Industry Profile: Mamie Coleman
By Larry LeBlanc (CelebrityAccess MediaWire)
This week In the Hot Seat with Larry LeBlanc: Mamie Coleman, VP of music and production at Fox Broadcasting.
In her job as VP of music and production at Fox Broadcasting, Mamie Coleman oversees the creation and production of the promotional campaigns for the company’s primetime television series, specials, and live event programming.
Fox, the start-up broadcast network of 1987, has changed the face of American television with edgy comedy and youth programming. It remains the most-watched network in the 18-49 age group coveted by advertisers.
Overseeing day-to-day production, along with negotiating and executing all of the music and clip licensing agreements for all shows, Coleman and her Los Angeles’ staff are the epicenter of Fox Broadcasting’s marketing strategy.
As well, many affiliated departments with Fox look to Coleman and her team for legal advice, research and other media clearances.
Working with TV studios and production companies, record labels, music publishers, recording artists, songwriters, and agents, they are entrusted with creating the sound of Fox Broadcasting promotional content featured on the channel as well as in-theater and MySpace trailers; closed circuit TV or video; and TV show promotional compilation discs.
With her vast musical knowledge and insights into everything from alternative rock to rap, Coleman has worked on campaigns for “Glee,” "American Idol," "The X Factor." "The Simpsons” (the longest running American primetime scripted show) “Family Guy,” "So You Think You Can Dance," "House," "Bones,” "Ally McBeal,” “That 70’s Show” and many, many others.
After graduating from California State University Northridge where she majored in Radio, Television and Film, Coleman landed a position as Junior On Air Radio Producer for Fox Broadcasting Company in 1992.
She soon cajoled her way into getting an interview for a writer’s assistant position on the “Martin” show. She got the job, worked hard, and was then offered a position as an assistant to the show’s executive producer Samm-Art Williams.
After” Martin” show ended in 1997, Coleman got a call from Fox for an opening in the same department she had interned in. She was soon promoted to a manager position; then director; and then to her current position.
You have a 15 year old daughter. Does she think you’re cool?
She thinks that I’m the coolest mom on the earth working at Fox, and she hasn’t even tapped into that whole “Hey, I want to go to this concert” or “Hey, I want to meet this artist.” She hasn’t tapped into that; although she wants to be a singer or a songwriter. She’s been around it (the business) I guess.
How often does your daughter bring you music to hear?
Often. We were recently going to the orthodontist, and she said, “Hey, mom have you heard the new Usher song?” I said, “No. I haven’t heard that one yet.” And she said, “I’ve downloaded it, and I can play it for you.” I know the label has sent it to me, but I don’t tell her that. I just say, “okay.” She has given us some cool ideas because that’s a whole different demographic audience.
Her generation grew up with music on computers.
They listen to SoundCloud, Vevo, and YouTube. She’s always sending me videos and I’m always going, “Oh my gawd. I have never heard ever heard of this person before.” There’s been some interesting stuff that she has found on YouTube, SoundCloud and Vevo. You just never know.
The Internet breaks down genre formats and even the racial barriers of music.
It does. Exactly. Seriously. It was her friend, and her who were in the car and we were on the way to the orthodontist. She said, “Mom can we listen to some music?” I assumed she meant turn on the radio. She said “No. Plug in my iPhone so we can listen to Pandora.” I was like, “So we now have a Rhianna or a Beyoncé station? Oh my gawd (laughing), kill me now.” She has all of these different radio stations on Pandora. That’s a whole other media for artists. It’s crazy.
The rule in our family car has been two of my daughter’s songs; and two of our songs.
We kind of listen to some of the same songs. I let her listen to a lot of my songs on iTunes on my laptop; and then she drops it onto her iPhone. It depends on what it is.
Do you keep an eye on the hardcore rap?
Oh yeah. She does not listen to that. The funny thing is that she’s in first year in high school, and some students asked her, “Do you listen to N.W.A. or Ice Cube?” or whoever; and she’s like, “Who’s that?” She’s not exposed to that. I haven’t allowed her to listen to that.
Generally, people figure that when someone oversees music for television that they oversee music for the programs. But that’s not what your job is.
Everybody just assumes that. No, I do promos for all of the marketing campaigns. My counterparts are strictly music supervisors at networks. They don’t do the same thing that I do because I’m in charge of the production, and the music side of it.
As much as you are a music supervisor, you are a marketer.
Yep, I sure am. I have to look for music for every different media platform, everything. For every show, everything. We work closely with Geoff Bywater (sr. VP Fox Television), Ward Hake (VP Music, Fox Television) and Rodney Griffis (executive dir. of clearance, Fox Television) who all do amazing jobs for us on the TV side. It kind of helps us because they are clearing all of this music in context. But, out of context, I have to clear it, and if I can’t get it cleared then we have to find a piece of music to replace it. We pretty well get most of the stuff cleared, and we are working together as a team.
A few months ago at Musexpo in Los Angeles, I moderated a panel dealing with music supervision and licensing at the various Fox network and associated platforms. The Fox panelists didn’t know each other well.
I know, isn’t that crazy? You just don’t have time to sit down. I will say that we do send each other music. “We’re not going to use this; you guys should use it.” John Varvi at FX Network (as (Sr. VP On Air Promotions), I send him all sorts of stuff. He’s a really nice guy. Janine Kerr is now VP of Fox Sports Music. She and I have a really great relationship, so we are going to starting working on some stuff together.
What does your work week look like?
Monday, Wednesday, Friday are the top three days that people want things tomorrow today. In two hours.
When you listen to music, what configuration do you prefer?
I’m old school, so I love CDs. I like looking at the artwork that the artist has put work into. The artwork is amazing.
How lobbied are you by the music industry?
Oh my God, there are so many people. It’s like a hurricane of MP3s that come to me constantly. You do become fatigued, particularly during different times of the season. During our pilot season, we are producing these 2 to 3 minute sales presentations. It gets pretty hectic trying to figure out what works and what doesn’t. Even summer campaigns get a little hectic around here with all of the MP3s we receive.
Do artists send you music?
Some artists today are a little lazy. They let everybody do everything for them, and then they get screwed. There are so many artists out there that think that the label is going to market them right and they don’t. I feel that a lot of artists have to come in now and market themselves.
Recently we had Rita Ora and Karmin come in with their label, but they were pitching music directly to me which was really cool. We ended up using one of Karmin’s songs “Brokenhearted” for a “Mindy” (“The Mindy Project”) promo which is going to air soon. They were a very friendly couple, and were very intuitive as to what the whole marketing world is about; and what they can do and what they can’t do. It was really cool. Rita Orr was sitting there going through her iPad, going through every song. I was laughing because artists normally don’t come in and pitch like that. They either get on a phone call (with us) or on a conference call. Sometimes you get big, big meetings. But to do it (pitch) directly one on one is kinda cool.
Do you take your direction for promotions from music used in the program?
No. Not at all. Honestly, we don’t listen to a lot of the music from the shows because they don’t license much that is marketable for us.
Why isn’t it marketable?
As far as promos are concerned, we want something poppy, fresh and hip. It’s very specific songs that they use in their shows, and it doesn’t work necessarily for promos.
Often music is nuanced to a scene or may be in the background.
Exactly. They (producers and music supervisors) may pitch something to us, “Hey, there is a song that we are looking at. Would you use it for the promos?” I am usually thinking, “At the top of my head, I don’t think we’ll be using that.”
The majority of time I don’t even watch the actual episode. It just depends on the campaign that we’re working on. We will either watch an episode or go off on what we know; or what the producers like; or what upper management is looking for. Just (from) the description to feel what they really want to get. It is just to fill in the music. Sometimes they will slip us a scene (for us) to see what is going on.
The whole “House” finale ("Everybody Dies”) that was a crazy ordeal because we didn’t get a chance to see the episode, the final episode. We barely got a script. So we had to go upstairs to management. It was insane. It was like, “Wow.” We were really paranoid that things were going to get leaked. It does happen so I totally understand the whole thing that happened (with the secrecy).
[After failing to get out of his upcoming jail time, Dr. Gregory House disappeared in the series finale of “House” which aired May 21, 2012. He awakened in a burning building after shooting heroin with a former patient. With his life crumbling around him, House hallucinated people from his past as he decided whether his life was worth living anymore.]
Sometimes a TV show has a key song featured in an episode but the producers or music supervisors don’t know if they are going to get clearance until near completion of production.
To the very end, and we’re sitting either waiting, or we have to quickly have backups to think of. It just all depends on the song, and the use of it
How far in advance do you work?
A month in advance. For the Fall campaign, we start in the summer. Once we announce the shows.
You are not only overseeing promotional campaigns on Fox TV but also overseeing promotional in-theater trailers, MySpace trailers and TV show promotional compilation discs.
Oh yeah. New media plays a major part in licensing fees for the labels, artists and publishers today. Recently, we had to clear lyrics to be used in print ads, and outdoor marketing. We used Queen’s “We Will Rock You” for the “Mobbed” outdoor marketing campaign, and we used George Thorogood “Who Do You Love” (written by Bo Diddley) for an “Idol” campaign.
Then there are the gas station TVs. You know the monitors at gas stations. You wouldn’t think that you would have to clear and figure out stuff for that that . We were looking to use some “Idol” promos to put on approximately 1,200 gas stations in the top 70 (U.S.) markets with a heavy rotation or concentration on 25 markets. I have even had artists and licensors approach me about using music and videos on bus, metro trains, subway monitors. It’s crazy. But it’s the way of the future, though.
Media now comes at us 24/7.
Definitely. There are a lot of promos that are used on closed circuit TV or video. And there’s in-store use. “The X Factor” is attached to Sony Music. So there’s Sony stores and Best Buy stores.
While there are broadcast standard concerns over producing promotional spots, are affiliates a concern?
I think that there are 205 affiliates, and unlimited Fox internet sites. We don’t concern ourselves too much with that because we clear for all media and we clear for unlimited internet. So that’s not an issue. They also go through and, basically, figure out what promos are appropriate lyric-wise or not appropriate. It depends on what they want.
Can you attain a blank music license for use of music in the various media or do you have to negotiate for each media use?
We have to do for every media use. We will either do an all-media buy which is TV, basic cable TV, radio, and unlimited internet. That’s an all media buy. And we will do it (license) separately. We will do instore or in theatres or in flight for on airplanes, mobile. It just depends, but we have to clear them separately.
There are at least two sets of rights owners; master rights holders, as well as music publishing right holders which may be multiple publishers.
Exactly. But we just put a clearance in for a song where there are two master owners. That’s coming up a lot too.
How does that happen?
Well, it’s a UK artist, and there’s a master owner in the UK, Warner Brothers; and there’s one here, Universal. So it just depends on what deal the artist made with the two different separate companies which is just the most bizarre thing, ever. But it has come up a couple of times now.
Do you have to clear the track on a global basis?
No. Not at all. It is just domestic buys and deals that we are doing.
Few promotions have been as difficult as when Simon Cowell requested using Guns N' Roses' 1991 version of Paul McCartney and Wings' "Live and Let Die" to promote "The X Factor." Publishing was cleared, but the master rights clearance was more difficult. You didn’t know that you would be dealing with Axl Rose.
Yeah, that was an interesting clearance because Axl really wasn’t involved at first. We were going through the label (Geffen), and everything was okay. We were getting everything done. Then we sent over the spot, and they saw the spot which had Simon and the judges sitting there with Pepsi cups. Pretty much product placement. So when they saw the Pepsi cups, they were like, “That’s product placement. We need more money.” Of course, that escalated the fees and….The licensor was being greedy, basically , and they had us by the balls because we really wanted the song.
The licensor being the label?
Yes, the label. And sometimes labels have to go and get artist approval. That’s exactly what happened and Axl Rose got involved. It was crazy. His mom was faxing us back and forth. It was the weirdest clearance. But we got it done. It was a 72 hour clearance, and I was dead tired when it was done. But it all got worked out.
With the publishing cleared earlier, you probably could have used Paul McCartney’s original version.
We actually did get that cleared. It just did not work. We needed the real deal. Simon wanted it. He wanted drama. The whole campaign was big. I had licensors and colleagues calling me, “How did you get ‘Live and Let Die’ cleared” You are a hero.” I said, “well, you know it’s called ‘The X Factor.’”
You were also a hero on the Madonna campaign for “Glee.” But when the show’s co-creator and director Ryan Murphy got Madonna for the show’s 15th episode "The Power of Madonna” on April 20, 2010, you must have first thought, “Oh no.”
That was a tough clearance too, I must say. We got that one done too. I’m not going into all of the details, but that was insane. And you know, we got a good deal on it. So it all worked out. And she loved the show. So it was all good. It was fun.
[The Madonna episode was the first time the music on “Glee” was turned over in its entirety to one performer. According to Nielsen, the episode was watched by 13.5 million viewers in the U.S. The stand-alone "Power of Madonna" soundtrack from the episode debuted at #1 on the Billboard 200.
Sony Music Label Group chairman Rob Stringer explained to Ann Donahue in Billboard (May 08, 2010 issue) that "The Power of Madonna” was a risky album release being that it was based on the songs from a single episode. "It's kind of weird," he said. "It's a different marketing angle, but the episode is so bloody good."
Getting Madonna’s approval for the "Power of Madonna" episode and the album and promotional campaign that followed was, by no means, easy. Her camp originally passed on the concept. Further pitching was done, and the deal was only green-lighted after Ryan Murphy sent an appeal letter directly to Madonna.]
Over the years “The Simpsons” has featured many top music stars.
Lady Gaga was recently on the show. She did a voiceover for an animated character, and we got a whole big campaign out of her that she was gung-ho for. And we got a good deal.
Obviously tied into her being a guest on the show.
Yeah. It is kind of cool when they have guests like that. Eminem was on “Family Guy” as well. Different artists get on these animated shows and they really help us out with the music because they want to be a part of (the promotion).
A few years back, you were able to get Fleetwood Mac’s “Say You Will” for a promo for “That ‘70s Show.” That was big-time back then.
Oh my gosh yes. That was amazing. That was like the first big thing that I did beside Barry White doing "Ally McBeal," Half the people (artists) don’t want to license their old stuff. They just don’t.
They are aware of only having one or two hits and they don’t want to overexpose the hit.
Yeah. I think that’s what it is because the popular bands now--the top artists--the label and so many people behind it pushing it that everybody gets involved.
“Glee” and “American Idol” are both contemporary music programs. What are the differences in the promotional campaign devised for each of them?
The best part about “Glee” is that everything that they use we end up using in our promos. In context, and it’s in the scene. That’s the one show that we can get away with using the music.
Recently, Coldplay’s “Fix You” was used.
Gwyneth Paltrow was on the show (as Holly Holliday, a substitute teacher) and she went to her husband (Coldplay’s Chris Martin) and asked, “Can they use it for the show.” So it was greatly beneficial for her to be on the show because we got to use a song. You know that Coldplay never clear for any marketing. So it was very very cool. So we got “Fix You.” We got “I Kissed A Girl” by Katy Perry. It’s been a lot of good stuff that they have put in the (“Glee”) show.
With “Idol,” it is usually the publishing that we clear because we are using “Idol” contestants”; songs that they are singing like “I Will Always Love You.” Sometimes our radio department will use David Cook, Daughtry or Kriss Allen. It just depends on what campaign people are working on; but we use out-of-the-box stuff too (on promos). We use indie artists. The one thing that we are trying to gear up to throughout the season is using indie artists because they are a lot cheaper than the majors.
Finally, someone says that out loud.
They are cheaper but also the quality of the music is out-of-the-box different. It’s fresh. It’s really, really cool music. Not to say that the major (major label signed artists) aren’t, but why spend $20,000 a week on Beyoncé song when you can get someone else similar or someone a little fresher?
The entertainment industry faces constraints of budgets these days, including Fox.
Oh, yeah, we all are. In general, we are seeing an increase in the cost of weekly licensing fees for the past years. I have sat with some of the major record labels and publishers and they have all said that their fees are increasing at least $500 to $1,000 per week per media due to the fact that they have their overall departmental dollars (costs) increase just like us.
If the merger of Universal and EMI goes through will Universal have more clout in negotiations with TV for the use of music?
As far as weekly licensing fees? No. All licensors use the same formula; and it’s the same with all of the competing TV networks. And all of the networks are being hit with these higher fees anyway. So as a whole, we continue to expose and utilize independent artists for much cheaper (fees) rather than major artists because independent artists invite a new exposure and publicity for themselves.
You attended John Muir High School in Pasadena, the same high school as baseball icon Jackie Robinson and singer David Lee Roth.
I was surprised (in 2011) when they called, and told me that they were giving me that Alumni award (for the John Muir High School Hall of Fame). What was I doing back in ’89? I don’t know if you have been back to your high school. I didn’t go back to any of my reunions. I didn’t do it. So it was interesting to go back, and see the school. It just seemed so small.
Were you raised in Pasadena?
For four years; my high school years. I was actually raised in the Valley (the San Fernando Valley). I’m a Valley girl (laughing).
I tease songwriter Diane Warren for being a Valley girl.
Isn’t she the coolest person on earth? My gawd, she’s so sweet. I love her.
I grew up in Lake View Terrace, and then we moved to the Valley--to Sherman Oaks from preschool and junior high. My mom was a seamstress--a tailor--and she worked at a cleaners. We ended up with our own cleaners. My dad was a US Air Force sergeant. He worked at the Pentagon and he was a boxer for the Air Force. After he retired, he was a VP at Sunkist, and then at Bell Phone. He was always into technological stuff.
What music did you listen to.
R&B hip hop. In junior high, because we were in a predominantly white neighborhood, we listened to punk, rock and little bit of R&B. Madonna, Boy George and Iron Maiden and all of that stuff was coming. Then I get to high school and the R&B and hip hop scene exploded.
During a spring semester break from California State University Northridge, where you were majoring in Radio, Television and Film, you attended the Jack the Rapper Conference in Atlanta.
Yeah that was cool. I met 2Pac and P. Diddy. The “Jack the Rapper” (conference) was very interesting because I had people that I knew at the record labels. I met some people down there. Then we flew to New York, and got on “Yo MTV Raps.” Sat in the audience and met my predecessor (the head of Fox On-Air Promotions). I had no idea that my future was being told right there. That it was going to start right there.
One of your goals had been to be a journalist.
I wanted to be a journalist. When I applied to CSUN (California State University Northridge) my major was journalism. I took a couple of courses, and they sent me out to Watts to do a story in the Hood. I went down there and I went, “I don’t think that this is me.” I don’t think this is for me. I don’t think that I want to represent this, and report the bad and negative things from the Hood.” So I got out of it.
You started at Fox as an intern?
I came in as an intern.
Did you want to work in the music business?
I was not even looking at being in the music business. I was trying to be a TV producer. The department that I was working for was on-air promotion, and it was production. They did not have a music department. So they stuck me in this little room with all of these “needle drop” live music libraries. I started organizing and listening. People would come in and ask, “Do you know any new cool hip songs?” I would tell them, and they’d say, “You are pretty good at this. Maybe, you should consider doing it for a living.” I would go out to auditions (as an actress) and everything.
Fox started out as the maverick of the TV networks; but is no longer that you-never-know-what-you-are-going-to-see network. Still, it’s edgier than other networks.
Actually, that’s how all the other competing networks think about us. I also feel that way. I feel that we are edgier, more competitive and not necessarily renegade but we have an edge over everybody else. We are fresh and hip and young. Our demographic audience is 18 to 49. So I feel we are a little more edgy.
Are Fox’s competitors fairly conservative?
I think so. I think that a lot of the other networks are conservative. NBC used to be the number one network, and now we are blowing them out of the water. We just have a very youthful, fresh set of executives here who know what they are doing, and will know what the audience wants.
One of the game changers at Fox Television at the time you arrived was “In Living Color.” That is not a show another network would then have picked up.
Yeah. That put us on the map for sure. When I was to get internship one of the reasons that I wanted to come to fox was like, “Wow some of the best shows were there.” Very diverse; very outlandish, edgy and crazy. It was cool. It was cool to do that. And I always wanted to be to be a "fly girl dancer" for the show.
You went over to the “Martin” show as an assistant.
It was really cool. Being in college, you don’t know really what you are going to do. In life. But you major in all of these different categories, but you also think, “What is it that I want to do?” When I got to the Martin Lawrence show, I was a writer’s assistant. But I thought, “Do I really want to be a writer’s assistant for the rest of my life?” So I would finagle my way onto the stage, and sit there and listen to the actors. “Mamie come over here, and act like you are Martin or Tisha (Campbell).” I would stand in and I would read their parts. Then, I started doing table reads. I thought, “I want to be an actress.” You go through all these things in your head, thinking that you want to be in front of the camera; when obviously all of the money is made behind the scenes, and there’s more stability.
Los Angeles is like a candy store once you break into entertainment at a certain level.
Yeah, you see so many different things. Even interning at Fox, the interns that come in now are like, “I don’t know what I want to do.” There are so many different departments that I have interned, I don’t know what department to go into because there are so many cool departments that you can work for and you don’t know what area you evolve into. So it’s kinda interesting.
“Martin” was cancelled in 1997.
The show went under and I ended up marrying the co-executive producer (and writer) Kenny Buford. and had a child. The show went under and I went back to Fox. It was family and I wanted to go back. To the same department. I had stayed in touch with the people I had worked with and they were good to me.
You returned to Fox as a manager, and then as a director. What’s the difference?
Money. Salary and a little bit more responsibility.
In a 2006 interview with Flow Online Magazine, you said that “Humility is the key that opens doors. Women and minorities join organizations—give back. Be a mentor.”
You meant that it’s important to acknowledge one’s roots. The film and TV business was a white industry when you came in.
There were only a handful of minority-based programs on-air when you came to Fox. Few minorities in top TV positions even now.
Fox is more diverse than most of the companies and networks out there right now. Bringing people in, and helping people as interns and bringing in minorities is a goal of mine. It is a goal of mine to keep attuned with the community that I am part of. To be social, and be networking with the different non-profit organizations that I am part of. Giving back is important to me.
Has anyone said to you, “What are these black people thinking about Mamie? You’re the expert here.”
Yes. It happens a lot. A lot because I am one of the few minorities in my division as far as being a executive is concerned, just creative wise. We have hired more creative people that are minorities. But I am supposedly the young, fresh hip girl who is in tune with what is going on right now. So they do come to me, and they don’t know certain people or certain artists. So it’s kinda cool that they come to me, but it is also, “Wow. You aren’t really aware of what’s out there right there.”
By the color of your skin, you are automatically considered an expert in urban music. People don’t always anticipate that you know other types of music so well.
Surprisingly here, not too many times do they come to me with that (stereotype). When we have the Image Awards (NAACP Image Awards) on Fox, people have asked me about this or that artist or what does this sound like? But, now I’m the alternative girl; the alternative pop rock girl. They just know (that) because when I’m pitching to them, and they’ll says, “You find some amazing new music.”
We actually don’t use that much R&B hip hop music unless it’s trendy or out there and mainstream. I’m not really listening to that music as much. My daughter and her friends and several people pitch me a lot of that stuff; but we can’t use a lot of it because it’s not marketable. But there are so many crossovers these days. Nicki Minaj is a pop artist now. She’s not even considered hip hop. She’s now considered a pop artist. There’s been that crossover.
In an interview five years ago, you said that you envisioned yourself owning your own music/TV production company by this time.
I am eating my words because that was five years ago. Well, my daughter is still in high school. So I can’t really do that until she gets into college. I’d love to become my own vendor; and vendor out to networks and companies. Just to get into the film side of (music supervision) because I do find some pretty cool music for film.
Larry LeBlanc is widely recognized as one of the leading music industry journalists in the world. Before joining CelebrityAccess in 2008 as senior editor, he was the Canadian bureau chief of Billboard from 1991-2007 and Canadian editor of Record World from 1970-89. He was also a co-founder of the late Canadian music trade, The Record. He has been quoted on music industry issues in hundreds of publications including Time, Forbes, and the London Times. He is co-author of the book “Music From Far And Wide.”
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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
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 Denver’s Division of Theatres and Arenas 08/23/10
Paolo d’Alessandro, International Solutions 06/25/14
Ros Earls, 140dB Management 02/19/14
Art Edelstein, Festival Productions 12/01/02
Bruce Eisenberg, Audio Analysts 08/31/01
Martin Elbourne, The Glastonbury Festival 12/18/09
Michael Elder, Red Entertainment 03/17/06
Tod Elmore, Sixthman 11/24/06
Paul Emery, Clear Channel Entertainment 11/19/04
Arty Erk, Citrin Cooperman 04/27/16
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock ’n’ Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gélinas, Festival d’été de Québec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Chris Gero, Yamaha Entertainment Group 10/26/16
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Steve Gietka, SMG Entertainment 03/19/14
Darren Gilmore, Watchdog Management 03/17/16
Daniel Glass, Glassnote Entertainment Group 10/16/14
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Neil Goldberg, Cirque Productions 04/16/14
Martin Goldschmidt, Cooking Vinyl Group 09/29/16
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, Turntable.fm 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Justin Kalifowitz, Downtown Publishing 04/20/17
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
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 “Ice” Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
Kevin 'Chief' Zaruk, Chief Music Management 06/10/15
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06
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