Industry Profile: Mandar Thakur

— By Larry LeBlanc (CelebrityAccess)

This week In the Hot Seat with Larry LeBlanc: Mandar Thakur, COO, Times Music.

India’s music industry has not only had to contend with the full impact of the Internet, and technology-empowered consumers like other territories, but it fastened itself at the top of the barricades as the country’s mobile operators began to build a digital music society.

Today, India has more than 800 million cell phone subscribers and data penetration is an estimated 10%. A market of about 300 million music consumers embrace an eclectic repertoire of Bollywood film songs, bhangra, ghazals, remix songs, fusion, EDM, devotional, tribal, folk, qawwalis and Western pop and rock music.

At the forefront of Indian’s music industry is Mandar Thakur, COO of Times Music, a division of South Asia’s largest media conglomerate, The Times Of India Group.

The Times Of India Group is South Asia’s largest media conglomerate with annual revenue exceeding $1.5 billion, and the employer of 11,000 people. A family-owned business, it owns interests in magazines and newspapers, radio and TV networks, online services, music publishing, a record label, and so on.

Times Music manages a large and diverse domestic and international music catalog, and also administers its own music publishing catalog in all major international markets. The company is also the exclusive India sub-publisher to Warner Chappell and Peer Music.

Prior to joining Times Music in 2010, Thakur operated a digital music and media consultancy business. He had been consulting for The Times Of India Group for 18 months after Motorola shut down Soundbuzz, India's largest online and mobile music distribution business, where he had been GM.

Prior to a 9 year stint at Soundbuzz, Thakur was a part of the startup team that launched the pioneering 24 hour Asian music television station Channel V, part of the Rupert Murdoch-owned News Corp's Star TV operation. In the early ’90s, Thakur managed bands, and worked in concert promotion.

What is the biggest music label in India?

T-Series is the #1 Indian company by turn over.

They do primarily Bollywood?

Just Bollywood by and large. They do other repertoire but they are the unquestioned dominating force in Bollywood music. I think that the second position by revenue would be Saregama which has been focusing on catalog. They have been unfortunate that in the past couple of decades that they have had 4 to 5 different CEOs. Sony Music Entertainment India is the biggest 360 degree player in India. They are the largest in terms of international music. They are also very large Bollywood players. I suspect that Sony and Saregama will go neck-to-neck in terms of revenues, with Sony being just a little bit less.

Sony Music Entertainment India has entered into some interesting partnerships of late, including a deal last month with migme, the Singapore-based social media and entertainment company.

Sony is probably one of the most progressive players in the country. As a multinational they have taken a very long-term view. They have been here for the past 16 years, and they have been building up their business by establishing local music. They went after Bollywood music. Today, they are a very serious competitor in the entire Bollywood space. I would say that T-Series, followed by Saragama by size and revenue, and then Sony by size and activity.

[Migme hopes to use the Sony Music Entertainment partnership to expand its artist engagement program in India. The program involves Sony artists using the migme platform to build and interact with their fan base. Migme and the artists will then share in the revenue generated from the sale of virtual goods and gifts. Earlier last month, migme announced an initial move to expand its artist engagement program into India through a partnership with CAA Kwan, one of India’s largest celebrity and sports management agencies.]

The second tier of leading music players would include companies like Times Music, and Universal Music Group?


Times Music offers sub-publishing services which may be attractive to those international publishers fazed by India’s complex music market.

It makes sense for a lot of the global majors to work with us. We bring in facilities. We bring in offices. We bring in the strength of the entire Times of India Group. Access to the advertisers, access to the (radio and TV) networks, and everything. It is a situation where we really are not in a position to correct their IP (intellectual property) but, being entrenched in this business here, we have the ability to help their repertoire grow with the rest of industry. I think that is very important as opposed to coming in and trying to do this all themselves

You work in Mumbai?

I simply refuse to toe the line and call it Mumbai. I hate that the government renamed it back to its original name. I grew up with the name Bombay. So I live in Bombay, and I also work out of the Bombay office that is Times Music's headquarters

Did you have a hesitation in 2010 in deciding to work for such a massive company as The Times Of India Group?

I had no hesitation. The reason is that I have spent almost all my life as an entrepreneur. As a corporate entrepreneur as in the case of Channel V when we started it here and it was still owned by News Corp (News Corporation). It was this raggedy start-up team that was starting it. We were pretty much kick-starting the music television business in India. We started off the terrace of a hotel.

Prior to Times Music you had worked at Soundbuzz, Asia/India's largest online and mobile music distribution company, which was acquired by Motorola in 2008. Motorola then shut it down a year later.

Motorola got basically a turnaround itself (split into two separate entities, Motorola Mobility and Motorola Solutions), and I had to figure out “What am I going to do with service companies?” But I worked for Motorola for a year.

You had worked at Soundbuzz for a long time.

I was at Soundbuzz for 9 years, and then at Motorola for another year. That again was a corporate.

Then you were working as an entertainment consultant for almost 18 months after leaving Motorola.

The Times was a client. So I had the opportunity to look at the organization from the outside in. So I was comfortable with it when I was offered the position. So no, there was no hesitation.

Apple Music is available in India with an ultra-cheap rate, but it will likely still face stiff competition.

Well, yes and no in a way. At this stage Apple’s entry has created a massive wave of sorts. There are local competitors, and streaming has been a business that has been here for the last, maybe, three or four years or more. Apple’s competitors are very well entrenched. Gaana or Saavn all have publicly-declared users in the tens of millions. There is also Rdio, which bought up a local company (Dhingana) here (in 2014).

[Apple Music is now available in 100 countries, including India where the streaming service has among the cheapest rates globally. At 120 rupees ($1.89) for a month’s-worth of music streaming, Apple has opened its online music library to Indians at a price considerably lower than the entrance fee elsewhere. Apple’s other products, however, are more expensive in India than in North America due in part to an import tax on phones.]

Australian music streaming service Guvera also opened up in India in 2014.

Yes. Guvera is doing great as well. These are all free to market services, free to consumers, but backed by advertising. The big difference is that before Apple launched, Airtel (Bharti Airtel headquartered in New Delhi, India), the country’s largest telecom operator, and also the world’s fifth largest operator in volume, launched its own online streaming service. It is called Wynk. It was the first paid music subscription streaming service, Airtel, being a telco, already had a transactional relationship with their consumers due to their voice and data plans. They didn’t have an uphill task of having to convert free streaming consumers into paid subscription consumers as these same consumers were already paying them for other core services. They immediately ramped up (with dedicated marketing and promotions across media channels, including television) creating the first ever subscription service. So for Apple to come in, and start off another similar service, well there already is an established player. But I think that with Apple’s massive scale, and with that news (of its launch) that resonated, and a fairly engaged user base, it has created a bit of a race.

Apple’s iTunes has had an estimated market share in India of 26% mainly due to focusing on international repertoire. How much domestic repertoire did Apple Music launch with?

They pretty much have everything. All services are all pretty much all repertoire. It’s just that the consumption of international music on iTunes is slightly higher than most services.

Saavn, one of the handful of streaming services dedicated to India, recently raised $100 million for investment. A bit scared?

Yeah. Look here’s how it’s all going to play out, Larry. These are all businesses that are just over, maybe, eight to ten years old. Look at Spotify, even, if they are turning over $1 billion in revenue, it’s a little hard for them because they have to keep the costs of the business, and keep raising money. Now Apple, Google, YouTube, and Airtel are players with deep pockets. Whichever streaming market they get into in a market like India at the rates that we discussed in rupees these are just little droplets that come in. These businesses will probably invest even more than that in 10, and even 12 years. So unless an independent player like a Saavn or others have that kind of cash capital to be able to play the game for a longer time, it’s going to be difficult. So I don’t blame Saavn for (raising) $100 million. They probably should have raised a little more money. But what is important is the fact that international investors are putting in that kind of money into a streaming business in India. I think that is really positive

[Founded in 2007, Saavn is headquartered in New York City with offices in India. It claims to now have 14 million monthly active users.]

You made an intriguing comment in 2013 that “internet piracy was actually a good thing to happen.” I agree with your argument that piracy woke up the music industry. Can you imagine if there wasn’t piracy and that the music industry had kept its head in the sand?

This industry would have been decimated big time. I was reading an interview the other day with (American manager) Scooter Braun and I liked what he mentioned that this is not a challenged industry. It is not an industry that is dying. It is an industry that is changing. Only a very few people are able to comprehend that, and will decide to change or act on that. It was kind of a big thing in the music industry here when I came from the live music sector, from music broadcasting, and from the first digital company created here, everybody asked, “Why the hell do you want to join a record label? What’s wrong with you? Do you want free CDs?” I was like, “No no no I don’t want the free CDs, but I really feel that different perspectives will help this industry, and certainly will help the company that is Times Music.”

I’ve always felt that we as an industry do not understand our faults or comprehend them to say that, “I was wrong. Here is what somebody else has started.” If you look at internet creativity on distribution, it has only come from the pirates.

The music pirates were the canaries down in the internet mine.

Yes. Absolutely.

They made mistakes, and the music industry was able to watch them make their mistakes, and correct some of them. Meanwhile, the technology, recording, and film industries grew closer together.

Completely. I think that it was all about control, Larry. Where one industry (the recording industry) controlled a lot. Today that same control has passed onto five players. At one point, the record industry would be the main state of the music business creating the art. That’s fine. That doesn’t matter. The pie is just bigger, and we play a different role. Occasionally, we can take a lead from people who may have the wrong intentions. We have the right product. That’s all that I meant to say with my comment. That the product was right, which was digital distribution, peer-to-peer. It was just that the players had the wrong intentions, and they have since been dealt with.

As a connected Indian teenager how should I get my music? At one point, content was king. Then portability became pivotal. I think it’s going to shift to accessibility. If something is available, can a service give it to me quickly, and with ease? Exclusives, I don’t care about.

I agree. Exclusives are a thing of the ‘80s. I don’t think anybody cares about anything, anymore. It’s a question of if I like something I just need to get it fast with the least possible cost, and the least headache. A couple of weeks ago I did an interview with someone who was asking again about piracy. I said, “Why are we are looking at piracy sites to where teenagers would have gone earlier from our view point, from our age?” I’m 42. It’s been a long time since I pirated something. My point is that you can’t look at the last two decades of images. You have to look at someone who is a teenager today. Think about it. Why would anyone want to go to a piracy site today when there are close to 8 or 10 legit music sites giving away music for free? You can go to Saavn. You can go to Guvera. To Spotify. You don’t have to go to a piracy site anymore. In my view, the streaming business has very slowly eradicated piracy. Not completely, but for a teenager like you mentioned, it’s pretty much streaming today. I wouldn’t think that it was anything else.

Streaming will win out, and it will be a subscriber model.

It will be. It’s a question of whether you want to pay $9 or 120 rupees a month. The medium is not a big deal. It’s a question of people recognizing that there is value that Apple streaming brings to the table. The value that Spotify brings. And, if it’s the cost for a package of cigarettes or a beer, why not?

A friend of mine asked me a few years ago if every music track in my record collection was available online did I need a record collection? I had to answer no.

You don’t need to.

It is certainly evident in India that the music industry is making money for mobile operators and others. India has roughly 800 million cell phone subscribers, and data penetration is an estimated 10%.

That’s a favorite topic of mine. Mobile operators are sort of the modern day pirates when it comes to taking revenue (from music distribution). I’m very happy to say that quote on record because at the end of the day if you look at mobile value added services revenue that comes with those downloads at least in India you are talking about 6-8% or more of their top line at one point came from this. For people not to pay creators, to not pay the people who are putting it out is such a shame. As an industry we should be worried about stuff like that rather than being bothered by a boring thing like piracy.

As a friend pointed out, digital services now want to pay to distribute music. It’s just that they are seeking to see how little they have to pay to do so.

What a quote.

They want to pay the least amount.

Look, they may be right. Here’s my analogy, and bear with me for a second. If you look at some of the emerging markets, and I’m no expert on the United States, but if you look at modernization. You now have high speed data lines, and hyperloops. In emerging markets, there’s a burst of consumer activity like retail malls, coming in with big shopping brands, mobile phones and all of that, the $1 that would have gone toward music or a film, it’s now a fight for that dollar. That dollar is stretched into new shoes, into the newest version of whatever is being put out. Into a fancy new car, and for credit cards and things. So consumer payment culture is so high that music fundamentally is...well, it’s a matter of valuing that music.

It’s also a matter of selling music more directly to consumers. That fight has already been lost by the music labels.

That’s what I said about control a little while back with the labels. That the day that you figured out that you couldn’t do it anymore, it was a question of, “Oh my gawd, am I going to be able to walk again?” It’s very destabilizing. But it is what it is. Change is here to stay and if we don’t deal with it proactively, change will deal with us. That’s obviously a good thing.

It’s interesting how the download market imploded globally so quickly. Downloads were never going to be a stable distribution configuration.

No it wasn’t. It was soft. Back in the mobile or telephone days you would have a true tone or a master tone (on mobile). All of these things were stepping stones into a larger reach of a media format which was a download, and that was a stepping stone into streaming. I think that the death of downloads has had nothing much to do with taste as much as it has to do with the medium itself. In my case, I had iPod with close to 6,500 songs. When iTunes streaming started, it basically had all of those (music tracks) in my ITunes library in streaming. So I began thinking, “Why do I need my iPod anymore?”

India is a unique marketplace in that music is less centered on the artist and more on the song.

It completely is. You are bang on. For us the music industry was always traditionally a sub-set of the film industry. So music companies in India started off as traders buying film soundtracks, all inclusive, and then selling them at retail.

The Indian music market is roughly a $270 million (US) business with domestic repertoire representing the bulk of the market. About 70 % is Bollywood music. The rest is split between non-Bollywood music, including local pop, rock and traditional genres.

Yes. It’s not a massive sized business. It’s a business that has been in a conundrum for a long period of time. India was always about a song. We were sort of ready for the YouTubes of the world pretty much “100 years ago” when every single Bollywood film had a song and dance video. They only made musicals of films. So over a period of time the song became the main identifier. The actor became the face of the song, and playback (the backing track) was obviously somebody behind. It is only now that things are changing around with finding independent artists. But if you ask, “What are your Top 10 artists?” It won’t matter because it’s the same artists shared between Sony, Universal and T-Series and any other of the peers that we have.

Will India ever produce another golden period of independent music as it did in the ‘90s with acts like Alisha Chinai, Indian Ocean, and Euphoria? A great period for independent Indian music.

I totally agree. Indian Ocean have signed on to us. We have released almost all of their albums. If you take a step back, Larry to the ‘90s which was the years music television channels launched—i was part of them while at Channel V (the pioneering 24-hour Asian music television station), and their competitor at that point was MTV that had just launched. At that point, the mid to the end ‘90s was the first defining golden age of Indian pop. It was when Indian pop came into the mainstream with artists like Alisha Chinai, Daler Mehdi, and the Colonial Cousins. A lot of these guys were the faces of Indian music. Each had their own following. Nothing to do with Bollywood. A lot of companies served it (non-Bollywood pop music) up like Magnasound, and Crescendo which are licensees of Warners and BMG. That was a very big golden period.

What happened was that the Indian consumer pop culture that was evolving got taken over by this large multi-media extravaganza that is Bollywood. From traditional Bollywood, it turned into a very consumer friendly, very young approach. The sound of music changed. Hip hop influences came into Bollywood. And that became our pop culture.

Also the Bollywood films became more sophisticated with film stars becoming like rock stars.

Absolutely. Bollywood got more in touch with modern times, in touch with the evolving music consumer marketplace, and moved more toward a lower demographic than an older demographic. And the sound changed. If you look at Bollywood’s Top 10 music composers today, they are all ex-rock and ex-pop musicians.

How quick in the Bollywood sector is a track made available to consumers?

It actually is made available to the public before the film releases.

They use music to promote the film?

Yes. In many cases two to three months beforehand the videos are out.

How is the music promoted?

Largely though music videos, radio airplay, and television advertising. TV is the biggest driver for marketing and promotion in Bollywood simply because it is a multimedia thing. It’s just not the song, it also the actors and everything else.

India doesn’t seem to have a true pop music culture outside of Bollywood.

Not really. There’s Bollywood, and it still pretty much dominates our pop culture. If I can go a step back a bit. In the ’90s the independent pop music scene sort of finished off, and Bollywood took its place. That dream still continues because it has everything to do with the budgets that Bollywood films have. The visual extravaganza, and the eye to glamor that is attached to the films and videos. So you didn’t need anything beyond that until today, but the (the independent) scene is now growing.

On the main stage there’s Bollywood for sure, and each and every one is locking into that. But beyond that on a ground level, there is a niche, a very nice independent music scene growing up. It’s at a very early stage where there are very big festivals doing four cities. That entire scene is dominated by independent music, and independent bands. I wouldn’t call it a business scene as yet because a lot of these artist have yet to reach a serious level of songwriting. But a lot of them have their own fans who like to see them and buy stuff from them. That is bubbling under.

As streaming evolves, it will likely popularize Western music more in India.

Completely. I agree. I think that is a large significance and if you go back and look at Apple’s share (with iTunes) of an estimated 26% that shows that there is a clear demand for international music. With the live scene there’s tons and tons of international EDM stars here almost every weekend. So clearly, there is potential. It’s a question of how much can you play. It goes back to that. If you look at the major television companies, if you look at the music companies, if you look at either the streaming companies or the even the multinationals, it’s a question of this market takes a decade or more than a decade and a half to digest. So it’s a matter of risk capital. How long can you hold on?

Has radio deregulation of radio helped foster growth of new domestic independent music?

The only problem that I see with a lot of the private radio networks is they are all Bollywood obsessed. Beyond a point it is very hard (the independent music scene) just isn’t going to grow.

As you noted EDM is very popular in India.

We must be the strongest ambassador for EDM here. EDM today is what rock and pop were in the past two decades. It is simply one of the biggest genres. Not only in international, but you see traces of EDM today in Bollywood films, and local culture as well.

Goa has a big electronic scene that started two decades ago. EDM is also strong in such main Indian cities as Mumbai, and Delhi, followed by Bangalore, Pune, Kolkata, and Hyderabad.

It is. Look I’m a little old school when it comes to music listening. But EDM is like a monster juggernaut. It is just unstoppable. Every weekend there are DJs playing here, and there two or three top-tier festivals like Sunburn and Super Sonic (both in Goa). Times Music has a very large interest in EDM. Times Music recently released new albums by Above and Beyond, one of the world's largest EDM acts, and Paul Van Dyk. We play a lot in that EDM area but it is something that just boggles the mind right now. Just like India.

Indian’s live music business is renowned for its mind-boggling restrictions, including enforced curfew hours, and entertainment taxation that varies from state to state. Have any of these issue been relaxed?

I think most states are like the home state which Bombay is. Bombay is a city, and the state is Maharashtra. So outside of the home state, it is actually far easier to have live shows because curfew times are pretty much longer than Bombay is. I think that Bombay shows have to shut down by 10 (PM).

The biggest problem in the country is licensing and taxation more than the curfew. The curfew is fine. People can manage it, and they can finish it (the show) on time. I would say that would be the lesser of the many evils, but the inability of anybody to comprehend the licensing system, and get 18 or 20 licenses and, secondly, the heavy taxation of the entertainment which I think is higher than 25%, that doesn’t create a promoter or impresario culture.

[The entertainment tax structure in India varies across states. The tax is mostly levied on each and every financial transaction related to entertainment including: Major commercial shows, movie tickets, music concerts, and music festivals. The state government is the primary beneficiary of this revenue, and the local authorities will earn their share of the tax as well. Entertainment tax has to be paid upfront to the authorities concerned. An event organizer has to estimate the sale of tickets, and pay the tax. A tax refund on unsold tickets may be claimed with authorities return the money in 60 days from the date of the claim.]

It’s hard to find people who want to invest in concerts or festivals.

You heard about Jerry Seinfeld’s two live shows here that got canceled? That was out of some stupid parking thing. That there wasn’t (adequate) parking or parking permission was needed or something like that. The cops denied (licensing the show) at the last minute. Things like that. But I still maintain a fairly optimistic attitude. This is a growing business. It’s not only us in the music business but it’s other the stake holders as well. The government, the cops, the agencies, and the brands. Everybody is going with it. In spite of these teething issues we still manage to pull off big gigs and these issues are all just that, teething problems

Over the years Live Nation Entertainment has done shows in India, but AEG Live hasn’t, citing the lack of suitable venues.

Live Nation and AEG are looking to participate, and some of the big (booking) agencies like CAA have joint ventures here. But I think it’s a question of, “What do you want to do with the country?” It’s not like everyone is waiting for Live Nation to bring in tons of artists. Those costs are also unbearable. It is question whether Live Nation wants to participate in India in exporting these large-scale Bollywood shows, and bring them across the world where there is already an organized culture. There are already promoters and stadiums where these things are already happening. So it’s a question of looking at that as an opportunity, and saying, “I’m going to make that happen.” Or is it the other way around? That they import in global superstars. It’s making a decision and moving on.

You grew up as a rocker.

Yes. Still proud of it (that identity). I wear it on my sleeve.

What rock did you drive you parents crazy with?

It was pretty much rock music between the late ‘70s and early ‘80s. My fascination of bands started waning in the late ‘90s. If you had me list my favorite artists, it would be everyone from Deep Purple to Scorpions to Motely Crue. I’m going to go to the last Motley Crue gig at the Staples Centre (on Dec. 31st, 2015). Then I’m going to follow them to the Whisky (for a special last show).

You have been public about your admiration of Sire Records co-founder Seymour Stein. He’s been talking about India for decades.

More than that. There are probably corners of India that he knows more about than I do. He’s been to places in India that I haven’t been, particularly in the past two years.

Two people stand out as my heroes who have been really inspirations. One is David Geffen, and the other is Seymour Stein. Geffen obviously for the business and Seymour Stein for his very simplistic take on music. I remember that line that Seymour mentioned that, “There are no genres in music. There’s really only good music and bad music. That’s it.” I always try to look at music that way.”

I knew David Geffen because he and Elliot Roberts began managing Canadians Joni Mitchell and Neil Young in the late ‘60s.

Seymour took me to the 2010 Rock and Roll Hall of Fame Awards where Geffen received one of the lifetime awards (The Ahmet Ertegun Lifetime Achievement Award). I was like an excited school boy with all of my idols there. I was like, “Wow.”

How much time do you spend traveling?

Oh, maybe, close to half a month. I stay in the Bombay office a lot because we are always in the throes of change. I like to run a business with a structure that is flexible. We are doing so much. We are entering Bollywood in a big way now. The parent corporation has great faith is us. They support us wholeheartedly. Due to that there’s a lot going on at work. So I’m trying to cut down on travel. But I would say that 15 days a week I’m traveling.

You annually attend the MIDEM, Music Matters, and Musexpo industry conferences.

Those are the only three that we do, and for very specific reasons. We are one of the few labels in India that have a global mandate. We are an Indian label looking outward. A large part of our revenues come from overseas markets so those three are big for us. Music Matters is big for us because of the wider business. Musexpo for all of the sync opportunities it presents. MIDEM because of music publishing and digital. It is sort of a once a year creative time with our partners.

You are just looking for nicer weather in the south of France.

(Laughing) What a great idea to go to the French Riviera.

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.

To learn more about Larry LeBlanc and to see some nifty historical photos check out:


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Shane Bourbonnais, Live Nation Canada 03/21/08
Jeff Bowen, Sears Centre Arena 03/13/08
Rick Bowen, Mystic Music Experience 07/11/08
John Boyle, Sanctuary Music Group 03/19/04
Jeff & Todd Brabec, Writers/Attorneys 01/03/12
Bill Bragin, Joe's Pub at the Public Theater 08/08/03
Joel Brandes, Avenue Management Group 11/02/08
Joe Brandmeier, Moving Pictures 03/15/02
Scooter Braun, SB Projects 12/13/10
Ron Brice, 3rd & Lindsley Bar & Grill 06/08/16
Billy Brill, Billy Alan Productions 11/11/05
Doug Brown, Talent Buyers Network 09/21/01
James Browne, Sweet Rhythm 11/01/02
Bob Brumley, Brumley Music Company 02/17/16
Tony Brummel, Victory Records 05/17/09
Charlie Brusco, TBA Entertainment Corporation 10/13/01
Del Bryant, BMI 05/18/07
Cortez Bryant, Bryant Management 12/06/10
Stephen Budd, Stephen Budd Management 07/13/17
Bruce Burch, University of Georgia Music Business Program 10/09/09
Deborah Burda, Kentucky Exposition Center 08/03/07
Patti Burgart, IEBA 06/07/02
Jordan Burger, The New Musiquarium 01/22/01
Ron Burman, Roadrunner Records 08/25/06
Suzanne Cadgene, Elmore 05/19/06
Karen Cadle, KGC Productions 03/12/04
Gary Calamar, KCRW 07/10/09
Charles Caldas, Merlin 07/05/10
Brian Camelio, ArtistShare 02/29/08
David Campbell, AEG Europe 08/02/10
Tom Cantone, Foxwoods Entertainment Group 10/20/00
Tom Cantone, Foxwoods Resort Casino 07/03/03
Tom Cantone, Mohegan Sun 08/30/09
Ashley Capps, A. C. Entertainment 05/21/04
Rio Caraeff, Vevo 07/12/11
Mike Carden, Eagle Rock Entertainment 08/16/11
Charles Carlini, Carlini Group 05/16/08
Mark Carpentieri, M.C. Records 05/27/05
Mark Carpentieri, M.C. Records 01/10/11
Troy Carter, Coalition Media Group 06/07/10
Daniel Catullo, Coming Home Studios 06/22/08
Raffi Cavoukian, Folk Singer/Children's Entertainer 05/11/16
Jeffrey Chabon, Chabon Entertainment Group 08/22/02
Mike Chadwick, Essential Music & Marketing 08/01/12
Rob Challice, Coda Music Agency 03/27/13
Tom Chauncey, Partisan Arts 01/11/02
Tom Chauncey, Partisan Arts 10/04/11
Lisa Cherniak, Artists Against Racism (AAR) 07/20/01
Bob Chiappardi, Concrete Marketing 06/13/03
Joel Chriss, Chriss & Co. 10/04/02
Michael Chugg, Michael Chugg Entertainment 09/14/01
Michael Chugg, Chugg Enterprises 10/02/09
Gary Churgin, Harry Fox Agency 09/13/10
Vinny Cinquemani, S.L. Feldman & Associates 12/13/12
Barry Coburn, Ten Ten Music Group 03/28/11
Matthew Cohen, Green Room Productions 10/19/01
Ted Cohen, TAG Strategic 01/10/13
Lisa Cohen, Associated Booking Corporation 02/10/06
Steve Cohen, Music + Art Management, Inc. 03/09/07
Dan Cohen, Music & Memory 01/12/17
Michael Cohl - Part 1, S2BN Entertainment 03/06/13
Michael Cohl - Part 2, S2BN Entertainment 03/13/13
Bryan Coleman, Union Entertainment Group 02/14/12
Mamie Coleman, Fox Broadcasting 07/05/12
Dennis Condon, Disneyland Resorts 07/13/01
Peter Conlon, Peter Conlon Presents 05/20/05
Tony Conway, Buddy Lee Attractions 10/06/00
Allen Cook, TOURtech 04/16/15
Tomas Cookman, Cookman International 09/05/03
Alex Cooley, Alex Cooley Presents 07/12/10
David Cooper, 10/31/03
Jay Cooper, Greenberg Traurig, LLP 05/23/11
Julie Coulter, Near North Insurance Groups 06/07/01
Amy Cox, Deep South Entertainment 02/09/07
Michael O. Crain, Crain Law Group, LLC 10/09/13
Charlie Cran, The Strawberry Music Festival 04/05/10
Jim Cressman, Invictus Entertainment Group 06/06/12
Russ Crupnick, MusicWatch, Inc. 07/23/15
Todd Culberhouse, Vision Management /Vision Records and Entertainment 09/05/08
Tony D'Amelio, Washington Speakers Bureau 04/21/06
Ruth Daniel, In Place of War 08/09/17
Ray Danniels, Standing Room Only Management, and the Anthem Entertainment Group 03/05/15
Ken Dashow, WAXQ-FM (l04.3 FM) - New York 09/08/06
Hal David, Lyricist 07/26/11
David Davidian, Independant Lighting Designer/Director 06/18/04
Anthony Davis, D&L Entertainment Services, Inc. 03/02/01
Chip Davis, American Gramaphone/Mannheim Steamroller 05/31/02
Mitch Davis, Tempest Entertainment 07/16/04
Jeff Dawson, Canadian Recording Services 06/08/08
Desiree Day, USO Celebrity Entertainment 08/10/01
Shauna de Cartier, Six Shooter Records/Six Shooter Management 10/23/13
Gene DeAnna, The Library of Congress 02/21/12
Vincent Degiorgio, Chapter 2 Productions 08/01/13
Tony DeLauro, DeLauro Management 12/23/04
Valerie Denn, Val Denn Agency 04/30/01
Val Denn, Val Denn Agency 03/06/14
Robert DePugh, Alligator Records 07/29/05
Tom Derr, Rock Ridge Music 10/29/04
Paul Dexter, Masterworks Lighting Design and Road Cases 12/10/04
Marty Diamond, Paradigm 01/22/10
Glenn Dicker, Redeye Distribution/Yep Roc Records 07/07/06
Barry Dickins, International Talent Booking Agency 06/06/13
Jim Digby, Event Safety Alliance 09/01/16
Mark Dinerstein, The Knitting Factory 11/17/06
Neill Dixon, Canadian Music Week 03/03/16
Thomas Dolby, Musician, academic, technologist, and author 11/09/16
Jasper Donat, Music Matters 2009/Branded 04/24/09
Jim Donio, National Association of Recording Merchandisers 04/22/11
Marc Dottore, M. Dottore Management 04/11/03
Tim Drake, The Roots Agency 12/12/08
Mike Dreese, Newbury Comics 11/23/11
Charles Driebe, Blind Ambition Management Ltd. 09/22/06
Jeremy Driesen, Ray Bloch Productions 09/07/01
Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of Denver’s Division of Theatres and Arenas 08/23/10
Paolo d’Alessandro, International Solutions 06/25/14
Ros Earls, 140dB Management 02/19/14
Art Edelstein, Festival Productions 12/01/02
Bruce Eisenberg, Audio Analysts 08/31/01
Martin Elbourne, The Glastonbury Festival 12/18/09
Michael Elder, Red Entertainment 03/17/06
Tod Elmore, Sixthman 11/24/06
Paul Emery, Clear Channel Entertainment 11/19/04
Arty Erk, Citrin Cooperman 04/27/16
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock ’n’ Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gélinas, Festival d’été de Québec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Chris Gero, Yamaha Entertainment Group 10/26/16
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Steve Gietka, SMG Entertainment 03/19/14
Darren Gilmore, Watchdog Management 03/17/16
Daniel Glass, Glassnote Entertainment Group 10/16/14
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Neil Goldberg, Cirque Productions 04/16/14
Martin Goldschmidt, Cooking Vinyl Group 09/29/16
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Andrea Johnson, ICM Partners 11/02/17
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Justin Kalifowitz, Downtown Publishing 04/20/17
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Elliot Lefko, Goldenvoice 09/21/17
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Jennifer Lyon, MeanRed Productions 01/18/18
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Música e Cultura 05/04/17
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Paul Reed, Association of Independent Festivals (AIF) 06/14/17
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Jack Ross, APA Canada 09/07/17
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Jonathan Shank, Red Light Management 12/13/17
Peter Shapiro, Ideal Entertainment 04/16/04
Peter Shapiro, Dayglo Ventures/Brooklyn Bowl 11/15/17
Seth Sheck, Access Pass & Design 01/03/03
Seth Sheck, ACCESS Event Solutions 06/22/16
Seth Shomes, The Agency Group 11/12/14
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Michael Simon, The Harry Fox Agency 08/14/13
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Peter Smidt, Eurosonic Noorderslag & manager Buma Cultuur 07/17/13
Garrison Snell, Gyrosity Projects 02/23/17
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
Nikki Solgot, Circle Talent Agency 02/18/15
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Deb Suckling, SUGARRUSH Music 07/27/17
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Mandar Thakur, Times Music 08/06/15
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
Adam Tobey, Concert Ideas 08/24/17
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Marsha Vlasic, Artist Group International 05/31/17
Mat Vlasic, Bravado 06/28/17
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Kirt Webster, Webster PR 02/03/16
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Adam White, Author 09/14/16
Lisa White, Pearl Street Warehouse 10/04/17
Adam Wilkes, AEG Live Asia 10/13/16
Fenton Williams, 04/04/08
Del Williams, Right Arm Entertainment 04/18/08
Bryan "Birdman" Williams, Cash Money Records 09/13/11
Paul Williams, ASCAP 10/19/11
J.P. Williams, Parallel Entertainment 10/03/12
Kurt Willms, Green Room Productions 09/20/03
Chris Wilson, Heartbeat Records 03/02/07
Tony Wilson, Factory Records/In The City 06/01/07
Tom Windish, The Windish Agency 07/26/10
John Wiseman, XL Touring Video 05/05/06
Thom Wolke, 02/08/02
Michael Wood, City Lights Entertainment 08/08/08
Keith Wortman, Blackbird Presents 03/22/17
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, 07/27/07
Jeremiah “Ice” Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
Kevin 'Chief' Zaruk, Chief Music Management 06/10/15
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Jason Zink, Emporium Presents 10/19/17
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06


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