Industry Profile: Doc McGhee
By Larry LeBlanc (CelebrityAccess MediaWire)
This week In the Hot Seat with Larry LeBlanc: Doc McGhee, CEO, McGhee Entertainment.
Doc McGhee’s life story is a movie.
Over three decades, rock n’ roll’s Cool Hand Luke has blustered, bullshitted, bamboozled and brilliantly strategized against all comers in his blood sport world of personal management.
Through the years, he has overseen the careers of Kiss, Bon Jovi, Mink DeVille, Night Ranger, James Brown, Diana Ross, Hootie & the Blowfish, Scorpions, as well as the baddest of rock ‘n’ roll’s bad boy bands, Mötley Crüe, Skid Row, and Guns N’ Roses.
It was McGhee who got busted for conspiracy in 1988 for helping one of world’s largest drug-smuggling rings import 45,000 pounds of marijuana into the United States.
It was also McGhee who brought 641 people, and 64 transport trailers and landed two 757 airplanes in Moscow without a permit for the two-day Moscow Music Peace Festival in 1989 that featured Bon Jovi, Mötley Crüe, Scorpions, Skid Row, Ozzy Osbourne, Cinderella, and Gorky Park.
McGhee was also cast in the 2006 VH1 reality series called "SuperGroup," which also starred band members Sebastian Bach, Jason Bonham, Scott Ian, Ted Nugent and Evan Seinfeld.
McGhee Entertainment, operated by brothers Doc (chairman) and Scott (president), is today one of most successful management firms in entertainment. Scott opened the Nashville office in March 2006; Doc joined him there in 2008, taking residency in nearby Brentwood.
The company handles Kiss, Guns N’ Roses, Ted Nugent, Night Ranger, Darius Rucker, Chris Cagle, Jypsi, Drew Davis, Meghan Kabir, Jeremy Lister, the Carter Twins and others.
Jon Bon Jovi sang out McGhee’s praises to Melinda Newman in Billboard in 2000, "There was an old Doc McGhee saying that this band will play a pay toilet and use its own change, and anywhere you have electricity, we would show up, and if you didn't have it, we'd bring it. That's how we built our reputation.”
In a 2005 Billboard interview with Deborah Evans Price, Bon Jovi credited McGhee’s global thinking for the band’s international success. "We built a fan base around the world that a lot of American bands didn't take that time to do," Bon Jovi said. For acts that did not build an international base, "if and when America turned its back on [them, they] didn't have anywhere else to go. In our case, when the lean years came in the States, we were always able to go to Europe or Asia, South America or Australia. We'd go to Africa or anywhere," he adds, noting that this broad appeal was the key to selling 100 million records.”
Though Kiss was certainly a successful and identifiable band when McGhee began managing it in 1996, he has since successfully re-positioned the band in the global marketplace.
Today, Kiss sits, alongside the Beatles, the Rolling Stones and AC/DC, as a merchandising music giant. Live Nation Merchandise oversees the band's merch and licensing business that includes: mugs, comic books, a fragrance, bingo games, motorcycle helmets, pool cues, dart boards, and mobile phone covers—nearly 300 products in all.
Kiss started the European leg of its "Sonic Boom Over Europe: From the Beginning to the Boom" on May 2010. On July 23rd, Kiss will kick off "The Hottest Show on Earth Tour" in the U.S.
You have worked with bands known for their excesses. Why have you worked with these types of acts?
Probably because I am a lot like them; low I.Q., high RPM. Maybe, that’s the case because for some reason I am attracted to excess.
Still, at 59?
Oh, I always have been. My whole life. If I smoked a cigarette today—I don’t smoke now—but, if I smoked one tomorrow, I would be smoking like I was going to the electric chair.
Is there an act you’ve passed on and thought, “This is too crazy for me.”
The only one was G&R (Guns N' Roses), back when I had so many problems with everybody else. And now I’m working with them, which is just as crazy.
You have been quoted as saying that every rocker wants to die.
I think they all do. They all have the fear of failure. So when they have success they know that it is not going to last. So they think that the best way out is to die.
As a manager, you obviously try to control their behavior.
That’s what you try to do. Some people listen; some people don’t. You have kids with less than a high school education who, all of a sudden, are standing onstage in front of 20,000 people who are the same (as they are). They can push the envelope. What I say to them is that I will do anything for artistic talent; I will do nothing for autistic talent. I try to stop that shit (outrageous behavior) as much as I can. It puts me at odds with them most of the time.
A manager of these types of acts is always apologizing.
That’s what you do for a living.
How long is Kiss out on the road?
They will be out until the end of the year. They are in Europe now, and they come back to America. Then they will do Japan, Australia, New Zealand, and China. That’s it for the year.
Do you stay out on the road with them?
I have been.
It is just one of those things. You have to be here. It’s hard to understand. It’s a little bit like what Irving (Azoff) has with the Eagles. Neither one of us goes out with any other act, really. I’m always out with my (key) act. Bon Jovi, I was out at every show. The same with Mötley Crüe.
The show is what drew many of us to the music business.
When I saw Mötley Crüe’s New Year's Evil concert (at the Santa Monica Civic Auditorium in 1982), I couldn’t understand one thing they played. But I saw 500 kids going crazy.
After you saw Mötley Crüe you began co-managing them with Doug Thaler.
Doug was my partner then. I met him at Leber & Krebs (the high-powered management firm, operated by Steve Leber and David Krebs, which guided the early careers of the New York Dolls and Aerosmith) and became friends. I really love Doug. He’s back working with Mötley now.
You didn’t start working with Kiss until 1996, when they did a full-fledged reunion tour. Everybody said you were crazy to take them on.
Everybody says I’m crazy about everything. And I am. If you listen to people, if you listen to what goes on and, if you believe in something, you will never become big at anything that you do.
What appealed to you about Kiss at the time?
What it was, was that people were tired of looking at shoe gazing bands that weren’t going anywhere. Nothing came out of the ‘90s. Hardly anything. Dave Matthews, Pearl Jam, Rage Against the Machine came out; and those acts I couldn’t sign. They all had managers. I wasn’t going to go sign some bullshit band that I knew couldn’t go the distance. So, I didn’t sign anything in the ‘90s.
My brother (Scott) signed all of the hardcore stuff like Orange 9mm, Quicksand, CIV, and Tracy Bonham. That was great stuff at a very low level. There was nothing big coming out of it. I just sat back. When Kiss came around, I went, “I get this.” We went into a meeting and people (in the group) were saying that they should first do theatres and see how that does. I said, “Okay, here’s what I want to do. I want to rent the USS Intrepid (in New York City), have a press gathering, and we put up Tiger Stadium. How’s that?” Everybody went, “You are fucking crazy.” “Cool,” I said. “If this doesn’t work, I’m not doing this (management) anyway. Let’s go for the elephant.”
[On June 28, 1996 the Kiss Alive/Worldwide Tour began at Tiger Stadium in Detroit, Michigan, with Alice in Chains and Sponge as the opening acts in front of a sold-out crowd of 39,867 fans. The tour lasted for 192 shows over 11 months, and earned $43.6 million, making Kiss the top-drawing concert act of 1996.]
In what condition was their career at that point?
They weren’t doing really well. They had just gone through that whole grunge thing that had killed almost every (hard rock) band that had any kind of following. We went from “rock and roll all night and party every day” to “have a great life” to “kill you mom” and “piss off, everybody.” I don’t know why but it happened. There were no production values; there was no nothing (in the music); and people were leaving rock to go to hip hop because there were no rock stars out there. Everybody was the same. So I said, “Let’s put this back up.” Everybody had (Kiss) T-shirts with a little cat on it or some symbol. I had (T-shirts and merch with) four bad guys with make-up on top of the world with their hands in the air. People went, “I get it. I want to have fun.”
Today, the Beatles, the Rolling Stones, AC/DC, and Kiss are the acts that really move merch.
How important is merch to their overall revenue?
It is a very important part because it gives me a guide that Kiss is coming to where I want them to come as part of pop culture. It has become an American kind of band. I have M&Ms because their face is on them. Just recently on (ABC-TV’s) “Dancing with the Stars”, they had one of the dancers dressed up as Kiss, dancing to “Rock And Roll All Nite." My goal has always been to bring them up in the pop culture of this year; where people like them as though they are like Doritos’s. They might not mean that musically, because they have never really had a hit. The biggest hit was “Beth” which was #7 (on Billboard’s Hot 100 in 1976).
[Last year, Kiss signed a deal with Mars for co-branded Kiss M&M’s Limited Edition chocolate drops. On May 18, 2010, Melissa Rycroft and Joey Fatone (in a Kiss-inspired costume), tangoed to "Rock And Roll All Nite" on “Dancing with the Stars.”
[Kiss has sold over 40 million albums in the U.S., and their worldwide sales exceed 100 million albums.]
Is it true that you use a stop watch at the concession stand to see how fast merch moves?
Absolutely. For 35 years. And I will hold the show if I have to. If I’m 20 (people) deep. I know what I’m making. I would rather pay a $5,000 (overtime) penalty than not do $40,000 more in merch. You have to understand how fast they can sell. I have fired so many people that can’t sell merchandise fast enough.
So you stay at the concession table, checking?
To see how long it takes them to do a transaction. That’s when I go crazy. You only have a certain time to sell.
How do you take being fired yourself?
I have never walked in and somebody said, “You are fired.” It has never happened.
In 1991 Jon Bon Jovi fired you, and created Bon Jovi Management.
It was a process with Bon Jovi. It was a lot of me and him not getting along and not understanding the same plans that we all wanted to do. At some point, you don’t have that option. They made up their mind; you’ve made up your mind. You stood your ground and, right or wrong, it happens. I have managed some of these artists much longer than some people stayed married.
Mötley Crüe fired you in 1989.
We are still all good friends. Whether you work with them again or whether you won’t work with them again you remain friends with them. I can’t think that any of them have an ill thing to say about me.
You stay friends with bands you no longer work with?
All of them. I talk to Jon at least once a month, and we email each other every week.
When you began working with Bon Jovi, you were quoted as saying, “Our bands will play pay toilets, and use their own change. They play anywhere.”
That was their motto. They played everywhere. And look where this guy is today because he had the background. He had the backbone to do this. That’s what people don’t do now.
So many acts today have a first album, no touring experience, and are suddenly playing in front of 18,000 people.
That’s the greediness of our business to kill artists. There used to be 15 labels that we used to go out and work. There was Elektra, and Atlantic. You can go on and on with all of the different labels (then) because they were all specialized. They each had a feel for what they were doing. Nowadays, it’s conglomerates that only have a certain amount of time. They champion something like Lady Gaga and Live Nation jumps in, pays stupid money, and then puts tickets out for $180. But nobody knows three songs by Lady Gaga. We’re burning acts out.
Of course, none of (these acts) are like Bon Jovi, Mötley Crüe, Scorpions, Skid Row and all that stuff. We grew up in the ranks. We played in front of Ozzy (Osbourne) and everybody.
Bon Jovi and Bryan Adams were two of the first acts from North America to develop solid careers globally. How did that happen with Bon Jovi?
We didn’t have any other place to play. We just said, “Let’s get them out to where somebody could appreciate them.” One thing about Bryan and Bon Jovi, they didn’t have huge hits out of the box. They had some recognition, and then they became big. Bryan got to go out with a little bit of recognition and, all of a sudden, he started to play (internationally). Bryan would play Viet Nam, everywhere. The same with Bon Jovi.
Bon Jovi broke out of Japan.
We had done so many dates over there from ’84. ‘Slippery’ (“Slippery When Wet”) was (released) in late ’86, and didn’t break until ’87 in the States, then it blew up. They (still) weren’t huge. We had the #1 record in America and we were selling 125,000 records a day--which at that time was crazy—and we were opening for .38 Special.
Why not have them headline?
I was never comfortable in headlining someone until they could headline. Until I felt that they were good enough; that they could command the audience; and they could give a great show. If a kid pays $20 for a ticket at that time, they got a $40 show.
For the Moscow Music Peace Festival at Lenin Stadium on August 12-13, 1989, you took over 641 people, 64 transport trailers, and landed two 757 airplanes on a tarmac in Moscow without a permit.
Is that the biggest show you have ever been involved in terms of backline?
Correct. Plus, it was my show. I produced it and broadcast it (on TV) to 51 countries around the world. The key issue was not so much the venue, because that’s what I do, but it was at that time when perestroika (economic reforms) were just coming into effect. We had no permits for that show at all.
[The Moscow Music Peace Festival was a unique two-day event in Moscow, August 12-13, 1989 produced by McGhee, the Make a Difference Foundation and several others in the Soviet Union and the U.S.. Among those performing to the audience of 120,000 were: Bon Jovi, Mötley Crüe, Scorpions, Skid Row, Ozzy Osbourne, Cinderella, and Soviet metal band Gorky Park.]
How long did it take to set the show up?
About two years to set it up. Actually, it all really came together in the crunch time, during the three months that I had to get everything together. It was pretty crazy.
There must have been problems getting people and equipment there.
We landed in a plane in Moscow and we had a press conference on the runway. You couldn’t do that in New York. I got an entire hotel because I gave the guy who ran the hotel a Mercedes--with beer, cheese, wine and salami-- that he could drive all night. An entire hotel.
Did you have any concerns of taking such volatile rock and roll bands into such a conformist state?
Well, there were always concerns, but those acts were all I had. I didn’t have Billy Joel or Elton John, who can walk in like kings and queens and play piano and sing songs. Like an idiot, I had bands that made great rock music. To me, they were putting people in jail (in Russia) for listening to this music as I was putting together this show. It was a dream of mine to do it. It came into a reality and it kind of changed things. You had to be there. Actually, it is the music that changed the world. It was the first rock event ever shown on Russian television. So that would be like somebody who listened to baseball in Hawaii on the radio and, all of a sudden, got to see a baseball game.
[The event inspired Scorpions song “Wind Of Change”, which now accompanies practically any documentary coverage on the fall of communism.]
Stories of the event have become part of rock lore. Like Tommy Lee punching you.
I think it’s all probably exaggerated a lot. Tommy didn’t punch me, he shoved me. Tommy is like my son. Was Tommy crazy? Of course, he was crazy. Everybody was nuts then. But they all wanted to play Moscow.
The drug bust in 1988. How difficult was it getting past that? It has followed you over the years?
The whole thing is that 99% of the perception of what happened was not there. But that is only me saying that. Nobody said, “Hey Doc, if you do the first rock show in the Soviet Union and help bring the Wall down, we’ll let you off.” They don’t say shit like that. It had nothing to do with anything that had to do with that. It just happened to be part of what I was putting together at the time. What I was convicted for? Conspiracy. It was something that happened in my life. I don’t regret anything that I have done.
[McGhee got busted in 1988 for helping a drug-smuggling ring, which had connections to former Panamanian dictator Manuel Noriega, import 45,000 pounds of marijuana from Colombia to North Carolina. He pled guilty in 1988 but didn’t go to prison.]
Scott opened the Nashville office of McGhee Entertainment in 2006; you moved to nearby Brentwood two years later. The company has since been working with such country acts as Darius Rucker, Chris Cagle, Drew Davis, and the Carter Twins.
It is just sort of a natural progression for us. I saw Rascal Flatts five or six years ago, and it was a reflection of a Bon Jovi show in 1989.
Kenny Chesney’s stage show somewhat recalls Kiss.
Exactly. Country acts have gotten into the entertainment business.
Why move to Nashville and work in country?
Here’s the thing. My wife and I love change. I was fighting LA and New York in the pop world and not getting it. If you have a pop hit, you still don’t make any money. Also there was nobody coming out that was touring like we used to and doing the business.
What’s your take on country music today?
Country music is now rock music of the late ‘80s and early ‘90s. There’s the storytelling tool that writers use. There’s also that sense there that we don’t see in the States anymore (in music). We don’t see any loyalty to artists. We don’t see a grand appreciation, whereas in country there is. They still have that fan base. The fans are very close to the artists.
Nashville music executives aren’t the types to be much impressed by a full contact management style.
But I like to listen more than I like to talk. (Country) is a whole different way of life. It’s hard to explain the culture. It may be equivalent to hip hop. You have to be in that culture. You have to know what drives it. You just can’t go down there and say, “I’m coming into Nashville.”
No other musical genre is centric to one city.
Country people are respectful; and they really try to keep a culture. You have to remember that they only have one format that is country. They don’t have old country. They don’t have alternative country or rock country. So country (radio) is a very unique thing that has 127 (reporting) stations. The playlists are very small, whereas with a single at pop radio, it takes you six weeks before you know if you have a big record or not. In country, to have a #1 single, you have to spend 28 to 34 weeks working it.
[With over 2,000 country stations, country is the most programmed format in the U.S. after News/Talk.]
You handle Darius Rucker who began his solo career in country in 2008 and became a huge success.
We are going on sales of two million albums (for “Learn to Live”). We are just getting to launch his first single of his second record. To break a (then) 42-year-old black guy in another format was not the easiest thing.
[Darius Rucker's 2008 Capitol Records Nashville album, "Learn to Live," topped Billboard's country album chart and peaked, at No. 5 on the Top 200 Album chart. Three singles from the album reached #1 on Billboard’s country singles chart, and Rucker was named New Artist of the Year by the Country Music Association.
On June 7 (2010), Rucker unofficially kicked-off the 2010 CMA Music Festival with his inaugural "Darius and Friends" St. Jude benefit concert raising almost $50,000.
The event, which featured performances by Radney Foster, Randy Houser, Jamey Johnson and Jake Owen at the Wildhorse Saloon in Nashville, raised $48,720 for St. Jude cancer research.
During the night, Rucker performed his new single, “Come Back Song,” for the first time. The single will impact radio on June 28 and will appear on his sophomore album which is slated for release in October.]
Are you shifting the focus of the company to country?
We have country artists but it’s not like it’s a (sole) priority for us. We have a girl (Afghan American singer) Meghan Kabir coming out on Warner Brothers this year that we believe will be the next big thing. We are really working on her. We have Jypsi on the country side that we feel the same way about.
Much of your current management roster are unknown acts that will be hard to break.
Yeah. But we treat all of them the same. We are very committed to our acts. We turn every stone. I’m not here to practice.
You haven’t been tempted to create a label to launch these new acts?
Here’s the thing. I am really good at being the manager. I’m the record label for Kiss. We have our own record label (Kiss). I had my own label with Hootie (Sneaky Long Records).
You can’t do a label with newcomer acts?
The concept is what do you want to risk? There’s a lot to risk on a new artist.
You’d rather play with other peoples’ money?
Yeah, and labels are set up for pushing the button to a certain extent. Warner Bros., EMI and so on. (With Darius Rucker) I needed to have someone that was connected in the community that was respected and who worked there. There’s a place for everything. (Capitol Records Nashville) are very, very good.
In 1994, you launched Eleven Records in a co-venture with Geffen Records and released God Street Wine. Why didn’t that label happen?
I did the deal with David (Geffen), but he sold the company two weeks after I made the deal. David had no affiliation with me and, at that time, everybody was into grungy pop stuff. They had Nirvana and a couple of other things, and that was that.
It was a strange period in the music industry.
It was a strange time. I think that there are more opportunities now than there have been.
For breaking newcomers, it’s still hard.
Ahhh, there’s no delivery system. Unless you are Lady Gaga. First, we had Duffy, then Amy Winehouse, then Lady Gaga. Now, there’s Ke$ha and everybody else with same thing. Go over to Europe, and if you watch Vevo, the whole continent is (into artists) like that. There’s 85,000 of them.
Consolidation in the concert world doesn’t offer many choices either.
Here’s the scoop. We (once) dealt with 35 promoters in the United States. Those 35 promoters were our partners. Then, (we partnered with) the artists by building them from clubs to stadiums. That’s what we did. Now there are no promoters out there. You have a couple of big conglomerates that want to buy and chew up everything. They have no idea why, where or what they are doing. It’s fucking crazy.
In my interview with New Jersey concert promoter John Scher last year, he said there aren’t many promoters who operate like they are stake holders.
You are not going to play with your own money. If I’m going to do Cleveland and I’m talking to Jules Belkin, and I say that I want to do the show on Thursday the 7th of August, Jules would come back to me and say, “Doc, bad timing. There’s a rodeo,” or this or that. “There’s too much going on in the marketplace. You can’t do it.” Cool. And there was Danny Zelisko in Phoenix, Bill Graham in San Francisco, Harvey & Corky in Buffalo; and all of the different promoters like Wilson Howard, Ron Delsener, and Cecil Corbett (Beach Club Promotions and later C & C Concerts), an amazing character out of South Carolina who helped me more than you could ever know.
In 2005, Clear Channel Entertainment-owned Bill Graham Presents lost $2 million on shows by your bands.
At Billboard’s Roadwork '05, you said, "If Bill Graham would have lost $200,000, he'd have been sitting on my chest at my house, beating me for a reduction. And these guys never even showed up to say, 'Boy, we took a beating.' They went, 'Yeah. Okay.’”
Bill would have beat the shit out of me. Man-to-man. Are you kidding me? Bill is probably the best promoter that I’ve ever worked with in my whole life.
What made him great?
The passion. It wasn’t a Bon Jovi show. It wasn’t a Journey show. It wasn’t a Van Halen show. It was a Bill Graham show that you got a chance to play. That was the attitude. That was the mind-set.
Managers had to often fight him for fair payment.
With our accountancy then, he hated it. It wasn’t you that he was fighting for the money. If I came in and fought with him, he’d be ready to fight. You send some little prick in there, it’d cost you more.
Bill fought against 90-10 splits.
Bill wouldn’t know what a 90/10 was. No fucking 90-10 split.
[At a panel at Billboard’s third international Talent Forum in New York in 1977, Bill Graham asked, “If the first time we promote an act, it’s a favor, and the second time, we make a little money, how come a manager hits us with a 90-10 the third time around when the act is really huge and the promoter finally stands to make some money?”]
He never got over Michael Cohl taking the Rolling Stones from him in 1989. He later wrote, "Losing the Stones was like watching my favorite lover become a whore."
That was the hardest thing in his whole life to get over. I spent a lot of time talking to him talking about it. It was the single hardest thing in his life.
Where did you grow up?
I grew up on the south side of Chicago. You grew up in the ‘60s, you saw the Beatles, listened to Larry Lujack (on WLS), and you wanted to be in the music business. I loved R&B. R&B was where I was at.
You had a record deal when you were 17.
With a group called the Rising Four on Mercury Records. (Philips' national product manager) Lou Simon was the guy who signed us. We released a single, “Shapes Of Things,” originally by the Yardbirds, in 1967. That is what they wanted us to do, so we did that.
How long did the band stay together?
We were together for about four years. It was through high school. Then I got drafted, and went in the army.
What was the first band you managed?
It was a combination of the Average White Band (with Hamish Stuart and Steve Ferrone of the AWB, as well as Howard Johnson, Sandy Torano, and Phyllis Hyman).Then, I had Phyllis Hyman, the Brecker Brothers, David Sanborn, and this group called Nightflyte on Ariola that had a bunch of hits.
Why did you get into management?
Nobody would hire me. I needed a job. In the mid-70s, I started working with Pat Travers. I moved down to Florida and (the management business) just started taking off. Rick Stevens became my partner from ‘79 to ‘81 (as Stevens-McGhee Entertainment). He had been vice-president of A&R at PolyGram. We signed Mink DeVille, and I managed James Brown and Isaac Hayes.
I was 26 years old. I’m not sure if I managed him or he managed me.
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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Joel Brandes, Avenue Management Group 11/02/08
Joe Brandmeier, Moving Pictures 03/15/02
Scooter Braun, SB Projects 12/13/10
Ron Brice, 3rd & Lindsley Bar & Grill 06/08/16
Billy Brill, Billy Alan Productions 11/11/05
Doug Brown, Talent Buyers Network 09/21/01
James Browne, Sweet Rhythm 11/01/02
Bob Brumley, Brumley Music Company 02/17/16
Tony Brummel, Victory Records 05/17/09
Charlie Brusco, TBA Entertainment Corporation 10/13/01
Del Bryant, BMI 05/18/07
Cortez Bryant, Bryant Management 12/06/10
Stephen Budd, Stephen Budd Management 07/13/17
Bruce Burch, University of Georgia Music Business Program 10/09/09
Deborah Burda, Kentucky Exposition Center 08/03/07
Patti Burgart, IEBA 06/07/02
Jordan Burger, The New Musiquarium 01/22/01
Ron Burman, Roadrunner Records 08/25/06
Suzanne Cadgene, Elmore 05/19/06
Karen Cadle, KGC Productions 03/12/04
Gary Calamar, KCRW 07/10/09
Charles Caldas, Merlin 07/05/10
Brian Camelio, ArtistShare 02/29/08
David Campbell, AEG Europe 08/02/10
Tom Cantone, Foxwoods Entertainment Group 10/20/00
Tom Cantone, Foxwoods Resort Casino 07/03/03
Tom Cantone, Mohegan Sun 08/30/09
Ashley Capps, A. C. Entertainment 05/21/04
Rio Caraeff, Vevo 07/12/11
Mike Carden, Eagle Rock Entertainment 08/16/11
Charles Carlini, Carlini Group 05/16/08
Mark Carpentieri, M.C. Records 05/27/05
Mark Carpentieri, M.C. Records 01/10/11
Troy Carter, Coalition Media Group 06/07/10
Daniel Catullo, Coming Home Studios 06/22/08
Raffi Cavoukian, Folk Singer/Children's Entertainer 05/11/16
Jeffrey Chabon, Chabon Entertainment Group 08/22/02
Mike Chadwick, Essential Music & Marketing 08/01/12
Rob Challice, Coda Music Agency 03/27/13
Tom Chauncey, Partisan Arts 01/11/02
Tom Chauncey, Partisan Arts 10/04/11
Lisa Cherniak, Artists Against Racism (AAR) 07/20/01
Bob Chiappardi, Concrete Marketing 06/13/03
Joel Chriss, Chriss & Co. 10/04/02
Michael Chugg, Michael Chugg Entertainment 09/14/01
Michael Chugg, Chugg Enterprises 10/02/09
Gary Churgin, Harry Fox Agency 09/13/10
Vinny Cinquemani, S.L. Feldman & Associates 12/13/12
Barry Coburn, Ten Ten Music Group 03/28/11
Matthew Cohen, Green Room Productions 10/19/01
Ted Cohen, TAG Strategic 01/10/13
Lisa Cohen, Associated Booking Corporation 02/10/06
Steve Cohen, Music + Art Management, Inc. 03/09/07
Dan Cohen, Music & Memory 01/12/17
Michael Cohl - Part 1, S2BN Entertainment 03/06/13
Michael Cohl - Part 2, S2BN Entertainment 03/13/13
Bryan Coleman, Union Entertainment Group 02/14/12
Mamie Coleman, Fox Broadcasting 07/05/12
Dennis Condon, Disneyland Resorts 07/13/01
Peter Conlon, Peter Conlon Presents 05/20/05
Tony Conway, Buddy Lee Attractions 10/06/00
Allen Cook, TOURtech 04/16/15
Tomas Cookman, Cookman International 09/05/03
Alex Cooley, Alex Cooley Presents 07/12/10
David Cooper, Foxman.com 10/31/03
Jay Cooper, Greenberg Traurig, LLP 05/23/11
Julie Coulter, Near North Insurance Groups 06/07/01
Amy Cox, Deep South Entertainment 02/09/07
Michael O. Crain, Crain Law Group, LLC 10/09/13
Charlie Cran, The Strawberry Music Festival 04/05/10
Jim Cressman, Invictus Entertainment Group 06/06/12
Russ Crupnick, MusicWatch, Inc. 07/23/15
Todd Culberhouse, Vision Management /Vision Records and Entertainment 09/05/08
Tony D'Amelio, Washington Speakers Bureau 04/21/06
Ruth Daniel, In Place of War 08/09/17
Ray Danniels, Standing Room Only Management, and the Anthem Entertainment Group 03/05/15
Ken Dashow, WAXQ-FM (l04.3 FM) - New York 09/08/06
Hal David, Lyricist 07/26/11
David Davidian, Independant Lighting Designer/Director 06/18/04
Anthony Davis, D&L Entertainment Services, Inc. 03/02/01
Chip Davis, American Gramaphone/Mannheim Steamroller 05/31/02
Mitch Davis, Tempest Entertainment 07/16/04
Jeff Dawson, Canadian Recording Services 06/08/08
Desiree Day, USO Celebrity Entertainment 08/10/01
Shauna de Cartier, Six Shooter Records/Six Shooter Management 10/23/13
Gene DeAnna, The Library of Congress 02/21/12
Vincent Degiorgio, Chapter 2 Productions 08/01/13
Tony DeLauro, DeLauro Management 12/23/04
Valerie Denn, Val Denn Agency 04/30/01
Val Denn, Val Denn Agency 03/06/14
Robert DePugh, Alligator Records 07/29/05
Tom Derr, Rock Ridge Music 10/29/04
Paul Dexter, Masterworks Lighting Design and Road Cases 12/10/04
Marty Diamond, Paradigm 01/22/10
Glenn Dicker, Redeye Distribution/Yep Roc Records 07/07/06
Barry Dickins, International Talent Booking Agency 06/06/13
Jim Digby, Event Safety Alliance 09/01/16
Mark Dinerstein, The Knitting Factory 11/17/06
Neill Dixon, Canadian Music Week 03/03/16
Thomas Dolby, Musician, academic, technologist, and author 11/09/16
Jasper Donat, Music Matters 2009/Branded 04/24/09
Jim Donio, National Association of Recording Merchandisers 04/22/11
Marc Dottore, M. Dottore Management 04/11/03
Tim Drake, The Roots Agency 12/12/08
Mike Dreese, Newbury Comics 11/23/11
Charles Driebe, Blind Ambition Management Ltd. 09/22/06
Jeremy Driesen, Ray Bloch Productions 09/07/01
Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of Denver’s Division of Theatres and Arenas 08/23/10
Paolo d’Alessandro, International Solutions 06/25/14
Ros Earls, 140dB Management 02/19/14
Art Edelstein, Festival Productions 12/01/02
Bruce Eisenberg, Audio Analysts 08/31/01
Martin Elbourne, The Glastonbury Festival 12/18/09
Michael Elder, Red Entertainment 03/17/06
Tod Elmore, Sixthman 11/24/06
Paul Emery, Clear Channel Entertainment 11/19/04
Arty Erk, Citrin Cooperman 04/27/16
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock ’n’ Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gélinas, Festival d’été de Québec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Chris Gero, Yamaha Entertainment Group 10/26/16
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Steve Gietka, SMG Entertainment 03/19/14
Darren Gilmore, Watchdog Management 03/17/16
Daniel Glass, Glassnote Entertainment Group 10/16/14
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Neil Goldberg, Cirque Productions 04/16/14
Martin Goldschmidt, Cooking Vinyl Group 09/29/16
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, Turntable.fm 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Andrea Johnson, ICM Partners 11/02/17
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Justin Kalifowitz, Downtown Publishing 04/20/17
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Elliot Lefko, Goldenvoice 09/21/17
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Jennifer Lyon, MeanRed Productions 01/18/18
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Música e Cultura 05/04/17
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Paul Reed, Association of Independent Festivals (AIF) 06/14/17
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Jack Ross, APA Canada 09/07/17
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, ItsAboutMusic.com 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Jonathan Shank, Red Light Management 12/13/17
Peter Shapiro, Ideal Entertainment 04/16/04
Peter Shapiro, Dayglo Ventures/Brooklyn Bowl 11/15/17
Seth Sheck, Access Pass & Design 01/03/03
Seth Sheck, ACCESS Event Solutions 06/22/16
Seth Shomes, The Agency Group 11/12/14
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Michael Simon, The Harry Fox Agency 08/14/13
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Peter Smidt, Eurosonic Noorderslag & manager Buma Cultuur 07/17/13
Garrison Snell, Gyrosity Projects 02/23/17
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
Nikki Solgot, Circle Talent Agency 02/18/15
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Deb Suckling, SUGARRUSH Music 07/27/17
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Mandar Thakur, Times Music 08/06/15
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
Adam Tobey, Concert Ideas 08/24/17
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Marsha Vlasic, Artist Group International 05/31/17
Mat Vlasic, Bravado 06/28/17
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Kirt Webster, Webster PR 02/03/16
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Adam White, Author 09/14/16
Lisa White, Pearl Street Warehouse 10/04/17
Adam Wilkes, AEG Live Asia 10/13/16
Fenton Williams, 04/04/08
Del Williams, Right Arm Entertainment 04/18/08
Bryan "Birdman" Williams, Cash Money Records 09/13/11
Paul Williams, ASCAP 10/19/11
J.P. Williams, Parallel Entertainment 10/03/12
Kurt Willms, Green Room Productions 09/20/03
Chris Wilson, Heartbeat Records 03/02/07
Tony Wilson, Factory Records/In The City 06/01/07
Tom Windish, The Windish Agency 07/26/10
John Wiseman, XL Touring Video 05/05/06
Thom Wolke, Twincloud.com 02/08/02
Michael Wood, City Lights Entertainment 08/08/08
Keith Wortman, Blackbird Presents 03/22/17
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, CultureCatch.com 07/27/07
Jeremiah “Ice” Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
Kevin 'Chief' Zaruk, Chief Music Management 06/10/15
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Jason Zink, Emporium Presents 10/19/17
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06
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