Industry Profile: Tony Brummel
By Larry LeBlanc
This week In The Hot Seat with Larry LeBlanc: Tony Brummel
Victory Records founder Tony Brummel is one of the most accomplished American label entrepreneurs of the past 25 years.
Fiercely independent, fiercely passionate about his label and bands and music, and fiercely protective of what he feels his label stands for (“I don't have a record company, I have a lifestyle company”), the 38-year-old Chicagoan has long shown his mastery of the music biz.
If Brummel is meticulous, if he is marvelously disciplined, those qualities have stood him in good stead. What he has achieved with Victory-- America’s leading independent rock label—he’s got from paying attention to fundamentals.
His tenaciousness and passion for the music of his label is shared by a staff of 40--a significant factor in the successes of so many of Victory's acts when coupled with the company’s grassroots’ marketing strategy of touring, street-team promotion, and band-as-brand development.
Brummel may be a master showman but he has also been the discoverer of a sizable number of talented artists.
Victory’s catalog of rock, metal, post hardcore, emo, ska and pop punk has included releases by Hawthorne Heights, 1997, Taking Back Sunday, Atreyu, A Day To Remember, Bury Your Dead, Thursday, Bayside, Aiden, Funeral for a Friend, Streetlight Manifesto, Voodoo Glow Skulls, and many others.
Chicago's hardcore scene developed around north side bars and venues in the early ‘80s with such bands as Naked Raygun, Strike Under, Articles of Faith, the Effigies, and Big Black. Late on, Life Sentence, Lost Cause, and Insult To Injury surfaced locally.
Growing up in Chicago, some of the first concerts Brummel went to see (when he was 12 and 13) were punk and hardcore shows with Youth Brigade, Social Distortion, The Exploited, Cro Mags and Bad Brains.
Later in his teens, meeting bands like Earth Crisis, Strife, Snapcase, and Integrity, Brummel became interested in helping out bands in the punk and hardcore scene.
At 18, studying to be a history teacher, and waiting tables at night, Brummel started Victory Records in August, 1989. After four years of releasing 7-inch records, Victory released its first full-length CD. The same year, Snapcase's debut album, "Lookinglasself” sold 30,000 copies. Brummel then hired his first employee, and got the company’s website up.
By 1997, Victory had a staff of 15; had national distribution with RED Distribution in the U.S.; and was being distributed in Canada, the United Kingdom, Japan, Australia, Belgium, the Netherlands, Luxembourg, Italy and Sweden.
In 2002, Victory sold a 25% minority interest to MCA Records. However, less than 14 months later, Brummel returned MCA's equity purchase funds and dissolved his relationship with the company.
In 2004, Victory got noticed by all of the music industry’s key players when four of its bands--Taking Back Sunday, Atreyu, Bayside, and Silverstein--appeared together on Nielsen SoundScan's Top New Artist chart.
The following year, however, when Brummel learned that Taking Back Sunday's album "Where You Want to Be" had been certified “gold” by the Recording Industry Assn. of America, he fired off an e-mail informing the music industry trade body that the album had been certified without his approval.
"This is another attempt by the RIAA and its major label partners to victimize, abuse and belittle an independent record company," he complained.
The first week of March, 2006, Victory shipped more than 800,000 units of Hawthorne Heights' "If Only You Were Lonely," an unbelievable number for an independent label release. In its opening week, the album scanned 113,000 units, according to Nielsen SoundScan, good enough to land at No. 3 on the Billboard 200.
However, in August, 2006, Hawthorne Heights sued Victory and Brummel to get out of its recording commitment after a falling out. Two years of legal wrangles followed with the band legally unable to record. However, following the death of Hawthorne Heights’ guitarist Casey Calvert, there was a reconciliation between the two parties.
Hawthorne Heights drummer Eron Bucciarelli said, "We now regret having begun the lawsuit we filed in 2006. We should not have listened to those, who, for whatever reasons, were then advising us to pursue this strategy. We are sorry for having put Victory Records and Tony Brummel through this ordeal, and regret any negative publicity that may have resulted. Many false, hurtful and incorrect statements were made, especially on the Internet, none of which were true.”
Victory Records’ headquarters is a 17,000 square foot warehouse in Chicago's West Loop that includes the label; the VSP merchandising division; and Another Victory Publishing which controls the copyrights for many of the label’s artists.
Victory Records has had its share of popular albums. Why do you still feel the underdog?
I would say that the chip on my shoulder has gotten bigger. It hasn’t gotten smaller.
Victory is a label that some love to hate and others love to love.
As much as some of the majors might despise our existence, there are just as many Indies that despise our existence as well.
What’s the reason?
Because we are aggressive. There are artists that want to be with passive people because that makes them feel comfortable. The artists that are on Victory are attracted to Victory because we are aggressive. And that is what they want. I am in this to win. When I die I want people to look at my tombstone and to say, “That was a crazy motherfucker who gave a shit. He liked the music; and he wanted to win.”
What do you make of all the songs written about you?
I don’t know anything about that. I have no idea what you are talking about. At the end of the day, if people aren’t talking about you, you aren’t relevant. Look at all of the bad things people say about Barack Obama, Bill Gates or Warren Buffett.
[Brummel has been snidely referenced in several songs, including: MK Ultra's "Bring Me The Head of Tony Victory"; "Standing In Front of Bulldog Records" and "Tony Victory Knows How to Party" by thrash core band Charles Bronson; Get The Kid With the Sideburns" by 90's hardcore band Reversal Of Man; and "V.R.S." (Victory Records Sucks) by Good Clean Fun.]
Victory has to be considered a mainstream company today.
But we are always doing different things.
Indie labels have always led the way in the music industry.
The music business started with a slew of great Indies in the ’30, 40, ‘and ‘50s. Even into the ‘60s and early ‘70s. These guys were passionate about what they were doing and about the artists they were working with. When the multinationals got involved, (the business) became a different thing.
The majors are in the record industry. We’re in the Victory Industry. People will debate me on that but that is the way I see it. We are doing our own thing via our own methods. I know that we are looked on as insurgents. Other indies look upon us as insurgents because we don’t play the game. We do our own thing.
While you have said that you respect some aspects of the record industry, you have also been critical of its business philosophies, especially when it comes to breaking bands.
I don’t really care about (the record industry). I care about the Victory industry. And the Victory industry is about us marketing and promoting our artists through our proprietarily marketing platforms to create exposure for them.
The records are still going to be in the stores, and they are still going to be available on the Internet to purchase.
Our job is to promote Victory artists via Victory methods. If other people want to jump on our bandwagon, cool. And if they don’t, then we still know that we got our artists in front of potential consumers.
If other people, say MTV, MuchMusic or MusiquePlus (in Canada) want to get on board and embrace one of our artists, that’s fantastic. And we want them to. But if they don’t, we’re not going to let that video collect dust on a shelf. We are going to exploit it as much as we can via our own methods.
I’m not going to criticize majors or other Indies. But I do think that a lot of (indie) labels are doing their artists a disservice because they are dependent on other people doing things for them.
You sub-distribute a handful of other indie labels, including Rise and Standby.
There are labels looking for strong partners. Victory is more than some company acting as a sub-distributor because we are first and foremost a label. So there are a lot of services that we can provide because I have a large staff. These labels can put out great records, and they don’t have to staff up because I already have the staff in place.
We’ve got a good pipe for people to go through. And because we have strength with a lot of our stuff, they can piggyback on that. But that being said, this isn’t the Salvation Army. Nobody is going to put a statue in the park for us. I can only put out X amount of records with my staff.
But how do you increase your business? If you have a pipe, why not make that pipe available to other people for releasing records? And do you know what? If one of those labels has a huge record I’d rather have them have that huge record with me than with somebody else.
Are your distribution deals usually on an international basis?
Every deal is different. But typically the needs are international. If you are a one or two person operation in this day of age, if you don’t have critical mass, people don’t want to talk to you. They don’t have the time. They are trying so hard to sell the things that sell for them already. It’s not like even five years ago when distributors would try to experiment. People don’t have time to do that any more. And its not even the 80/20 rule (revenue split) anymore. It’s the 90/10 rule now and, in some cases, it’s the 95/5 rule.
You have a staff of 40. That’s large.
A lot of indie labels don’t have proper infrastructures. They don’t have proper financial controls. They don’t have proper (inventory) systems. A lot of (their business) is shooting from the hip. You have to have people on the right seats on the bus in order to execute the business plan. God forbid that you have a record that blows up. You are going to be left with your pants down because you don’t have a system and an infrastructure in place.
You killed Victory’s radio department two years ago. Why?
It wasn’t going anywhere. We had 4 or 5 people doing it. So we redeployed those assets into new media and really invested in our own proprietary platforms. With radio, you are trying to play a game but the playlist is controlled by major label content. I’m not going to win at that game.
How important is publicity?
At the end of the day, you never know what is going get somebody to buy a record. But it is extremely important to create awareness and hopefully create legitimate excitement. But it is such a fine line. There are so many artists you will read about in Entertainment Weekly, the Los Angles Times, the New York Times, and New York Post. Then their record comes out, and you never hear about that artist again.
The main thing for us is trying to create legitimate excitement on the street. So we get music to someone who is a tastemaker and he or she tells 15 or 20 of their friends, “Hey, you have to check his out.” I always wanted to be the guy on the block that knew about band X before everybody else did.
Street teams are important?
They are absolutely important. These are people who volunteer their time because they believe so much in the Victory brand.
Was there an industry backlash over your comments on iTunes in 2005?
I don’t think there was a backlash. Virtually everyone from every sector of the music industry reached out to me in support. But publicly nobody supported me. Everybody said (to me) that I had it spot on. That I did the right thing. But when push came to shove, no one had my back.
With the digital market, the music industry is back to being a singles business again. Isn’t the album “the” experience for many people?
I’m the worst person at Victory when it comes to picking a single. I won’t even do it. I don’t sit in the meetings. I don’t participate. I let the staff do it. Because I listen to the album. (The importance of the album) is one reason why we have five people in our new media department.
We spend so much time and energy agonizing over liner notes, packaging, paper. What kind of (paper) stock is the album going to be on? Should we do some kind of special printing or have varnishing? All of this just to make the album something that someone wants to take home.
I’m only 38. When I was 12 or 13 coming home with albums, I would digest everything about the album I had just bought. Where did they record it? When was it done? Who are their friends? Who is on the thanks list? What are the lyrics? You can’t do that when you download (a track) off of a website. It makes (the music) more disposable.
Your family lived in Nassau, Bahamas, from 1977 to 1981. You got to see Bob Marley at the Queen Elizabeth Sports Center December 15, 1979 on his “Survival” tour.
It was a very special thing to see as a kid.
Who takes a kid in fifth grade to a Bob Marley concert?
It wasn’t a matter of taking a kid. The entire island was there. I think that 90-year-old invalids that hadn’t been out of their shacks in 20 years were there. I was 30 feet up in a tree with my friend Albert watching it. The Royal Bahamian police were out there with their pit helmets. Bob came out late with a joint that looked like five Cuban cigars taped together. Nobody did anything. It was Bob Marley.
How did your family end up in Nassau?
My father was in construction. We moved every two to four years whenever a project ended. Chicago was our base because we have a real large family here.
You started Victory in an apartment?
Yeah, it was actually a closet. I lived in a place with a bunch of guys and we had an underground club in the basement. The Victory office was a side closet on the second floor. That is where all of the boxes of vinyl were stacked up and the mailing lists, T-shirts, envelopes.
There were precedents then in the heavy metal field with Roadrunner Records and Metal Blade being founded almost a decade earlier. You knew you weren’t in the mainstream music business from day one.
What we were selling was underground music. If people listen to the first full-length album on Victory (“Firon” by Salt Lake City jazzcore band, Iceburn in 1992) they were an experimental prog-rock band. Sure, they came out of the punk underground hardcore scene but the album almost sounds like something that King Crimson might have done. It’s interesting how any brand can get pigeon-holed. But if people really dig in, they might realize that they don’t know what they are talking about.
“Firon” was your first album?
It was our first CD as well. That was in the blister pak days.
You put out 7-inch records initially?
Yeah. It was basically the same (music) that has evolved into what we are doing now. I’d classify it as underground rock. It was bands that were more melodic punk, more hardcore or more metallic hardcore. What we are doing now is a version of what was happening in 1988 and 1989. It is all fruit that has fallen from the same tree.
Every musical genre has its own roots despite splintering into sub-genres.
There’s always a metamorphosis but the roots are still the same. If you can get to where the roots are, it makes sense that the roots are what they are.
Hardcore, punk and metal fans are quite loyal.
People that are into rock are very loyal. They stick with it.
Victory has stayed a rock label because that’s what I am passionate about and that is what the staff is passionate about. There are other genres that we could probably get involved in and make money, but it wouldn’t be motivating enough for me because I just wouldn’t love it.
For Victory, our whole motto is hard work, effort and grinding it out on records that people tell us are never going to sell. Then a year and a half or two years later the reaction is “Wow, they sold 300,000 copies of a band like that.” You really feel the whole David and Goliath thing going on in our building. Where if it was just about money and hits and finding some commodity that is going to sell for two or three months then it’s just business. And that’s not very exciting to me.
Selling 30,000 of Snapcase’s “Lookinglasself” was a big deal in 1993.
Back then, you had (large) regional distributors, a lot of independent distributors, and thousands of independent record stores. If you were selling 20,000 or 30,000 albums in 1993, people thought you were a millionaire. Little did they know that I was sleeping on the floor. Instead of buying a bed, I bought a desk and was pretty much eating spaghetti every night. But selling 30,000 records, everybody assumes that you are the next Richard Branson.
You didn’t have national distribution at that point either.
We were selling direct to a lot of the indie stores across the country. And we were using a slew of distributors like Caroline, Cargo, and Important on down the line.
Did you get stiffed much by retailers?
No. Because I was always a phone guy. I would always keep a good rapport with the people who cut cheques. I was probably more pro-active than some of the (indie) labels that did get ripped off.
Even before going with RED Distribution for national distribution in the U.S. in 1996, you were making distribution deals for the world.
We had various distributors in various foreign territories starting back in 1993 and 1994.
How much of your business today is outside North America?
It fluctuates depending on the quarter. I believe last year it was 19%. That 19% would be higher but in territories like Italy, and Spain that weren’t massive for us in sales but were considerable, sales there are now virtually nothing. Germany is still very strong but it is nothing compared to what it used to be (for us).
Why the changes?
Just piracy. In Germany, they are very into CD burning. In Italy and Spain it is straight up piracy. But this is the same thing that everybody is dealing with. It’s not a Victory thing. Everyone has this problem.
From the beginning you sold merchandising, T-shirts, and hats.
Merchandise was a component (of the business) from the beginning. It went with the lifestyle. The first record we put out was from this small band from California, Inner Strength (“Time For Reality” in 1989). If someone ordered that via mail order they’d ask “Do you have a T-shirt?” (If you were a fan) you wanted both. You wanted to be branded with it if you were into the band.
But everybody wanted to be the (fan) pioneer back then. A lot of people still do. They want to be the ones to say, “I was the first one on my block to be into this band. You know it’s true because you saw me wearing that T-shirt six months before you other goof balls were.” It is sort of like a coat-of-arms sort of thing.
The merchandise component has grown considerably for Victory.
We don’t even outsource our merchandising. We have been manufacturing our merchandise since 1997. I got sick of using third parties to print our artists’ merchandise. So I hired guys who worked in screen printing factories and shops, and I bought equipment. Now, we’ve got a 10,000 square foot space with robotic machines and T-shirts being cranked out 16 hours a day.
Multinationals are only now getting into these affiliated revenue fields with 360 deals. Detractors says that many of 360 deals from labels are little more than a cash grab.
If people want to talk about 360s (with majors), I can’t really comment on that. I understand where you are going. But we have been doing (merchandising) from the beginning because it has always been part of the culture and the lifestyle of what the artists needs. It has been about what they can provide, and what we have always done.
Indies have traditionally needed different streams of revenue to survive. The Indies in the ‘40s and ‘50s all owned publishing houses.
Of course they did. I started Another Victory in 1998 out of frustration. When some of our early artists started to sell records, the first people that would call, even before royalty statements were even due, were these music publishers. And they weren’t placing anything. In fact, in many cases, they weren’t even sending out promos. All of the placements were coming because people were contacting the label. So I’m thinking, “Why are we paying these people mechanicals? Why are they getting a cut on sync when we are the ones doing all of the work?” I really started the publishing company out of attrition. I didn’t know anything about publishing.
But publishing wasn’t yours to just take. It belongs to the songwriter with the band.
But the artists were frustrated because they weren’t getting over-the-top advances and they knew that we were doing the work. So my pitch was, “I’m going to give you an advance, and you are going to get the value.”
There are some great publishing companies out there but, for our size and for what we do, we are constantly making and creating special things to try to get the artists noticed, and in front of people who’d normally would not care (about these types of acts). We do all kinds of special packaging, so many different things, for the music supervisors. Some (music supervisors) just want the Beyonce song and that is it.
Have you been successful with placements?
We’ve been successful because we are a one-stop shop. We can sign off on master use and sync immediately which makes these peoples’ lives easier. So we get a lot of people calling at the 11th hour. The bigger publishers don’t get back to these people that quickly. Because of that, we get a lot of extra business. Thankfully, that’s more exposure for the artist. The more exposure, and if it is the right exposure, it hopefully helps record sales. So sometimes we have an incentive to not bully these people for money because being the record company as well, we can also see the benefit. If it is the right thing, we will give (a song) for a cheaper rate because it might propagate record sales.
Does your label make recording deals conditional on attaining merchandising and publishing?
Yeah, because it wouldn’t be fair to the other artists that are down with the Victory program. It’s “This is what we do.” It is no secret. That being said, we have never been in a bidding war (for a band). The artists that are on Victory are on Victory because we want them and they want us.
You make a union with someone because you are smart enough that you’ve done research on them, and they are smart enough to have done research on you. Based on those two cognitive smart decisions, you decide to be together. If it just about money or who is going to offer the biggest advance than that is never going to work out.
Earth Crisis' "Gomorrah's Season Ends” became the label's first album to crack the Billboard Top Heatseekers chart in 1996.
Earth Crisis was a pivotal band in the foundation of Victory. The first Earth Crisis 7-inch and CD-single (“Firestorm”) was Victory #12. Snapcase’s “Lookinglasself” was Victory #13. Those guys were with me from the very beginning. I am still in contact with those guys.
Why did you feel the need to take Hate Breed to Universal in 2001?
I didn’t. They felt that they needed to go to a major. What can you do when an artist and their manager is doing everything they can to leave you because someone wants a bigger cheque? To this day the record that Victory put out (“Satisfaction Is The Death Of Desire”) is the most popular Hate Breed album. We also got paid a lot of money (to license the band).
In 2002, you did a deal with MCA for 25% of Victory. But the deal was rescinded the following year. What happened?
It wasn’t meant to be. I saw MCA as a company that was pretty anemic in rock. I had people asking me why not do a deal with Island or Columbia. I figured that “MCA is the most anemic in the genre. That’s where I can have the most value.” The spirit of the deal said X but, when push came to shove, when it was time to sign the final agreement, it said something else. So that didn’t work for me. We never released anything.
Did you do the deal for a cash infusion?
No. I felt that it was something that would make sense for us. And it was only a minority interest share of 25%. I figured we would have access to their marketing and promotion and some of the bigger things that we couldn’t do or weren’t doing. It was a great learning experience. I thank Universal for giving me that opportunity so I can never do it again.
[Victory, however, signed a deal for distribution in Canada with Universal Music Canada in 2005. The deal was extended in 2007.]
More people know who Victory is because of Silverstein and Taking Back Sunday hitting the mainstream. Many people didn’t know about the label before those two acts.
I could say that about an act that sells 10,000 units. You could be bringing in people into the fold with any album. A lot of times, I think that with the bigger albums, you just have the lemmings effect.
The label has criticized of late for becoming more pop oriented with such acts as Taking Back Sunday, Student Rick, and Count the Stars.
Which is fine. I wouldn’t take that as a criticism. We might have some artists that are some of the poppier artists that we’ve ever had. We also have some of the most extreme artists that we’ve ever had. Extreme metal bands that are playing grind guitar for the entire album. So it’s a combination.
Your dispute with Hawthorne Heights has been well documented and there’s been a reconciliation that led to the band's third album, “Fragile Future” being released by Victory in 2008. Did guitarist Casey Calvert's death in 2007 bring everybody back to the table?
That was really a wake-up call for those guys. I think that brought them back down to earth a little bit. I think it made them realize that not only did an innocent human being die but that they needed to get a record out and to move ahead with their lives instead of playing this negative game that was a no-win situation for them.
[Hawthorne Heights guitarist Casey Calvert was found dead on the band's tour bus on November 24, 2007. His body was discovered before the band was to do a sound check prior to a show at the 9:30 Club in Washington, D.C.]
Was Casey’s death sobering to you as well?
Yeah. When I first heard about it I started crying. I couldn’t believe it. This was a guy who I had spent a lot of time with, did business with, and had worked intimately with. Regardless of other parties pulling strings, I didn’t blame all of the guys in that band for what they were trying to do (with the lawsuit). It was what it was.
If, as a 100% privately-held independent record company, you sell a lot of records for an artist people are going to come after your shit. That the reality of it. You are damned if you do (sell records), and damned if you don’t.
You started Victory’s web site in 1994; and started doing e-commerce in 1995. Now, you are creating your own TV shows on the internet.
It is fantastic. Everything is produced in-house. We have the green screen room and HD cameras here. We know through I-Tunes that we have more than 400,000 subscribers. And there are other people who can watch it via other means. We’re not going to get our videos played on the big U.S. or international TV networks but they are certainly getting exposure. We’ve created a platform so they do get exposed.
How many unique hits on the various Victory sites?
I don’t know off the top of my head. We have all of our sites cross-pollinated and cross pollinated with the artists websites. Victorstream.com (shows) more activity than Victory Records.com (on tracking statistics) because people are leaving it open on their computer for two and three hours at a time. It’s a free streaming website. We created our own streaming media player. It is almost like a virtual jukebox that somebody can open up on their computer screen. If that person leave it up for five hours, it totally skews the stats.
The Victory websites are destination sites. Probably nobody makes Sony, Warner, EMI or Universal their destination site.
It is like comparing apples and oranges. We’d be crap if we tried to be in 10 different genres. Someone is ignorant if they think they can go to Sony’s website and expect to drill down and get really awesome information on some band that they are into.
For the majors, I don’t think it is fair (to make the comparison) because they aren’t brands anymore. All they are companies that generate billing to keep stock holders happy. They are not lifestyle companies. They are not brands. They lost all of that.
Do you utilize Twitter and MySpace as well?
Of course, my guys are going to utilize the other things that are out there, like Twitter and MySpace. But it is all about to promote our own internal properties which really showcase our artists. How are you going to really make your artists stand out on MySpace? You can use it but you use it to drive people to the artist’s own website or something else that you have created for the artist. So you get people out of the jungle, and onto your own piece of land.
Do fans identify closely with Victory bands?
It freaks me out. We get photos every week of different people from around the planet with Victory Record tattoos. I’ve never seen anyone with an Universal or an EMI tattoo. I don’t think a tattoo is some kind of special vaildator but it freaks you out when you started something out of your closet, and there are human beings getting a trademarked, copyright logo on their bodies because they like what your artists do so much.
How does Victory grow?
We have to keep getting better. We have to stay passionate. We have to continue to have staff that make an extreme effort and who do focus and are willing to sacrifice. There are a lot of people out there with skill. But effort is more important than skill. If you’ve got people that are passionate; if you’ve got an outlet; if you’ve got music that people will potentially like and you push, push, push, you are going to have success. But it is going to be hard work.
Many people think that this is a sexy business. To me, it has always been hard work. It has never been easy.
Larry LeBlanc is widely recognized as one of the leading music industry journalists in the world. Before joining CelebrityAccess in 2008, Larry 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, the London Times and the New York Times.
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Sat Bisla, A&R Worldwide/ Musexpo 03/29/10
Nina Blackwood, Sirius Satellite Radio 07/14/06
Adam Block, Legacy Recordings 11/07/13
P.J. Bloom, Neophonic, Inc. 01/24/11
Rishon Blumberg, Brick Wall Management 06/27/03
Justin Bolognino, Learned Evolution, and The Meta Agency 04/25/13
Steve "Chopper" Borges, Total Pro and Borse Techos 03/03/06
Les Borsai, Mediocre Management 01/30/04
Shane Bourbonnais, Live Nation Canada 03/21/08
Jeff Bowen, Sears Centre Arena 03/13/08
Rick Bowen, Mystic Music Experience 07/11/08
John Boyle, Sanctuary Music Group 03/19/04
Jeff & Todd Brabec, Writers/Attorneys 01/03/12
Bill Bragin, Joe's Pub at the Public Theater 08/08/03
Joel Brandes, Avenue Management Group 11/02/08
Joe Brandmeier, Moving Pictures 03/15/02
Scooter Braun, SB Projects 12/13/10
Ron Brice, 3rd & Lindsley Bar & Grill 06/08/16
Billy Brill, Billy Alan Productions 11/11/05
Doug Brown, Talent Buyers Network 09/21/01
James Browne, Sweet Rhythm 11/01/02
Bob Brumley, Brumley Music Company 02/17/16
Tony Brummel, Victory Records 05/17/09
Charlie Brusco, TBA Entertainment Corporation 10/13/01
Del Bryant, BMI 05/18/07
Cortez Bryant, Bryant Management 12/06/10
Stephen Budd, Stephen Budd Management 07/13/17
Bruce Burch, University of Georgia Music Business Program 10/09/09
Deborah Burda, Kentucky Exposition Center 08/03/07
Patti Burgart, IEBA 06/07/02
Jordan Burger, The New Musiquarium 01/22/01
Ron Burman, Roadrunner Records 08/25/06
Suzanne Cadgene, Elmore 05/19/06
Karen Cadle, KGC Productions 03/12/04
Gary Calamar, KCRW 07/10/09
Charles Caldas, Merlin 07/05/10
Brian Camelio, ArtistShare 02/29/08
David Campbell, AEG Europe 08/02/10
Tom Cantone, Foxwoods Entertainment Group 10/20/00
Tom Cantone, Foxwoods Resort Casino 07/03/03
Tom Cantone, Mohegan Sun 08/30/09
Ashley Capps, A. C. Entertainment 05/21/04
Rio Caraeff, Vevo 07/12/11
Mike Carden, Eagle Rock Entertainment 08/16/11
Charles Carlini, Carlini Group 05/16/08
Mark Carpentieri, M.C. Records 05/27/05
Mark Carpentieri, M.C. Records 01/10/11
Troy Carter, Coalition Media Group 06/07/10
Daniel Catullo, Coming Home Studios 06/22/08
Raffi Cavoukian, Folk Singer/Children's Entertainer 05/11/16
Jeffrey Chabon, Chabon Entertainment Group 08/22/02
Mike Chadwick, Essential Music & Marketing 08/01/12
Rob Challice, Coda Music Agency 03/27/13
Tom Chauncey, Partisan Arts 01/11/02
Tom Chauncey, Partisan Arts 10/04/11
Lisa Cherniak, Artists Against Racism (AAR) 07/20/01
Bob Chiappardi, Concrete Marketing 06/13/03
Joel Chriss, Chriss & Co. 10/04/02
Michael Chugg, Michael Chugg Entertainment 09/14/01
Michael Chugg, Chugg Enterprises 10/02/09
Gary Churgin, Harry Fox Agency 09/13/10
Vinny Cinquemani, S.L. Feldman & Associates 12/13/12
Barry Coburn, Ten Ten Music Group 03/28/11
Matthew Cohen, Green Room Productions 10/19/01
Ted Cohen, TAG Strategic 01/10/13
Lisa Cohen, Associated Booking Corporation 02/10/06
Steve Cohen, Music + Art Management, Inc. 03/09/07
Dan Cohen, Music & Memory 01/12/17
Michael Cohl - Part 1, S2BN Entertainment 03/06/13
Michael Cohl - Part 2, S2BN Entertainment 03/13/13
Bryan Coleman, Union Entertainment Group 02/14/12
Mamie Coleman, Fox Broadcasting 07/05/12
Dennis Condon, Disneyland Resorts 07/13/01
Peter Conlon, Peter Conlon Presents 05/20/05
Tony Conway, Buddy Lee Attractions 10/06/00
Allen Cook, TOURtech 04/16/15
Tomas Cookman, Cookman International 09/05/03
Alex Cooley, Alex Cooley Presents 07/12/10
David Cooper, Foxman.com 10/31/03
Jay Cooper, Greenberg Traurig, LLP 05/23/11
Julie Coulter, Near North Insurance Groups 06/07/01
Amy Cox, Deep South Entertainment 02/09/07
Michael O. Crain, Crain Law Group, LLC 10/09/13
Charlie Cran, The Strawberry Music Festival 04/05/10
Jim Cressman, Invictus Entertainment Group 06/06/12
Russ Crupnick, MusicWatch, Inc. 07/23/15
Todd Culberhouse, Vision Management /Vision Records and Entertainment 09/05/08
Tony D'Amelio, Washington Speakers Bureau 04/21/06
Ruth Daniel, In Place of War 08/09/17
Ray Danniels, Standing Room Only Management, and the Anthem Entertainment Group 03/05/15
Ken Dashow, WAXQ-FM (l04.3 FM) - New York 09/08/06
Hal David, Lyricist 07/26/11
David Davidian, Independant Lighting Designer/Director 06/18/04
Anthony Davis, D&L Entertainment Services, Inc. 03/02/01
Chip Davis, American Gramaphone/Mannheim Steamroller 05/31/02
Mitch Davis, Tempest Entertainment 07/16/04
Jeff Dawson, Canadian Recording Services 06/08/08
Desiree Day, USO Celebrity Entertainment 08/10/01
Shauna de Cartier, Six Shooter Records/Six Shooter Management 10/23/13
Gene DeAnna, The Library of Congress 02/21/12
Vincent Degiorgio, Chapter 2 Productions 08/01/13
Tony DeLauro, DeLauro Management 12/23/04
Valerie Denn, Val Denn Agency 04/30/01
Val Denn, Val Denn Agency 03/06/14
Robert DePugh, Alligator Records 07/29/05
Tom Derr, Rock Ridge Music 10/29/04
Paul Dexter, Masterworks Lighting Design and Road Cases 12/10/04
Marty Diamond, Paradigm 01/22/10
Glenn Dicker, Redeye Distribution/Yep Roc Records 07/07/06
Barry Dickins, International Talent Booking Agency 06/06/13
Jim Digby, Event Safety Alliance 09/01/16
Mark Dinerstein, The Knitting Factory 11/17/06
Neill Dixon, Canadian Music Week 03/03/16
Thomas Dolby, Musician, academic, technologist, and author 11/09/16
Jasper Donat, Music Matters 2009/Branded 04/24/09
Jim Donio, National Association of Recording Merchandisers 04/22/11
Marc Dottore, M. Dottore Management 04/11/03
Tim Drake, The Roots Agency 12/12/08
Mike Dreese, Newbury Comics 11/23/11
Charles Driebe, Blind Ambition Management Ltd. 09/22/06
Jeremy Driesen, Ray Bloch Productions 09/07/01
Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of 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
Andrea Johnson, ICM Partners 11/02/17
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
Jennifer Lyon, MeanRed Productions 01/18/18
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
Jonathan Shank, Red Light Management 12/13/17
Peter Shapiro, Ideal Entertainment 04/16/04
Peter Shapiro, Dayglo Ventures/Brooklyn Bowl 11/15/17
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
Lisa White, Pearl Street Warehouse 10/04/17
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
Jason Zink, Emporium Presents 10/19/17
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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