Industry Profile: Erin Barra

This week In the Hot Seat with Larry LeBlanc: Erin Barra, educator, musician, songwriter, producer, engineer, and audio-technology consultant.

Erin Barra maintains a music career in which she keeps re-inventing her place in the sun.

Rather than being defined by any one label--educator, artist, songwriter, producer, engineer, audio-tech consultant, or digital technology innovatoróthis 29-year-old Berklee-schooled multi-instrumentalist views herself as a creator working with others seeking to integrate digital elements into their productions or performances.

Brooklyn-based Barra is highly acclaimed in music-tech circles through her role as a product specialist for the German music tech company Ableton. Several years ago, she taught herself how to use Ableton Live, a digital audio workstation that has allowed her to combine digital samples with songwriting, and create a hybrid technical creative performance onstage.

Prior to the June, 2014 release of her 5-song EP ďUndefined,Ē Barra offered up isolated stems of her masters for free in partnership with Blend, the file sharing and collaboration platform. The stems then generated hundreds of versions in varied musical genres from electronic musicians and remix artists around the world.

A classically trained pianist, Barra is the creator and instructor of Beats By Girlz, a recording arts and music technology initiative, being presented at the Lower East Side Girls Club in New York City that encourages young women to further their passion for music production and DJing.

Barra grew up in Salt Lake City, Utah where her father owned a high-end audio store. He also built a dedicated listening room at home where Barra spent hours listening to music.

With a songwriting degree from The Berklee College Of Music in Boston, Barra then landed a job as a bartender--and later as a performer--at the famed New York venue, SOBís.

In 2010, Barra released her debut album, ďOne Woman Army,Ē powered by the Ableton Live, a looping instrument that allowed her to perform solo, using only keyboards and samplers. Her second album, ďIllusionsĒ (2012) was distributed by Black Heart Records.

Most recently Barra has turned to co-writing and producing records for others, including Seattle-based singer/songwriter Rita Boudreau.

Barra recently received news that sheís been hired as an associate professor at her alma mater, the Berklee College of Music.

You wear so many different hats in your career.

I do. Itís part of being in a volatile industry.

How do you view todayís music industry?

I feel that if anybody had a blueprint, or knew what was going on, or knew what was going to happen, we would be in a much better position. Iím not one to say that this is what is happening or this should be happening. I am constantly trying to adapt, and be part of the solution rather than whatever is the problem. If people are streaming, then streaming it is. If people want session files, then I will give them session files. The point really is to make music. Most people donít have the opportunity to even do that. I am just counting my blessings, and going with the flow.

Making it in the music business today means something different than it once did. Itís no longer clear what making it is. Is it being able to maintain a living by touring and recording or appearing on ďAmerican Idol?Ē

I have no idea. A few years ago I had to redefine what my definition of success was. Five years ago, it was a lot different than it is today. I think that for any artist the goal is to be creatively fulfilled and, at least, be comfortable enough to live your life the way that you want to live it. For me, it is about being happy, having enough money to live comfortably, and being able to make music. For me, that is making it. If you can do that in the industry as an artistó even those finite goals--I think that is a huge, huge accomplishment for any artist right now.

What were your goals five years ago?

I wanted to be on a record label. I wanted to be an artist. When I was younger, especially, I was more ego-centric. Things have evolved, and I have matured. I care a lot less about those things today. I want to have a home. I guess I wasnít too concerned about those type of things 5 years ago. Iím not as committed to being an artist anymore. Honestly, I care more about helping other people make music and being able to make music the way that I want to.

Perhaps, that attitude is also a by-product of you turning 30 next year?

That is exactly what is happening. I guess at the end of the day itís all just a matter of being able to communicate, and get along with people. No matter what age they are or what they are doing (in life). It is all set into the same avenue in the end for me. I donít even separate them whether Iím doing really technical work, or Iím doing creative work, or when Iím networking. Itís all one and the same for me which I think is why i have had so much success lately.

So where are you going with your life?

Just last week, I signed with the Berklee College of Music. I am their newest associate professor. I accomplished that before I was 30. Iím going to have, I think, a really bright future ahead of me. So Iím not really stressed about it (my career)

Werenít you already teaching at Berklee?

No. I was a student. I graduated from their songwriting department in 2006.

But werenít you conducting workshops at Berklee designed to give songwriters greater facility with digital technology?

Iíve done some workshops there. Some ďWomen In TechnologyĒ weekends and things like that, but I have never been on faculty until last week.

What will you be teaching at Berklee?

Iím going to be teaching songwriting to begin with. If all unfolds as planned, I will be teaching in the electronic production and design department as well. I didnít even apply for the position. They picked me because the woman who runs the departmentówho has only been there for a few yearsóI guess, she had somewhat of a prerequisite in mind of who she wanted to hire. She wanted someone young. Someone who was already familiar with the curriculum, and the university, and somebody who was really tech savvy. And she wanted a woman. So I was all four of those things. Thereís a short list of people who can do the creative and the technical stuff and are a woman. A niche that I fit perfectly.

What is the curriculum you teach for Beatz By Girlz at the Lower Eastside Girls Club in New York?

I try to focus on having fun. Especially for kids, they donít want to be technical, and they donít necessarily want to learn. Their goal is just to get through the day, and to have a good time.

What age group are you working with?

Itís 10 to 13 year olds. I do a class for the moms as well. I think, it is, honestly, the same (approach). They have kids. The Andrew Glover Youth Program provides babysitters for the moms. Itís an opportunity for them to separate from their role of motherhood. They are there to have fun, as well. I try to focus on the fun aspect, and try to get less technical.

How do you go about doing that?

The analogy I draw mostly is to guitar playing. Little boys, predominantly, love playing guitars because itís a matter of putting their hands in the right places, and they are immediately making music. The knowledge of what string is associated with what note, using which chord, that knowledge is an optional thing or comes later on as they progress. I do the same thing with the technology. I take away some of the obstacles that people encounter in the beginning. Or I will walk though those things briefly; wash over them without getting too technical. Then we get straight to the music making, and the fun having. The idea is that they walk away from that situation saying, ďThis isnít hard. This is something that I could do. I saw a bunch of other women do it. Now, I want to continue to do it.Ē Thatís where the real learning begins. After, you have that initial personal commitment and realization that it is something that they also want to do.

The newer generation is far more experienced with computers. Are the girls more knowledgeable about digital technology than you were?

Oh yeah, definitely. But just in a different way. When I am working with the Girlz, they are so fast to pick up things. They move ahead so quickly using applications that I have trouble keeping up with them or finding ways to feed them information. Then when I encounter students at Berklee, they are using the same technologies but, maybe, with a different type of vocabulary. Kids are definitely way more savvy than I am. I donít think that they are more knowledgeable due to the fact that I have had a huge music education, and a lifetime that I have led thus far which really adds to my knowledge base. You canít replace that with being 15, and being really good with a computer.

You are currently producing several other artists.

I co-wrote, and produced a record for this Seattle-based artist Rita Boudreau. This is her first album. Iím editing the final lead vocals right now. Iíve done all of the track production. We will be going into a mix (session) in about two weeks. The album should be done in a month or a month and a half. I have been working on it since last year. We started writing it in November. So this has been a long process.

Sheís the first artist that youíve produced?

Sheís the first artist that I have done an entire record for. I have done lots of one-offs. A track here, a remix here, a co-write here and there. But I had never done a whole record for somebody. So itís been really fun. Iím also doing a record for New York-based artist Andrew Yang after I finish with this. Heís not a musician or a musical artist whatsoever. Heís more of a personality. We will be delving into making a record. Itís going to be really left and centre. Heís not a typical vocalist, but they want to make a really heavy electronic club music (record). So it will be a fun new challenge for me.

You seem to be working all the time.

Thereís so much going on between the teaching, and the record making and also with my own platform. I can only manage to bang out two records a year with the other work that I am concentrating on.

How does it feel as a producer when the pressure is not on you but on the artist?

I love it. Itís a lot less stressful. If I had to choose one of all of the things that I do, just one thing to focus on, it would definitely be writing and production.

Your recently-released EP ďUndefinedĒ features different remixes of tracks that evolved from the production platform Blend. How did that work out for you?

We came out of the situation with 9 remixes. The majority of the remixes were European. There was one guy from New Zealand, and a couple of Americans. It was an awesome experience. Blend is the answer to a lot of obstacles that I have come across collaborating remotely with people. File sharing and file management is a huge clique where music technology sort of falls short. Their platforms seamlessly allows you to share and collaborate in a way that Drop Box doesnít really cut it.

Blend is not the only contender out there. Thereís a lot of other cloud services that are coming up, and adding new functionalities. But generally-speaking, I had a great experience. There is also an archival system that goes along with it, With people commenting, uploading, and updating. You can look back and see how the process unfolded. I felt like I contributed to everybodyís remixes. I met with and worked with people that I would have never had an opportunity to without leaving my house.

[Blend is a collaboration network for music creators started by Alex Kolundzija, and built in New York City at the startup studio and seed stage venture capital company, Betaworks. On Blend, musicians and producers share in-progress music projects, and connect with others to collaborate. Projects can be discovered, previewed, commented on, and more importantly, "pulled" in source format to add to, remix, and learn from. Other creators or fans can not only discover new music in an interactive format, but can also participate in the creative process.]

Blend opens up a lot of creative options for producers and musicians.

I agree. Itís like the start of something that is much larger, and will evolve probably to be a real common place thing. They are definitely pioneering a place in the electronic music file sharing and file management that needs people working on it.

Blend also introduces musical creators to a wider community of creative voices, Also another way of spreading your brand.

Oh definitely. I work in electronic music, but the music that I make is not necessarily electronic.

At heart, you are a songwriter.

I am. People want to compartmentalize or pigeonhole me at any opportunity. ďOh, you are an educator. You are a producer. You make electronic music.Ē But I donít. I just do whatever I want, and thatís what Iím doing. But there has always been this whispering in the background, ďOh, you should make EDM (electronic dance music). You are working for Ableton, and you are working with the electronic music community.Ē The view is that I should be making electronic music which is something that I donít do. So when we gave the files to people (via Blend) that content created itself without me actually having to do anything. Now I have an entire album full of remixes that are all EDM-based. I have satisfied that need for people that need to hear that kind of music from me without me actually having to do any of it on my own which is insanely beautiful and a scary thing.

You seem to still be a traditionalist.

Oh, thank you. I agree. I use a lot of digital technologies, but I donít make electronic music. There are some Moog synthesizers (including a Moog Little Phatty for lead lines and basses), and traditional electronic production techniques that I use but, first and foremost, Iím a musician.

With the tracks created through Blender being a shared creative experience, who owns the final tracks?

When they (collaborators) download the stem, they agreed to (honor) collective common copyright laws. With the winners, we actually did have paperwork signed, and we split the rights according to what we had agreed upon. It was pretty clear cut.

Itís important legally that Is and Ts be crossed because a film and television music supervisor could hear the track and want to use it. So you have to make sure everything is legally cleared.

Absolutely. Thatís why I took the time to do that. I had a really similar situation with a remix from my last album for a Victoriaís Secret advertisement. They gave me about two days. ďWe want to use this, but we really need to move this along. So let us know if you have all the rights under your control. Otherwise thanks very much.Ē I was able to pull it off because I had crossed all of the Ts and dotted all of the Is.

What track?

It was a remix from a song called ďGood ManĒ on the album I released in 2012 called ďIllusions.Ē

ďIllusionsĒ was the album that Blackheart Recordsóco-founded by Joan Jett and Kenny Laguna--distributed. How did that work out for you?

Ahh, it was a learning experience. It didnít change my life. They are a traditional label, and they sell a lot of physical product because Joan Jett is their main artist. Joan Jett fans still buy Joan Jett albums. So they put a lot of emphasis on the physical product. We didnít lose a ton of money, we didnít make a ton of money either. The whole situation was sort of a draw, and I learned a lot.

Until recently, music production had largely been a male dominated field. Interestingly, the new technologies coupled with the internet are opening doors for more women to emerge in production.

Yeah, especially with the anonymity that you can kind of hide behind on the internet. With file sharing I could be working under any name that I wanted and I could assume the identity of a male if I so desired and nobody would be the wiser. People can be whoever they want. I think that gender does matter less than it did 10 years ago, but itís still a male playground.

Within a band, gender can still matter. Iíve seen very few male musicians seek advice from a female musician.

I agree. I think that I have experienced it on both sides. It a little difficult to sell people in the beginning but once you do gain that respect, itís there. I donít really experience that anymore honestly. I think that I have accomplished enough that my work speaks for itself. I hardly ever experience anybody treating me ďlike a woman.Ē

Computer technology has been heavily used in recording studios for decades for creating music and is now playing a larger role in live performances. Rather than musicians working around looping and audio effecting on stage, they are integrating technology into the creative aspects of live performances. The New Frontier?

I hope so, mostly due because that is what I specialize in, with the digital integration into creative, lighting, production and live scenarios. Itís interesting because it is the intersection of two very separate fields. Like a right brain technical aspect, and then a left brain creative one. You donít really see that many people able to simultaneously handle the whole thing. Electronic music is becoming much more organic and live while band scenarios are becoming more structured wand musicians are using lap tops onstage. So I think that they (the two different approaches to music making) are becoming one and the same. Itís a really interesting time to be in the field.

You use a MacBook Pro with Ableton Live in your performances. You are, in effect, utilizing technology in performances rather than just looping and using audio effects.

For me as an instrumentalist, and as a musician, this is a blast for me. I know that many people do just press ďplayĒ and play along. But that is so against my ethos that I just canít do it. I think that there is a lot of room for life in being engaged with digital technology. Itís not easy, but it can be done. When electronic music is really awesome it is when itís very alive. For me those things arenít usually inclusive

How did you begin working with computers, and digital audio workstations? Certainly, a 360 turnaround for a classically trained pianist.

I was against using synthesizers or computers for a long time. Then, I was cutting my first record and I didnít have money to pay the engineer to do the type of editing that I wanted. Audio editing is a laborious, and arduous task. The engineer I was working with suggested that I learn how to edit. Then I could cut down my costs, and also get in the driverís seat in terms of what was happening on the record. So he gave me an hour long crash course in how to use Pro Tools, and I never turned back.

How did you come to start using the software music sequencer, and digital audio workstation, Ableton Live?

I had been a ProTools user previously to picking up Ableton. So I had been working inside of DAWs (Digital Audio Workstations) for awhile. At a certain point, I just had a strong desire to tour but I didnít have the money to cover the overhead costs of bringing multiple musicians onstage. I initially started kind of messing around with a laptop as a way to cut my overhead (on tour).

A Mac Book Pro?

Yeah. I was using a Mac. When I started, I was like, ďMaybe we will take three or four people on the road instead of five.Ē But once I really wrapped my head around what was really possible, I started to articulate ideas, and concepts that I had been thinking about for a long time. It was like going down a rabbit hole. I swung (toward) the complete opposite direction. I was on tour by myself with multiple synthesizers, MIDI controllers, and microphones. I was doing everything as a solo artist without a band. Then I sort of swung back the other way, and did it with a trio and still used the laptop. Itís been a huge journey, but it started just out of the sheer necessity to cut my costs.

Were you surprised that you could use Ableton Live with a band? Many musicians canít wrap their heads around that.

I donít think that I was necessarily surprised. I donít know with everything like how I got into songwriting, producing and singing and anything it was blindly bludgeoning ahead and thinking about it later. So I just put one foot in front of the next and I never really thought about it.

[Developed by Berlin-based music software company Ableton AG, Ableton Live is currently in its 9th version. There are three versions of the software available: Live 9 Standard (the core software for music performance and creation), Live 9 Suite (Ableton Live, Max for Live + all of Ableton's software instruments/effects), and Live 9 Intro (an introductory version of Live with fewer track and effect slots). Ableton Live is designed to be used with a wide range of USB and MIDI controllers, as well as instruments, and virtual instruments.]

You were, however, a bit skeptical about the Ableton Push controller (the music making instrument designed like a keyboard that can be used in either studio or stage settings) were you not?

Yeah. It was mostly because of the X and Y axis that it functions on--the polyphonic functionality. I think of music in a linear fashion in being a keyboard player. And it took me a little while to wrap my head around playing on a grid. But just like any instrument or piece of technology, once I integrated into my work world, I found that I able to do different things that I canít do on a piano on Push. Itís cool. Itís like giving yourself a brand new set of ears and eyes to see the world in. People are generally resistant to change and so was I.

One element of Push that has surprised me is the ability to mix with it.

Oh yeah. That probably one of the strongest functionalities that I can get. I donít do huge mixing projects on it, but when Iím stretching out ideas and I can get quick rough mixes going. Iím able to get a really strong product out of it in a fraction of time if I was doing a lot of clicking and looking. I am just using my ears and Iím using my hands. I think that is how music is meant to be made. Itís not about looking at a computer screen, and seeing frequencies. Itís really about hearing them. So, for me, itís a great mixing tool.

Digital technology may offer performers greater control in live performances, but can also inhibit spontaneity. Arenít there pluses and negatives in using digital technology in a live setting?

Yes, definitely. The hardest part is striking the balance between live and programmed (performances); playing and pushing; responsibility and spontaneity is always a struggle. Thatís probably the thing that has evolved the most with me which is finding that balance.

Are younger people as aware of that balance? Do they have similar concerns?

I donít think so. With Ableton, they refer to these people as laptop musicians. It is definitely a new breed of creator. They sit in their bedrooms, and they can do amazing things all by themselves with very little money. It is kind of insane. They donít have the vocabulary particularly, some of the more musical or instrumental elements of what is possible then I donít think that you really bother yourself with making sure that they are integrated. Itís like you donít know about it, you just donít care.

In 2010, you released ďOne Woman Army,Ē the first album in which you used Ableton.

Yeah. That was four years ago. Wow. It was like going down a rabbit hole.

Were you still working at S.O.B.ís at that point?

You know, I think I was. That was toward the end. I started there in 2007 and I was there for three or four years. So that was right at the moment that I decided to jump off the precipice, and just go for it.

[S.O.B.ís, aka Sounds of Brazil, is a live music venue in the lower Manhattan neighborhood of SoHo which opened in 1982. Owner Larry Gold opened the venue with the purpose of exposing the musical wealth and heritage of the Afro-Latino Diaspora. It has since become one of Americaís leading venues for Latin, Haitian, Brazilian, Caribbean, R&B, hip-hop and world musics.]

You started at S.O.B.ís as a bartender.

Yeah. For three years. That was intense.

Welcome to New York City.

Especially for a girl from Utah working at a world music venue. At that point in time, I didnít even understand the distinction between the Latin countries. I thought Boston was pretty cultured when I lived there (attending Berklee) but it is nothing like New York. The first day I thought, ďThis is so amazing. Thereís so much culture here.Ē

When you first moved to New York where did you live?

I was in what is called now the South Slope right outside of Park Slope in Brooklyn, which is now a real hip area but, at the time, it was industrial and on the outskirts.

Was it a career turning point for you appearing at Eric Robersonís Sol Village showcases at SOBís?

Eric (aka Erro, a singer/songwriter/producer from Rahway, New Jersey) puts on those showcases once a month, and I played, I think, four of them. I was really lucky to receive support from him. and SOBís. Those four walls (of the club) are filled with really amazing music, and really important people. Heís just an amazing advocate, in general, for young artists. I am forever indebted to him for all of the support that he has shown me.

Did a light bulb come on for you in seeing someone that advanced in their craft?

Yes. Not just Eric but everybody that was on that stage. It makes a huge difference when you see live music 5 days a week for three years. I really understood what a great performance was because I experienced it over and over. It was everything and, especially, Eric. Heís one of the best performers that I have ever seen ever anywhere. Handís down.

Where were you born?

I was born in Salt Lake City right after my parents moved there. I think they moved there in í84. I was born in í85.

How did you parents come to live in Salt Lake City?

My dad worked for an explosives company in the Ď80s called Trojan Explosives. They detonate and dispose of nuclear explosive things in the desert in Utah. So we moved there because that was there they were doing business.

A Catholic girl growing up in Salt Lake City. A strange place to be anything but Mormon.

It definitely was. It is such a beautiful place, and the Mormons are such nice people. It really had a huge impact on me. My parents did a good job of keeping me Catholic though.

Any ďFootlooseĒ moments? Did you rebel during high school?

I definitely did. Itís like any place where thereís a religious one-sided perspective, I think that the counter culture is very strong in those places. But I never felt like I was oppressed by the Mormon domination of that state. I always found like-minded people to hang out with.

With your parents being children of the Ď60s, you probably grew up listening to James Taylor, Stevie Wonder, and the Doors.

Yea. A lot of singer/songwriters, definitely. My father, after he stopped working in the explosives business, he started a high-end audio business. Heís a true audiophile. We always had a room in house that was dedicated to listening. A lot of those classic recordings like the James Taylor and Steely Dan records, they are just such masterpieces. Not only musically but with the fidelity and the way that they were done. They are just amazing. That was what he was listening to all of the time. I was influenced not only musically, but sonically, by those recordings, for sure.

You started piano lessons at an early age. Did you have any expectations of a classical music career?

No, I never really thought that. I would say that I was a big fish in a small pond. I always knew that I wanted to play music but I never wanted to be a pianist with a sad solitary life (laughing).

Why did you seek to study at the Berklee College of Music in Boston?

I donít know. I came within a hair of going to The Oberlin Conservatory of Music, (located on the campus of Oberlin College in Oberlin, Ohio). They offered me a full scholarship. I visited there, and it just seems so stodgy and conservatorish. I just knew that wasnít the music that I wanted to make. It was really a last minute decision to go to Berklee. I think I figured that it was the last opportunity that I had. Most people told me not to go, but I just felt that my music and my aesthetic would be better there.

Why did people tell you not to go to Berklee?

I had been working with a lot of more classical musicians. I had done a bunch of work with the Utah Opera. So traditional purists--those type of conservatory classical musicians--I donít think they like Berklee because they are so opposite (from whatís done there).

How do you separate being creative and being a business person?

I donít separate the two. I think why Iíve been successful is that I can be creative, and also show up on time which is sometimes mutually inclusive to people. Thereís a lot of influence there from my dad. Heís a business guy. I guess I just picked up a lot of those people skills. Thatís all it really is. Itís really being cool and following through. I donít understand why thatís so hard for some people, but it really is.

Filing paperwork isnít much fun for creative types.

Yeah. Iím really involved in the business side of things which a lot of artists arenít. I have a great manager, Duncan Hutchinson. We have been working together for three years. He used to run Black Heart Records. We met when I started working for Black Heart. We have a really strong friendship that has developed over the years. Itís great. I am indebted to him.

How do you two work together?

Itís more of a partnership. Weíre able to work as a team. All the money that I am making goes back into funding our projects and publicizing and promoting whatís going on. He and I are both looking at the long term.

You seem to have a balance in your life.

Finally, yeah. It took years and years to get here.

Larry LeBlanc is widely recognized as one of the leading music industry journalists in the world. Before joining CelebrityAccess in 2008 as senior editor, he was the Canadian bureau chief of Billboard from 1991-2007 and Canadian editor of Record World from 1970-89. He was also a co-founder of the late Canadian music trade, The Record.

He has been quoted on music industry issues in hundreds of publications including Time, Forbes, and the London Times. He is co-author of the book ďMusic From Far And Wide.Ē

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 is a board member of the Mariposa Folk Festival in Orillia, Ontario.


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 Denverís Division of Theatres and Arenas 08/23/10
Paolo díAlessandro, 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 íní 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 Gťlinas, Festival díťtť de Quťbec 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
Andrť Mťnard, Festival International de Jazz de Montrťal 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 Mķsica 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 OíConnor, 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 ďIceĒ 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. **