Industry Profile: Richard Bengloff

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: Richard Bengloff, president, The American Association of Independent Music (A2IM).

How important are independent labels to the growth of the music industry?

Ask Richard Bengloff, president of the American Association of Independent Music (A2IM), the New York-based voice of 325 independent music labels, and his answer will likely impress you.

On an evangelical campaign to boost funding, support, and greater awareness of the independent music sector, Bengloff is hell-bent in making sure everyone understands that the music released by indies exerts a potent hold on this generation of music fans.

Bengloff, therefore, seeks to ensure that independents are seated front-and-centre at the table for any discussions affecting the music industry.

As well, he is continually seeking to further develop education and business initiatives for indies; and secure government funding for trade missions abroad in order to secure increased business.

In Bengloff’s words, A2IM’s label members are, "Small-business people who invest in their love of music to bring it to fans and at the same time try to make a living."

Since being named head of A2IM in 2007, Bengloff-- a former top level executive at Warner Music Group, Sony Corporation of America, and R.E.D. Distribution—has been credited for fostering closer working relations between the independent community and with the Recording Industry Association of America, and the Recording Academy that led to the opening of doors for the A2IM on Capitol Hill that resulted in trade missions to Asia in 2012, and Brazil in 2013.

Bengloff represents A2IM internationally, and he is an executive committee member of the musicFIRST coalition seeking performance right legislation to enact an AM/FM radio performance royalty in the U.S.

You have had a diverse music industry career, working for both independent and major labels, including the Warner Music Group, and the Sony Corporation of America.

Before that, I was at Important Record Distributors when we re-branded it as R.E.D. (Relativity Entertainment Distribution). I worked with Relativity (Records) and Combat (Records). So I was originally an indie. That’s where I met a lot of our members. I wouldn’t have this job if I hadn’t met those people in 1991, and 1992. That’s how I came into the music industry. I had been in the film industry (at Columbia Pictures Entertainment) prior to that.

Among A2IM’s roles is educating the music community, including advising labels and digital distributors, as well as maintaining a strong working relationships with other trade associations.

Absolutely. We have three pillars to our organization, and we have different partners with each pillar.

The first pillar is advocacy. Within advocacy, we work with the sound recording creator community as part of the mfirst coalition. Orphan works, for example, has been a big thing for us. We work with some people, and not with others. There are differences of opinion (between independents and major labels). There’s also net neutrality. Obviously, we have a different view than the majors on net neutrality.

So advocacy is very big (for our organization).

In practical terms, how does….

Some of it is national, and some of it is political. Some of it is state wide. When California put in the law about CD manufacturing about two years ago, we worked side by side with the RIAA in terms of turning our members out to lobby to make sure we were heard. Physical is still 50% of album sales (in the U.S.), and more depending on the genre of music, and we have members in every genre of music. So we were sensitive to it (the issue).

It could also be advocacy with international organizations, and it could be advocacy with individual companies.

Our second pillar is commerce. To get treated equitably and fairly, and to be an evangelist (for the independent community’s interests). To work with Merlin, and our other 20 plus colleagues that are members of the WIN organization (Worldwide Independent Network) to make sure we are involved, rather than as people (service providers) used to say, “Alright, I’ve got the four majors, I’m all done.”

The last one is member services. You will see that we are the extra employee (for labels). A lot of times, people have nobody else to call. So they will pick up the phone, and they will call us. We put out white papers. For Indie Week (The 8th Anniversary Indie Week was held in New York City, June 18-20, 2013) over 700 people showed.

Independent labels have different models. Some outsource their support functions while others create these support functions internally. What staff does A2IM have to be able to offer further support?

There’s 5 of us. What we do is that we use our members. The (committee) chairs are members of the committees which create the white papers. We put our membership to work.

A2IM is fairly new. Not even a decade old.

We celebrated our 8th anniversary in June.

In the past, lobbying in Washington, D.C. by the music industry had been somewhat limited to the RIAA or the National Music Publishers' Association on behalf of their members. Nobody was going to Washington on behalf of the interests of the indies. A2IM provides a united voice for diverse interests.

If you look at our board, it’s a pretty diverse group. Some younger (members), some older. We have a board (telephone) call 10 times a year, and an in-person meeting once a year. It’s an elected board on staggered terms. About one-third of the board comes up (for re-election) each year. We have 11 members on the board, and we come to a consensus. People listen to each other. What is really wonderful is that people might say that, “It’s not in our best interest for our particular label, but it’s in the best interest of the overall community” and we will come to a consensus 9 times out of 10.

[Elected A2IM board members and re-elected board members serve three-year terms The new board's term began July 4th, 2013]

The global independent rights association Merlin changed the perception of the indies in the marketplace. Are there any overlapping of interests between A2IM and Merlin?

I would say that approximately two-thirds of our members are also members of Merlin. They are different. They are a licensing organization. Under U.S. anti-trust rules, we are not allowed to negotiate collectively. We can do advocacy. That’s no problem. I do it all of time. Calling services, and telling them why (they should negotiate). Dealing with the services to get our fair share at Pandora or at any of the services. Those things I can do because that’s advocacy. But when you get to (talking about) financial terms, that’s where you run into anti-trust.

Merlin is strong because collectively it has I don’t know how many labels from around the world—[In fact, Merlin reportedly represents120,000 independent labels]—it dwarves our 325 labels—and they are able to negotiate licensing. Their focus is strictly on the licensing function, and making sure that our members are treated fairly and equitably by services like Spotify, Rdio, YouTube, Google and everyone else.

To give Merlin a plug, which they deserve, it’s not just (overseeing) on-going deals but with the lawsuit involving LimeWire (the P2P file-sharing company that was shut down by a U.S. federal court in 2010 due to a "massive scale of infringement), we were totally left out. The independent community on those types of lawsuits were being left out. The majors would get compensated, but our members would get left out, even if they were distributed by (distribution) arms of the majors. Well, Charles (Charles Caldas, CEO, Merlin) was able to get money from LimeWire (in an out-of-court settlement), and to get money from (peer-to-peer file sharing application) Kazaa. In addition to ongoing transactions for the infringement resolutions, he’s been able to put us on a footing where we get our share (in settlements). That our members get their share worldwide of what they should be getting.

[Launched at MIDEM in 2007, London-based Merlin is a non-profit organization representing independent labels, and distributors on a global basis. Merlin struck its first licensing deal in 2008 with the Sweden-based streaming service Spotify. The creation of Merlin made it a reality that there would be one global body representing the rights and interests of independents in such negotiations.]

Today: The best and worst of times for the independent music sector?

Well, it’s an industry that is transformed. As a result of the transformation, the good news is that now everybody has access that they never had before. The bad news is that everybody has the access that they never had before.

It’s the best of times in terms of access. It’s the best of times in terms of people understanding brands. The niching of media in general--not just the music industry--has very much played into our strengths of saying, “This is what our label stands for” although a lot of them (labels) can be in multiple genres, obviously.

In terms of the access, Glassnote Records doing a Mumford & Sons or Big Machine doing a Taylor Swift or my buddies at Dualtone Records doing the Lumineers—obviously they are selling less albums than they would have 30 years ago. But relative to what the base lines are there nowadays in terms of their revenue streams; in terms of their sales and streaming, with 10 or 12 different revenue streams, I think that we are more successful than ever.

One aspect of the internet with services like YouTube and Pandora is that people aren’t aware of what they are hearing is from independent sources.

There is no such thing as independent music. It is just music that is brought to you by independent labels. People don’t know (the difference). I teach at Hunter College. I also teach at different times for the MBA program. When I tell my students that Taylor Swift’s label, Big Machine, is one of our members they are very surprised. There’s Rounder which has released Alison Krauss and Robert Plant. Arcade Fire, obviously, on Merge. Adele was marketed in this country by Columbia Records, but it’s Beggar’s XL Recordings for the rest of the world. And there’s Mumford & Sons on Glassnote.

[According to Billboard Magazine, the 2012 year end SoundScan statistics revealed that independent labels grabbed 32.6% of U.S. recorded music sales. As was the case in 2011, independent labels outpaced each of the major label groups to snag the #1 sales sector spot followed by Universal, Sony, Warner Music and EMI.]

Stresses on the independent sector include the decline of bricks and mortar retail, and the general lack of deep radio support for many genres, except Americana.

Previously we couldn’t get into retail because we couldn’t afford the co-operative advertising, and get the space in the old retail. Although there were champions in Tower and Virgin, and the original big box stores. I’m not talking about Best Buy.

The second thing was that we couldn’t get on the radio because we didn’t have the 40, 50 or 60 person independent promotion staff, and we couldn’t afford the independent promoters. So we were really shut out of promoting our music to radio. It had to be done more grassroots through publicists getting the word out, and touring which is always a factor; even today with YouTube. But we had a harder time monetizing (music) because we couldn’t into the stores.

So the good is that while radio is still probably the most important thing (in marketing music), we are able to do okay at triple A (adult album alternative radio). We are doing alright at alternative. Not so good at R&B. I’m glad you mentioned Americana because I will be at the Americana Music Festival & Conference in Nashville (Sept. 18-22nd).

The independent sector has become more influential as the majors have had to deal with consolidations, and roster cut backs. iTunes, Spotify and Pandora are succeeding because they are offering their customers a full choice of major label and independent music.

What independents are giving nowadays is, as you say, because they are signing a lot less at the majors at this point. So our members have become brands. For example, if you want reggae, you are going to deal with our member VP Records, who found Sean Paul, and have Gyptian. At a class, I asked people what they liked. A woman rattled off Kaskade and Steve Aoki. I said, ”So you are familiar with Ultra Records, which is one of our members.

In many cases the independent labels are little more farm clubs for the majors who can tie up rights.

Well, those deals have been around long enough. In some cases, they (independent labels or artists) keep the back catalog, like the Black Keys. (Electronic dance music record label) Ultra has kept those artists, for example. VP has kept those artists in reggae. I can take you on a tour. Metal with Century Media and so on.

Independents have been able to become brands, and now we do have this access. So, although radio has been probably the most important thing, we have made strides in some of the formats. At least, there is Pandora. And Pandora is a wonderful thing because they are agonistic with the Genome project. They allow us to put our music in. It’s coded like everybody else’s music. They actually go out of their way to make sure that there’s a certain level of inclusion for independents. As a result, in addition to radio, we have Pandora. We have (satellite radio service) Sirius/XM with 25 million subscribers in the U.S. at this point. That’s a big number. Pandora’s actives are between 70 million on a month with in a country where the population is what, 320 million?

[Pandora is a pioneer in the business of streaming of music via the Internet, but the sector is getting crowded. Apple recently launched a competing service, and Spotify has gained a lot of followers, and may be doing an IPO next year.]

So the best of times is the fact is that you are promoting your music through Sirius/XM or through Pandora and it’s a two-fer. You are promoting your music and at the same time getting paid some first stream rates. Then, on the commerce side, everything is in Spotify. Everything is in iTunes. Everything is in Amazon. So you are always on the shelf. We actually do much better now than we ever did in terms of getting promotional spots for our music. That was very difficult I remember—and I have been on both sides working with major and indie labels.

On the flipside?

Then on the flipside. Where before you used to be able to just focus on selling shiny plastic discs with a metallic cover, now you have to get revenue from 10 or 12 sources, including performance income, including SoundExchange money, and including money from streaming services that are non-statutory. You have to support a much broader base of revenue streams, and people have to support those streams of revenue. So labels need certain staffs. Some of it, they can outsource. Some of it, they have to do internally. But the overall revenue stream is smaller.

Due to smaller revenue streams, American labels have reached the point where unless they get legislation in protecting copyrights from infringement, and also get performance income, it will be difficult for them to have a sustainable business model. Meanwhile, the fight for performance income has gone on for over two decades in the U.S.

Maybe double or triple that. It goes back to (Frank) Sinatra in the ‘60s and ‘70s. John Simpson (John L. Simpson, former executive dir. of SoundExchange and overseer of the musicFirst coalition) is a great historian who goes through this (issue). You start with 1909 which was the first recognition of copyright value (in the U.S.). It (a performance right) has poked up its hand periodically since then. I’m on the musicFIRST steering committee—the group made up of artists and labels trying to make this happen. We are going to keep pushing this along.

[musicFIRST is the coalition of music creators formed in 2007 to lobby Congress for a sound recording “performance right” when music is played on AM/FM radio under the proposed Performance Right Act which has passed the judiciary committee of both houses of Congress.]

Without A2IM, I’m not sure the indie labels would get their phone calls returned in Washington, D.C.

I really appreciate your perception of where we are because the perception becomes the reality. It’s still difficult.

You recently noted that, “The U.S.’s share of the international music market was 34% in 2005. Last year it was 27%.”

My percentage was from the recent IFPI (International Federation of the Phonographic Industry) statistics. What I’m talking about is the U.S. market as part of the world marketplace. it’s Adele being sold in the U.S. or some German metal band or some band from Australia. The U.S. marketplace size in terms of overall commerce has shrunk. It actually rebounded last year a point to 27%. Two years earlier, it was 26%.

Traditionally, America has been the biggest exporter of repertoire—by a wide margin. But there has been a shift in global sales patterns in recent years leading to the decline of American repertoire abroad.

I think what you are talking about is what the IFPI has not been publishing recently which is how well our repertoire travels overseas. I wish that they still had that data. What you are talking about is a hurdle for the U.S. market. Whether it is because people are spending some of their 160 hours a week on apps or watching movies or looking at their Facebook page or whatever it is; they are spending less money on music right now.

In recent years, there’s been the rise of domestic music in individual markets, particularly Italy, Germany, and Korea. Domestic repertoire has traditionally always been strong in Japan, and the UK.


After the U.S., according to the IFPI, the U.K. is the biggest exporter of repertoire. And, in the U.S., the U.K. is the second largest source of repertoire after American home-grown artists. Two years ago British repertoire actually outsold American repertoire in America.

I’m not surprised at all. Between Adele, and Florence and the Machine, there were a lot list of artists (from the UK).

[The decline of an American presence abroad largely stems from cultural differences. Musical genres that have fed the American market in the past 15 years, including rap, hip hop and country music do not tend to sell well overseas.]

With the decline of American repertoire worldwide. it may be tough for your members to expand their businesses abroad without having significant federal and state government support.

I went to MIDEM for the first time 7 years ago. I walked around, and I saw Sounds of Australia, and stands for the Nordic countries, Canada, Sri Lanka, name a country.

It became very apparent that they were getting some level of funding from their governments for their stands.

As well, we started asking questions of our colleagues. That’s one of the great things about Alison Wenham, and the World Independent Network of which she is the overall chair. There are over 20 organizations like AIM (The Assn. of Independent Music, the non-profit U.K. trade organization), A2IM and ABMI (Associacao Brasileria da Musica Independente in Brazil,) which are members. So I am able to pick their brains. So I said, “What about us?”

Duncan McKie then at CIMA (president of the Canadian Independent Music Assn.), my German colleagues, and other friends shared figures with me in terms of how much support that they were getting from their governments. Of course, in the United States, we weren’t getting any support from our government.

So we looked at the numbers, and said, “Jeez, we are only at a low percentage of the market, and we are not doing anything to make our music more attractive overseas. To have a viable business, not only do you need to get revenue from 8 to 12 different sources to keep your label, and your artists healthy on an independent basis, but you are also going to have to look at overseas intelligently to pick certain markets where you could do well.

You mentioned Japan earlier. Twenty plus years ago, when I was working for Relativity/Combat, we knew that Joe Satriani and guitar heroes like him would do well overseas.

[In contrast to America’s limited trade policies for exporting music, British government investment helps British companies and artists compete on a global scale. U.K. Trade and Investment (UKTI), a government organization, invests and helps promote U.K. artists abroad. UKTI provides funding for artists, has trade missions to key markets (including the U.S., Japan, China and India), and offers the help of trade advisors for working in other countries.]

So what did you do?

I went down to Washington. We have all sorts of allies in Washington. Daryl Freidman, who works for the Recording Academy (Daryl P. Friedman, chief advocacy & industry relations officer for the Recording Academy) took us around and introduced us. Who says that artists and labels don’t get along? We don’t agree about copyright reversions, but we certainly care about copyright protection and we both work on the musicFirst steering committee to get a performance right.

So Daryl introduced us, and we met with the Export-Import Bank of the United States (the official export credit agency of the U.S.), and we met with individual congress people and we met with the Small Business Administration. We worked our way around commerce (United States Department of Commerce).

So I started getting statistics of what other countries were doing in our marketplace from my colleagues and friends and that was an eye opener to the people down there. So we were able to win the second time.

What reception did you receive in seeking funding?

All of them told us, “We don’t do that in the U.S.” I wasn’t going to take no for an answer. So they have this marketing development co-operative program through the Commerce International Trade Agency, ITA. They said, “Well, we don’t have a lot of money. We get a lot of applications. I’m not so sure you will be successful.”

So I did an application, and I got help in my application from my colleagues in Germany, and Duncan McKie in Canada. They fed me comparable (statistics and background) so I was able to do some of the work (for the applications). We went in, and we were turned down. I called up and asked, “Can I get a debrief as to what we did wrong?” The guy who runs the program, Brad Hess (dir. market development cooperator program at U.S. Department of Commerce—What a terrific person; really smart, and really well-organized--he said, “Sure, we offer that to anyone who asks for it.” So he gave me a debrief, and we came back and the second time, and we won. It’s a three year program that we are in the midst of. We are just starting the second year.

At the same time, as you alluded to, the administration’s national Export Industry initiative started, the STEP program. I a found out about it from some guy from Denver who was on loan to Washington when I happened to be down there three years ago.

This led to the historic A2IM trade mission to China in 2012?

Well, you are going to be my straight man then. The first trip we took to China. First, we got money from the U.S. Small Business Administration In conjunction with a State Trade & Export Promotion Program. It was a partnership between individual states. So we got support from New York, and Tennessee with the Small Business Administration. Our members had to contribute about 20% to 25% of the trip. To have some skin in the game. You don’t want anyone just free riding, right? You want people to have some incentive.

We intelligently picked the members that came. We brought a delegation of 15 label companies that came over plus a couple of non-labels. The total delegation was 18 people.

The people we brought with us had to be more instrumental-oriented. I had people applying to go on the trip that were singer/songwriters, where the lyrics are very important. I said, “That’s just not going to work.” So we took some classical, some Latin (labels). We took people like VP Records and Ultra where the beats are important. There are so many things for China where the lyrics had better be less important. We brought the right people to the marketplace. We were extremely well-received.

Why China?

To get the money, we had to go to China. It was part of the administration’s STEP program. You got extra points for going to China. We wanted to go to China anyway. China, we are old friends from MIDEM, CMJ, and CMW (Canadian Music Week) because they were one of the host countries. So we know them very well. That’s why we went to Shanghai as opposed to Beijing and then we went to Hong Kong.

The trade mission also went to South Korea.

We said, “If we are going to China, what are we going to before and what are we going to do after? Yes, we went to Seoul. We went to Shanghai, and we went to Hong Kong. When we were in Hong Kong, we met with people who were there from Singapore and Malaysia. People coming in from other markets. We were hosted by the Music Matters’/Branded Asia people. They were wonderful hosts. We had wonderful hosts in all three locations.

In the past few years, South Korea (officially the Republic of Korea) has embraced international acts.

The only place that we went in cold was Seoul. It was really shocking because most of our members had never done business in Seoul before, and (South Korea) is one of the world’s biggest digital markets. We were well received. We worked with the U.S. Commerce Department there since we didn’t have connections. We also worked with JC Ahn (business partner and international director, VU Entertainment), and Bernie Cho (president of DFSB Kollective). They had all of the connections. We worked with them through (global music business consultant) Robert Singerman who was along for the trip. He’s an internationalist. As a result of that, we were so well received. The English language TV, radio, newspapers, everybody was out to meet with us.

We had a wonderful event which the U.S. ambassador hosted for us. (American guitarist) Larry Carlton happened to be in (South) Korea. So we had a reception that the U.S. ambassador hosted at his residence. I said to Larry’s 335 Records GM Robert Williams who was with us, “Invite Larry to join us.”

How did A2IM come to take 11 labels to Brazil this year with a trade mission co-funded by U.S. Commerce ITA?

We took 11 labels to Brazil. But we also have something that we did at MIDEM last year and we are doing again. That’s sort of Export 101 Foreign Trade as opposed to Brazil which is Export 102.

Our colleagues, ABMI (Brazil Independent Music Association), the sister independent organization, and Luciana Pegorer is the head of that organization (ABMI’s managing director). I saw her at MIDEM last year, and she told me that they were having a conference. I said, “Do you mind if we crash, and we will pick up some expenses?” That mission was funded by U.S. Commerce ITA. It was about a 50/50 share (with labels).

With Brazil, we went to their convention because everybody was there. Som Livre is the largest record company in Brazil, and they were there. Kappamakki and iMusica, the two biggest digital people, were there.. All sorts of sync licensing people. We met with the PROs (performance rights societies), Abramus and UBC (União Brasileira de Compositores).

It was really a 102 (experience).

When you look at the list of labels that went, it was a sophisticated list of labels that went. People, with the exception of one, that all been to MIDEM before so they were doing it but it was new to them. People who were sophisticated enough to take advantage of it. Then it becomes an issue because you say, “You only had 11 members there. Not so great.” If you look at our website, and if you’ve got our newsletter, you would see that we introduced people who were not there for a digital deal that these are the two companies that you probably want to contact. If you are looking for a label deal, here’s who you should probably contact.” We shared it with our entire membership at large. Then we got calls from members.

[American label delegates traveling to Brazil between March 19th and March 22nd, 2013, and visiting Rio de Janeiro and São Paulo, included: Robert Williams (335 Records), Paul Dryden (ATO Records), Seymour Stein (Blue Horizon Records), Bruce McIntosh (Codigo/Fania), Phil Waldorf (Dead Oceans), Jurgen Korduletsch (Lollipop/Radikal), Tor Hansen (Yep Roc Records), Jim Selby (Naxos of America), Randy Chin (VP Records), Tor Hansen (Yep Roc/Redeye), Alexis Bemis (Brassland), and Joachim Becker (Zoho Music).]

China and Brazil are countries in transition, as is India which I’m surprised you didn’t visit while in Asia.

Your magic word is BRICS. That’s what you are talking about. You just didn’t use the acronym which I know you know. When is it a cost effective time to go into the BRICS countries? I do have conversations with our government in India. BRICS is (about) what time do you go into the marketplace and be able to get your return on investment.

[BRICS is an acronym that stands for Brazil, Russia, India, China and South Africa. BRICS countries represent 43% of world’s population, 18% of global trade, attract 53% of the foreign capital, accounts for about 25% of global gross domestic product on purchasing power parity basis and are currently generating about 45% growth of the world economy.]

In the past the U.S. federal government didn’t do any funding of labels because American music dominated internationally.

If I went into how much work I had to do to get this money, it would be like I was bragging to you.

Is there a greater recognition by the federal government now for the need to fund to the independent music sector for exporting its music?


It’s not like the independent sector is coming cup in hand seeking a handout. It’s about more jobs, and building a balance of trade.

When the administration first announced the National Export Initiative, they talked about products that are easily exportable. I went, “Well, that’s us.” They said that the future is going to come from small and medium sized enterprises—what they call MFEs. That’s us again. (Music) is easily exportable and, as a result of making these exports, it improves our balance of trade; and, as a result of improving our balance of trade, being able to create jobs.

The big drivers are going to be small and medium enterprises Small becoming medium, and medium becoming larger than medium to create all of these jobs. You should read Tor Hansen’s testimony to Congress. It’s on our website. Tor runs Yep Roc/Redeye Distribution which he and Glenn Dicker started 15 years ago in a basement. Two wonderful guys. Now they have over 60 employees. He represented us in Washington, D.C. at a judiciary panel on copyrights and innovation.

[On July 26, 2013, the Congress’ House Judiciary Sub-Committee on the Courts, Intellectual Property and the Internet held a hearing on “Innovation in America: The Role of Copyrights.” A2IM board member Tor Hansen (Yep Roc/Redeye) testified on behalf of both his company the overall A2IM independent music label community.

Among the issues facing the independent label sector outlined by Hansen were:

* The need for royalty rate parity for all copyrights, as the value of a song should not be determined by which music label created or owns a song as all copyrights are created equally.

* The need for government support of an AM/FM sound recording royalty for over-the-air radio play, which would also ensure international trade reciprocity for the overseas radio performance royalties that U.S. labels and artists generate but do not currently receive from overseas.

* The need to support U.S. Intellectual Property commerce overseas to improve our U.S. sector.]

As many of the international music services launched, they immediately made deals with the major labels, and often overlooked the independents. Have those days gone?

Merlin has done a terrific job on an international basis of making sure everybody understands the importance of independent copyrights. (Beggars Group chairman) Martin Mills, who I have unbelievable respect for, brings up the point—and I bring it up all of the time---I’m not a musical snob. I may not like One Direction-- it doesn’t matter whether it’s a major label which it happens to be or independent—but they have an audience. What they are doing, they are doing well.

All of the different types of artists under my genre umbrella may have different levels of fandom sort of speak in terms of the number of followers that they have, and in terms of Twitter followers and so on. But they do what they do well, and their copyright is worth just as much as anybody else’s’ copyright. So one play of Girl In A Coma (the indie rock band from San Antonio, Texas) should be compensated for the exact same amount as one play with Adele. But Adele, because she might get listened to 20 times more, gets compensated more because of her popularity.

You are talking with the streaming services?

Yeah, with the streaming services, for example. Or on iTunes if they are both putting it up on there. If they are selling individual tracks.

The free market is about demand. Product more in demand sells at a greater price in any store. The argument for different tier payments for tracks is that the labels are selling hit or popular tracks.

I think that happens via synchronization licenses and some of the other revenue streams. And I think that some of the others have become more commodity type pricing. Listen, Mumford & Sons on Glassnote put a $14.98 version of their album out on iTunes which is different. It included some B rolls, and some extra videos. They were pushing the price. According to Billboard over 80% of the digital purchases—that shows the level of fan support that they have—that went through Apple were at that higher $14.98 price. So I agree with you in that they should get a higher price if they are giving the consumer more value.

You are arguing for equitable pricing on all individual tracks.

Right. If Spotify is doing something, they should each be valued (the same). They are valued the same if they are both going through Pandora or if they going Sirius/XM or something else.

Despite the popularity of music from independent label sources, digital services do not often provide independent music labels with a proportionate amount of landing page promotional opportunities, deck promotional opportunities on mobile, and so on.

It still happens.

But not as bad as it was?

Not as bad at all. We are able to wake them up, and within the service provider community, we now have our evangelists. People who have done business with us before. Why is Pandora so successful? One of the reasons is that part of the music discovery is that they are introducing a lot of independent artists that never got introduced before. Sirius/XM likewise and in some of the documents that we have seen they talk about how much of their independent helps their overall.

The ongoing fight with Pandora over royalties goes on.

Yes, I’m hoping that at some point we will have some settlement.

It must be a concern to your members.

Pandora is very important for us. Pandora is agnostic is how it ingests its music. It scores it. It decides whether they think it worthy or not to be on their service. They have created a very level playing field for us. I would say the very same is true for programmers at Sirius/XM . Anyone outside of the traditional terrestrial radio area.

Pandora seemingly doesn’t want to pay the fitting freight for music.

Well, Pandora (sighing), I’m hope that at some point there will be an amicable solution between them and the industry because we are very big on how Pandora treats us otherwise. I believe that there are people out there that would just as soon that Pandora would go away because they can’t control them like they can other forms of media.

[Despite the significant access that Pandora gives Independents, A2IM opposed the Internet Radio Fairness Act proposed by Pandora, Clear Channel, CEA and others which, if passed, could have reduced internet royalties paid to SoundExchange.

A new bill may be re-introduced under a different name and could have different language than the one seen last year.

Meanwhile, SoundExchange recently filed a lawsuit against Sirius/XM over the computation of royalties that it collects from Sirius/XM on behalf of the sound recording community. The lawsuit states that Sirius/XM incorrectly excluded from gross revenue performances of pre-1972 recordings, and made other deductions, and incorrect computations. This lawsuit is separate from the recent lawsuit filed by the Turtles regarding pre-1972 copyrights.]

How important to your members are the numerous music industry conferences?

MIDEM is very important---not withstanding a lot of people not feeling that way anymore—because everybody is there. We prepare our people if they haven’t been there before in terms of making appointments in advance and counseling them on who they should and shouldn’t meet with.

Preparing them to pay $35 for a bottle of beer.

And in the rain and the cold in January. That’s the thing that gets me every year in May when it’s there for the Cannes Film Festival. This confirms my relative importance (as part of the music industry). We have an outside terrace (there) which makes it worse because 50% of the time we can’t use it.

South by Southwest?

MIDEM is the business event. South By South West is a wonderful event. I go every year. It’s one of my favorite events of the years. It’s a music event; it’s not a business event. You will have business meetings while you are at South by South West but you have to go and find them. You have to plan them far in advance. “I’m going to meet you a 5 o’clock for coffee here.” We have a breakfast on the second day of Music (conference). This year, we had over 260 people over a three hour period. We schedule one-on-one meetings with publishers. licensees of music, and music supervisors with our members. We also do ones on ones with service providers, people like Pandora, and Spotify; whatever those services might be with our members. We go to Music Biz which is run by NARM (The National Association of Recording Merchandisers) which enables us to get together with our L.A. members as well. That’s become more of a tech conference than a retail conference. I think that Canadian Music Week (in Toronto) is one of the best conferences that I have ever attended because it’s a conference that has a little bit of everything. It’s a real umbrella.

But our members have limited resources. Notwithstanding the $35 for a glass of beer, they tend to not to leave the United States, except for MIDEM and these trade missions. It is strictly a cost issue.

Of course, there’s also the New Music Seminar conference and festival held annually in New York City.

Tommy Silverman is one of the founders of our organization, and has been one of the standard-bearers of the independent movement for over 30 years. The independent label movement would not be where it is without Tom Silverman. No question.

[A2iM awarded its Lifetime Achievement Award to Tom Silverman, founder of Tommy Boy Records, and the co-founder of the New Music Seminar on June 20, 2013.]

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.”


Industry Profile Archives:
Mick The DJ, DJ/Enterpeneur 04/30/15
Jeremy Lascelles & Robin Millar, Blue Raincoat Chrysalis Group 12/01/17
Joanne Abbot Green, CMJ Music Marathon and Film Festival 10/17/08
Lee Abrams, XM Satellite Radio 11/28/03
John Acquaviva, Fund Manager, DJ and Serial Entrepreneur 07/09/15
Jay Boy Adams, Roadhouse Transportation 05/04/07
Jamie Adler, Adler Entertainment Group 05/11/07
Gary Adler, National Association of Ticket Brokers 12/04/13
Rodney Afshari, Freeze Artist Management 03/01/02
JC Ahn, VU Entertainment 04/10/13
Steve Alaimo, Vision Records & Audio Vision Studios 05/26/06
Jaye Albright, Albright & O'Malley Consulting 07/19/10
Randy Alexander, Randex Communications 10/12/07
David Alexander, Sheer Publishing 07/21/16
Eva Alexiou-Reo, FATA Booking Agency 05/14/15
Marcie Allen, Mad Booking 12/14/00
Jeff Allen, Universal Attractions 08/16/02
Marcie Allen, MAC Presents 06/05/09
Marcie Allen Cardwell, MAC Presents 12/21/07
David Allgood, Bama Theatre 01/03/11
Patrick Allocco, AllGood Concerts 10/05/07
Michele Amar, French Embassy 05/26/16
Mike Amato, Rok Tours International 02/02/07
Jeff Apregan, Apregan Entertainment Group/Venue Coalition 09/30/15
Billy Atwell, AMP Studios 12/13/07
Bob Babisch, Milwaukee World Festivals Inc. 04/02/15
Tom Baggot, 05/02/03
Stephen Bailey, EPACC & Deleware Center For The Arts 02/06/04
Cary Baker, Conqueroo 05/11/11
Vince Bannon, Getty Images 07/05/11
Phil Barber, Barber & Associates 02/04/01
Camille Barbone, WineDark Records 12/09/05
Erin Barra, Musician/Producer/Educator 07/10/14
Ben Baruch, The Fox Theatre 09/27/08
Ben Baruch, By Larry LeBlanc (CelebrityAccess) 04/05/17
Paul Bassman, Ascend Insurance Brokerage 08/03/16
Adam Bauer, Fleming, Tamulevich & Associates 02/15/02
Ed Bazel, That's Entertainment International 10/05/01
Joachim Becker, ZOHO Music L.L.C. 01/12/07
Howard Becker, Comet Technologies 05/02/11
Mark Bego, Author 06/15/07
Jim Beloff, Flea Market Music 09/20/10
Richard Bengloff, The American Association of Independent Music (A2IM) 09/12/13
Seth Berg, South Bay Music 01/30/09
Aimee Berger, 2 Generations SPA Music Management 09/24/04
David Berger, Future Beat 10/29/14
Barry Bergman, Music Managers Forum 03/14/03
Steve Bernstein, Relix LLC 09/30/05
Mark Berry, Attack Media Group 04/07/07
Scott Billington, Rounder Records 01/17/12
Jeffrey Bischoff, Cinder Block 03/24/06
Sat Bisla, A&R Worldwide/ Musexpo 03/29/10
Nina Blackwood, Sirius Satellite Radio 07/14/06
Adam Block, Legacy Recordings 11/07/13
P.J. Bloom, Neophonic, Inc. 01/24/11
Rishon Blumberg, Brick Wall Management 06/27/03
Justin Bolognino, Learned Evolution, and The Meta Agency 04/25/13
Steve "Chopper" Borges, Total Pro and Borse Techos 03/03/06
Les Borsai, Mediocre Management 01/30/04
Shane Bourbonnais, Live Nation Canada 03/21/08
Jeff Bowen, Sears Centre Arena 03/13/08
Rick Bowen, Mystic Music Experience 07/11/08
John Boyle, Sanctuary Music Group 03/19/04
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, 10/31/03
Jay Cooper, Greenberg Traurig, LLP 05/23/11
Julie Coulter, Near North Insurance Groups 06/07/01
Amy Cox, Deep South Entertainment 02/09/07
Michael O. Crain, Crain Law Group, LLC 10/09/13
Charlie Cran, The Strawberry Music Festival 04/05/10
Jim Cressman, Invictus Entertainment Group 06/06/12
Russ Crupnick, MusicWatch, Inc. 07/23/15
Todd Culberhouse, Vision Management /Vision Records and Entertainment 09/05/08
Tony D'Amelio, Washington Speakers Bureau 04/21/06
Ruth Daniel, In Place of War 08/09/17
Ray Danniels, Standing Room Only Management, and the Anthem Entertainment Group 03/05/15
Ken Dashow, WAXQ-FM (l04.3 FM) - New York 09/08/06
Hal David, Lyricist 07/26/11
David Davidian, Independant Lighting Designer/Director 06/18/04
Anthony Davis, D&L Entertainment Services, Inc. 03/02/01
Chip Davis, American Gramaphone/Mannheim Steamroller 05/31/02
Mitch Davis, Tempest Entertainment 07/16/04
Jeff Dawson, Canadian Recording Services 06/08/08
Desiree Day, USO Celebrity Entertainment 08/10/01
Shauna de Cartier, Six Shooter Records/Six Shooter Management 10/23/13
Gene DeAnna, The Library of Congress 02/21/12
Vincent Degiorgio, Chapter 2 Productions 08/01/13
Tony DeLauro, DeLauro Management 12/23/04
Valerie Denn, Val Denn Agency 04/30/01
Val Denn, Val Denn Agency 03/06/14
Robert DePugh, Alligator Records 07/29/05
Tom Derr, Rock Ridge Music 10/29/04
Paul Dexter, Masterworks Lighting Design and Road Cases 12/10/04
Marty Diamond, Paradigm 01/22/10
Glenn Dicker, Redeye Distribution/Yep Roc Records 07/07/06
Barry Dickins, International Talent Booking Agency 06/06/13
Jim Digby, Event Safety Alliance 09/01/16
Mark Dinerstein, The Knitting Factory 11/17/06
Neill Dixon, Canadian Music Week 03/03/16
Thomas Dolby, Musician, academic, technologist, and author 11/09/16
Jasper Donat, Music Matters 2009/Branded 04/24/09
Jim Donio, National Association of Recording Merchandisers 04/22/11
Marc Dottore, M. Dottore Management 04/11/03
Tim Drake, The Roots Agency 12/12/08
Mike Dreese, Newbury Comics 11/23/11
Charles Driebe, Blind Ambition Management Ltd. 09/22/06
Jeremy Driesen, Ray Bloch Productions 09/07/01
Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of Denver’s Division of Theatres and Arenas 08/23/10
Paolo d’Alessandro, International Solutions 06/25/14
Ros Earls, 140dB Management 02/19/14
Art Edelstein, Festival Productions 12/01/02
Bruce Eisenberg, Audio Analysts 08/31/01
Martin Elbourne, The Glastonbury Festival 12/18/09
Michael Elder, Red Entertainment 03/17/06
Tod Elmore, Sixthman 11/24/06
Paul Emery, Clear Channel Entertainment 11/19/04
Arty Erk, Citrin Cooperman 04/27/16
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock ’n’ Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gélinas, Festival d’été de Québec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Chris Gero, Yamaha Entertainment Group 10/26/16
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Steve Gietka, SMG Entertainment 03/19/14
Darren Gilmore, Watchdog Management 03/17/16
Daniel Glass, Glassnote Entertainment Group 10/16/14
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Neil Goldberg, Cirque Productions 04/16/14
Martin Goldschmidt, Cooking Vinyl Group 09/29/16
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Andrea Johnson, ICM Partners 11/02/17
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Justin Kalifowitz, Downtown Publishing 04/20/17
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Elliot Lefko, Goldenvoice 09/21/17
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Jennifer Lyon, MeanRed Productions 01/18/18
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Música e Cultura 05/04/17
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Paul Reed, Association of Independent Festivals (AIF) 06/14/17
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Jack Ross, APA Canada 09/07/17
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Jonathan Shank, Red Light Management 12/13/17
Peter Shapiro, Ideal Entertainment 04/16/04
Peter Shapiro, Dayglo Ventures/Brooklyn Bowl 11/15/17
Seth Sheck, Access Pass & Design 01/03/03
Seth Sheck, ACCESS Event Solutions 06/22/16
Seth Shomes, The Agency Group 11/12/14
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Michael Simon, The Harry Fox Agency 08/14/13
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Peter Smidt, Eurosonic Noorderslag & manager Buma Cultuur 07/17/13
Garrison Snell, Gyrosity Projects 02/23/17
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
Nikki Solgot, Circle Talent Agency 02/18/15
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Deb Suckling, SUGARRUSH Music 07/27/17
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Mandar Thakur, Times Music 08/06/15
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
Adam Tobey, Concert Ideas 08/24/17
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Marsha Vlasic, Artist Group International 05/31/17
Mat Vlasic, Bravado 06/28/17
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Kirt Webster, Webster PR 02/03/16
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Adam White, Author 09/14/16
Lisa White, Pearl Street Warehouse 10/04/17
Adam Wilkes, AEG Live Asia 10/13/16
Fenton Williams, 04/04/08
Del Williams, Right Arm Entertainment 04/18/08
Bryan "Birdman" Williams, Cash Money Records 09/13/11
Paul Williams, ASCAP 10/19/11
J.P. Williams, Parallel Entertainment 10/03/12
Kurt Willms, Green Room Productions 09/20/03
Chris Wilson, Heartbeat Records 03/02/07
Tony Wilson, Factory Records/In The City 06/01/07
Tom Windish, The Windish Agency 07/26/10
John Wiseman, XL Touring Video 05/05/06
Thom Wolke, 02/08/02
Michael Wood, City Lights Entertainment 08/08/08
Keith Wortman, Blackbird Presents 03/22/17
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, 07/27/07
Jeremiah “Ice” Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
Kevin 'Chief' Zaruk, Chief Music Management 06/10/15
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Jason Zink, Emporium Presents 10/19/17
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06


Return to front page of ENCORE

© 2001-2018 Gen-Den Corporation. All rights reserved.
CelebrityAccessSM and Gen-DenSM are service marks of Gen-Den Corporation.

** ENCORE readers and those that utilize ENCORE features are bound by the ENCORE NEWSLETTER USE AGREEMENT. If you choose not to be bound by this agreement, please discard the e-mail and notify us of your desire to be removed from future mailings. **