Industry Profile: Danny Zelisko

— By Larry LeBlanc

This week In The Hot Seat with Larry LeBlanc: Danny Zelisko

America’s concert scene would be far less interesting without Danny Zelisko, founder and president of Evening Star Productions, and chairman of Live Nation Southwest.

Based in Phoenix, Arizona where the heat climbs well north of 100 degrees in the summer, Zelisko has worked with thousands of notable acts over a 35 year career including: Paul McCartney, the Rolling Stones, U2, Pink Floyd, Tina Turner, the Eagles, Kiss, Toby Keith, Eric Clapton, the Jonas Bros., Santana, Nickelback, Il Divo, Diana Krall, Pink, and Ozzy Osbourne.

In 2001, Zelisko, a native of Chicago, sold Evening Star Productions to SFX Entertainment owned by Clear Channel Entertainment.

The acquisition was the first U.S.-promoter acquisition by SFX since the latter was acquired by Clear Channel. Under Robert Sillerman, SFX had spent about $2 billion buying promoters and other entertainment properties, including snapping up 11 regional companies and 82 venues, before Sillerman sold the company to Clear Channel Entertainment for an estimated $4 billion. In 2005, Live Nation was formed by a spin-off from the subsidiary, Clear Channel Communications.

Chicago-based Jam Productions, which had owned a financial stake in Evening Star, was also compensated as part of the deal to sell to SFX.

Despite the consolidations that retooled the U.S. concert promotion industry in the late 1990s, Evening Star had been surviving within an increasingly fiercer competitive market. It is notable Zelisko had been an outspoken opponent of SFX, particularly its practice of snaring headliners for national tour deals with unprecedented guarantees

Zelisko was promoted to the position of Chairman of Live Nation Southwest in 2007. He oversees Live Nation’s concert operations in Arizona, New Mexico and Las Vegas.

Zelisko began to again utilize the Evening Star name after Clear Channel Entertainment opted to let regional offices return to their roots with greater autonomy and local brand equity.

"It feels a whole lot more natural," Zelisko told Billboard’s Ray Waddell in 2005. "The politics of branding sometimes got in the way in the past. I know who I work for. I know who owns me."

As a young kid in Niles, Illinois, Zelisko was a star baseball catcher with hopes of going pro. An avid sports fan, he was a regular at Chicago Cubs and Bears games and collected sports memorabilia and autographs of famous athletes.

When a local Little League coach wanted a sports celebrity for a father and son banquet in 1966, Zelisko arranged for the late Chicago Bears’ starting full back Brian Piccolo to be there. Piccolo insisted on paying Zelisko $30--10% of his booking fee.

During a break from high school, Zelisko traveled to San Francisco and met the legendary rock promoter Bill Graham who left a significant impression on him.

After high school, Zelisko moved to Phoenix in 1972. Two years later, with a grub stake of $13,000, he launched Sundown Productions, booking Mahavishnu Orchestra at the Tucson Music Hall, and Herbie Hancock and the Headhunters at Symphony Hall in Phoenix.

An initial attempt to have Journey open the Mahavishnu Orchestra show failed, teaching the young Zelisko an early lesson in concert promotion that “You can't just put on a support act without asking. Mahavishnu didn't want an opener. I had to fire Journey off the show. I didn't get a Journey date for 15 years."

Despite recognizing he was in a business where the risks often outweighed the rewards, Zelisko also figured that concert promotion was one of the few sectors left where individuals could build companies with little interference from the corporate sector.

However, the under financed Sundown Productions went bankrupt. Zelisko then began booking acts for Dooley's, a club in Tempe in the East Valley section of the Phoenix Metro Area.

His next venture was Evening Star Productions which became one of the largest independent live events companies in the field.

The switch to SFX provided Zelisko with access to a greater body of talent and while Evening Star did not have the real estate component that most of the SFX’s earlier acquisitions had brought in, Zelisko’s expertise and relationships have, according to sources, been invaluable to the giant event company.

In 2005, Zelisko was inducted into the Arizona Music and Entertainment Hall of Fame. Other inductees included country performers Marty Robbins, Glen Campbell, Jessi Colter, and Waylon Jennings as well as jazz pianist Charles Lewis and free-form DJ William Edward Compton.

In 2006, Zelisko was tapped by Phoenix’s classic rock station KDKB (the flagship station of “Nights With Alice Cooper”) to host a one-hour program, “The Regular Guy Radio Hour” on Sunday nights. The show was recently expanded to two hours.

What makes Phoenix such a great concert town?

Me. I actually believe that.

You were once an outspoken opponent of SFX Entertainment’s tactics and were one of the 11 independent promoters that joined forces in 1999 in the Independent Promoters Organization to provide an alternative to SFX in the national tour promotion game.

Why did you sell out to SFX in 2001?

In a nutshell, I had developed a lot of really great acts like Santana, Tina Turner, Sting, and Roger Waters. One year, I would have 5 or 6 shows with Santana because I also went into Las Cruces (New Mexico) and El Paso.(Texas). I did shows all over the country. I had no limit to what I could do. I was an independent promoter. Suddenly, SFX were booking 30 and 40 date (national) tours. Of course, they owned all these amphitheatres. I went down to one-third of a date with Tina Turner instead of four dates from the previous tour.

To their credit, (SFX) kept me involved in my home town. But the amounts of monies are so phenomenal for tours that they couldn’t go carving dates out for me. I believe that they felt bad about (what was happening) but I could no longer (compete) without any real estate. I had none. I had booking agreements with people.

You go from making so much money with certain groups that you have been part of growing to only getting a part of one date. You can’t live like that. I started feeling the pinch. They came along and made me a good offer. It turned out okay. I enjoy what I am doing with Live Nation.

You are still working alongside most of the regional players from SFX including Larry Magid, Jim Koplik, Don Law, and Nick Masters.

A couple of guys have retired or have quit the business, but we have the nucleus of the greatest promoters in the country. There are other great independent promoters, for sure. But we still look after our territories. We fight for our territory. We try to do our best. A lot of managers or agents will say, “You’ve got dates everywhere else. If you aren’t doing good on a date so what?” None of us thinks like that. We fight to make our business unit in each market profitable. I don’t think there’s one guy in our system that doesn’t treat every dollar that goes in or out like it’s his own.

How does the Live Nation structure work? If the company bids for a national tour do you then have to take that act?

Generally, what happens is that they will say that they are going to bid on a tour, and ask “Who’s in?” Sometimes, they will say to us, “We are doing this tour and it’s going to play your market.” It really depends on the act.

Is there still room in the U.S. concert market for independents?

Without a doubt. They are surviving and thriving at this very minute. There is so much business out there. All you have to do is be creative. All you have to do is pick up the phone. Obviously, it takes money but it is not such an insurmountable amount that you can’t raise it. AEG. ([Anschutz Entertainment Group) didn’t exist a few years ago. Look what they have done. It all depends on what goals you have and how far you will go to reach those goals.

I consider Live Nation an independent promoter. I consider AEG. an independent promoter. There are a couple of (indies) in town, including Charlie Levy (of Stateside Present). He’s an independent promoter. He can go out and get whatever his little heart desires. All he has to do is get in at the beginning and be able to answer the call when it comes to the money. es for the provision of venues and venues services.]

Is there a lack of loyalty today by managers and booking agents seeking bigger guarantee pay offs?

I think people still try to be as loyal as possible. But let’s face it, with the amounts of money (managers and agents) are talking about for (tours), you can’t blame somebody for not staying loyal. So many things have changed in the business in terms of money, record companies, and commerce. It makes it impossible for (managers and agents) to ignore the offers people make for entire tours.

Live Nation or AEG having entire national tours is nothing new in this business.

This is nothing new. Michael Cohl did it years ago. He’s still doing it. Arthur Fogel [Chairman of Global Music, CEO — Global Touring, Live Nation) has always had U2. Jam Productions buys a (summer 2009) ballpark tour of Bob Dylan and John Mellancamp and Willie Nelson.

Promoters complain when they don’t get shows.

I am as big a whiner as the next guy. We will all complain, bitch and moan that someone took dates away from us. Well, the bottom line is that it has become a much bigger business than the mom and pop businesses we used to have. Do I wish those days were still here? Sure. Are there old school things that we’d all like to have? Maybe. But time has marched forward and here we are.

If you want to play with the biggest acts, you have to have the pocket book to do a whole tour. But there are still great bands like Eric Clapton and AC/DC, who choose to work with local promoters. They are old school like that.

There’s competition which some people look at as healthy. I hate competition but I understand it. I have never liked competition. I have always thought I was the best promoter. I want everybody to work with me if I want to work with them. A lot of times they agree. Some times, they break my little heart and go and work for somebody else. Publicly, I will wish them the best but privately I’ll think, “Gawd that (show) is going to be a stiff.”

How many shows a year do you handle?

We go anywhere from 175 and 250 shows. We used to book a lot more clubs. We don’t have a main club that we book anymore. I hope that will change someday soon.

Your main venue is the Dodge Theatre in Phoenix?

Dodge Theatre will host in the neighborhood of 100 events a year. We do 20 to 30 shows each year at Cricket (The Cricket Wireless Pavilion in Phoenix). We also go into a few nightclubs and other small performing arts centers here. In Albuquerque, we do most of our shows at The Journal Pavilion, and we go into the The Kiva Auditorium.

In Las Vegas, we book about 85% of the shows at the Mandalay Bay Hotel and Casino and we also have a booking agreement with Andy Hewitt for booking the Pearl Auditorium at the Palms Casino.

From your experience what works for a show?

The are two things that I have always held true to. Book the show in the right facility and make sure that people see the show in the right size place. The other one is that you don’t settle your year in one night. Some times we are going to lose money on doing shows to develop an act or we’ll lose on somebody that we have done business with in the past. Some times you take a hit for the team. We try not to, obviously. Nobody likes to lose money.

Do we need more headliners?

We are relying on a lot of stars that have been around for a lot of years to make up our business. And that is where you have to get creative because we have to keep promoting those bands. But we’ve got to keep nurturing this business. We can’t turn our back to new acts or to old acts.

You met Bill Graham while you were in San Francisco in 1972?

I met Bill Graham backstage at The Berkeley Community Theatre (in Berkeley). The band Yes was performing that night. I walked onto an equipment truck and, acting like I was a stage hand, started pulling gear off. When I came down the ramp, I talked with an English accent to Bill Graham’s crew and they bought it. Later that night at catering I was getting my free meal—I was flat broke and 17 years old—Bill came up to me, and said, “Who the hell is this kid?”

I went to Berkeley during spring break at high school. It was my first airplane trip. I returned in June with a friend of mine to live there for what I thought would be forever. I wanted to live there because of the whole “Summer of Love” thing and the Berkeley/Frisco vibe. But I only lived there for a couple of months because I couldn’t get a job, even as a busboy at the House of Pancakes. Bill Graham’s people didn’t have any room to use me either. I asked them straight up for a job.

The following spring, I visited Phoenix. I went to the Celebrity Theatre and saw John Mayall & the Bluesbreakers. I loved the hall and I loved the vibe in Phoenix. It was just incredible, so I stayed.

What did you do before you launched Sundown Productions two years later?

I ran a condo and I cleaned office buildings. I got fired in June, 1974 because I took my second day off that month from cleaning offices to put on my first and second concerts which was Mahavishnu Orchestra in Tucson and Herbie Hancock and the Headhunters in Phoenix at Symphony Hall. A couple days later, my boss called me and said, “You’re fired.” That was pretty stunning.

Who was the main promoter in the region then?

It was basically an open market. Doug Clark at The Celebrity Theatre had the market locked up. People like Bruce Springsteen were selling out there as were Billy Joel, Jimmy Buffett, Jerry Jeff Walker, Jackson Browne, and Jerry Riopelle who is still a big star in this town. All of the singer/songwriters were doing phenomenal business there. Bigger shows were booked at the old Coliseum, (The Arizona Veterans Memorial Coliseum) but that was rare when I came here. Hard rock and progressive rock groups like ELP, Yes and King Crimson were big here as they were elsewhere.

[Bruce Springsteen headlined The Celebrity Theatre with Wendy Waldman opening on March 24, 1974. It was Bruce’s first-ever experience performing on a revolving stage. A bootleg of the show titled “Walking the Dog In Phoenix” also features a 40-minute interview with Springsteen.]

You started Sundown Productions with a $13,000 stake?

It was from my father, my friend and his dad. I had asked my friend’s dad for the money. He asked. “Have you ever done this before?” I said “No.” He said that any time he had been with someone starting in a new business that he liked them to have something at risk as well. So I went to my dad and he put up the rest of the money. I managed to get four shows out of that (stake).

How did you go bankrupt?

Well, I started with $13,000 but it doesn’t take long to go through that. I had a couple of shows that didn’t do all that well. They weren’t stiffs, but they just didn’t do that well. I was selling water beds, as well and my business phone was at the water bed store. I’d be saying (to callers), “Excuse me for a second. That will be $1.99 for the algaecide and $29.99 for that mattress.”

Was going bankrupt that young painful?

No. I realized that we had run out of money and that I was too young.

I also realized that in order to make a real stab (at concert promotion) that I needed to be capitalized. That I had to have enough money to work at doing this and not to have a part-time or a regular job.

It was a great chance and I didn’t blow it. I made a lot of valuable contacts that are still friends of mine; people that I work with to this day, including at Bill Graham Presents and Arny Granat [co-president of Jam Productions in Chicago]. I was one of those hanger-on guys that wouldn’t let go; I just kept pushing to be in this business.

After going bankrupt you were hired by Dooley's, a club in Tempe?

Dooley’s was built in 1976 when clubs were just becoming in vogue. This was a big club at the time. It was 750 capacity. I started booking shows there at the end of 1976. They hired me for $80 a week and I made a commission on the advertising. Believe me, $80 was shit then as it is now. But, on the average, I made about $300 (weekly) with the advertising commission on the shows. I was living okay.

How long were you on staff for $80 per week?

That only lasted for about a year. I booked a few shows at the club myself like Sea Level and the Dixie Dregs as well as Taj Mahal which was really my first score in my promoting career. Anything I had done up to then I had either broken even or lost money. We sold out two shows with Taj Mahal.

At the end of 1977, Dooley's management decided to cut me loose and not pay that mighty $80 anymore. They said that they didn’t want to back shows anymore. I could have the door. They wanted the bar and they would provide sound and lights but I’d have to take the risk of doing shows there. They bankrolled the first show which was Grover Washington Jr. in Jan. ’79. We sold out those two shows and I never looked back.

By then you had started Evening Star Productions?

Yes, Evening Star started at the end of ’76. I started the company because I wanted to do Taj Mahal at Dooley’s,

How did you become partners with Jam Productions?

At the end of ’77, Arny Granat and I did our first show together which was Gino Gino Vannelli at Symphony Hall and we started a friendship then. At the end of ’78, I needed a little bit of money, so, for $7,500 and a loan, Arny bought 50% of my business in nightclubs. We continued our joint venture business relationship until I sold to SFX in 2001.

It was a less competitive concert world in the ‘70s and ‘80s. There weren’t the consolidations that came in the ‘90s.

There was no consolidation of anything. The bad guy (in the field) was (Jerry Weintraub’s) Concerts West which did national tours with the Moody Blues, the Beach Boys, Bob Dylan, and Frank Sinatra. Everybody hated him for coming into their territory. It didn’t faze me because I wasn’t at that level (doing big shows) until a few years later.

You must have been a position to get some big shows with Evening Star?

Not at first. Between 1977 to 1979, I started getting pieces of bigger shows. In 1978, I split a show with Irv Zuckerman (who co-founded the St. Louis-based Contemporary Group concert-promotion company in 1968 and sold to SFX in 1997) in Tucson with Billy Joel. He gave me half of the date but I still had other promoters taking the big shows (in the region).

It took me a few years to get those big shows.

One of the first shows I got was Pat Benatar from Premier Talent. I had done her at Dooley’s and the show had really sold. The next time she was in Compton Terrace in Phoenix which Barry Fey (of Feyline Productions) was booking. I called and they weren’t going to sell me the date. I wrote a letter to Frank Barsalona [founder/president of Premier Talent Agency] saying, “You guys always told me that if I developed stars I could have them when they bigger. Barry Fey didn’t get in on the $750 production of Pat Benatar. Now she’s $25,000 playing Compton Terrace. I want half the date.” He said, “You’re right.”

Peter Russo gave me my first big show at the Coliseum which was Bob Seger who canceled on me the day of the show. His voice was shot. I was crushed. But Seger made up the date two weeks later, and he added a second show. I had two sell-outs.

The 1980s were my beginning in doing bigger concerts. But the clubs were really important to me then.

The 1980s was a heyday of big-selling AOR radio acts.

It really was. There was Foreigner, Boston, Heart, and Journey. All of these groups were coming out. Then heavy metal developed. Black Sabbath was always around but then Ozzie was out. The ‘80s was the decade for metal. I did every one of those groups. We started off doing $5 shows with the likes of Iron Maiden and Judas Priest and I developed some great relationships with some of those bands that I still have to this day. I just interviewed Rob Halford (of Judas Priest) for my radio show.

Your radio show started in 2006? How did that happen?

KDKB program director Buzz Casey had a one hour hole in his schedule on Sunday nights and he asked me if I wanted to take it. He figured that this would be a good way to keep me off his back when I complained that they never played music that I liked, or that the station didn’t play music of shows that I brought in. So I was given an opportunity in August, 2006 to do a one hour show. Recently, they changed it to a two hour show. I tape it every week and it runs on Sunday night. I get to play all of the music and all of the artists that I really dig -- the reaction has been great.

You enjoy the concept of radio exposing listeners to music?

I just wish (radio) could be more progressive like it was in the ‘70s. There are so many great bands out there that need airplay and exposure. You have a million groups putting their music on YouTube, MySpace and Facebook and doing all of these different things--promotional tools that we never had before--but nobody knows how to (break acts) with the demise of the record company system as we knew it. Nobody knows how to turn the key. Between the record companies, the agents and the promoters, that old system worked so well.

Now, I’m afraid for a large part (of the industry). You don’t have record companies signing groups like they used to or paying tour support so the groups can come to your town. It is a different world now. I feel something has to change. We have been waiting a long time for some new stars to come along. There’s some younger acts like the Jonas Brothers and Miley Cyrus being developed but we need more of those great blues rock acts and some of the progressive rock acts. Just great musical acts. We need more of them. We have to create more headliners and give more new artists a chance.

So many people say that nobody is doing artist development.

We promoters are the last of the old guard doing development and promoting. I am in a think tank of 35 people (at Live Nation) and we are constantly challenging ourselves to come up with new and better ways to price shows, to promote them and to find ways to attract people.

Well, Roger Clyne and the Peacemakers from Tempe certainly deserve center stage everywhere.

Roger and the Peacemakers are one of our greatest exports. They will break through one day. They are a tenacious bunch and Roger is a great singer. I would love to be a part of breaking them everywhere. Roger tours non-stop; He must do 150 shows a year across the country.

In these economic times, has your business become tougher?

It is always tough. This is not an easy business. Everybody in the promotion business is trying to put on a good show. Everybody is trying to charge the right ticket price, depending on where they are and what guarantee they have to deal with.

People still want to see each other (at an event). They want to react together. They want to enjoy things together. There’s so much misery out there about so many things. A great concert or a great ball game is about getting together with your peers and strangers and screaming together. It’s a tradition. Like those events at the Roman coliseum.

But $125 ticket is tough for someone who is out of work.

You are right. They should buy a cheaper ticket. Prices have gone up on everything. That doesn’t make it right. It’s supply and demand. Still, just about every show we do has something for everybody. I dare anyone to go to any show (we have) and find that we don’t have a ticket under $25 because we do. Certainly, they are not the best seats in the house, but you are there and part of the fan scene. You are alive enjoying some great guitar player doing something great. One time only. That’s the great thing about a live event.

A generation of rock fans saw some of the greatest performances by artists in 2,400 seat halls in the ‘70s and ‘80s. That’s not happening today.

I disagree with you. I recently sat in a 2,000 seater (The Dodge) and watched Joe Cocker sing his ass off. The Pretenders just played there and they were phenomenal. The bottom line is that there’s a lot of music out there by artists still in their heyday that people can still see.

As a native Chicagoan are you a Cubs or White Sox fan?

I really don’t follow either team anymore. I loved Comiskey Park (where the Chicago White Sox played from 1910 to 1990) and I love Wrigley Field. The Sox tore down Comiskey Park which I means I love the Cubs more by default. I don’t like the new (Comiskey Park) stadium. Every time I go to Chicago I have to go to Wrigley Field (the home ballpark of the Chicago Cubs since 1916).

There’s nothing like going down those tunnels that let you out in the box seats on the first base line in Wrigley. There is nothing like that electric green field blazing at you with those ivy covered walls. Steve Goodman was one of my best friends and he and I always would lament about the Cubs. He wrote that great song “Dying Cub Fan's Last Request” with the chorus “Do they still play the blues in Chicago/When baseball season rolls around.”

There is nothing like the Cubs’ legacy and their up-and-downs. But most of all, Wrigley Field is the basilica, the cathedral of all-time. That’s why people keep coming back. It’s not just about the games. Wrigley Field proves that it’s about the event. In so many ways, that’s what is going on in our (concert) business these days too.

Larry LeBlanc 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, the London Times and the New York Times.


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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
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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