labels still seem to be lagging behind. At some labels, it just seems like there are a couple of tech whiz kids in the basement with no real power.
No kidding. We were just at one of the big labels, and itís true. There were these 12 people huddled around this small conference table in the corner. But I am optimistic that the bright managers and the bright label executives are pushing tech, digital and social media as tools that are going to make a big difference in their approach to artists.
A decade ago, managers would ask their label what the marketing plan was for a project. Today, the savvy managers devise an overall marketing and digital strategy, and ask, ďWhere do you think you can fit in?Ē
Absolutely. That would be the right question. Thatís what they do. Managers should be saying, ďThis is what our game plan is. This is what we are thinking. What are you aware of that we might be overlooking? What do you know about what we arenít doing? That we should be harnessing. Either a technology or a company that has a platform we should be rolling into given what our goals are. Or what can you see that we are not even thinking about that makes sense to expand our audience to make more money for our artists?Ē
How many managers are truly qualified to deal with the changing world of technology? They really need outside help in most cases.
Let me tell you, I work as an extension to the artist team. They still have a manager. They have a booking agent. They have publicists. When I work with a big artist on strategy, I focus on their digital strategy, and what relationships they should align with. I work in tandem with the manager. Iím not trying to take the managerís job, but to buffer what social media strategies they would use. Should they be engaging Topspin (Topspin Media)? Should they be doing online streaming concerts to promote a big tour? (Overseeing) all of these strategy components involving technology, digital and social media is almost its own role as you say.
A manager already has a lot on their plate.
Often, they will have a digital person on the team, if itís a big enough management company.
You meet with majors' managers. Are they not a lot savvier now about these technology issues as well?
You better believe it. Artist managers, in general, the best ones have become much more tech savvy. I just had a meeting with Jordan Berliant (partner) at The Collective. Jordan is extremely bright. Heís also one of these guys whoís been tech savvy from his early days. This guy is completely versed. You sit down with him, and you go through what you are working on with a couple of different startups and the guy is right there. Yes, he has a head of digital that works inside The Collective, but Jordan himself is extremely savvy about the power of these tools, and what they can do for his artists knowing which ones to engage. That is an example of a management firm really taking to heart the importance of digital. Itís not going away. Itís becoming a bigger part of the pie.
The smartest one of all was certainly Terry McBride for many years. I put Terry right at the top of the list with the Nettwerk Group. Terry had his vision of collapsed copyright and how to harness strategies to engage through all of these different digital and social tools in a very authentic way for his artists.
Still, the internet world has increasingly become much more complex.
Yes, yes. There are 180 social media platforms. How would you know which ones to even leverage for your artist if you werenít in the middle of that world? You have to be in it. You have to be in the digital social world yourself to be able to guide an artist. It is a rare person who understands the artist; how they think and work and also understand the technology. But there are several people out there who do that. Myself included, but also Ty Roberts (chief technology officer, Gracenote) is another one and Ian Rogers (CEO, Topspin Media) is another one. There are so many of us out there trying to make sense of this for the artist. We are very artist-oriented.
Distribution has been made easier by the internet, but the one thing the labels still do better than anyone is providing a marketing sizzle.
Marketing, yes. You hit the word Larry. Thatís what they do best. Marketing. That is what they do. That is what they are becoming -- marketing firms.
Labels can still bring to the table their marketing expertise, which can be significant.
Yeah, Iím with you, Larry. I'm with you. There is still a role (for labels). I donít want to be a label basher. (For) all of the different start-ups I work with, and with the models that I get excited about, I still have to go back to the labels, and bring them on board on some of these things. The meeting I took at the major recently, I could have gone artist by artist myself because I have relationships with the managers; but it would take me forever. I wanted some scale and speed. That is why I went to the label. But most people donít have those artists and manager relationships, and they have to work with the label.
For a mid-level artist working globally, there are endless options, including releasing music through indies or through a major in some territories.
Oh yeah, there are so many options. Thatís why an artist needs a manager to quarterback the strategy. Thatís why they need a manager because the manager is more powerful than ever now. More so than when there was the full retinue at the label and everything else. The manager quarterbacks the strategy.
Today with the internet an artist can do a release themselves worldwide.
Of course. Or do a phase (of a release).
An artist can also still work with a major in certain territories.
As long as they have a reversion clause (in their contract), and get their masters back. Thatís the important point. Keep your masters. Do one-offs.
With the internet being so global, how do you harness it directly to make an impact?
Thatís the power of these social media tools is to let your fans be part of the process. Itís not linear anymore. Itís interactive. Let fans help promote you and watch what happens. For example, Iím working with Fankix where a band can do a concert online, and reach all corners of the globe with one concert in real time and have a time zone centric live Q&A after the show with the band and the fan base. They can do this all online. And they can have their fans engage with each other. The reason this is so powerful is that the fans get to meet each other globally. When did that ever happen?
Some artists use fan-funded tools like Kickstarter, Slice the Piece, and Pledge Music to pay for their albums, while others may leverage TopSpin to create unique bundles of goods that allow them to go direct-to-fan.
All of that. All virtual tip jars enabling bands to be underwritten by their fans much like what Todd (Rundgren) and I came up with PatroNet 17 years ago. Ian (Ian Rogers at Topspin Media) has just launched Sharealytics which is all about the data aspect of the power that we have with social media tools. Understanding where your fans are. What are they doing? Where do they live? What have they bought from you? What are they saying about you? Who are your biggest fans? This is powerful stuff.
The industry is moving from collecting data to finding out more what the data really means.
Yes. Wouldnít you like to know where the majority of your fans work so you could route your touring appropriately? Which (fans), in particular, so you could do a shout out at concerts and encourage more people to become evangelists and street teams for you? Wouldnít you like to know that? I think that an artist would like to know who bought how many T-shirts, and CDs from all parts of the world. How much money did they make?
Mobile phones becoming the indispensable voice/social networking-and-music companion has brought about the need for a deeper body of consumer and fan knowledge.
Absolutely. Smart phones, tablets, and apps.
Today, we carry around a traveling entertainment centre.
Youíve got it. The power of those platforms is that people arenít tethered to their laptops or any other device in one place. They are carrying the artist with them everywhere they go. They are sharing the artistís music with their friends, and with other fans on the fly. Thatís the power of those tools. Now the artists are thinking, ďDo I need an app?Ē Sting just spent close to $1 million on an app.
[Sting 25, released in Nov. 2011, celebrates the last 25 years of Stingís career, as both a musician and a humanitarian and activist. Costs of the nearly $1 million app were apparently primarily covered by its two primary sponsors: American Express and Chevrolet.]
Not every artist needs an app, and an artist probably doesnít need to spend $1 million on it. This is another example of artists shouldnít do something for the sake of doing it because they are a lemming. They figure out with their team, what does it make sense for them to do, and in what context will they do it. ďWhat would I do here that I could only do through this medium? How is this going to help me?Ē
Marketing has become a 365 day thing for artists.
Thatís right. Thatís a very important point. What a manager has to be thinking about is not just their marketing cycle around the bandís CD drop, and their tour. They have to be thinking about year-round engagement with the fans. What are they going to be doing for the artist and the fans year-round? You do have spikes around those CDs and touring and you can then really engage those fans in a much more authentic way as your street teams.
On the indie side, you want to look at collaborating (with others) and building a much bigger platform in a shared way so you can get more awareness.
I find Facebook helpful in building business relationships.
I find it even more impactful in my world as a tool to engage opportunities between big artists and brands based on their fans--on both sides--having social graph profiles. Fankix does just that. It pulls all that together. Because you have access to those fans' social graph profiles, you know a lot about them, and too few people are harnessing that to their advantage. And I donít mean poaching in a negative way. I mean leveraging them (the social graph profiles) in a positive way.
How do you do that? By going through fan profiles on the artistís and sponsorís Facebook pages?
Correct. You basically know who the fans are for that artist because they are connected to the artist. The artist promotes to them and encourages, in this case itís Fankix that I am working on. If thereís an online concert happening, itís in the bandís best interest to promote it to their fans. The fans come to the online concert, and they bring their friends with their Facebook social graph profiles.
Meanwhile, the brands that are involved bring their fans. Someone like Heineken has about half-a-million fans on Facebook. They bring their fans to the concert. Now the band that is participating gets the benefit of the half million Heineken fans. This is how you grow the system. This is how you monetize a broader audience for an artist and a deeper audience engagement for a brand. Thatís where Facebook becomes an actual tool. Not just something to have a profile on.
With some exceptions, the major labels arenít yet delivering on all of the different things available. Why wouldnít labels liaise closer with automobile manufacturers 5, 10 or even 15 years ago?
Now you are singing my song. The problem with that particular example is that the artist railed against the concept of selling or whoring out their fans. They didnít want to sell their fans to the car companies. Many still do rail out against that. They donít want to impose on their fans. That was the stance for many years. But, Larry, thatís what changing. Itís changing if itís done right because the brands can be integrated into the social experience in a way that is not intrusive or offensive to the fan and brings the revenue to the artist. Some of the brands have started their own record labels now.
Where does your interest in the technology side of music come from?
I was one of those weird people that I knew what I was going to do for a living at the age of eight. I donít know if itís because I grew up in Silicon Valley. Iím a Cupertino native just like Steve Jobs. We grew up there; and it (technology) was kind of in the soil. Tech has always been a part of my world. I could see at a very young age where things were headed with the music and tech convergence. I could see what we were doing in technology in Silicon Valley and how that was going to have an impact on artists. I always knew that I wanted to work in the music industry ever since I saw (producer) George Martin when I was eight years old behind the Beatles on TV. I told my folks, ďI donít know what that man is doing but thatís what I want to do.Ē And I trained to be a record producer.
[Cupertino is one of the numerous cities claiming to be the heart of Silicon Valley, as many semi-conductor, and computer companies were founded there, and in the surrounding areas. The worldwide headquarters for Apple Inc. is located there. Among the companies also headquartered in Cupertino are: Trend Micro, Cloud.com, Lab126, Packeteer, Chordiant, and Seagate Technology. Over 60 high-tech companies have offices there, including IBM, Olivetti, and Oracle Corporation.]
Instead, you got an MBA at San Jose State University.
Yeah, I was the wrong gender (to be a producer then). But I got lucky, and I got hired by Neil Portnow (VP of A&R, EMI America Records) to be a junior A&R executive at EMI. Thatís what led me in that direction. It was at the time that EMI America and Manhattan merged. It was late Ď80s. Joe Smith was running Capitol at the time. Jim Mazza was in charge (as president) of EMI America. Neil was in charge of A&R. It was in that era. It was a very turbulent era for the company. EMI had a funny roster at the time with Sheena Easton, John Waite, Thomas Dolby, and David Bowie.
I was at EMI for a good two years, and I worked with a number of artists, but I got tapped to go up to Apple to start their music focus. A colleague of mine was at Apple and he told me, ďThereís rumbling around here that they want to start music as focus.Ē
You were at Apple Inc. for a decade. You lasted a long time.
Yes, I did.
What were you hired to do?
I was in the earliest group launching music. There was an interface that turned the Mac into a musical instrument that enabled musicians to have a home recording studio with Mac and ProTools. My claim to fame at Apple, unfortunately, was not iTunes. It was making sure that every musician and every filmmaker were passionate about using the Macintosh in their work, on the road, and in the studio.
Thatís my claim to fame.
How much was music held inÖ
I was the lone voice. To be fair, I had other colleagues to work with in and out of that 10 year period. People like Dave Pakman, who later ran eMusic (and now is a partner at Venrock in New York). Kevin Saul had been the lawyer for me there. (As associate general counsel at Apple, Inc.), he remains the lawyer for the iTunes music stuff to this day. Some people have stuck around. Some people have gone in and out (of the company). In many ways, I never really left. I am still only a mile from the (Apple) campus. Itís my hometown.
You obviously worked with Appleís co-founder Steve Jobs.
Steve and I had many conversations. In fact, I kept the pilot light lit for him (when he left). I knew that he would come back to run the company in its darkest days. Everybody around me was saying, ďYou are absolutely crazy. This man is running two other companies. Heís never coming back.Ē Meanwhile, there I was like Don Quixote fighting windmills; trying to make sure that people (at Apple) would understand that music was the killer app for the company. There I was running around the hallways saying, ďMusic is the killer app.Ē Nobody wanted to hear it.
So I was keeping the pilot light going, and Steve was able to come back and enable the vision I and some of my colleagues had to make music key and to change the industry. I would have loved to have been part of if I had had the power when I was there. But I was not empowered because the CEO, the people at the top (before Jobs returned) didnít see music as driving everything.
[In a May 24th 1985 board meeting, Apple's board of directors sided with CEO John Sculley in a dispute with co-founder Steve Jobs, and removed Jobs from his managerial duties as head of the Macintosh division. Jobs resigned from Apple five months later, and founded NeXT Inc. the same year. In 1986, Jobs bought The Graphics Group (later renamed Pixar) from Lucasfilm's computer graphics division for the price of $10 million. In 1996, Apple bought NeXT for $429 million, bringing Jobs back to the company he co-founded. Jobs became CEO again in 1997.]
It was really tough to know that is where it (music and technology) was headed. It was like when Todd (Rundgren) and I knew where artist 360 was headed and we had to wait a decade for our vision to come to life. It happened to me several times in my career.
Between 1978 and 2006 there were a number of legal disputes between Apple Computer and Apple Corps owned by The Beatles.
Yes, the problem was we got ourselves into a few lawsuits with Apple Records. I had to then hold the line with a three page edict (of limitations) when we lost the first two go-arounds so we couldnít cross the line as to what Apple could do in music. When Steve came back, of course, and won the third lawsuit (in 2006), everything changed.
What sort of limitations had there been?
I canít divulge, even to today, what the terms were, but I had to toe the line with three pages of things that we could not cross the line. That was under Neil Aspinallís rule. Neil (manager of Apple Corps) and I became colleagues as well before his death (in 2008). He was a great guy. But it was just the way it was. It was business. It wasnít personal.
What did you learn working with Todd Rundgren for four years?
Well, Todd and I were two people that shared the same vision. We absolutely could see where things were headed. We were both music tech geeks. Put Ty (Roberts) in there too. Because that's when I first hooked up with Ty. We all shared the same vision to where things were headed. Todd and I were very complementary. I was very business-oriented, and very tech-oriented. This is an artist. Todd is very artistic in his approach to everything he does. I think that it was a good partnership. I think that we were very complementary and God, to work with a genius. To have been able to work with Steve Jobs, and Todd Rundgren, these are two of the smartest people that anybody could be able to work with. They are brilliant. They are geniuses.
I remember you organizing Music Biz 2005, a futuristic conference in 1999.
That was my conference. I produced that.
One of the first technology and music conferences?
Well no. I am a pioneer in digital music from day one. But that was in the mid-90s and there were other conferences. There were Plug.In by Jupiter and Web Noise. There were many of these conferences; maybe about a half-dozen, and there were many people that were there in those days that are still very active now.
[Music Biz 2005 (MB-5) took place Oct. 15-17, 1999 at the Ex'pression Center for New Media in Emeryville, California. The event was organized by a group of Bay Area industry veterans: producer David Schwartz; co-producer Kelli Richards; operations manager Keith Hatschek; executive producers Leslie Ann Jones, Steve Savage, Gary Platt, and Peter Laanen; and associate producers Andrew Keen and Craig Deonik.]
Still Music Biz 2005 was the first conference to offer industry leaders the opportunity to dive into the latest recording, music creation, and internet technologies. Most conferences then were technology driven.
Actually, they were run by research companies for the most part or by journalists. Youíre right. We designed that conference very deliberately. We pulled together people out of the artist world, and the technology world. And I think that we were one of the earliest to do that.
The conference was timely being in 1999; in the midst of Napster and a recording industry not knowing how to react to the internet, and music downloading. It was an era of uncertainty.
Yes it was, however, a lot of us in the room had a very clear road map--a blueprint--where things were headed. We could see it as clear as day. And it took a decade for a lot of people to even get close to what we were talking about. It all came true. Everything that we said.
For example, Todd and I came up with the company Waking Dreams, and a venture that turned into the earliest form of an artist 360 (deal). The venture was called PatroNet. The goal was to have established artists break free, and go direct to their fans based on the fact that they were the brand, and they had a powerful following in their fan base. And their fans would underwrite them. They wouldnít need a label anymore, and they would have multiple revenue streams. This, of course, has all come about; but, at the time, it was heresy. This was in 1995. First of all nobody understood what the hell we were talking about and even if they did understand it they were terrified. What if we were right? We were right but we were way too early.
An almost plantation mentality existed back then between artists and their labels.
Oh, you used that word very deliberately. Thatís what happened with Prince. Donít you recall when he changed his name into the symbol? That is why he did that. His whole stance was, "This is a plantation mentality. I am a black artist. Iím being screwed just like my predecessors were. Iím going to re-record my masters and stick it to the man,Ē and that is exactly what he did.
Artists were absolutely tied to the labels.
It was a linear, one-way system. It was the only way you could have a career, period. That was it. One way linear; one-dimensional. An artist either signed to a label or they didnít. They gave the label all of their rights or they would just forget about having a career. Of course, that is what we were so up in arms about, Todd and I, in the mid-90s, along with many others.
The power of the labels was then that they controlled distribution.
They did and when the internet came about many of us could see that that was the crack in the ice that was going to change everything.
Why did you believe that? The internet was such a narrow pipe in its earliest form.
Yeah, yeah but we could see where it was headed. We could see that broadband was going to come. We could see that everybody was going to be using this. We didnít really foresee social media at the time; but we did foresee direct to fan and we were evangelizing--even at that 1999 conference--the importance of artists starting to engage directly with their fans with whatever tools that were available in technology and that more would come and that is exactly what has made all of the difference. Now we talk about social engagement.
Newcomer bands need to sign with a label to become successful internationally while a major act isnít as dependent.
Itís funny, that coming from a label background, Iím not a big label fan. But even for the big artists, thereís still a need for them (labels) in a controlled way. For one-off distribution to big-box retailers; and for their marketing and promotional muscle. Period. You never want to give them your masters. You never want to give them your domain names. You never want to give them your publishing. You want to keep all of your rights and offer them a seat at the table on your terms. Thatís the way it works now. If you are a big artist, youíve got that kind of leverage. Or forget it. If you are big enough, you donít need to use a label at all.
You are also a talent producer for award shows, and you organize celebrity fundraisers.
I cross-pollinate. Being that I am based in Cupertino in Silicon Valley, one of the things that I do is that I bring artists and celebrities opportunity to perform in front of tech companies; to be part of marketing campaigns; play at conferences; play at CES (the world's largest consumer technology tradeshow), what have you. So thereís that brokering part of my work as well. I recently brought Jerry Seinfeld to perform at Cisco to perform at an employee anniversary event at the request of John Chambers, the companyís CEO. Thatís another piece of what I do. I work all across the spectrum.
I am also a certified life coach, if you can believe it, and I work with celebrities and artists as well as innovators and entrepreneurs in Silicon Valley to bring them the next phase of growth in their lives. What is it they would like to do that they are not doing? Have they been on the road too long? Do they want more balance (in their lives)? We work through those kind of softer issues as well to bring them more fulfillment and more enrichment in the life.
My career has always been about working with artists, and enabling them new opportunities to reach and engage with their fans. It has always been my core passion for my whole career; for my whole life.
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 ďMusic From Far And Wide.Ē
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Howard Becker, Comet Technologies 05/02/11
Mark Bego, Author 06/15/07
Jim Beloff, Flea Market Music 09/20/10
Richard Bengloff, The American Association of Independent Music (A2IM) 09/12/13
Seth Berg, South Bay Music 01/30/09
Aimee Berger, 2 Generations SPA Music Management 09/24/04
David Berger, Future Beat 10/29/14
Barry Bergman, Music Managers Forum 03/14/03
Steve Bernstein, Relix LLC 09/30/05
Mark Berry, Attack Media Group 04/07/07
Scott Billington, Rounder Records 01/17/12
Jeffrey Bischoff, Cinder Block 03/24/06
Sat Bisla, A&R Worldwide/ Musexpo 03/29/10
Nina Blackwood, Sirius Satellite Radio 07/14/06
Adam Block, Legacy Recordings 11/07/13
P.J. Bloom, Neophonic, Inc. 01/24/11
Rishon Blumberg, Brick Wall Management 06/27/03
Justin Bolognino, Learned Evolution, and The Meta Agency 04/25/13
Steve "Chopper" Borges, Total Pro and Borse Techos 03/03/06
Les Borsai, Mediocre Management 01/30/04
Shane Bourbonnais, Live Nation Canada 03/21/08
Jeff Bowen, Sears Centre Arena 03/13/08
Rick Bowen, Mystic Music Experience 07/11/08
John Boyle, Sanctuary Music Group 03/19/04
Jeff & Todd Brabec, Writers/Attorneys 01/03/12
Bill Bragin, Joe's Pub at the Public Theater 08/08/03
Joel Brandes, Avenue Management Group 11/02/08
Joe Brandmeier, Moving Pictures 03/15/02
Scooter Braun, SB Projects 12/13/10
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 Denverís Division of Theatres and Arenas 08/23/10
Paolo díAlessandro, 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 íní 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 Gťlinas, Festival díťtť de Quťbec 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
Andrť Mťnard, Festival International de Jazz de Montrťal 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 Mķsica 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 OíConnor, 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 ďIceĒ 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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