Industry Profile: Lauren Wayne
By Larry LeBlanc (CelebrityAccess MediaWire)
This week In the Hot Seat with Larry LeBlanc: Lauren Wayne, GM, State Theatre, Portland, Maine.
Portland, Maine is a remarkable city with a lively music scene.
On any given night, you can stroll down Congress Street in the Arts District, and hear any type of music at any of the many venues on and around Congress.
Locals and numerous touring bands all agree that the State Theatre there is the crown of New Englandís live music scene.
Also, perhaps one of the most knowledgeable talent buyers in North America is the Stateís GM Lauren Wayne who has worked in the city for more than a decade.
In addition to booking performances at the State and other local venues under State Theatre Presents, Wayne oversees all operations of the theatre including production management, box office and ticketing, concessions and other sales.
With her father working for Pillsbury, Wayne grew up around America. She attended the University of Richmond in Richmond, Virginia where she attained a Bachelor of Arts degree with double majors in history and journalism in 1995.
After college, she visited a friend living in New Hampshire. While there, she drove to Portland, fell in love with the city, and immediately moved there. She took various office jobs before landing a job as assistant/marketing coordinator with local promoter Jim Ahearne.
At the time, Ahearne was booking shows for Boston-based promoter Don Law, whoís Blackstone Entertainment had been purchased by SFX Entertainment in 1998, and which later became part of Live Nation.
Wayne later booked shows in Portland for SFX/Live Nation, and did marketing for Live Nation in Boston.
The State Theatre opened its doors for the first time Nov. 8, 1929 for Gloria Swanson's first talkie, ďThe Trespasser.Ē
Designed by Portland architect Herbert W. Rhodes, the theater's original furnishings included wrought iron stairs, bronze doors, intricate moldings, and four Spanish balconies.
The State operated as a first-run movie house until the late 1960s, when it became an X-rated theatre. In 1989, it was closed, and fell into a state of disrepair.
The State reopened as a live music venue in 1993. However, the run was short-lived. During a show a large chunk of ceiling plaster came crashing down, which led to a dispute about who should pay for repairs, the owners or the operators. When it happened again in 1996, the theatre was once more closed.
In 2000, Stone Coast Brewing took over ownership of the building, and reopened the venue. However, doors were closed again in 2006.
When the State closed in 2006, Portland lost its only mid-sized venue capable of hosting nationally popular acts.
The State, however, reopened in 2010 with partners Crothers Entertainment & Productions/ Higher Ground in South Burlington, Vermont; and The Bowery Presents in New York under the name CroBo LLC.
The Stateís current rebirth began when Alex Crothers became enchanted by the theatre in 1994. He had driven there to see a Widespread Panic show while a student at the University of Vermont.
Crothers brought the project to Jim Glancy and John Moore of The Bowery Presents. Though The Bowery Presents had made a sizable impact on New Yorkís music scene, it had yet to operate a theater outside the metropolitan area.
In June, 2010, the co-owners hired Wayne.
Wayne and her team then oversaw four months of extensive renovations that modernized the State with a new sound system, and updating the acoustics and lighting. Additionally, the theatre was reseated; and the stage was raised 18 inches. The theaterís original architectural flourishes, including four faux balconies, giant banks of columns and sculpted scenes on each side of the stage, were repainted and cleaned.
This work was in addition to the previous two years of work by the venueís landlord, Stone Coast Properties that included rewiring the venue, building new fire escapes, and restoring the ceiling.
The State Theatre reopened on Oct. 15, 2010 with a performance by My Morning Jacket.
Over the past two years, the tenacious and musically savvy Wayne has booked such diverse acts as Peter Frampton, Lyle Lovett, John Hiatt, Jeff Tweedy, Grace Potter & the Nocturnals, Elvis Costello, Emmylou Harris, Bright Eyes, Iron & Wine, the Avett Brothers, Snoop Dogg, the Pixies, and the Black Keys.
A few months back, she heard that Mumford & Sons were planning to do a handful of U.S. shows this summer, and that they were looking for quintessentially American cities to play.
In pitching the band, Wayne name-checked Portland native son, poet Henry Wadsworth Longfellow, as well as talking up Portland's vibrant arts scene, art galleries, and art school. She also played up Portland's rich history as a seaport.
As a result, Mumford & Sons are set to play Portland's Eastern Promenade on Aug. 4th, 2012.
You wear multiple hats at the StateóGM, talent buyer, and marketing person.
I wear many hats here, but itís a smaller market, and I am used to doing whatever it takes to get things done. Being the general manager of the theater, as well as the buyer and marketer, is really a great experience as well, and just as rewarding as being able to book shows, and bring great music to Portland.
Sometimes I will help to take tickets at the door or help ushers just because itís a great way to get to know my customers and learn who is buying tickets. I love that kind of face-to-face interaction. Itís also pretty great to be able to see my staff work their asses off at shows, but all the while enjoying the music, and enjoying themselves.
I love everything that I do. I feel like I am a good buyer; but I think that I am a better marketer.
What makes a good buyer?
For me, it is trying to negotiate a fair price for the talent that keeps a fair price on the ticket, which I am a huge, huge stickler about. Because it is a smaller market, and people arenít used to paying high ticket prices, thereís that constant dance just keeping it (a show) affordable, and making sure the band gets what they need to have a successful show.
An affordable ticket for live music has become more important than ever; particularly in smaller markets, and also with the current downturn in the economy.
I really do find that our tickets are quite affordable. We will get some push back when our tickets go above $30 or $35. That is really getting less so now that the economy is getting better; and I think that people in Portland realize that in order to get a band hereóand it might be your favorite bandóthat they might have to pay $35 or $40 to see a show. But you canít pick a better venue. Primus or the Pixies at the State Theatre, it is just an intimate, awesome place to see them. Thankfully, people here really understand that.
Do the agents you work with understand your perimeters as well?
They do. Almost every agent that I work with understands this market. Occasionally, we will get a bit of a push back, but usually it is just me being super cautious about the ticket price. It has always worked out. When Iíve gotten push back, and I raised the ticket price, it worked. We got a lot of sold out shows.
Your team oversaw 80 shows last year.
We actually did 90 shows including our off site events. It was about 80 shows at the theatre. Itís a lot of shows for our team, which runs really lean. We only have three full-time people. Itís me and my bar manager Fayth Preyer who is the assistant GM; and Ryan Wallace who is my production manager. So itís a lot for the three of us, but weíve got a lot of support and help. McCrae Hathaway is my part-time administration assistant. (James) Glancy and Alex Crothersóas well as John Moore down at The Bowery Presents and Jesse Mann, their GM down thereóhave been a great support system, and are amazing mentors of mine. I really appreciate them.
What shows do you have coming up?
Weíve got Rufus Wainwright (on July 31). I have never seen him. We have Fiona Apple (on July 1); and Old Crow Medicine Show (Aug. 8). I am personally excited for the M83 show (on Aug. 8). Then thereís some really cool stuff that I am working on in the fall, as well.
Do you have a favorite band?
I have a couple. I have always been a huge fan of Modest Mouse and Calexico; I love DeVotchKa; and Beirut is one of my favorites. When I got to have Beirut here (on July 29, 2011), I was in heaven.
How do you discover new music?
I guess itís firing up Spotify, and listening to some new stuff, and then going on their suggestions. I do the internet a lot. I ask a lot of my staff who are huge music fans. I just kinda keep an ear to the ground. Going out and seeing a lot of local music; listening to other people; and watching the (industry gross) numbers. Obviously, the agents are good at what they do; but I have a few that I really trust. If they tell me that this show is going to blow up, I know that it is going to blow up. So itís a lot of things.
Any agents that have been really helpful?
I work with almost all of the agencies. I work a lot with Bobby Corry, and Brian Manning at CAA (Creative Artists Agency) who have been really helpful; and Seth Seigle at William Morris (William Morris Endeavor) has been great as well.
You got lucky picking up that Mumford & Son show didnít you?
Yeah. Portland, Maine, of course, was on their radar, and itís the perfect, perfect play for this type of tourówhat they are doingóand their concept. Our date is Aug. 4th.
You were also able to nail down the Black Keys date (March 6, 2012) before ďEl CaminoĒ really broke.
I think that ours was the smallest venue on the tour. I would like to say that it was all me. I had been after that band since I took this job. Iíve always loved the Keys. Thankfully, it worked out with the agent, and the band. They wanted to play here and they loved it, and it was a good time.
You must feel blessed to end up in Portland doing what you are doing.
Every day I wake up feeling very, very grateful. Not only doing what I love in a city that I love, but being able to maintain all of my friendships here, and raise a family here. Iím incredibly grateful.
Portland is a wonderful city.
I love it so much. It is hands down my favorite city. Itís a great place to live.
What turned you on about Portland when you first visited in 2002?
Honestly, I visited one night. I was living in Arizona at the time, and we needed a break. We just knew that we wanted to get out of the South West. I had never had lived in New England. I was born in Virginia, and raised in a lot of placesómainly Georgia and Minnesota. We came to New Hampshire to stay at a friendís house. We drove over to Portland one night. We went down to the local oyster bar, Jís Oyster, and we just fell in love. A week later we had a lease signed.
So you have been in Portland for a decade.
It is the longest that I have lived anywhere.
The Arts District is chock full of venues with live music.
In the Arts District, yeah; just on Congress Street alone. You can start at one end with One Longfellow Square, which is the local singer/songwriter listening room and just walk down Congress; and you are exactly right. You will hear every type of music genre. Thereís Blue, which is local blues and jazz club; obviously, thereís the State Theatre, which does all types of music; and thereís Empire Dine and Dance, which does a lot of acoustic (music), and rock and roll. And Port City Music Hall. Space Gallery is our local alternative arts gallery. It does a lot of cool stuff. It is a total music town here.
A great mix of local radio as well.
Great radio. WCYY, which, I guess, they bill themselves as classic alternative now; the pop station WJBQ, which is huge in the market; WBLM, which is the classic rock; and WHOM, which is AC. Then Portland Radio Group whom I work with also has the local triple A, WCLZ. Thereís a couple of powerhouse country stations, WPOR and WTHT.
There is the University of Southern Maine, which is a commuter school here in Portland and thereís the Maine College of Arts. So WMPG is our local community station.
[Portlandís local non-commercial radio station WMPG is operated by community members, and the University of Southern Maine.]
Portland isnít known as a big college town.
How do you account for the eclecticism of your bookings?
In order for us to survive, we have to program as diverse as we can because it is a smallóI often call it a tertiary marketómaybe, itís a secondary market I donít really know; but you have to be diverse to stay alive.
Because I am lucky enough to be doing this in a town that loves music, I find that a lot of people are open-minded. They want to go to as many shows as they can even though they might not necessarily know who it is (playing). They sure know at the end of a show. Radio definitely helps. I will touch base with ĎCYY, and ĎCLZ and the people I work with the most; just to see if the band is on the playlist. Would they support them? They give me a lot of input. But, basically, it (the eclecticism) really is because it is a music town and we need to do it to be sustainable.
Weather must be a factor. In the winter, people there just want to get out and about. In the summer, they want to hang out, have dinner and, maybe, catch a show.
Yeah, exactly. Itís funny that in the winter, a lot of artists donít like to tour. A lot of bands wonít tour in the winter because of the risk of (poor) weather. I would rather be programming in January and February because people love to go out in January and February. And yes, then there is always the threat of a nine-foot snow storm. Weíre in Maine. We are hardy people.
In the summer, if I get a weekend show great, but I also like weekday shows. It allows people to go out after work, and enjoy a show. On the weekends, maybe, they can still go out on their boat or go to their camps.
Do you sometimes get bands that you might not normally due to routing?
Oh yeah. I definitely think thatís a play with some of the bands that we are booking here. But I have been doing this (booking) in Portland since I moved here over 10 years ago. It is a combination of building the relationship; maintaining the relationship; and kind of staying on agentsí radar and letting them see that Portland is a viable market where they can make some money.
But Portland is usually the start or the end of a tour. For instance, with M. Ward recently, it was the start of his tour. We just had the Mastodon tour start here.
It is great working with The Bowery and having them as a partner with Alex Crothers because we do have options if bands are looking. They can play Vermont, come to Portland, and then go down and play for The Bowery in Boston and then go to New York. The Bowery just opened a new room in Philadelphia called Union Transfer in partnership with Sean Agnew (R5 Productions) and Avram Hornik (4Corners Management). So itís a nice little straight shoot down 95 (highway).
With having two partners, you can offer many groups multiple dates.
We can do multiple dates. It doesnít actually happen as much as I think that we, or people, thought it would. But yeah, it is definitely an option that we can offer, but often it is not taken advantage of. That is because every market is so different.
Synergy is an overused word.
I had enough of that word when I worked for Live Nation. Every other word was synergy.
How do you market shows?
We do a little bit of everything. We have moved a lot of money to online nowóFacebookóI love geeking out on Facebook. We do the traditional radio. Not so much print anymore and rarely television because of my budgets. Mainly, itís radio and online. We have a huge email list, about 30,000. We do a lot of social media. Word of mouth and grassroots, which is a huge thing here.
Iím not going to complain about the internet. What a great way to market shows. Okay, so you have not heard of this band, now with our State Theatre site, you can put a link to their MP3 clip or to their YouTube videos. So bands become familiar before people come to the shows. Itís an awesome tool.
Do people sometimes attend shows based on trusting your judgment?
We get that a lot. We also get emails from people who have friends who dragged them along. For instance, the Head and the Heart played here recently, and it (the show) sold out. I knew that it was going to do well. I was pleasantly surprised that it sold out; and a lot of those fans were like, ďMy friend really likes this band and I was like itís a $20 ticket, so I will go to the show.Ē They ended up loving it. Or they may have heard their single on the triple A WCLZ (radio) station and were like, ďOh, I like this song. Maybe I will like the rest of the show.Ē We do get a lot of positive feedback about that type of thing.
Itís hard for a new act to break through.
It is. I think that has a lot to do with the internet. It is just easy and fast access to get your music out there; but, as a listener, sometimes it is overwhelming trying to find something that you like, and you are seeing that there are 50 new things going on. (The business is) a lot of touring now, which I really like. Thatís why I really like Portland, Maine because I feel that this venue size in this market is the sweet spot. Weíre not really concerned about arena tours here because itís really hard to make them work. And as much as I love to do smaller club shows, and Iím talking about at the 300 capacity level, sometimes in Portland itís hard because people arenít familiar (with the act) so they donít want to come out. But thatís why it all comes back to that ticket price. If you can keep it fair, you are going to capture those listeners who are on the edge of whether to go or not (to a show).
So many once non-mainstream acts now have sizable followings.
Itís an interesting shift in the market here. We did shows here years and years ago where it was such a heavy rock and metal market. Thatís what sold. And some of these up-and-coming bands didnít sell tickets. Now it has completely flip-flopped. Whereas the metal isnít doing so great, Bright Eyes, Iron & Wine, and the Head and the Heart and those type of bands are just crushing it.
Did the metal fans just get older or is it because there arenít as many new significant metal bands?
I think there are a lot of up-and-coming new metal bands, but I just think that for this market, those fans have moved on, and they canít keep up.
Like other musical genres, metal has greatly fragmented.
Instead of that one metal (style) that used to exist, thereís now speed metal and hard metal and so on. You can no longer say, ďIím going to book a metal show,Ē and metal heads will show up because some metal people donít like that type of metal.
How about booking mainstream country?
I would like to start doing more country. For me, itís hard here because the (local radio) stations play the bigger acts like Kenny Chesney and Taylor Swift that we canít get at the State; and itís hard to fit at the Civic Centre because of the size. And itís not my strong suit. Whenever I have a country act come across my radar, I will always check in with country radio. It just hasnít worked out for one reason or the other. And Waterfront Concerts up in Bangor, they do well with country. They have that nice outdoor site (Bangor Waterfront Pavilion) that they can fit 10,000 people. Thatís a great site for them. As much as I would like to break into that genre, itís been a little more difficult than I thought; but Iím not going to stop trying. Iím a totally old school country fan. I am a huge Willie Nelson fan; and Waylon Jennings, unfortunately R.I.P., but I am a huge Waylon Jennings fan. Loretta Lynn. All of that old school.
When Alex Crothers approached you about running the State Theatre what did you think of the idea?
I loved the idea. Alex and I met probably seven years ago when I was working for Live Nation that was (a division) then part of Clear Channel (Clear Channel Entertainment) at the time. Just through mutual friends in the industry, we met, and kept in touch. When I was working for Live Nation, they did the exclusive booking for the State Theatre. So I was well acquainted with the venue; did some shows here; really just fell in love with the venue itself; and knew that there was a lot of work to be done to keep it maintained the way that it should be. Of course, it was then closed.
It had been closed several times over the years.
Yeah, it closed in 2006 for four years. It was then just the combination of too many people in the mix. Nobody was putting the money into the venue to keep it in shape. It fell into a real sad state of disrepair. So it was closed for four years because of that. But Alex and I had just kept in touch because we were in the same business. Weíd throw some ideas out at each other. He approached me with this idea and I really, really wanted to be involved.
Renovations at the theatre had already started before Alex approached you?
Correct. They (the landlord) understood that if they were going to get someone to take a long-term lease on this property that they had to do a lot of work. So they started in, I believe, 2008. And they did a ton of work. Combined (with later work) it was about $1.5 million. They had to rewire the entire building, basically, and they had to completely renovate the ceiling, which had plaster falling off.
The ceiling had partially collapsed twice; once during a raucous concert.
What collapse (laughing)? A couple of chunks had fallen off. So they fixed that. Completely redid it.
What shape was the theatre in when you arrived?
It was in really good shape. The landlord (Stone Coast Properties) did a lot of the cosmetics. It wasnít in bad shape, but it definitely took three months to get it to the state that we needed. I donít even know how it happened but the walls of the auditorium looked as if someone had taken a machine gun to them. There were all kinds of pock holes. We had to completely re-plaster the walls. We obviously repainted everything. We re-did the bars and built some new ones. We put in all new seats, and we put in new carpeting, upstairs and downstairs.
Were you out in the theatre painting?
I was not painting. Nobody wants to see me with a paintbrush. I know what I do well, and that is not one of the things. But every hand that we could get helping was in here trying to get it done.
The stage was raised.
We raised the stage about 18 inches. It was a low stage. It is amazing to look at where the stage was originally. It didnít have very good sight lines, and now you can see. If you are sitting in the back of the venueówe have two sloped orchestra sections in the backóand there people standing in the frontóyou can now see the stage. You can see everything.
What is the seating capacity?
Our occupancy is 1,870. That is full general admission. When we do a full reserved seated show, itís around 1,340.
How did you feel the opening night with My Morning Jacket?
Oh man, it is such an indescribable feelingóa combination of exhaustion, relief, elation and excitement. I will never forget it. Just the little group staff meeting we had just 10 minutes before the doors opened was unbelievable. It was really, really a great night, and it off went perfectly well.
How soon before that had you become involved?
Glancy and Alex signed the lease May 1st, 2010. They offered me the job immediately after that. I closed out my obligations with Live Nation and came on board here June 1 (2010). So that whole summer was spent on renovating the property. Yeah, in three months. It got a little bit hairy there but we did it. And I could not have done it without the building engineer because the entire building served as our GC (general contractor), Perry Glidden. He just really drove it home and right on time.
You worked for SFX Entertainment and Live Nation with Jim Ahearne in Portland, and then with Don Law in Boston.
Jim Ahearne hired me in Portland. At the time, he was looking for a marketing assistant, and a kind of a general assistant for him. Technically, we were a satellite office from Boston.
There was nothing in your background working in live music.
Oh, you know when they say, ďItís all who you know.Ē I just happen to know Jim Ahearneís buddy Johnny Lomba, who owned The Skinny and who was doing some rock shows. He introduced me to Jim and we just hit it off. I am and have always been a huge music fan, and thatís how I got into it.
What did you do as assistant/marketing coordinator?
I did almost all of the marketing. Then, when Jim got a promotion as a vice-president for Live Nation, he commuted to Boston. While he was doing that I took over most of the club talent buying. So I did a combination of marketing and buying.
[Wayne, in fact, began promoting shows at The Big Easy on Market St. with such acts as Clinic, Rachel Yamagata, Ray LaMontagne, and the Decemberists.]
You worked for Live Nation in Boston as well.
I did work out of the Boston office for a year. I worked in Portland until 2009, and then as the marketing director in Boston went on maternity leave, and they brought me into fill in. She ended up deciding not to come back into the business. I was commuting (from Portland) because I didnít want to move there. They let me drive down Tuesday mornings, and drive back Thursday nights.
Boston is a great town.
Boston is a killer town.
Working for Don Law must have been fascinating.
I canít say enough good things about the Boston office. It was an honor to work for Don, and I learned a lot working with everybody down there. Don, heís always 15 steps ahead. Those people are outstanding. They are the best at what they do. Iím really lucky to have worked with the office for eight years.
While with Live Nation did you feel like you were working for a local company or as part of a bigger family?
I think initially it did feel like we were all working for Don, and it was our company and it was local. I think as more and more of those national initiatives and directives were coming out of L.A., thatís where it started becoming really frustrating; especially some of the discounting programs (in 2009) that they were doing. With the Boston office, there was a bit of a push back there.
Those Live Nation discounting policies have since been changed.
It has changed a lot but it did start to feel like we were losing control a little bit with what we could do. But the Boston (Live Nation) people are very good at making sure that they are doing the right thing for their town; and I think that they did that.
Working now with indie promoters like Alex and Jim must seem like another world.
Oh man, itís awesome. It is an entirely different world. They understand that we each understand our market the best. As much as they have been mentors to me, and have helped with some of the buyingóthey are on our weekly conference callsóthey have been pretty hands-off. It is really great to be trusted. They know that Iím always going to be doing the best job that I can.
Can a Bachelor of Arts degree with double majors in history and journalism be helpful in your job?
Yeah, my history degree really comes into play. Not at all. The journalism has definitely helped with the press releases, and the publicity and the marketing stuff. The history, I have been an avid Civil War buffóI am really into the Civil War. My problem is that I keep buying books, and I havenít read all of my other books.
Being raised in Virginia, you must have visited the Civil War battle sites.
Oh yeah. My grandfather was a Civil War buff, and he took me to Gettysburg, Antietam, Chancellorsville, and Vicksburg. I have been to a bunch of (battle) sites. It is such a fascinating period in our history, and I feel that it is really important to understand what we went through.
Red Rock Recycling & Rubbish is on your resume. You gotta explain that to me.
When I was in Sedona (Arizona) my brother started a garbage and recycling company. I was the family labor helping. I actually drove a recycling truck around. And I was good at backing up a trailer into a tight pocket. I used to have to back a huge recycling trailer down 100 feet of a winding dirt road. Yeah, Iím really good at that. Thatís another one of my skills.
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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Cortez Bryant, Bryant Management 12/06/10
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
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
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
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
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
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, ItsAboutMusic.com 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Peter Shapiro, Ideal Entertainment 04/16/04
Seth Sheck, Access Pass & Design 01/03/03
Seth Sheck, ACCESS Event Solutions 06/22/16
Seth Shomes, The Agency Group 11/12/14
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Michael Simon, The Harry Fox Agency 08/14/13
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Peter Smidt, Eurosonic Noorderslag & manager Buma Cultuur 07/17/13
Garrison Snell, Gyrosity Projects 02/23/17
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
Nikki Solgot, Circle Talent Agency 02/18/15
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Mandar Thakur, Times Music 08/06/15
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
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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