Industry Profile: Golnar Khosrowshahi
By Larry LeBlanc (CelebrityAccess MediaWire)
This week In the Hot Seat with Larry LeBlanc: Golnar Khosrowshahi, president Reservoir Media Management.
Reservoir Media Management is now geared up to really strut.
A New York City-based boutique music publisher headed by Golnar Khosrowshahi, Reservoir Media now has enough critical mass in its catalog to become a global player in the independent music publishing world.
The company was founded in 2007 after acquiring the music catalogs of John Rich, "Big Kenny" Alphin, Vicky McGehee, and Bruce Roberts.
Overnight in Sept. 2012, on acquiring UK publisher Reverb Music, Reservoir Media became a significant publishing force. The deal included a catalog of over 30,000 copyrights, and agreements with more than 100 songwriters.
As well, Reservoir Media recently purchased the Black Fountain Music and Blackground catalogs, which includes 500 songs including the publishing and master rights for recordings by Aaliyah, Timbaland, Magoo, JoJo, Tank and Static Major.
Reservoir Media also recently signed 2 Chainz to an exclusive worldwide publishing deal, which covers his album "Based On a T.R.U. Story," as well as a catalog of about 200 songs.
Finally, last month (Oct. 2012) Reservoir Media signed Toronto-based songwriter, producer, and musician Slakah the Beatchild (aka Byram Joseph). Reservoir will publish the catalogs of Slakah and his musical alter egos, the Slakadeliqs and The Art of Fresh.
Last year, Reservoir Media turned heads by making an exclusive publishing agreement with Nate “Danjahandz” Hills who has written and produced for several top pop and R&B artists, including Britney Spears, Chris Brown, Nelly Furtado, M.I.A., Jennifer Lopez, and Keri Hilson.
Reservoir Media got noticed as a potential publishing player in 2010 when it acquired the music publishing assets of TVT Music Enterprises, which brought to its roster producer Scott Storch, Nyceboy, the Cinematics, the Holloways, Devo Springsteen and Big Reese.
The TVT Music Enterprises catalog was sold by Fortress Investment Group which had obtained its stake in TVT after it took over the assets owned by D.B. Zwirn, which was forced to liquidate its investment funds in 2009.
This year Reservoir became one of the first independent music publishers to strike a content management deal with YouTube which allows it to claim revenue from original material and covers. The deal also allows for Reservoir to administer master and synch licenses.
Born into a prominent industrial and mercantile family in Iran, Khosrowshahi is a managing director at DRI Capital, a subsidiary of the Inwest Group of Companies that oversees Reservoir Media.
In 1978, Khosrowshahi left Iran for the UK, and then settled with her family in Vancouver, Canada. She has a BA from Bryn Mawr College in Bryn Mawr, Pennsylvania, and a Master of Business Administration (MBA) from Columbia University in New York.
Golnar’s parents, Hassan and Nezhat Khosrowshahi, co-founded the Inwest Group of Companies. Inwest founded the Future Shop chain of Canadian consumer electronic stores. Inwest sold Future shop to the American retailer Best Buy in 2001.
Prior to re-locating to Toronto in 2003, Golnar Khosrowshahi spent a decade in New York City. She began her career working in advertising at MVBMS/Euro RSCG, and was later head of account services and business development at Imagination NYC, an experiential design firm.
What initially appealed to you about music publishing?
Do you know how we got into this business?
Well, I know you are also managing director at DRI Capital, a pharmaceutical royalty investment firm in Toronto.
Yes. Our parent organization Inwest Group (Inwest Group of Companies) purchased a company in 2002 called Drug Royalty. It is now called DRI Capital which manages about $1 billion (in assets). Its expertise is in acquiring royalties on pharmaceutical drugs and devices that are in-market and FDA approved.
About five years ago, we started looking at how the DRI business model could be applied to other areas of intellectual property. We started looking quite extensively at entertainment, particularly music. We liked the fact that royalty rates are regulated by the government. We also liked the fact that there is financial sophistication in this area; in that people had done these types of transactions before. That is how we got into this business.
[Founded in 1992, Toronto-based DRI Capital is a private equity arm of Inwest Investments Ltd. focused on the healthcare industry, with over $1 billion under management. It provides financing for product acquisitions and launches, licensing, and general working capital purposes to companies within the healthcare industry. After close to 15 years, Drug Royalty Corporation became officially known as DRI Capital in 2007.]
You weren’t born in Canada?
No, no. I am Iranian. From Tehran. I left when I was six for London. I came to Canada when I was 12. I went to high school in Vancouver.
You began your career in advertising at MVBMS/Euro RSCG?
Yes. I was in New York. I went there right after undergrad (school). I started in the account group. I had the benefit of working in a company that was hugely understaffed. I got to do things at the age of 21 that were just incomprehensible. By six months into this job, I was managing some pretty important details on productions and budgets, and participating in strategy sessions. I worked in a company that was pretty laterally organized. So, on daily basis I was interacting with the named partners. It was amazing. I couldn’t have asked for a more rewarding entry level job. It was 16 to 18 hour work days but I didn’t care.
What was your major at Bryn Mawr College?
Political science. I had the luxury to go to a liberal arts college, and you can study what you want there. It’s the luxury of the four year college.
You have a MBA from Columbia University in New York.
Well, I was the youngest in my class at Columbia. The trend at the time--which is continuing--was that the average age at Columbia when I started was 28. I was much, much younger. I was 23. Having different jobs, and different professional experiences, I can tell you that a MBA is a program that you can definitely benefit from. Or some people could get out of it. So there was definitely that intimidation factor.
After I got my MBA, I went back to the agency. That’s when I did the work for Phillips and supervisory work for MCI. Then I moved to Imagination New York for two years (as dir. of client service and new business).
You lived and worked in New York for a decade?
Yeah, at least.
Why the move to Toronto in 2003?
The DRI business was based there.
Did you join DRI Capital while in New York?
No, but that was something that was on the horizon. I had had two kids by then. It was an interesting proposition.
Today are you back-and-forth between Toronto and New York overseeing Reservoir Media?
Yes I am. I am very connected to that (New York) office. I’m there a couple of days a week. The DRI business is based in Toronto; so there’s that. So far, it’s manageable.
Are you involved in other DRI Capital investments?
I’m not involved in an operational sense, but we do learn from them and try to better what we are doing.
What size staff at Reservoir Media?
We have eight people.
You entered the music industry as many people were jumping out. I would have thought that equity investors would have been nervous about the music industry at the time.
I think that the data is misleading. I think that there are portions of the music industry that are in flux. That has to do with changing market trends and changes in how people are consuming music as a product. While mechanical sales have suffered--and there’s been a downturn on that front--and we are just looking at easing into a parity I suppose with digital sales compensating for that loss; I don’t think that owning music copyrights, and being in the music publishing business is an industry that people are jumping out of.
Publishing being one of the more stable sides of the music business.
Yes. More stable. Private equity firms like KKR and other private equity groups are getting involved in entertainment, and are getting into this business. (Music publishing) gets a vote of confidence from the investor community because of the attraction to uncorrelated assets. This is exactly what these are. So it is attractive in that sense.
You worked extensively in advertising. Did that include dealing with artists and music rights?
It did. I worked for HAVAS Advertising which is a French advertising company based in Paris, London and New York. HAVAS is the parent of Euro RSCG and MVBMS.
I was an expert in thriving in the time of very high telecommunication budgets, and overpaying for music and over paying for talent in general. Talent being on camera talent or music talent. When I worked in advertising, I was the head of the Philips Electronic global brand. The big learning project for me during that time was the negotiation and acquisition (in 1998) of the (branding) rights to the (Paul McCartney and John Lennon) Beatles song “Getting Better.” It was a very interesting time where advertising budgets were not what they are today. And having this kind of a global sort of resonating the mnemonic was extraordinarily valuable. That was a landmark (music licensing) transaction.
[Phillips’ 1998 marketing campaign, an evolution of the company's three-year old "Let's Make Things Better" branding effort, used extensive television, print, and online media. The TV spots included a cover version of Lennon/McCartney’s "Getting Better,” re-recorded by Gomez. The song's refrain, "It's getting better all the time," was heard at the conclusion of the spots as a musical tag followed by a visual of the Philips brand promise "Let's Make Things Better," and the Philips logo.]
In another role while also at HAVAS, I was running one of the divisions of MCI Telecommunications. For a period, it was the Friends & Family (division). And then, I focused on what was referred to as unbranded products. These included dial-around products (10-10 prefix dial arounds, collect calling products, directory assistance, etc.)
This was in the heyday of telecommunication competition. And we’d have celebrities and on camera talent every other week, ranging from Michael Jordan to Whoopi Goldberg to the entire cast of “Saturday Night Live.”
With all that we would also acquire the rights to music. We would do all kinds of work as far as (developing) covers and things like that. So I came into this (business) having experience from the other side, really; the marketing side and how music could be used and be profitable for an agency, and a client.
At the time, the music industry was making it somewhat difficult to acquire music sync rights. There wasn’t any standardization.
No. That has gotten a little bit more streamlined. You have to question why the process has become better. The reason why it has become better is because I think that publishers recognize that every income stream is important. Sync (licensing) should be considered an additional income stream, which I think that is being recognized now. From an artist standpoint, I think that opportunities that would have previously been declined are being accepted more because they are looking at their semi-annual royalty statements. Look at how those are changing.
We are in tougher economic times.
Well, we are in tougher economic times, but we are also in a business that is shifting. It’s a question of how nimble that you want to be in this business. If you are going to call us up to license something, we have to be helpful. If you are seeking to license the original version of something, then we have got to make sure to help facilitate the master side of that license as well as the publishing side of that license. Whether that means that we are giving you a phone or whatever. Facilitating licensing could take different shapes. But I do think that people are playing ball a lot more than they used to.
What were the first publishing assets you picked up?
We bought the John Rich catalog. We bought four catalogs right quickly after another. Big & Rich (John Rich and “Big Kenny” Alphin separately); another writer that they work with, Vicky McGehee, and we purchased the catalog of Bruce Roberts.
He’s a fantastic songwriter who wrote “No More Tears” (featuring Donna Summer), “I Don’t Break Easily,” “The Main Event” and other songs recorded by Barbra Streisand.
Yes, and it’s been a big week because Barbra has been performing so much. That’s been great. There’s also been a big commemoration of (the life of) Donna Summer.
Why were the Big & Rich catalogs the first purchased by Reservoir Media?
That was the deal that we found. We looked at other deals. If you recall, at the time there were people in the market paying 17 and 18 time multiples (for publishing catalogs). We weren’t going to be participating in those kinds of sales, and we had good information on country music. We knew the attorneys that were working on this. It wasn’t so much, “Let’s go down to Nashville, and do a deal.”
On our part, it wasn’t conscious of (working in) country or Nashville. I guess that the benefit of not coming into this business from a music (publishing) background was that we looked at these with a very different perspective. We may at times have asked questions that were intuitive; and, at other times, we may have asked questions that seemed to make sense. I think that we try to keep that kind of fresh outlook on everything that we look at today so that we are always keeping ourselves in check.
Music publishing is traditionally an old boys’ club. As a newbie and being a woman with two kids, were you initially considered a dilettante?
Nobody treated me that way. Maybe, they did and I wasn’t conscious of it. No, I have never encountered that. It’s funny because you do read about this all of the time. That it is a boys’ world. But I have yet to encounter the negative ramifications of that.
The 2010 purchase of TVT Music Enterprises’ publishing catalog was a substantial step toward you becoming a serious player in contemporary music publishing.
TVT was a big step up. It was a turning point. It is a hits driven catalog. There is just one after another hit in that catalog from (50 Cent's) "Candy Shop” to (Ne-Yo's) “Let Me Love You.” It was extremely well-curated catalog. We purchased that from Fortress (Fortress Investment Group) in April, 2010. We did some work on any kind of split disputes that were involved with that catalog which is normal. It has worked out very well for us.
The TVT Music Enterprises catalog had been generating about $1.2 million to $1.5 million net income. Have you been able to grow the catalog’s earnings?
Yeah. All of these assets are sort of decaying cash flows with spikes in certain years. Yes, it’s grown in the sense that we have really capitalized on sync opportunities. There are just a lot of songs in there that are just now 7 to 10 years later that we can definitely declare them in the evergreen category.
With the TVT deal, you didn’t acquire master rights.
No, the master rights were purchased by The Orchard.
[TVT Records filed for Chapter 11 protection in February, 2008 and was subsequently sold to The Orchard in June of that year for a reported $6 million.]
In many cases, there are owners of master rights that you can obviously work with as a publisher.
Absolutely. As well, every time we create a new (recording) or a variation we are creating new masters as well. We like to do that as well. We are very conscious of the need in our business to at least to sustain, if not diversify, the different income streams from which we are earning revenue. But we did purchase master rights with Black Fountain.
The value of holding some older copyrights is diminishing if you are in that middle ground of ‘80s, ‘90s and first part of the millennium. That’s a no man’s land for awhile.
I agree with that. The TVT catalog obviously sits in that category. In the sense that it is in that no-man’s land, but it is some of the best songs from that no-man’s land.
Were there any active songwriters involved with the TVT deal or had their contracts elapsed?
No, we inherited a lot of writer contracts with that. We have a bunch of them that we work with. We try to develop those. We have an A&R capacity in the office and also a consultant who we work with. That attention is across the board given to all of the writers.
With the purchase of UK publisher Reverb Music you now have enough critical mass to be a leader in the independent music publishing sector.
Yes and we like that quite a bit. That was 30,000 copyrights. Overnight, we went from (having) 4,000 to over 30,000.
How did that purchase come about?
I met (Reverb managing director) (Annette Barrett) in London in November of last year. Our relationship began then. Annette’s fantastic. It’s been a special pleasure getting to know her. She’s had such a significant role in building Reverb to where it is today that it wouldn’t have made sense to buy this company and not have her there to nurture what’s there, and grow it.
[Reverb Music was established in 1991 by the late Ian Wright. Following the purchase by Reservoir Media, Reverb managing director, Annette Barrett has remained on board as the head of the London office and European operations.
Since joining Reverb in 2001, Barrett had been instrumental in building a diverse catalogue of hits that includes Bananarama’s “Cruel Summer,” Daniel Bedingfield’s “Gotta Get Thru This,” Apollo 440’s “Stop The Rock,” Jessie J’s “Stand Up,” and Rihanna’s "Man Down," as well as the themes to the X Factor and Got Talent television series.
Previously, Barrett held executive positions at Virgin Music, and Warner Chappell Music UK.]
Annette had also developed an impressive stable of songwriters.
Yes, and there was her relationship with those songwriters as well that was important for us for her to stay involved.
[The Reverb deal covers agreements with more than 100 songwriters including Jamie Hartman, songwriter/producer John Fortis, Peter Gordeno, and Italian songwriter/producer Matteo Saggese.]
Given the size of Reverb’s catalog, was it a difficult negotiation?
It wasn’t any more cumbersome than other negotiations that we have done for things significantly smaller. We did buy the company so that was different. But I would even go so far to say that we have had more cumbersome ones (negotiations) for maybe 150 songs.
Well, the nature of negotiation depends if it’s 150 of the right songs.
Were acquiring the Black Fountain Music (publishing), and Blackground (label) catalogs difficult?
No. Black Fountain is an interesting one. I first met with Barry Hankerson 18 months ago. We closed that transaction this summer. We purchased publishing royalties as well as master rights. That deal got us into the masters’ business a little bit which has always been on the radar. It has also provided us with the opportunity hopefully helping to continue Aaliyah’s legacy which is something that we want to be involved with. To work with Barry and his son Jomo (Hankerson) to get this project off the ground.
There’s already been the release of the Aaliyah “Enough Said” with Drake.
Yes. That came out around the OVO Festival (at Molson Amphitheatre in Toronto on Aug. 5th, 2012).
[In Aug, 2012, the new Aaliyah track, "Enough Said," featuring Drake and produced by Noah "40" Shebib, hit the Internet. Three hours after being posted, the song racked up more than 100,000 clicks. The release, of course, set off speculation about a posthumous Aaliyah album.
Her cousin Jomo Hankerson has reportedly indicated that the label will be using 16 songs and "fragments" to assemble an album of songs from the singer, who died in an airplane crash in 2001.]
When will we know about an Aaliyah album?
That is hard to say and not entirely in my hands but I think that it will be….really; it’s hard for me to say. But it is in the works.
Sources indicate there’s enough material for two albums.
We listened to everything. That was really such a beautiful listening session to listen to her voice. But I think that’s a subjective call. Volume? Sure there’s enough (tracks) for two. What you decide to do with it and how you decide to release it is a creative call.
Posthumous albums can tarnish or embellish an artist’s memory with the public. But you don’t want to forget them either.
No. It’s great that her uncle (Barry) is involved. There wouldn’t be anybody closer in this creatively which for me confirms that the creative product is in good hands.
What are some of the strategic points you are now looking at for the company?
For us, it’s really important that we grow the catalog from the standpoint of having diversity from a genre standpoint while still making investments in evergreens or songs that one day will become evergreens. We are looking probably more avidly at catalogs from the ‘60s or the ‘70s. We probably would take a second look at a rock catalog versus a hip hop catalog today.
You have hip hop well covered.
Well, we have that covered and we have that covered on a futures basis as well. So we work with Nate Hills; we work with 2 Chainz. The contemporary marketplace; it’s not that it’s 100% covered, but at least we have some representation in that area.
The lines are blurring; the root of music publishing was producing and licensing music. You have gone back to the roots of music publishing. Signing both 2 Chainz, as well as singer/songwriter/producer Slakah The Beatchild will generate new song copyrights and masters with their activities.
Exactly. That is something that I was touching on earlier is that we have faith in people like this so that then new opportunities came along--and one was more contemporary and one was a rock opportunity---we were put in a position to pick then we would look at the opportunities that would really help the catalogs’ diversity. Rock is an area that we need to populate, and we fully recognize that.
[Over the past few years, Slakah The Beatchild has produced and collaborated with Drake, Nelly Furtado, Ray Robinson, and Melanie Durant. Slakah’s catalog includes four Slakah and Slakadeliqs albums, as well as a fifth release currently in production.]
Today, the Internet gives publishers greater flexibility, including the ability to control distribution of catalogs. Despite Pandora’s recent publicity campaign, there still seems to be a disparity between what music services are using, and what they are paying for.
That’s something that we are looking at all of the time. It’s not just with Pandora, it’s with anybody who is new and changing the playing field as far as how our product or these copyrights are distributed. We are conscious about that; about tracking it; and about checking the tracking.
Now there’s only so much that you can do as far as checking the tracking goes.
We were the first independent to do a direct deal with YouTube. The rest of the independent deals go through the Harry Fox Agency. It is about taking measures like that in order to make sure that as there are new royalty streams coming in that we are first of all actually getting paid; and second of all getting paid properly.
Another thing that we do is employ the services of a product called TuneSat which basically takes a footprint of our songs and scours. It doesn’t scour new media, new distribution vehicles, but it does scour television around the world, 24/7.
You have to take these measures. We are constantly looking at how to control what is happening and check that against what is owed to us because Soundscan is not going to do it for you anymore in any of these areas.
[Pandora recently unveiled an aggressive publicity campaign by revealing the amounts of royalties some artists' songs generate on its service. Pandora pays all royalties for the performance of sound recordings to SoundExchange, the organization that collects digital performance royalties on behalf of sound recording owners and performing artists.]
Meanwhile, without a coordinated and seamless licensing environment, Europe remains a highly challenging marketplace for music publishers. A real mess.
It is still a mess absolutely. For foreign work, that is harder to track. TuneSat does track foreign activity but only television. We have to rely a lot on our sub-publishers. We are very selective as far as our sub-publishing goes; who we work with in the different territories. We like to cherry-pick who the strongest people are in each territory, and work with them.
Tell me about your involvement with GoGoNews.
GoGoNews is a personal initiative that was started for my children. It sort of gained momentum and has some ridiculous number of hits on a daily basis now. It’s a passion project which is really for my children. It doesn’t get much attention from me these days.
[In 2006, Khosrowshahi created GoGoNews, an online news source for her twin daughters then four. They had seen a newspaper article with a disturbing photograph of a little girl after an earthquake in Pakistan. The two asked: ‘What happened to her? Why did this happen?’”]
I think GoGoNews could really grow.
I think so too. But it’s not my day job.
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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Amy Cox, Deep South Entertainment 02/09/07
Michael O. Crain, Crain Law Group, LLC 10/09/13
Charlie Cran, The Strawberry Music Festival 04/05/10
Jim Cressman, Invictus Entertainment Group 06/06/12
Russ Crupnick, MusicWatch, Inc. 07/23/15
Todd Culberhouse, Vision Management /Vision Records and Entertainment 09/05/08
Tony D'Amelio, Washington Speakers Bureau 04/21/06
Ruth Daniel, In Place of War 08/09/17
Ray Danniels, Standing Room Only Management, and the Anthem Entertainment Group 03/05/15
Ken Dashow, WAXQ-FM (l04.3 FM) - New York 09/08/06
Hal David, Lyricist 07/26/11
David Davidian, Independant Lighting Designer/Director 06/18/04
Anthony Davis, D&L Entertainment Services, Inc. 03/02/01
Chip Davis, American Gramaphone/Mannheim Steamroller 05/31/02
Mitch Davis, Tempest Entertainment 07/16/04
Jeff Dawson, Canadian Recording Services 06/08/08
Desiree Day, USO Celebrity Entertainment 08/10/01
Shauna de Cartier, Six Shooter Records/Six Shooter Management 10/23/13
Gene DeAnna, The Library of Congress 02/21/12
Vincent Degiorgio, Chapter 2 Productions 08/01/13
Tony DeLauro, DeLauro Management 12/23/04
Valerie Denn, Val Denn Agency 04/30/01
Val Denn, Val Denn Agency 03/06/14
Robert DePugh, Alligator Records 07/29/05
Tom Derr, Rock Ridge Music 10/29/04
Paul Dexter, Masterworks Lighting Design and Road Cases 12/10/04
Marty Diamond, Paradigm 01/22/10
Glenn Dicker, Redeye Distribution/Yep Roc Records 07/07/06
Barry Dickins, International Talent Booking Agency 06/06/13
Jim Digby, Event Safety Alliance 09/01/16
Mark Dinerstein, The Knitting Factory 11/17/06
Neill Dixon, Canadian Music Week 03/03/16
Thomas Dolby, Musician, academic, technologist, and author 11/09/16
Jasper Donat, Music Matters 2009/Branded 04/24/09
Jim Donio, National Association of Recording Merchandisers 04/22/11
Marc Dottore, M. Dottore Management 04/11/03
Tim Drake, The Roots Agency 12/12/08
Mike Dreese, Newbury Comics 11/23/11
Charles Driebe, Blind Ambition Management Ltd. 09/22/06
Jeremy Driesen, Ray Bloch Productions 09/07/01
Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of Denver’s Division of Theatres and Arenas 08/23/10
Paolo d’Alessandro, International Solutions 06/25/14
Ros Earls, 140dB Management 02/19/14
Art Edelstein, Festival Productions 12/01/02
Bruce Eisenberg, Audio Analysts 08/31/01
Martin Elbourne, The Glastonbury Festival 12/18/09
Michael Elder, Red Entertainment 03/17/06
Tod Elmore, Sixthman 11/24/06
Paul Emery, Clear Channel Entertainment 11/19/04
Arty Erk, Citrin Cooperman 04/27/16
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock ’n’ Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gélinas, Festival d’été de Québec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Chris Gero, Yamaha Entertainment Group 10/26/16
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Steve Gietka, SMG Entertainment 03/19/14
Darren Gilmore, Watchdog Management 03/17/16
Daniel Glass, Glassnote Entertainment Group 10/16/14
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Neil Goldberg, Cirque Productions 04/16/14
Martin Goldschmidt, Cooking Vinyl Group 09/29/16
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, Turntable.fm 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Justin Kalifowitz, Downtown Publishing 04/20/17
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Elliot Lefko, Goldenvoice 09/21/17
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Música e Cultura 05/04/17
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Paul Reed, Association of Independent Festivals (AIF) 06/14/17
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Jack Ross, APA Canada 09/07/17
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, ItsAboutMusic.com 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Peter Shapiro, Ideal Entertainment 04/16/04
Seth Sheck, Access Pass & Design 01/03/03
Seth Sheck, ACCESS Event Solutions 06/22/16
Seth Shomes, The Agency Group 11/12/14
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Michael Simon, The Harry Fox Agency 08/14/13
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Peter Smidt, Eurosonic Noorderslag & manager Buma Cultuur 07/17/13
Garrison Snell, Gyrosity Projects 02/23/17
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
Nikki Solgot, Circle Talent Agency 02/18/15
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Deb Suckling, SUGARRUSH Music 07/27/17
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Mandar Thakur, Times Music 08/06/15
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
Adam Tobey, Concert Ideas 08/24/17
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Marsha Vlasic, Artist Group International 05/31/17
Mat Vlasic, Bravado 06/28/17
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Kirt Webster, Webster PR 02/03/16
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Adam White, Author 09/14/16
Adam Wilkes, AEG Live Asia 10/13/16
Fenton Williams, 04/04/08
Del Williams, Right Arm Entertainment 04/18/08
Bryan "Birdman" Williams, Cash Money Records 09/13/11
Paul Williams, ASCAP 10/19/11
J.P. Williams, Parallel Entertainment 10/03/12
Kurt Willms, Green Room Productions 09/20/03
Chris Wilson, Heartbeat Records 03/02/07
Tony Wilson, Factory Records/In The City 06/01/07
Tom Windish, The Windish Agency 07/26/10
John Wiseman, XL Touring Video 05/05/06
Thom Wolke, Twincloud.com 02/08/02
Michael Wood, City Lights Entertainment 08/08/08
Keith Wortman, Blackbird Presents 03/22/17
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, CultureCatch.com 07/27/07
Jeremiah “Ice” Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
Kevin 'Chief' Zaruk, Chief Music Management 06/10/15
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06
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