Industry Profile: David Alexander

— By Larry LeBlanc (CelebrityAccess)

This week In the Hot Seat with Larry LeBlanc: David Alexander, founder/ owner/managing director, Sheer Publishing.

Despite music publishing in Africa being an ever-expanding business, licensing music to or from the continent has long been overlooked within the global music community.

South Africa’s Sheer Publishing seeks to change that by transporting Africa’s musical treasures to the rest of the world while taking advantage of such key markets on the continent as South Africa, Nigeria, Kenya, and Ghana--which have developed very sophisticated media industries--to exploit its domestic and international catalogs.

Recently DJ Black Coffee beat out urban compatriots Cassper Nyovest and AKA to become the first South African music artist to win a BET Award. The award-winning DJ/producer was crowned Best International Act, Africa category during the international segment of the recent BET Awards in Los Angeles.

DJ Black Coffee's win is arguably the most significant international recognition for a South African musical artist since flautist Wouter Kellerman won a Grammy in 2015. It follows in the international footsteps of fellow countrymen Hugh Masekela, Miriam Makeba, Juluka, Johnny Clegg, the Soweto Gospel Choir, Mahlathini and the Mahotella Queens, Lucky Dube, and Ladysmith Black Mambazo from the past.

As well, the Parlotones, Kongos, Die Antwoord, AKA, Seether, Louise Carver, and Jeremy Loops have more recently made their mark outside South Africa.

Alexander founded Sheer Publishing in 1996 to exploit a gap in the local jazz scene. Today Sheer Publishing’s vast catalog holdings brim full with African and international music.

Sheer Publishing represents such pivotal international music publishers in Africa as Kobalt Music, Mushroom Music, Mute Song. World Circuit, Budde Music, Freibank Music, and Times Music.

Sheer Publishing has had music placements in such films as “District 9,” “Tsotsi,” and “Searching for Sugarman.” As well, Sheer Publishing has placed music on television shows such as “Private Practice,” “Jacob’s Cross,” and “Big Brother Africa,” and in commercials for Castle Light, Vodacom, MTN, Makro, Cadbury’s PS, Wimpy, Engen, and Ackermans.

Alexander holds a Bachelor of Social Science degree from the University of Cape Town, and a post graduate diploma in Business Administration from Thames Valley University.

You recently moved into new offices in Johannesburg.

We bought a building near where we were. It is completely our own space. It is the Share Publishing building. We had always been with record labels and distribution companies.

You oversee a head office in Johannesburg as well as staff in three satellite offices.

We are 15 full-time staff in Johannesburg as well as having part-time agents in Accra, Yaoundé, Cameroon, and Nairobi. My partners are Karabo Motijoane who is the general manager, and Rehana Pillay who is our royalty manager. Karabo has been with me for over 20 years, Rehana joined 14 years ago

How are the publishing activities divided among your staff?

We have a full creative team here. That is two library and two commercial music staff. We have three people in the royalty and accounts department. Everybody else is in copyright administration. Compared with the multinationals that are teams of 4 and 5 people, we are certainly killing them in terms of “touch spots.” I think that’s a big thing for local and international clients. If I have somebody attending to their queries in a very short time—and we do that. We do that with our clients, and we do that with PROs (performing rights organizations), and with the MR (mechanical rights) societies because we have this huge and robust administrative system, then we are able to deliver value.

With the satellite agents, Sheer Publishing has become very active in the Anglophone territories of Africa.

They are three companies, and in one case it’s an individual. They are meeting with clients. We give them the tools, and then they interface one-on-one. If there’s a music conference or a music week or something like that then we will go and speak at those. I will send four people to Kenya Music Week which is called ONGEA that has become bigger than just about Kenya. It’s Kenya plus Uganda, and Tanzania. They are trying to focus on Africa. And then we travel. We travel to Jinja and Kampala in Uganda and to Dar es Salaam in Tanzania. We send people from our (head office) team to assist the agents. In order to spread the good news about copyrights on the African continent, you really have to be changing a mindset from where it is at the moment which is that people have never been remunerated according to the usage of their songs.

Africa still exports very little music, and much of it is in the form of live shows, and not recorded product. It remains difficult for North Americans to find recorded African music.

Yeah, that’s very frustrating for me. And even then when South African acts tour they normally play at a festival, and they come back. There’s no attempt to spread out, and use that long distance ticket to do some small shows on the other side.

The global perception of South African music has long been Ladysmith Black Mambazo discovered internationally by performing on Paul Simon’s 1986 “Graceland” album. But the local music scene includes rock, hip hop, hardcore, funk, ska, folk, blues, afrobeat, afrohouse, kwaito, jazz, and world music. Recently, DJ Black Coffee was the first South African to win a BET Award, and Kongos, Die Antwoord, and AKA have been stirring up global interest.

Correct. You also have Jeremy Loops (born Jeremy Hewitt) selling out North American shows. He just had a North American tour recently. He’s kind of singer/songwriter along the lines of Ed Sheeran and Mumford & Sons.

The 23-year-old hip-hop musician/producer Emtee is also starting to gain an international audience

Emtee is the youngster who is on the rise in rap. For the rappers, we represent Cassper Nyovest. He and AKA are the two big rappers in South Africa. We have rock bands like the Parlotones which have also toured North America. I think that there is a diversity of acts, as you say, that are very much limited to the large shows. Someone like (American producer/trumpet player) Dave Love is passionate about South Africa. He has done everyone from Hugh Masekela to Ladysmith to Oliver Mtukudzi. He worked with Wouter Kellerman on his 2015 Grammy album (“Love Language”). But because we don’t have an export council, there’s nobody coordinating the positive message about South African music internationally.

Drake reportedly filmed his “One Dance” video in Soweto recently.

Artists like Drake and Beyoncé, picking up on that Nigerian sound into their productions, are going to be responsible for exposing a whole continent’s worth of music because off the back of that, you are going to find a lot of Nigerian acts and producers working with international artists. I think that once that Nigerian sound has run its course, other things like the azunda sound from Ghana will surface in the global pop world or, maybe, they will move to an East African sound from Tanzania.

The diversity of fresh undiscovered sound on the African continent is what we are so rich in. It’s like the diamonds and gold under the ground, but you have to dig a little bit and to refine it a little in order to shape it for a global market. But we definitely have all that future to look forward to.

Do many international music industry figures attend the annual Moshito Music Conference in Johannesburg which is now in its 15th year?

A few. I think their focus is now in bringing in some of the festival bookers. They work with the British Council to bring the guys in from the National Theatre, and The Roundhouse. People that book acts. Moshito works with Alliance Francaise to try to bring in some of the African record labels, mainly Francophone-speaking music industry players from Benin, Cape Verde, and the Ivory Coast to learn first-hand from a pretty mature music market about how we do things.

Some of the African attendees include representatives of IOMMA (Indian Ocean Music Market) which takes place on Réunion Island at the beginning of June every year. WOMEX runs a couple of non-European music conferences, The Atlantic Music Expo in Cabo Verde, and Porto Musical in Brazil. There’s been an alliance between Moshito and the Atlantic Music Expo. The chairman of Moshito works with the Atlantic Music Expo on the festival In Cabo Verde.

Last year, you did some workshops with Ngoma Nehoso, the Zimbabwean artist developmental, and promotional company. One of the workshops centered on how Zimbabwean musicians and songwriters have very little information of how music income can be realized.

We were in Harare doing some workshops with them. They brought financial advisers to talk to the artists, and to the licensees. They also brought in somebody from Zimura which is the music right collection society there.

Since you have worked with such Zimbabwean musicians as Oliver Mtukudzi, Thomas Mapfumo, and Victor Kunonga you know that most Zimbabwean songs do not make it into the world market because they are produced in vernacular languages.

Thomas Mapfumo and Oliver Mtukudzi, two very well-known musicians in the world music sphere, are clients of ours from Zimbabwe. Oliver has released albums in the U.S. on the Heads Up/Telarc imprint. He’s prolific. In Zimbabwe, he releases two albums a year. One of the those-- the “Best Of”--will get released in South Africa. For an international (release), they will compile, maybe, two years for a release elsewhere. But he’s prolific. Thomas Mapfumo lives in the United States. So there are Zimbabwean artists that have made it out. Each country (in Africa) has their well-established acts that have broken internationally but understand that when I say broken, it’s not something you can compare with (the aboriginal and non-aboriginal band) Yothu Yindi that broke out of Australia into the (international) pop market in the mid-80s.

Many of these acts fall into world beat category.

Exactly.

Conversely, you also work with the Afro-pop super group, Sauti Sol.

Sauti Sol is from Kenya. They are pretty amazing. A 4-piece like the African version of One Direction, slightly older and with more of a female market. They are an amazing group. They really are.

Are film and TV synchs a growing segment of your business?

Once we built a big administration system a few years back one of the things that we could tell from SAMRO (Southern African Music Rights Organization) was that we were doing very well in radio royalties which was a direct reflection of our mechanical royalties. The big songs were radio hits. But we were really getting nothing out of TV. TV, we learned very quickly, was not about having commercial music. It was about having library.

In 2000, fortuitously for us, Ron Singer, who ran World Wide Music, passed away. We took his assistant, and we took a bunch of their international libraries, Cavendish Music (in the U.K.) was the biggest. We had Cavendish, and finally, we were earning money out of TV distribution.

TV (music), by value, is pretty close to radio. It is about 75% of what radio pays, and it is spread out through only a few TV stations (in South Africa). So library music became very important to us. In 2011 we decided to invest in a local library, and we bought Skumba Music that had 1,500 tracks. We built it to where Skumba Music now has 15,000 tracks, most of them instrumental, background music for TV. We now have the largest South African music library that is all available under the blanket license.

The 2015 TV miniseries adaptation of the 2007 award-winning novel by Canadian writer Lawrence Hill “The Book of Negroes” was...

It was shot here. There are a lot of film companies that come to South Africa to shoot because of the wide diversity of locations, the cheap locations, the experienced crews, and the benefits found in the conversion of their money. Most often they do post-production elsewhere. We have started to build world class film facilities, and now a lot of that post work is staying here, and we are getting an opportunity to contribute to the music on those projects.

Of course, South African composer/sound artist Philip Miller composed the original music score for “The Book of Negroes.”

He’s done a couple of things for E1. Phillip is probably best-known in the art world for the work that he’s done with William Kentridge, probably the most famous living visual or multi-media artist. Phillip was Emmy-nominated for “Mary and Martha,” the Philip Noyce (television) film, and he’s done a couple of big films like HBO’s “The Girl.” He’s working on a film with Michelle Pfeiffer right now.

You represent documentary music composer Brendan Jury who used to be the groundbreaking South African rock band, Urban Creep.

Exactly. He played viola and sang in Urban Creep, and he is a songwriter. He and Chris Letcher (on guitars and vocals) were in that group. Brendan is an amazing composer who has moved very nicely into composition. He does a lot of work for one of the big broadcasters here M-Net (the subscription-funded South Africa television channel), and he does do quite a lot of documentary work.

You recently renewed a contract with Creative Songs, a household name in South Africa with its children’s music and book catalogs.

Yes. Amazing stuff. And here in South Africa that sells very well, physically. They actually sell CDs. They are selling 10,000 CDs every six months. An amazing catalog.

[Creature Songs is the music publishing arm of Beautiful Creatures formed in South Africa in 2004 by Alan Glass, Ed Jordan and Paul Choritz who felt there was a need for “parent-friendly” children’s music. Beautiful Creatures prides itself on being uniquely South African with a positive global message.]

Have you been able to attain film syncs with music supervisors in Los Angeles or elsewhere?

I’ve been to Musexpo in Los Angeles a couple of times. That’s where I learned about the sync panels. At MIDEM, I did the sync panels that Sat Bisla organizes. Some business has come out of that. At this year’s Canadian Music Week I did the Sync Summit, and I met all of the music supervisors in Canada. I think we already have a placement for Jeremy Loops out of that. So we are active about pushing syncs internationally.

You go to MIDEM each year.

Yes, every year. There was a time I went every second year, but since1996 I have been there 15 or 16 times. Most of the 20 years, I have been there.

Other than seeking new business, MIDEM is a pivotal music industry conference at which you can meet all of your international clients.

Perfectly put. Also, it’s a way of learning what is new out there before it comes here. We are a follower market. We are always waiting to see what happens internationally. Then two, three or even five years later, that’s what happens here.

I’m at the cutting edge going to a conference like MIDEM. I can be changing my business soon afterwards. I can be changing my business soon afterward. Conferences are like a deep dive. You can immerse yourself in the music business for five days, and everybody else is doing it. You come back home, and you think, “What did I learn? Let’s take the best of that, and let’s apply it now.” Tomorrow, I will think, “I’ve applied a little bit of that. Let’s adjust again, and move again.”

Moving forward step-by-step.

I have a philosophy called “shock theory” about being adaptive and moving quickly. So I keep moving, and I keep adjusting. I have an idea of where an end point might be, but I’m not 100% sure how to go there. It doesn’t prevent me. I don’t get trapped waiting, and doing nothing. I will make a move. Being agile and nimble...being an independent, and not being beholden to anybody, I can do that. Unlike the multinationals here, we can compete very well because we don’t have to kick everything back up to some executive board, then wait for them to make a decision overseas, and then send it back down through the chain to take action. We make decisions every day, and we are always open to new ideas.

So when Kobalt Music comes with label services we think, “Wow, what an amazing business. It plays into our strength for administration.” Needletime Rights (referring to the remuneration that recording artists and record companies receive when their repertoire is performed in public) has just been brought here in South Africa. It’s a big royalty that is going to be paying out once the broadcasters start to pay, we are going to do that. But also we have a business in label service on the admin side. Not in putting out records but in the administration of neighboring rights, and video performance licensing.

While you represent African-based publishers seeking representation in licensing music in film, TV, commercials, and radio, you also represent such international music publishers as Kobalt Music, Passport Music and Times Music of India.

Yes, all of those. We have developed a robust administrative system. We use Vistex (which provides specialized rights and royalties management software for the music, media and licensing industries). We have Music Maestro (which allows information to be transferred between all users of Counterpoint and label applications). The best decision that we made 14 years ago was to spend an obscene amount of funds--compared to what we were earning in rand--to buy the system, and to carry on investing every year in upgrading, and training. But it has allowed us to compete with the multinationals here because we can inject huge volumes of music copyrights. Today, everything in the music industry, especially on the copyright side, is about big data. We can assuage the files Kobalt has—what is it 300,000 songs--or Times Music. We don’t have all of Times’ catalog because they haven’t put it into a proper format. They probably have a couple thousand Indian titles.

Kobalt Music has an immense music catalog.

Kobalt is a publisher that forces us to be better at our jobs because they have an amazing technology system that backs up their copyright information. They ask very tough questions of us. We, in turn, get to learn, to internalize, and then apply that experience and information when it comes to managing our other clients.

Why wouldn’t Kobalt Music open up in South Africa on its own?

I think it’s purely economics. We have to look at what they collect and what they would keep. They couldn’t afford to pay someone like me to have an office and have someone junior to do the work.

Do you represent Kobalt Music for all of Africa or only South Africa?

Just Sub-Saharan Africa. Because we are direct members of MCSK in Kenya (The Music Copyright Society of Kenya), and COSON (Copyright Society of Nigeria) in Nigeria, the two (copyright collectives) societies on the African continent that are “performing.” When I say “performing” that means that they are actively collecting more money, and they are paying according to usage. The reason that most African societies are failing is that generally they are based on the old PRS model.

PRS African societies collected money from hotels that used foreign music and repatriated that money back to the U.S. The now localized societies can’t pay their overheads with the limited income from hotels. They need to license radio and television. Most struggle to do this at any significant tariff on advertising. The result is overheads are largely a component of income, as much as 50%. Usage data is not received or, if it is received, it is not processed. Members are paid an annual fee for membership, maybe around $100 at Christmas time, and not according to actual usage. They get paid for being a member. This doesn’t encourage new members who are getting played on radio and TV to join which further hampers proper licensing of radio and TV which repeats the cycle So nobody sees the benefit in taking their songs to those territories.

South Africa’s Copyright Amendment Bill was tabled in the South African Parliament in May. A few days earlier there was the historic announcement by the SABC (The South African Broadcasting Corporation) that they will increase local music airplay to 90% on 18 public radio stations, as well as introduce a tariff increase from 3.2% to 4%.. Will we see positive changes in South Africa’s music industry if the copyright amendment bill goes forward in Parliament coming months?

You are talking now about some very scary stuff.

Well, there was a considerable downward spiral in South Africa’s music economy in 2014. A lot of music users today, according to SAMIC (the South African Music Industry Council) are not accredited. Copyright reform is overdue in South Africa. What’s your take?

Good and bad. What is good is that what will come will be the communication to the public for the publishing. We have had communication to the public for masters even though that is tied up in courts because of the broadcasters and the record industry fighting about rates, and when the tariff is applicable. But we have never had a communication to the public for composition. Now that everything is going streaming having that would be great. Unfortunately, there is also the protection of traditional knowledge.

That’s the government indicating that they want to protect works of a traditional nature, and protect the authorship of orphan works.

Exactly. They think that we need to protect local songs that belong to the community instead of allowing them to go into public domain. We should protect them on behalf of the community. So someone like Gallo Publishing has a lot of these old copyrights. Stuff that was done by Miriam Makeba, and the Skylarks or whatever. Here comes the government saying, “Well, hang on a second. You did an arrangement of a traditional work, and you then claimed the publishing on that. We are not agreeing with that. We are not going to protect that on behalf of the community.” Therefore we are going to set up a whole administration system to protect the copyright for them (traditional and orphan works). It’s bizarre. So there’s good and bad elements of the copyright amendments.

[A part of the Johannesburg media conglomerate Avusa, The Gallo Music Group has an unparalleled catalog of indigenous music that includes 85% of all recordings made in South Africa prior to the mid-'80s. This includes recordings by Ladysmith Black Mambazo, Mahlathini and the Mahotella Queens, Miriam Makeba, Hugh Masekela, Letta Mbulu, Juluka, Spokes Mashiyane, Lucky Dube, Yvonne Chaka, Stimela, Sipho "Hotstix" Mabuse and Solomon Linda & his Original Evening Birds, Stimela, the Soul Brothers, West Nkosi, and Amadodana.]

Gallo has a considerable catalog of what is considered traditional African repertoire, particularly Zulu songs.

Exactly. If you talk about the timing now....to make an intervention from now going forward is one thing, but with all of these things going backward, the horse has bolted from that stable. All they are looking to do is to create another system of administration to suck money out of the system from composers. What will happen if songs don’t expire, and don’t go into public domain? it means that you dilute the current revenue pool, and you will continue to dilute that revenue pool. It will always be growing exponentially because you are not letting stuff go into public domain at death plus 50 years.

The arrival of the Seacom undersea cable along the eastern and southern coasts of Africa in 2009 was the turning point in creating a significant generation of digital users in South Africa. Today, Over 60% of Internet traffic generated on the African continent originates from South Africa. The country has had iTunes since November 2012 and there’s also Google Play Music, and Simfy Africa streaming music.

The aggressive roll-out of LTE and fibre-to-the-home cable in South Africa is showing in the latest broadband adoption figures. This week content delivery network provider Akamai published its Q1 2016 State of the Internet report, which shows that 4Mbps broadband adoption in South Africa is now at 42%. Good news for the South African music industry?

Yes. LTE is kind of the equivalent to 4G, and we have had the launch of Apple Music and Google Play. We are certainly seeing good revenue from iTunes from a publishing standpoint. I was very pleasantly surprised to see the revenue that Apple Music is paying for streaming. It’s not quite what they are paying for the downloads. It’s probably about 20% to 25% of that. It will grow very quickly. Downloads in South Africa are maturing and peaking, but downloads on the continent is still growing. iTunes South Africa has operations in Nigeria, and Kenya and that activity is in a growth phase.

Are you encouraged by the SABC implementing 90% local music quota on radio, and the introduction of local content on TV? It is being suggested that this will stir interest from other public service broadcasters on the African continent.

We are already seeing other African countries saying, “Well, you are right. We should be protecting our own indigenous music.” I was part of the local content committee in 1994. I was representing the musicians’ union at the time sitting with the guys with the record industry, and with the broadcasters. We fought for the first local content (music) quota, and we achieved a quota of 20%. We thought that 20% was a reasonable number back then on commercial stations. That increased over the years in between from 20% to 25%, and now this year the regulated local content quota is 30% on commercial stations and 50% on public service stations. The SABC manages mostly public service stations that have generally been playing 60% local music anyway. So these will move from 60% to 90% and although this means more South African music will get played but the financial value of a license is very limited.

Mostly the SABC plays a variety of local music but on low rotation.

I think the great thing about this increase in local content is that we are seeing that. What happened before with the regulation of local content on commercial stations is that the commercial stations were very selective, and added only a very few South African tracks, and played those on high rotation to satisfy the quota. Your discovery process for new artists was very limited. So I think this (increased quota) now allows for greater discovery and diversity. That definitely is a good thing. I am seeing the emails, “Bring us the music that you were pitching us five years ago. That didn’t make it. We are happy to take a listen to it now, and see if it fits the format, we can program it.” So it’s an opportunity for a lot of artists that were limited by what was available previously. In order to keep the quality high, they are programming a diverse selection of artists which is great.

When I was in South Africa four years I was impressed by the depth of music I heard live, and on the radio.

That comes out of an apartheid-style of programming. From a development where you had separate radio stations for each language. So if you said that people need to be with their own tribe or with their own language then you needed to have a station for that. That continued for years. Now it’s not exactly the same blueprint, but it (music density) comes out of that mentality. You do find regional radio stations that do program for the vernacular language in that region only. Like Ukhozi FM (the Zulu cultural service) is the largest public service station. They are based in KwaZulu-Natal (province) and have over one million daily listeners. The most listeners of any station in the country. Much higher than any commercial station. However, the value of the advertising on it isn’t so great which is weird given the number of customers, but the rates aren’t high. On commercial radio advertising rates are very high. Of course, you know how it works with the PRO. As a publisher, you get a percentage based on advertising rate that your music is played on.

The SABC has two main commercial music stations, 5FM and Radio Metro. Their financial worth is more than the 9 public service stations combined. These stations target audiences in the LSM (Living Standard Measure) 6-10 range and therefore the rates for advertisers are much higher than on the public service stations. The PRO collects roughly 3.5% of advertising revenue from radio. The COO of the SABC Hlaudi Motsweneng has decided that these stations should be playing 50% local music after some pushback from advertisers, and listeners on the 90% level. So the increase from 30% to 50% on these two stations will mean significantly more money in the pockets of the local composers.

What led you to connecting with Sheer Music in the early ‘90s? You had been involved with a music trade, The Music Industry in 1991, followed by starting to work in 1992 at Tequila Music which would include Tequila Records, Tequila Publishing, and Tequila Productions which produced music videos.

With Tequila Music, I had a partner Jason Lurie. It was mainly a record label, and the publishing was a small adjacent business to that. He kind of ran A&R. I was living with a girl in Yeoville (in Johannesburg) which was a very multicultural area at the time. She invited Damon Forbes to have a record label name Sheer Sound. They did these amazing jazz and traditional artists. We did that with him, his wife, and my girlfriend. I was talking to Damon about the different things that we did, and I was very interested in his business side. Damon was very careful to spend only what he estimated the sales would achieve; whereas my thoughts in the record business are, “Well, let’s make something amazing and then we will get the customers after that.”

With jazz, you have to carefully budget and estimate how many units can be sold. With such genres as pop and rock, the sky could be the limit for sales.

Exactly. So my thinking was different to what we were doing with the label. Then I said to him, “What are you doing about your publishing?” He said, “Nahhh, I don’t do anything. My clients aren’t represented. Can we do something?” So we started a publishing company together and because we were in separate businesses, we hired a general manager Mark Connor to run the ship at the label (focusing on local dance and house music). Fast forward about three years later. Tequila Music had done record releases for Stimela, and Ratau Mike Makhalemele, an amazing jazz saxophonist (released worldwide by Atlantic Jazz Records). Still, the money wasn’t coming in to pay the bills. Jason and I were looking to do different things. Jason was going into the restaurant business. He bought a chain of restaurants called Moyo. Amazingly-designed African decor restaurants. Kind of developed on his philosophy of build something amazing, and the customers will come.

Sheer Sound initially issued a lot of out of copyright jazz releases

They did some of that but they also did a lot of imports. They did all of the World Circuit Records releases. They imported all of the Putumayo. They did Ryko. So they were involved with importing all of the cool world music including Ali "Farka" Touré, and also the 1997 album with Ry Cooder and Buena Vista Social Club which was a gold disc in South Africa. All on import. Cesária (Cape Verdean singer Cesária Évora) was pressed locally. She did amazingly well. She even came here (in 2001) with WOMAD for a live show. Damon Forbes’ label was only sold in 2014 to Gallo. It continued for a long time.

So Sheer Sound Publishing was the first iteration of the current company?

That was a partnership between Damon and I while I was still involved with Jason in Tequila Music. Sheer Publishing was then a roll-up of the two companies. It had both those partners and Mark Connor. I then bought them all out starting with Jason followed by Mark and, finally, Damon. Both Mark and Damon have their own publishing companies now. Mark has From Source Music, and Damon has Doctor Music, and he is now managing a couple of acts. He has Breakout Management, and he manages Jeremy Loops. He’s very involved in the live scene. He sold the record label and moved into the live music industry.

What was the publishing scene in South Africa in the ‘90s?

Well, we were making most of our money from mechanical royalties from CDs sales. Cassette was still a viable format. If I think back to 1996 cassettes maybe made up 25% or 30% of the market of value, and probably 50% of volume, and mechanical royalties, which were then 6.76% of the wholesale price (PPD) by agreement between the labels and the publishers. That (physical sales) probably accounted for 75% of our income. Back then most of the albums we had publishing on were not radio format friendly or if they were they were jazz stations with very little advertising income. So we received very little public performance income. Hence the skew between mechanicals accounting for such a large percentage of our business.

Back then I didn’t think strategically about publishing. It wasn’t until 1999 and 2000 when I did a two year—I registered for an MBA with Thames Valley University which was a UK-accredited university, but luckily it was offered by a business college, Milpark Business School. The reason I did it through them was that I was lecturing at the Allenby Music School which was part of the same group as the Milpark Business School. So I got a huge discount on fees to attend the MBA course. Their MBA course was an import from Thames Valley University – just with local lecturers. I did two years of part-time study there. Lectures every Wednesday night and Saturday morning

As you undertook your post-graduate work the National Party government was taking the first steps towards dismantling apartheid by lifting the ban on the African National Congress and other banned organization and releasing Nelson Mandela from prison after 27 years of incarceration.

Correct. I registered for the MBA but, although I completed the course work, I never submitted the dissertation. So I received a post graduate diploma in business administration from Thames Valley University instead of the MBA.

You were teaching music business as a lecturer.

I was trying to figure out why I was in a business that was losing money and what was going on. Then I left the country because I wouldn’t serve in the army for conscription. I came back here, and eventually found a wife (Helen) in Durban, and got her to come to Johannesburg with me.

Other than that I have always lived in Johannesburg. I was born and bred, and I did my high school matriculation here. I was at university for four years 1987 to 1991 in Cape Town (receiving a Bachelor of Social Science degree at the University of Cape Town).

You left South Africa to live in the UK where you had family and friends because you were running away from the military police who wanted to arrest you for not turning up for military service.

Completely. I am very proud of all of the activism I was involved with at university in the Anti-Apartheid movement, and then the fact that I wouldn’t serve in the armed forces. While I wasn’t prepared to go to jail, I was fortunate enough that I could afford a ticket, and go overseas. I worked at washing dishes, picking vegetables, and selling timeshares in London in Great Portland Street. Selling weeks at a resort on Minorca. After a few months, my closing rate was so high, they paid for me to move to the island, and sell directly to tourists at the resort. When they dropped conscription, I came back to South Africa.

Your family has an impressive history of involvement with the Anti-Apartheid movement.

My great uncle Julius Baker was involved with one of the big trials almost at the same time as Nelson Mandela was. Another great uncle, Lewis Baker, was banned and restricted to his house. He couldn’t go out or have any visitors.

Julius Baker was a South African activist and member of the Communist Party which was then banned. He went into exile in the 1960s.

He was driven to Swaziland in the middle of the night when they heard his arrest warrant would be issued. He fled into exile in the UK. I met him when he was living in Golders Green (in London). He was the caretaker for the “Black Christ” painting which depicts the ANC leader Albert Luthuli being crucified by Hendrik Verwoerd. He stored the painting in his basement for 30 years before it was eventually returned to South Africa after Nelson Mandela was elected president.

[The 1961 painting, “Black Christ," shows Albert Luthuli, the 1960 Nobel Peace Prize laureate who was president of the then-outlawed African National Congress, flanked by two Roman soldiers who bear the faces of apartheid's architect, former Prime Minister Hendrik F. Verwoerd, and his justice minister, John Vorster. The artist Ronnie Harrison was arrested, and the painting banned in 1962. It was later smuggled overseas, and displayed at St. Paul's Cathedral in London. After it was displayed abroad for several years, it disappeared until its discovery in 1997 in the London basement of Julius Baker. He had forgotten he had the painting until reading a newspaper article about Harrison's search for his lost work. The artist sought the painting in order to bring it back to South Africa after its first democratic elections in 1994 which ousted the white minority government, and put Nelson Mandela in office.]

Lewis was a civil rights lawyer.

Lewis was a lawyer, and he used to represent a lot of black clients, and the government didn’t like that. He was on trial just a little after Mandela’s first trial, and before the second. In 1964, Bram Fischer was tried by the apartheid government which was trying to break the South African Communist Party. One of the people on trial with him was Lewis. He was eventually sentenced to prison, and later home arrest.

[Lewis Baker was a civil rights lawyer and a member of the South African Communist Party. In 1961, a State of Emergency was declared in South Africa, and Lewis went underground for awhile. He was subsequently arrested and tried with 14 men and women in the Bram Fischer trial in 1964 on three counts under the Suppression of Communism Act that they belonged to the illegal SACP. Lewis was sentenced to two and a half years on each of the two counts, two years to run concurrently for a total of three years. In 1970, Lewis and his family went into exile in London where he continued his political activities.]

After Thames Valley University you returned to the music business?

When we are talking about the post-graduate, I was doing that part-time. Evening and Saturday morning lectures. I was still trying to run a business. I had been to MIDEM. I think 1996 was my first MIDEM. At that MIDEM, the seed was planted that I wanted to become a music publisher.

How did that come about?

I went to MIDEM under Tequila Music, selling my records. Until 1999 and 2000 publishing was like 10% of our revenue. What I did learn from my lectures was that the music business--the recording business--was in jeopardy. If I was going to build a business, even a successful business based on the selling of CDs, I had to deal with the fact that customers eventually were not going to be buying them. Already, Napster, and Kazaa and all of those (peer-to-peer file sharing applications) were around. People were starting to send MP3s and to download MP3s. I used the lectures to kind of test market theory. It was based on going to MIDEM for the first time in 1996 and seeing on the top floors of the Palais (Palais des Festivals et des Congrès de Cannes), behind the closed doors with the shag pile carpets and chesterfield couches were the music publishers. But I was downstairs at the bottom of the Palais.

Always a madhouse of activity.

There must have been a thousand booths with everybody playing their own music. Everybody who could get a £20 ticket on easyJet over from London was there with a CD-R with their new track. Here I was a record label from South Africa. We had won South African Music awards. We had (Afro-fusion band) Stimela, a great band with (guitarist/singer) Ray Phiri who had played with Paul Simon (on “Graceland” and “Rhythms of the Saints”). We had their latest album (“Out of the Ashes”) and I couldn’t get a meeting. I had a crisis of confidence. I walked around the Palais, and then I went up beyond where I shouldn’t have, and I found the music publishers. I said, “Who are these guys? Why do they get to be here in the quiet, the serene calm, and the luxury? Why am I downstairs battling it out with all these kids with £20 tickets on easyJet?”

I came back to South Africa, and I made it my mission to find out about (music) publishing. By the time I started studying in 1999 and 2000 there was already a seed planted in the back of my mind that this was a business that I could control the value chain from end to end. So much in the record business is out of your hands. Although you are investing a huge capital amount into an artist, the fact is that unless that artist gets up off their ass and converts that capital investment into sales to customers you are never going to recoup your investment. No contract can force the artist to go out there and do their job.

There’s the saying, “Copyrights don’t talk back.”

I like that. I’m a bit of a control freak. A little bit OCD (obsessive-compulsive disorder). It plays into my strengths which are systems, and administration. In fact, in the record industry, Jason at Tequila was the A&R, and I was on the business side of things. So once we parted ways, I looked at something where I could control the whole value chain from beginning to end. I learned how to collect copyrights, what contracts to sign, and to notify the PROs. We joined the mechanical rights society. There were then two then competing (in South Africa). So money was being slipped. We collected our mechanical royalties straight from the label because there was no intermediary. There was nobody taking a commission for doing that.

When I came into the publishing business in the late ‘90s, the old grey-haired publishers running Sony, Warners, Universal, PolyGram and BMG they didn’t want to share any information with me. They didn’t want to tell me how anything was done. They just said it was very complicated, and that “You need to come to us for administration. We will sort it out for you.” When I found out how simple publishing was I was amazed. Everybody had told me, “It’s very complicated. You can’t do it on your own.”

When I learned how simple it was I said, “If I can communicate how simple it is to prospective clients, they will join me.” There were two things that I did to get clients. One, I cut my rate from the going rate. I took 33 1/3% (of the publishing portion) when the rest of the industry was taking 50%. We were a company that took a third while all of the majors were taking 50%. That was a unique selling point for us.

The second thing that I did was explain what was going on with clients. I held their hands through the process because not only did we have to become a member of the PRO, but each writer had to become a member of the PRO. What you would find with the multinationals at the time was that they would look after their share, and they would send the writers the address (of the PRO), and tell them to sign up for membership.

Often the songwriter wouldn’t follow up.

Even if they did, they weren’t looked after properly. It was about filling out forms and being meticulous with administration. We took the forms and filled them out at our office, and submitted them.

The labels were all then making money then from recorded repertoire and didn’t have to babysit songwriters.

Yes. The record business was thriving. It was very hard for us to compete. When we had to tell writers why to come to Tequila and later Share Publishing when they had never heard of us, it was, “We are going to work hard for you. We are going represent you. We are going to hold your hand through the (licensing) process, and we are going to take less”. That is the philosophy that we still keep today.

You continue to take a third of music publishing?

And sometimes less. So that would be the starting position. For established writers, we will take 25% or even 20%. We are partners in the business. Very much like Kobalt or BMG Rights Management with their writers. We have looked to learn from these guys who are looking to make a difference in the publishing world, and how we can roll it out to our local clients.

What’s the current status of the famed Downtown Studio now that the National Arts Council has taken it over? It’s quite a big complex. It’s the old Gallo Studios.

Exactly. I think that Gallo said “Thank you very much. It was an albatross around our necks.” I don’t think that the Department of Arts and Culture were very strategic about spending all of that money on what is essentially is an aging technology and infrastructure. Artists do use it to record but with the way that technology has gone, people can now record in much smaller rooms with some fancy microphones.

[Downtown Studios was once the jewel in the crown of South African recording industry giant Gallo Records which was eventually bought out by the Times Media group. Downtown Studios went on the open market and was purchased by the National Arts Council. Since the purchase, the 5-storey building has been renovated, recording gear upgraded, and education and heritage initiatives created to shift the project to a community focus.]

With many music genres, certainly electronic music, you don’t need such a high-end studio for production.

Exactly. I don’t think that it was a good investment of public funds to be buying a studio, and I don’t think that the use since justifies what they spent on it. There’s always issues of who is on the board, and how much are they getting paid. “Where is the money is going.” Very much like what you are reading about SAMIC and other music industry organizations here. Because of the small size of our market, people compete very ferociously for the money that is available. That is wrong. I think that we should be building the market. That we should co-operate with our competitors. People don’t get it. They are very much fixed on protecting what is theirs.

Instead of joining together to carve out new markets.

A hundred percent. They should be concerned about growing the pie so that everybody has a slice of the pie.

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.”

Larry is the recipient of the 2013 Walt Grealis Special Achievement Award, recognizing individuals who have made an impact on the Canadian music industry. He is a board member of the Mariposa Folk Festival in Orillia, Ontario, and a consultant to the National Music Centre in Calgary, Alberta.

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Industry Profile Archives:
Mick The DJ, DJ/Enterpeneur 04/30/15
Joanne Abbot Green, CMJ Music Marathon and Film Festival 10/17/08
Lee Abrams, XM Satellite Radio 11/28/03
John Acquaviva, Fund Manager, DJ and Serial Entrepreneur 07/09/15
Jay Boy Adams, Roadhouse Transportation 05/04/07
Jamie Adler, Adler Entertainment Group 05/11/07
Gary Adler, National Association of Ticket Brokers 12/04/13
Rodney Afshari, Freeze Artist Management 03/01/02
JC Ahn, VU Entertainment 04/10/13
Steve Alaimo, Vision Records & Audio Vision Studios 05/26/06
Jaye Albright, Albright & O'Malley Consulting 07/19/10
Randy Alexander, Randex Communications 10/12/07
David Alexander, Sheer Publishing 07/21/16
Eva Alexiou-Reo, FATA Booking Agency 05/14/15
Marcie Allen, Mad Booking 12/14/00
Jeff Allen, Universal Attractions 08/16/02
Marcie Allen, MAC Presents 06/05/09
Marcie Allen Cardwell, MAC Presents 12/21/07
David Allgood, Bama Theatre 01/03/11
Patrick Allocco, AllGood Concerts 10/05/07
Michele Amar, French Embassy 05/26/16
Mike Amato, Rok Tours International 02/02/07
Jeff Apregan, Apregan Entertainment Group/Venue Coalition 09/30/15
Billy Atwell, AMP Studios 12/13/07
Bob Babisch, Milwaukee World Festivals Inc. 04/02/15
Tom Baggot, thebookingagency.com 05/02/03
Stephen Bailey, EPACC & Deleware Center For The Arts 02/06/04
Cary Baker, Conqueroo 05/11/11
Vince Bannon, Getty Images 07/05/11
Phil Barber, Barber & Associates 02/04/01
Camille Barbone, WineDark Records 12/09/05
Erin Barra, Musician/Producer/Educator 07/10/14
Ben Baruch, The Fox Theatre 09/27/08
Ben Baruch, By Larry LeBlanc (CelebrityAccess) 04/05/17
Paul Bassman, Ascend Insurance Brokerage 08/03/16
Adam Bauer, Fleming, Tamulevich & Associates 02/15/02
Ed Bazel, That's Entertainment International 10/05/01
Joachim Becker, ZOHO Music L.L.C. 01/12/07
Howard Becker, Comet Technologies 05/02/11
Mark Bego, Author 06/15/07
Jim Beloff, Flea Market Music 09/20/10
Richard Bengloff, The American Association of Independent Music (A2IM) 09/12/13
Seth Berg, South Bay Music 01/30/09
Aimee Berger, 2 Generations SPA Music Management 09/24/04
David Berger, Future Beat 10/29/14
Barry Bergman, Music Managers Forum 03/14/03
Steve Bernstein, Relix LLC 09/30/05
Mark Berry, Attack Media Group 04/07/07
Scott Billington, Rounder Records 01/17/12
Jeffrey Bischoff, Cinder Block 03/24/06
Sat Bisla, A&R Worldwide/ Musexpo 03/29/10
Nina Blackwood, Sirius Satellite Radio 07/14/06
Adam Block, Legacy Recordings 11/07/13
P.J. Bloom, Neophonic, Inc. 01/24/11
Rishon Blumberg, Brick Wall Management 06/27/03
Justin Bolognino, Learned Evolution, and The Meta Agency 04/25/13
Steve "Chopper" Borges, Total Pro and Borse Techos 03/03/06
Les Borsai, Mediocre Management 01/30/04
Shane Bourbonnais, Live Nation Canada 03/21/08
Jeff Bowen, Sears Centre Arena 03/13/08
Rick Bowen, Mystic Music Experience 07/11/08
John Boyle, Sanctuary Music Group 03/19/04
Jeff & Todd Brabec, Writers/Attorneys 01/03/12
Bill Bragin, Joe's Pub at the Public Theater 08/08/03
Joel Brandes, Avenue Management Group 11/02/08
Joe Brandmeier, Moving Pictures 03/15/02
Scooter Braun, SB Projects 12/13/10
Ron Brice, 3rd & Lindsley Bar & Grill 06/08/16
Billy Brill, Billy Alan Productions 11/11/05
Doug Brown, Talent Buyers Network 09/21/01
James Browne, Sweet Rhythm 11/01/02
Bob Brumley, Brumley Music Company 02/17/16
Tony Brummel, Victory Records 05/17/09
Charlie Brusco, TBA Entertainment Corporation 10/13/01
Del Bryant, BMI 05/18/07
Cortez Bryant, Bryant Management 12/06/10
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
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
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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