Industry Profile: Peter Smidt

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: Peter Smidt, founder & creative director Eurosonic Noorderslag & manager Buma Cultuur.

If anyone is the “Musical Emperor of Europe” it’s Peter Smidt, a major player in both bringing European talent to the masses, and in the evolution of the continent as a vibrant live music market.

The 53-year-old former rock singer--founder & creative director of Eurosonic Noorderslag and manager Buma Cultuur—watches over the annual 4-day festival and conference in Groningen in The Netherlands.

There’s no argument that Eurosonic Noorderslag, organized by the Noorderslag Foundation in cooperation with Buma Cultuur, is the single most important event within Europe’s live music sector.

As a conference and showcase festival event, it is the primary networking platform for Europe-based festival buyers, artists, managers, label and radio executives, music media, interactive professionals, and music industry organizations.

The event is broadcast, and reported on by national radio stations in over 20 European countries.

This year’s Eurosonic Noorderslag attracted 3,200 delegates, showcased 300 artists, and featured a conference program of 150 panels as well as having keynote speakers, interviews, and workshops.

Focused primarily on showcasing newcomer acts, over 400 European festivals annually come to the event seeking exciting new European talent to present at their own events.

Eurosonic Noorderslag can credited for igniting the careers of Asteroids Galaxy Tour, James Blake, Crystal Fighters, De Staat, Digitalism, Ewert and the Two Dragons, Franz Ferdinand, FM Belfast, Iceage, Lykke Li, James Vincent McMorrow, Nobody Beats the Drum, Agnes Obel, Ben L’Oncle Soul, Team Me, Triggerfinger and others.

The 28th edition of Eurosonic Noorderslag will take place Jan. 15th-18th, 2014 with Austria being spotlighted.

The event began in 1986 as little more than a battle of the bands contest between 10 Dutch and 10 Belgian acts.

To the surprise of many, Holland won hands-down.

The second year, under the Noorderslag banner, there was a battle between the North and the rest of the Netherlands, and this edition of the event gave the festival its initial name.

In 1995, with a new name, Euroslag, emphasis shifted to featuring European bands. The Eurosonic imprint came in 1999 with collaboration with European radio stations in the European Broadcasting Union (EBU)

In 1995, Smidt began working for Buma Cultuur, founded by Buma, the collection society for music authors in The Netherlands. Buma Cultuur supports and promotes Dutch music copyrights in The Netherlands, and in key international markets.

Buma Cultuur also organizes the annual Musicians Day and Amsterdam dance events Buma Rotterdam Beats, Jazzdag, Toonzetters and other events promoting Dutch repertoire.

Smidt is responsible for Buma Cultuur’s export and European policy. He had a forceful hand in developing both the European Tour Support Plan (ETSP), and the European Talent Exchange Program (ETEP), which works with 80-100 festivals, and 27 radio stations united in the European Broadcasting Union (EBU).

Smidt also works closely with the European Music Office (EMO), where he is a board member.

How prepared are you for Eurosonic Noorderslag 2014?

At the moment, we are trying to secure all of the financing for the conference edition which is an important thing, of course. Sponsors and things like that. We have a rough outline of topics for the conference which we are going to fill in starting the first of September. Regarding the talent, we have a deadline for people to submit material, which is the first of September.

Over 300 new European acts will be chosen to perform.

Yep. We wait until we have all of the material. Then we can take a really good look. Of course, throughout the year we discuss (acts) with a lot of our partners. We also visit a lot of events, and festivals. We start preparing the program in September. We want to have the whole program ready, and finished by the end of October.

Who picks the bands to perform at the festival?

We have a committee that works on that, and we have two bookers. Robert Meijerink does the bookings of the European acts, and Joey Ruchtie does the bookings of the Dutch acts.

Eurosonic Noorderslag is organized by the Noorderslag Foundation in cooperation with Buma Cultuur.

Yes, we are a foundation with a board of 5 people. The chairman is Pierre Ballings, who is the managing director of the Paradiso venue in Amsterdam.

How many artist submissions do you generally receive each year?

It varies between 3,000 and 5,000 submissions every year. Some of them come through Sonicbids. A lot come direct through our website. We also work in close co-operation with all of the export offices in Europe, and with all of the radio stations united in the European Broadcasting Union--the EBU--and with all of the festivals that we work with in the European Talent Exchange in the ETEP program.

You use your partners and contacts as A&R sources?

Yes. We get a lot of suggestions and tips from the export offices, festivals, and radio stations. What we try to do, and what works in some countries better than in other countries, is that we ask festivals, radio stations, and export offices to please sit down and have a meeting together, and give us a joint list of what are the best new bands coming up in their territory. If, for some reason, they are not able to do this—as you know, some radio people don’t get on with festival people or they have totally different feelings regarding an act—then they can give it (a list) to us individually.

But in most countries, people have these meetings regarding what is the best new talent coming out of their territory to present at Eurosonic. So they provide us with a lot of names of acts. We take that very seriously. Of course, we are not working solely with our partners. We want everyone to send in material. We are also looking ourselves to what is happening everywhere. Like I said, we go to a lot of events and festivals. That way, I think that we are able to present quite a good picture of what is happening, and what the new happening acts are in January.

Eurosonic Noorderslag works with festivals within the European Talent Exchange. Are those the ones providing input on talent?

We currently working with between 80 and 90 festivals. These are our strongest partners.

Is being manager of Buma Cultuur your full-time job?


Do your different jobs ever conflict?

No, I don’t think so. In 1995, I was a promoter at De Oosterpoort (a theatre in Groningen), and I owned the conference. I went to Buma Cultuur asking if they could help out. At some point, the managing director said that if I knew so well how to spend their money that I should come there.

The festival was launched as a one-off event in 1986.

I started it as Noorderslag (in 1987).

Yes, but a year earlier, there was “Holland Belgium” with 10 Dutch and 10 Belgian acts competing at De Oosterpoort. A battle of the bands which Holland won.

Yes, and that was said in the press. That was funny because at that time, in the Dutch music press at least, it was all over the place that Belgian bands were the best bands that there were. People never wrote about Dutch bands at that time. I figured that there were some great band around like Fatal Flowers, and Urban Dance Band later on.

And there was the Amsterdam rock band Claw Boys Claw.

Yes, Claw Boys Claw. We didn’t think about these (cultural) things a lot at that time. It was just that we thought we had to come up with a festival. So let’s make it between Holland and Belgium. The football (soccer) games between Holland and Belgium are always important. So we thought we’d call it “Holland Belgium” and present bands from Belgium and from Holland. Everyone thought that these bands from Belgium were great, but on the Monday when the reviews from the papers came out, journalists were writing about what great bands we had in Holland.

Eurosonic Noorderslag began to include seminars and other industry events in 1993. How did that come about?

Holland is a small country, but for people in the music business, who are all based in Hilversum, it (the festival) is quite far away. (We started the seminars) because they had discovered our event, and found that it was easy to see all of these bands in one night. It saved them from going to all of these clubs every night. A lot of press were coming, and people from the music business came. You know how it is. They were discussing (the music industry) with each other at the bar. At some point, I figured that it made sense to do that (discussion) in a more organized way, and start a conference during the day to discuss how we can improve the business in Holland.

We didn’t have money—we still don’t have much money—but I remember that I took 500 guilders, which is about 2,500 Euros, out of my budget to organize this conference. I expected about 100 people to come the first year. To my surprise about 300 people turned up. Everybody thought, “Oh, this is worthwhile having a series of debates, and rooms to discuss all kinds of items.”

Eurosonic Noorderslag 2014 will spotlight Austria and its talent. You spotlight a different country every year. What’s the reasoning behind focusing on a single country?

Each year, we get more requests from a territory than we can place. By doing a focus we have the opportunity to present more acts from a territory. It gives us hands and feet to discuss in-depth the markets, the music scene, the specifics of a market and territory to what is happening at the conference. It gives us the opportunity to go a little bit deeper into the specifics of these markets, and the scenes.

We also keep a close watch on what’s happening (in different countries). At some point, we may say, “It might be interesting to pick this territory because there are a lot of things going on there. It’ll be interesting for other people to hear what’s going on there, and to see what’s happening too.” Then we contact our partners (in the chosen territory), and see if they also feel if this is the right time to focus on their territory.

That was the case with picking Austria for 2014? That you consulted with your Austrian partners, Radio FM4, the Frequency Festival, the Nova Rock Festival, and the Waves Festival?

Yes. Together with the Austrian Music Export office. They all joined forces on this.

Austria is a great talent source with such acts as Klangkarussell, Soap & Skin, Elektro Guzzi, Bauchklang, Clara Luzia, Ginga, and Steaming Satellites.

Austria is a small market, but there are some very interesting things happening there.

For more than a decade, the European Border Breakers Awards have been presented at Eurosonic Noorderslag.

Well, the nice thing about the European Border Breakers Award is that you see several acts appear more or less unknown at Eurosonic and they are picked up by several festivals or radio stations. Because of that fact, the year after they are able to pick up a European Border Breaker Award.

[During Eurosonic Noorderslag, the European Border Breakers Awards (EBBAs), European Festival Awards, Pop Award, Pop Media Award and Interactive Awards are all presented.]

What Eurosonic is really about is discovery.

Discovery of new talents. But it’s nice to award some acts who succeeded in crossing borders because that’s the aim of the event. We want to give the opportunity (for attendees) to discover acts, and for acts to be able to cross borders.

The other thing is that it (the award) enables us—somehow this is a nice side effect—also to present some bands who are, essentially, too big for us. Sometimes we get bands applying to us saying, “We’d like to perform.” Buy we have to say, “Well, we think that you are already so well known that we don’t feel that Eurosonic is the right spot for you.

It’s noteworthy that the festival primarily focuses on unknown acts.

That’s important, I think, for the professionals and for audiences. The professionals coming are not coming to our event to see acts that they already know. They want to see bands that they don’t know.

Any festival booker knows the established acts, and can cherry pick what they want. Instead of a booker being out 5 nights a week in clubs all over Europe, they can talent shop for four days at Eurosonic.


But well-known acts have performed at Eurosonic, including Franz Ferdinand, James Blake, the XX, Wir Sind Helden, Seeed, and the Raveonettes. At what level were those acts when they played the festival?

I think with Franz Ferdinand it was their second show on the continent.

Is Eurosonic not a response to the global dominance of American music as well as Europeans needing to develop their own acts?

That’s the idea. Correct.

Was the problem a few years back that the American acts were dominating markets throughout Europe?

Well, “problem” is a big word, but I would say that it is (more) a problem for European acts.

European acts trying to tour North America certainly face hurdles.

And crossing borders in Europe. That’s pretty hard because there’s a lack of pipelines in Europe for creative talent. For an artist from Holland to work in Germany, or to work in France or vice versa, it is much more difficult than for an American act to work in these territories. That has to do with a lot of things.

What things?

It’s a combination of factors. It’s due to the way that the business is organized. It’s the way media is organized. It also has to do, of course, with media in all of the European territories all being in a different language. So there’s a lot of reasons why this is the case.

Also for European bookers, radio programmers, and audience, there’s an exoticness attached to an American act performing in Europe.

It’s exactly as you say. What you are describing 10 or 20 years ago was more the case. It’s changing, however.

[It has traditionally been difficult for European artists to find their own market in Europe. It’s not any easier today, according to a 2012 report by Emmanuel Legrand, commissioned by the European Music Office and Eurosonic Noorderslag. The 120 page report showed how difficult it is for European artists to gain pan-European success, even if their lyrics are in English. For any rock act, the report indicated that it’s practically impossible.]

What’s the reason for the change?

I would say that, first of all, throughout Europe over the last 20 years, there has been a rise in quality, and the development of some very good acts. There are more and more good acts popping up everywhere.

Also the audience, in general, is more curious than they were.

When I started Eurosonic, friends of mine who are not in the music business—they like music and go to concerts now and then—they said, “Well, Peter you don’t think that I am going to buy a ticket for a band from Poland or Portugal do you?”

At that time, people found it a strange idea (to see bands from elsewhere in Europe) because they were not familiar with these (other) territories. Nowadays, it is more common. People have experienced good acts coming from around the world, including from Africa. Everywhere. So this is something that has changed.

There’s also the fact that we have the same currency in Europe over the past few years. Europeans tend to travel more, in general, on a global level as the world has become smaller. People now travel from Amsterdam to go to a festival in Hungary or wherever. So there has been a change.

Has the European Union—the economic and political union of 28 member states--made it any easier in opening doors for talent in the different countries?

Well (laughing) that’s a long story. Over the last, I would say, almost 15 years, we have been talking to the European Commission regarding the importance of music, and the importance of artists being able to cross borders to have access to European markets.

As I said, there is not that much circulation of European repertoire in Europe which is a problem, I think, primarily for the artists. For a promoter, in a sense, it doesn’t matter where the act comes from as long as the act is good and the audience likes it. If people buy a ticket, it’s fine. An artist needs to have a market in order to make money. It’s what they need to reach the audience and to make money from it (sales and performing).

When I started working at Buma Cultuur to promote Dutch music in 1995, I pretty soon thought, “Yes, it’s important to promote Euro music. We can promote forever, but if we don’t change the system, and the marketplace it will not really work.”

That kind of thinking by you and others led to the founding of the European Music Office.

Yes. The European Music Office was developed by a number of export offices to be able to speak with one voice, and as a music sector in Europe to the (European) Commission. To explain things to them. Politicians and decision makers within the political sphere are not usually totally aware of how the music sector, and the music industry works. So when you come to these people, and say, “I would like to talk to you about pop music or rock and roll,” they are like, “What do I have to do it with?” and “What’s the problem?” They see artists all around them. They see artists getting very popular on TV, getting rich, and getting into drugs. They have no clue about how the sector really is functioning.

It took some time to address this issue, and to find the right ear to discuss all of this. But we found that we were able to inform them, and to bring them figures and they started to understand. That’s when we started the European Border Breakers Award.

What I really think is a step forward is Creative Europe, the new cultural program (launched in 2011) from the European Commission. (Earlier) it was called Culture 2000, and it was Culture 2007 and so forth. Previously, I would say it was quite a traditional cultural strategy where there was no room for rock or pop artists to work in the framework.

Classical and opera music were being emphasized?

Correct. But we did a lot of talking with the Commission, and handed over a lot of paperwork, and research and so forth and they started to understand. The current Creative Europe program is much more a creative industry program. It is more designed for sectors like pop and rock music. I’m really glad about this because it means that they recognize the role that they have to play because each individual country can only promote their own territory. If put my Buma Cultuur hat on, I promote Dutch music. I cannot promote Polish or Portuguese music.

However, you can still put various parties in touch with other which, in turn, promotes Dutch music.


Ruud Berends (international marketing & PR, ETEP), and yourself developed the European Talent Exchange in 2003 to work with local festivals and radio stations. A strategy to further develop European acts throughout the continent?

Yes. The European Talent Exchange program was basically designed….A festival has a lot of power and possibilities. Festivals in Europe are extremely popular, and there are more and more each year. They attract a lot of people.

Festivals also have relationships with the media.

Correct. What normally works is that a festival can only book bands that have a certain name, and then they do some newcomers. Usually, the newcomer bands are local bands. For festivals, it was difficult to book bands from other European countries because they were not well known. Then there’s always the classic chicken-and-egg situation where the festival says, “Why should I book this band if radio is not playing the act?” Radio says, “Why should we play this act if they don’t have a record out, and there’s nothing happening in this territory?”

Everyone is waiting for something to happen. Then they have an excuse to work with the act. We figured that if we designed a system where a festival and a radio station decide at an early stage to work with a band then they can book the band on the festival. They are a good live act. If people see the act, they will like it. If the radio station sees them, they can say, “This is an act that I can work on my radio station.’ If they both agree to do so in January (Eurosonic Noorderslag) than by summer the act has been on the radio, which is an excuse for the festival to put them on the bill, which builds the band’s name, and it does the marketing for the act.

With the European Talent Exchange, there are partnerships with Yourope, Sena Performers, the European Broadcasting Union (EBU) and others .

It’s very simple system. We try to hook as many partners to build more promotion for the acts that are performing in this framework. It’s a very simple tool to promote acts in another territory than their own.

Over the years, such Dutch acts as Golden Earring, Shocking Blue, the Motions, Urban Dance Squad, Herman Brood, Tiësto, and Armin van Buuren have been popular in North America. Does success in North America still remain a goal for Dutch acts?

Yes. For sure. North America is always the dream for a lot of artists. And a lot of artists are definitely trying. Blaudzun, Skip and Die, Caro Emerald, Within Temptation, and Mozes the First Born, they are all really active (in America). I think that Mozes the First Born is going to do a tour later this year. I think they’ll be doing 25 shows in the U.S. Blaudzun is released on a U.S. label (Varèse Sarabande Records). The band has been to the U.S. quite often. Now they are preparing their second for next year I think.

Today, the music scene in the Netherlands is so diverse with metal, and electronic music being popular in the mainstream.

Well, electronic music really comes from the clubs, of course.

And electronic music easily crosses all borders because it has no lyrics.

Yep. In fact, in Holland there are commercial radio stations like Radio 538 playing dance music in the day time. A lot of music that might be considered niche nighttime programming in the U.S. is day time radio here..

You have a great love for music. Did you collect music growing up?

Yep. I spent all my money on records. I was working a record store which was a heaven, of course, being 18. The best job in the world, right? It was in Groningen. I was born in Amsterdam, but I studied art history and art management at Groningen University.

I remember Medium Medium, the UK act. I had 12-inch recordings from Medium Medium. Bauhaus coming up with "Bela Lugosi's Dead" (the group's debut single in 1979 on Small Wonder Records). The 12-inch. Great! Of course, the Wipers from the U.S. (the Portland, Oregon punk band). They were great.

You were a singer in a rock band?

Yes. I started as a singer a long, long time ago in a band called the Dark Ravens of Dance. You can imagine what kind of music that we made. We were a doom (rock) type of act. We did support for Psychedelic Furs, and the Sound. They were a great band, and friends of ours. I also played in the Fuckups.

You began promoting shows after leaving the record store?

I liked booking my bands a lot. Then I started booking other bands as well. I first did Dutch acts. I went with a lot of Dutch acts to Berlin. We played in Berlin a lot. There was a very healthy scene there. I brought back German acts to Holland. At the same time, which was quite funny, we squatted in a theatre in Groningen, The Grand Theatre, which we now use as a venue during Eurosonic. We did shows there with Glenn Branca, Rhys Chatham, Tuxedomoon and these sorts of artists. That was great.

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.

Larry is the recipient of the 2013 Walt Grealis Special Achievement Award, recognizing individuals who have made an impact on the Canadian music industry.

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.”


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Valerie Denn, Val Denn Agency 04/30/01
Val Denn, Val Denn Agency 03/06/14
Robert DePugh, Alligator Records 07/29/05
Tom Derr, Rock Ridge Music 10/29/04
Paul Dexter, Masterworks Lighting Design and Road Cases 12/10/04
Marty Diamond, Paradigm 01/22/10
Glenn Dicker, Redeye Distribution/Yep Roc Records 07/07/06
Barry Dickins, International Talent Booking Agency 06/06/13
Jim Digby, Event Safety Alliance 09/01/16
Mark Dinerstein, The Knitting Factory 11/17/06
Neill Dixon, Canadian Music Week 03/03/16
Thomas Dolby, Musician, academic, technologist, and author 11/09/16
Jasper Donat, Music Matters 2009/Branded 04/24/09
Jim Donio, National Association of Recording Merchandisers 04/22/11
Marc Dottore, M. Dottore Management 04/11/03
Tim Drake, The Roots Agency 12/12/08
Mike Dreese, Newbury Comics 11/23/11
Charles Driebe, Blind Ambition Management Ltd. 09/22/06
Jeremy Driesen, Ray Bloch Productions 09/07/01
Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of Denver’s Division of Theatres and Arenas 08/23/10
Paolo d’Alessandro, International Solutions 06/25/14
Ros Earls, 140dB Management 02/19/14
Art Edelstein, Festival Productions 12/01/02
Bruce Eisenberg, Audio Analysts 08/31/01
Martin Elbourne, The Glastonbury Festival 12/18/09
Michael Elder, Red Entertainment 03/17/06
Tod Elmore, Sixthman 11/24/06
Paul Emery, Clear Channel Entertainment 11/19/04
Arty Erk, Citrin Cooperman 04/27/16
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock ’n’ Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gélinas, Festival d’été de Québec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Chris Gero, Yamaha Entertainment Group 10/26/16
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Steve Gietka, SMG Entertainment 03/19/14
Darren Gilmore, Watchdog Management 03/17/16
Daniel Glass, Glassnote Entertainment Group 10/16/14
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Neil Goldberg, Cirque Productions 04/16/14
Martin Goldschmidt, Cooking Vinyl Group 09/29/16
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Andrea Johnson, ICM Partners 11/02/17
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Justin Kalifowitz, Downtown Publishing 04/20/17
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Elliot Lefko, Goldenvoice 09/21/17
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Jennifer Lyon, MeanRed Productions 01/18/18
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Música e Cultura 05/04/17
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Paul Reed, Association of Independent Festivals (AIF) 06/14/17
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Jack Ross, APA Canada 09/07/17
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Jonathan Shank, Red Light Management 12/13/17
Peter Shapiro, Ideal Entertainment 04/16/04
Peter Shapiro, Dayglo Ventures/Brooklyn Bowl 11/15/17
Seth Sheck, Access Pass & Design 01/03/03
Seth Sheck, ACCESS Event Solutions 06/22/16
Seth Shomes, The Agency Group 11/12/14
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Michael Simon, The Harry Fox Agency 08/14/13
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Peter Smidt, Eurosonic Noorderslag & manager Buma Cultuur 07/17/13
Garrison Snell, Gyrosity Projects 02/23/17
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
Nikki Solgot, Circle Talent Agency 02/18/15
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Deb Suckling, SUGARRUSH Music 07/27/17
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Mandar Thakur, Times Music 08/06/15
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
Adam Tobey, Concert Ideas 08/24/17
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Marsha Vlasic, Artist Group International 05/31/17
Mat Vlasic, Bravado 06/28/17
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Kirt Webster, Webster PR 02/03/16
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Adam White, Author 09/14/16
Lisa White, Pearl Street Warehouse 10/04/17
Adam Wilkes, AEG Live Asia 10/13/16
Fenton Williams, 04/04/08
Del Williams, Right Arm Entertainment 04/18/08
Bryan "Birdman" Williams, Cash Money Records 09/13/11
Paul Williams, ASCAP 10/19/11
J.P. Williams, Parallel Entertainment 10/03/12
Kurt Willms, Green Room Productions 09/20/03
Chris Wilson, Heartbeat Records 03/02/07
Tony Wilson, Factory Records/In The City 06/01/07
Tom Windish, The Windish Agency 07/26/10
John Wiseman, XL Touring Video 05/05/06
Thom Wolke, 02/08/02
Michael Wood, City Lights Entertainment 08/08/08
Keith Wortman, Blackbird Presents 03/22/17
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, 07/27/07
Jeremiah “Ice” Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
Kevin 'Chief' Zaruk, Chief Music Management 06/10/15
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Jason Zink, Emporium Presents 10/19/17
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06


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