Industry Profile: Lily Kohn
By Larry LeBlanc (CelebrityAccess MediaWire)
This week In the Hot Seat with Larry LeBlanc: Lily Kohn, senior licensing manager, Microsoft Corporation.
These are chaotic times for the music-game genre.
Harmonix was sold by Viacom to a consortium of shareholders; MTV Games, which had collaborated with Harmonix on "Rock Band," was shut down; and, just this month, Activision announced it will disband its "Guitar Hero" business unit, and discontinue development on the game for 2011.
An inglorious departure for a title once hailed as the first great game franchise of the 21st century.
There may be too many games competing in the music-game genre these days, but none of this means the genre is facing oblivion.
A host of new technologies are allowing companies to develop new, cutting-edge games
Last year, the Microsoft Corporation, best known for its Windows operating system and its professional productivity software, rolled out the new motion-based game controller Kinect for the Microsoft Xbox 360 that, along with Sony PlayStation 3 Move, is providing a heartbeat to the beleaguered music-game business.
Kinect is a camera-based motion detection system that translates users' gestures into in-game actions. By scanning with a camera, IR sensor and array microphones, Kinect can track full body motions. It connects up to a user’s Xbox 360, and a sensor bar sits under their television.
Kinect can control more than just games. Users can control menus by gesturing with their hands, and facial recognition will auto-log them into their Xbox profiles.
Microsoft reportedly sold one million Kinect units in its first 10 days of release.
Videogame metrics firm VGChartz estimated that 130,000 Kinect buyers worldwide purchased "Dance Central" in the first week of release on Nov. 4, 2010. That makes it the second-best-selling game for the Kinect controller after "Kinect Sports."
Another game, "Kinect Adventures," comes packaged with each Kinect unit.
In 2001, Microsoft entered the console market with the Xbox. Almost immediately Bungie Studio's “Halo: Combat Evolved” became the driving point of the Xbox's success. The “Halo” series would go on to become one of the most successful console shooters of all time.
Early on, Microsoft attempted to build consumer acceptance of the Xbox by aggressively touting its music capabilities; by marketing the product to music fans; and by developing music related products.
Among the company's marketing initiatives were tour sponsorships and gaming demos at concerts, and giving gaming systems to leading music artists. It also marketed the system at live-music events, including Lollapalooza.
At the annual E3 games exposition in Los Angeles in 2003, Jane's Addiction's Dave Navarro and Lollapalooza co-founder Perry Farrell sang "Love Shack" and "Red Red Wine" in a demo of the Xbox Music Mixer. As well, Snoop Dogg hosted the Xbox Live Ultimate Championship, and demoed the new game "Inside Drive 2004." Setting the technology standard in console gaming for the next generation, Microsoft introduced the Xbox 360 in 2005. Sony followed with the PlayStation 3 the following year.
Both were formidable systems that featured high-definition graphics, large hard disk-based secondary storage, integrated networking, and a companion on-line game play and sales platform, with the Xbox Live and the PlayStation Network, respectively.
During last year’s E3, Microsoft revealed the new Xbox 360 console—known as the Xbox 360 S or Slim.
Working at Microsoft’s headquarters in Redmond, Washington for 15 years, senior licensing manager Lily Kohn handles music clearance and licensing of all first party games, in addition to corporate videos, preloaded content and much, much more.
Kohn, in fact, has a hand in virtually every area of Microsoft’s music licensing work, approaching the record labels on its behalf and their artists, and the music publishers on behalf of itself, and their composers.
Kohn began her music career working at Capitol Records' publishing arm, Beechwood/Glenwood Music in Los Angeles. This was followed by a stint at Chappell/Intersong Publishing where she was an assistant to VP Roger Gordon, and licensing director Pat Woods.
She left Chappell/Intersong to work on "An Evening At The Improv" as a production assistant, handling music clearances for the A&E series.
After a few years of handling licensing for independent television shows, Kohn accepted a music clearance position at Columbia Pictures Television, and later worked in the same capacity at Warner/Chappell Music.
Following several years in casting film and television show afterwards, Kohn then joined Microsoft in 1995.
What response do you get telling people you work at Microsoft?
It depends if they are a PC or Mac person. A lot of Mac people really like to tell me how inferior our products are. I don’t understand why they think they can do that or what they expect me to say.
There’s a degree of mythology about Microsoft and its employees.
I think there is. Microsoft is one big company, but it’s seems like it’s made up of a bunch of little companies. There are so many niches here for different talents. So I guess it remains a mystery for what we do.
How big is your department?
The music supervision and (music) licensing department in Redmond (Washington) is five people. We handle the licensing for North America and this side of the world. We have two licensing people in a London who handle Europe and that side of the world.
What is the extent of your licensing duties at Microsoft? Do you oversee the licensing of music for Microsoft's new Windows Phone 7 operating system?
I do. The music supervisors curate the selections along with the creative team for pre-loaded content on Xbox 360, and we did that for Windows phones. We also license and curate music for corporate and marketing videos for E3; or if someone is going to a convention; or if someone is doing a keynote speech; or if we have a booth, and we are demoing a product. We might have a video that goes along with the demo. We handle that music licensing as well.
Do you get a sense of accomplishment in seeing a game completed? In some cases, you worked on a game for years, and then you see and hear all of the elements together.
It is really a great feeling of accomplishment, I have to say. Some of these games we do work on for a year or two. With my role, I don’t always see the game as it is being made, and coming to fruition. And, sometimes I do. But when you have a complete, and you see it, and you play it, and you know that you had a part in making it, it is a really good feeling.
I was in the Microsoft Retail store recently and I was looking up on the monitors and I saw “Kinect Sports" and "Kinect Adventures" and I just felt really proud I had pretty big role in getting those games to market. It almost seems corny but it was a real feeling of accomplishment.
Are you courted by labels and music publishers to get you to use their music?
I am probably not as courted as the music supervisors are. They are the first line before the music is used.
On a game, you often work with a huge team. It’s like making a film.
It definitely is. There are people who have their specialties, and they work on different parts of the game. Then it all comes together. But there are so many people. I have seen the credits on many games, and they are lengthy. It is like making a television show or a movie, where everybody has a role, and they have to do it well.
On a game is there a project leader or an executive producer?
The music supervisor works with the executive producer. They settle on the music. Meanwhile, they get input from you?
That’s roughly how it works. There’s the music supervisor, and the executive producer, and there are people on the game’s team that are in charge of audio. They all work together to come up with what the music is that needs the vision of the game. I give input on that, as far as what is clearable, and what isn’t—my best guess. They work from that. Then it comes back to me, and I secure the rights.
You are the golden retriever that has to retrieve the music for licensing?
Exactly. I prefer standard poodle (as a description).
At what point are you first involved?
I am brought into (the process) pretty close to the beginning. Each game has a different budget, different time lines, and different musical needs. So I’m there in the beginning, along with the music supervisor, to advise the team on how much time we need to clear the type of music they want, and approximately how much it is going to cost. Certain artists they are probably not going to get. We don’t waste a lot of time on music that we can’t get. So we collaborate, and have a list of music that mostly is going to clear.
Who do you negotiate with?
In most cases, we use original masters that were made famous by the original artists. So, I usually clear the music licensing with people at the record label, and publishers. If it’s an emerging artist who isn’t signed with a label, I will negotiate with their manager. They will usually have a manager. In very rare cases, I will negotiate with the artist directly.
Who did the negotiation for Microsoft's single-use license of "Start Me Up" by the Rolling Stones, which it used as part of its launch campaign for the release of Windows 95?
You know, when I started working at Microsoft, and even now, when I tell people I work at Microsoft and that I do music licensing, they always ask me if I negotiated the deal for “Start Me Up.” Alas, I did not. It was negotiated, I believe, by the advertising agency.
Do your team and other developers have realistic expectations of what music will clear?
Since I’ve worked with these people for a while, the expectations have gotten a lot more realistic. On some games, the vision is to have more obscure songs that people haven’t heard of or they are not hearing on the radio every day. Some games, you want popular recognizable music. It really depends on how the music is being used, and what the concept of the game is.
For licensing unrecognizable music, the licensing fee would be lower.
It really depends on the budget, and on how the music is being used. The fees range all over the place. With unknown or emerging bands, the fees are going to be lower than a household name artist, but we do pay musicians and publishers for their works. We don’t do gratis licenses and say, “This is promotional for you.” We feel that these artists should be paid for their work. We don’t like to operate like the 800-pound gorilla that some people think that we are. I like to walk away from a deal where both parties are happy.
Publishers and record companies are more prone to licensing music to games today. More so than 15-20 years ago, there is now a template for this business.
I believe that there is, and I think that the record companies and publishers are a lot more comfortable with video games than they were in the beginning. That is completely understandable. You have something brand new, you don’t want to make mistakes, and you want to make the most money.
(Even now) you want your artists represented well. You want to make sure that they are in a project that isn’t going to…let’s just say that you put them in a project that is worthy of them, their stature and their art.
I think that the music industry has been more open to having their music in video games for awhile. As long as I have been doing this, I have really had a lot of co-operation and collaboration from the majors and the indies alike.
Are there concerns of placement of music in games?
It really depends on the game. Usually the theme of the game or the title is written by a composer. How the music is used in the game does vary from game to game. In a racing game, (music) can be used in background as you are racing; and some times in the user interface when you are looking at menus. Of course, music-oriented games like “Lips”, you are singing along to the music. It is front row in the game.
Music for games like “Halo” were done in-house.
Yes, we did. We hired composers to write original music. There wasn’t third-party music in those games. But there have been plenty of games that I’ve worked on for Microsoft that have a lot of third-party music—like the “Project Gotham Racing” franchise (developed by Bizarre Creations); the Forza Motorsport” franchise (developed by Turn 10 Studios); and we did a sing-along game called “Lips” (developed by iNiS).
We just did some successful games for the new Microsoft’s Kinect technology. “Kinect Sports” (developed by Rare) had a lot of third-party music. “Adventures” (developed by Good Science Studio, a subsidiary of Microsoft Game Studios) that is bundled with the Kinect has third-party music “Alan Wake” (developed by Finnish studio Remedy Entertainment) had third party music.
[“Alan Wake” was reportedly the third most pirated Xbox 360 game of 2010, being pirated 1.1 million times. The game's score is composed by Petri Alanko. The soundtrack prominently features the song "War" by Poets of the Fall from the band's 4th album, “Twilight Theater.” Additionally, “Alan Wake” also features two songs, “Children of the Elder God” and “The Poet and The Muse”, which were written specifically for the game and are performed by Poets of the Fall as the in-game band "Old Gods of Asgard."]
If you are using a theme, and it’s an instrumental, would it be created in-house?
Microsoft owns a music publishing house?
We do have a music publishing company in-house which I started because I had a background in music publishing. I said, “We own a lot of the game music. We really should start a music publishing company.”
Microsoft hadn’t done that before?
Nobody had done it before here. I did it about 10 years ago. I really started doing it when games started coming around (and being popular).
In 2009, the music-game industry slowed down. Too much value, too much music, too many games, too little time - a fair assessment?
Ummmm, I think there might be a little bit of truth to that, but I think that we want to have competing games. I think that competition is what the free market is all about. But, I am probably not the best person to ask that (sales) question to.
MTV/Harmonix's "Dance Central" and Konami's "Dance Masters" for the Kinect have done well.
There’s also the “Crackdown” franchise. We did “Crackdown” version 1 (in 2007) and version 2 came down last year (in July, 2010).
New motion-based game controllers like Kinect have revitalized the market. It’s pretty cool too.
I think so too. I know that it sounds biased, but I think that Microsoft puts out a lot of good products. As far as changing the gaming world, I think that Kinect has really done that and it is a lot of fun to play. It’s good exercise for people who don’t like to exercise because they are, actually, having fun. We really hit a home run with Kinect.
Did you try out Kinect while it was in development (and was dubbed Project Natal)?
I did. It was really fun to do. I played a little bit of “Sports” and I played a little bit of “Adventures.” It was a really fun feeling to be on the ground floor, and be able to play it and see what it was all about before it was available to the public.
Why did Microsoft hire you in 1995?
They were starting the first version of a (music) multimedia encyclopedia called “Music Central.” They had somebody here that was doing music licensing as well as video licensing and images. But when you work on a version of one project with a lot of music you need someone to devote the whole day, every day, to it.
At that time, I wanted to move to the Pacific North West. So I was pursuing Microsoft relentlessly. I happened to be at the right place at the right time. I was hired and I took on the music clearances of “Music Central.”
[“Microsoft Music Central” was a music encyclopedia on CD-ROM that was produced by Microsoft as part of the Microsoft Home range. The software featured a selection of biographical articles from the Guinness Encyclopedia of Popular Music along with album reviews from Britain’s Q magazine. The software included still images, video clips and online updates.]
At the time, Microsoft was quite small.
It was much smaller. I wasn’t here in the day when (Microsoft co-founder) Bill Gates knew everybody by first name, but it was much smaller than it is now.
How many clearances did you do for “Music Central?”
I think I started off clearing 200 or 300 songs. Yes, that is why they needed someone full-time on it. This was really in the infancy of multimedia. A lot of labels and publishers were a little leery of it. So, there were a fair amount of denials. We ended up with about 120 music clips in the encyclopedia.
At the time, there was a nervousness in the music industry over third-party use of music.
It seemed to me that the music industry still had post traumatic stress disorder from agreeing to buy-outs on videocassettes with movies, and did not want to make the same mistake in multimedia. But, I think that it all worked out rather well. There’s a kind of delineation between what kind of multimedia product warrants a buyout, and what warrants an ongoing royalty. The latter of which in games is where music is the game.
The labels had also earlier watched MTV build a business on—what they saw—as their backs. They didn’t want to build up another industry without being adequately paid.
I know that with record labels and publishers, the thing that they like to hear least when approaching them for a license is, “This is promotional for you.” I think that is the residual effect from MTV videos.
How was music used in “Music Central?”
We would have an article on an artist, and have a 60 second clip just to give an example of the artist’s music.
So you were going after a lot of hits?
We were going for a lot of hits. We ended up with a lot of good music. Sometimes, I am surprised by who gives me the most trouble, and who is easy to work with. For “Music Central” we were able to license a Dolly Parton song that she wrote and published. I remember when the license came back fully executed, it was with her signature on it. She watches every part of her business, as she should. I was very impressed by that.
Did your background in music publishing help you in your new job?
I did know a lot of publishers and record company people once I started doing licensing. But there were people I knew from publishing from my jobs in the publishing industry. So I would say yes, it was a help. It very much helped in really teaching me how to go about doing all this.
In 2001, Microsoft entered the console market with the Xbox, touting it also as a jukebox and a movie player.
It ended up becoming a bigger entertainment system than originally anticipated. You can download music to the Xbox hard drive, and connect it to speakers, television, whatever, and have a whole entertainment system with it.
With the Xbox, games had Dolby Digital 5.1 technology—a significant change in sound quality.
Absolutely, and there were better visuals than in the past. The first game that I worked on here was “Project Gotham Racing” (released Nov., 2001 in North America)
[“Project Gotham Racing,” developed by Bizarre Creations, and published by Microsoft Game Studios in 2001, quickly became the second best-selling game for the for the Xbox gaming console after “Halo: Combat Evolved.” Its kick-ass music soundtrack was—and remains—cutting-edge, including tracks by the Chemical Brothers, Chevelle, the Yo-Yos, Black Rebel Motorcycle Club, Timbaland & Magoo, Sir Mix-A-Lot, Stereo MCs along with more mainstream fare from Eve 6, David Lee Roth, and Iggy Pop.]
Your name is on a lot of games.
One of the many nice things that this company does is, that for everybody that are an integral part of shipping a product, you get a little award for the product that you stick on your plaque. So, I have many of those (awards) from working on so many games, and from working on so many reference products in the early days, like (the digital multimedia encyclopedia) “Encarta.”
Were you familiar with music publishing before previously being hired at Capitol Records’ publishing arm, Beechwood/Glenwood Music?
Most people not in the music business don’t understand music publishing. I certainly didn’t before I got into it. You hear a song on the radio, and you are familiar with the artists, and you buy a record. You assume that the artist is getting paid. A lot of people don’t stop to think that there’s a composer who wrote the music and there’s an owner (publisher) there. Once you explain that, people will go, “Oh yeah, that makes a sense.” I didn’t know what music publishing was when I applied for a job with Beechwood Music.
Did you work at the Capitol Records Tower in Hollywood?
An interesting part of the story is that I was looking for a job in the mid-70s in the Los Angeles Times, and read that Capitol Records was looking for secretaries. I thought, “I like music. I’m going to apply there.” There was an opening in legal at the Tower, and the job in the publishing division was at a little bungalow on Yucca Street at Ivar (about a block away from the Capitol Records Tower at 1750 North Vine). I was very fortunate that I was offered both positions, but I had to choose (between them). I thought that The Tower might be more fun because it’s the Tower. But this was in the days before computers, and I thought, “I am just going to be in the legal department typing agreements all day. That doesn’t sound like too much fun. At least this publishing job sounds interesting.”
There was a fork in the road there, and I made the right decision. Music publishing just sounded interesting, and I really did take to it. I was there for a couple of years. Then EMI (consolidated its publishing interests) and I went over to Screen Gems-EMI for a bit
You later joined Chappell/Intersong Music Group as an assistant to VP Roger Gordon, and licensing director, Pat Woods.
That was one of the happiest times in my career. It seemed to be before music became such a business; where so many companies have since merged. The companies then weren’t so big. It didn’t matter what your position was in those days at a publishing company. You knew all of the composers. You heard all of their demos. They would bring in new songs. Everybody would get excited when (a song) got recorded. Everybody got excited when (the record) started going up the charts. Everybody was really a part of everything that went on in the office. Those were just incredibly fun days.
Chappell/Intersong had its own in-house studio.
Yes, we had a studio in the L.A. office where people would record demos. At the time, Marvin Hamlisch and Carole Bayer Sager were signed to Chappell-Intersong, and they would come in all of the time to do their demos.
It was just an exciting time in the music business. We were in the Motown building (6255 Sunset Blvd.), and Polygram Records was there. There were shows to go to every night, and artists to discover that became huge. It was a very fun time.
You learned about licensing from Pat Woods at Chappell/Intersong.
I was interested in licensing. So I assisted Pat Woods, and picked her brain on anything I could. She was also very generous. She was a great help to me when I had questions.
Pat was the Queen of Licensing.
She still is. She is at Warner/Chappell now (as VP, Licensing) and she is still the Queen.
How long were you at Chappell/Intersong?
I was there for about three or four years. I left to work (as a production assistant) on the (A&E) television show “An Evening at the Improv.” That was a lot of fun also, and I learned a lot about music licensing. Not only did I do the licensing for the musical acts—that was easy because that was scheduled and I knew what to do—but I also had to sit in the audience, and make sure that I wrote down anything the comics did, if they burst into song or whatever. Then I would have to go back to the office and attempt to clear it.
Comics like Gallagher and Robin Williams performed on the show.
Also Jerry Seinfeld, Richard Lewis and Jim Carrey—a lot of those (comic) guys back then. I worked on that show for a couple of seasons.
Did you find doing music clearances on your own difficult?
It was a much easier business back then. When I was working in television music clearance, the standard rights that we asked for was five years, world free for TV. It was really pretty easy.
Plus people were known to be helpful within the publishing world.
The first time I called Al Kohn (then VP, music licensing at Warner Brothers Publishing, and not a relation) to license a song, I said, “I am working on this show. I have a little bit of background in music publishing, but I haven’t done music licensing before. Can you help me? Can you walk me through what I need to know?” He did. He’s always been that generous man who shares his knowledge. But I think that he also appreciated that I wasn’t pretending to know more than I did. I was just very open and honest with him.
That’s the way I’ve always done business, always. My real personality is not different from my work personality. I just try to be open and honest and friendly. It not only works and establishes long term relationships that help me in my work, but it makes my work more fun.
Then you went to Columbia Pictures Television to do music clearance and licensing for their shows.
I did “Hart To Hart,” “Fantasy Island” and “Designing Women.” I was the one that negotiated the rights to use “Georgia On My Mind” as the theme song for “Designing Women.” I also negotiated “Harlem Nocturne” as the theme song for “Mickey Spillane's Mike Hammer.” There were also the soap operas there, like “Days of My Lives” and “The Young and the Restless” that I worked on.
Did you hang around the studio, and watch productions?
I did. We were on the Warner Brothers’ lot at the time. It was really fun eating in the commissary every day and seeing all of the actors there. There were the Warner Brothers’ shows. I didn’t work on them but we were on the same lot. So I used to see the cast of “Murphy Brown” and other Warners’ shows in the commissary. After that, I went full circle, and went (back) to Warner-Chappell and did licensing for television.
Then you decided to do a career change. What brought you to that realization?
I had gone to Kenya on a photo safari. People say that it changes your life. I can’t explain how or why, but it did. I sat there on the Serengeti—or was it the Maasai Mara—and said, “I want a career change.” I had always been interested in casting. When I was at Columbia Pictures Television, my office was down the hall from the casting group, and I had befriended them. Casting was something that I had always wanted to try.
How did you go about seeking work in the field?
I called the friends that I had made in casting, and told them that I was interested in casting. I apprenticed for quite a few years. When I was at a point of beginning to cast roles myself I questioned if I really wanted to do this for a living. Music was always my passion. I really wanted to go back to that.
Did you cast many shows?
I was not the name casting director in any shows but I cast some smaller roles for some shows. I worked on the (1993-1994 Fox TV) show “Flying Blind” with Corey Parker and Téa Leoni that was really wonderful. But, it didn’t have the right time slot (running only from Sept. 13, 1992 to May 2, 1993). It was brilliantly written, and it was a lot of fun to work on. I worked on Henry Winkler’s last comedy series “Monty” (on Fox TV in 1994). He is the most delightful person I’d met in show business.
I was the casting associate on an Oscar-winning short film called “Lieberman in Love.” It starred and was directed by Christine Lahti. I’m pretty proud of that. I don’t have my own Oscar, but I did work on an Oscar-winning short film.
[A short story by noted Canadian novelist and short story writer William Patrick (W.P.) Kinsella, "Lieberman in Love” was the basis for the film. The Oscar win came as a surprise to its author who, watching the 1996 Academy Award telecast from home, had no idea the film had been made and released. Neither was he listed in the film's credits or acknowledged by director Christine Lahti in her acceptance speech. A full-page advertisement was later placed in Variety apologizing to Kinsella for the oversight.]
When placing music in games, is it similar to casting for film or TV?
It really is.
You are looking for context, really.
With film, you are looking for what this character is about and who can become this character, and who can deliver the lines and be believable.
With music, you are doing a similar thing.
You are. You are taking a song, the feel, the genre. You feel how it should be performed when you think of what artist could do this song, and have a hit.
Do you miss the music business or do you feel that you are still in it?
I feel like I’m still in it. I really do. I deal with a lot of incredibly nice people from the labels, and at the publishers. I can’t think of anybody off hand that I don’t want to work with. I don’t really deal with any crabapples anymore.
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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Jeff & Todd Brabec, Writers/Attorneys 01/03/12
Bill Bragin, Joe's Pub at the Public Theater 08/08/03
Joel Brandes, Avenue Management Group 11/02/08
Joe Brandmeier, Moving Pictures 03/15/02
Scooter Braun, SB Projects 12/13/10
Ron Brice, 3rd & Lindsley Bar & Grill 06/08/16
Billy Brill, Billy Alan Productions 11/11/05
Doug Brown, Talent Buyers Network 09/21/01
James Browne, Sweet Rhythm 11/01/02
Bob Brumley, Brumley Music Company 02/17/16
Tony Brummel, Victory Records 05/17/09
Charlie Brusco, TBA Entertainment Corporation 10/13/01
Del Bryant, BMI 05/18/07
Cortez Bryant, Bryant Management 12/06/10
Stephen Budd, Stephen Budd Management 07/13/17
Bruce Burch, University of Georgia Music Business Program 10/09/09
Deborah Burda, Kentucky Exposition Center 08/03/07
Patti Burgart, IEBA 06/07/02
Jordan Burger, The New Musiquarium 01/22/01
Ron Burman, Roadrunner Records 08/25/06
Suzanne Cadgene, Elmore 05/19/06
Karen Cadle, KGC Productions 03/12/04
Gary Calamar, KCRW 07/10/09
Charles Caldas, Merlin 07/05/10
Brian Camelio, ArtistShare 02/29/08
David Campbell, AEG Europe 08/02/10
Tom Cantone, Foxwoods Entertainment Group 10/20/00
Tom Cantone, Foxwoods Resort Casino 07/03/03
Tom Cantone, Mohegan Sun 08/30/09
Ashley Capps, A. C. Entertainment 05/21/04
Rio Caraeff, Vevo 07/12/11
Mike Carden, Eagle Rock Entertainment 08/16/11
Charles Carlini, Carlini Group 05/16/08
Mark Carpentieri, M.C. Records 05/27/05
Mark Carpentieri, M.C. Records 01/10/11
Troy Carter, Coalition Media Group 06/07/10
Daniel Catullo, Coming Home Studios 06/22/08
Raffi Cavoukian, Folk Singer/Children's Entertainer 05/11/16
Jeffrey Chabon, Chabon Entertainment Group 08/22/02
Mike Chadwick, Essential Music & Marketing 08/01/12
Rob Challice, Coda Music Agency 03/27/13
Tom Chauncey, Partisan Arts 01/11/02
Tom Chauncey, Partisan Arts 10/04/11
Lisa Cherniak, Artists Against Racism (AAR) 07/20/01
Bob Chiappardi, Concrete Marketing 06/13/03
Joel Chriss, Chriss & Co. 10/04/02
Michael Chugg, Michael Chugg Entertainment 09/14/01
Michael Chugg, Chugg Enterprises 10/02/09
Gary Churgin, Harry Fox Agency 09/13/10
Vinny Cinquemani, S.L. Feldman & Associates 12/13/12
Barry Coburn, Ten Ten Music Group 03/28/11
Matthew Cohen, Green Room Productions 10/19/01
Ted Cohen, TAG Strategic 01/10/13
Lisa Cohen, Associated Booking Corporation 02/10/06
Steve Cohen, Music + Art Management, Inc. 03/09/07
Dan Cohen, Music & Memory 01/12/17
Michael Cohl - Part 1, S2BN Entertainment 03/06/13
Michael Cohl - Part 2, S2BN Entertainment 03/13/13
Bryan Coleman, Union Entertainment Group 02/14/12
Mamie Coleman, Fox Broadcasting 07/05/12
Dennis Condon, Disneyland Resorts 07/13/01
Peter Conlon, Peter Conlon Presents 05/20/05
Tony Conway, Buddy Lee Attractions 10/06/00
Allen Cook, TOURtech 04/16/15
Tomas Cookman, Cookman International 09/05/03
Alex Cooley, Alex Cooley Presents 07/12/10
David Cooper, Foxman.com 10/31/03
Jay Cooper, Greenberg Traurig, LLP 05/23/11
Julie Coulter, Near North Insurance Groups 06/07/01
Amy Cox, Deep South Entertainment 02/09/07
Michael O. Crain, Crain Law Group, LLC 10/09/13
Charlie Cran, The Strawberry Music Festival 04/05/10
Jim Cressman, Invictus Entertainment Group 06/06/12
Russ Crupnick, MusicWatch, Inc. 07/23/15
Todd Culberhouse, Vision Management /Vision Records and Entertainment 09/05/08
Tony D'Amelio, Washington Speakers Bureau 04/21/06
Ruth Daniel, In Place of War 08/09/17
Ray Danniels, Standing Room Only Management, and the Anthem Entertainment Group 03/05/15
Ken Dashow, WAXQ-FM (l04.3 FM) - New York 09/08/06
Hal David, Lyricist 07/26/11
David Davidian, Independant Lighting Designer/Director 06/18/04
Anthony Davis, D&L Entertainment Services, Inc. 03/02/01
Chip Davis, American Gramaphone/Mannheim Steamroller 05/31/02
Mitch Davis, Tempest Entertainment 07/16/04
Jeff Dawson, Canadian Recording Services 06/08/08
Desiree Day, USO Celebrity Entertainment 08/10/01
Shauna de Cartier, Six Shooter Records/Six Shooter Management 10/23/13
Gene DeAnna, The Library of Congress 02/21/12
Vincent Degiorgio, Chapter 2 Productions 08/01/13
Tony DeLauro, DeLauro Management 12/23/04
Valerie Denn, Val Denn Agency 04/30/01
Val Denn, Val Denn Agency 03/06/14
Robert DePugh, Alligator Records 07/29/05
Tom Derr, Rock Ridge Music 10/29/04
Paul Dexter, Masterworks Lighting Design and Road Cases 12/10/04
Marty Diamond, Paradigm 01/22/10
Glenn Dicker, Redeye Distribution/Yep Roc Records 07/07/06
Barry Dickins, International Talent Booking Agency 06/06/13
Jim Digby, Event Safety Alliance 09/01/16
Mark Dinerstein, The Knitting Factory 11/17/06
Neill Dixon, Canadian Music Week 03/03/16
Thomas Dolby, Musician, academic, technologist, and author 11/09/16
Jasper Donat, Music Matters 2009/Branded 04/24/09
Jim Donio, National Association of Recording Merchandisers 04/22/11
Marc Dottore, M. Dottore Management 04/11/03
Tim Drake, The Roots Agency 12/12/08
Mike Dreese, Newbury Comics 11/23/11
Charles Driebe, Blind Ambition Management Ltd. 09/22/06
Jeremy Driesen, Ray Bloch Productions 09/07/01
Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of Denver’s Division of Theatres and Arenas 08/23/10
Paolo d’Alessandro, International Solutions 06/25/14
Ros Earls, 140dB Management 02/19/14
Art Edelstein, Festival Productions 12/01/02
Bruce Eisenberg, Audio Analysts 08/31/01
Martin Elbourne, The Glastonbury Festival 12/18/09
Michael Elder, Red Entertainment 03/17/06
Tod Elmore, Sixthman 11/24/06
Paul Emery, Clear Channel Entertainment 11/19/04
Arty Erk, Citrin Cooperman 04/27/16
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock ’n’ Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gélinas, Festival d’été de Québec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Chris Gero, Yamaha Entertainment Group 10/26/16
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Steve Gietka, SMG Entertainment 03/19/14
Darren Gilmore, Watchdog Management 03/17/16
Daniel Glass, Glassnote Entertainment Group 10/16/14
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Neil Goldberg, Cirque Productions 04/16/14
Martin Goldschmidt, Cooking Vinyl Group 09/29/16
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, Turntable.fm 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Andrea Johnson, ICM Partners 11/02/17
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Justin Kalifowitz, Downtown Publishing 04/20/17
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Elliot Lefko, Goldenvoice 09/21/17
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Jennifer Lyon, MeanRed Productions 01/18/18
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Música e Cultura 05/04/17
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Paul Reed, Association of Independent Festivals (AIF) 06/14/17
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Jack Ross, APA Canada 09/07/17
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, ItsAboutMusic.com 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Jonathan Shank, Red Light Management 12/13/17
Peter Shapiro, Ideal Entertainment 04/16/04
Peter Shapiro, Dayglo Ventures/Brooklyn Bowl 11/15/17
Seth Sheck, Access Pass & Design 01/03/03
Seth Sheck, ACCESS Event Solutions 06/22/16
Seth Shomes, The Agency Group 11/12/14
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Michael Simon, The Harry Fox Agency 08/14/13
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Peter Smidt, Eurosonic Noorderslag & manager Buma Cultuur 07/17/13
Garrison Snell, Gyrosity Projects 02/23/17
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
Nikki Solgot, Circle Talent Agency 02/18/15
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Deb Suckling, SUGARRUSH Music 07/27/17
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Mandar Thakur, Times Music 08/06/15
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
Adam Tobey, Concert Ideas 08/24/17
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Marsha Vlasic, Artist Group International 05/31/17
Mat Vlasic, Bravado 06/28/17
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Kirt Webster, Webster PR 02/03/16
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Adam White, Author 09/14/16
Lisa White, Pearl Street Warehouse 10/04/17
Adam Wilkes, AEG Live Asia 10/13/16
Fenton Williams, 04/04/08
Del Williams, Right Arm Entertainment 04/18/08
Bryan "Birdman" Williams, Cash Money Records 09/13/11
Paul Williams, ASCAP 10/19/11
J.P. Williams, Parallel Entertainment 10/03/12
Kurt Willms, Green Room Productions 09/20/03
Chris Wilson, Heartbeat Records 03/02/07
Tony Wilson, Factory Records/In The City 06/01/07
Tom Windish, The Windish Agency 07/26/10
John Wiseman, XL Touring Video 05/05/06
Thom Wolke, Twincloud.com 02/08/02
Michael Wood, City Lights Entertainment 08/08/08
Keith Wortman, Blackbird Presents 03/22/17
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, CultureCatch.com 07/27/07
Jeremiah “Ice” Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
Kevin 'Chief' Zaruk, Chief Music Management 06/10/15
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Jason Zink, Emporium Presents 10/19/17
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06
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