Industry Profile: Eric Lilavois
By Larry LeBlanc (CelebrityAccess)
This week In the Hot Seat with Larry LeBlanc: Eric Lilavois, the Crown City Studios, and London Bridge Studio.
In trying to locate Eric Lilavois on any given day, one has to search recording studios and record shops in Pasadena, California and Seattle, Washington.
This multi-faceted producer/mixer/songwriter/studio owner divides his time between his two studios: The 4000 square foot Crown City Studios in Pasadena, and the legendary London Bridge Studio in Seattle, which he has co-owned since 2013.
A self-taught multi-musician, the 35-year-old Lilavois spent 2004–2006 fronting the DIY-styled band the Days In Between before beginning to oversee productions by friends in local Los Angeles bands.
He has since worked with Atlas Genius, Surfer Blood, My Chemical Romance, Saint Motel, the Smokey Brights, Atlas Genius, the Dustbowl Revival, Celeigh Chapman, and the Second Hell.
Lilavois has also co-written, and produced 70 original cues for television and independent films, including for the History channel programs, “Pawn Stars,” “American Restoration,” and “Cajun Pawn Stars.”
This year, he moved up from advisor to being talent booker for the annual Make Music Pasadena summer festival.
Eric Lilavois is also a partner in a label, The London Tone Music Group.
How long have you operated the Crown City Studios?
That’s coming up on 10 years. It’s actually a bit closer to 8 years. I was a silent partner, initially. There was another individual who started the space. About two years in I kind of took over, officially. I was still running with bands, and I was just starting to get my production chops.
Were you still with the Days In Between?
This was just wrapping up Days In Between. That’s when the transition started to happen to more and more production. Bands were asking me to help with their stuff (productions) based on the stuff that they were hearing from the Days.
Was wanting to get off the road pushing you to production?
Absolutely. That’s why I have so much respect for bands that do it, stick to it, and understand it (doing roadwork in a career).
And haven’t yet killed each other.
Right, and have survived.
All the clichés of being on the road in a band are true.
Yeah, that’s true. I wish that I had had a little more perspective. The thing that I try to infuse with a lot of younger bands that come through here is enjoy this, because these are stories that are going to be with you for the rest of your life. It was hard for me to just enjoy it. You are so tied up in, “Where to put the trailer?”
With most bands, there’s usually one guy that stays in the studio after everyone else leaves. It takes dedication to stay night after night and get production right.
It does. It absolutely does. Not to put down guys in bands that I have been with because they are certainly hard workers as well, but I certainly was the guy that was hanging around until the very last second to make sure that we had what we needed, and what we wanted. I think that’s what the big segue was for me to the production side. It started to make sense. Like the two dots were connecting.
At Crown City, you have an SSL board?
Yes. An AWS 900 console.
You also have Neve and Trident outboard gear. Is that what you had when you opened the studio?
No. In the very beginning, it was that Trident channel, and a couple of other pieces of outboard gear. It was just sort of based on those few pieces. I kept growing, and kept collecting over the years. It was probably about five or six years ago when the AWS console came into the fold. I felt the need to make a massive jump forward from the small outboard gear thing, to the build-out studio thing.
Did other musicians immediately accept you as a producer? When you want people to pay you for your work, that’s a transition thing.
It is a big transition. I was fortunate that there has always been a high level of trust with the artists that I have worked with. There have been very few circumstances where I’ve come home and said, “My gawd. Why am I working on this?” I have been fortunate. But it is a big jump, and it does take a massive trust. People should put a lot of thought into who they work with. And the second that they make that decision that they are going to work with someone, they have to trust them.
Why would people want to work with you as a producer now? What do you bring to the table that they may be looking for? Other than your track record, what are they getting?
(Laughing) I’m a hugger. I give great hugs. High fives are fun. No, honestly, for me, I really want an artist to see their vision through. For them to be the upmost version of who they want to be. Sometimes they are not necessarily aligned with that.
It’s difficult working with a band when that happens.
Yes, absolutely. So when I’m trying to work with an artist, and change certain elements of a song or certain elements of what an artist is doing, I’m not trying to make them into something that they are not. I’m trying to help them toward, ultimately, what they have described what they want to be. They don’t necessarily know how to get there.
Do you turn down bands saying, “I’m not right for this.”
Yes. Absolutely. It is hard, but if I feel that I can’t contribute to it and I truly feel that I’m going to be able to....it doesn’t necessarily have to be my stamp on it if I feel that I can’t influence it or help it along I have no business working on it.
Some of the best recordings ever were recorded right off the floor in one or two takes. Do you like productions like that rather than beating a track to death which often happens with musicians who own home studio?
I do. I think that intuition is everything. I honestly do believe that the first few takes are the best takes. Beating it to death is certainly not my style. The scary thing about the guy tinkering in his basement for six months is that is not necessarily the best sound quality either.
So many people don’t know how to use microphones in the studio.
Right, which is why (producer/engineer) Al Schmitt is such a hero. It’s, “Let’s get it right in the room, and let’s move if it’s not working” as opposed to, “Crank on an EQ and try to change what the sound that is coming in.”
[Los Angeles-based Al Schmitt has been involved in creating some of the most memorable and sophisticated recordings of the contemporary pop era. Over a five decade career, he has worked with such leading musical figures as Sam Cooke, Frank Sinatra, Henry Mancini, Barbra Streisand, Madonna, Steely Dan, Ray Charles, Natalie Cole, Michael Bublé, Diana Krall, Dee Dee Bridgewater, Al Jarreau, Toto, the Jefferson Airplane, George Benson, and Quincy Jones.]
What are the sound characteristics of the Crown City Studios?
Crown City is just very, very live, and very lucky. I will be bluntly honest with you. It was not designed as a studio. Beforehand, it was an AA ( Alcoholics Anonymous) facility. There is an energy to it, absolutely.
I felt the energy in the room when I visited the historic Sun Studio in Memphis even though it had been an auto parts store before reopening in 1987.
Last month, I was in RCA Studio B (on Music Row). My family was traveling through Nashville, and we took this (daily) historical tour. They do this very cool thing where they pump Elvis over the speakers, and tell you to close your eyes and imagine him in the room. It is just goose bumps. You can feel that energy still there.
Meanwhile, RCA Studio A in Nashville may be sold and converted into apartments.
Hopefully, the Country Hall of Fame will still be able to protect it. I really hope that they are able to. It’s the same with the London Bridge Studio. That’s partly why I got involved there. The first time that I walked through that studio, I could just feel this intense artistic energy. You start to feel those people who have been in that room.
Is it true that when the Days In Between was rejected entering Canada in 2005, the band decided to do a 5-song EP at the London Bridge Studio in Seattle?
Absolutely. In our little DIY days, we thought that we could outsmart you guys (Canadians), but you kicked our ass.
When you recorded at London Bridge, it had new owners.
Yeah, Geoff (Ott) and Jonathan (Plum) had just purchased it. I think that Geoff was still painting the walls. They had been doing their own thing elsewhere. They had a couple of different places across the city (for production). I was grateful and thankful that they did take that step (of re-launching the studio). It’s pretty intense to be part of it.
[London Bridge is one of about 70 recording studios in Seattle, Washington. Founded in 1985 by brothers Rick and Raj Parashar, the Lake Forest Park facility catapulted the Seattle grunge sound to the world in the early '90s.
The studio surged to fame with the 1991 release of Pearl Jam's seminal album "Ten"--which was instrumental in popularizing alternative rock in the mainstream--along with productions of Alice in Chains, Temple of the Dog, Blind Melon and Soundgarden.
With Rick Parashar in greater demand as a producer and worked elsewhere, the studio fell into disrepair. When his 10-year lease was about to expire, Rick decided to sell the studio, its recording equipment and rights to the brand name were sold to former employees, Jonathan Plum and Geoff Ott. Apparently, Plum mortgaged his condo and his parents' Bellevue home to acquire the studio which had sat idle for nearly a year.
Rick Parashar died Aug. 14th, 2014 from natural causes stemming from a pulmonary embolism at his home in Seattle’s Queen Anne neighborhood. He was 50.]
I can tell you one reason the sound is so good in London Bridge.
I’d like to hear your take on it.
It was designed by the late Geoff Turner who also built Little Mountain Sound in Vancouver, and operated Pinewood Sound in Vancouver for over 30 years.
Geoff Ott was telling me a story on my last trip up there that somebody came through the studio and said, “Geoff Turner designed this, right?” Ott was like, “What do you mean?”
What makes London Bridge so special that you decided to become a partner?
Well, what makes it special is the energy. There isn’t a person I have brought into London Bridge that doesn’t feel that immediately. Even if they are not connected to the bands in the same way that I am connected to a band like Pearl Jam, and how much I adore what they did there. Still, everybody just senses that it is a special place.
Then, in terms of moving into the future, John and Geoff started to really embrace and bring in this community vibe which is kind of how London Bridge originally was. They have sort of re-infused that vibe into it. I think that what I have brought to the table was really sort of marrying those two worlds. The history that I am so into, and that I am so—more so than them who were there when it was happening and that same sort of sense of community, and bringing everybody in that was already happening for me being in Los Angeles.
A lot of historical albums recorded at London Bridge were with the studio's ‘70s Neve 8048 console.
We still have the Neve 8048. We are in the midst of a campaign to restore it. We did an Indiegogo campaign, and raised about $30,000. We are still adding to that.
What are they operating with in there now?
The Neve is still there. It is in the middle of restoration. It’s modular so we have been working with Vintage King (Audio), shipping out six channels at a time. So the board basically goes from 30 channels to 24. But, yeah, we have been working closely with them. We’re about half-way there. We will certainly need some help to finish it off, but we are getting close.
Did Geoff and Jonathan seek you out as a partner?
Geoff and I had been collaborating on projects. He’s the one that recorded the Days In Between, and we kept in close touch. He was mixing some of the records that I was producing. The tipping point was that he was in town for Grammy week nearly two years ago, and he and I spent a long week together talking over both of our goals. That was sort of the tipping point where he brought me into the fold four months later.
There’s potential synergy between your LA and Seattle operations. I guess you are doing some of that with London Tone Music Group.
Some artists have been done down here in LA. The majority have been done at London Bridge.
Is London Tone Music Group a label?
It’s a label. It is basically Geoff, Jonathan and I, and Jeffrey Ross and Jeff Heiman (of 2 Jeffs On Music) forming a partnership to come up with London Tone Music. Our launch idea was “52 X 52—A Year In Your Ear” which has been intense. (Recording) 52 artists in 52 weeks, releasing a single a week.
I don’t know many of the acts involved other than the Smokey Brights.
The Smokey Brights is great. I enjoyed working with them. Such a solid, great group of people.
Is Motown Records the template for the London Tone Music Group? Great artists working in the studio together. With the studio being the entry point for anyone coming into the music industry, you are on the ground floor for discovering new talent.
Absolutely. Development has been such a massive focus for me. That’s another part of this London Bridge community. It really is wide open and relentless, even between three producers. If Jonathan is working on something downstairs, and I’m working on something upstairs, we have no problem running to each other and saying, “What do you think about this?” Or, maybe, there’s a drummer downstairs which just happened with the holiday single (a collaboration between many artists on the London Tone Music roster) that we were recording. We didn’t have a drummer for the holiday track. You run downstairs, and you say, “What do you think about this part?” Suddenly, boom, it all kind of clicks. So, it (London Tone Music Group) is based on the Motown model where the studio and label are the driving forces behind this creative community.
How do you oversee all the productions coming through?
We have weekly meetings on Monday, and everybody plays what they are into, and what is coming into their inbox.
Where are the meetings held?
They are in Seattle. For some of them, I call in. If I am in town, we will all get together. We make it religious to all talk on Monday morning. It’s great. It’s fun to even see everybody’s distinct taste and styles. And then to see everybody break out of that too. By the 10th, 15th, now 52nd meeting, the conversation is a lot different.
How many releases have there been to date?
We are almost at the very end of it (the 52 X 52 run). I think that we have four left to go. I don’t have an exact number, but we are in the late 40s.
Mostly digital releases?
All digital. We have been using CD Baby. We have a partnership with them for the London Tone releases. They have been great. Just exceptional partners.
Your debut solo release, “The Only Way,” in 2011 was released digitally.
The next record I am just finishing up, it’s called “Salt, Sea, and Smoke,” which is going out on London Tone Music. I’m breaking it up into three EPs that I am combining for the a physical record. The first EP “Salt” was just released. Then we will release “Sea” and “Smoke.” In March, we will release the whole thing (album) on vinyl.
Who is going to distribute the vinyl version of “Salt, Sea, and Smoke?”
That’s a good question. I don’t know. (Sell it) out of the back of the van? Basically, the drive behind me doing this record on vinyl is still very sentimental. It doesn’t necessarily mean that it’s going to pencil out exactly as you say. But that artwork, that feel, that sentimentality is so very important to me.
You are in a unique position where you have been musician in DIY-styled bands; you oversee two studios; and you work in the developmental stage with a lot of bands. Your advice to young bands is, “Don’t suck.” It really does go back to that doesn’t it?
Yeah, absolutely. You gotta own your craft. You have to really work, work, and work at it. Sometimes it eludes you. Sometimes it piles up. All of the outside things. All of the outside noise piles up. It gets harder and harder to maintain that focus. It does. But you have to remember that this (a music career) is an actual craft that you have to work.
Operating a studio and being a producer as well as being musician probably provides you with a significant vocabulary to work with other sectors of the music business.
Most definitely it does. Everybody has a different way that they approach their unique jobs. There are a lot of different personalities within the studio, even, as there are within a band. There are different instruments.
Being in Los Angeles, you have likely met a lot of music executives or former music executives in their 40s and 50s telling guys like you in your 30s how things should really be done.
Right. Yeah, let me carve out my own path.
You have come up within music industry with your own circle of peers. You aren’t quite part of the mainstream yet, but the sector you are working in will likely eventually become the mainstream. I don’t know if that makes sense to you.
It absolutely does. It a huge part, again, of the developmental field. It’s all connected.
What peers do you feel a creative kinship with?
Do I want to name other producers that.... Hmm, man. That’s a really great question. Nobody has ever asked me that before. I don’t even know if I can answer it.
Your experiences being in and working with bands are what likely influences your outlook today.
That’s so interesting. I want to explore that. I am seriously going to explore that internally because I think you are so in the thick of it, and you are kind of pushing along.
That you don’t realize until years later what you were doing.
Right. You don’t realize until you look back, and you have some perspective on it. You go, “Oh wow.” You are just chugging along, and not even thinking about those things.
Have you had surprises dealing with mainstream music industry people? In that that you found them unexpectedly supportive or more advanced in their thinking than you expected?
I have. There have been some circumstances where I sort of envisioned from peoples’ roles or approach that was very different than from the reality of it. From the DIY perspective, it’s been really interesting seeing bands that have to fill a lot of roles themselves, and who don’t have the same education that some of the people in the old school industry do. What has propelled them forward is the need to innovate on their own path going forward.
There are innovators in mainstream music industry as well. Managers, booking agents, music publishers, promoters, and A&R people that are cutting edge.
Most definitely. A lot of people are focusing on areas that you wouldn’t necessarily imagine. One of the big ones is technology, which is great because I think that is a huge part of what got us into a little bit of an issue of everybody talking about how terrible the industry is in the first place.
The Big Bang of the music industry came about after labels told kids not to come into music stores if they only had $5 because they wouldn’t be able to buy singles. The kids went home, and discovered music on Napster. Then came consolidations of the majors which hampered A&R development as well as big box retailers devaluing music. It wasn’t just technology which re-shaped the music industry.
I agree with that. As a music lover, I was in that transition where I bought the CDs that I could afford. I was still hungry for more music. I was out there looking for more of my music. I don’t know but if somebody gets one of these streaming services right, I think that might be an interesting way of filling the gap of allowing people to search for music, and find new music, and still satiate that hunger, but still compensate the artist as well.
Brick and mortar music retailers have either disappeared or a decade ago stopped stocking catalogues. Certain genres of music, like metal, indie, country or roots, you suddenly could no longer find at retail unless it was at independent store specializing in a specific genre. When you couldn’t find a lot of music you were seeking, you went online.
Definitely. Or if you were looking for B-sides and bootlegs. There were some bands that I was just feverish about. I had to have everything that was out there in the universe. You are absolutely correct. It wasn’t there for me to grab.
Stores that once had import CD singles sold them for up to $15.
I remember that. The Warehouse was the music store. I remember combing the import section for anything that I could afford, and getting my hands on them. Those were the ones. Those were the jewels.
Who were you feverish about?
I am still a giant Pearl Jam fan. I have seen way too many shows.
You bought all of the official bootlegs of their shows?
Absolutely. I have a pretty ridiculous number of those bootlegs and too many posters. My poor kids are going to have to sort through all of this memorabilia.
Some really good record stores in Los Angeles, including Liquorice Pizza, and Vinyl Fetish Records, are no longer with us.
Stores slowly disappeared. Even the local shops here like Penny Lane.
[Penny Lane Records continues operate out of an industrial complex on the west side of Upland California, between Mountain and Benson Avenues on 13th Street.]
Do you still buy many records?
I do. I like to comb some of the (music) shops in Seattle like Easy Street Records, Bop Street Records, and Sonic Boom Records. I’m kind of feverish about going in them and picking up stuff that I haven’t heard of as well as finding local artists. I do lots and lots of shopping at Easy Street in Seattle. You can get breakfast and a beer, and then you walk around, and grab your records.
I am practically banned from Amoeba on Sunset Boulevard by my wife.
We are in a similar situation. My wife makes me pull out the amount of cash that I am allowed to spend, and then she steals my wallet, and lets me loose for about an hour in there.
You still live in Los Angeles.
I live in Los Angles and I’m making the transition to Seattle as well since I go back and forth so often. I want to get some firmer roots up there.
Do you live in a house or an apartment?
You have two kids and a wife. Do you hear, “Your stuff is all over this house, Eric.” If it isn’t equipment, it’s probably records. Are you limited at home to where you can put things?
The studio has been a massive blessing in that I can drag all my stuff over there. It’s great because it plays into my sort of style, and the way that I connect with artists in that the production and that influence is very, very important to me in terms of the bands that I am working with. It’s great. I get to drive all my books over there. My typewriters. My records. Everybody has access to it. So, maybe, some of the posters and stuff stay at home.
Is your wife a music junkie as well?
I wouldn’t say that she’s a music junkie. She‘s a fan. She’s been dragged to a few too many shows.
With DYI, not many people can pick up that torch, and really do what is necessary to further elevate their career.
That’s true. That’s why I have so much respect for the artists that do. That really understand that it takes 10 or 15 years to be an overnight success. Saint Motel has does such a spectacular job. They have been consistently career musicians. They made a decision that they were going to do this. They have stuck to it. I respect that so much, and I think that it’s necessary to have a band that has some kind of lasting impression, and longevity.
As a DIY band, members have to learn about bookings, gear, recording, music publishing, and internet distribution. A lot of hats to wear, and jobs to master.
It is, and it’s increasingly necessary, unfortunately.
We aren’t drawing a lot of new people into the business.
No, no. And it’s (the new music industry is) creating a lot of hybrid individuals though, even to me looking at some different things. Does a producer have any business booking a festival?
You started out advising event manager Kershona Mayo and music publicist Josie Mora on acts for the annual Make Music Pasadena music festival. This year, you stepped up as the talent buyer. A job you had never done before?
No, no, exactly. It was just kind of suggestions before that point. It’s a similar situation with what you are describing with the bands. It’s really kind of how am I managing my career, and what do I really want out of my career, and my legacy moving forward.
All emerging musicians work against the pressures of life. Whether it be in the early stages with parents tired of bankrolling them, or girlfriends or wives tired of them being out on the road. Those are real pressures for a musician.
Yeah, and it evolves to kids who start to get tired of you being on a flight to Seattle every other week.
It’s hard to say to a band or artist that a music career consists of an 8 to 9 year development period. For anyone half way through that cycle, who is tired of Kraft dinners, tired of the road, and tired of playing the same crappy gigs for no money, that’s discouraging.
And it’s very very hard trying to say to a band, “These are the tools that I can help you with. These are the things that I can do for you, but I cannot do it for you.” It’s just the truth. Those bands have to hit the ground as hard as they can. I agree with you. It gets scary. It gets to the point they think, “Is this really worth it?” Five or six years in. That’s something that they have to determine for themselves.
At the same time, it’s more difficult selling music at gigs today. Bands can’t count on that income anymore.
It’s true. Our drummer used to trade CDs for Subway sandwiches. That was in days in between (gigs). We had an individual in Idaho who worked at a grocery store and he brought us a box of groceries that they were on the verge of throwing out. That meant everything to us at that level. Better than the chips from the gas station.
What part of California did you grow up in?
I grew up in San Gabriel about 15 minutes outside of Pasadena. My parents have lived there for nearly 40 years. Since before I was born.
Your parents are Haitian?
My parents are both Haitian. They were both born in Port-au-Prince. They didn’t meet there, surprisingly. They both came here (to the United States) while in their 20s, and met on a blind date in New York. Then they were married that year.
Was your father’s record collection your first introduction to music?
Yeah. He had traveled a bit to Spain. So we had a lot of Spanish records and, of course, a lot of Haitian records. It’s funny they (the records) didn’t come out all of the time. They came out on special occasions when we would have the whole family over. A lot of it is kompa (or compas, a modern méringue musical genre in Haiti with European and African roots). It is very celebratory, but it can also be very sad, and very profound. It is the kind of music that you were either addressing the trials of the country or you were dancing on top of it.
Your father’s collection only contained only three English-language albums, Johnny Cash “Live at Folsom Prison,” Bruce Springsteen’s “Born in The USA,” and the Beatles’ “Abbey Road?”
That’s it. That’s all you need in a sense, right?
In the wake of the 2010 Haiti earthquake disaster, you wrote, recorded and released the song “Ayiti Cherie Memories” to benefit UNICEF relief in Haiti. That project must have meant a lot to you.
Yeah, it did. And it brought back so much of the emotions for my family. You get disconnected to it (your heritage). We are American. We aren’t Haitian. You get disconnected from it. I was born here. I have never have been to Haiti. I hope to go there, sooner than later.
Immigrants to a country often relate more to their adopted country.
It’s so true. Dad used to poke fun at us when we’d see a Haitian flag or some kind of Haitian memorabilia, and we would buy it. He’d say, “Well, you are American.” We have a stronger connection to Haiti than he does.
What did your dad do for a living?
My dad was a bookkeeper. He was an accountant for years. He had a couple of his own businesses here and there.
Does he do your books?
No, no. He’s has since retired. He’s in full kick-back mood.
You briefly attended Pasadena City College where your brother Randy coached the women’s soccer team.
Right. I have to admit that I had stints at a lot of different little colleges. I was never the career student. I went to Golden West College in Huntington Beach for a second. I started at Long Beach State. I just kind of bounced around. I eventually ended up at The Arts Institutes in Los Angles.
Why all the school changes?
It was that constant internal fighting of people telling me that I needed to have something to fall back on. I think that I have always known and felt in my heart of heart that wasn’t me.
Being born in 1979, you missed the earlier LA punk and hardcore scene with the Circle Jerks, the Adolescents, Christian Death, Suicidal Tendencies, the Three O'Clock, the Long Ryders, Thin White Rope, Young Fresh Fellows, and American Music Club.
Yeah, what I would have done to be part of that stuff live. Whenever I come across a friend with parents or siblings who were cool enough to bring him to that stuff I just sit around, and listen. I don’t get a word in.
Did you attend a lot of shows growing up?
I did. I went to a ridiculous number of shows. I keep all my ticket stubs. Name it, and I think I’ve seen it. I have thousands of these things in shoeboxes. The mid to late ‘90s was the real ridiculousness. Live, Stone Temple Pilots, Pearl Jam. That whole time period. There’s probably some really embarrassing ticket stubs in that box.
Any Insane Clown Posse tickets?
I may even have that one there somewhere.
Anything stand out for you musically from those days.
There was that fun ska period that came around with the Hepcat, and the Specials. Everybody coming back around. That was a lot of fun. I was never deep into that scene but I went to those shows and I really enjoyed that.
Larry LeBlanc is widely recognized as one of the leading music industry journalists in the world. Before joining CelebrityAccess in 2008 as senior editor, he was the Canadian bureau chief of Billboard from 1991-2007 and Canadian editor of Record World from 1970-89. He was also a co-founder of the late Canadian music trade, The Record.
He has been quoted on music industry issues in hundreds of publications including Time, Forbes, and the London Times. He is co-author of the book “Music From Far And Wide.” 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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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, Foxman.com 10/31/03
Jay Cooper, Greenberg Traurig, LLP 05/23/11
Julie Coulter, Near North Insurance Groups 06/07/01
Amy Cox, Deep South Entertainment 02/09/07
Michael O. Crain, Crain Law Group, LLC 10/09/13
Charlie Cran, The Strawberry Music Festival 04/05/10
Jim Cressman, Invictus Entertainment Group 06/06/12
Russ Crupnick, MusicWatch, Inc. 07/23/15
Todd Culberhouse, Vision Management /Vision Records and Entertainment 09/05/08
Tony D'Amelio, Washington Speakers Bureau 04/21/06
Ruth Daniel, In Place of War 08/09/17
Ray Danniels, Standing Room Only Management, and the Anthem Entertainment Group 03/05/15
Ken Dashow, WAXQ-FM (l04.3 FM) - New York 09/08/06
Hal David, Lyricist 07/26/11
David Davidian, Independant Lighting Designer/Director 06/18/04
Anthony Davis, D&L Entertainment Services, Inc. 03/02/01
Chip Davis, American Gramaphone/Mannheim Steamroller 05/31/02
Mitch Davis, Tempest Entertainment 07/16/04
Jeff Dawson, Canadian Recording Services 06/08/08
Desiree Day, USO Celebrity Entertainment 08/10/01
Shauna de Cartier, Six Shooter Records/Six Shooter Management 10/23/13
Gene DeAnna, The Library of Congress 02/21/12
Vincent Degiorgio, Chapter 2 Productions 08/01/13
Tony DeLauro, DeLauro Management 12/23/04
Valerie Denn, Val Denn Agency 04/30/01
Val Denn, Val Denn Agency 03/06/14
Robert DePugh, Alligator Records 07/29/05
Tom Derr, Rock Ridge Music 10/29/04
Paul Dexter, Masterworks Lighting Design and Road Cases 12/10/04
Marty Diamond, Paradigm 01/22/10
Glenn Dicker, Redeye Distribution/Yep Roc Records 07/07/06
Barry Dickins, International Talent Booking Agency 06/06/13
Jim Digby, Event Safety Alliance 09/01/16
Mark Dinerstein, The Knitting Factory 11/17/06
Neill Dixon, Canadian Music Week 03/03/16
Thomas Dolby, Musician, academic, technologist, and author 11/09/16
Jasper Donat, Music Matters 2009/Branded 04/24/09
Jim Donio, National Association of Recording Merchandisers 04/22/11
Marc Dottore, M. Dottore Management 04/11/03
Tim Drake, The Roots Agency 12/12/08
Mike Dreese, Newbury Comics 11/23/11
Charles Driebe, Blind Ambition Management Ltd. 09/22/06
Jeremy Driesen, Ray Bloch Productions 09/07/01
Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of Denver’s Division of Theatres and Arenas 08/23/10
Paolo d’Alessandro, International Solutions 06/25/14
Ros Earls, 140dB Management 02/19/14
Art Edelstein, Festival Productions 12/01/02
Bruce Eisenberg, Audio Analysts 08/31/01
Martin Elbourne, The Glastonbury Festival 12/18/09
Michael Elder, Red Entertainment 03/17/06
Tod Elmore, Sixthman 11/24/06
Paul Emery, Clear Channel Entertainment 11/19/04
Arty Erk, Citrin Cooperman 04/27/16
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock ’n’ Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gélinas, Festival d’été de Québec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Chris Gero, Yamaha Entertainment Group 10/26/16
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Steve Gietka, SMG Entertainment 03/19/14
Darren Gilmore, Watchdog Management 03/17/16
Daniel Glass, Glassnote Entertainment Group 10/16/14
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Neil Goldberg, Cirque Productions 04/16/14
Martin Goldschmidt, Cooking Vinyl Group 09/29/16
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, Turntable.fm 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Andrea Johnson, ICM Partners 11/02/17
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Justin Kalifowitz, Downtown Publishing 04/20/17
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Elliot Lefko, Goldenvoice 09/21/17
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Jennifer Lyon, MeanRed Productions 01/18/18
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Música e Cultura 05/04/17
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Paul Reed, Association of Independent Festivals (AIF) 06/14/17
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Jack Ross, APA Canada 09/07/17
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, ItsAboutMusic.com 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Jonathan Shank, Red Light Management 12/13/17
Peter Shapiro, Ideal Entertainment 04/16/04
Peter Shapiro, Dayglo Ventures/Brooklyn Bowl 11/15/17
Seth Sheck, Access Pass & Design 01/03/03
Seth Sheck, ACCESS Event Solutions 06/22/16
Seth Shomes, The Agency Group 11/12/14
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Michael Simon, The Harry Fox Agency 08/14/13
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Peter Smidt, Eurosonic Noorderslag & manager Buma Cultuur 07/17/13
Garrison Snell, Gyrosity Projects 02/23/17
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
Nikki Solgot, Circle Talent Agency 02/18/15
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Deb Suckling, SUGARRUSH Music 07/27/17
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Mandar Thakur, Times Music 08/06/15
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
Adam Tobey, Concert Ideas 08/24/17
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Marsha Vlasic, Artist Group International 05/31/17
Mat Vlasic, Bravado 06/28/17
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Kirt Webster, Webster PR 02/03/16
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Adam White, Author 09/14/16
Lisa White, Pearl Street Warehouse 10/04/17
Adam Wilkes, AEG Live Asia 10/13/16
Fenton Williams, 04/04/08
Del Williams, Right Arm Entertainment 04/18/08
Bryan "Birdman" Williams, Cash Money Records 09/13/11
Paul Williams, ASCAP 10/19/11
J.P. Williams, Parallel Entertainment 10/03/12
Kurt Willms, Green Room Productions 09/20/03
Chris Wilson, Heartbeat Records 03/02/07
Tony Wilson, Factory Records/In The City 06/01/07
Tom Windish, The Windish Agency 07/26/10
John Wiseman, XL Touring Video 05/05/06
Thom Wolke, Twincloud.com 02/08/02
Michael Wood, City Lights Entertainment 08/08/08
Keith Wortman, Blackbird Presents 03/22/17
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, CultureCatch.com 07/27/07
Jeremiah “Ice” Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
Kevin 'Chief' Zaruk, Chief Music Management 06/10/15
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Jason Zink, Emporium Presents 10/19/17
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06
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