Industry Profile: David Renzer
By Larry LeBlanc
This week In The Hot Seat with Larry LeBlanc: David Renzer
Publishing may be the only sector of the music industry not being significantly affected by the current global economic meltdown.
However, with the accelerating slide in recorded music sales, publishers are focusing on other sources of royalty revenue to compensate for the resulting loss in mechanical royalties from CDs.
This largely includes publishers placing greater emphasis on their film and TV music administration business. Meanwhile, they are finally receiving retroactive royalties from U.S. music subscription services; and are beginning to see revenue come in from such newly-developed territories as Southeast Asia, India, the United Arab Emirates and Dubai.
As chairman/CEO, David Renzer oversees the global activities of the Universal Music Publishing Group, which owns or administers over 2 million copyrights and has over 50 offices worldwide.
UMPG represents many of the world's top songwriters and catalogs including: U2, Elton John, Bernie Taupin, 50 Cent, Mariah Carey, R. Kelly, Coldplay, Nelly, Juan Gabriel, Ciara, Dave Grohl, Prince, Justin Timberlake, Maroon 5, Britney Spears, Beastie Boys, the Clash, the Sex Pistols, Gloria and Emilio Estefan, Paul Simon, Henry Mancini, Christina Aguilera and Linkin Park.
UMPG is also the global leader in the Christian and classical music sectors and in production music. It recently acquired the publishing assets of French production music company, Kapagama.
In a move that dramatically strengthens its presence in movie and TV production, UMPG recently signed a deal to be the worldwide administrator for Warner Bros. Entertainment.
The deal includes music in WB Pictures; WB Television (which includes Warner-Olive Music, Warner-Barham Music and Warner Hollywood Music); Lorimor Productions (including Marilor Music, Roliram Music, Goldline Music, Silverline Music and Oakline Music); Castle Rock Entertainment (including Hazen Music, Beverly Drive Music and 335 Maple Drive Music); and New Line Productions (including New Line Tunes, New Line Music and New Line Melodies).
Warner’s publishing catalog contains music from such celebrated film productions as "Batman," "Harry Potter" and "The Lord of the Rings" franchises, as well as such TV programs as "ER," "Two and a Half Men," "Gossip Girl" and "Nip/Tuck.”
The Warner deal is widely viewed as a "game changer" for the film and TV administration sector because UMPG now administers catalogs for two major Hollywood studios.
UMPG has long had strength in the film and TV work via Universal Pictures, and Universal Studio Entertainment.
In recent years, UMPG has greatly expanded its film and TV library. Today, it either administers or has a publishing interest in the music from NBC Universal, Beacon Films, Bravo, Canal Plus, CNBC, Celador, DIC, Focus Features, Fremantle Media, GreeneStreet Films, MSNBC, Pressman Film, Sci-Fi Network, Scholastic Entertainment, Telemundo, Trio, Viz Media, Volta, Working Title, and Mike Young Productions.
This past year UMPG has signed worldwide administration agreements with Eminem, Danny Elfman, Keith Urban, and writer/producer Christopher “Tricky” Stewart that generally cover all commercial opportunities, including synch licensing for motion pictures, TV, advertising and other media.
UMPG recently became the exclusive administrator of the Jimi Hendrix catalog throughout the world outside the United States.
Over the years, UMPG has made similar admin agreements with Miles Davis Properties which holds certain assets of the late Miles Davis; with Paul Simon, except in North America; and with Gloria and Emilio Estefan Jr.
In 2006, when European Union regulators gave Universal Music Group clearance to buy BMG Music Publishing for about $2.09 billion, the deal—completed in 2007—created the world's largest music publishing company.
Renzer was sitting in the audience at the MTV Video Music Awards in New York when he received an E-mail from Europe that said, "Done deal."
The EU warned, however, that it had "serious doubts" about the deal's potential effect on online music. UMG, however, overcame anti-trust objections by shaking off several short-term administration contracts and selling European rights to several catalogs.
Renzer began his publishing career at Zomba Music Publishing in 1985 as a professional manager, moving on to be director, then VP, and finally senior VP/GM running the American arm of Zomba Music Publishing, a division of the Zomba Group, owned by Clive Calder.
Zomba Music Publishing had a staff of 43 in New York, Los Angeles, and Nashville. Under Renzer, its musical scope included R&B, hip-hop, country, alternative rock, reggae/dancehall, Latin, and pop.
On its formidable roster were Mutt Lange, Dinosaur Jr., Juliana Hatfield, Sonic Youth, L7, Babes In Toyland, Anthrax, Def Leppard, the Breeders, and reggae/dancehall acts Super Cat, Patra, and Cobra.
In 1996, Renzer joined MCA Music Publishing. Its copyright holdings went back several decades, partly as a result of a purchase in the early 1960s of catalogs owned by the late publishing legend Lou Levy.
At MCA, Renzer launched a Latin music division. He signed such Latino heavyweights as Rudy Perez. KC Porter, Jorge Luis Piloto, Gustavo Santaolalla, Pablo Manavello, Aterciopelados, King Chango, Los Amigos Invisibles, José Manuel Figueroa, Molotov and Rosana.
MCA also published the works of Alanis Morissette, Glen Ballard, Aqua, No Doubt, All Saints, the Smashing Pumpkins, Sublime, New Edition, and the Chemical Brothers. Additionally, Renzer acquired the All Nations publishing catalog; and extended an administration deal that the estate of the late composer Henry Mancini had with All Nations.
There were also deals for the Interscope Music Publishing, Charlie Daniels, Epitaph, Momentum Music, Forerunner and John Phillips catalogs.
Seagram's $10.6 billion acquisition of PolyGram in 1998 led to the merging of the music publishing operations of PolyGram and MCA under the renamed Universal Music Group.
PolyGram’s holdings of 440,000 copyrights included songs by Bjork, Bon Jovi, Massive Attack, Van Morrison, and U2. As well, it included the ABBA catalog; Dick James Music (with songs by Elton John and Bernie Taupin); and Island Music (with songs by Free, Traffic, and Spencer Davis). It also had a publishing arrangement with Andrew Lloyd Webber's Really Useful Group.
When the smoke cleared from the merger, Renzer was president of Universal Music Publishing Worldwide.
In 2000, UMPG acquired Rondor Music's catalog of 60,000 copyrights that included repertoire by the Beach Boys, Al Green, Otis Redding, Peter Frampton, Isaac Hayes, Supertramp, Leon Russell, Stephen Stills, Rod Temperton, Mark Knopfler, the Doors, and Steven Van Zandt.
You seem very involved with both the creative and the business side of UMPG.
I am a fortunate guy. I figured out early on in my career that publishing is the right place to be in. Publishing is the place where you can be incredibly creative and entrepreneurial. I’m a creative dilettante. I love all kinds of music. As a publisher, you can (work with) all of that.
There isn’t a day that goes by that I don’t pinch myself and say, “You mean we publish these legends?” Or “We publish these amazing songs?” When we put a compilation CD together, it is incredible the songs that we have. And we have an amazing roster.
With Universal Music Group’s purchase of BMG Music Publishing in 2007 for about $2.09 billion, you became the biggest music publisher in the world.
If you look at our company now, we are a truly transformed company with an incredible mix of businesses. We now not only have this amazing pop publishing business but we have the production music library, and classical publishing. We are the #1 company in the production music library business. We just bought a production music company in France, Kapagama. Our classical publishing is very significant as is our Christian music publishing with Brentwood-Benson Music Publishing in Nashville.
(Diversification) has given us a balance. It has made our company less adverse to this downturn from all of these businesses that are reliant on mechanicals.
With our (catalog) comes a responsibility. We have a marketing council that is focused on mining the catalog in new and innovative ways. We do a lot of on-line promotion. We are going to be re-doing our websites, and we are investing in compilation CDs. We are always trying to continue the awareness (of our catalog). We want the music supervisors, the ad agencies, the music users and licensors out there to have our copyrights at the forefront of their minds.
Selling lyrics is a market opening up for publishers
We’ve got our lyrics on premium designer T-shirts. We’ve got deals with many digital providers for lyrics on line. We are starting to get paid for lyrics on line. We are seeing significant money from companies like Hallmark and American Greetings, who are licensing our lyrics for musical greeting cards etc.
What we try to do with our marketing council is to brainstorm anyway we can to generate revenue for our songs and our songwriters.
You have built a formidable executive team with a regional structure that allows you to run a business with 750 employees.
Part of the key of doing this job is having strong staff. This isn’t all about me. I’ve got a strong worldwide CFO (Mike Sammis, Executive VP/Chief Financial Officer). I have a very strong team globally with people like Andrew Jenkins (executive VP of International) in the U.K; Paul Connolly (president of Europe/Managing Director UK) across Europe; Eddie Fernandez (senior VP, Latin America) for Latin.
We have a fantastic team here (in the U.S.) too including Tom Sturges (Executive VP/Head of Creative); and Evan Lamberg (Executive VP Creative, East Coast) in New York.
One way for an artist to break through in the music business today is to sign with a major publisher.
We always hear, “Well, you are just a bank. You don’t really do anything.” That couldn’t be further from the truth. We are investing in artist development deals. We do collaborations (putting writers together with other writers) all of the time within our roster. We have recording studios in our offices. We have a 24-track studio here in L.A. If a writer is lucky enough to come here (UMPG), I think the key thing (for them) is to have a creative champion. (They should) connect with an executive who they feel that they have chemistry with.
Recently, you unveiled royaltywindow.com, an online option for clients to track their royalties on a market-by-market basis.
It took us close to two years to develop, and it was a seven figure investment for us. We felt that by investing in this we would differentiate ourselves from the competition and attract more business which is what we’ve done.
Royaltywindow.com isn’t the only reason you are attracting clients.
Clients can get the best of all worlds here. Some (publishers) don’t have their own staff in every country. We don’t rely on third party companies. We have over 50 offices around the world. We’ve got staff in each territory dealing with the local collection societies. When a manager asks about greatest hits collection that came out in Australia or France we can email our people there. If there’s an issue about collections, we have people there dealing with the local collection societies.
They can now also log onto royaltywindow and also look at what is happening with their copyrights on a global base. If they want to see what their songs are earning by digital, it is there.
[Royaltywindow.com, a web-based portal system, tracks revenue on a market-by-market basis. It was developed in-house by UMPG’s U.K. IT team led by Michael Donnegan, and CFO/executive VP of operations, Mike Sammis.
For global deals, it electronically registers songs with performance societies around the world and provides cue sheets that list all the music in a production with reference to the scene it accompanies.
It allows a user—business manager, songwriter, or film and television production company--to look at royalty data, make sure their copyrights are registered on a global basis, and look into the details of individual synch licenses.]
UMPG’s administration deal with Warner Bros. Entertainment is significant because you now represent two major studios as well as other independent and television companies in different territories around the world.
Warner has been a nice edition because it has turned out not just to be a passive admin deal. Doug Frank (president, Music Operations, Warner Bros. Entertainment) and his team have really welcomed our creative staff. When we have an artist that comes to town—say Daughtry--they want Daughtry to come by their office and talk with Warner’s staff about new film and TV projects that they are working on.
Brian Lambert (senior VP film & television music) who is the point person on the creative side here, sits in the Warner creative meetings every two weeks and goes through every film and TV show. So (the deal) has opened up opportunities and given us an inside track for our roster.
We also continue to work closely with the Universal Film staff trying to maximize the creative opportunities there. We have a strong working relationship there. We renewed our deal to continue administering all of the Universal entities not too long ago.
Film and TV placement have evolved into an important part of the publishing business as recorded music sales continue to slide. You have expanded your film and TV division significantly.
That’s exactly right. Film and TV copyrights and, to a large degree our production music library business, is primarily performance income driven, and synchronization income driven. That is why we have really focused on (film & TV placements) and been aggressive. It is an important area for us. We have the largest department of film and TV executives (in music publishing).
We try to make sure that we have a good amount of people focused on pitching as well as licensing, and income tracking. Part of this company’s history has been administering Universal Films so we have developed an expertise over the years.
So many of our artists, writers and producers might be excited about getting a cover but, boy, if you can get them into a film or television show, they absolutely love that.
The biggest deal of your career was Universal Music Group buyout of BMG Music Publishing for about $2.09 billion. Weren’t you sitting at the MTV Video Awards in 2006 when you got confirmation that the deal had gone through?
That is a true story. I was in New York and I was sitting at the MTV Awards and that’s when I got the news that the deal had closed. It was a year of planning, meeting and negotiating with teams of people involved. You can imagine in a $2 billion deal. Full credit to Zach Horowitz (president and COO, Universal Music Group) and Doug Morris (chairman and CEO of Universal Music Group) and Vivendi for being incredibly supportive. It was a complicated deal.
It was during an environment when such major deals were being opposed in Europe.
Yes. (To close the deal) we had to work closely with the European Commission. We had to agree to certain concessions.
You had to sell off European rights to different things.
We did and it was a little painful. But we had to keep our eye on the big picture which was to close the deal.
UMPG recently became the exclusive administrator of the Jimi Hendrix catalog throughout the world outside the United States.
You have also recently made worldwide administration deals with Eminem, Danny Elfman, Keith Urban, and writer/producer Christopher “Tricky” Stewart.
What is the benefit for artists and estates making such deals like this with you?
Our approach is to be selective. We seek to get involved with talent that is meaningful and that we feel can make a meaningful impact on our bottom line; and that we can really add something to what the talent brings to the table. But having said that, we are signing new and developing acts too. We have a full spectrum of deals from the bigger dollar to developmental deals.
People come to us because we are a global company. They come because they know our administration reputation--our systems, our staff globally, and the strength of our local synchronization staff. We have a great reputation and we seem to continue to attract incredible names, including Paul Simon and Prince.
You now handle the publishing estates of Henry Mancini, Jimi Hendrix, John Phillips (of the Mamas and Papas), and Miles Davis. How closely to you work with their families?
We try to keep the families involved as much as possible. We try to have regular meetings with them. We have developed close relationships and friendships with the children of the composers we handle. It is something I personally enjoy. It is an honor to represent legends. To be involved with Mile Davis is incredible.
It is also a responsibility we take seriously. I’m proud to meet with a family and show them how we landed a commercial on their catalog in France or Germany or England or Australia. That’s part of the service and part of the fun about being a publisher.
There are numerous types of administration deals for an estate to consider.
They are mostly looking for the earnings to be maintained or to grow. That is what we have been able to do over and over again. When we take over a catalog we make sure, first of all, that the global registrations are done properly. We are surprised that some times that even that basic thing hasn’t necessarily been put in place. Some (publishing) companies, we’ve seen, have only bothered to register the top earning copyrights. They may not register the entire catalog.
UMPG has been very aggressive in pursuing opportunities in many of the emerging music markets.
We were recently the first company to announce a sub-publishing deal for the United Arab Emirates and Dubai. We were the first company to get our writers paid mechanicals in India through a Pan Asian deal for digital rights.
India has a statutory mechanical rate but publishers weren’t getting paid.
That is exactly right. They have a statutory rate in law but it wasn’t being enforced. We have closed deals with two majors, Sony and Universal. We are far along in negotiations with EMI.
Digital licensing has been cumbersome in many regions, and certain monies haven't been flowing for mobile, etc. to publishers.
There are still challenges in a variety of territories with China and Russia being two potentially big markets where we are getting some money but piracy remains a huge issue. As much as 90% of the market in China is pirate.
Has the recent introduction of iTunes in China yielded revenue results yet?
The major record companies and the major publishers are still struggling to get legitimate digital revenue out of China. But we do collect revenue (in the Asian market). In Korea, which is a big digital market, we are getting paid but we are struggling to get all of the money out of there that we feel we should be getting.
This year, UMPG partnered with French society SACEM in a joint venture Direct European Administration & Licensing (DEAL) that offers repertoire on a Pan-European basis
The truth is that even in the more established markets like Europe, the digital market is still not what it should be for publishers. That is one of the reasons why we set up a Pan-European licensing option.
There was also pressure from the European Commission to open up licensing in different territories there.
Yes, there’s definably been pressure from the European Commission. So we’ve done a bunch of these Pan-European deals with big digital companies. We are the first company that these digital companies talk to. They know that they can go to a major like Universal and they will get a certain amount of market share. We have Amazon, Nokia, Spotify, Omniphone and many others. But we are still frustrated because the (digital) revenue isn’t what it should be. This continues to be a frustration for us globally.
Even in the U.S.?
Yes, we are getting paid from ITunes but the amount of income that we are getting, and the performing rights societies are getting on the digital side still remains low. It is growing but from a very low base. This is a big concern for our industry too.
Don’t forget that in the U.S. while we do get paid a mechanical from ITunes, we are not getting any performance income from Apple yet. Even though you go on iTunes and can do lots of things other than download a mechanical (track). You can stream radio, and you can preview (tracks), things that we should be getting paid performance income for. Also, if you download a film or TV show, there’s no performance (payment) and typically there’s no mechanical (payment) either.
You went to law school but never practiced law. How did you first get involved with the music business?
I was a musician. I am a keyboard player. My claim to fame is co-writing “Electric Lady” by Con Funk Shun on Mercury Records (that reached #4 on the Billboard R&B chart in 1985). My daughter recently found the track on the Internet and embarrassed me with it.
You were hired at Zomba Music Publishing in 1985 as a professional manager. How did that happen?
Well, the guy who produced that Con Funk Shun record was Larry Smith who produced the first few Run-DMC records (as well as Kurtis Blow and Whodini). Larry was signed to Zomba. That’s how I met Barry Weiss (currently RCA/Jive Label Group's chairman and CEO) and found my way to Zomba Publishing in New York.
It’s nice that the catalog company that I started out with in now part of Universal. We continue to administrate Mutt Lange’s publishing through all these years. In a nice coincidence, Maroon 5 has just gone over to Europe to go into the studio with Mutt. He’s producing their new album.
You became senior VP/GM of Zomba Music Publishing which only had about 10,000 copyrights. Still, it was an impressive catalog.
(Zomba Group owner) Clive Calder was an unusually brilliant executive. He was very entrepreneurial, and terrific at identifying opportunities in the business that not everybody was focused on. He was one of the first guys to be aggressive in the production music library business; and to go after the Christian music publishing business. A lot of what we acquired in the BMG acquisition, some of those significant production music libraries, came from Zomba. The Firestorm library was owned by Zomba. Brentwood-Benson Music, the Christian music publisher, was acquired by Zomba.
Clive was also a great music man. He understood identifying great talent. I could talk to him about why we should do a deal, and he’d understand (the deal) creatively.
What also was fun was his integration of the publishing and the record company. He made sure I sat in on the record company’s A&R meetings so when we were signing the Backstreet Boys I was part of the signing process. Jeff Fenster (then senior VP A&R Zomba/ Jive Records) and I flew together to see them perform at a high school in Cleveland.
That entrepreneurial spirit is something that I’ve tried to bring to Universal. What we do in our marketing council, we try to be entrepreneurial. Let’s be aggressive about licensing our songs into digital greeting cards, and lyric clothing lines.
When you joined MCA Music Publishing in 1996 you launched a Latin music division that certainly was ahead of the curve for any major American music publisher.
When I joined, MCA Music Publishing was a terrific publishing company with about 250,000 copyrights. But we had no Latin music division. So I hired an executive in New York who relocated to Miami, and we established an office there. .
Did you know anything about Latin music?
Actually, yes. At Zomba, with Clive wanting us to look for those niches, I was involved in acquiring a very prestigious Latin catalog--the catalog of Maria Grever (Golden Sands Enterprises). Maria Grever not only wrote many Mexican standards but one of her most famous copyrights was “What A Diff’rence A Day Makes” (A Spanish hit as “Cuando Vuelva a tu Lado” and then a #5 Billboard pop hit for the Dorsey Brothers Orchestra in1934; and #8 Billboard pop hit for Dinah Washington in 1959). So I was involved in that acquisition which started us off in the Latin and Tejano business. We were involved in the early Selena (Selena Quintanilla-Pérez) copyrights.
[Warner Brothers made a film based on the late Mexican-American singer starring Jennifer Lopez in 1997.]
Many years later, as our company grew to have offices throughout Latin America, we’ve added some pretty incredible names, including representing Rudy Perez, (Gloria and Emilio) Estefan’s entire catalog and, recently buying Kike Santander’s catalog. Now, he’s one of our writers.
We started small but now we’ve grown into a real powerhouse in the Latin music publishing area. Eddie Fernandez (Senior VP, Latin America) who runs our office in Miami for the region does a terrific job.
You must be pleased with the current chart breakthrough of Cary Hilson as an artist. She was signed by Ethiopia Habtemariam (senior VP, Creative Affairs/Head of Urban Music) 5 years ago.
Cary is a terrific artist development/publishing development story. A lot of credit goes to Ethiopia for identifying her early on, along with (him) signing Polow Da Don who, with Timbaland, started collaborating with Cary. She started co-writing on a lot of records that they were producing. Eventually, they brought her to Interscope and now she’s got a top 10 single (with "Knock You Down" featuring Kanye West and Ne-Yo). The album ("In a Perfect World") is gold. It’s a great story.
[Hilson's "In a Perfect World" debuted #4 on the Billboard Top 200. Five years ago, Hilson signed a publishing deal with UMPG. Her slim résumé, however, only included being the lead singer of the Elektra group By D'Sign and songwriting credits on projects by Kelly Rowland and Ciara. Atlanta-based songwriter/producer Polow Da Don arranged an introduction between Hilson and Timbaland who signed her to his Interscope-distributed Mosley Music label. Hilson has also had songs recorded by the Pussycat Dolls, Ludacris, and Toni Braxton.]
We are always excited about new talent. Jeremih is a new signing. He just had a #1 with “Birthday Sex.” We signed him and his producer. BC Jean is another songwriter we are excited about. She’s working on her debut album for Clive Davis and Barry Weiss at BMG. We signed her very early on. She co-wrote that incredible song “If I Were A Boy” for Beyonce. She’s got the potential to be the next Pink.
UMPG just completed an exclusive worldwide publishing agreement with Texas-based singer/songwriter, Jason Castro, the third runner-up on the 2008 season of “American Idol.”
Jason is somebody Monti Olson (senior VP of A&R), who signed Daughtry and Tricky Stewart, has really championed. They are now in the studio working on Jason’s debut album for Atlantic Records.
Despite some drawbacks, publishers seem satisfied with the Copyright Royalty Board’s royalty decision even though it gave the status quo on U.S. mechanicals, and there will be no increase for 5 years. But publishers in the U.S. now have one of the highest rates for subscription services globally.
Publishers were generally pretty pleased with the CRB’s decision and the rates. There are a lot of discussions going on now in terms how we resolve certain issues related to the late (payment) fee. That is an area of concern for the records companies. We’re trying to sort that out.
While labels, it could be argued, took the good times for granted, it seems that publishers have had a long history of fighting for nickels and dimes in the marketplace.
Overall, the publishing business has proven its resiliency.
There are new revenue streams for us coming online, even this year. Digital video, for instance. Now that there is a rate after the CRB (decision) for legal subscription services. We never had a rate before. We were never paid for those services. We are going to start seeing those royalties. Our songwriters are going to start seeing those royalties. That’s helping us battle some pretty challenging market conditions.
There will always new digital services launching.
As long as there’s music, there will be songs and songwriters there. So publishers will be there to help protect the songwriter and make sure that they are getting paid what they should. Unfortunately, some people might not like that. But I think that most major music groups, given what is happening in the industry, truly appreciate their publishing companies now.
Not enough for them to offer a waiver on controlled composition clauses (paying mechanical royalties at 75% of the statutory rate). Is it time to rethink the scope of the controlled composition clauses?
I don’t think that we will see controlled composition clauses disappear in the near future. I can’t get too much into because there are negotiations, and discussions going on as we speak related to the CRB decision. But I don’t think controlled composition clauses are going to disappear.
But whether it is a record label, a digital service or whatever, if they are going to use songs, songwriters deserve to be paid. They deserve to be paid in a timely fashion and at a fair rate. That’s all we are really looking for. But, perhaps, the leverage, the bargaining position of publishers and songwriters has shifted in this (current) environment.
Larry LeBlanc 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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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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