Industry Profile: Natalia Nastaskin

— By Larry LeBlanc (CelebrityAccess)

This week In the Hot Seat with Larry LeBlanc: Natalia Nastaskin, Head of U.S. Music Operations, United Talent Agency.

If Natalia Nastaskin was a political candidate, she’d have no difficulty selling her American success story.

The Soviet Union-born live music industry trendsetter, who came to America in 1979 with her family, holds one of the most powerful jobs in entertainment as Head of U.S. Music Operations for the United Talent Agency.

Based in New York City, she is responsible for corporate business development, and steers the company’s business affairs.

Nastaskin had served as both general counsel and CEO at The Agency Group, the world's largest independent music agency, since 2013, and had been its chief counsel and dir. new business development from 2009.

Prior to that she had operated her own New York law practice, representing clients in entertainment and sports, and handling legal affairs for The Agency Group starting in 2005. Earlier, she was a partner in the New York-based firm, The Music Law Group.

United Talent Agency is a global talent and literary agency representing figures in entertainment and media, including motion pictures, television, music, digital, broadcast news, books, theatre, video games, fine art and, of course, live entertainment.

In Aug. 2015, the United Talent Agency acquired The Agency Group representing over 2,000 clients, Including Muse, Paramore, and Guns N' Roses . The acquisition included nearly 100 agents working across 7 offices in London, New York, Los Angeles, Nashville, Toronto, Miami, and Malmö, Sweden.

Since the acquisition, United Talent Agency has signed such leading music clients as Chris Brown, DJ Khaled, and Toby Keith

How does your working life differ following the acquisition of The Agency Group by United Talent Agency last summer?

It is basically the same.

Every day is different for you?

Every day is different. It’s an adventure.

Do you still receive the 2 am phone calls?

Not that many now (laughing). Our music CFO Perry (worldwide CFO Paurooshasp Perry) is based in London. So he and I start at 6:30 am and 7 am, my time. Then there’s L.A. By the time things wind down there, it is probably 8:30 pm or 9 pm my time. So the days are long. But I just love what I do. The young kids in the office, they laugh when they ask me in the hallway how am I doing, and I say, “I’m living the dream.” But it’s the truth.

In the last few months such artist as Chris Brown, Toby Keith, and DJ Khaled have signed with United Talent Agency.

We’re so proud.

Three major signings.

And each has different areas that they are interested in exploring outside of music. As you know, each has specific interests and passions and they would like to have a team around them to help build that. We are certainly happy that they chose us to be that team.

United Talent Agency also has a big footprint in films, the literary world, and even the art space that potentially can provide musical clients with increased career opportunities now. They don’t have to go elsewhere.

Absolutely. I keep saying when asked about how has it been to exist in the UTA fold after the acquisition; I keep using the words that, “It’s a game changer.” And that is really it because it has been game-changing in respect to what our music artists, and our music clients are able to be a part of and can experience within the UTA fold. So all of the different divisions, different agents with different specialties—it’s really extraordinary coverage for our clients. We couldn’t be happier. Truly game-changing.

How were the initial meetings with your counterparts at the United Talent Agency leading up to the acquisition of The Agency Group? How did it feel exploring the varied opportunities of everything under the same roof?

It was inspiring. I had an opportunity to meet (United Talent Agency’s CEO, co-founder, managing director) Jeremy Zimmer, and listen to his vision. Not only hear about his history and his present work, but his vision of how he saw the music division exist, and develop within the UTA fold. It was almost dreamy listening to him because it is what I’ve always wanted for our clients. To sit there and to realize that this actually may be happening was spectacular.

Jeremy Zimmer is certainly a forward thinker. In 2006, United Talent Agency became the first major agency in the broadband era to launch a dedicated online division to identify and represent emerging internet content creators.

Well, there’s a culture of excellence. Anything that the board and the partners decide to do is going to be at the highest levels. Nothing is taken lightly, and nothing is done without a strategy or without a calculated effort. So that anything that Jeremy and the management directors decide that they are going to pursue is going to work. There’s nothing that is haphazard about the group.

Besides The Agency Group being a perfect fit for the United Talent Agency the acquisition was well-timed. Rob Prinz, who had launched UTA's music division in 1991, and agent Nikki Wheeler had left for ICM a few months earlier, along with such clients as Hall & Oates, Celine Dion and Bob Seger, among others. There was a gap there. I’m not sure if the acquisition would have happened if Rob and Nikki had remained.

I can’t really say. I just know that the circumstances were what they were. Our companies came together. I can’t really say what would have happened if they had stayed. We know what happened with them going.

Previous to the announcement there were no expectations that The Agency Group would be sold. Certainly the firm’s then CEO Gavin O'Reilly never signaled anything in advance.

It was truly a moment of the stars aligning. It was truly one of those moments that when you look back, you can say that you couldn’t have written a script for this. It was the universe acting.

What your reaction in receiving news that the acquisition deal would happen?

This is a combination of two companies. The way that The Agency Group and UTA came together--holistically, organically, authentically--was always something that I had hoped for, but I didn’t know where it was going to come from.

Had you believed that The Agency Group would have had to acquire other companies or expand in order to compete in the new entertainment environment?

Certainly, 2014 was a pivotal year for The Agency Group with the acquisitions of the Bobby Roberts Company in Nashville, the Bond Music Group in New York and Los Angeles, the partnership with Coalition Talent in the UK, and the creation of a Miami office to focus on the Latin American markets. There was also the launch of a branding division, and the creation of dedicated college, corporate and casino divisions.

It’s part of the reason why we started looking to bring in the Miami office, expand our corporate, college, and casino areas. Bring in electronic music. Obviously, the deal with the Bobby Roberts Company. We knew that we had to expand, but we also knew, specifically in regards to the U.S. business, that with our clients that once they attained a certain level of success, and were able to explore other areas that may be of interest to them, we knew we would have to be able to service those areas or there was a danger that we might not be able to hold onto the client, irrespectively how incredible the booking agent was. So when it became apparent that clients reach a certain limited of celebrity and stardom and they look into fashion, for example, we needed to be able to fill that desire or somebody else was going to fill it.

One sector The Agency Group had become heavily involved in was electronic dance music with the acquisition of The Bond Group, Coalition, and previously Autonomous Music. You obviously saw EDM as a growth area for the business. It’s a sector that many agency people were then still skeptical of.

Well, there’s always a team on one of these things. I may love an idea, and say it would be great to bring an electronic presence, or an electronic division, or an electronic agent, but ultimately the collective of senior people has to decide that it’s a good idea. Specifically, with electronic, we were exploring that area for years. We sort of saw it happening around us as The Agency Group, and we were really seeing the music becoming meaningful in America in a big, big way.

My professional career when I was representing clients on my own, when I had my own practice, I started in electronic music, in dance music—really house music as it was called at the time. So I already had been exposed to all of the incredible things that were happening in that genre in Europe. Going to MIDEM, ADE (Amsterdam Dance Event), and PopKomm. All those international conferences that not very many people in America would go to because we had different things here.

Americans would annually attend MIDEM.

Exactly. They might go to MIDEM, but not necessarily explore the electronic space because it wasn’t doing anything at the time here. That music really didn’t make an impact (in American mainstream) until very recently, but it has always had been an area that I had worked in, and the rest of the globe was very much into it. So once it became clear that electronic music was coming here (to the U.S.), and that it was coming here to stay--Just like any other music, it’s going to make impact. It’s going to develop. It’s going to have its own trajectory. It’s going to change. There will be an ebb and flow to it--I just knew that if we got together with agents that were like-minded—similar to The Agency Group being entrepreneurial, progressive and forward-thinking culturally, we would have to be aligned, and then they would have to be people that had their finger on the pulse of what was going on in the electronic. We felt that what the Bond Music Group had been doing as a company by itself seemed to align well with where we wanted to be in the electronic space. So that’s really how the deal came about it. We had been talking to Kris (Bond Music Group CEO Kristopher Krajewski) over a period of years, and we just decided that it was the right time for us to get together.

As well, among the things that had changed industry perception toward EDM in America was the popularity of Gary Richards’ HARD Event festivals, and Live Nation launching Live Nation Electronic Music division, and then acquiring the successful British promoter Cream Holdings.

Yes, and then Insomniac Events (in 2013).

EDM has since shifted from its early underground warehouse roots to the big festival main stages worldwide, and DJs have become celebrities globally. The single most unique aspect of the electronic genre is that it can be taken anywhere in the world.

Without a doubt, and it’s not like you need to route a tour every time. You can have 365 one-offs, if you really wanted to. I’d known about this electronic music space growing up in New York City—well, I grew up in Jamaica, Queens but close enough; It’s a J train ride away. It was a time when I was 14 or 15 years old in the mid-80s, the club culture was so strong here. I mean the real club culture. Not the bottle service club culture that we have today. Bless the DJs that play the clubs now—more power because all genres of music should be out there, and should be enjoyed by the mass populace. I grew up with Junior Vasquez, and Todd Terry, the DJs that really created that underground dance house music culture of New York. Knowing that people were waiting for those nights—12 o’clock, and 2 o’clock in the morning when they would go to clubs, and listen to the DJs, and dance, and that’s what they were there for. That’s the period that I grew up in. That’s always something that has followed me. I felt that if we had an opportunity to explore that deeper within the agency, let’s do it. It’s happening. Electronic music is here. It’s not going away. It’s going to change, but it’s not dying.

So many older music industry figures still ask, “When is electronic music going to die?” I say, “Well, it’s been around nearly 30 years now.”

It will just evolve, but it’s never going to die.

EDM with its multiple sub-genres is as mainstream as it gets today, and there are continually new influences from so many international territories. Having EDM slightly below the mainstream media radar, however, has kept it more vital.

It doesn’t have massive radio probably, but if you go on SoundCloud, Beatport, any of the electronic-oriented outlets out there, or even the music-oriented outlets, you will find that it is really prevalent.

Diplo, Calvin Harris, David Guetta, Skrillex, deadmau5, Steve Aoki, Tiësto, Zedd and others have crossed over into the pop mainstream, but the sector is not yet overexposed, if only because it continually re-energizes itself.

It does. It does, and even myself I find that I am exposed to so much music here because there are so many different signings and clients, and I really try to keep up with everybody’s music. Then I will go to a festival, and just be blown away some somebody’s performance that I have never seen before.

The Agency Group had been late coming to Nashville, but it made its presence felt certainly, with The Bobby Roberts’ acquisition in 2014, but you were building the agency’s presence up in Music City prior to that with Nick Meinema, and others.

It’s amazing in the short span of time what we have done in Nashville. Nick is a killer—and I mean that in the best sense of the word; not in the criminal sense of the word. He made a commitment. He made a decision (in 2012). He committed to that area of the business. He picked himself up and he moved his family (from Toronto), and decided that this is what he was going to do. And build it he did. Our entire business is based on relationships. Nick is incredible about forging relationships. About maintaining and developing them, and through being in the community, and getting to know Bobby Roberts, Lance Roberts, and Travis James, and then alternately that relationship yielding the combination of our company with The Bobby Roberts Agency, now thanks to the relationship that Lance and Nick have with Curt Motley (previous co-head of Paradigm Talent’s Nashville office) that motivated and incentivized Curt to come over (in March 2016) which is extraordinary for us. We are just delighted about the future because if we have been able to do this much in this short period of time we can only fantasize and imagine how great it is going to be in the very near future.

Nashville has been traditionally closed to outsiders.

Indeed, which is why Nick is unique. And having Lance, and Curt onboard, and the three of them being now an entity that people know and identify with UTA, and the kind of progressive things that are happening here, we are very bullish on the future as far as music division as a whole, and certainly our Nashville footprint

Are any further acquisitions planned?

Well, it’s really that we are involved in every area of entertainment. We try to cover every area of music. So I would never say never or not in the cards, but it has to be the right fit.

In 2013, did you have any hesitation in taking on the role as both general counsel and CEO at The Agency Group? There have been few women heading talent agencies in America. Among them were Ruth Bowen, the first black female talent agent, who was the president of Queen Booking Corporation; and Barbra Skydel, the first female principal of a major talent firm, Premier Talent.

I had no hesitation about wanting to take a broader role with The Agency Group.

Was it a position you sought?

Not until Gavin brought it up with me. I was happy doing what I was doing, and it was working for everybody. But Gavin came to me and said, “I don’t understand. You are sort of one foot in. You are with us. and then you are one foot out. You have this other (law) practice. Would you like to come in...

Gavin hadn’t been at The Agency Group for very long at that point.

No he had only been there for four months. He knew that he was going to be without a president in the U.S because Steve Martin (then president of North American operations at The Agency Group) was leaving. This is what I think happened. I think he was really looking for someone who wasn’t polarizing; someone who knew the business; and someone who knew the company because he was so new.

His background was in news and media.

An interesting trajectory. From the outside, it may appear that running a talent booking agency is not so difficult. But I know how difficult it is. You are also talking about a time in our business where things were evolving so quickly, and the business has changed so much.

If you are going to be working with artists, you have to know at least the basic fundamental concepts of our business. Whether it’s the recording side or the publishing side or the brand side, the licensing side, the tour side and know what a manager does. You have to understand all those things. Until you understand all those things, it’s really difficult to maneuver a company like this one.

The role of a talent agency has evolved. At one time agencies soothed clients about their careers or took their fees and moved on. Today, it’s about strategizing. That’s a new concept within the music industry. For decades, music artists’ careers weren’t supposed to last. Three or four years, and artists were expected to disappear. Today, managers seek to establish careers that will go on for years. A manager may not have the tools to do that, but those tools are more available now to a large-scale talent agency.

There’s a lot more of that for sure. You want to be talking to the publicist. You want to know what the label has got going on. You want to be talking with the product managers. The agent is a pivotal member of an artist’s team. As pivotal as ever.

The role of a talent agent has evolved from booking live dates and introducing artists to labels or, maybe, overseeing a film contract.

It’s very different. The expectations are different, and the business is very different. I can talk about how decreasing revenues on the record side may lead artists and managers looking to their agencies to help them explore and exploit other areas of the artist’s talent. So it is a very very different industry than it was 10 or 20 years ago. It’s all very different which is why that 2013 to 2015 period was challenging. It was definitely challenging.

Even with decreasing revenues from music sales, few artists want to be out on tour 250 nights of the year. Still they feel that revenue gap has to be filled in from somewhere.

Right.

Heritage acts, and festival headliners don’t want to be touring forever. It seems as if tours are becoming shorter.

I suppose. We have so many artists with so many different levels of their professional trajectory here. We’ve got some artists that never want come off the road. They want to keep building and they want to be in a van. Well, maybe they don’t want to be in a van, but they know that they have to be in a van.

Bands in the early stages of their careers.

Yes, and they keep doing it. Then we also have artists that want to play 20 dates every two years, and that’s it. So it really depends on where the artist is in their trajectory.

With the number of high-powered music clients at United Talent Agency are there senior executive meeting on how to further global careers?

I’m sure that there have been, and are, and will be. We are still in the integration phase. So certainly we get together as a senior management team, and talk about where we are, and where we could be going. But that’s stuff that I would probably want to keep off the record. With some of the higher profile signings, and existing clients there are teams around those artists. The teams will meet and talk.

I would imagine that being under the United Talent Agency umbrella now, it’s not only a period of integration, but also one of discovery. It’s almost like an education for those one the music agency side, with agents and managers, “Hey, check this out. We have this now.”

It happens every day. Every single day.

Your family came to New York from Moscow in 1979?

Yes.

When the Iron Curtain was still up?

It was. It was still the Soviet Union when we came over. We didn’t come straight shot. We didn’t come from Moscow to New York. It was a process that we had to go through to get our visas processed, and our documents done. It was a long experience. It went on for a few months beforehand. We went from one country to another to another and ultimately to the States. We went to Austria, Italy and to here.

To get out of the USSR in that era was difficult.

Well, my father’s sister was here. She petitioned for us to come over, and there were provisions at the time to enable families to reunite.

There was then considerable persecution of Jews in the Soviet Union which has since declined. Did that lead to your parent’s decision to move from Moscow to New York?

That did to some extent. Yeah, my dad is Jewish, and my mom is Russian Orthodox. So yeah. Most Jewish families opted to go if they had a reason to be here (in America). If they had an opportunity to come to the States or to one of the other countries that were accepting refugees at the time they went.

A big shock coming to America from the Soviet Union?

Yeah, it was an absolutely a massive cultural shock.

Where had your family been living in Moscow?

I have always referred to it as the bowels of Moscow. It is called Medvedkovo.

Not exactly an upscale neighborhood.

(Laughing) Well, there were no upscale neighborhoods. The upscale neighborhoods the regular people didn’t get access to. Let’s put it like that.

Your mother Nadia does commercial real estate in New York?

Yes.

What did your dad do before he retired?

My dad was a cinematographer in Russia, and he worked in advertising post production in America.

When you came to America, you didn’t speak any English?

No. No. Zero.

Were you thrown into school right away or did you have some tutoring?

We couldn’t afford tutoring. We didn’t know any kind of programs that may have enabled me to have a tutor. That was way outside anything that my parents were focused on at the time. They needed to learn English themselves, and they needed to get themselves jobs.

They didn’t speak English either? I hope your family was living near Brighton Beach with its population of Russian-speaking immigrants.

Well, my aunt took us in for a couple of months. So we stayed with her in Brighton Beach for about four months. About a month after we arrived, my parents sent me to sleepaway camp for underprivileged children in Sussex, New Jersey. So not only did I not speak any English, but I was without my family.

You must have been scared out of your wits.

Yeah. It was not fun at all. When I tell you that was probably the first thing that I did to start building character I’m not kidding. It was really difficult. It was a camp for underprivileged children. So a lot of kids were orphans or were in foster care.

All girls?

No girls and boys. But separate camps. We didn’t have visitors because not everybody had families so everybody was treated equally. It was kind of like a commune. Everybody was treated equally. We didn’t have visitors. We couldn’t have packages unless we shared with the whole bunk.

How long were you at the camp?

Six weeks. It was long time. But my parents needed to get on with their own stuff. They needed the kids out of the way.

Your brother went to the camp as well?

My brother was too young. So he stayed with my grandparents in Brooklyn. They came over to the U.S. simultaneously with us, while I was sent away to camp.

In Moscow there was then little display of consumer goods unless you were able to go to GUM department store, one of the few stores in the Soviet Union that did not have shortages of consumer goods. What were your thoughts the first time you walked through a supermarket in America?

Completely mind-blowing. My parents used to send me to the store back in Moscow. Often, I’d get to the store, and there was nothing there. Nothing at all. More often than not just empty shelves. Yes, it was pretty incredible in America. When my grandmother came to visit some years later from Moscow, she passed out in a grocery store seeing all the robust shelves.

I thought, perhaps she’d pass out from what she saw on MTV which launched in 1981.

No (laughing). We didn’t even bother with that.

You arrived in America as the music video era was starting.

People often ask me. “What was the first music experience where you felt that you wanted to be in the music industry?” With me, it started with Rod Stewart because I saw a video...first of all I saw a color television. Let’s start with that. We didn’t have color television in Moscow. I saw a color television.

And you probably saw Rod Stewart’s “Hot Legs” video.

I did see Rod Stewart doing “Hot Legs.” Here’s a guy with bleached blond hair with black roots, shirt unbuttoned, holding onto to fishnet woman’s legs and singing this incredible song. The guitar is just off the hook, right? And I come from a culture in Moscow where we had entertainment, but it was state-sponsored.

There were independent rock bands in the USSR in the ‘70s. Artists like Boris Grebenshchikov and his band Aquarium.

Yes, but it was quite underground.

If you had a Beatles’ album, you kept quiet about it.

You didn’t talk about that.

The Soviet Union’s state-owned record company Melodia bootlegged the Beatles’ recordings.

Eventually. But at the time my family was living there, if you got your hands on any kinds of Western music, you pretty much kept it to yourself or you quietly played it to your friends. By no means were you shouting about it or making a fuss about it because that could land you in a place where you didn’t want to be.

[Through the Soviet Union’s only record company, Melodia, Soviet fans heard the Beatles song “Girl” for the first time in 1967. In total more than 20 Beatles songs were released in the Soviet Union, all in violation of copyright. In 1988, Paul McCartney gave Soviet fans an official album of Beatles’ songs called “Back in the USSR.” Half a million copies were issued, making it then the most widely distributed album by any foreign musician in the Soviet Union.]

Have you returned to Moscow over the years?

I have. I don’t go often. I will go if there’s an important event or there’s a business reason for me going. But I try not to go back. There’s really nothing for me there. I do have family there, but I prefer seeing them here. Now that there’s freedom of travel it’s easier for them to come here.

Moscow has been transformed in recent years with city-wide improvements in transportation, housing, and public parks.

Moscow, it’s incredible seeing it now. I was there three years ago for a client’s birthday event. Nikolay Baskov is major pop star in Russia. He invited us, and he hosted us. We stayed at The Ritz–Carlton near Red Square. His party was over-the-top. I had to pinch myself because, as a Soviet émigré, and remind myself that I was in Moscow. This is not my grandma’s Moscow. This is not my 7-year-old’s Moscow. This is the Moscow of extraordinary wealth, affluence and excess. It’s hard to believe that it’s the same city. But it’s Moscow’s moment, and it’s having its phase.

You told me once that you learned English from studying album liner notes and reading song lyrics. A good way to learn a language?

Yeah, for me it worked, I think. I feel that I can get my message across now. I picked the language up pretty well back then. I loved music and it was a way that I could relate to kids in school.

They were probably listening to rock and hip hop.

Well, by the time that I started school, we were living in Jamaica Queens so yeah it was the start of hip hop, and there was a lot of rock. It was Queen, Joan Jett, and music like that. I would see kids with those stickers on their notebooks, and I would try to position myself to sit close to them because, at least, I could talk to them about music and make friends that way.

This was in high school?

I’m talking about elementary school. So my parents, we didn’t have a lot of money. We very much lived on a budget. On Fridays, they would leave me a dollar for pizza. Me and my brother. So I would get him his slice and a soda, and I would save my money so I could buy a record. Every time that I could save up enough money I would buy a single or whatever I was waiting on at the time.

Singles being 99¢, and albums were under $10.

(Laughing) Exactly, without dating ourselves. And it was vinyl, right? So you had that juicy sound. I would take my portion of the dollar—my 50¢—and I would save it up, go to the store, buy the record, and I would sit there for hours with my English to Russian translator, and I would translate every single word of every single lyric, and every single thank you, and every single liner note, and anything else I could find. Then I would know what the songs were about. And I would play the vinyl over and over, mimicking the words the way that the artist sang them. I was trying to get my pronunciation just right so I would be able to speak perfectly because I didn’t want to have an accent. As a kid here (in the U.S.) during the Cold War, the last thing that you wanted to be known about you was that you were a Russian kid because Russians were deemed to be Communists all across the board. So that’s how I started to speak (English) was from doing that, and understanding what I was saying.

Name some of artists you were listening to.

I had as many Rod Stewart records that I could lay my hands on because he was really the guy that turned me onto the whole music scene. Then there was Air Supply that we had on 8-track. That was a bit of a complicated thing to have on heavy rotation. And Blondie. Those three were really the ones.

Totally different.

Yes. Totally different. And I loved Joan Jett as well. I loved the women rockers because I was like, “Wow these girls can do this?”

These ladies were empowered.

Completely.

You would not have seen anything similar in Moscow.

There was no sense of rebellion there for sure. Joan Jett singing “I Love Rock ‘N Roll” and that video, and her hair and her styling. I was like...we had nothing close to that. We had woman taking the stage in full evening gowns, and that was it. And here’s Joan Jett, and Blondie with all of her stylings, and the delivery of her vocals, and how breathy she was, but so punk rock. It blew my mind.

Did you come more into your own during your high school years? Were you a good student?

Yes, I was. School came fairly easily to me until I got to law school.

You attended State University of New York at Binghamton, New York, and then the Columbus School of Law of The Catholic University America in Washington D.C.

Binghamton was undergrad. I studied law at the Columbus Law at the Catholic University.

You interned at the Recording Industry Association of America for two years while in law school. Then you returned to New York to take the bar exam. Was Hilary Rosen still at the RIAA?

Yes, and (RIAA chairman) Jay Berman. My immediate superiors were Jesse Abad and Steven D’Onofrio because I was in the Anti-Piracy Unit

Why a job at the RIAA?

Okay, the reason that I chose that school in D.C. was because they were the first law school in America to have an exchange program with East European law schools. I thought that since I am going to be on the international trade track, I wanted to do the exchange in my second or third year. Then when I got to my first year in law school, and took a job at an international trade firm, it hit me that this was not the future that I wanted for myself. I was just not interested in it at all. I wasn’t really feeling law school so much. I really didn’t like being in D.C. Then I had this job that I wasn’t excited about. I was telling a classmate that I thought that I had made this terrible mistake, and that I need to re-think my life. He goes, “Well you are so into music. Why don’t you do something in music?” Up until that time I didn’t realize that you didn’t have to have musical talent to be in the music industry.

It’s beyond your comprehension that artists on the radio have people supporting them.

Completely. Look I was just in an underprivileged camp a few years back. I didn’t know what was available. My parents were like, “You don’t like the sight of blood, so you should be a lawyer.”

What was your reaction to your friend’s suggestion?

I asked, “What’s there to do in music?” He said, “I work at the RIAA, a lobbying group for the record industry. My passion really is the motion pictures. So I am leaving that post. and going to the MPAA (Motion Picture Association of America) but I can put a good word in for you.” So I said sure. So I interviewed with Jesse Abad. I swear, Larry that I walked into that office, and it was nirvana. It was like the gates of heaven opened up. I felt like, “This is it. This is where I want to be. This is where I belong. I don’t want to leave here. Somebody better give me a job or I am going to be a receptionist for the rest of my life.” Fortunately, the interview went well and they offered me the internship which I had throughout law school, and I never looked back. So music what it always was going to be.

What was your job at the RIAA?

Anti-piracy at the time before streaming, before Napster and any of that of that. It was mostly about identifying piracy plants all over the world. The U.S. music industry was losing something like $2 billion—that’s just what was documented---from Chinese and Russian piracy. They felt that with my Russian background that I could be working with investigators to identify those pirates, and kind of infiltrate those operations. So I did some of that, and I did a lot of case research for some of the lawyers there. I went to hear oral arguments in some cases. It was a little bit of everything. I did some clerical work as well. Just getting in touch with record labels and making sure that we had all the right contact information on file for them. It was just a bit of everything. but it was such a great comprehensive experience.

Were you studying intellectual property law at the Columbus School?

Yes, in my second and third year. But I knew that I wanted to be in entertainment and the adjunct professor that was teaching entertainment law at the school basically said, “Make sure that you take intellectual property electives if you are going into any part of entertainment law” which was good advice, obviously, because that is such a big part of what we do.

After law school you opened up you own firm?

After law school I didn’t have a job because I thought I am not going to take time away from school and interview (with law firms). I was going to pay attention to school. I was going to take my bar, and then “I will get a job. How hard can it be?” It turned out that it’s really really hard (to get a job at a law office), especially in music.

In most law firms at entry level you have to work impossible hours. It’s like being in the mailroom.

I would have taken that though. If it had to do with music I would have taken it. I would have taken a job in any law firm if I could have continued doing what I started doing at the RIAA. But it wasn’t in the cards because established music firms, they want you to come in with corporate or some kind of experience, even life experience which I didn’t have any of that. The RIAA experience wasn’t sufficient. So interviewed with one or two firms, and with one in-house label person, and it just looked pretty grim. I didn’t know what else to do because I really wanted to be in music and I really needed money for my apartment and expenses. So a general practitioner that I used to work with in the summers shortly after I took the bar said he was looking for somebody. So I started working in a general practice firm. And simultaneously building my own music practice after hours. It was Molot & Associates. Valery Molot who owned the firm allowed me to meet my own clients after hours. From 6 pm onward, I was able to do my own work. But after a year it wasn’t really working out, and I wasn’t devoting enough to my own practice. I was telling my family that this wasn’t quite what I was looking for. “Well why don’t you open up your own thing?” My then boyfriend, who became my husband and now my ex-husband said, “Why don’t you just open up your own practice?” I was like, “I don’t know anything though?” and they were like, “You’ll learn. How hard can it be?”

That’s right.

But you need clients right?

But not everybody can afford a top entertainment lawyer like Allen Grubman. A new artist might hire you because you are cheaper.

A lot cheaper. And a lot more available. I’m there 24 hours a day, and a lot cheaper.

With your own practice, you worked with a lot of emerging acts?

Yes. A lot of hip hop, and dance acts. Dance was the culture that I had grown up with, and I knew it. One of my clients Shawnee Taylor ended up having a great career. To this day, she records, and performs some. She happened to be one of those special people. You know some people open their mouths, and out it comes. She was that. She was the best voice in house (music), bar none. Just extraordinary. So she ended up having a great career signed to Subliminal Records, Erick Morillo’s label. There was another client, Michael Buch, who did really well on Eightball Records with a track called “The Playground” that made a bunch of noise. I also worked with Kraze who had the song called “The Party.” It’s probably one of the most sampled records since then (1988).

In that environment, you would learn about management, publishing, and recording contracts, sync licenses, and so on.

I learned from my adversaries. My best mentors were counsels on the opposing side. It was better than law school. You actually don’t graduate law school with a wealth of knowledge about music, copyright or anything. So the best mentor for me were people I was negotiating against. They would object to things and I was like, “I’d better write that down for next time that I am on that side.” I thank them every day.

How did you become a partner in the Music Law Group from 2000 to 2005?

This was a situation that happened. I met Peter Sotos who was a lawyer in a commercial litigation firm. He said, “Would you like to work together because I am desperate to get out of my firm? I have music clients that I can bring in right away. I’m also very passionate about music, and I just want to hit the ground running, and I know that I can do it. You have already managed to build a practice.” At that time, it was probably five or six years into my practice; by which time I was well on my feet, and doing well. He said, “You’ve built your own practice, and together we can do a lot more.” So we teamed up, and started working together.

In 2005, you began doing some legal work for The Agency Group. By then you would have noticed that the recording industry was starting to collapse around you.

That’s basically what happened. Artist deals started to shrink more and more. As a lawyer representing artists, there came a point where I felt bad charging a fee because my clients weren’t making the kind of money that they had made a year ago. So I was having lunch with Steve Martin who I had met some years prior at the Mercury Lounge. He and I had become friends, and we would meet and catch up from time to time and talk about what was going on in each of our worlds. We were having lunch and I said, “Steve, I don’t know, but this is starting to feel really creepy because my practice is not the same as it was in terms of what the artists are seeing. The record labels aren’t paying what they were paying before.”

Meanwhile, he tells you that live music is exploding.

Steve says, “I don’t know what you are talking about. The live side of the music business is thriving.” As an artist lawyer you very rarely got involved with the live side of your artist’s career. Either the agency was handling it or you had a super A level client like Madonna--that I didn’t have--and all of the Madonna lawyers might be combing through all her touring agreements. So I asked what kind of legal work they were doing over at the agency, and we got into it. “Well that’s really interesting.” Steve said, “We have some office space that is available and I was going to offer it to you if you want to come in as a subletter.” So I said, “Interesting. Let me think about that for a minute.”

So your response was?

A minute later I said, “Yes I will do it.” That really how I started at The Agency Group in January ‘05.

Did The Agency Group have legal counsel at that point?

They had outside counsel. Although I would be physically there I would be technically coming in as outside counsel. They used a couple of different people.

Having legal down the hall, even as outside counsel, has its advantages for an agent. They’d be at your door asking, “Would you look at this?”

Exactly. And that’s basically how it went down. Little by little, just more stuff came in. At the time Steve Herman was the CEO of The Agency Group. He was based in Toronto. Shortly afterwards, he was visiting New York, and Steve Martin introduced us. Steve Herman came into my office, and asked “Do you know how to do a settlement and release agreement? I said yes. “Do you know how to do an employment agreement.” Again I said yes. He said, “Do me a favor. Write a couple up for me. This is what I need. There are the deals terms.” Then he reviewed my work, and it was, “Okay, you are going to be our lawyer. Just give us a good rate.” That was February or March ‘05.

Four years later Neil Warnock, then chairman of The Agency Group made you a director.

Yes. Neil and I sat at lunch in New York. He and I had been interfacing and working together since 2005. He said, “What would you like to do?” I said, “I love the legal side of things, but I would love to be able to do more on the business development and the business strategy side of things.” He goes, “Great. Does director of business strategy (chief counsel and dir. new business development) work for you?” I said, “Absolutely.” So that’s how that happened.

It was around the time that Steve Herman left The Agency Group, and went to Live Nation. I was so blessed to have Jack Ross and Ralph James as my mentors in our Toronto office. Still losing Steve Herman to Live Nation was a blow to me personally because he and I worked so well together.

Up to that point what had you been doing?

All business affairs stuff. I still represented clients outside of The Agency Group. I still had my practice. I had the practice until 2013 when I took the position of general counsel and CEO. That’s when I moved all of my pre-existing clients to attorneys in town. I was still doing a lot of the dance representation. My clients really stayed with me from the day that we started working together until 2013 when I had to let my clients go. A lot of them were the same people that I had been working with in 1998.

By then, your clientele had evolved to include the representation of sports celebrities.

Around 2005 or 2006, I started working with the NHL players. I started with Igor Larionov of the Detroit Red Wings. Then I worked with Scott Gomez, and Shawn Avery. Eventually for Alex Ovechkin, and I did some work for Henrik Lundqvist. So my practice was The Agency Group, hockey and music. It was exciting, and it was robust, and it was diverse.

United Talent Agency was founded in Beverley Hills in 1991. Any chance of being seduced by Southern California’s sun-drenched lifestyle, and moving westward?

No. It’s New York City all the way for me.

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, and a consultant to the National Music Centre in Calgary, Alberta.

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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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