Industry Profile: Laura Hassler

— By Larry LeBlanc (CelebrityAccess)

This week In the Hot Seat with Larry LeBlanc: Laura Hassler, founder/director, Musicians without Borders.

As refugees from conflicts in Syria, Iraq, Sudan, Afghanistan and Eritrea have arrived recently on European beaches, the human face of war has suddenly once again become visible.

Musicians without Borders, a global network organization, is one of the pioneers in the use of music to help heal the wounds of war.

Headed by American Laura Hassler, and headquartered in the Netherlands, Musicians without Borders does not promote a political agenda, but attempts only to support vulnerable communities, and offer training in nonviolent forms of cultural expression.

Musicians without Borders also utilizes music to cross ethnic divides. The organization provides neutral spaces for factions to meet through shared talents and passions. Its staff is trained in running community music-making projects in regions struggling with trauma, fear and isolation as a result of war or ongoing conflict.

Musicians without Borders works with local musicians and organizations to build sustainable projects in response to local needs. It provides participants with the environment to develop skills and talents, process grief and loss, and build bridges of reconciliation within communities divided by conflict.

Hassler grew up in a multicultural, artistic community near New York City, a child of parents working in the international peace and nonviolence movement.

Her father Alfred Hassler, was executive secretary of the United States Fellowship, an organization of religious pacifists from 1960 until his retirement in 1974. He was also general secretary of the International Fellowship, and president of the International Confederation for Disarmament and Peace.

In 1970, influenced by Vietnamese Buddhist thought, Alfred co-founded the Dai Dong, linking war, environmental problems and poverty.

Active in her teens in the American civil rights and peace movements, Laura studied cultural anthropology and music at Swarthmore College, combining academics with activism and music.

During the 1970s, she worked for the Friends (Quaker) Peace Committee and the Committee of Responsibility on Vietnam in Philadelphia; for Thích Nhất Hạnh’s Vietnamese Buddhist Peace Delegation in Paris; and the U.S. Fellowship of Reconciliation in New York.

Laura moved to the Netherlands in 1977, where she developed a career as a musician, linking music to social causes. She specialized in cultural diversity in the arts, founded a World Music School, and worked as a diversity consultant to arts institutions while teaching singing and leading vocal groups.

Part of a network of socially conscious musicians, Laura mobilized this network to collectively launch Musicians without Borders in 1999.

Those interested in Musicians without Borders can reach Laura Hassler at: l.hassler@musicianswithoutborders.org.

Is the influx of refugees that have come into Europe from war-torn regions having an impact on your organization, either in planning future or with present programs?

Yes, of course. There are now an estimated 60 million (war) refugees in the world. We have been working with refugees in Palestine since 2008. Our Rwanda program has expanded to the Mahama refugee camp, with 50,000 refugees fleeing the war in Burundi, more than half of them children. Not only are our projects in these regions, we also have staff there, both international and local.

So we are aware of the global impact of this aspect of war.

At the same time, our central office, and many of our trainers and other musicians, are in Europe, and as hundreds of thousands of desperate people try to reach safety in Europe, reaching out to them is a natural extension of our work. We’re already active in the Netherlands, visiting some of the so-called emergency shelters (sporting centers, with 200 people sleeping on cots in gyms) to make music with children, youth and (when it works) adults.

Meanwhile, we’re working on adapting the projects we’ve developed in present and recent conflict regions for the refugee situation in Western Europe, and looking for funding to make this a major new program priority. In addition to community music work with refugees themselves, we are also very concerned about the growing xenophobia and hostility directed to refugees. So we are also working on plans to facilitate meetings among European-based musicians and refugee musicians, forming ad hoc ensembles, and looking to connect with other citizens’ initiatives that are bringing people together as new neighbors, to reduce the fear and anxiety that has been generated by self-serving political agendas. When people share food and hear each others’ music, barriers fall and connections are made. And many, many musicians want to be part of this.

Will ongoing opposition or a backlash to the refugees entering Europe have an impact on your fund-raising? Perhaps negative due to concern or fears of refugees or, perhaps, positive in that there may be greater concern overall for the plight of those in territories under duress?

We are troubled by this backlash, of course, and we don’t yet know how it will impact our fund-raising, or even our ability to organize activities for refugees in the future. On the other hand, there are many, many people all over Europe who are starting, or joining, citizens’ initiatives to support the refugees looking for safety here: From saving people from drowning in the Mediterranean to transporting people in their cars to safety; caring for the children; bringing food and blankets, taking people into their homes; volunteering at emergency shelters; and organizing welcome dinners in village churches.

In Amsterdam Central station, a new community of mostly young people has been meeting every international train every evening for the last 3 months, wearing T shirts and carrying signs saying ‘Welcome Refugees, we are here to help’ in English, Arabic and Farsi. Most of these efforts fly under the radar--but so does Musicians without Borders. So we find ourselves in honorable company.

In 1999, you founded Musicians without Borders. How did it come about? It is such a great idea.

It was a bit spontaneous.

You were teaching and working with various music groups.

I was teaching music and, at that point, I had three choirs. I had set up a world music school in Alkmaar (in the province of North Holland), the city that I lived which is a city of about 100,000 people, trying to connect music to integration, and accepting and embracing cultural diversity which was kind of a new thing then in Holland. A lot of different cultures were living here, but most of the cultural organizations were white Dutch Western. I was already involved in using music to connect with people.

Europe’s population greatly changed in the ‘60s and ‘70s.

Holland brought in a lot of people. Brought in....really recruited people from different countries in the ‘60s and the ‘70s to work in the factories and for all of the dirty work that the Dutch people didn’t want to do. To fill the labor gap. So there were thousands and thousands of people, especially from Turkey and Morocco. Then there were people from all of the former Dutch colonies like Surinam, the Dutch West Indies, and Indonesia. And there was a whole group from Yugoslavia, and groups of Spanish and Portuguese. But it (the population) was very divided. Dutch people wouldn’t know anybody who wasn’t ethnic Dutch. When I started doing this kind of work in 1990, trying to address that, at that point in the city of Amsterdam 60% of the children in the schools were non-Dutch origin. Sixty percent.

Did you have a mandate when you launched Musicians without Borders?

No. Not at all. But there’s a middle piece to the story. I had, by this time, sort of become the city’s musician. I was the one that the town (Alkmaar) called upon to do concerts when they had people visiting from twin cities in other countries; or for special events; or if there was a new mayor or something like that. I had also done a number of concerts because I had a chamber choir, and I had a choir that was made up of immigrant women, and I also had this acapella group of women singing Balkan music.

I had done a number of war memorial concerts. Every year in May there’s a day in which the victims of the Second World War are remembered, and there are often concerts connected to that. Every time I had done one of those concerts over the years I always linked that remembrance of the Second World War to thinking about people who were suffering from war every day. In 1999, I was asked to do the war memorial concert, and the Kosovo war was going on at that point. To me this was a horrible period of déjà vu because we had just had the Bosnian war which had gone on for ages, and the suffering was immense.

I’m originally from New York, but I’ve been in Holland for so long that I feel European. The Bosnian war was virtually right in our back yard that this was happening. It’s a two hour flight from where I live. It’s as close as Spain or Portugal. About 1/4 of the population fled to other countries, while another 1/4 became IDPs (internally displaced persons), fleeing to a “safer” part of Bosnia.

There were also many people displaced in Kosovo, but I don’t know the figures for that. It was horrible.

In the early ‘90s, I had met a family from Sarajevo who left with only a bag.

I also met people in Sarajevo--I’ve been there many times now--who said that “When people were saying that there was going to be a war, we laughed at them, and then two weeks later we were in the back of a truck with one suitcase.”

Before the siege of Sarajevo between 1992 and 1995, it was such a beautiful city. The first Winter Olympics to be held in a Communist state were held there.

Yes in 1984. I have been to that place (Koševo Stadium). Sarajevo is one of the most beautiful towns in Europe. But what happened was that I was asked to do this World War II memorial concert, and the Kosovo war was going on. We were seeing once again burnt out villages, concentration camps, mass graves, women being raped, and thousands of people from Kosovo becoming refugees and crossing the border on foot into Macedonia or Albania. Then what do you get? You get the response of what the so-called international community knows, and it’s bombing. What have we learned? All of this horrible war in Bosnia, and then we get a re-run or a repeat (of history).

People have been warning about this (type of conflict) for years, and nobody has done anything. Suddenly, it’s there and the only thing that we know what to do is to bomb them. I, and many other people, were feeling incredibly frustrated, and sad about this. I decided that, I’m not going to do a Mozart Requiem or something like that at this war memorial concert. I’m going to do folk songs from Eastern Europe. I’m going to put songs from so-called enemies back-to-back, and we are going to dedicate that (to the victims of the war). We are going to sing love songs, lullabies, songs of loss, and songs of parting which you hear in every culture, and we are going to dedicate that concert to the ordinary people who are always the ones that are caught in the middle.

What was the response? That concept might have been considered controversial.

Well, it was funny because I mixed two of my choirs. One of them was a chamber choir, and the other was this acapella group that did a lot of Balkan singing. In the chamber choir we had had a guy who was a refugee from the former Yugoslavia. He was an ethnic Serb whose family had lived in Croatia for years and years, and he had to flee during the war. One of the guys said, “You can’t do this. We can’t sing a Serbian song now with what Serbia is doing.” I said to him, “Do you happen to know anybody who is Serb? Do you know any Serbs?” He said, “no.” Then I said, “What about Srdan? He sang in our choir. That‘s an ordinary person. He’s a Serb. Would you say the same thing about him?” And everybody said, “Oh, I hadn’t thought about it like that.” I said that the first thing that goes in wars is the truth.

Whoever the victor gets to write the truth.

Yeah, of course. And there was propaganda. And there was international interest and whatever in this war. In any case, we did this concert, and it was I think the most moving concert that I’ve ever been to. It was May 4, 1999. It was at the cathedral of Alkmaar with, I guess, 750 people in the audience. We had to wait 20 minutes to start because the line was so long to get in. It took so long for everybody to get in. This (concert) was striking a chord with people. As is common in these memorial concerts there was no applause. There was this whole string of an hour’s worth of songs, and we didn’t say a word. In the program we had little translations of each of the songs. We just put in there, “This is for everyone who are caught in the middle, and who are the real victims of every war.”

The concert led to Musicians without Borders?

That was that evening because afterwards we were all just so moved. The audience was so moved. People were crying. At the end (of the concert), it was absolutely silent, and then there was a standing ovation for 20 minutes. All of the musicians were so moved. We went afterwards to have a glass of wine somewhere and I was sitting with a Turkish Kurdish friend who played in the orchestra, and he said, “That was an amazing concert. I would like to put this concert on a train, and send it to Kosovo and stop the damn war.”

That was the moment.

What happened was that I woke up the next morning with a terrible migraine. I was sick for five days. But when I came out of it, I started calling people, saying, “I want to do this. Will you work with me?” Then i went back to the peace organization, IFOR (International Fellowship of Reconciliation) and said we have this idea. They said, “Come in, and let’s hear it.” And that’s how we started.

How is Musicians without Borders funded? I would imagine that you operate on a shoestring budget.

A shoestring, and anywhere we can find it (funding). We have no subsidy. We have no buffer. We have no savings. We have no nothing.

Is communication easier today than when you started with the internet and other tools being available? Musicians with Borders operates in regions where communication can be challenging.

Well, an awful lot of the work that we do is on Skype, and email. We also use Google Drive where we can all work on a document together. We couldn’t exist without Skype these days because every week we have so many meetings. Our financial person (Ilaria Modugno) here is working with all of the project managers. One is in Palestine, one is in Rwanda, and one is in Belgrade. They couldn’t work together if there was no Skype.

Musicians without Borders works with local musicians and organizations in regions to develop sustainable projects that meet local needs. If you come up with a project concept that works in one region will it work in another region? Is that how you evolved from Holland into Kosovo, Palestine, Rwanda, Bosnia and Tanzania? Did it evolve one by one like that?

Yes. We started really with organizing exchanges between groups of musicians based in the Netherlands. Not all Dutch, but based in the Netherlands that were fluent in the musics of the Balkan region. We found the means to send groups over there (to other regions) and found contacts there. So we were looking for ways to connect with musicians there, and with other organizations. After a couple of years of doing that we managed to get a project together that would send one person over who’d stay there longer. That was a project with children in the region of Srebrenica in Eastern Bosnia where this genocide had been at the end of the war to do music with both Serb children—this was a socially ethnically “cleansed” region—who were in the town then and do music with the Muslim Bosnian children who were in refugee camps and villages. Gradually we realized that we really had to train some local people. We were just looking at how can we do things with children.

What were the conditions there? In 1995, Srebrenica had been designated a United Nations’ “safe haven” for Bosnian Muslims fleeing the Serb army. About 25,000 refugees had sought safety there. The Serb army surrounded the city, women and children were bused out, and more than 8,000 men and boys were murdered, and thrown into mass graves.

Refugees who had sought shelter in the “safe haven” were later scattered in the area between Srebrenica and Tuzla. Many of them housed in hastily built “collective settlements,” refugee camps. The region around Srebrenica, extending to Tuzla and the camps around it, was where we set up the “Music Bus” project, for children throughout this region, which was by this time, for all intents and purposes, ethnically “cleansed.” The “Music Bus” was sort of a mobile music school, staffed by our one Dutch project manager and 4 young Bosnian musicians, whom she had trained. The “Music Bus” served both (mainly Serb) children in the town of Srebrenica and some villages, and (mainly Muslim) children in refugee camps and other villages, and brought children together for summer camps, productions and special projects.

Many of the programs deal with children? Why is this?

Partially because, of course, children are the future. They are the most vulnerable. What a lot of our programs do is that we work directly not with the children but we work with young people, with teachers, and with social workers who themselves work with children in their own regions.

Children also can be the biggest victims of these wars.

The biggest victims and, in war regions, they are also the path to the parents. If you are working with children, and you’ve earned some trust in a region, then gradually you can start to involve the parents. Then you can create a platform where the adults can meet each other as well. In our rock project in Kosovo, for example, we have been working with youth for a long time, and we take them out (of town) a couple times a year. Or, if they can’t meet in their own city—it’s a divided town—and we take them out to Skopje (now the capital of Macedonia), and we have them performing rock music for the whole week, and then we do a concert. We also send a bus or two buses from their town bringing their parents and families. It’s a way that people can meet because they are proud of what their kids are doing. So they meet that way.

Musicians without Borders operates in troubled regions like the Palestinian West Bank. What’s generally been the reaction of the local governments? They may not like outsiders coming in.

We really haven’t had very much to do with local governments. What we do is we identify a local partner, a non-governmental partner, and work with them.

You still have to attain visa papers and so forth for instructors.

Yeah, but people aren’t really suspicious of musicians very much. We fly under the radar. In some places, it can be a bit tricky to get in, but we sort of have to know what we have to say. We always have a local partner, and it is usually not a music partner. For example, in Palestine it’s a nonviolence organization. In Rwanda, it’s an organization that works with HIV positive women and youth and children. We really take time to find the right partners, and build good relationships with them so we get their help and their support with that kind of thing. We will ask, “How do we get in? What kind of things should we say when we are at the border? When do we need a visa?” We sort of know these things and, in the major places where we have project, we have our own local project manager living there so they know what to do by now.

Are the local project managers brought into the regions, or are they locals already there?

In the case of Palestine, it is a Dutch woman (Fabienne van Eck) who was already living there, who spoke the language, and who was teaching in several music schools. In the case of Rwanda, it’s a British guy (Chris Nicholson) who went there to do his internship for his music therapy masters, and who ended up staying.

I found it incredibly inspiring watching the Palestinian deaf rap videos. (https://www.youtube.com/watch?v=XfjdzT0bb_M) How did that program come about?

A bit how we work is organically. We had set up this program to train young people in Palestine to work with children with community workshops. The guys who had joined this course, all of them came from the three refugee camps in Bethlehem. These are huge camps that have been there some of them since 1948. They aren’t tents anymore. They are crowded with top-heavy buildings. It turned out that some of these guys in our course that we were training to work with children were rappers. But as rappers, they had very little opportunity to practice rap. They were just doing it in somebody’s bedroom with a very simple computer. They didn’t have any tools or equipment. Gradually, we were able to raise the money to build them a studio (in 2012). We brought in some people who could teach them about beat making. We were able to purchase some equipment for them so we could do that. We gave them some lessons in teaching, and taught them didactic and pedagogical skills (how to create a curriculum and how to teach it). So now what they are doing is teaching children how to make their own rap. In the same period, one of the trainees in our course was a young social worker who is deaf, and she turned out to be, surprisingly enough, one of the most dedicated, motivated music workshop leaders that we have ever had, especially working with children with special needs.

[Since 2008, Musicians without Borders and Holy Land Trust, supported by Kinderpostzegels and other international donors, have collaborated to create a program for youth and children in the Palestinian West Bank.

Palestine Community Music targets the most isolated and marginalized segments of the West Bank population, bringing music to help build the resilience of the region’s most deprived children.

The program began with a training in community music and nonviolence leadership for Palestinian youth in Bethlehem’s three refugee camps. Over a year-long period, the youth were trained to work with children in their own communities. It evolved to include training for kindergarten teachers and social workers, bringing music into schools, orphanages, isolated villages, and hospitals. By July 2014, more than 110 young Palestinians had completed the training, and are now leading music workshops for more than 5,000 children per year. When project staff realized that several trainees were rappers, rap was incorporated into the program.]

About 5% of the population in the Palestinian West Bank is either deaf or hard of hearing.

A large percentage of the population is. It’s a big problem, and it (the deaf population) is, of course, one of the most marginalized groups in Palestine. So Fabienne brought these rappers together with a couple of the deaf youth that we had met, and suggested that together that they compose a rap. One thing led to another and a clip was made by this young Palestinian woman who is a filmmaker. It got distributed throughout the region for Arab Deaf Awareness Week. But meanwhile, these tough young rappers had learned to speak sign language with their new deaf friends. It was amazingly empowering for everybody. That’s sort of the way that we work. You move from one thing to another.

There’s also recording studio in Rwanda.

That’s in the French Cultural Institute in Kigali, which sponsors us in kind by allowing us to use their studio.

A few months ago, the Musician without Borders’ community music leaders in Rwanda recorded “Ubumuntu,” a song that speaks of their commitment to music as a resource for change and community.

It’s like “ubuntu” (a Nguni Bantu term roughly translating to "human kindness” used in South Africa). It must be related because they (the Rwandans) define it as compassion, and in South Africa “ubunto” is, “I exist so you exist.” It’s interconnection. It must be related. But I don’t speak Kinyarwanda (the Bantu language spoken by 7 million people, mainly in Rwanda).

[To Rwandans the word “ubumuntu” signifies sharing, giving, and supporting the needs of your neighbors. “Ubumuntu” is a compassionate way of living together, in which the well-being of every person is connected. It asks all people to have empathy and to feel the human needs of others. ]

How many languages do you speak?

Three. English, Dutch and French. It’s not really impressive here (in the Netherlands). My children had 7 languages in school.

It’s interesting that when children are given the opportunity to write music that they write about what’s around them, and what their life is about. Giving them a gift of music gives them a voice.

Yes. We use songwriting very heavily in every one of our projects. If you look at that video you were just referring to from Rwanda, those kids had zero musical background when we started. None. Nobody played an instrument. I was there in 2012, and I was thinking, “Well, it’s very sweet but nobody here can really sing.” They could sing, of course, but I was thinking “Wouldn’t it be wonderful if they could really sing.” Now they can really sing. We made this link to this music school in Kigali (Oakdale Kigali Music School). We met the director, Aimable Nsabayeyu, who was also concerned about people with HIV and who were struggling. That’s the situation of all of our trainees there. We talked to him and arranged that our kids could take music lessons there every week. Now each one of them has an instrument choice, and they all using instruments that they can use when they are working with children and they are all writing their own songs. This was the most recent (song). And, yes, they are singing. They are now singing like anything. So that’s happened in these past few years.

A program in Ireland brings together two religious groups.

Where we are is in Northern Ireland which is still legally part of the UK but, of course, there’s this peace agreement since 1998 where there’s this power sharing. But the old troubles which of course go back hundreds of years are still latent and occasionally exploding. The society is very divided.

Where is the office there based?

In Derry (Londonderry). We were brought in by a Derry cultural organization Cultúrlann Uí Chanáin that’s on the Irish side. It’s an Irish language and cultural organization. They had wanted to work in cross-community project for a long time. They brought us in because of our experience in so many different cultures, and also the fact that we are an international organization...

And perhaps, more importantly that you are apolitical.

Of course. They are too. They aren’t a political organization. Basically, they invited us. It’s a very, very interesting place and also fascinating to be in a EU country (Northern Ireland) which is still ethnically divided, and where all of the things are all sorts of feelings and fears and, I would say, old pain and trauma that are still very close to the surface. We’ve got a lot of very good musicians in our program there. But our program is not really about turning people into great musicians with, perhaps, the exception of the rock school. The program is about the way that music can most effectively be used to bring people together, and to connect people, both back to themselves and to the other (part of the local population). So you use things that are just as much of a challenge for an excellent experienced musician to learn as for somebody who can sing along and tap their feet.

An exchange such as elsewhere may simply be not possible between Israelis and Palestinians.

It’s a tricky subject as you say but it is physically not possible to bring people together in that region unless you are talking about Israeli Jews or Israeli Arabs living inside of Israel. There are a number of music projects there but what we are doing is that we are using music to help bridge divides, to heal the wounds, and help build a culture of nonviolence. In every project we have elements of that.

And in the Palestinian West Bank?

I would say that in the work in Palestine that it is mostly focused on building resilience, healing wounds, and building the culture of nonviolence because the Palestinians are also very divided internally, and there has been a culture of violence growing up in this occupied region with poverty, and with a culture of suspicion and fear. We were invited in by Palestinian organizations who had seen what we were doing, and they said “We need this kind of work in our place because what happens when the occupation ends if we have a cultural of violence here? We won’t have a good society. We will have people who are fighting among each other.”

Obviously, this is not a project to reconcile Palestinians with Israelis.

We don’t feel that is our mission there. In places where you are invited by local people--local musicians--to help with that kind of process as in Kosovo, yes because the conflict is over, or in Northern Ireland. But in the Palestinian Israeli situation, this is still a divided society. I think it is in some way similar to the apartheid situation in South Africa. In that period no organization with any kind of social conscience would have gone into South Africa where there was a legal situation in which one entity was occupying the other. I feel that it is not appropriate as an outsider to say, “We are going to reconcile you guys.” There’s issues of justice there that need to be dealt with first. Also people need to choose their own moments for reconciliation, and choose their process.

You must be extremely proud of your father Alfred Hassler, an innovator within the American peace movement.

(Laughing) Oh yes.

Are you justly proud as well that the Smithsonian Institution holds his 16-page comic book account of the 1955 Montgomery Bus Boycott, in which Rosa Parks, Dr. Martin Luther King Jr., and 50,000 others used the power of nonviolence to battle segregation on city buses, and won.

I actually didn’t know that. Thank you for telling me that. Yes, I’m very proud of that.

Only 20 copies of the comic are known to exist from the 240,000 copies printed.

I had one of them I gave it to my son recently who is a professor of popular culture and politics.

[Alfred Hassler created a comic book about Martin Luther King, Jr., and the Montgomery bus boycott. First published in December 1957 by the Fellowship of Reconciliation, the comic was popular among civil rights groups, churches, and schools. Martin Luther King, Jr., who consulted directly with Alfred on the comic book project, wrote him saying, "Again, I would like to say what a fine piece of work this is. You have done a marvelous job of grasping the underlying truth and philosophy of the movement. I am sure that this comic book will be welcomed by the American public. Please feel free to call on me at any time.”

Your father also co-founded the Dai Dong project in 1970, linking war, environmental problems and poverty.

Yes, together with (Vietnamese Buddhist monk, teacher, author, poet and peace activist) Thích Nhất Hạnh. That was their brainchild.

How could you not go into the family business?

It’s true. I couldn’t have, but I have a brother and a sister and neither of them did.

You grew up in a commune called Skyview Acres?

It wasn’t a commune. It was a cooperative community.

As your father once said a “by accident arising community,” a town of 45 houses, no shop, church and school

Right. You know everything.

Where is the town?

It is in Rockland County, outside of New York. It’s the first county north of the New Jersey line on the west side of the Hudson River. When I was a kid, my parents and their friends bought a piece of land together there and it was countryside. There was no highway, yet. This was moving into the country to start families. That was the idea. It was idealistic in that sense. It was all people from New York City who wanted to get out of New York City after the war and start a life.

You father was imprisoned in 1944 for being a conscientious objector. Before passing away in 2011, Suze Rotolo told me that as a “red diaper baby” (a child of parents who were members of the American Communist Party) that she had faced the displeasure of school classmates, and their parents. Did you face a similar fate because of your father’s activities?

I know that a lot of people who grew up as the children of activists say that they felt excluded or criticized. I never felt anything, except pride. That had to do, of course, with the way that history was presented (to me), but also the fact the we grew up in kind of a microcosm of people who all shared a number of base things in the social community. So among those 45 families there was also the family of George Houser who recently died (Aug. 15, 2015) at the age of 100. He was the founder of the American Committee on Africa, and he worked for the same organization as my dad, FOR (the Fellowship of Reconciliation) first.

He was a Methodist minister,

Yes. He was one of the first freedom riders in 1947.

He co-founded CORE (the Congress of Racial Equality).

He co-founded CORE together with Jim Farmer (Bernice Fisher, and James Robinson) and later (in 1953) he founded the American Committee on Africa. There was also (music director and conductor) Ed Simons who is still alive at 98. He still plays violin and he’s still teaching. He’s 98.

George Houser also co-led the Journey to Reconciliation did he not?

Yeah. That was the name of the first freedom ride into the south. Imagine. Not everybody in the community was like that but there was also Conrad Lynn, a black civil rights lawyer lived in that community. Charles Lawrence, also an African American, a sociology professor. His wife Dr. Margaret Lawrence was the first black psychiatrist in the United States (working with children and adolescents). She worked herself up from being a maid. She came out from Mississippi. You had all of these incredibly inspiring people there. We would sing folk songs together. There were lot of musicians there. George Houser’s wife (Jean) was my first piano teacher.

It sounds like quite the creative community.

It was just an amazing place to grow up. Also besides that living community there was the FOR community. I met Martin Niemöller (the German anti-Nazi theologian and Lutheran pastor) as a child. I met André Trocmé, who was the pastor in Southern France who had mobilized his entire village to hide Jewish children and smuggle then to safety during the Second World War. These were my uncles. So I grew up with his immense sense of pride. Also we had a community of people who in different ways shared a kind of idealism and activism. I didn’t do it (activism) I was just given it.

You went off to Swarthmore College in Pennsylvania to study cultural anthropology and music. Not the family business but close

Right. Cultural anthropology in my case was a euphemism for community organization.

In 2010 you received the Arabella Carter Award from Swarthmore College.

I was in a folk music trio while at Swarthmore, and we had a reunion for an alumnae thing. They gave me this award for volunteerism.

Were you folkie?

I grew up singing folk songs in that community. As a child I’d sing rounds and songs from all over the place and in different languages. We sang “Kumbaya,” some Czech folk songs, things in all different languages. Singing different parts. We also sang in harmony. We had a couple of wonderful adult singers who played guitar. We just sang all of the time. From the time that I was 8 or 10, I was the one who always led the singing on the school bus on the way to school. That was also rounds, harmonies, and all kinds of things. Then in high school I taught myself how to play guitar, and I started singing protest songs. I loved Joan Baez and I learned all of the songs on her albums. I loved Buffy Sainte-Marie, and i used to sing some of her songs. She’s amazing.

Of course, you became involved in the American civil rights movement.

My early youth was spent in the American civil rights and peace movement. I moved to Holland in 1977 with my husband (Jim Forest). I had built up a career as a musician. I was always connecting my music to social causes.

Why did you and your husband move to Holland?

We were both involved in an (the peace group) organization called The International Fellowship of Reconciliation. I had worked during the Vietnam War for Thích Nhất Hạnh, and the Vietnam Buddhist Delegation.

Which your father was involved in.

That right. He brought me into it, and I spent a year in Paris. I also went to Vietnam in 1971 when I was 22. My father couldn’t get into Vietnam anymore and I went. So I was very connected to the Vietnam Buddhists.

In 1971 Vietnam wasn’t yet under Communist rule. It’d be 5 years later in 1976 that North and South Vietnam were merged to form the Socialist Republic of Vietnam.

No no. The war was still going on. The reason I went was that my father and Thích Nhất Hạnh had an idea. They were organizing what they called the “Stop The Killing” campaign. It was a call for an immediate cease-fire in Vietnam, endorsed by members of parliaments from many countries. So they were trying to get signatures from members of Parliaments all over the world. Thích Nhất Hạnh believed that there would be some members of the South Vietnamese Parliament by that time that would agree to sign such a call. Of course, if you had some names coming from the Parliament in South Vietnam that would make that whole call that much stronger. But you couldn’t use the telephone and nobody trusted anything in terms of.....you had to go face-to-face.

I’m surprised you were able to enter Vietnam at that point.

Well, I was working then for an organization called the Committee of Responsibility, which was a U.S. medical organization that took care of war wounded Vietnamese children. I was only there for a few days. There’s a little spy story behind here because my father couldn’t get in. They didn’t have anyone else to send, and I had an alibi because my organization had an approved house in Saigon where the kids were allowed to be brought in transit to the U.S. for their operations and whatever. So I was asked. Thinking of it now as a parent looking back that my father would ask his 22-year-old daughter to do I feel like would I have dared that with my kids when they were that old? But he did, and I did go. After that I went back to the U.S., and went back to my work for that organization. Shortly after that the Buddhists, who were in exile in Paris asked, if I could come and work for them in their office. You can’t say no to that, right?

Then you went to Holland with your husband and kids.

I had two kids at that point.

Why Holland?

That had to do with Vietnamese Buddhists too. My husband got a job to be the coordinator of the IFOR (the International Fellowship of Reconciliation, the inter-religious pacifist/nonviolence organization) which was based in Brussels. They needed to leave and find a new office. After my year in Paris I had gone back to the U.S. and done work for the Vietnamese Buddhists. We had a whole slew of connections who were supporting them in different countries. One of them was a Danish woman living in Holland. She and her husband said, “Listen, if you move your office to Holland, we will find you a place (for an office). We will find you a place to live. We will help you get set up.” Basically, we just needed a place in Western Europe that was close enough to an international airport, and where we could kind of get facilities to be a home for all of the different chapters around the world. So that’s why we moved here.

You and your husband soon divorced.

Yeah. Three years afterwards. It didn’t take too long. I knew him through the peace movement. We met when I was living in Paris and out of the marriage came Wendy, Dan and Tom, my three kids.

Were you by then aware of musics from all of the different cultures? There were Smithsonian and Nonesuch recording but this was before the emergence of labels like Putumayo or the growth of the internet

I was playing that (world music) stuff before it had the name. One of my great loves as a musician was the vocal music from the Balkans. I loved that. Why do you love some kind of music? But looking at it subjectively, mainly I loved it because I loved to sing. Also the Balkans is a meeting place of cultures. That’s why the wars happened there. Why it is strategically important for international powers, which is also why the wars happen there. It is also why a number of amazing forms of music have grown up there because that’s where the east meets the west. You get these amazing kinds of combinations of oriental rhythms with western harmonies for examples and oriental vocal ornamentation. Also because that is also a country tradition there and you get this incredibly strong and powerful use of the voice. I just fell in love with that type of music. I always had, at least one of my choirs, my singing groups, singing music from the Balkans. Then you get the wars in the Balkans and there we are singing all these beautiful Bosnian, Macedonian, Bulgarian, Croatian, and Dalmatian songs while people are under the bombs.

Did you ever hear the Nonesuch album “The Music of Bulgaria” a live recording of conductor Philip Koutev and the Ensemble of the Bulgarian Republic made in Paris in 1955 that influenced Paul Simon, Frank Zappa and Graham Nash?

I don’t know that album but I do remember the Penny Whistlers, of course, (led by folklorist and singer) Ethel Raim. I do know Ethel, who started the group. I’ve met her a number of time. In fact, it was the Penny Whistlers who got me interested in Balkan music in the first place. It wasn’t listening to original recordings. They were the first ones. That was when I was 17 in the U.S.

You are in a band with one of the coolest names I’ve ever heard, Fearless Rose.

Yes I am. There are 6 choir directors singing together. We sing some world music and Sweet Honey in the Rock kinds of things. We do some improvisation. A couple of the women specialize in jazz singing and improvisation. One is a gospel blues singer. One comes from Georgia and has brought in some Georgian folk songs. We put music on a poem by a Palestinian American woman poet, author and politcal activist, Suheir Hammad, called “What I Will” which is this beautiful anti-war poem.

Fearless Rose only performs for Musicians without Borders.

The group was set up in order that we have some musicians that we can send if there’s a conference and we are asked to send some musicians to tell the story. We’ve been to Northern Ireland a couple of times. We recently (on Sept. 21st, 2015) did a performance in The Hague as part of the International Day of Peace. Right now, we are kind of waiting. Everybody has their own groups, and their own gigs. Nobody is interested in just another group to perform. Everybody in the group is a preacher or workshop leader. What people are interested in—which is one of the ambitions we have with Musicians without Borders--is to further develop a methodology of working with women who are traumatized. Like our project in Bosnia, but even more.

May I put your email in the profile so musicians can connect with you?

Yeah, absolutely do it. All that we are doing all of the time is reaching out to people and looking for people to support us, especially among musicians because musicians are the people who immediately understand know that this is not frivolous; and know that this is extra. Music can really be at the base of changing things. We are reaching out to as many musicians as we can. So yes, please do.

Larry LeBlanc is widely recognized as one of the leading music industry journalists in the world. Before joining CelebrityAccess in 2008 as senior editor, he was the Canadian bureau chief of Billboard from 1991-2007 and Canadian editor of Record World from 1970-89. He was also a co-founder of the late Canadian music trade, The Record.

He has been quoted on music industry issues in hundreds of publications including Time, Forbes, and the London Times. He is co-author of the book “Music From Far And Wide.”

Larry is the recipient of the 2013 Walt Grealis Special Achievement Award, recognizing individuals who have made an impact on the Canadian music industry. He is a board member of the Mariposa Folk Festival in Orillia, Ontario.

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Industry Profile Archives:
Mick The DJ, DJ/Enterpeneur 04/30/15
Joanne Abbot Green, CMJ Music Marathon and Film Festival 10/17/08
Lee Abrams, XM Satellite Radio 11/28/03
John Acquaviva, Fund Manager, DJ and Serial Entrepreneur 07/09/15
Jay Boy Adams, Roadhouse Transportation 05/04/07
Jamie Adler, Adler Entertainment Group 05/11/07
Gary Adler, National Association of Ticket Brokers 12/04/13
Rodney Afshari, Freeze Artist Management 03/01/02
JC Ahn, VU Entertainment 04/10/13
Steve Alaimo, Vision Records & Audio Vision Studios 05/26/06
Jaye Albright, Albright & O'Malley Consulting 07/19/10
Randy Alexander, Randex Communications 10/12/07
David Alexander, Sheer Publishing 07/21/16
Eva Alexiou-Reo, FATA Booking Agency 05/14/15
Marcie Allen, Mad Booking 12/14/00
Jeff Allen, Universal Attractions 08/16/02
Marcie Allen, MAC Presents 06/05/09
Marcie Allen Cardwell, MAC Presents 12/21/07
David Allgood, Bama Theatre 01/03/11
Patrick Allocco, AllGood Concerts 10/05/07
Michele Amar, French Embassy 05/26/16
Mike Amato, Rok Tours International 02/02/07
Jeff Apregan, Apregan Entertainment Group/Venue Coalition 09/30/15
Billy Atwell, AMP Studios 12/13/07
Bob Babisch, Milwaukee World Festivals Inc. 04/02/15
Tom Baggot, thebookingagency.com 05/02/03
Stephen Bailey, EPACC & Deleware Center For The Arts 02/06/04
Cary Baker, Conqueroo 05/11/11
Vince Bannon, Getty Images 07/05/11
Phil Barber, Barber & Associates 02/04/01
Camille Barbone, WineDark Records 12/09/05
Erin Barra, Musician/Producer/Educator 07/10/14
Ben Baruch, The Fox Theatre 09/27/08
Ben Baruch, By Larry LeBlanc (CelebrityAccess) 04/05/17
Paul Bassman, Ascend Insurance Brokerage 08/03/16
Adam Bauer, Fleming, Tamulevich & Associates 02/15/02
Ed Bazel, That's Entertainment International 10/05/01
Joachim Becker, ZOHO Music L.L.C. 01/12/07
Howard Becker, Comet Technologies 05/02/11
Mark Bego, Author 06/15/07
Jim Beloff, Flea Market Music 09/20/10
Richard Bengloff, The American Association of Independent Music (A2IM) 09/12/13
Seth Berg, South Bay Music 01/30/09
Aimee Berger, 2 Generations SPA Music Management 09/24/04
David Berger, Future Beat 10/29/14
Barry Bergman, Music Managers Forum 03/14/03
Steve Bernstein, Relix LLC 09/30/05
Mark Berry, Attack Media Group 04/07/07
Scott Billington, Rounder Records 01/17/12
Jeffrey Bischoff, Cinder Block 03/24/06
Sat Bisla, A&R Worldwide/ Musexpo 03/29/10
Nina Blackwood, Sirius Satellite Radio 07/14/06
Adam Block, Legacy Recordings 11/07/13
P.J. Bloom, Neophonic, Inc. 01/24/11
Rishon Blumberg, Brick Wall Management 06/27/03
Justin Bolognino, Learned Evolution, and The Meta Agency 04/25/13
Steve "Chopper" Borges, Total Pro and Borse Techos 03/03/06
Les Borsai, Mediocre Management 01/30/04
Shane Bourbonnais, Live Nation Canada 03/21/08
Jeff Bowen, Sears Centre Arena 03/13/08
Rick Bowen, Mystic Music Experience 07/11/08
John Boyle, Sanctuary Music Group 03/19/04
Jeff & Todd Brabec, Writers/Attorneys 01/03/12
Bill Bragin, Joe's Pub at the Public Theater 08/08/03
Joel Brandes, Avenue Management Group 11/02/08
Joe Brandmeier, Moving Pictures 03/15/02
Scooter Braun, SB Projects 12/13/10
Ron Brice, 3rd & Lindsley Bar & Grill 06/08/16
Billy Brill, Billy Alan Productions 11/11/05
Doug Brown, Talent Buyers Network 09/21/01
James Browne, Sweet Rhythm 11/01/02
Bob Brumley, Brumley Music Company 02/17/16
Tony Brummel, Victory Records 05/17/09
Charlie Brusco, TBA Entertainment Corporation 10/13/01
Del Bryant, BMI 05/18/07
Cortez Bryant, Bryant Management 12/06/10
Stephen Budd, Stephen Budd Management 07/13/17
Bruce Burch, University of Georgia Music Business Program 10/09/09
Deborah Burda, Kentucky Exposition Center 08/03/07
Patti Burgart, IEBA 06/07/02
Jordan Burger, The New Musiquarium 01/22/01
Ron Burman, Roadrunner Records 08/25/06
Suzanne Cadgene, Elmore 05/19/06
Karen Cadle, KGC Productions 03/12/04
Gary Calamar, KCRW 07/10/09
Charles Caldas, Merlin 07/05/10
Brian Camelio, ArtistShare 02/29/08
David Campbell, AEG Europe 08/02/10
Tom Cantone, Foxwoods Entertainment Group 10/20/00
Tom Cantone, Foxwoods Resort Casino 07/03/03
Tom Cantone, Mohegan Sun 08/30/09
Ashley Capps, A. C. Entertainment 05/21/04
Rio Caraeff, Vevo 07/12/11
Mike Carden, Eagle Rock Entertainment 08/16/11
Charles Carlini, Carlini Group 05/16/08
Mark Carpentieri, M.C. Records 05/27/05
Mark Carpentieri, M.C. Records 01/10/11
Troy Carter, Coalition Media Group 06/07/10
Daniel Catullo, Coming Home Studios 06/22/08
Raffi Cavoukian, Folk Singer/Children's Entertainer 05/11/16
Jeffrey Chabon, Chabon Entertainment Group 08/22/02
Mike Chadwick, Essential Music & Marketing 08/01/12
Rob Challice, Coda Music Agency 03/27/13
Tom Chauncey, Partisan Arts 01/11/02
Tom Chauncey, Partisan Arts 10/04/11
Lisa Cherniak, Artists Against Racism (AAR) 07/20/01
Bob Chiappardi, Concrete Marketing 06/13/03
Joel Chriss, Chriss & Co. 10/04/02
Michael Chugg, Michael Chugg Entertainment 09/14/01
Michael Chugg, Chugg Enterprises 10/02/09
Gary Churgin, Harry Fox Agency 09/13/10
Vinny Cinquemani, S.L. Feldman & Associates 12/13/12
Barry Coburn, Ten Ten Music Group 03/28/11
Matthew Cohen, Green Room Productions 10/19/01
Ted Cohen, TAG Strategic 01/10/13
Lisa Cohen, Associated Booking Corporation 02/10/06
Steve Cohen, Music + Art Management, Inc. 03/09/07
Dan Cohen, Music & Memory 01/12/17
Michael Cohl - Part 1, S2BN Entertainment 03/06/13
Michael Cohl - Part 2, S2BN Entertainment 03/13/13
Bryan Coleman, Union Entertainment Group 02/14/12
Mamie Coleman, Fox Broadcasting 07/05/12
Dennis Condon, Disneyland Resorts 07/13/01
Peter Conlon, Peter Conlon Presents 05/20/05
Tony Conway, Buddy Lee Attractions 10/06/00
Allen Cook, TOURtech 04/16/15
Tomas Cookman, Cookman International 09/05/03
Alex Cooley, Alex Cooley Presents 07/12/10
David Cooper, 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
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
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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