Industry Profile: Jeremiah “Ice” Younossi

— By Larry LeBlanc

This week in the hot seat with Larry LeBlanc: Jeremiah “Ice” Younossi

Working closely with 50 Cent’s G-Unit Records, Jeremiah “Ice” Younossi’s New York-based A-List Talent Agency coordinates international tours for such American hip hop acts as 50 Cent, Lloyd Banks, Mobb Deep, and others.

In the past six months, Younossi has arranged shows in Chile, Colombia and Venezuela. Over the year, he has also handled bookings for dates in Africa, Dubai, and Southeast Asia.

During the past two years, he has also booked the duo Black Violin on over 300 dates in the U.S., including the 2009 Earth Day concert on the National Mall in Washington, D.C.

Younossi previously worked at Emmel Communications, the booking arm of Violator Management and was involved in the touring of 50 Cent, Busta Rhymes, Missy Elliott and G-Unit.

While growing up in Cambridge, Massachusetts, Younossi attended hip hop shows by A Tribe Called Quest, LL Cool J, Mobb Deep, Nas and the Wu-Tang Clan at local colleges and the Middle East Club in Cambridge’s Central Square.

During his junior year at New York University, Younossi landed an internship at Violator Management operated CEO Chris Lighty and his younger brother Mike. Younossi soon came aboard full-time and his duties included overseeing the touring of its clients Mobb Deep, Clipse, and Busta Rhymes.

In late 2001, Younossi was paired with rising rap star 50 Cent. After releasing his 2002 album “Guess Who's Back?” 50 Cent was discovered by Eminem and signed to Interscope Records. In 2003, 50 Cent released his debut Interscope album, “Get Rich or Die Tryin'” which debuted at #1 on the Billboard 200.

Younossi oversaw 50 cents’ first American club tour, a year-long 100 city plus run that included night clubs, theaters, ballrooms and several arenas.

In 2003, 50 Cent co-founded G-Unit Records (distributed by Universal Music Group's Interscope Records) that signed such acts Young Buck, Lloyd Banks, and Tony Yayo, Olivia andrap veterans Mobb Deep.

While an agent at Emmel Communications, the booking arm of Violator Management, Younossi oversaw a 2005 concert at Dubai Media Center Amphitheatre in the United Arab Emirates by Missy Elliott and Busta Rhymes that attracted around 9,500 fans, ranking it a major success.

The concert was promoted by Done Events, a subsidiary of the UAE's Arab Media Group. It was the first rap double bill the city had hosted.

In 2005, 50 Cent's 2nd Interscope album, “The Massacre” sold 1.14 million copies in the first four days and peaked at #1 on the Billboard 200 for six weeks.

The same year Younossi was encouraged to launch his own independent booking agency in alignment with G-Unit Records.

Specializing in global touring, Younossi has since earned a formidable reputation as a global trailblazer by helming bookings for 50 Cent, G unit Black Violin, and other leading hip hop acts in Latin America, the Caribbean, Africa, the Middle East, Eastern Europe, and Southeast Asia.

In 1995, Younossi began to represent Black Violin--Kev Marcus and Will-B an astonishing rap/classical hybrid act which hardly fits the profile of a stereotypical urban act.

The music industry took notice of Black Violin after they performed with Alicia Keys at the 2004 Billboard Music Awards. Afterward, they opened tours for Lloyd Banks and Lil Wayne and backed Linkin Park's Mike Shinoda on a world tour with his hip-hop side project, Fort Minor.

Black Violin has since toured Europe with the Wu-Tang Clan and Jay-Z; performed alongside hip hop mainstays P. Diddy, Kanye West, Fat Joe, and Akon; and worked with Aerosmith, Tom Petty, Aretha Franklin and the Eagles.

In March, 2009 Black Violin performed a brief residency at the New Victory Theater on Broadway.

The hip hop tradition is unlike the rock music tradition in which artists build their fan base in clubs and support other acts on larger stages. Most hip hop artists hone their craft in the studio, working to hook up with the right producers and appear on popular mix tapes. The live performance element is viewed as, “I’m not going to be doing shows until I’m on the radio.”

His hands-on style of representation, Younossi argues, can often be a better fit for emerging hip hop artists than being with a major agency. As a freestyle agent with management capabilities, he can experiment with various types of venues and promoters in all territories.

You launched A-List Talent Agency in 2006.

At the beginning of 2006, I set up A-List in an alliance with G-Unit Records because G-Unit Records is a growing (label/management) organization with a lot of new energy.

There’s now a significant energy between management, the label and the your booking company.

I look at it this way; from 2001 to 2005, I was working with 50 Cent and his younger acts. That was taking up, I would say, 90% of my time. But I was working on those projects from the management office. So when 50 started a new office and he was looking to bring other people in, I said, “Why don’t you let me just come over to the label and run your booking arm, and we could work closer together? We could have an open dialogue about opportunities.” So I took that on.

What artists there do you represent?

My main projects are 50 Cent and his label roster. It’s a small roster of three or four acts but they are all very successful. There’s Lloyd Banks who has been successful for me over the years, and Mobb Deep, the legendary hip hop duo that has put out 10 albums, all of them “gold.” They are a fantastic act. They are as close to the Grateful Dead that you are going to get in hip hop.

A-List’s first project was supporting Mobb Deep’s album “Blood Money.”

It was my first project. One of the main reason that I had wanted to work at Violator (in Emmel Communications, the booking arm of Violator Management) was to work with this group that is so iconic and has had a major impact on Generation Hip Hop in the 1990s. Mobb Deep, Wu-Tang and those kind of acts were larger than life.

Today, much of your work is focusing on 50 Cent’s international touring career. He is also represented by William Morris Endeavor Entertainment Agency. How do you fit in?

I believe in what a major agency can do, and how they can serve an artist of his nature. I told him I wasn’t going to get in the way of that. But the idea is to fully service him and not to under service him. If I am onboard, I’m able to focus on opportunities that may be overlooked because a major agency’s scope is too broad. Africa, obviously, is not a priority (for them). Nor is the Middle East a priority for a major agency. Maybe in 10 to 15 years, Live Nation will be more involved in some of those markets but, for now, there are not many major agents focusing on those territories. 50 Cent is very popular in those places so I want to put him there. The last two years, I’ve been focused on Latin America

A difficult market?

Latin America is a complicated territory. There are a lot of different markets there. In the past year, we’ve done Chile, Colombia, Venezuela and Peru. Maybe we will do another 5 or 6 countries in the next year or so.

How have you positioned 50 Cent there?

Reggaeton is responsible for introducing 50 Cent to the live market there. We have been packaging 50 Cent with reggaeton acts that are popular there. In exchange, 50 agreed to do features on some of their projects. Reggaeton means one thing in the United States, and it means a total different thing in Latin America. Some of these reggaeton acts can do 20 dates in one country down there..

Is it a challenge finding promoters in Latin America?

Most of them have found us. The challenge is finding a competing promoter. It’s difficult to find out if there is a competing promoter or to find out if (a promoter) has a monopoly in a country on a specific type of show.

In most South American countries, there are rock and roll promoters who have been promoting for over a decade. Finding a hip hop promoter is more difficult. You look at the young (promoters) that are doing electronic shows or pop concerts, and you try to determine if there something there. A lot of the guys we work with have reggaeton and electronic (shows) that speak to a younger generation of youth, to folks in their late teens and ‘20s. That’s the market that we are trying to compete for in Latin America or anywhere else we go.

Have you found the Asian market challenging as well?

Yeah. You can play in Hong Kong but that’s not really a true play in China. We’ll see what happens there. There are so many interesting things happening in China right now with the formation of NBA China (by the National Basketball Assn.) and other forms of Western entertainment coming in. We have seen a few (Western) rock acts go to China. Not many.

I read an article in Billboard about having (Western-based) heavy metal bands in India and I found that interesting. 50 Cent has been to India. He was the first (major) hip hop act to go there.

There are numerous countries that 50 Cent has developed for hip hop.

Yeah, he’s still three or four years ahead of Jay-Z, Eminem or Kanye West. It is just his will to go to these countries. I tell him that he’s a pioneer. That this is the first time a hip hop artist of his status has been to this country. It is an honor and a responsibility. It’s more than a fee. These are his fans.

50 Cent has also toured Europe extensively.

50 Cent went to Europe with Eminem on the Anger Management Tour (in 2003). Eminem was a stadium artist at the time. He was doing 100,000 tickets in Tokyo. He involved 50 (in touring the U.S. and then overseas). He was a big fan of 50’s mix tapes. Going to Tokyo was like going to another planet for 50. He came back a different man. He said, “You don’t understand how many people we performed for in Tokyo.” At that point, he began to see his career as being global. He told me that he no longer looked at his career as playing to just the core audience of folks in the inner city, at these urban nightclubs, but that he now saw his career on a larger scale.

So we broke markets in the Caribbean. We broke markets in Africa. We broke markets in the Middle East. Now we are breaking markets in Latin America. 50 has been everywhere from Caracas, Venezuela to Kosovo. It’s not been about (going to) a great destination to hang out. It been about the fact that his music has had an effect on the world. And he treats every country equally.

50 Cent was the first American rap artist to be in some of these markets.

Absolutely. He’s pioneering those markets. Why? Because he’s flexible with his fees, and he’s willing to lessen his production. 50 loves using pyro and bringing a full set but he’s willing to (tour) on a smaller scale if he has to. I think that’s the intelligence that top artists have to apply when they are looking at touring (globally). It’s not just about the fee. It’s not just about the ticket price or how they view the country, whether it’s a great place to go or not.

50 is willing to tour. He will do isolated dates. He will do small tours and he will travel abroad and see every corner of this planet. I compare 50 to Kanye West, Jay-Z or to Eminem; and he’s the hardest working artist of that pack. 50 Cent is the most popular (hip hop) artist in the first, second and third worlds.

How do you rate Kanye West, Jay-Z and Eminem?

Kanye West has incredible music. Eminem is, perhaps, the most popular. Jay-Z has incredible production. He focuses on everything from A to Z on his show. Jay-Z’s (stature) is similar to a country artist. He is very popular in the United States. He’s unbeatable. He’s done maybe 5 headline tours in the past decade and he’s getting bigger and bigger. Like Kenny Chesney, he does the numbers in the U.S. And with (his 2008 deal with) Live Nation, Jay-Z going to do the numbers everywhere.

So many folks from high school, college, law school, medical school or whatever have grown up and remained Jay-Z fans because he’s grown with them. He’s no different than Bruce Springsteen or any successful solo rock act. Jay-Z has a fantastic future ahead of him.

While an agent at Emmel Communications, you booked a co-headlined Missy Elliot and Busta Rhymes concert in Dubai in 2005. That seems pretty ambitious for an agent still in his early ‘20s.

I started researching Dubai around 2002. I had about three years of research and development and trying to create a dialogue with different promoters. I knew that Mariah Carey, Black Eyed Peas and Sean Paul had been there. I was sure all of them had gotten paid pretty well for an isolated performance in Dubai, but I wanted to do something a little differently. Not just to have a show that was well attended but something that could (provide) media campaign with a big hype.

The idea bringing two of the biggest hip hop artists in the United States to Dubai was exciting to the promoter there. Busta Rhymes and Missy Elliot were both very flexible and easy to work with. Both are managed by the same firm (Monami Entertainment) and both wanted to go there. So I took advantage of the opportunity to do a co-headlined show. I didn’t pioneer that market. I just came into the market with a very specific vision

It was your first trip to Dubai. What was your impression?

You get off the plane and you assume that you are going to see 100% Muslims and local people in wardrobe. That it is going to be a complete cultural shock. What you encounter is a hybrid—a mixture of the Western and the Muslim world. There were shops and restaurants there and there a lot of people from the West.

There are a lot of young people from the West in Dubai for their holidays.

Exactly. You also see a lot of people from Europe, including British and French people. Various Europeans are there on business. They are not just there by themselves but they are there with their families. They have to worry about getting their kids into school and doing family activities. The concert business there serves a community of Westerners in Dubai.

The British, South Africans and Australians each have a significant population in Dubai. You go to a concert in Dubai, you are going to meet folks from those three backgrounds there. You also see a lot of Arabs from different countries that are there, whether it is their primary or secondary residence or they are there for vacation. They are there and they enjoy concerts. As you said, there’s a tremendous amount of young people there in the their late teens and 20s and 30s with disposable incomes having a great time. The club business is thriving in Dubai with top international DJs going out there on a weekly basis.

Have you had other acts in Dubai?

Yes, I have. Black Violin first went to Dubai (in 2007) and played the Desert Rhythm Festival. They were scheduled to play the first night opening for Kanye West. That went really well so they played the second night opening for Joss Stone. Black Violin had a huge impact. The headlines were really strong. We were really impressed with the press we got out of that.

I first saw Black Violin with Alicia Keyes at the 2004 Billboard Awards.

Yeah, Black Violin was on the (Billboard Awards’) TV show. I first saw them at the Apollo Theatre. They won “The Legends of the Apollo” title and were given a nice cash award. After that, they formed a relationship with Alicia Keyes’ management and they performed with her on the Billboard Awards. During that same time, I started meeting with them, and we talked about representation. We formalized a relationship in 2005.

My goal was to first tour them on the college market with all of the different conferences. I made a partnership with Harris Goldberg (president/CEO, Concert Ideas) in Woodstock to develop Black Violin on the college touring market. We really hit that scene hard. They went from doing a few shows that Spring (2005) opening up for Lloyd Banks and few other hip hop artists to the following semester when it t felt like they were a 100 date a year college act.

They then did a world tour with Linkin Park’s Mike Shinoda for his Fort Minor project.

Yes, we took a step back from the (American) colleges. Through the Alicia Keys’ camp, we formed a relationship with Mike Shinoda and Linkin Park, Mike was doing a side project called Fort Minor--something he wanted to do for a long time. We all grew up in Generation Hip Hop and, I think, that Mike wanted to step back a bit and doing something innovative. It was a great project. He won a Grammy for the album (“The Rising Tied” for which Shinoda wrote every song and played nearly every instrument) and he toured internationally in Europe and Asia.

Black Violin was part of that band. They weren’t part of the band individually. They were always mentioned as Black Violin. The same way that you would see a rock band combined with another rock band. There was always that understanding that there were two different brands.

What was the impact of that world tour on Black Violin?

Well, performing in front of large audiences with Mike, gave the guys a lot of practice and exposure on the international scene. It just broadened their horizons. They started seeing the world differently. I don’t think it helped their individual touring career but it gave them a lot of practice, and confidence.

After the Fort Minor tour, we went back to the (American) college touring market, doing a heavy touring schedule. We started to research what was next. Up until that point Black Violin had been a soft ticket act. They weren’t going into venues and selling hard tickets with basic guarantees. So we established this vision to take Black Violin and do something theatrical. We researched the youth and the performing market and did some of the different conferences. Next year, they will do an entire North American theatrical run.

Black Violin is quite a project.

Since 2005, they have probably done over 600 shows (in the U.S. and Europe). The guys have a lot of vision. It is a very innovative music organization to work with. I just really steer their ship. Their audience is so broad because it’s a family show. They have an audience from 6 up to 90. They did a three week run at the New Victory Theatre on Broadway in March (2009). It was the first opportunity to take a musical act, and put them up on Broadway. Never mind a hip hop musical act. We’re watching rock of ages. Rock and roll is starting to hit Broadway in an unique way; and hip hop is hitting Broadway in an unique way as well.

With Black Violin, is it a complicated booking mix?

Well, there’s college touring as well as theatrical, festivals, international festivals, corporate entertainment and private entertainment (shows). I have formed relationships and partnerships with people and companies in all of these different fields. It is interesting to navigate all of these different opportunities and to piece it all together within a single year.

You represent them in all those different areas?

Yeah. I represent them all. Black Violin is a music company, a theatrical company and I represent the company in all of its facets. I look at the group no differently than the folks that started Blue Man Group or Cirque du Soleil looked at their companies early on.

Black Violin must open a lot of doors to different fields.

Yes. They do a lot of music scoring and arranging for television. They did a commercial for Vita (Enhanced) water that aired in the NBA playoffs called “The Great Debate” with Kobe Bryant, and LeBron James, They pulled in Dwight Howard for the finals. Vita licensed Black Violin’s song “Fanfare.” Another song was licensed by “CSI” and another by the children’s show “Angelina Ballerina” on PBS.

You started as an intern at Violator Management when you were at New York University (NYU).

Yes I did. I was a NYU summer intern. Chris (Lighty) and his younger brother Mike took a strong liking to me and (appreciated) my ideas and my work ethic. This was prior to Violator signing 50 Cent. So a few months later when they signed 50 they were shopping record deals, and were trying to figure out how to tour him.

What were you studying at NYU?

I was an undergraduate studying political science. I didn’t graduate. I left early. I sat down with my (student) advisor in the fall semester of 2002. I had about a year left to graduate. I said, “Look, 50 Cent just got a record deal. They have offered me a full-time position. I am booking his first tour. I am about a quarter the way done with the tour. This is a full-time gig. Can I leave school for awhile?” He said, “Take the leave of absence. Go for it.” I’m still on a leave of absence.

You worked 50 Cent’s first big club tour that got the buzz going in America?

I had started working with 50 Cent in 2001. I was then the initial booking agent who routed him in North America. You talk about the 50 Cent story; it’s really something extraordinary. I did his first club tour and then 50 signed with William Morris. We did sort of a partnership by which William Morris books the major tours in United States and Europe and I do non-traditional projects. Very focused and specialized.

I heard about 50 Cent six months before his first Interscope album dropped.

That’s because he released 10 albums of illegal music leading into his deal. It was all illegal music. In New York City before the federal government started cracking down on corner bootleggers, you could buy a 50 Cent mix CD on any corner in New York City, from Canal Street to Harlem and everywhere in between. This was before IPods got really big. People still had CD players.

50 Cent was kind of the pinnacle of that mix tape movement.

Absolutely. The mix tape movement had started in the 1980s with local DJs on the East Coast making their mix tapes off of their turntables and blending music. By the mid ‘90s, it had become mix tapes on CDs, the same concept but it was easier for your car or walkman to skip through a CD. 50 Cent was the finale of that CD mix tape movement.

50 Cent was ahead of his time. And I’m not just talking about hip hop. I am talking about in the music industry. He had a vision. Back in 1998, he was saying that “Music is free. Everybody should have my music. I am the best rapper.” (His philosophy was) not only that music should be free but that making music should be free as well. it’s all about the track and the chorus. So if he liked anyone’s track and chorus he going to write a better version. He made a huge (street) buzz before signing.

You grew up in Cambridge, Massachusetts?

My mother was Boston public school teacher and my father was a pharmacist for Boston City Hospital. Both of them worked for the city. My grandfather was an electrician who built the house I grew up in. Cambridge is the home of Harvard, and MIT as well as Ben Affleck and Matt Damon. They went to the same high school as I did (The Cambridge Rindge and Latin School) as did (NCAA basketball champion) Patrick Ewing.

Did you see rap shows locally growing up?

I saw my early rap shows at either the university campus or the Middle East night club. I was a student of Generation Hip Hop.

There’s dozens of personalities and lifestyles within the hip hop culture.

It is a very large genre. I’ve been going to (music industry) conferences and speaking on panels for almost 9 years now. I like to talk about the effect rock and roll has had on the world and then compare that to the effect hip hop has had on the world culturally and on my generation.

You know who the historians and archivists of hip hop really are? The producers. They go to record shops all over the world and buy these records and listen to every single detail from beginning to the end. These hip hop producers are innovators. They take the old and the new and they fuse it together. This all started before the Internet and before digital. It was really hands on, the process. The producers are so talented, and they rarely get recognized.

Unlike rock acts, hip hop acts practically jump from the studio to big stages without grinding it out on a club circuit for years.

You are one thousand percent right. These acts spend all of their time in the studio, buying clothes, having fun, making music. They get a record deal. They get on a big single or make a lot of buzz in the mix tape scene and they build a brand for themselves. A hip hop artist will build a brand for themselves without having performed one live show. That happens.

The median for authentic hip hop was always mix tapes. Then the next thing was to get record deal and make it big with radio and television. MTV and BET have played such an important role in the hip hop economy.

Well, doing a hip hop tour in the U.S. was quite challenging even five years ago.

Absolutely. Every style or genre of music has its own set of problems and challenges. There are certain challenges with hip hop. There are challenges touring in the United States, and there are challenges in touring abroad.

Is it easier today touring in the U.S.?

I would like to see is more hip hop tours make the Top 15 (tour list). Last year, Kanye West and Jay-Z made the Top 15. I think it’s about packaging and managers working together.

How do you tour a New York-based rapper?

I’m sure the big agents find ways to package and route a national tour, but, as a hip hop fan first and foremost, my option has always been that a tour is going to be in the North East (U.S.) then Canada and then California and then some of the Midwest.

When I look at a classic New York rapper and how to tour them, I will say that this artist is very relevant from (Washington) DC up to Boston in the major markets. There’s also a handful of secondary and tertiary markets you can play them in the northeast region. Then you go into Canada where you are doubling your market if you do it the right way. So if there are 20 possible plays from DC up to Boston for a classic East Coast artist, you will have just as many plays up in Canada. Any hip hop artist who wants longevity needs to have the Canadian touring market as part of their agenda. I think a lot of artists have made mistakes with (not doing) that. The fans up there are amazing.

It’s tough to build a national concert audience without first building an audience in clubs.

Yep. Hip hop is a studio-driven tradition. It is almost like you are born into it. I don’t know about this generation but in generations past where you came from, the part of New York or the part of the United States, the neighborhood, was key.

Hip hop is not like “American Idol.” It’s not that kind of process where the most talented rapper can go on a television show and freestyle and whoever wins is the next big rap star. it doesn’t work that way.

There are communities and neighborhoods in New York City and other part of this country that breed talented artists. The tradition is the way that they speak. It’s their slang. It’s not just the studio.

For instance, there’s Queensbridge House in Queens. A dozen hip hop artists have come out of this one community. You almost wonder “What’s in the water?” They are all are so good. There’s a tradition there. It’s a tradition of rapping and going into the studio and collaborating and doing all of the different lifestyle things that they do together and talk about in the music. It is not just making music. It’s really their way of life.

And the way of life in Queensbridge is slightly different than of life in Southside Queens where 50 is from and slightly different from the life in the Bronx and Brooklyn.

[Queensbridge House, the largest public housing development in North America, has been a hotbed of hip hop musical talent for decades. Among the artists associated with “The Bridge” are: Nas, Prodigy and Havoc of Mobb Deep, Cormega, Tragedy Khadafi, Nature, Screwball, Capone-N-Noreaga and Big Noyd. Producer Marley Marl’s Juice Crew collective in the 1980s featured Queensbridge rappers MC Shan, Roxanne Shanté, and Craig G.]

Successful hip hop artists end up living into two worlds, selling millions of records but they still have to be from the streets.

That’s true for every music artist. Every artist has to maintain their authenticity. From where they come from, they don’t want to sell out. People meet 50 Cent and they think he’s nice. What do you think he’d be like? Do you think he’d be this successful without polishing himself? He’s articulate. That’s the way he’s been his entire life. He has a good business sense. His positive attributes are obvious and authentic. That is a big factor (in his success).

50 Cent is going strong after nearly a decade. Jay-Z broke over 15 years ago.

50 Cent is an example of the American dream. Even 15 years into his career, Jay-Z is bigger than ever. (Traditionally, with) 15 years in hip hop, it is like you are over. You may as well as retire. In rock, it’s like you are passing the first lap. You’ve got three or more decades to go if you are the greatest in that (rock) genre.

It will be exciting watching Jay-Z further develop, and it will be exciting watching 50 Cent’s development internationally.

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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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, 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, 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, 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, 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, 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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