Industry Profile: Anna Paula Goncalves

— By Larry LeBlanc (CelebrityAccess)

This week In the Hot Seat with Larry LeBlanc: Anna Paula Goncalves, founder/CEO Global Brand Appeal.

Like the Mary Richards resolve in conquering Minneapolis in the Ď70s sitcom, ďThe Mary Tyler Moore Show,Ē Anna Paula Goncalves is intent on taking Los Angeles by storm.

Two months ago, the 27-year old transplanted her Global Brand Appeal (GBA) firm from Boston to Los Angeles in order to expand its reach and in order for her to make further connections within the entertainment industry there.

Launched in 2012, GBA is a talent branding company specializing in consulting and working with entertainment clients.

The company currently represents the start-up entertainment company Melboss, singer/actress Kristinia DeBarge, and producer Thaddeus Dixon.

This career path in the entertainment field is not one that Goncalves ever foresaw for herself.

In the last year of completing a Bachelor of Science degree from Bentley University, a private co-educational university in Waltham, Massachusetts, Goncalves realized that the career she had in mind for herself didnít interest her any longer. With some experiences working in public relations in entertainment, she concluded this was the field she wanted to pursue in life.

Goncalves then immersed herself in the entertainment business as a production Intern at a local TV production company. She also began handling public relations at numerous local film festivals, and helping out at any event she could to meet and network with people, first in Boston and later in New York.

Then she decided to freelance which led her to return to Boston to launch GBA.

Goncalves believes that her launch of a branding and publicity company was well-timed as a strategy of reaching out directly to consumers has become an integral component of the music food chain.

Goncalves believes that artist survival in the future will require an understanding of branding, as well as an absolute acceptance of social media, including Twitter, Facebook, YouTube, Tumblr, Instagram, Foursquare and other digital spaces that engage fans through examples of artist's repertoire, persona, visuals, and other social networking magnets.

Why did you recently move from Boston to Los Angeles?

The reason was not because I couldnít necessarily achieve what I wanted to achieve in Boston--I know that I could--but I wanted to expand. I wanted to have more face to face with the people out here, and build my relationships on the west coast. Being on the east coast, I was working with people here (in Los Angeles) or reaching out to people here, and doing the e-mail and Skype thing. I felt, ďLet me go out, find clients there, and work closely with them as opposed to working over the phone.Ē I just knew that it was time to come out here. Not necessarily to completely move out, but to come out, and see what I can achieve here, and see who I can connect with and build relationships with.

How are you settling in?

Iím super Boston. If I would tell you that I was going to stay in LA for the rest of my life, I would probably be saying that just to say that. I donít really believe that. At the same time, I donít know what LA has to offer, and what it will offer me while Iím here.

Los Angeles is a highly distinctive and competitive entertainment market. More so than what you faced in Boston.

Thereís a lot of talent in Boston. I launched the company there because I wanted to assist artists there, and do everything that I could do to help the local talent there to expand their horizons, and not just be local. I worked with some great professionals there. You could say that there was no competition because there werenít many doing what I was doing.

Do you work on your own?

Honestly, itís me. I live right near Studio City. I am always near Hollywood. Thereís the networking aspect here. Thatís why moving out was necessary for my business. Itís a young business. Iíve always been the person who has said, ďYou do not need to move to New York or to LA to be successful at whatever level of success that you see yourself in the (entertainment) business. If you have the drive, you can do it (work) from everywhere. Itís having that desire to work a little a little bit harder because you are not where things are happening the most.Ē

Thatís the beauty of PR. You can work from anywhere. I hope while Iím out here to meet many professionals in whatever fields within the entertainment industry. Thatís my primary goal out here. I hope to achieve that day in, and day out.

Your newest client is Melboss which is trying to build a collaborative forum between music creators and the music business world.

They are basically a start-up. They are not quite two years old. I work closely with Francisco Buendia who is the CEO, and I also work with the marketing team to get the word out to people in the music industry.

What they do is bridge the gap between industry professionals, and upcoming artists on an online site. If you are an artist, and you want to be coached by someone, you can do that via Melboss. We have a lot of coaches that we are bringing onto the team, and people can pay for their services. If you want to talk to somebody regarding your music, thereís a producer. If you want to know from an A&R perspective what you should be working on now, thereís an A&R person for you to reach out to. Itís a place for artists to connect, and be taught what it is they should be doing to advance their careers, and for professionals in music who want to find talent or who want connect with other professionals.

How does it work?

For the site, you need to be validated; but you donít pay to sign up. Itís free sign up. If you are on there and, if you want to talk to a coach, you pay them to have a session with you. I like to say that itís almost like LinkedIn, but only for music professionals, and with a lot of perks too. We want to make sure that itís a place to access resources for upcoming artists who are serious about their careers. It is also a place for (music) executives to come, and hear new music and, maybe, discover new talent, if thatís what they are looking for. So itís a place for serious people in the music industry. Music professionals.

One of your clients has been singer Kristinia DeBarge.

I work closely with her manager Aurora Pfeiffer, who recently launched Rolen Music Group. We work on a lot with people that come to her. We try to collaborate on work and on initiatives with different artists.

Kristinia is James DeBargeís daughter. Sheís recorded two albums. Sheís quite good.

Sheís really good, and sheís now in the studio. She has some endorsements happening with brands like Pastry Sneakers. They love her brand. She's also endorsed by Bebe/2bBebe, and is on the celebrity cabinet for the American Diabetes Foundation.

[Kristinia DeBarge is featured on Redrama's recent single and music video "Let Go" which reached #3 on the The Official Finnish Chart. DeBarge is also featured in Nick Cannon's directorial film debut, ďSchool Dance,Ē where she plays the lead female role, which was released this summer.]

You have also worked with the Detroit producer Thaddeus Dixon. What services can you offer a music producer?

Again, I work closely with Aurora. Looking for sync opportunities, and reaching out to people who might want to work with him. But also looking for (media) features. He wants that. A lot of people working in the ďback officeĒ (in production), donít want to be seen. They donít want features. They donít care to have the spotlight on them, but he wants to have that fan base that he can interact with.

Global Brand Appeal is a lofty name for a company. Whatís behind choosing the name?

Global Brand Appeal says what we are all about. We know that every brand wants to be seen, but we want to make sure that every brand has a global mentality. They donít just have to stay local. They start local, but they achieve global status. To achieve global status, we believe in gaining respect from all the different cultures from all different backgrounds, and finding opportunities that will make people remember them for the right reasons. We are a branding and publicity company, but we focus a lot on the brand, and building a strong foundation so that when the time comes for that brand to be publicizedówhen itís time to show off what they are all aboutóthat itís unique. Itís them. It is not something that is manufactured. Itís actually them because their brand is exactly them.

A strategy of acting regionally but thinking globally?

Oh absolutely. A lot of times that is the mentality that is lacking because a lot of upcoming artists just want to be famous. Thatís always what we hear. ďWe want to be famous.Ē

How do you respond to that?

I tell them we believe in (you) being recognized for your unique talent, and for what you are all about. So letís start locally. Letís get your fans from where you are from behind you because if your own hometown isnít getting behind you, how do expect other hometowns to be fans? They need to start at the very bottom, and not expect to reach a global status overnight. But to really build that strong foundation with their home town. Locally do shows, and be interactive with their fans. Go and see them. Have some sort of relationship with them. Through that local status, they will start growing and, at the same time, people from other states and from other countries are getting to see them. Soon they will get to that point that people are hearing about them through media platforms in other countries.

How do you figure out where to start with an emerging act?

It all depends on what each talent, each brand, wants. What their objective is. We make it happen or we find somebody that will make it happen and partner with them. Or we send them to somebody who will do it. Itís not just, ďHere letís put them in magazines.Ē Itís very much knowing their goals and objectives and where they want to go so we can align every desire with what needs to be done to make it happen.

Traditionally, artists have released music, toured behind the music, and expanded into other markets. That has changed with the internet. Even the tiniest of artists can get pockets of fame worldwide now. Justin Bieber started out with homemade videos on YouTube. His ability to harness an online fan base has been unprecedented.

The internet is an incredible tool that is giving artists that kind of control to develop themselves. I think that is necessary. What has changed the game is that for artists now, itís not enough to be seen. They now have to harness that brand and work toward making it polished so that they can have longevity in their career. You mentioned Justin Bieber. I followed Justin Bieberís career from the very beginning. What a lot of people donít know is that he wasnít an overnight success. Although he did have a huge fan base that followed him, and requested him to do certain covers, it took about two years for him to break as an artist.

So though an artist may be seen (on the internet) and people are loving them, and becoming hard fans, thatís not even half of the work. They need to put in time to build their brand so people can now relate to them as a brand, and not just as a musician. Although music is super important, itís not everything. They (artists) need to be a whole package. They need to work on things from their image to how they speak to how they talk while onstage and how they interact with people. So yes, it has definitely changed, but it has become a little bit harder for artists now because the competition is ridiculous. You go online, and you see artists doing covers of other artists--hoping to be seen. But, if they are just doing that, and not focusing on all of the other aspects that it takes to become a whole artist--the whole brand--then it (their career) is not going to last.

An artist may attract someone to an internet site, but they have to develop something that insures that people keep coming back and, as well, attract viewers to visit their site or attend a live performance. Artists have to take online viewers past the click stage. They have to break though, ďWhatís next?Ē

Right. Artists, a lot of them, what they donít understand is that being an artist means running their own business. They are basically a business. So they need to keep customers coming back for whatever it is that they offer. So, as you mentioned, clicking and hearing somebody doing a cover or hearing their latest single, what makes it different from everything else that is out there? What is going to make me go and check out their social media or their website or check out all of the videos that they have? What will make me buy their product, and be that loyal fan that all artists need in order to build their empire?

Word-of-mouth has always been part of entertainment. Many artists donít understand how to create word-of-mouth through social media. ďHow often should I go on Twitter?" becomes," Iím walking to the store.Ē How often should artists be utilizing social media?

That is certainly a challenge for people who arenít social media savvy. I always say that they have to be organic. They just canít be seen like a robot. That they are going in, and hereís a post, and then two hours hereís another. Though sometimes it helps to have certain tweets going out with links to their work. To their videos To whatever project that they are working on. They do need to know what needs to go out at certain times, and all of that. Thatís fine. Writing about how they are about to brush their teeth is not really relevant. Letting people know how awesome a night that they had performed for a crowd or opened up for whoever (headliner) is. Itís about engaging people so that they know what the artist is doing and so they find the artist to be interesting. Not because of their music or because of their craft, but because of the artist as a whole package. The artist as a brand. The artist as a person. All of that correlates. All of that goes hand-in-hand. Social media is very much about being very organic. A lot of people donít like using social media. (The attitude is), ďIím not so into it, but I understand the value of it. I know that I can use it to my advantage, and to my benefit.Ē They have to understand that itís just a matter of them being themselves and not trying to put up a front and not being somebody they are not.

The advantages of social media can depend on what level an artist is at in their careers. As an emerging artist, itís hard to attract attention. If they have a sizable following, say as a heritage act, it can be very effective. If it is a popular act, it can drive a career. There are different levels of use that artists have to understand.

You are definitely right. A lot of artists look at social media as, ďI will get it when Iím ready.Ē I donít think that is really the right mentality because if they you have this objective they want to get to then they need to start doing things now. So what if they have only 10 followers? Continue posting. Continue letting people know what you are doing. Hash tag certain words. Engage, and start conversations. Making sure that they are active there (in social media) so that when they get to that (career) point, they donít have to start it at that point. They had already had started it. They are then, basically, continuing the flow from the very beginning.

The strategy is to start a conversation with fans early on.

Right. That is something artists need to do. Many, many times they want to leave it for later. But donít leave it for later, start now.

Give a musician $1,200 and the choice to buy a Gibson Les Paul Studio guitar or to hire a social media consultant for a few months, and they will pick buying the new guitar. Perhaps, one of the members of any band today should be someone handling social media. After all, itís a key component of a musical career today.

Oh yes. It is a key component. I donít like finances but I have to do that with my company. It just comes with the territory. So anyone in it (the music industry) for the long haul, they need to know that there will be sacrifices that they will have to make. Either going out or doing things for fun. They are going to have to be in the studio or they are going to have to be reading or getting themselves to where they understand what they are getting themselves into. We arenít meant to like everything. We just have to know that there are certain things that we have to do, take the responsibility, and to do it

PledgeMusic allows artists and fans to share in the music-making experience in fairly direct ways. Fans can get higher-priced deluxe versions of an album with bonus material limited edition items and autographs, music and merchandise bundles, and take part in such activities as fan firsts, tickets, fan contests and sweepstakes. The whole thing of waiting for the album to be released...why?

I always say that behind the scenes information, things that arenít out in the public, those are the best ones. As someone who has artists that I enjoy, and that I am a fan of, I love to know what they are up to straight from them as opposed to waiting for something to come out to know what they are up to. I like to have that exclusive access. People love that.

Thatís why people join fan clubs.

I used to be in the ĎN Sync Fan Club. Oh, how I loved those boys.

How do you target the music media via social media or provide them with tracks by artists? They get deluged with music and press requests. How do you get through to those people?

First of all, there is such as thing as not being ready for publicity, just yet. There are some artists that just are not ready. Itís funny that you say this because I have just emailed an upcoming artist who reached out to me because she is interested in publicity. After taking a look at her work, at her (social media) numbers, where she is in her career--just doing a whole lot of research on her, quickly--I told her that sheís not ready for publicity.

A lot of the times publicists will take on work that they shouldnít. Sometimes artists need to do some of the work themselves or hire a brand consultant to help them to do certain things to grow their fan base--to grow their brandóin order to make sure that their brand is really, strong and that there is something to publicize. That there is a story to tell because thatís what it is. Publicity is publicizing a story. Publicizing news. It needs to be newsworthy. I wonít reach out to a journalist until I feel that it is a good product to offer them. Of course, that then comes with the pitch, and how you present why it would benefit them.

Over the past decade, the music media has greatly changed. Generally, music journalists and music bloggers hide behind their email addresses or their telephones. Newspapers have also become more centric to their individual markets, and seek to primarily report on acts impacting locally.

Yeah, very much so. I love to first build relationships. Not just with journalists, but everybody within this industry in order to become somebody that can reach out to them and share something with them. But I know that the product needs to be a good product for them to want to feature it. So I know it takes a lot of building. Thatís why we are primarily a brand development company. We want to build a clientís story first and, then when they are ready, we reach out to certain media that we feel would be appropriate for them. A lot of the time. artists want certain magazines or certain newspapers. They will give me a list. Sometimes, I love to do that. It is a little tactic that I do with people that want to work with me. I meet with them, talk with them, and I see where their heads are at. Where they want to be. I give them homework. I pretty well tell them, ďSend me an email with bullet points of what you want. Flat out of what you want whether it will be attainable or not.Ē That helps me figure out where their head is really at, and what they believe they can achieve. So I can tell them, ďOkay, this, this and this, you can achieve but you wonít be able to achieve it until you do this, this and this.Ē

How realistic have your potential clients' expectations been?

Itís been a 50/50 mix. Iíve had somebody come to me and say, ďI want to be Diddy.Ē Iím like, ďWell, Diddy is Diddy, and you are who you are, so you are not going to be the next Diddy. Scratch that off your list.Ē I let them know the importance of them being unique. Sure, they can look to other artists ,and to aspire to be like them, but I tell them donít aspire to be these major acts or try to be a different version of them.

Is there a minimal time limit that you seek to work with a client? Some publicists wonít work with an act unless it is, at least, a three month term. You canít do much in three months, really.

Not a lot. I will take brand consultation for three months because in that time I can guide them in the right direction of what they need to do, and get the right resources together, and get them to go into the right direction. But for publicity, it (three months) really is difficult because a lot of it (activity) is not in our hands. Itís us reaching out to people, and us creating all the right situations, but itís not all on our hands as publicists. We do need other people, people that we are reaching out to, especially journalists. A lot of the time that is difficult with the many emails that they get bombarded with. But two months is definitely very difficult I donít take two months.

What time length do you generally look for?

I love to do six months but I have taken three months before depending on the expectations.

And depending on if you can grow the project?


A lot of new artists are seeking the ďmagicĒ answer right out of the box.

Oh yes. They want that. Thatís the problem a lot of the time. I prefer to give that person a ďnoĒ than promise them things that wonít be attainable. Rather then at the end of the trial period of working together, they arenít so happy with my services or with the relationship that we forged during whatever time the contract was for. Itís just not worth it to jeopardize that.

How savvy are the new artists you meet today about social media?

You will have people who donít even any profiles up and then you will have the ones who really good at it. Then you will have the ones that donít know what they are doing, and they keep spamming people. So you have different levels. It all comes down to sitting them down and explaining to them why they shouldnít post certain things because of the connotation that it has or why they shouldnít be posting every single time because plainly itís really annoying and people donít appreciate that. They have to create some sort of mystery as well. A nice balance of mystery and engagement with the fan base. So there are different levels from the ones that have no clue to the ones that know what they are doing to the ones that just kind of need to tone it down a bit.

So many artist websites are inadequate.

Definitely. A lot of the times they (artists) donít realize by going on their website that we should have some kind of idea of what kind of artist that they are. So everything goes in line where they want to go. How it is presented. The colors. The images. Their photos. Everything. I have to want to go and see them in order to go on their website. If I donít go to their website, itís because they arenít intriguing. Or, if I go to their social media, and I donít see things that really matter, Iím not even going to brother to hear what they have to say with their music. Everything needs to be in line with one another.

Industry executives, producers, publishers, music bloggers, and music journalists often trawl through YouTube and websites checking out artists. If they go to a website and canít find out much on the band or artist or the site hasnít been refreshed, they arenít impressed.

A lot of the times those (artists) have been the ones that the expectations are above and beyond whatís realistic. The ones that have those expectations are the ones that have those issues going on whether itís on social media or whether itís on their YouTube with two views of a video that is poorly edited or swearing every other word. These are the ones that I have come across that have this idea that, ďI want to be so and so.Ē But when you look at what they have done, itís very much not there. They need to step back first without any professional coming into play, read and get a sense a sense of what social media does. (Understand) the power of it and get to know the music industry, and whatís it all about, and learn what they need to do to be part of it. A lot of people claim to be an artist, but not many are. Ití

For decades, success in the music industry was measured by hit recordings, and successful tours. Making it. With the breakdown of the label system, and radio not as supportive for many artists, what is success today for them? The ability to make a living?

Success for each individual artist is different. Thereís also long term success versus short term success. Each artist will have their own definition of success for sure. I believe success is not being signed to a label. Itís not getting a Grammy. I donít think that these are the things that a lot of artists should strive for. Sure, these are awesome things that many will strive for, but I think that the biggest success is when they are able to impact people through their art. Whether it be people finding their lyrics to be refreshing or changing somebodyís mind about certain topics that are so huge in our society, or making people open their minds to what is going on in our society. Just making music that people will gravitate towards. Itís about having that platform that they have built so well by themselves-- without the help of a publicist or anyone else--but they were able to create something that people appreciate, and follow and love and become entrenched in what they are, and what they are all about. It is about creating loyal fans, a cult following if you will, of people that follow them for what they represent. I think that is beautiful and, to me, that is success.

Thatís certainly a rung on the career ladder. A big rung. As artists make each rung, they need to re-evaluate their career goals.

Right. I think that when an artist has people that respect them and look up to them, thereís no limit. They can achieve all these intangible ďsuccessesĒ that they want to achieve. I think that is the type of success that the artist should strive toward, and then build on that. Artists canít get somewhere without having that foundation. I think that the people who support them and respect them and go to bat for them because of who they are, I think that is number one success.

An artist also needs to make a living from what they do.

But that takes awhile. And thatís the sacrifice. Even for someone who wants to open a business, it takes awhile (to be successful). Thereís all that structure that needs to go in. There are so many hats that they have to wear as a CEO. When they are an artist, they are their own CEO. They are their own business. So they have to understand that they are going to live now in a way that is not really attractive for anybody looking in. They are not making money. They are not getting the perks that they probably see artists that are touring are getting. The fame. All of that comes with ďmaking it big.Ē I hate that term by the way. But yeah, itís a sacrifice and I think that a lot of artists need to understand the importance of being an artist and understand performance as an artist. Covers are great. Posting on YouTube is great, but you need to be seen. You need that human interaction with people, and the practicing onstage. All of that takes time. and making a living off of it, that is something you want to attain, but money should never be the force to get you to do something because thatís when you fail.

I have never really seen a true overnight success in music.

If you ever find an overnight success, it wonít last. An overnight success is just that. Actually, thereís Rebecca Black (with the 2011 single "Friday"). That was not the type of success that any artist should strive for. It is something that happens today, and is gone tomorrow. The problem with the artist mentality today is that they donít see the process. They donít try to educate themselves with the process. They just see what gets on the limelight. Thatís not the right way to go. You need to see what was done prior to that happening. That really gives you more of an understanding of everything that is necessary and what it really takes to get to a certain platform. The platform that you basically want to be.

You are from Boston, of course.

I was born, and raised in Boston. I am very proud of my city. I lived in New York for a awhile, and then I moved back to Boston and launched my business in September, 2012.

What do you parents do?

My mom has a cleaning company, and does nanny and babysitting work. My dad, he was a chef at a deli for 25 years, but got laid off. Right now, he has a Lincoln sedan, and drives people to their destinations. They are both huge supporters of me. They know that Iím a person who will go all in with something. They donít really like the industry. They donít think itís safe. But they are very supportive.

You have a Bachelor of Science degree from Bentley University, a private co-educational university in Waltham, Massachusetts.

Really different, right? I wanted to go into human resources until I met a complete stranger on a plane on my way to Brazil who was almost like an angel sent from heaven. He got me thinking about what I was telling myself that what I wanted to do as opposed to listening to what I should be doing. He just opened my mind. I was very thinking very hard about my journey (in life), and where I would be as opposed to telling myself where I should be. It was during my last year of college when I discovered, ďThis is not what I want to do. This is what I want to do.Ē Then it was a lot of catching up. A lot of reading. A lot of research. A lot of reaching out to professionals in the industry and learning from them. It was a really great, and challenging process.

Bentley emphasizes marketing analytics, finances, and the impact of technology on business. All useful tools to have in the entertainment field.

It definitely helped me with opening my business. They pretty much ingrain that in your head. Being an entrepreneur. I owe that to them for sure.

You worked in television production after college.

One of the first things that I did was working in PR at film festivals. The Boston Film Festival, The New Hampshire Film Festival, The Martha Vineyard Film Festival, and The Boston International Film, Festival. I donated my time doing everything I could do to learn. My focus was to learn as much as I could. I learned a lot about the (entertainment) industry.

When you launched Global Brand Appeal in 2012, did you open up with set clients?

No I didnít. I had worked as a freelancer prior to that but when I launched the business I really wanted to focus on the business. I didnít want to open up when I had clients. I want to open prior to so I could focus the company. Making sure that it was my vision was right for it.

You opened by yourself.

I did.

How soon afterwards did you hire staff.

Three months into the launch, Anthony Villiotti reached out to me. He wanted to intern with me. Heís been a great asset to the company, and is a huge part of GBA still. Heís on and off because heís still a (senior) student (at Boston University in accounting and operations management).

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.


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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


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