|David and Joan Baez
Industry Profile: David Allgood
By Larry LeBlanc (CelebrityAccess MediaWire)
This week In the Hot Seat with Larry LeBlanc: David Allgood, manager, Bama Theatre, Tuscaloosa, Alabama.
David Allgood lauds the 1,094-seat proscenium Bama Theatre—which he has managed since 2003—as having “a beautiful atmospheric auditorium, perfect sight lines, and great acoustics.”
One of the premier performing arts venues in the American South, The Bama has over 300 nights of concerts, movies, dance, poetry competitions, and live theatre events annually.
Located in downtown Tuscaloosa, Alabama, and operated by the Arts and Humanities Council of Tuscaloosa County, The Bama was built between 1937 and 1938 under the New Deal era Public Works Administration. It was designed by Birmingham architect D.O. Whilldin who designed other historic buildings in Tuscaloosa’s downtown.
The building is a mixture of Art Moderne, and the atmospheric style of theatre architecture popular in America throughout the 1920s and 1930s. The interior is a reproduction of the courtyard of the Davanzati Palace in Florence, Italy.
The Bama opened on Apr. 12, 1938, and was the only air-conditioned building in the city. The theatre was renovated as a performing arts center in 1976.
Since 2009, The Bama has hosted the Bama Art House movie series, which screens foreign and independent films. It also hosts several film festivals throughout the year.
The Bama is also the residence of the Tuscaloosa Children's Theatre Company and the Tuscaloosa Community Dancers.
Among the leading musical acts which have played The Bama since Allgood arrived have been: Joan Baez, Chris Hillman & Herb Pedersen, Bela Fleck and the Africa Project, Ryan Adams and The Cardinals, the Avett Brothers, Aimee Mann, Drive-By Truckers, Richie Havens, Claire Lynch, Needtobreathe, Doyle Lawson & Quicksilver, Ruthie Foster, Chuck Leavell, Tony Rice, and Peter Rowan.
Music bookings for The Bama in 2011 so far include: Old Crow Medicine Show, the Fab Four, Tinsley Ellis, and Yonder Mountain String Band.
Alabama is such a great music state.
Hank Williams Sr. was from Alabama. Emmylou Harris is from Birmingham. (Sun Record founder) Sam Phillips is a native of Florence. Faith Hill and Drive-By Truckers are from Alabama. There’s a ton of other (musical figures) from here.
I was just reading Keith Richards’ biography (“Life,” published by Little, Brown & Company.) Its 547 pages. It’s like reading a giant People magazine, but he devotes a section on the Rolling Stones’ experiences recording at the Muscles Shoals Sound Studios, and how much they enjoyed it. They could just walk around (Sheffield) because it’s not like being in New York, where they would be recognized on the street.
[In early December 1969, the Rolling Stones recorded three songs at Muscle Shoals Sound Studios in Sheffield, Alabama: "Brown Sugar," "Wild Horses," and "You Gotta Move," before performing at their infamous concert at Altamont, California.]
Chuck Leavell, who has played keyboards with the Rolling Stones for years, is a T-Town native.
A friend of mine brought Chuck back here at the Bama last year. It was almost like a reunion show. Everybody who went to Tuscaloosa High School was here to see Chuck. Actually, his name when he was here was pronounced “Level” but he’s been Chuck Leavell for years. Somebody joked that he got fancy when he left town.
[Chuck Leavell joined the Allman Brothers in 1972 following the death of guitarist Duane Allman. After the Allman Brothers Band disbanded in 1976, Leavell, formed Sea Level. After Sea Level disbanded, Leavell worked as a studio musician before joining the Rolling Stones for their 1982 European Tour. Leavell has also worked with George Harrison, Eric Clapton, Gov't Mule, Train, The Black Crowes, and Montgomery Gentry.
In 2008, Leavell was awarded a BAMA Award (Birmingham Area Music Award) for his contributions to the Birmingham, Alabama musical heritage.]
At 59, you have remained a big music fan.
Oh yeah. That’s why I am here. I know that it sounds corny, but I just get a thrill when we have a show. Like two years ago (2008), we had our 70th Anniversary show. We brought in Joan Baez; it was a sell-out. She hadn’t been in Tuscaloosa in 40 years; she was here during the Civil Rights days. She played the first integrated show in Alabama at Stillman College, which is the traditional Afro-American college on the other side of town. She had never played the Bama Theater; and she had not been in Tuscaloosa in four decades. So, having her here was an emotional time for everybody.
[Tuscaloosa was a different place when Joan Baez last performed there in 1964 at the age of 23. Performing in the racially divided Deep South during the early 1960s was unquestionably bold, if not dangerous.
Tuscaloosa was then a city where Afro-Americans and whites did not share churches, restaurants or restrooms.
Tuscaloosa was also then the national headquarters of the Ku Klux Klan. It was where Alabama Gov. George Wallace stood at the door of Foster Auditorium at the University of Alabama on June 11, 1963 in a symbolic attempt to block two black students, Vivian Malone Jones and James Hood, from enrolling at the school.
Ultimately, Wallace stepped aside, and the two students were allowed to register for classes. Two years later, Jones became the first African American to graduate from the University of Alabama.
A year later, a sold-out crowd of Afro-Americans and whites crowded into an auditorium at Stillman College, a private, historically black liberal arts college, founded in 1876 in the West Tuscaloosa area, to watch Baez perform.]
What had The Bama been doing for music programming before you arrived in 2003?
Well, they had just started what they called a “Bluegrass, Big Bands and More” series. This is a pretty big bluegrass area. They were booking people like Doyle Lawson and big name bands like the Glenn Miller Band, and the Count Basie Band. Some of those bands are quite good. The Glenn Miller Band is quite good; we’ve had them here a number of times.
The Police played The Bama in 1979.
I think that there were 80 people here. I wasn’t here, but one of the local music writers, who was going to high school then, told me about it. He said he was here with about 80 other people (on Oct. 14, 1979). But now, if everybody who says they were here for that show were here, there would have been 20,000 people.
The Bama is quite a theatre.
It’s wonderful, it’s beautiful. The FDR era Public Works Administration built it. It was paid off in a couple of years. It was originally built as a movie palace. It is one of the few theatres (from then) left in Alabama.
Television killed off many of the old movie theatres.
Television did and later the multiplexes built in the suburbs kind of killed them too, but this one has been a viable theatre operating continuously since 1938. I think there might have been in the ‘70s one or two years it was closed, but it never fell into disrepair. The Arts Council took it over in the ‘70s and has maintained it ever since. People in Tuscaloosa really treasure it. It is like the living room of Tuscaloosa.
How much preservation work is needed on the theatre annually?
The lucky thing is that because it has never been left empty for a long time or turned into something else (preservation work) it's mainly just general maintenance. We could use a zillion dollar restoration to brighten things up but, surprisingly, the theatre is in pretty good condition.
The Bama Theatre is a live venue, and regularly presents movies as well.
Exactly. We have a really interesting movie series (the Bama Art House) that started in 2009. We do one night only screenings of newly-released art films and independent foreign documentaries. We also do the German Film Festival, a Jewish Film Festival, and we have the Manhattan Film Festival.
The Bama is, in fact, then a multi-purpose theatre with on-going commitments to resident dance and theatre companies, film festivals and beauty pageants that have annual recurring bookings. How do music bookings fit in?
It takes a perfect alignment of availability, routing, demographics, pricing, and other things to slot in a concert. But we have been able to increase outside promoter bookings in the past few years due to their (promoters) persistence and my ability to sometimes move dates around. Our rental rate for the theatre is about half to one-quarter the national average. We do make it as amenable as possible for promoters to come in.
Which outside promoters do shows at The Bama?
Red Mountain Entertainment from Birmingham, and Outback Concerts in Nashville are the main two. Outback Concerts is bringing Old Crow Medicine Show this month (Jan.19, 2011). Sherpa Concerts from Nashville is bringing in the Yonder Mountain String Band (on Jan. 27, 2011).
Seating capacity is 1,064.
It’s a nice size, but it’s a little tricky (for shows). Sometimes it’s too big, and sometimes it’s too small. We had a date for Jackson Browne’s solo show in May. I was going to promote it with Red Mountain. We were crunching the numbers on it, and it just wouldn’t work. We were just too small for a ticket price. I even had some sponsors, but even with that money, it just wasn’t going to happen. I was disappointed as you can imagine.
How many music shows annually do you promote directly?
Not counting (a monthly) Acoustic Night, we only do 4 to 6 in-house shows a year. The rest is going to be from outside promoters. There’s still not that many shows. They’ll do maybe a dozen. One of the blessings and curses of being (in Tuscaloosa) is Alabama football; it dominates the town. People will come to Tuscaloosa and pay a scalper $500 to watch a UA (University of Alabama's Crimson Tide) football game, but they would be very hesitant to pay $75 to see Jackson Browne. I don’t think that we could have sold that ticket.
Bigger artists might play The Bama as a pickup date or they will instead go to Birmingham, which is 59 miles away.
Exactly. We have run into that quite a few times. We had a hold for Lucinda Williams for a long time (last year) and a few weeks before we were going to finalize it, she decided to go to Birmingham (to perform at the Alabama Theatre.)
What is the geographic range of your audience?
We’re near Birmingham, so we do draw some (people) from there but they draw more from us, I think, but we have to be careful in bookings. Any time I book (an act), we always put in our perimeter protection so they can’t play Birmingham 90 days before, and 90 days after.
Eliminating Birmingham and Montgomery (133 miles away), we draw from a 100 mile radius, mostly west Alabama. We even get people in from Mississippi. If people are fanatic for whoever is coming, they will come. When Aimee Mann was here we had people come from Atlanta even though she was playing there because we had seats. When she plays Atlanta, it is standing up (ticketing). Probably a reflection of my age (59) of people who don’t like standing up.
Do you attract an older audience?
Well, we do in some ways, but it depends (on the show). We’ll get some younger singer/songwriter in for Acoustic Night and college age kids will come. We get a lot of college kids for a movie series. We had the Avett Brothers last year and that was really a young crowd. NeedToBreathe sold out in September; that was mainly high school age.
The 7,470 capacity Tuscaloosa Amphitheater is scheduled to open March 31, 2011 with Kenny Chesney. Are you concerned about it?
Absolutely not. They will seat around 7,400, and we're just over 1,000, so you're talking apples and oranges. Also, the booker for the amphitheater, Red Mountain Entertainment, is one of the top promoters we work with at The Bama, so we are certain to continue our relationship with them, if not increase bookings.
As an amphitheater, they will be limited to a warm weather season and at the mercy of the elements; whereas we have year-round accessibility, a roof, and a great HVAC (heating and air conditioning) system. Not to mention a beautiful atmospheric auditorium, perfect sight lines, and great acoustics.
When you started booking at The Bama were you taken seriously by booking agents?
The first year I got here, the answer was no; there was no history. (Shows) were sporadic over the years. Somebody would rent the theatre and have a show and that would be the end of it. I started slowly and, while we are not booking weekly or anything, I have a relationship with High Road Touring and Frank Riley, and with Mario Tirado at CAA. They will at least answer the phone when I call. We have always tried to follow through and be professional. We haven’t had any disastrous shows. Knock on wood.
The Bama doesn’t ask for a percentage of merch from artists playing there.
We are probably the last theatre on the planet to do so. We strive to be as artist and promoter-friendly as possible. We do so few shows compared to a lot of venues, but when we look at the hospitality rider, we follow it to a “T.” If an artist wants bagels from H&H Bagels, we will try and get them instead of trying to get out of doing it. Artists seem to appreciate the fact that a little theatre like us is going to the effort.
Has the recession had an impact on The Bama?
I don’t think that it has been as bad here as other parts of the country, or even other parts of the state. UA (The University of Alabama) is a big employer, and they haven’t laid people off. We have a Mercedes-Benz factory that is still viable. I think that they cut a shift, and laid some people off, but they’ve brought them back. But I do think that people are more careful spending their money nowadays.
[Tuscaloosa boasts a diversified economy based on all sectors of manufacturing and service. The city's industrial and manufacturing base includes: BFGoodrich Tire Manufacturing, GAF Materials Corporation, Hunt Refining Company, JVC America, Nucor Steel; Phifer Wire and the Mercedes-Benz U.S. International assembly plant which began assembling the Mercedes-Benz M-Class in 1997; the R-Class Grand Sport Tourer in 2005; and recently began production with the GL-Class.]
Does The University of Alabama have many of their own shows?
Surprisingly, not many. When I was in college, it seemed like there was a show every week in the ’70s. In one spring semester I saw Poco, Quicksilver Messenger Service, Ritchie Havens, James Taylor, and Steven Still’s Manassas. The University of Alabama does, maybe, two shows a year. Some of that is cost, I guess. I don’t know why, other than that. That’s what keeps us limited.
You now have monthly all-ages Acoustic Nights in the Greensboro Room, a smaller room in The Bama.
The Acoustic Night has really been a lot of fun. We are trying to target people who love original music, but are not too fond of bars. We still have smoking in our bars here. There was nowhere in Tuscaloosa to hear (live) music unless you went to a bar. Then you are faced with smoking and late night starts. We also start early; we have never started later than 8 o’clock. It’s over by 10 PM. People get home in time to see the news.
Do you have a showbiz background in your family?
Not at all. If anything, they were anti-showbiz. They didn’t like the music thing. I grew up in Decatur (Georgia) and was raised Southern Baptist, so there’s a lot of repression. The long hair and the guitar—not too fond of that. My father would scratch his head (when I was a musician) and say, “I don’t understand. You have a college degree. Why are you wasting your time with this?”
What did your dad do?
He was a printer—a typesetter—back when that was a skill, and a craft. He learned it in the Navy. He did cold type and linotype for the Atlanta newspapers, the Constitution, and the Journal. He’d take me in there (to the shop). It was pretty exciting, very noisy; it was all handset.
[The Atlanta Constitution first published on June 16, 1868. The Atlanta Journal was established in 1883. The two papers consolidated in 1982 as The Atlanta Journal-Constitution. Novelist Margaret Mitchell worked for the Journal from 1922-1926. Scholars believe that her 1936 novel “Gone With the Wind” came about from a series of profiles of prominent Georgia Civil War generals she did for The Atlanta Journal's Sunday Magazine.]
The Beach Boys was the first concert you attended?
Yeah, the Beach Boys in 1964. I saw them at the Atlanta City Auditorium which is no longer there. It was one of those shows with 5 or 6 opening acts. I remember that Travis Wammack came out, and started with “Scratchy.” I just got chills when I heard that. It was like, “Wow.” I had never heard a live rock and roll band before, not someone professional. That was pretty exciting. The Beach Boys were great. It was the original Beach Boys, with Brian Wilson still there; it was that early. I still have my ticket stub; I think it was $1.50 to get in. I have my Beatles’ ticket stub from 1965, when they played the Atlanta Stadium (on August 18, 1965); it was $5.50.
[Mississippi guitarist Travis Wammack was only 17 in 1964, when he scored a national hit with "Scratchy” (a guitar instrumental version of Mel Torme’s 1962 hit “Comin’ Home Baby”). Wammack subsequently went on to become a key session player at Fame Studios in Muscle Shoals, Alabama. In 1973, he released a solo self-named album on Fame Records, followed by the album “Not For Sale” on Capricorn Records in 1975. Wammack was Little Richard’s band leader 1984-1995.]
What do you recall about the Beatles’ concert?
Couldn’t hear a thing. It could have been four guys in suits I was so far away. I do remember that they had the Vox amps. It was exciting just to be there.
As a teenager, you played in several rock bands.
Like most kids, I saw the Beatles on the “Ed Sullivan Show” that first night, and that was it. In high school, I was in cover bands playing the Beatles, the Stones, Creedence, the Byrds and all that. I played rhythm guitar, and wrote sensitive songs. Once I got semi-serious (about music) my role model was Jackson Browne. He’s who I wanted to be after college.
[On Feb. 9, 1964, the Beatles stepped onto Ed Sullivan’s stage to make their American TV debut. 73 million Americans tuned in.]
Was music a big part of your life as a teenager?
Oh yeah. As often as I could, I would save up a $1.50 to go hear somebody. One of the most interesting shows that I saw was the Who opening for Herman’s Hermits (on Aug. 29, 1967 at the Atlanta Municipal Auditorium with the Blues Magoos). The Who played, and there might have been 100 people who knew who they were. All of the teenybopper girls were there to see Herman.
I had heard the Who when our family took a camping trip in Key West for a Christmas vacation. When we drove through Miami, a radio station was playing “My Generation.” I hadn’t heard it before; it didn’t get any airplay in Atlanta. I ordered the single when I got home, and played it for all my friends, “You’ve got to hear this. It’s unreal.” I found their first album and special ordered it. I prided myself on being the hippest 13 or 14-year-old in Decatur, Georgia. It wasn’t hard to do.
Were you also impressed when you first heard Jimi Hendrix?
I had never heard a human being play guitar like that. It was like hearing Travis Wammack live except that it was on a record. I was getting chills, going, “God, how is he doing that?” I had never heard anything like that. I saw the Experience in ’67 or ’68 (at the Atlanta Municipal Auditorium on Aug. 17, 1968). Ted Nugent and the Amboy Dukes was one of the opening acts along with Vanilla Fudge and Soft Machine.
The early ‘70s was a great time for music in the South.
Everybody in Georgia wanted to be (guitarist) Duane Allman. Skydog was an incredible guitar player. I saw him play with the Allman Brothers five or six times. They would play at Piedmont Park (in Atlanta). We had a hippie area in Atlanta. Everybody would go to Piedmont Park. High school kids could be weekend hippies, and go down to Piedmont Park on Sunday and see bands. The summer I graduated from high school, the Allman Brothers played in the park for free.
Where did you go to college?
I went to the University of Georgia (in Athens, Georgia). I didn’t play in frat bands or anything like that. I was doing my Jackson Brown imitation. So I didn’t work a lot. A sensitive guy pouring his heart out. I was playing around (coffee houses) in Atlanta. There was the Harvest Moon Saloon, and the Moon Shadow (Tavern). I opened for a lot of people there. I liked (guitarists) Clarence White, David Lindley and, of course, Ry Cooder.
Meanwhile the Allman Brothers, Charlie Daniels & others were out there proclaiming, “Be Proud you’re a rebel because the South is going to do it again.”
You are exactly right. I was the square peg in the round hole because I wasn’t playing Southern boogie or anything that had to do with the Allman Brothers or Macon, George or anything like that. I did get to open for John Prine and Joe Ely at the Agora Ballroom Atlanta.
After college you played in a duo.
All Good & Bennett. That was with Gary Bennett. Gary was a really great singer and keyboard player. We played about four years together, from 1980 to ‘84 or '85. We opened for Roseanne Cash on her first tour as well as for the Dirt Band, and John Hartford. We opened for John Hartford twice; he was great. I loved it when I was standing with the tech guy, and he was looking at the list of requirements, and there was the four by eight sheet of maple plywood that John Hartford always asked for. The tech guy asked, “What is he going to do with a sheet of plywood?” I said, “You’ll see.” And, of course, John tap-danced on it.
Gary went to L.A. for about a year. Do you remember the first sitcom Tom Hanks was in, “Bosom Buddies?” Gary sang the theme song, the Billy Joel song (“My Life”). He was the sound-alike on that. That was his claim to fame.
[The “Bosom Buddies” sitcom starred Tom Hanks and Peter Scolari. It ran from 1980 to 1982 on ABC and in reruns in the summer of 1984 on NBC. The series was conceived as both a takeoff on the movie “Some Like It Hot” and a male counterpart to the sitcom “Laverne & Shirley.”]
What did you study at the University of Georgia?
Did you think you were going to be the next Leonard Cohen?
No. I was going to be the next Jackson Browne. Later on, I went back to graduate school at Georgia State to take a Master’s degree, which I never finished.
You got out of the music business.
I had had enough. It was, “We have two kids. I need to get a job.” I had also started working as an I.A. stagehand in Atlanta, at The Fox Theatre and the Atlanta Civic Centre where I got some of the knowledge that I have today. I learned a lot of the technical aspects of the theatre—lighting, and sound.
If you pay attention as a stage hand, you can figure out how the front of house people do things, and how the management of a theatre is done; watching how they manage the labor. If you get to know some of them, you could kind of get into their head about how they booked events, and how they negotiated contracts with artists.
Any shows you remember from that period?
One of the things I really enjoyed doing is that each year the Metropolitan Opera (of New York) would come to Atlanta and do a repertory series in the spring. There would be a different opera every night. It could be “La Boheme” one night, and the next night “Carmina Burana.” It could be anything. I learned a lot from the Local 1 stagehands from New York who came down.
As a stage hand, you get to see everything.
And you watch it sideways from the wings. There were a lot of great shows that I saw. Prince played The Fox and he was just phenomenal. And I’m not even a fan, but that guy is really just something else. There were some great touring companies of Broadway shows that came through, like “Evita” and “The King and I” with Yul Brynner in the late ‘70s.
After working in theatres in Atlanta, what did you do?
My wife and I with the kids moved to Denver in 1993. Neither one of us had jobs. We loaded up the wagon Jed Clampett style. My wife’s sister lived there, and we had visited many times and really liked it there. We thought that we would give out West a shot and we stayed for 10 years. I was with a vending company; I just stumbled onto this job, and we were able to pay the rent, and save up for the kids’ college.
What brought you back to the South?
This opportunity to manage the Bama Theatre came up. My wife’s other sister lives in Tuscaloosa, and she knew about (the job being available). I sent them my resume, and they hired me.
Why seek this position?
Ever since my stagehand days, I had loved old theaters, I always wanted to own one. Of course, unless you are connected with capital, that’s pretty impossible. To manage one is the next best thing.
Even a theatre where late at night you can hear doors being slammed shut, people talking on the balcony, and the elevator going up and down with no one in it?
Oh boy, I’m sure every theatre has those stories. We did have a couple of paranormal (investigators) come in (the West Alabama Paranormal Research and Investigation Group, and the Tuscaloosa Paranormal Research Group).
One of them spent an entire night here. They put people in the basement and some in the projection booth. They had their little ghost meters (electromagnetic field detectors and digital recorders). They recorded some things, and had me listen to them. I went, “I don’t know what that is.” I would say that it was all inconclusive, but they seemed to like what they found.
But I have had some experiences being on the stage at 2 A.M. and I’ve heard the elevators start up, and I know there’s nobody in the building. It has happened a number of times.
Old buildings do tend to have noises.
That doesn’t seem to happen during the day time though. Only when I’m here by myself at night.
Larry LeBlanc is widely recognized as one of the leading music industry journalists in the world. Before joining CelebrityAccess in 2008 as senior editor, he was the Canadian bureau chief of Billboard from 1991-2007 and Canadian editor of Record World from 1970-89. He was also a co-founder of the late Canadian music trade, The Record. He has been quoted on music industry issues in hundreds of publications including Time, Forbes, and the London Times. He is co-author of the book “Music From Far And Wide: Celebrating 40 Years Of The Juno Awards.”
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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
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Música e Cultura 05/04/17
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Paul Reed, Association of Independent Festivals (AIF) 06/14/17
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Jack Ross, APA Canada 09/07/17
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, ItsAboutMusic.com 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Peter Shapiro, Ideal Entertainment 04/16/04
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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