Industry Profile: Pete Fisher

— By Larry LeBlanc

This week in the hot seat with Larry LeBlanc: Pete Fisher

The Grand Ole Opry in Nashville, which turns 85 next year, has spent most of its eight decades as the world’s most venerated name in country music.

For millions of fans, the Grand Ole Opry is synonymous with country music, a symbol of the music they grew up on and love.

In 1999, for the first time in its recent history, the Grand Ole Opry hired a full-time head when Pete Fisher was named GM of the Grand Ole Opry. He has since become VP & GM.

Today, Fisher produces the weekly Opry shows and oversees the Grand Ole Opry House, and Acuff Theatre. He is also executive producer of “America’s Grand Ole Opry Weekend,” the two-hour syndicated radio program heard weekly on 115 stations in North America via Westwood One.

Gaylord Entertainment owns the Opry House and the adjacent Gaylord Opryland Resort, where WSM-AM — the long-time radio broadcaster of the Opry — has a glass-walled booth in the lobby from which several on-air shows are done.

Gaylord Entertainment bought the Opry in 1983.

A move from the historic Ryman Auditorium to the new Grand Ole Opry House at Opryland in 1974 had by then helped solidify the Opry’s presence in the new country order.

Two years later, TNN televised a 30-minute Opry show, the first time in 30 years the Opry was on TV.

Prior to joining the Opry, Fisher was a partner in Fisher Raines Entertainment where he managed Paul Brandt, Marcus Hummon, and Carolyn Arends. He had been VP of artist relations for the country roster of affiliated Creative Trust.

Fisher also spent seven years at WarnerSongs, where he managed the joint-venture publishing operation between Warner/Reprise Records and Warner/Chappell Music.

Before entering the music business, Fisher earned a bachelor's degree from Middle Tennessee State University in Murfreesboro, Tennessee, majoring in recording industry management.

For generations of country artists., the Grand Ole Opry has been one of the single most important elements of their careers

However, by the late ‘90s, the Opry was being criticized as the home for aging acts no longer on the charts or relevant to today’s country audience.

Under Fisher's tutelage, the Opry began a concerted effort to bring a greater number of young acts into the Opry mix, both as members and as visiting performers. He also understands that the Opry—to survive—needs to be a reflection of the various generations and styles of country music.

But Fisher initially faced a tough battle in convincing newer or younger artists to commit to the Opry, largely due to their career demands which have increased greatly for country acts in recent times. Also, performing there is no longer as essential as it was in terms of building a career in country music.

However, for some contemporary acts like Trace Adkins, Brad Paisley, Dierks Bentley, Carrie Underwood, Josh Turner and Terry Clark, membership in the Opry is a symbol of being part of country music heritage alongside Hank Williams, Roy Acuff, Bill Monroe, Ernest Tubb, Loretta Lynn and many others.

Amidst a whirlwind schedule, country’s hottest young star Taylor Swift has made several Opry appearances since her emergence in the genre.

Another area that has Fisher concentrated on during his decade-long tenure has been building the very brand name of the Opry itself. It is a brand that is known worldwide but had grown stale over the decades.

Fisher is widely credited for revitalizing the Opry while retaining many of the elements that make the Opry unique.

A strong country music advocate, Fisher serves as president of the Nashville Chapter of the National Academy of Recording Arts and Sciences (NARAS). He also serves on the board of directors for the Nashville Songwriters Foundation and the Academy of Country Music.

You are the first full-time GM of the Grand Ole Opry?

That’s right. Previous folks who had this area for responsibility also oversaw other businesses such as WSM Radio or Opryland Productions, a corporate production services company.

When I came in June, 1999 I came on as a dedicated full-time manager strictly for the Opry which not only encompasses the Grand Ole Opry show but also the Grand Ole Opry House venue.

Based on availability, when an artist rolls in (to Nashville) and wants to play to 4,400 seats at the Grand Ole Opry House, we’ll do a show here. We’ve had Stone Temple Pilot, the Killers and Robin Williams here in the past year.

There’s an 1,800 seat venue next door called the Acuff Theatre where we hosted (USA Network’s) “Nashville Star” for six seasons. “CMT Crossroads” (which pairs a country artist with a performer from another genre of music) is shot there. Taylor Swift and Def Leppard did one of those last year (running on CMT Nov. 7, 2008). We do the CMT “By Invitation” shows in Studio A here as well.

Taylor Swift and Def Leppard are an unlikely mix.

One of the strangest nights for me was in (December) 2001. It was like a (Federico) Fellini film. In November and December, we present the “Radio City Christmas Spectacular” at Grand Ole Opry House and the Opry (show) is presented at the Ryman Auditorium (downtown).

One night, I was standing in a hallway looking one way I saw a camel and a donkey from the living nativity scene (from “ Radio City Christmas Spectacular”); a couple of the Rockettes (dancers); and several little people (midgets) with the show walking down the hallway.

Down in Studio A, we were taping Hank Williams Jr. and Kid Rock on “Crossroads” I looked down that hallway and there was Kid Rock, Hank Williams Jr. and Pam Anderson while (4’11” country music icon) Little Jimmy Dickens was getting his show costume out of his locker to go down to the Ryman for “Opry at the Ryman.”

In one eye shot, I could see Hank Jr., Pam Anderson, Kid Rock, the Rockettes, camels, a donkey, little people, and Little Jimmy Dickens.

There are numerous ancillary entertainment products from the Opry you also oversee.

Yes, there’s our syndicated radio show “America’s Opry Weekend,” distributed through Westwood One, which is carried on 115 stations. That’s a post produced two hour version of the Opry that features both live performances and studio recordings, primarily with a contemporary focus to target a 25 to 54 demo. Four times a year, we present celebrity co-hosted specials that get picked up on 70 additional stations.

We also have done some compilation records as well. I am significantly involved in the development of those projects, especially projects like “Grand Ole Opry - Live At Carnegie Hall” and “How Great Thou Art” which we partnered with Sony on.

While the Grand Ole Opry is an iconic institution it is also a brand that continually needs to be refreshed.

Yes, absolutely. When you mention (the) Grand Ole Opry, it conjures countless thoughts and impressions in peoples’ minds. That’s what a brand is all about. In short, a brand is a promise. As we have increased the reach and the relevance of the brand, we have always been mindful of those attributes that exist in peoples’ minds. You want to build upon the legacy. You want to build upon the heritage. You are not trying to replace anything. You are just trying to perpetuate it. And so, celebrating the legacy of country music today requires a real mind set that is tuned into what is resonating with consumers. We are really trying to present history packaged in a contemporary way.

How do you accomplish that?

One of the practices we adopted when I got here in 1999 was to adopt an inclusive approach to booking artists. Our principal programming philosophy for the Opry is that we want to present new stars, superstars, and the legends of country music. We want to present a show that features the past, present and future of country. And, all of the (country) music styles whether they be traditional, contemporary or alternative.

Are you mindful of that mix in each show you present?

We are. It is something we strive for. Of course, artists availability impacts how close to the mark we hit. But, with every single show that we present, we want to present a mix of newcomers, superstars and legends. We actually celebrate putting traditional music next to contemporary music. The Grand Ole Opry doesn’t define what country music. It reflects what country music is.

But everyone has a different idea of what country is.

Yes, that story has been told in country music for years. It is because the (country) brand has been built upon heritage, tradition and respecting the elders. We do that at the Opry. The majority of our programming time is still given to the legends of country music that we revere like (Little) Jimmy Dickens, Bobby Osborne, Jim Ed Brown, and Jeannie Seely. They are all still very familiar faces on the Opry stage.

When I wake up every morning I really do try to think what I can do to help perpetuate what someone like Jimmy Dickens has given to the Opry for 61 years. I don’t want his efforts to be in vain. [Roy Acuff first introduced Dickens on the Grand Ole Opry at the Ryman Auditorium in 1948]

The best response we can give to critics is success. If one looks up the past several years, I think they will see a Grand Ole Opry that is more relevant; more inclusive of a variety of performers; and an Opry that still celebrates the heritage and legacy (of country music). I think that’s the key. (Still), the key to the Opry’s longevity is tied to its ability to evolve with the times. Things that don’t change die.

We do all we can to understand (criticism of modernism). The bottom line is that whenever you are trying to do something that is impactful, like growing the contemporary relevance of the Grand Ole Opry, you recognize that there are those who have troubles with (us) doing that. When I say “those” I mean mostly fans and listeners of the Grand Ole Opry.

The Opry recently had a visibly nervous Steve Martin onstage along with John McEuen (Nitty Gritty Dirt Band), Vince Gill, Amy Grant, Stuart Duncan, and Tim O’Brien and others. That’s a strange lineup.

That started with conversations with John McEuen with an attitude of openness and letting that opportunity occur. Of course, we were interested in having Steve Martin on the stage. We love doing those things that will turn some heads and open some eyeballs. But, it’s like a soup. If you put the right ingredients in the pot, it’s going to taste great. We don’t shape what the soup tastes like. We just might shape who is going to be on the stage. We let the music come from the people that are best at making music.

[Actor Steve Martin, an accomplished banjo player, made his Grand Ole Opry debut on May 30, 2009 performing songs from his first music album, “The Crow - New Songs for the Five-String Banjo.”]

You really operate as an A&R person in casting bills.

To some extent, yes. But we have enough latitude, and enough license, that given our programming philosophy (new stars, superstars and legends as well as contemporary, alternative and traditional music on the same stage) there’s a lot of room to roam. And out of that comes these wonderful musical moments.

I recall a magical night at the Opry after Waylon Jennings died in 2002.

The show was with Travis Tritt, Hank Williams Jr., Marty Stuart and Vince Gill, and it was hosted by Porter Wagoner. That kind of magic happens when we give it the opportunity to happen. A lot of our success comes from providing the opportunity for success. We are not tightly formatted. We like a “bet on all horses” approach. I think our (country) radio world has become so restricted and tightly formatted that we don’t allow enough wiggle room for that magic to recur there anymore. A lot of reason why the Opry is successful is because we put the show in the hands of the artists that make the magic. That (Waylon Jennings) show was not scripted. In fact, four of the five artists that were on that show were booked before Waylon passed away

How many cast members are there with the Grand Ole Opry today?

We currently have 66.

[Any decision to increase the Opry’s ranks is made exclusively by Fisher and his management team. The decision to bring a new act into the Opry fold is a two-pronged one, based on a combination of career accomplishment (radio airplay, CD and ticket sales, industry recognition) and a commitment by the artist to appear at least 10 times annually.]

There are a number of contemporary artists for whom the Opry connection has been important.

I would say (that includes) Brad Paisley, Vince Gill, and Trisha Yearwood for sure. Garth (Brooks) has always treasured his association with the Opry. Even in recent years, legends like Mel Tillis and Charlie Daniels have come in (as new members). The Opry is meaningful to many country music artists.

Artists recognize the importance of an appearance on the Opry. Not necessarily that it is going to blast out to hundreds of millions of people around the world but more so that they are playing an official role in shaping the history of country by playing on that stage. Performers will say, “I don’t get nervous anywhere except when I play the Grand Ole Opry.

Bluegrass veteran Ricky Skaggs has said that there are Grand Ole Opry members, and there are Grand Ole Opry stars. He meant that some members don’t perform often. You have knocked down the number of required annual performances down from 26 to 10 times recently.

Over the years the appearance requirements have changed as the demands on an artists career has changed. Now we ask for an artist to make a best effort to appear 10 times in a year. We do take a very proactive stance to booking the show. We reach out constantly to our membership as well as to guest artists to perform.

How does one talk Taylor Swift into playing the Grand Ole Opry when her career is moving at such a quick pace?

Well, it starts with the artist. I have never experienced an artist who has the perspective and wisdom that Taylor has. I was fortunate to spend a few days on the road with her very early when Big Machine Records was launching her. I got to know her a little bit and saw how she worked at radio stations and in front of crowds. When I had the opportunity to hear her (self-titled 2006 debut) album from start to finish in at one of the airports while we were traveling, I was convinced that this is an artist that not only could write songs but could share a perspective on how she sees the world and connects with a variety of people.

Newer acts like Trace Adkins, Brad Paisley, Dierks Bentley, Carrie Underwood, Josh Turner and Terry Clark have become Grand Ole Opry members in recent years.

Do you try to build relationships early with those new artists that could be potential Opry performers?

That’s correct. One thing that I’ve realized in the ten years I’ve been here is that if, for the most part, the Opry does not weave itself into the fabric of an artist’s career early on, we won’t be a part of it. So we really try to become a familiar part of an artist’s career. Carrie Underwood, Brad Paisley, Josh Turner and Trace Adkins are great examples (of us doing that). We want to be part of that formula of success for an artist.

A lot of the time, an artist’s attraction to the Opry is a very genuine emotional connection. The Grand Ole Opry, to them, means time that they spent with their grandparents or the way that they first were introduced to the industry that they now make a career out of. The stories that come (from artists) out of memories of the Grand Ole Opry are pretty powerful. So artists that are launching their careers today are the artists that were watching the Opry on CMT and GAC (cable television network Great American Country) just a few years back. Their experiences of the Grand Ole Opry are those experiences that we played a part in just a few years ago.

I think artists enjoy the association with the (Opry) brand. A great case in point is Carrie Underwood. Three weeks after she left the “American Idol” stage she came to the Opry because she wanted to communicate to the world that she was a country music performer, and that she respected the values of the country music industry and the (Opry) format.

[Former “American Idol” winner Carrie Underwood became a member of the Grand Ole Opry on May 10, 2008. “I felt like I just won something amazing all over again," said the Oklahoma native singer. “The Opry has meant so much to me growing up, seeing people perform and wanting to do that."]

Decades ago, artists would be hanging out in Nashville recording. Today, a country artist is playing everywhere and anywhere.

I make an effort to go out and see artists on the road, whether it’s Brad Paisley, and Dierks Bentley in Chicago or Kenny Chesney and Montgomery Gentry in Foxborough, Massachusetts.

It’s amazing how broad the appeal of country music has become. Of course, you see it first hand when the (annual) CMA Music Festival is presented in Nashville held (in June) too.

You just have to go around to these cities. Folks realize that country music is no longer about the high lonesome sound of fiddles and steel guitars. It’s about music that touches them where they are living. Its real people singing real songs about real life. It’s that connection that country music achieves with its listeners that really is what perpetuates (the genre).

The best entertainers in our genre are the ones that really have the ability to capitalize on that connection. Kenny Chesney can do that with 70,000 people in a stadium. Other performers can do it on a smaller scale. At the Opry, it is always interesting to see the difference between the singers and the entertainers. The entertainers are the ones who have mastered that ability to connect with their audience.

You can really see a contrast?

I see a difference, yeah. I’m very fortunate to have the unique perspective of standing in the wings on a Grand Ole Opry show because I am able to witness 60 or 70 years of (country) music across 15 performers. It really gives me a clear perspective on who connects and who doesn’t. it’s not because of the skills that I have. It’s is just the unique nature and format of the Grand Ole Opry. It travels through time so to speak. The performances opportunities range from one song to three songs typically.

Artists have to nail a performance quickly.

They have to pull that audience in quickly. But, the power of those songs and those performers is the way that connection is achieved.

Will we ever have someone impact with audiences like Hank Williams Sr. again?

I think we will. Jamey Johnson is a great example of an artist who is just as raw and as true and as real as it gets.

[Johnson received three Grammy Award nominations at the 51st Grammy Awards held on February 8, 2009: Best Country Album for “That Lonesome Song” on Mercury Nashville Records; and Best Country Song and Best Male Country Vocal Performance for "In Color” which won the Academy of Country Music's 2009 award for Song of the Year.]

How can you drive artist member’s participation?

One obvious way is to pick up the phone or shoot off an email. Another way is to focus on upgrading production values. We have done a very good job of upgrading the audio, video and scenic quality of the show. Even though we still hold true to the Opry’s iconic barn image, it’s a barn that transitions nicely, I think, from a traditional to a contemporary look. We hired Steve Gibson as our music director and consultant several years ago and hired George Massenburg to help us explore how we could deliver audio in a consistently high quality. I think we have come a long way there.

[In 2005, the Opry hired Steve Gibson, a well-known session guitarist and local studio owner in Nashville, as a music and creative consultant to help plan its audio systems upgrades. Also hired on was George Massenburg, a mixing and mastering engineer and a record producer as well as an audio systems developer.

As a result, a new FOH console was installed, a 64-input ATI Paragon II with recall faders and assignable soft keys feeding a flown JBL Vertech PA system. In the broadcast control room, a 104-channel, 48kHz Euphonix System 5 console replaced an aging V Series desk.]

Still, today’s country stars have more career commitments than ever.

Absolutely. When you take the normal touring calendar of an artist as well as their radio (station) appearances; appearances required to help nurture relationships with sponsors; working with the online community; and take out the studio time and, hopefully, a week or two of vacation time, you suddenly have spent the entire year.

We keep very close tabs on artists’ availability. Our talent manager Gina Keltner daily checks (performance) schedules to pursue opportunities for artist appearances at the Opry. What we have found is that artists are continuing to maintain their healthy touring activity but the requirements of sustaining music at radio involves a lot of their time as well.

What has been the impact this year of not having a weekly TV platform for the Grand Ole Opry?

Currently, we are on a hiatus from producing our television program. The show, from 2002 to the middle of this year, was carried on Great America Country. We hope to return in the early part of 2010 with some new live episodes.

Was it economics that forced the TV program off the air?

Our decision was principally centered around economic issues. How the economy has impacted television networks and their programming budgets. But we are currently meeting with our sponsors and having some really productive conversations. We do plan to bring the Opry back to the air on TV.

[Television broadcasts of the Grand Ole Opry have been carried on weekends on the Great American Country (GAC) cable network since 2002. Previously, Viacom's Country Music Television (CMT) broadcast the shows on most weekends for two years. CMT, the successor to the Nashville Network (TNN), was founded by Gaylord Broadcasting before it was sold to CBS cable, then a division of Westinghouse in 1997.]

The TV heyday of the Grand Ole Opry was in the early ‘90s when it played on TNN and was boosted in cross-support from CMT.

Of course, during those days Gaylord Entertainment owned both networks. That obviously played into the (exposure) equation as well. As we changed our television platforms from TNN to CMT to GAC, the audience delivery expectations changed. We found GAC to be quite a good fit given that their target demo is a 25 to 54 audience which is much more compatible with an Opry audience than say an 18 to 49 or an 18 to 34 demo.

What has been the impact of not having TV in attracting artists to appear on the Opry?

Artist participation has remained high. We have had appearances by Taylor Swift, Rascal Flatts, and Reba McEntire, and several appearances by Carrie Underwood. So television really is not the sole reason why artists want to play the Grand Ole Opry.

In 2007, classic country star Stonewall Jackson, then 74, sued you and the Grand Ole Opry for age discrimination. He claimed you said to him, "I don't want any gray hairs on that stage or in the audience, and before I'm done there won't be any," and, "You're too old and too country."

I know the issue with Jackson was resolved but was it personally hurtful to have those kind of allegations out there?

I really am not going to comment on that other than say we’re happy that it is resolved. From the moment he alleged those comments, I vehemently denied them. I never said anything like that.

[Jackson, a member of the Grand Ole Opry since 1956, filed a federal age-discrimination suit in January, 2007 that sought $10 million in punitive damages and another $10 million in compensatory damages against Gaylord Entertainment, the Opry’s owner, and Fisher. In addition to age discrimination, the suit also included breach of contract and retaliation allegations, with Jackson claiming his Opry appearances had steadily declined since Fisher’s hiring. Jackson settled the lawsuit Oct. 3, 2008, in U.S. District Court in Nashville, Tenn. The settlement terms have not been disclosed.]

You came to Tennessee in 1995 to go to school?

I finished my degree in music business at MTSU (Middle Tennessee State University (in Murfreesboro, Tennessee). For the most part I grew up in Rockville, Maryland. I went through my school years outside of Washington, D.C. Then I went to Towson University (in Baltimore) to study trumpet. After helping my folks move to Chicago I discovered MTSU. I came down to the school sight unseen about 5 weeks after I first heard of it.

Studying trumpet, how come you didn’t’ end up in Blood Sweat & Tears or Chicago?

It had something to do with the lips. The thing about trumpet is that if you don’t put the horn to your mouth a couple of hours a day, you won’t like what it sounds like. I think I met my limit in trumpet in my latter years of university where my playing ability peaked. I look back, and (from playing trumpet) I hold a tremendous respect for musicians.

That kind of respect starts with an early educational grounding doesn’t it?

It really does. And through those years I was also very active in audio engineering, concert lighting and things like that. Much of what I do at the Opry incorporates a lot of those skill I developed in those years.

Did you play in bands?

I played trumpet mostly in high school and university affiliated bands and an occasional pit orchestras for musicals. One of my last performances was as part of the Tower of Powder horn section in Bad Art, the Warner Bros. (in-house) band that was formed in the late ‘80s. We put together this fun band and competed against a few other label bands to raise money for charities. Bob Saporiti (then senior VP of marketing at Warner/Reprise Nashville) was our lead singer.

[Under the moniker Reckless Johnny Wales, Saporiti has since released the album "It's Not About the Money..." on Kinkajou Records.]

You worked at Warner Nashville?

I interned at Warner Bros. coming out of Middle Tennessee State. They had a publishing company WarnerSongs (a joint-venture between Warner/Reprise Records and Warner/Chappell Music). Jim Ed Norman ran the label and Tim Wipperman (executive V.P./ executive G.M. at Warner /Chappell Music) ran the publishing company. Randy Talmadge hired me. When Randy moved to RCA with Josh Leo in the A&R department, Jim Ed asked me to run the (publishing) company. I did so until 1994. In early ’95, I moved into artist management.

Warners had quite a presence in Nashville at the time.

I didn’t realize how valuable of an opportunity that was at the time. I loved it but, in looking back, I realize that (working at Warners) played such an important part of the perspective I have. It was a magical time at Warners. Dwight Yoakam, and Randy Travis were there. Hank William Jr. released “Born To Boogie” and Emmylou Harris, Dolly Parton and Linda Ronstadt released the “Trio” album. That what was going on with less than 20 people at that record company. It really was magical. The spirit of (Warners’ senior management) Mo Ostin and Lenny Warnoker was very much alive in Nashville at that time. We knew when they left (in 1994) that things were changing in a really fundamental way. But I treasure the years I worked with Jim Ed Norman.

It was a really interesting blend of artists there.

Yes, the primary purpose of the (publishing) company was developing writers and pitching songs, but being based at a record company also afforded me the opportunity to do some A&R coordination and projects like (with) Take 6 and Beth Nielsen Chapman. Even pop artist Jill Sobule was signed to our production company. We had her signed to MCA and we made a record with Todd Rundgren producing (her debut album “Things Here Are Different” released in1990) and with Joe Jackson (the album wasn’t released).

What took you over to the dark side… artist management?

I was approached by Dan Raines who had a lot of success as a contemporary Christian manager. He had Creative Trust which managed Stephen Curtis Chapman and producer Brown Bannister. Dan and I started talking about adding a country division. I made a decision that it was time to take a turn in my career. I never imagined being in artist management but I really learned a lot. I brought in (Canadian singer) Paul Brandt and Marcus Hummon at the same time. And I managed another Canadian, Carolyn Arends. Those are extraordinary artists. Dan and I later formed a partnership, and started Fisher Raines Management.

[Dan Raines started Creative Trust in 1988 after working in various parts of the industry for a decade. in Los Angeles, he worked with Pat Boone and daughter Debby in their production and publishing companies. In the early '80s, he moved to Nashville, and became VP of Word Records. In the 1990s, Raines formed RBI Entertainment, a music publishing joint venture with Bannister that developed a catalog of songs recorded by Babyface, Garth Brooks, Cher, Diamond Rio, Amy Grant, Wynonna, and Tricia Yearwood.]

Over the years the Grand Ole Opry has been presented in a variety of locations, most notably at Carnegie Hall in New York in conjunction with the Opry’s 80th birthday.

We have also presented at other venues such as the Kennedy Centre (in New York), The Greek Theatre (Los Angeles), and Wolftrap (Wolf Trap Foundation for the Performing Arts in Washington, D.C.). We have also explored the Opry in a touring configuration called “Grand Ole Opry American Road Show” with Vince Gill, Patty Loveless, Del McCoury, and Rebecca Lynn Howard; and with Marty Stuart, Dierks Bentley and others. We would like to bring the Opry to other significant performance halls in the United States, and internationally as well. Next year is the Opry’s 85th anniversary and we hope to do a couple of performances outside of Nashville.

Country acts don’t generally tour overseas on a regular basis. There are exceptions like Keith Urban and Martina McBride.

Who knows what the future holds in that regard? I tend to think that there are always going to be a certain category of artists who want to make that international commitment. A lot of the reason is because they have a more worldly perspective on their place in the world.

An international commitment requires not only the commitment of the artist and their management team but also the (booking) agency, the record label and all those who have to support those efforts. In the early ‘90s, there was a renewed focus on international development (in country) as labels were really doing well and could dedicate resources in that direction. Today, it’s tougher to do that given the economics.

You have had the most eclectic list of visitors backstage at Opry shows over the years.

Every sitting American president has visited the Grand Ole Opry since Richard Nixon. We have extended an invitation to President Obama and the First Lady when we were at the White House a couple of months ago. We co-produced ”Country At The White House” with GAC that featured Charlie Pride, Brad Paisley and Alison Krauss and Union Station performing in the east Room of the White House.

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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Rishon Blumberg, Brick Wall Management 06/27/03
Justin Bolognino, Learned Evolution, and The Meta Agency 04/25/13
Steve "Chopper" Borges, Total Pro and Borse Techos 03/03/06
Les Borsai, Mediocre Management 01/30/04
Shane Bourbonnais, Live Nation Canada 03/21/08
Jeff Bowen, Sears Centre Arena 03/13/08
Rick Bowen, Mystic Music Experience 07/11/08
John Boyle, Sanctuary Music Group 03/19/04
Jeff & Todd Brabec, Writers/Attorneys 01/03/12
Bill Bragin, Joe's Pub at the Public Theater 08/08/03
Joel Brandes, Avenue Management Group 11/02/08
Joe Brandmeier, Moving Pictures 03/15/02
Scooter Braun, SB Projects 12/13/10
Ron Brice, 3rd & Lindsley Bar & Grill 06/08/16
Billy Brill, Billy Alan Productions 11/11/05
Doug Brown, Talent Buyers Network 09/21/01
James Browne, Sweet Rhythm 11/01/02
Bob Brumley, Brumley Music Company 02/17/16
Tony Brummel, Victory Records 05/17/09
Charlie Brusco, TBA Entertainment Corporation 10/13/01
Del Bryant, BMI 05/18/07
Cortez Bryant, Bryant Management 12/06/10
Stephen Budd, Stephen Budd Management 07/13/17
Bruce Burch, University of Georgia Music Business Program 10/09/09
Deborah Burda, Kentucky Exposition Center 08/03/07
Patti Burgart, IEBA 06/07/02
Jordan Burger, The New Musiquarium 01/22/01
Ron Burman, Roadrunner Records 08/25/06
Suzanne Cadgene, Elmore 05/19/06
Karen Cadle, KGC Productions 03/12/04
Gary Calamar, KCRW 07/10/09
Charles Caldas, Merlin 07/05/10
Brian Camelio, ArtistShare 02/29/08
David Campbell, AEG Europe 08/02/10
Tom Cantone, Foxwoods Entertainment Group 10/20/00
Tom Cantone, Foxwoods Resort Casino 07/03/03
Tom Cantone, Mohegan Sun 08/30/09
Ashley Capps, A. C. Entertainment 05/21/04
Rio Caraeff, Vevo 07/12/11
Mike Carden, Eagle Rock Entertainment 08/16/11
Charles Carlini, Carlini Group 05/16/08
Mark Carpentieri, M.C. Records 05/27/05
Mark Carpentieri, M.C. Records 01/10/11
Troy Carter, Coalition Media Group 06/07/10
Daniel Catullo, Coming Home Studios 06/22/08
Raffi Cavoukian, Folk Singer/Children's Entertainer 05/11/16
Jeffrey Chabon, Chabon Entertainment Group 08/22/02
Mike Chadwick, Essential Music & Marketing 08/01/12
Rob Challice, Coda Music Agency 03/27/13
Tom Chauncey, Partisan Arts 01/11/02
Tom Chauncey, Partisan Arts 10/04/11
Lisa Cherniak, Artists Against Racism (AAR) 07/20/01
Bob Chiappardi, Concrete Marketing 06/13/03
Joel Chriss, Chriss & Co. 10/04/02
Michael Chugg, Michael Chugg Entertainment 09/14/01
Michael Chugg, Chugg Enterprises 10/02/09
Gary Churgin, Harry Fox Agency 09/13/10
Vinny Cinquemani, S.L. Feldman & Associates 12/13/12
Barry Coburn, Ten Ten Music Group 03/28/11
Matthew Cohen, Green Room Productions 10/19/01
Ted Cohen, TAG Strategic 01/10/13
Lisa Cohen, Associated Booking Corporation 02/10/06
Steve Cohen, Music + Art Management, Inc. 03/09/07
Dan Cohen, Music & Memory 01/12/17
Michael Cohl - Part 1, S2BN Entertainment 03/06/13
Michael Cohl - Part 2, S2BN Entertainment 03/13/13
Bryan Coleman, Union Entertainment Group 02/14/12
Mamie Coleman, Fox Broadcasting 07/05/12
Dennis Condon, Disneyland Resorts 07/13/01
Peter Conlon, Peter Conlon Presents 05/20/05
Tony Conway, Buddy Lee Attractions 10/06/00
Allen Cook, TOURtech 04/16/15
Tomas Cookman, Cookman International 09/05/03
Alex Cooley, Alex Cooley Presents 07/12/10
David Cooper, 10/31/03
Jay Cooper, Greenberg Traurig, LLP 05/23/11
Julie Coulter, Near North Insurance Groups 06/07/01
Amy Cox, Deep South Entertainment 02/09/07
Michael O. Crain, Crain Law Group, LLC 10/09/13
Charlie Cran, The Strawberry Music Festival 04/05/10
Jim Cressman, Invictus Entertainment Group 06/06/12
Russ Crupnick, MusicWatch, Inc. 07/23/15
Todd Culberhouse, Vision Management /Vision Records and Entertainment 09/05/08
Tony D'Amelio, Washington Speakers Bureau 04/21/06
Ruth Daniel, In Place of War 08/09/17
Ray Danniels, Standing Room Only Management, and the Anthem Entertainment Group 03/05/15
Ken Dashow, WAXQ-FM (l04.3 FM) - New York 09/08/06
Hal David, Lyricist 07/26/11
David Davidian, Independant Lighting Designer/Director 06/18/04
Anthony Davis, D&L Entertainment Services, Inc. 03/02/01
Chip Davis, American Gramaphone/Mannheim Steamroller 05/31/02
Mitch Davis, Tempest Entertainment 07/16/04
Jeff Dawson, Canadian Recording Services 06/08/08
Desiree Day, USO Celebrity Entertainment 08/10/01
Shauna de Cartier, Six Shooter Records/Six Shooter Management 10/23/13
Gene DeAnna, The Library of Congress 02/21/12
Vincent Degiorgio, Chapter 2 Productions 08/01/13
Tony DeLauro, DeLauro Management 12/23/04
Valerie Denn, Val Denn Agency 04/30/01
Val Denn, Val Denn Agency 03/06/14
Robert DePugh, Alligator Records 07/29/05
Tom Derr, Rock Ridge Music 10/29/04
Paul Dexter, Masterworks Lighting Design and Road Cases 12/10/04
Marty Diamond, Paradigm 01/22/10
Glenn Dicker, Redeye Distribution/Yep Roc Records 07/07/06
Barry Dickins, International Talent Booking Agency 06/06/13
Jim Digby, Event Safety Alliance 09/01/16
Mark Dinerstein, The Knitting Factory 11/17/06
Neill Dixon, Canadian Music Week 03/03/16
Thomas Dolby, Musician, academic, technologist, and author 11/09/16
Jasper Donat, Music Matters 2009/Branded 04/24/09
Jim Donio, National Association of Recording Merchandisers 04/22/11
Marc Dottore, M. Dottore Management 04/11/03
Tim Drake, The Roots Agency 12/12/08
Mike Dreese, Newbury Comics 11/23/11
Charles Driebe, Blind Ambition Management Ltd. 09/22/06
Jeremy Driesen, Ray Bloch Productions 09/07/01
Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of 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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