Industry Profile: Carel Hoffman

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: Carel Hoffman, owner, Hilltop Live/Oppikoppi Productions.

South Africaís Carel Hoffman loves music, and he loves a good time.

The business card of this charismatic owner of the Pretoria-based holding company Hilltop Live, and music events company Oppikoppi Productions, brazenly reads: ďPRESIDENT FOR LIFE AND VERY PRIMED MINISTER.Ē

Hoffman oversees the annual Oppikoppi festival in the Limpopo Province of South Africa, near the mining town of Northam. Oppikoppi is a colloquial abbreviation of the Afrikaansí phrase "op die koppieĒ meaning "on the hill.Ē

Annually, thousands of people flock to a rural South African farm in the bush and enjoy three hectic days of camping and performances on seven stages. The festival features South African and those big-name international acts brave enough to make the trek.

Oppikoppi started in 1994 with a handful of acts and with 300 people attending. It gradually grew until there were 100 acts in 2010 with 16,000 people attending.

This yearís festivalówhich ran Aug. 9-11óattracted the festivalís biggest audience to date -- 20,000 fans, to see over 130 acts covering such musical genres as rock, hip hop, hardcore, punk, ska, folk, blues, drum Ďn bass, big beat, funk, kwaito, jazz, traditional, and world music.

Oppikoppiís camping area is at the foot of a hill, on top of which is a bar and a stage that features hip hop and dance acts, while the main stages below feature all other acts.

This yearsí Oppikoppi offered fans who couldnít make it to the event the chance to experience the atmosphere, and connect directly with performing musicians via the internet.

Prior to the event, fans were able to tune in for ďHangouts on AirĒ with many of the festivalís featured artists. During the festival itself, fans anywhere in the world were able to tune in daily for ďHangoutĒ shows, and watch 20 hours of live-streamed programming from Oppikoppiís two main stages. As well, dedicated film crews at the event produced daily uploads viewed on Oppikoppi's YouTube channel.

In the midst of Oppikoppiís success, and after more than a decade following the end of apartheid, there is the emergence of South Africa's music scene that may open the possibility of creating a tidal wave for South Africa talent in the international marketplace.

It may be led by such musical forces as the Parlotones, and Kongos; urban acts Hip Hop Pantsula (or HHP), aKING, Khuli Chana, and Towdee Mac, Mo'Molemi; Afro-pop 7-piece band Freshlyground; Afrikaans pop stars Dozi & Nianell; Afro-soul vocalist Lira; Johannesburg-based hip hop duo, Jozi; or the Durban-based kwaito artist, Professor.

Meanwhile, South Africaís irresistible zef group Die Antwoord recently released a controversial video ďFatty Boom BoomĒ poking fun at Lady Gaga that is now drawing international attention. Gaga is portrayed as a bored tourist being driven through Johannesburg in a run-down van.

In true stereotypical South African fashion, Gaga's taxi is hijacked.

If youíve been to South Africa, youíd get it.

How successful was Oppikoppi 2012?

This was our biggest festival ever, with 20,000 people attending. We have never cracked 20,000 people before. This was the first year that has happened. In South Africa, thereís nothing bigger. In South Africa, 20,000 people camping is an achievement. So Iím quite happy with that.

We didnít start the festival as a business decision. It is very nice that itís successful now but itís a passion for us. We view ourselves as artists and business people. We really like to play with the festival and provide experiences for all of the fans and also for the bands. Itís important to us. I think that is why it is working. We are just having fun. This is our passion.

Oppikoppi is almost like a religion. Itís a cult following and escapism. Itís three days of complete freedom.

This year we had seven official stages but we also programmed a lot of entertainment in the campsites, with performers walking amongst people. Oppikoppi is not only music shows. There are all kinds of performances. Anything crazy that we can think of we try to fit it into the weekend. We even had naked running. Many of the performances are on the official stages where there are musicians and DJs. We had, I think, about 150 acts but that doesnít include the 20 or so non-music performers of various descriptions.

When do you start booking acts for Oppikoppi 2013?

Weíve begun now. While we were busy with Oppikoppi this year, we began planning for next year. All of the staff were keeping notes, and we did a debriefing virtually immediately following the festival. We try to get everybodyís ideas while they are fresh. Whether there were problems. Whether there are new ideas or new content. So much of it we look at immediately.

The big international acts, we are in negotiations with already; to try to get us into their touring plans next year. Some of the smaller artists, we will keep working on right up until the festival. More and more, we are seeking any kind of crazy bits of entertainment that we can stick in. There are all kinds of crazy things that we try to weave into the festival experience. We started looking at bookings right after the festival.

How will Oppikoppi 2013 be different?

Each year, we book a theme. This year it was ďSweet Thing.Ē More and more, we try to bring in more art, more creativity. The thing is we almost see ourselves not as a festival but as a media company. We are busy creating content. The festival is part of the whole thing.

Wasnít your mother-in-law Tess Bornmann the promoter of the first Oppikoppi?

Yes. Also the smaller shows that went before that. She prefers to stay out of the limelight though.

How did your involvement with Oppikoppi develop?

When I was in university [graduating in electrical engineering from the University of Pretoria in 1993] I loved to watch live music. Later on, I was an engineer working right next to Oppikoppi at Amplats (since renamed Anglo American Platinum). That was our local hangout. Tess had bought this farm, Oppikoppi, and had a few bungalows on the property (operating) as a bed-and breakfast. (My wife) Rethaís parents are rock and roll parents. I donít know if you know what voŽlvry movement was (directly translated it means bird free but, in fact, means outlaw). It was the Afrikaans movement against the previous government. It was like a mini-rebellion by the white youth community.

They invited one or two of these (voŽlvry) artists to the farm. I invited my entire circle of friends up. We then started having what we called band weekends. I would say the first one, we had roughly 300 people. We invited a band for all weekend, and they performed a couple of times over the weekend. Fantastic. Crazy. About 72 hours of rock and roll. Bands played till they fell over, and carried on when they got up again. In between, we ramped trucks and cars. And caused all kinds of mayhem. We had quite a few of those.

We then thought, ďWhy donít we try and do a festival?Ē That was in 1995. We booked every single artist in South Africa who played their own original material. Not cover bands. We had 27 acts that year, and about 2,000 people.

Oppikoppi started in í94, but the first festival was in í95. We got going immediately when the new government took over. Before, it was just way too restrictive. There were all kinds of rules. It would never have flown. What we are doing at Oppikoppi now would have never flown under the previous government. At that point, the live music industry (in South Africa) was a bit of a shadow. It wasnít anything to speak about.

From there, Oppikoppi sort of grew. Each year we added a few more artists. Itís grown organically since that first year. About five or eight years ago, it kind of leveled off at 12,000 to 13,000 people attending. However, over the past three or four years, it has completely shifted to a growth phase. Itís really growing now.


A lot of this is, we think, has to do with the caliber of artists that we book but also the Oppikoppi story. The different angles that we take on the festival. Itís just not music anymore. Itís become this cult scene. People come here from everywhere in South Africa, and from all over the world. In South Africa, itís a phenomenon. Thereís nothing like it in South Africa.

Fans travel by train from Cape Town to Oppikoppi and people travel there from all over the country.

From all over the country; all over the world. As soon as we start offering tickets, people start buying tickets from all over the world. And buying airplane tickets. Itís a very South African thing. If you are South African, you would have been at Oppikoppi some time. People travel to Oppikoppi from everywhere. They travel from the UK, Australia, and Canada. People sign up for that weekend. Itís nice the way itís going. The things that we do are a little bit different. Also, weíre 18 or 19 years old, so a lot of it (what we do as promoters) is just maintenance maintaining the activities and putting the passion into the project. Itís fantastic to see it from the sidelines. We donít spend a lot of time looking at the project from the outside. But itís nice to see where it has gone.

Performing at Oppikoppi is daunting for an international act. South Africa's positioning makes it a stretch for most touring acts who usually only stop over on the way to Australia for a maximum two or three shows.

Obviously, one attraction Oppikoppi offers international artists is the exoticness of being in rural South Africa near safari reserves.

For the international artists, we try to work with them to see a piece of the country. We donít think that being here is like anywhere else. We have game on the farm. People camp and game walk amongst them. We tend to build on that. We arenít trying to be something that we arenít. Thereís so much texture in South Africa that we see that as a booking asset. Of course, agents push for, ďItís a money dealĒ and thatís it.

(Welsh heavy metal band) Bullet For My Valentine told us that it was one of the best tours of their lives; one of their best experiences. And we see that kind of attitude going back over the years. We see the videos of these guys (at Oppikoppi). Again, thereís the diversity of being in South Africa, and also having the safari experience as well as playing in the townships. We try and set up other gigs to enable them to see the real Africa. Often those are the highlights. This year there was a small show for 100 kids in township with the French ska/swing band Babylon Circus. They told us that was their highlight.

Do you provide accommodations for international acts locally?

Some artists stay in Sun City. Thatís a nice fall back situation for us. Many acts sleep out at the game resorts. We are (located) in the middle of the safari business. All around us are really nice safari lodges. Itís really a life experience.

To fully experience of Oppikoppi, artists should stay on site for the weekend.

Certainly. We recommend staying on site. Many international artists are still scared of Oppikoppi. Now many of the people are starting to insist on staying at the festival because thatís where the buzz is. Itís like a living organism. We offer for people to stay on site, but not everybody does. Not everybody sees it that way. Also sometimes these guys are on the road for weeks on end, and they just want to sleep.

You arrange for international acts to play in other cities prior to Oppikoppi. This year that included added shows for Seether, Bullet For My Valentine, and others.

Definitely. We figured that out over the years. It just doesnít make sense to fly 10,000 kilometers and just play one gig. So there are a few periods in the year that we can develop these mini-touring circuits, around Oppikoppi as well. So if you are an international act you can do three and sometimes four gigs. It might be five acts that we book. Itís worthwhile.

What personnel do you work with?

We have in our various businesses roughly 50 people working. Maybe a little bit more on a full-time basis. For the festival, we employ 1,500 to 2,000 people. Itís quite an undertaking. For the festival itself, we have launched quite a few new initiatives. We do most of our own security, and virtually all the bar staff, production staff, and lately the event banking staff. We trained our teams. But there is a core team that has stuck with us as well.

This year we ran out of our hands just on personnel. The festival is just getting so intense, and there are just so many different layers that we actually ran out of personnel. But certainly most of the things that what we think make it memorable worked for me personally.

A big part of Oppikoppi is taking money back into the local community. Those kind of (training) programs go a long way. Many of those guys end up doing other security work elsewhere. So thatís quite nice.

You operate your our own bank?

We started a new company doing banking. Hilltop Live Cashless Events. We are working on a bigger plan. We want to see where we can take it. Crucially, the big thing in the past three years is that we see ourselves as a media content company. So the way that we roll up content has changed quite a bit, and itís going to change again. It is just becoming more and more important. We are offering content and everything else.

For next year we are planning a full broadcast center with satellite connections. We brought in additional satellite link ups, but could not stay ahead. There is a new plan for 2013 as the content distribution aspects of the festival just becomes bigger and bigger.

How do you handle ticketing?

We own our own ticketing company, Ticketbreak.Co.ZA. What happened is that we developed the technology to sell ticketing rights. In South Africa, it is really difficult to do the big shows without sponsorship. So we developed technology that people can buy the ticketing rights from us. We drum up ticketing sales through our banking partner. If you buy a ticket through them, they supplement the ticket price for the fan with 150 Rand. That has worked really well. With the bigger (retail) community you draw on the tools available. Ticketing, we can channel through almost anything including with clothing stores, banks. Some of the other tools we use are fan databases.

[Tickets for Oppikoppi 2012 could only be purchased via the Standard Bank student achiever portal, the Oppikoppi Facebook page or Ticketbreak. Tickets cost R700 from the Oppikoppi Facebook page, R750 at Ticketbreak.Co.Za and R600 when purchased through the Standard Bank youth portal.]

How long has Standard Bank been your banking partner?

For the past two years, we have had Standard Bank. We signed up for three years. That has worked really well. We get the fee technology that we roll back on all of the phones now. In South Africa, we were the first festival with a cashless technology system that is just being rolled up elsewhere in the world. The technology that we use here is being used in quite a few sporting events as well.

[Oppikoppiís festival card functions as a debit card. To buy anything at Oppikoppi, you have to load money on to the card with a once-off fee of R10 per festival banking card issued. 2011 was the first year this type of technology was implemented at Oppikoppi.]

A cashless festival cuts down on a lot of problems.

It does. And it makes sales quicker, and we have control of all of our vendors. A lot of benefits come out of it. We were the first to start doing that. Weíve learned its strength over the past few years. It wasnít faultless. But it is now really slick, and itís being picked up by other people. Itís fantastic. It makes the festival a whole lot cleaner. Thereís no cash or coinage.

In 2010, South Africa had over 6.8 million people being able to use the internet. It is estimated that internet use will grow to 15 million people in South Africa by 2015. Are you starting to feel the impact?

Definitely. Keep in mind that a lot of people are accessing the internet over their phones. It doesnít necessary have to be a smart phone. Some of the feature phones do that. Many of the phones are internet accessible. Thatís why a lot of what we do is now dealing with that social community. Each year of the festival is much bigger. There are 20,000 people attending, and we have thousands of people following us on Facebook and on social media. Internet penetration has been becoming cheaper. We are very expensive in this country, but there are a lot of tech firms making it cheaper and cheaper.

[The arrival of the Seacom undersea cable along the eastern and southern coasts of Africa in mid-2009 was the turning point in creating a significant generation of digital users in South Africa. Recently, Vodacom inaugurated the country's first LTE commercial service, initially accessible via only around 70 Vodacom base stations in Johannesburg. Vodacom plans to roll out LTE at 500 of its 9,000 base stations by the end of 2012.]

Certainly one of the reasons that Oppikoppi has been successful in the past few years has been because of the reach of the internet but also we have worked on boosting our social media. We can tell the story the way we want to tell it. In years gone by, we had to go through your media partners. It was a story told by a music station or a TV station. It is just not the same anymore. Social media is a tremendous tool in our toolbox.

You can control the message.

Exactly. We control the conversation. We see a festival like Oppikoppi as a massive content engine. On one end, certainly all of the talent is on the stage and all of that; but there is also the user experience. Every single fan of Oppikoppi is a content generator. Heís got his phone. Heís taking photos. Heís making videos. We work very hard to keep the experience at the festival as unique as possible. We are not trying to be an European festival or an American festival. We are in the middle/fields of the African savanna (rolling grassland scattered with shrubs and isolated trees). People get it now, and thatís the message that goes out.

In isolation, South Africa has been able develop a unique domestic music scene.

Certainly, but there are different aspects of South Africa. South Africa has 11 official languages. Out of the nearly 50 million people, there are six million Zulus. Thatís the biggest chunk (of population), and the rest are in pockets. There are very successful artists just in the Zulu language; artists who make a successful living. South Africa from one side to the other is what 2 1/2 thousand kilometers? Itís very big but itís not gigantic like the U.S. or Russia. It is quite split up with 50 million people scattered throughout.

Many of those artists in those pockets donít receive radio airplay. Are there stations that would play Afrikaans artists?

Yes. There are quite a few Afrikaans language stations. The biggest radio station in Africa is a Zulu station in South Africa is Ukhozi FM. There are also big African music stations. English is a common language here. There is our national (state-owned) broadcasting station South African Broadcasting Corporation (SABC) as well. Itís a bit of a jumble, but it is supposedly well-funded. Thereís a lot of support for South African acts on that channel.

[Ukhozi FM in KwaZulu Natal, Durban is one of the biggest radio stations in Africa with a listenership over six million. Ukhozi FM broadcasts mainly in IsiZulu.]

The Moshito Music Conference in Johannesburg is now in its 9th year. Are we, perhaps, seeing the foundation of a contemporary South African live music industry being built now?

Yes. But we are 15 or 20 years behind Europe. What we saw happening in Europe some years ago; that is happening here. The festivals, conferences, and the venues being rolled up. The industry is definitely building itself. The foundations are being laid down. There is a lot more around than what there used to be. Itís not gigantic, South Africa is not a rich country. You have to take that into consideration. Definitely, it does feel like that we are in a growth phase.

Sometimes I get to Europe, and when I look around, it just seems to me that everything has been done. I donít see the scene growing that music. One guy grows, and another loses that market share. In South Africa, a lot of what we are doing is just creating market share. We are not taking it away from anyone. There was nothing and you build something and then you just carry on. To a large extent, we just need opportunity. We are really happy to grow up in this country. It still feels like thereís lots still happening, I just start thinking of the business that we started and itís still running. I honestly get the impression that itís much more competitive in other areas (of the world) just because itís (the scene) more saturated and more mature.

You attend international music and media conferences outside South Africa. What are your goals attending such events?

Number one, we want to learn. So we try to attend a few of those things at least once a year. We want to see what is going on in the world, and to also build our own network by accessing agents and managers. Oppikoppi started when there was practically no music industry to speak of in South Africa. To a large extent, we do feel a little bit responsible for being able to open a few doors for South Africans. Many of those trips are to see how we can help out getting to the world.

For many years we just think that South Africa was like nobody knows. So often on these trips we try to see other avenues to explore. We started an exchange with European festivals like Lowlands and Pukkelpop and those guys. We make offers and they make offers. We make the initial contact. We try to get any South African booked. They donít have to be with our agency. Just to get those doors open. Thatís worked really well. Recently, we founded our own non-profit trust with the aim of helping alternative, left-of centre music go international. No matter what that might involve.

Each time that I go to one of these I learn a few things. Our company, we try to be quite pro-active. We are pushing ourselves hard to get into a more technological direction with the ticketing, all of the cashless systems. We try to see whatís happening with all those kinds of things elsewhere.

How much interest in South Africa is there for international music?

People are connected. We watch YouTube and go on the internet like everybody else. So people know whatís going on. Itís just that we are a long way from Europe. Australia is another six hours (air) flight. And itís far and itís expensive to get there. Therefore not many people can afford it. Also our currency is quite weak. So coming here, itís not really worthwhile for many people, although people here are hungry for (international) artists.

From our side we just see growth. Every year we do more and more. Over the last 10 yearsóIím just speaking from my own experiencesóthe festival has grown every year. The same trends that you see in Europe, America and Canada, where a lot of the business has gone to live and away from the recording industry, the trend is in existence here.

The flip side of that story is what keeps international artists away is, of course, the stimulus for the South African artists. So thereís a great, strong, thriving local scene here; for African popular music. We do big concerts in the townships with 20,000 and 30,000 people. Itís a fantastic scene. That audience doesnít necessarily keep up with the big international scene. Itís world music and African jazz artists. There are benefits of being 10,000 kilometers away from everybody else.

Many people think South Africa music is Paul Simonís ďGraceland.Ē But the music scene is so diverse and includes rock, hip hop, hardcore, punk, ska, folk, blues, drum Ďn bass, big beats, funk, kwaito, jazz, traditional, world music and so on.

South Africa is a fantastic world in that regard. The thing is that itís where the first world meets the Third World. So you have all of that (diversity). Also within the country you have all of the different languages, which keeps it very interesting. From our part, the festival definitely has a rock and roll attitude. There are a lot of other things and other pop things. But the music virtually from the first edition we like all kinds of music. From the inception we were featuring Afrikaners jazz or traditional music. It is fantastic that the audience has come to expect that from us. It is one of the reasons the festival has achieved legitimacy over the years.

Thereís now a significant urban scene in South Africa with acts like Professor, and aKING, which comes from Cape Town's confrontational "Belville Sound" scene.

Definitely. It is fascinating to watch all of the movements. Similar to the rest of the world we have seen a big push in electronic music, and dance music. At our festival this is getting bigger and bigger each year. Certainly, in this country, we have all of the international influence, and many of these sub-African genres. You mentioned a few of them. The Afrikaans language thing certainly doesnít exist elsewhere.

[Once maligned as the language of apartheid, Afrikaans has become the center of a thriving music scene that is speaking to a wider audience in South Africa. The Afrikaans language, derived primarily from 17th-century Dutch, is spoken by about 60% of South Africa's white population of 4.5 million. While there has long been a niche music scene in the language, Afrikaans acts, including Steve Hofmeyr, Lianie May, Elizma Theron, and Nicholis Louw, are increasingly crossing over to the English-speaking mainstream.]

At Oppikoppi, music fans can see an act singing in Afrikaans, and then thereís the crazy scene up in the hills with electronic music until 4 AM.

Thatís it. Thatís exactly it. We try to keep it as crazy as possible. In past editions we also brought in ballet and opera and the people absolutely lapped it up. So you can go from death metal to opera to African jazz in the space of 150 meters. There is an appreciation for the arts, which are South African. All of those developments, it took years and years to condition people to expect anything and respect everything. As an organizer, itís fantastic to be that far along. It is really rewarding to see that kind of thing happen.

Thereís been talk of developing a live music alliance between Australia and South Africa, which has been a stop-over for international acts going to Australia. Is there a synergy between the two countries?

Yeah. Thereís cricket and rugby. Thereís a lot of sports interaction. We are working on that. We are trying to build links with Australia. Definitely for international artists like Canada and Europe but also Australia for South African artists. We are talking with a few of the Australian promoters to build some of those circuits. Gradually, that is coming into existence. We see the link as you say as artists stop from Europe/South Africa/Australia but also around the Indian Ocean, India, Japan, Australia, and South Africa.

So there are a few movements (activities being planned). We will see those legs developing in the years to come. We are putting a lot of effort on the part of that. Oppikoppi does quite a few other events. We are trying to build the live music industry here for years to come.

You promote a festival-styled tour in mid-March each year.

Itís a more hardcore rock and roll. Itís called Ramfest and itíll feature Rise Against, Pendulum, As I Lay Dying and others. We will travel to five cities. Cape Town and Johannesburg for the big shows, and to Durban, Bloemfontein and Port Elizabeth for the smaller shows. This is the fifth year for Ramfest. We will probably reach between 30,000 and 40,000 fans this year.

How many concerts do you put on annually?

I would say 20 to 50. But we have a ticketing company and a sponsorship and rights company. So we are involved in, maybe, 100 shows a year not counting the shows that our office plays. We are involved in almost every single major festival in South Africa. We will have some kind of role to play; whether itís ticketing or the production company or the sponsors. Often, we just sell the sponsorship rights. So we are quite involved. But we donít have to promote all of them. As I said, between 20 to 50.

Would the big concert promoter in South Africa be Cape Town-based Big Concerts?

Big Concerts is mainly big, international acts. There has never really been a festival industry here. I donít think it has interested them. Then, thereís smaller guys, people who own a single festival. Things are developing. More and more people are getting involved. Where the live industry is now compared to when we started is just incomprehensible. Now there are quite a few festivals around and there are quite a few new venues. At least some of us can make a living out of live music in this country. Not a lot but in the past it was just nobody. Nobody could make a living. Weíve come a long way.

Did having World Cup in 2010 help boost the infrastructure of South Africaís live music industry?

Certainly. The venues are bigger now. Soccer City (FNB Stadium in Johannesburg) is one of the biggest stadiums in the world now. However, of all of the stadiums that they have built, nine out of 10 of them are underutilized. One of the greatest benefits out of World Cup was the attention and also that so many people came and went and very little went wrong. It showed that an African country could pull off an event of that size. It was really successful. It was actually a huge amount of fun. Definitely just from kind of a stamp of approval perspective, that was the biggest benefit of all of this. But from our part, we are quite happy about the large stadiums being built.

[Hosting Africa's first FIFA World Cup in 2010 led to South Africaís multibillion-rand infrastructure developments including an upgrade of airports, roads and rail system and a sizable boost to tourism infrastructure.

As well, there were a host of new stadiums built in South Africa, including Nelson Mandela Bay Stadium in Port Elizabeth (capacity: 48,000), Mbombela Stadium in Nelspruit (44,000), Peter Mokaba Stadium in Polokwane (45,000), the Moses Mabhida Stadium in Durban (70,000), and Cape Town Stadium (70,000 capacity).]

Larry LeBlanc is widely recognized as one of the leading music industry journalists in the world. Before joining CelebrityAccess in 2008 as senior editor, he was the Canadian bureau chief of Billboard from 1991-2007 and Canadian editor of Record World from 1970-89. He was also a co-founder of the late Canadian music trade, The Record. He has been quoted on music industry issues in hundreds of publications including Time, Forbes, and the London Times. He is co-author of the book ďMusic From Far And Wide.Ē


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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 Denverís Division of Theatres and Arenas 08/23/10
Paolo díAlessandro, International Solutions 06/25/14
Ros Earls, 140dB Management 02/19/14
Art Edelstein, Festival Productions 12/01/02
Bruce Eisenberg, Audio Analysts 08/31/01
Martin Elbourne, The Glastonbury Festival 12/18/09
Michael Elder, Red Entertainment 03/17/06
Tod Elmore, Sixthman 11/24/06
Paul Emery, Clear Channel Entertainment 11/19/04
Arty Erk, Citrin Cooperman 04/27/16
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock íní Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gťlinas, Festival díťtť de Quťbec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Chris Gero, Yamaha Entertainment Group 10/26/16
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Steve Gietka, SMG Entertainment 03/19/14
Darren Gilmore, Watchdog Management 03/17/16
Daniel Glass, Glassnote Entertainment Group 10/16/14
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Neil Goldberg, Cirque Productions 04/16/14
Martin Goldschmidt, Cooking Vinyl Group 09/29/16
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Andrea Johnson, ICM Partners 11/02/17
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Justin Kalifowitz, Downtown Publishing 04/20/17
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Elliot Lefko, Goldenvoice 09/21/17
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Jennifer Lyon, MeanRed Productions 01/18/18
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
Andrť Mťnard, Festival International de Jazz de Montrťal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Mķsica e Cultura 05/04/17
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley OíConnor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Paul Reed, Association of Independent Festivals (AIF) 06/14/17
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Jack Ross, APA Canada 09/07/17
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, 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 ďIceĒ Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
Kevin 'Chief' Zaruk, Chief Music Management 06/10/15
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Jason Zink, Emporium Presents 10/19/17
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06


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