Industry Profile: Nikki Solgot
Larry LeBlanc (CelebrityAccess)
This week In the Hot Seat with Larry LeBlanc: Nikki Solgot, agent, Circle Talent Agency.
With electronic dance music continuing to soar in popularity globally, it was hardly surprising that Los Angeles-based Circle Talent Agency acquired Denver-based Ten In One Talent last month.
EDM--with its multiple subgenres of deep house, techno, dub step, and electroóhas not only hit the mainstream globally but, boosted by a wide field of EDM music festivals, and club events, as well by such internationally recognized superstars as Calvin Harris, David Guetta, Steve Aoki, TiŽsto, and deadmau5, it is arguably the music of the moment.
Even its harshest critics now freely admit that EDM has shifted from its early underground roots to becoming a prime force on big festival main stages; and that many of its DJs have become social media savvy celebrities within a lucrative scene that is providing opportunities for their own products, and consumer brands.
Circle Talent Agency, established in 1999 by Kevin Gimble and Steve Gordon remains headquartered in Los Angeles with a deep, impressive roster that includes Andy C, Borgeous, Carnage, Coone, Excision, Flux Pavilion, Yellow Claw, and others. Founded in 2007 by Nikki Solgot, Ten In One Talent had established itself as a formidable boutique talent agency representing a significant roster of EDM artists, DJs and producers.
Solgot has now opened a second Circle Talent Agency office in Denver, and is representing for bookings, Morgan Page, BT, Adam K, Oliver Smith, AU5, Electronic Opus, Maor Levi, Elle Morgan, 123XYZ, Evil Twin, and Mike Hawkins.
What led to the acquisition of your firm by the Circle Talent Agency?
I had been independent for about 7 years, and I was starting to hit a lot of roadblocks in regards to the next level that I needed to reach for my acts. That is what really pushed me in their direction. I had wanted to start reaching out to other agencies, and be able to offer opportunities to those clients.
What do you consider the next level?
A lot of my acts are going from the club level to coliseums, to hard ticket shows, and to wanting to have opportunities offered to them for endorsement deals and things like that.
Circle Talent certainly has developed a business template that will address that.
Absolutely, and it was very appealing to me because they are also still independent and boutique. It (the acquisition) enables me to stay in Colorado and build a department here, and expand their company as well.
The Denver office is just you and Dominic Boggeri?
Correct. Dominic came with me to Circle Talent, and is my assistant as well as the agent for AU5, Oliver Smith, and Evil Twin. We have two employees. We did have four. One was a full-time bookkeeper, which we no longer needed, and we had another agent, Brendan Covey, who went on to be a full-time assistant and tour manager for one of our clients, Morgan Page. He wanted to go off and do production so we made that opportunity happen for him. Iíve known Brendan for over 15 years. It was great to see him going off to do something that he wanted to do.
All of your Ten In One Talent clients came with you, and there are several roster additions.
Adam K, we had picked up prior to coming over. We didnít announce him until afterwards. Mike Hawkins was a Circle Talent artist that I took on.
The acquisition keeps your client roster intact. Will you get involved with Circle Talentís overall DJ and band roster?
In the grand scheme of things, potentially. However, itís more a pairing up of our acts together. Carnage and Morgan Page recently did some music together. So, hopefully, down the road weíll see a tour from that or something of that nature. One of the things to touch on is that Circle brought in a lot of relationships that I didnít have in regards to those larger act management firms. That was attractive to me as well.
Also Circle Talent is headquarted in Los Angeles, the epicenter of EDM in North America.
Yes. Right now it is.
It may be news to some but Denver has long been a hotbed for EDM with shows at places like the Beta Nightclub, and even at Red Rocks.
Donít discredit Denver. There are some great companies here. Thereís very successful festivals such as the Global Dance Festival, and Triad Dragons does a lot of very large events at the Bank One Centre. We have Beatport here, and we have Madison House, Red Light Management, and now Circle Talent based here as well.
You obviously have strong ties in Denverís music community.
I have been in the Denver music scene since 1998. I really feel that Denver is not to be discredited because it has a great music scene from punk to dance music. For my quality of life, I didnít want to move to LA. I had been talking to numerous agencies. Quite a few people wanted me to move, and it was not something that I wanted to do. At the end of the day, I want the opportunity to shut off if I can. Being in Denver allows me to do that.
While rock and pop remain strong, EDM has become a very popular genre that, unlike the others, thrives largely without major labels or radio support.
Itís funny because people laugh all of the time (about EDMís popularity). Last month. I was at a rodeo and Aviciiís ďWake Me UpĒ (with American soul singer Aloe Blacc) was the opening song of the rodeo. I put it out on Facebook that it made me so proud that dance music was opening probably one of the bigger country events out there. It was the National Western Stock Show (in Denver). Itís like the Super Bowl of rodeos next to the Vegas one (National Finals Rodeo). Avicii got played, and Martin Garrix got played. Thatís awesome. Yes Avicii has a very crossover sound with that song, but Martin Garrix doesnít. He was played in between (events) when the announcer was talking. I felt that this is so awesome because so many doors are going to eventually open up.
EDM is found in films, TV shows, games, and at every major festival you can name.
Absolutely. Itís funny, and awful all in one that we can sit back and say, ďYou guys are just catching on, but this has been around for a real long time.Ē But I am really excited by everything happening. Itís one of the reasons why I stayed in the genre
Many of its own fans see EDM as a genre beginning to lose its purity with so many outsiders jumping onto the bandwagon.
I feel that the people who jump into it, and capitalize off of it, weed themselves out pretty quickly. They have a hit, and they may be able to survive off of that for two to three years, but if they donít follow it up then they are going to gone.
An EDM network has developed over nearly 25 years with years of relationships being built. Like any other sector of the music industry, EDM is a business of relationships.
Absolutely. But I do think that there is always the attraction to the shiny new toy. The one thing that I have learned about EDM is that they are still trying to invent the wheel sometimes; not realizing that the music industry has been around for a long time. There are reasons why certain things are done in a standardized way (in the music industry). EDM has adopted some of those things. Thereís been a learning curve with some others. I came from a band and hard ticket world. Itís great that EDM is flourishing, and becoming so successful and (people) are kind of realizing that it can be a very sustainable genre.
Itís more than 25 years that EDM has existed. It's hard to pinpoint a date, and location for its birth. Germany, London, Detroit? You can trace EDM back to Can, and Kraftwerk in Germany in the Ď70s; Ritchie Hawtin and John Acquaviva in Windsor, Ontario in the Ď90s; and the commercial breakthroughs of Prodigy, and the Chemical Brothers in the Ď90s.
I feel that electronic music drew inspiration from industrial music with bands such as Front 242 and Yaz. I saw Front 242 for the first time, and I remember turning to my friend, and saying, ďI will be their agentĒ before I even started representing bands. A year later that dream came true. One of the first large concerts I attended was Front 242 with Carlos Correal, a promoter in Montreal at the time. He is now the head talent buyer at Insomniac (the EDM festival promoter founded by Pasquale Rotella in 1993). I was a fresh-started agent. He was like, ďWow. This is so cool. Three thousand people here and I have never done a show this good.Ē I solidified the signing of Front 242 at that event. They were not doing major 1,000, 1,500 or 2,000 or 3,000 rooms at the time. They were doing 600 capacity rooms, and I felt very fortunate to work with them. It was in the retirement era where they would do one tour every two to three years.
What is EDMís enduring appeal?
Yes. Thereís generally two performance modes: Providing an experience or highlighting a DJís performance.
I think that itís the combination of both. At least I would hope that it is. I also think that itís (EDM Is) fun. It is obviously dance-worthy, and makes people want to get up., go out, and have a great time. It is similar to punk rock in that it is unique, and it isnít cookie cutter poppy commercial music. Of course, there is a sub-genre of in EDM that crosses over to mainstream. There are the more commercial artists such as Calvin Harris or Avicii who write more traditional songs. Morgan Page is one of those acts.
EDMís commercial pop side has developed as the genre evolved.
Absolutely. There are artists who are perfectly content with being club artists, and are fine with hitting a ceiling, and just doing more of the underground scene and getting a vibe and an experience. Then there are the artists where the sky is the limit. They want to headline at Madison Square Garden. Itís a dream of theirs to headline Red Rocks, to headline The Hollywood Bowl etc.
They want to be rock stars.
Absolutely. Not discrediting the other acts that just want to stay smaller, but I want to represent those artists that do have dreams of grandeur. That want to come up with the next thing. I remember when I first started being an agent that one of the things that I would say (to an act) was, ďI see you playing Madison Square Garden.Ē It wasnít a sales pitch. I genuinely felt those artists could do that. Itís great to see all of the EDM acts that have done that. It takes a lot to get there. Itís a big venue. The credit that needs to come with that is really impressive. I really hope that one day I come to have a client of mine do that.
EDM has grown from a small, cult following into this global phenomenon. While many in the music industry didnít understand or accept it, many of those working in EDM were understandably defensive about the genre. Both worlds seem closer together today.
Part of the wall that we have to climb over is the stigmatization of our world. Thereís so many drugs associated with it (EDM), etc. You know what? Are you going to bitch about the amount of beer that is associated with a rock show? And drugs? Hair metal is horrible (with drugs). My parents were hippies. I know what drugs they did.
An aspect of EDM is that it travels well. There are large EDM-only festivals throughout Europe and in many international markets. Have you been working overseas?
I havenít and, maybe, itís an old school mentality of mine, but I really feel that those territories have their own representation. And should have their own representation. So I havenít really branched out much. I have started establishing relationships in Australia. That is primarily because the demand was there for my clients. Morgan Page has done great things there. I used to work with Kaskade. He is huge in Australia. A lot of the (international) talent buyers are actually located here. C3 does Big Day Out (in Australia), and we did Morgan Page with them two years ago. It was great, and he loved every minute of it.
As I said, EDM travels well.
It does. Itís an easy set-up, obviously. The equipment that is needed for a lot of these acts is ďcome in, plug in, and playĒ type of thing. Not push/play, but perform. The days of jumping in a van and doing all of the teeny little markets is no longer there or needed with EDM. Still it is something that I still try to get my clients to do because these small little markets are feeder markets for the majors.
What markets do you consider to be feeders?
Back in the day, I was pushing Kaskade to play in Birmingham, Alabama because I knew that that those kids in Alabama are only three hours away from Atlanta. The same goes for South Carolina, and the Southern markets. The Orange Counties. San Jose, Boulder, and Colorado Springs. They all have colleges, and those kids will all travel to Denver once they become a fan. So itís really important to play those markets. That is something that I have always personally worked on with my clients.
Is the college circuit a breakout market for EDM acts?
I donít know the answer to that. I wouldnít say that it is as much as the internet is. Colleges are more thatís where you go to see bands. Bands break more in the college scene than an EDM act does. I donít see a whole lot of EDM acts doing college tours except for the larger acts.
Most American EDM acts look to play big festivals.
Yeah. They try to get on the festival circuit, and break out that way. I think that (college bookings) need to be looked at. The college market is something that has been talked about with a number of my managers. I think that the EDM culture can sometime outprice itself from the college markets, and that people (managers) and agents feel that the college markets have bottomless pockets. Thatís not the case. Thereís a reason why the baby bands play there. Of course, most colleges do have their major concerts, but those shows are usually reserved for larger, more mainstream acts. The college market is something that I think needs to be explored more. But do I think itís the way that EDM acts break out? No I donít.
Social media has played a very big role in the growth of EDM. A DJ can make a new track, and then click, it's all over the world. When you began in the early Ď90s, EDM was underground in America. Many DJs didn't want outsiders to know about it.
When I first started in dance music, everybody was feeding off what Europe was doing. Now it feels like everybody is feeding off what the U.S. is doing. Of course, that is great for us but one of the fears that I have is that thereís a reason why Europe isnít doing as well right now with their club scene, and I wonder if we are heading in that direction as well.
There are numerous problems in Europe, including the economic climate as well the market being overgrown with EDM acts, and shows. Europe is having a tough time, economically; especially in Greece, Italy, and Spain. People arenít able to go out as much if they have little money.
My grandma used to say to me that during the depression that the number one thing that survived was alcohol and bars. When times are tough what do you do? You drink and party. So........
Back then you could see an artist for a nickel.
Are you telling me that my next tours need to be nickel parties? Iím on it. Maybe, $5 (tickets). I think weíd do well with that. Iíd love to see any artist go out and give back to the fans what they deserve.
When tickets are $100 for a show, and $300 and up for a festival weekend...
That makes people choose what they can go to. The problem is that if you are going to one festival that costs $300, specifically if you are under 25, you are saving up to go to that festival. One of the smartest things a promoter offers is the full layaway thing. Making (several) payments is enabling kids to still attend festivals, but not having to put down a whole lot of money, and they are able to keep that money sitting in their bank account. Itís a smart move by promoters in my opinion.
Still, even if they are saving up, those fans are probably not going to many other shows.
That hurts the club level.
It absolutely does. I love working with promoters who say, ďMy ticket price is $10. Your artist either wants to play or he doesnít.Ē Only clubs do that. Iíve never had a festival do that.
Are there EDM acts doing house parties?
Not that I know of. Thereís certainly the resurgence of a lot smaller underground clubs and new smaller (EDM) nights popping up everywhere. I just heard about a new house night at The Boiler Room in LA. Thereís a space in Hollywood called Gold Box with weekly Space Yacht nights there. I think these (venue events) are popping up more and more because the genre that is hot right now is deep house. That genre is more conducive to an underground, grimy, sweaty, ďdance-and-I-donít-care-what-anybody-thinks-of-me type of feel. We are getting away from weeding out the bottle service (the sale of liquor by the bottle in lounges and nightclubs). I think that it will always be here, but whether or not DJs will be playing it (those venues), I donít know yet. I havenít figured that out yet. They are just starting to separate from it. My clients feel that they are not connecting with those people, and they really want to connect with the fans on the dance floor. Not just to be there to be seen, and buy bottles.
Thatís more about the experience.
Do most of your clients have managers?
Having management is fairly new. Eight to 10 years ago that wasnít happening.
Eight to 10 years, yes. Five years, no. I felt the switchover about 5 years ago.
As more money came into the genre, DJs wanted to insure they werenít being ripped off, and many felt the need to start building new revenue sources.
I think it was more that they were having to keep up with the Joneses. Keep their social media and marketing running; keep their label in check; and make sure that everybody was doing their job. Thatís a lot of work for an artist to do in addition to producing. The managerís job is to keep all of us in line.
Where are you originally from?
I am originally from Colorado. From Evergreen.
What do your parents do?
My dad is a custom woodworker, and my mother is an interior designer/decorator. They have been in Evergreen for over 30 years. I grew up there.
What was it like growing up in such a small town?
A very small town. A beautiful little town. It was something that I didnít appreciate at the time but, in looking back, I would absolutely raise children there. Itís a small town environment, but itís so spread out that itís a big town. At the time I was there, there was only one high school. Now thereís three. You had to drive everywhere which was kind of a pain. Itís only a half-hour away from Denver. So once I was able to drive, it wasnít so bad. As a kid I remember going to my friendís house because she had cable and we didnít have cable yet, and we were able to watch MTV.
ďSouth ParkĒ co-creator Trey Parker graduated from Evergreen High School in 1988. He was Prom King.
That is where I went to school. He graduated before me. I graduated in í93.
John Hinckley, Jr., who attempted to assassinate President Ronald Reagan, and who critically wounded press secretary James Brady in 1981, lived with his family in Evergreen.
Trey Parker and John Hinckley, Jr., two proud moments for Evergreen.
Willie Nelson owned a ranch in Evergreen for several years.
He did and he got arrested there by the IRS (for back taxes).
[Willie Nelson and his third wife, Connie, moved to Evergreen in 1977. They maintained a home situated on 116 acres there. In 1990, Willieís assets were seized by the Internal Revenue Service in a claim that he owed $32 million in back taxes, a figure first negotiated down to $16.7 million, and later to around $6 million. Among the assets seized was the Nelsonsí Evergreen home. During the liquidation process, the house was razed, and the land sold for development. Willie released an album, ďThe IRS Tapes: Whoíll Buy My Memories,Ē in 1992 under an agreement that he should share profits with the IRS to settle his debt.]
You went to the University of Alabama.
I did go to college in Alabama. I was in Bama from 1994 to 1998.
Studying event planning.
Yes. I wanted to be a wedding planner.
Are you kidding me?
You remain a lifetime Bama football fan.
You do not want to be a Facebook or Twitter friend with me during the football season. I have been known to choose a football game over going to a festival.
How did you get into the music business?
In college I worked for Nike as one of their campus reps. I did events on campus. I was a photographer on the side, and I started touring X Games basically during every Christmas, and summer break. I was driving across country to hit San Diego, and hit Telluride to shoot the X Games. I really fell in love with the industry of television and the lifestyle events. That led me into street promotions. So when I moved to Phoenix, Arizona in 1999, I started doing street promotions for some of the local people. I ended up picking up some pretty big clients like Microsoft. I did street promotions for Coachella when it was in its infancy state. Of course, all the local promoters had me doing street stuff as well. That eventually turned into an opportunity where I became a publicist/personal assistant for a DJ named Nigel Richards. He kind of took me on exclusively. Thatís when I refined my marketing skills, and started a publicity firm called FYI Media.
What took you to Phoenix?
A personal relationship. When I was working for Nigel, I was also working as a promoter for a crew called Groove Tribe. We were doing events at Freedom (the dance-music Mecca in Tempe, Arizona which closed in 2004). I was the artist relations (rep) there. They gave me my start. I really started establishing relationships within the EDM community, and I was approached by quite a few DJs saying, ďWhy donít you become an agent?Ē So I branched off FYI Media to create FYI Live and thatís when I started doing bookings. I took on clients like Front 242, and a bunch of bands because thatís where my personal interest lay. I did EDM bands like Deepsky, and Electric Skychurch.
Is Phoenix a good music town?
Yes, and itís growing. It likes to piggy-back off Los Angeles a lot I feel. Itís a market that is really run by the college. So it definitely has some down time when college is out. And itís obviously incredibly hot there so in the summer itís pretty hard to do events.
You then went to Brooklyn?
In 2004, I had a personal tragedy and Paul Morris, the owner of AM Only (in Brooklyn), came to my rescue. We decided it was the next step for me. So I dissolved my two companies, FYI Media and FYI Live, and moved and became an agent. I moved myself to Brooklyn, and worked there for two years. It was a great experience.
At the time, AM Onlyís roster included such emerging acts as TiŽsto, Tosca, Carl Cox, VNV Nation, BT, and the New Deal. Most of them major names today.
It is a big company now. It was actually really different then than it is now. Iím happy for what Paul has created. It was me and one other agent, and Paul in the office at the time. There was support staff but it was just me, Judith Ross, and Paul. We had our assistants.
Itís a different company today.
Yep, itís a huge company now. He has done really great things for himself. It was a really good learning experience for me.
Paul used to have a record store in East Village.
He worked out of a record store. He was really close friends with DB. Then DB and DJ Dan came to him and said, ďWe are getting a lot of bookings. Why donít you be our agent?Ē
Why did you leave AM Only in 2006?
My contract was up, and Paul and I kind of had different directions that we wanted to do. I was very independent, and I wanted to try it (booking) again on my own. So I did. Thatís when Ten in One Talent was created. It took about a year to get everything set up, and the roster established. But all of my artists left with me from AM Only, and came to Ten in One Talent. We operated out of New York for three years. I left New York in 2009. I had to move home for family issues. Unfortunately, my father fell ill. I needed to come home, and spend time with him. Fortunately, he is better.
In New York City were your working from an office or your house?
We had an office and a staff of 5 people. We had about 20 clients. We had a band agent Neil Rubenstein who was deep rooted in Long Islandís pop, punk and hardcore scene. We really ventured into doing bands, and we kept doing bands. I decided to step away from the band world when I moved to Denver because it was completely different from EDM, and I wanted to focus myself.
A booking agency is somewhat portable these days with the internet and cell phones. Twenty years ago, you may have been hampered in moving different places.
I have always said that as long as you have internet, and phone you can do this job anywhere. As long as you are willing to travel, and make sure that you have face time with everybody, I think that it is really possible to do this from anywhere.
Do you attend many industry conferences?
I do. I go to the Winter Music Conference every year. I also go to the EDM Biz Conference.
What benefit are the conferences?
It is primarily face time with the key industry players. Keeping up with the Joneses. Kissing babies, and shaking hands.
You are turning 40 this year. Does that bother you?
It doesnít. Iím still 39.
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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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 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, 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
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, 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 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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