Industry Profile: Kevin Morrow

— By Larry LeBlanc (CelebrityAccess)

This week In the Hot Seat with Larry LeBlanc: Kevin Morrow, co-founder & CEO, Steel Wool Entertainment.

Steel Wool Entertainment has acquired a striking industry footprint over the past four years by offering music artists management, record label, video production and marketing services.

Among the artists affiliated with the multi-faceted Los Angeles entertainment company are Watsky, Kirk Franklin, Finn Matthews, Jacquie Lee, Johan, Jez Dior, Tamir Grinberg, Elijah Blake, Alice And The Glass Lake, Bad Rabbits, Caleb Shreve, and Anderson Paak.

Steel Wool Entertainment’s co-founder and CEO Kevin Morrow has worked for over three decades in just about every sector of the music industry.

After co-founding the San Diego Blues Society in the early 1980s, Morrow co-founded the San Diego management and booking agency Falk & Morrow which represented some 21 clients, including former Rolling Stone guitarist Mick Taylor, R&B vocalist Otis Clay, Zimbabwean musician Thomas Mapfumo, ska pioneers, the Skatalites, and reggae star Eek-A-Mouse.

During this time Morrow also handled management for such artists as the Blind Boys of Alabama, the Paladins, Charlie Musselwhite, and Taylor.

After Morrow lent a hand in launching the House of Blues-branded radio show for CBS Communications, he was hired in 1994 as talent buyer for the new House of Blues in Los Angeles.

Two years later, Morrow was named senior VP of tours and talent for House of Blues Entertainment nationwide; overseeing the openings of a handful of House of Blues clubs, and the subsequent talent buying teams at each venue. Additionally, he also launched House of Blues’ touring division which became pivotal in building the company’s brand internationally.

Morrow’s role expanded greatly in 1999 with House of Blues Entertainment acquiring Universal Concerts, the Seagram Co. company which operated 19 concert venues across North America. In 2006, Live Nation purchased House of Blues Entertainment, and Morrow was appointed president, Live Nation New York.

In 2012 Morrow joined forces with Kevin Welk, president of Welk Music Group, which includes Vanguard Records, Sugar Hill Records and Ranwood Records, to launch Steel Wool Entertainment with artist Watsky, and manager Tyler Rutkin also as partners.

How did you come to hook up with an industry vet like Kevin Welk?

When I had the House of Blues’ touring division he called me, and we ended up having lunch, and we really hit it off. We are both ex-college baseball players. He was looking for outlets to get his artists touring. We had all of these new outlets because we could see what was coming. We had a new media division and an internet division. He ended up bringing me Dolly Parton. I met with Dolly, and we hit it off, and we started doing tours of his artists.

How did you and your partners envision Steel Wool before launching in 2012?

Kevin was going to be the outlet for the label. One of the inspirations for me was this kid Watsky who had come in, and he had two million YouTube views. He had insanely social (media) numbers. At that time these things (streaming) were starting to come out through Spotify, and Pandora.

While I was at Live Nation, we did some shows with Watsky just to see how all that translated to touring. Touring is where you make the money, and then there’s all of other things off touring like sponsorships and so on. We put a show up at The Viper Room in L.A., and it sold out in two hours. He said he’d like to go to London. So we put a show on at The XOYO, and it sold out in one day. We put on another show on there at Kevin Spacey’s the Old Vic Tunnels, and that sold 1,300 tickets the same trip. So I phoned Peter Schwartz (then an agent at The Agency Group) up and signed Watsky to Peter. Peter booked a national tour, and Watsky sold 95% of the tickets, and he didn’t even have a record out. I went, “This really is worldwide.” He opened my eyes to a lot of things.

Your other partner Tyler Rutkin I don’t know.

Tyler is one of the young managers coming up who is going to be a force. He worked with me at Live Nation. When he and I were doing the Pitbull and Kirk Franklin tours for Live Nation we started talking about the future of the business. He had the same vision I had, and the same vision that Watsky had. The three of us would sit down, and brainstorm. But what happened was I left six months prior to go over to Kevin’s, and then I brought Tyler.

Working at both the House of Blues and Live Nation you had been out of management game for a few years. Management is all different from when you last did it in the ‘80s.

Definitely, it is that. A lot of the stuff had started happening while I was a promoter, doing due diligence to make an offer. You’d look at Facebook and some of the social stats. But a lot of the platforms weren’t there yet. They were just coming online. Like Shazam. One of the guys I work with now on the label side in another company recently told me that before he makes a deal with an act that, “I only look at Shazam numbers. I only look at streams, and I only look at YouTube views. Those are my three things. Those are my metrics. Everything else doesn’t matter. I don’t care if the artist has been in the market or how much he draws. Those are the only things I care about.” But that’s pretty insightful because when I was a promoter all we looked at were (radio) “spins” in the market, record sales, and how many people did the artist draw the last time there. Those were our three metrics. Now there are 15 metrics.

Just because someone has a zillion plays on YouTube doesn’t mean people will pay for a hard ticket. Debra Rathwell, senior VP for AEG Live in New York, told me in an interview an artist has to have a “sticky” factor.

The real engagement is that “sticky factor.” There’s stuff on YouTube that gets all these plays and there’s absolutely no traction. But if you look at (American violinist) Lindsey Stirling, where she got her break out from YouTube, and now she draws five or six thousand people. She got a major label deal (with Decca Records) out of all that. So there are those artists, including Watsky. Our first record is over 100,000 units sold between iTunes and physical. He sells a lot of physical.

Let me ask you this: Do you think our system is broken from what it was in the ‘60s when you’d put out a record, and the next thing you know you were headlining The Forum, whether it would be Three Dog Night, Led Zeppelin or any of those old heritage acts? Or are there now so many options to touch or to engage with an artist that goes beyond the live experience? Watsky and Anderson Paak, these guys are getting hundreds of emails and texts from their fans daily. When you think of Watsky at 250 million views now with all of the stuff that he’s done. How long back in the day would that have taken a major artist to actually touch 250 million people?

What staff do you have?

We have 7 full-time that are within our crew. We have a partnership with ArtClub International, who is in the same building. There’s another three. That’s Taz Askew (aka Ketrina "Taz" Askew). Her crew is in our office. They have Jhené Aiko and we are working together on this kid Oshi who is being chased by all of these people in the industry. We have also collaborated on Anderson Paak, and we will end up collaborating on Tamir Grinberg.

You obviously have recognized early on that management has changed considerably from when you started because you set out from day one to develop a multi-layered entertainment company.

Oh, totally it has changed. Even in picking artists. How are you going to distribute them? How are you going to get their content out there? You need to be a 360-degree company. At Steel Wool, we have a production division which does stuff outside of our own artists. We have worked with Hoodie Allen, Ed Sheeran, and Lil Dicky. We work with artists that don’t touch another piece of our company. The production company does that. They have to be profitable for themselves even though they are part of Steel Wool. And they also support Steel Wool artists.

Steel Wool has a record label that is distributed by Empire Distribution in San Francisco.

People ask, “Why do you want to get into the label business? It’s such a disaster. Listen, we are making a shit load on our label. We are doing great on our label. We have great partners working with our label. As long as you don’t overspend, and you don’t get bloated with massive overhead, you can do well with a label.

Several of your management clients are on the label including Watsky Anderson Paak, and Jez Dior.

We had [Japanese- American singer and actress) Hayley Kiyoko also, and we up streamed her to Atlantic Records. Hayley started here on our label, and Fab (Fabienne Leys) is an unbelievable manager. And she’s also got JR Rotem and DJ White Shadow, who are both huge producers. Fab manages Hayley and she took her from Steel Wool Records into a major deal with (chairman & CEO) Craig Kallman and those guys at Atlantic.

Last month (Dec. 2016) you signed Israeli singer/songwriter Tamir Grinberg. How did that come about?

A guy had shown me something of his a couple of years ago. He was going to sign him, but he didn’t end up signing him. A couple of years go by and Beckie (Sugden) at X-Ray Touring in London calls me and says, “Kevin, I am standing in front of a kid Tamir at a festival and the crowd is so engaged that you have to look at this kid.” I went online and looked at some stuff. Finally, I reached out to him. Beckie introduced us on email, and then we went back-and-forth. He eventually came to Los Angeles. He interviewed a couple of managers, which he should, and he and I met and we hit it off.

Sire’s Seymour Stein has taken an interest in him as well.

Seymour flew him in for a Warners’ showcase here. So Seymour is on this as well. Seymour and I are having conversations. But, at the same time, Tamir has an EP ready to go. Kind of like with Anderson Paak and Watsky, we are going to build the story through our system here so we can get this out. Then it’s really probably going to take us a year to get him to where we want to be. We will end up on a major. We will end up with some traction by the time it gets there.

Tamir already has a sizeable following in Europe.

He does. People know who he is there. People know who he is here. AEG guys here knew who he was because Elliot Leftko (‎Vice President at Goldenvoice Concerts - ‎AEG Live) saw him in Israel (at Tune In Tel Aviv in November 2016).

You have a clutch of promising young artists.

I’ll tell you, Tamir Grinberg, Jacquie Lee, Elijah Blake, and Finn Matthews are probably the ones that everybody is going to hear about soon. They have voices. They have stage presence. They have people that are already spotting them. I get calls from all of the agencies, calls from the promoters, to develop them. I have four people here at Steel Wool that are just going to blow up.

Nineteen-year-old Jacquie Lee, the runner-up on Season 5 of “The Voice,” is signed for management, but isn’t on the label.

No Jacquie is not on the label. We are in the middle of deciding what the next move is with her. You have to build the story now for a lot of the majors.

Before signing an act major labels want to see a compelling social imprint and extensive touring. Unlike decades ago they don’t show up on Day 1 or Day 2 of an artist’s career; maybe on Day 10.

Yeah. That’s one of the other things, Larry. We are an artist development company. A lot of management companies and a lot of labels shy away from development. The attitude is, “Give it to me when it’s already happening. Give it to me when the social numbers are so overwhelming that I can’t walk away from it. God forbid that I have to actually develop the act, work with them on social media, work on how to expand their reach. God forbid that I have to sit down with them, and talk to them about imaging, and put them in rooms with the right people to write with.”

So, that was the crack in the old business model that I noticed from when I was at Live Nation, and I left and formed Steel Wool with Kevin Welk, Watsky, and Tyler Rutkin. it was like, “If you place 10 bets on 10 artists that are totally fantastic and that you really believe in, then how can you take them for zero or a one or two, and then take them to town? That’s what we are placing our bets on. Our roster is insanely cool. Anderson (Paak) is the first artist with us that really blew up. That came through our label. We created the story. The guy is an unbelievable artist. He’s got some guys who support him as well in his career at OBE. It was a blast working that project. We co-manage Anderson Paak with Adrian Miller, and Taz Askew. So there are three of us that are on the phones trying to figure out things.

Under the past music industry system, neither major labels nor artist management really did artist development. The manager’s job was to secure a booking agent for work, and to find a label that would cover tour and recording support. Perhaps music publishers were more entrenched in the developmental process. With most labels today being gutted, development largely falls on management.

Yeah, and that is one of the reasons that we formed the label and we have management. If you look at our business model we have all of these services that support development. In the old days, a label developmental deal was like a demo deal. “Here’s 10 grand. Go in and cut 10 tracks. Go book yourself or try and get a low-level agency to book you until you are big enough, and then go to a major agency, and then we’ll sign you.” It’s completely different now. There are agencies now looking at younger talent. Right now, I’m in talks with probably every agency there is about our roster.

Last year Steel Wool invested in FestiFi. Why the investment in wireless-centric solutions for festivals and high traffic events?

Well, once again, you see where the future is going. If you can get in early you stand a chance. You know that not everybody at Wi-Fi is going to let you. If you are in a middle of a field, you need it (reliable communications). We have two guys that run FestiFi, and the founder Damon Schrotberger used to work on Wall Street where the lines could never go down because clients would lose a ton of money. I was really sold on him, and I knew that the concept was going down. It is only going to get bigger. So we invested.

Also at the same time, we did a deal with VRC, The Virtual Reality Company. It is the Rob Stromberg (director of “Maleficent”) and Steven Spielberg company with CEO Guy Primus. We are in bed with them in bringing a lot of their music strategies and stuff.

Many promoters are now working to extend the festival experience by offering everything from mobile teleconferencing to virtual reality experiences.

The way that the internet blows up something new happens every day.

Are you familiar with Oculus’ viable VR system?

Of course. When you see Facebook CEO Mark Zuckerberg with his $2 billion acquisition of Oculus (in 2014), you know probably that this is the way to go. You are going to end up with people putting on those glasses and with a (VR) delivery system, there are going to be productions with bands where you will be able to see things coming at you. It’s going to change the way that we see a concert if they (bands) decide to include those aspects into their productions, and include the cardboard versions of those glasses at events. It’s going to change how we view concerts in about two years, I think. You can see it coming.

Meanwhile, a strategic partnership with Collision Records, and Mike Snider at William Morris Endeavor to break new ground in the emerging Christian hip-hop genre didn’t pan out for you.

Unfortunately, that is one of the ones where we were so far ahead of the curve that it didn’t pan out, even though (Christian hip hop artist, songwriter, record producer and actor) Lecrae is blowing up now. The artists we had were incredibly great and Collision’s heart was in the right place, but it just didn’t pan out. We really couldn’t find the lane to really develop within. Even to develop a Christian act, they have to cross over (to the mainstream) somewhat.

And when they cross over from the Christian world to the mainstream these artists aren’t always welcome back into the Christian fold.

Yeah because we work with Kirk Franklin we see that every once in awhile. Or he gets a bit chastised, and then he gets embraced. He’s loved by everyone, though. Listen, when I started back in the Falk & Morrow days, one of the first artists that we had somewhat of a breakthrough with was gospel legends the Blind Boys of Alabama. We signed them to Elektra Records, and they ended up doing Tom Petty’s tour and we had them on every major festival.

They were so entrenched in the gospel world that they couldn’t be taken down for crossing over to the mainstream

That’s true, but the reality was that we had to take them out of the church to put then into the mainstream, and when we wanted to go back to the church every once in awhile, it was like, “Wow.” (Founding member) Clarence Fountain tells the best story about Sam Cooke. He told me a story about being on a bus and Sam Cooke walks onto the bus. Clarence says, “Hear you stepped in something with you doing the rock and roll and stuff. Well, we are never going to do that.” This was back in the ‘60s. And Sam goes, “Clarence feel this,” and he hands him a wad of money, and he says, “This is what happens when you step away from the church, and you go into the mainstream. I haven’t left the church, the church has left me, and this is the reward that I’ve gotten.” So that was like, “Wow.”

The Staple Singers went through a similar experience of being criticized for having a career in pop music.

I got to work with “Pop” Staples. At Falk & Morrow, we managed him for about a year when he put out his solo album (“Piece to the Neighbourhood” in 1992). That was one of the greatest times. He’s one of the guys. When I look back at my career and think of the guys that we worked with...

You represented Mississippi-born soul singer Otis Clay who died last year at the age of 73. He came out of the church with gospel vocal groups too.

Every great (Afro-American) singer did. Even the young ones that we work with now like Elijah Blake came out of the church. Elijah is one of our artists. He had been signed by Def Jam (and earlier Atlantic) and he’s now going to come out through our label. We took over his management, and he’s a church boy. All of the great singers that are black seem to have been touched by the church. All of these guys that you see out there now at one point are another were involved in church choirs.

What’s your personal history?

I was born in Hollywood, and my parents moved to Orange County when 6. So I grew up close to Costa Mesa, Newport Beach, and Huntington Beach. You went to the beach, turned on the radio, and you heard the Monkees, Donovan, and Led Zeppelin. It’s not like that today. Back then we were so into every single act that came out. It didn’t matter if it was Donovan who was a folk singer or the Temptations who were soul music.

One of the best music clubs ever, The Golden Bear, was in Huntington Beach. It closed in the mid-‘80s

The Golden Bear was amazing. I saw so many acts at the Golden Bear. Jerry Garcia, George Thorogood when he first started, and Commander Cody.

You became a fan of American blues. What artists first caught your attention?

Magic Sam, Buddy, Howlin' Wolf, Muddy Waters, and John Lee Hooker. That group of guys turned me further onto blues. I got turned onto them because of Led Zeppelin and Canned Heat recordings. I’d go, “Wow, where did that sound come from?” That’s where I learned about Willie Dixon and Hooker when Zeppelin did “Boogie Mama.” That turned out to be an old Hooker tune. And “You Shook Me” is a Willie Dixon song.

In the early 1980s, you began organizing weekly San Diego Blues Society Sunday jam sessions at the Belly Up Tavern in Solana Beach.

We were doing Albert Collins, John Lee Hooker and all these guys and we were promoting them at the Belly Up. Finally, Mac Falk came to me and said, “Why don’t we start a business together?” He saw what I and these other guys were doing. So we started Falk & Morrow and we began signing all of these artists and all of a sudden we were booking stuff around the world out of little Solano Beach.

Dave Hodge was then running the Belly Up Tavern.

Dave was running the Belly Up. Dave funded the original Falk & Morrow. He was one of our silent partners.

Falk & Morrow Talent would go on to have 7 staffers and a roster 21 clients that included Blind Boys of Alabama, Mick Taylor, Otis Clay, Thomas Mapfumo, Skatalites, Eek-A-Mouse, the Paladins, and Charlie Musselwhite.

It was so much fun. Every job I’ve had has been fun, but I will tell you that when I think back about how I started with those I got to work with a bunch of these great artists early in my life. I worked with Ann Peebles. She co-wrote “I Can’t Stand The Rain.” I put out a tour of Otis Clay and Anne Peebles together, and they barnstormed across Canada playing all of those (summer) festivals.

You also separately operated King Bee Management, handling the Paladins, Charlie Musselwhite, and the Blind Boys of Alabama.

We had management that we ran separately. We had agents that we ran at Falk & Morrow, our booking agency. We had venues. We had The Palomino in North Hollywood. Locally we had the Belly Up, and the Bella Via, and we had Calamity Jayne’s in Vegas.

Mac operated an adjoining recording studio as well.

Mac had the little studio in the back too. The company was a great training ground and place to cut your teeth for a young guy like I was. Mac was my first mentor. I was learning from a guy who had come from L.A. and had moved to San Diego. So he knew all of the agents and all of the managers (in Los Angeles). Everybody wanted to play there (in San Diego). So it was an introduction to the business by Mac and training for me on how it all worked.

How did you end up in artist management?

There was a band, the Paladins, and I would rent their PA to do some shows outside of the Belly Up in another venue. They were just starting. Finally, they came said, “Would you manage us?” I didn’t really know anything about managing. I said, “Sure.” They were friends of mine.

Management at that level is mostly about acquiring bookings.

Yeah, it was about getting an agent. It was about getting bookings, and getting things out. It wasn’t my game, trust me. Back then I was just picking shows, and I was very content producing shows, the ones that we wanted to, and not getting to where it got to (in my career) where I would have something like 2,000 shows every year that I had to oversee whether it was when I was at Live Nation or the House of Blues.

Falk & Morrow Talent eventually expanded into worldbeat and reggae music.

Yeah, we had all kinds of stuff. We brought in agents like Chris Goldsmith. He was a surfer who came into my office three times and just sat there until I finally said, “Dude, start answering the phones. If you are going to be here, let’s start figuring something out.” Chris’ musical taste was like Thomas Mapfumo and Eek-A-Mouse. He was really the reggae head that came into this. He was a huge Fela Kuti fan. He brought this whole other view of music that we weren’t into. When we brought him in we started signing those kinds of acts as well. That was so much fun.

You managed the Skatalites the ska band from Jamaica that inspired a young Bob Marley.

The Skatalites changed the face of music in that (reggae) genre. People don’t realize the impact that they had on music, and I got to work with all of the original members that were alive, minus one. The Skatalites were the original ska band. Tommy McCook, Roland Alphonso, Lloyd Knibb all these guys. To sit with them and hear them tell stories of Bob Marley walking into Studio One when he was 13 and sitting in on their sessions, and watching them.

As Falk & Morrow acts began working internationally, you went on the road with many of the acts.

I went to Japan about three times including with the Blind Boys and with Mick Taylor. I went to Australia with Charlie Musselwhite, and I did Europe probably 25 times with our acts. That was fun.

How did you come to leave Falk & Morrow for House of Blues where you had such an unbelievable run as a talent buyer?

Here’s what happened. I was working with Ben Manilla at CBS Communications to do a syndicated radio show with Charlie Musselwhite (hosting). Separately, I was working with Michael Murphy, who had a really great hook-up with NHK in Japan. We were trying to do a documentary on the Blind Boys. Michael had also been hired by the House of Blues, which was just getting ready to launch their first venue in Cambridge (Massachusetts). So Michael came back to me, and said, “I’m sorry but NHK has passed on the Blind Boys.” I said, “Well that’s a drag.” Then he said, “But I’ve got these other guys, the House of Blues, and I could use some help. I need to come up with some client extensions, some outreach to different parts of our business. Radio and TV, that sort of thing.”

I said, “Let me think about it.”

This is going to sound crazy, but about two hours later, I get a phone call from Ben Manilla at CBS Communications saying, “I’m really sorry but Charlie isn’t big enough at this point in time (to host a syndicated program). The CBS folks don’t know him. I need to find another host.” Of course, I’m talking to Murphy on a completely separate thing with the House of Blues, and he’s telling me that Dan Aykroyd is involved. So I went to Murphy, and I said, “How do you think the House of Blues guys would like it if Dan Ackroyd has his own radio hour on a syndicated CBS show?” He made a call, and called back, “Danny will do it.” Then I called Ben and said, “Ben, Dan Aykroyd would do it. How would that work for CBS?” He said, “I think this is a slam dunk.” This was like having two things meld into what is a home run.

[In 1992, Michael Murphy Productions was hired by House of Blues to create programming that would imprint their brand. As president of House of Blues Productions, Murphy created the ”Live From The House of Blues” television series which aired on TBS in 1995, and a 20-part music series during Summer Olympics in Atlanta in 1996.].

A freakish occurrence.

I know. Then I get asked, “What do you want for doing this?” I said that I wanted to meet the guys from House of Blues, the brains behind it, and Dan Aykroyd.

You met Isaac Tigrett who was also the co-founder of Hard Rock Café.

Yes. So we get the deal done and Michael set the meeting up with me and Isaac at Isaac’s place in Los Angeles. I sit with him for it had to be for five hours. We went over everything We talked about his growing up in the South. Talked about what was inspiring him. We talked about what it was like to create the Hard Rocks. He had sold them and had made a ton of money.

He hadn’t opened up any of the House of Blues clubs yet?

They were just getting ready to launch Cambridge (Massachusetts). He always called it his “test tube” because it was only 300 capacity.

Cambridge was a great market to open the House of Blues prototype because of the colleges and universities there, including Harvard University (one of the local investors), the Massachusetts Institute of Technology, and Cambridge College.

It is a great market, but it is not sustainable to run a venue of that size. In my life, I got a lot of my brand understanding from Isaac. Obviously with his experience with the Hard Rocks, and House of Blues was his next thing. We talked for five hours, and he said, “Kid, I want you to come, and run Los Angeles.” Of course, I had my own company with Mac, but it was one of those epiphany moments where you just go, “What you are doing is really fun but, all of a sudden, you are going to be playing at a completely different level.”

While you came onboard as a talent buyer, the House of Blues opening night in Los Angeles in 1994 was memorable. The doors opened an hour late. Dan Aykroyd was out front dressed in a police outfit directing traffic, as you and headliner John Fogerty talked baseball in the dressing room.

That was funny. I didn’t really know John yet. I had had one conversation with him. “By the way, we are an hour behind.” Dan is out front waiting for Steven Spielberg, Jeffrey Katzenberg and all of the gang that was coming over from DreamWorks for the opening. Danny had on his House of Blues’ gear with a cop hat on, and a radio and everything. And I am just thinking, “God, this is nuts.” John Fogerty very calmly says, “That’s okay. Opening nights are pretty crazy.” Then I said, “I hear you like baseball.” So we ended up talking about baseball for about 45 minutes until I get a call saying, “Okay, everybody’s in.”

In the course of that meeting, John asks, “What song do you want to hear first?” This would be the first song on the House of Blues stage there. I said, “I love the (guitar) intro to ‘Susie Q.’ That is one of my favorite Creedence tracks. Can you open with that?” He goes, “Yeah.” I envisioned hearing the intro to “Susie Q.” and everybody going crazy as the bar was starting to open up. Everybody is going to freak out. All of a sudden, the curtains peel back, and there’s John Fogerty doing “Susie Q.” It went off without a hitch. It was one of those dream moments.

Working with a 1,200 capacity club, you had almost every major act in the era play there. Quite the diverse musical mix as well.

We did everything including a week with the Fugees, five nights with D'Angelo, three nights with Fifty Cents right when he was on the cover of Rolling Stone, three nights with Eric Clapton. We did Paul Simon. We did everybody.

Was there pushback from authorities over the hip hop shows? Hip hop was a major part of the club’s entertainment but it also made local police jittery.

Well, it was a lot of constant neighborhood outreach and sitting with the police department and letting them know that, “This is such a massive part of our business.” I don’t want to say that they were racists, but they thought that the crowd was going to be of one kind, and we saw it (their reactions)

Well c’mon there was a longtime local rivalry between the Crips and Bloods dating back to the ‘60s. At one of the Fugees’ show, the Bloods turned up and didn’t want to leave.

Well, with a club you are dealing with everything that comes up. The worst thing that I ever had was a guy getting shot on “Little Johnny Taylor Night” because drunks having issues over a girl. I had a rockabilly night where a guy got stabbed in the parking lot over a girl. Once again drunk people getting upset over a girl.

Yes, there are challenges with hip hop, especially in those days, but you just have to know how to deal with it. I used artists a couple of times to defuse things. When the Bloods came one night I went into Fifty’s dressing room, and he spoke to them, and they dispersed. Another time with the Fugees, when I had an issue, and the police were stepping back almost waiting to see what was going to happen. Tupac was there. I asked him to help me and because he was a friend of the house. Tupac spoke to them and they left. He said, “We aren’t going to be able to do hip hop here if there’s a scene. Right now, it’s the beginning of a scene. The cops are agitated. Do us a favor and leave or we are not going to be able to do this stuff anymore. And they left.

Tupac’s final show was at the House of the Blues.

It was, and it was amazing. Everybody came and played with him. It was one of those moments in hip hop history. To have Tupac, who I think was the biggest guy ever (in hip hop), Snoop, Cube, Nate Dogg, and Fifty. We had all these guys onstage at once. At one point, there were about 40 guys onstage.

[“Tupac: Live at the House of Blues” was the rapper’s last recorded performance. The album was recorded on July 4, 1996, and released by Death Row Records in 2005, 9 years after his death. It also features such artists as Snoop Dogg, Tha Dogg Pound, Nate Dogg, Jodeci, and Outlawz. Since its release it has reportedly sold over a million units.]

You came onboard at House of Blues initially as a talent buyer and two years later you became head of talent as the chain expanded nationally.

I started running talent and, as we started expanding the brand, I had to come up with the idea of how. I was kind of like the AEG and the Live Nation guys in that I had to sometimes go in with one offer and protect ourselves and not lose acts in certain markets. So we started a touring division, and we started buying tours. We did the first big Blink 182 national tour. We did the “Smoking Grooves” tour which was a brand extension. We packaged the Fugees, Outkast, Cypress Hill, Ziggy Marley, Public Enemy, Busta Rhymes and others.

At the 1996 Summer Olympics in Atlanta, House of Blues launched a 3,000-capacity venue called The Tabernacle with a week of sold-out concerts by James Brown, Johnny Cash, Al Green and others.

We had a month to book that. At the last second, Isaac had bought The Tabernacle, a church which Live Nation now owns. It’s one of the best venues in the country. Isaac walked into my office, and said, “Kid, we just bought The Tabernacle. I need you to book shows there for the Olympics.” I said, “Clear Channel has been trying to do this for the past 6 months, and they are having issues. This is going to be a little tough.” He said, “You guys can pull it off.”

What did you then do to make it work?

I pulled Sonny (Schneidau) in from New Orleans (then the talent buyer for House of Blues in New Orleans, the second venue opened in the chain) and just went after artist after artist. We ended up with James Brown, Al Green, Johnny Cash, Bob Dylan and more. We did one night when it was (Latin music legends) Celia Cruz with Tito Puente. That night all the Latin athletes, TV commentators, and journalists in town for the Olympics were in the House of Blues. The next night it was the (Atlanta) Dream Team onstage with James Brown.

You also helped produce the half-time show for Super Bowl XXXI (Jan. 26, 1997) at the Lousiana Superdome in New Orleans, booking James Brown, ZZ Top, and the Blues Brothers as “The Blues Brothers Bash.”

I have to give a shout out to Jim Glancy on that. Jim was then working at Radio City Music Hall, which had the half-time show at the Super Bowl, and they were having an issue of what the show was going to be. He asked if I would help put the show together. So I put the show together, and the half-time basically became a commercial for House of Blues. There were the Blues Brothers being chased by the police. ZZ Top riding motorcycles. James Brown was popping out of the stage. It was crazy.

House of Blues had a reported box-office gross of $220.7 million by 2003. The company owned or operated 19 major North American concert venues. Its chain of nightclubs and restaurants was in 9 cities, including Chicago, Orlando, San Diego, and Las Vegas. Still, House of Blues had faced enormous competition In the late 1990s as Robert F.X. Sillerman, under the SFX Entertainment banner, spent about $2.5 billion rolling up most of the major promoters in North America.

We bought Universal Concerts to get into that space. Some amphitheaters came with it (the deal) as well as Jay Marciano, Melissa Miller, and Bob Shea.

[In 1999, House of Blues Entertainment acquired Universal Concerts, the Seagram Co. company, which operated 19 concert venues across North America for a reported $190 million.]

What was behind the purchase of Universal Concerts?

There was a crack in the marketplace. With agents and managers, it was best to have competition. There was no AEG Live yet. It was good to have a competitive market otherwise, one promoter really ran the market. If there’s a non-competitive market, managers and agents weren’t going to be able to make the money that they want for their artists because one company would just control everything.

Obviously, there was considerable competition to land major artists.

There were a bunch of agents that were really supportive of us (House of Blues). Cara Lewis and Steve Martin (both then at William Morris Agency) and a lot of these guys at the beginning gave us everything in every market.

We had walked into L.A. and you talk about a market being contested. You had GoldenVoice, which was just starting to become massive. It was right before they formed Coachella. They had the Red Hot Chili Peppers, and all of the cutting-edge acts and they had the El Rey Theatre. Then you had The Roxy with Lou Adler and those guys that had a bunch of relationships forever. You also had Brian Murphy and Avalon Attractions. We were walking into a market where, on the face of it you would go, “Why did you go into that market?”

Meanwhile, New York’s live music scene was being described in Billboard as “The Battle of New York” with Delsener/Slater Enterprises, John Scher’s Metropolitan Talent, and The Bowery Presents.

You are also competing again MSG (Madison Square Gardens). But you are right, New York was such a competitive market. We never went into New York. We didn’t go in there. What is now Terminal 5 (formerly a nightclub in Hell’s Kitchen called Club Exit), Jim Glancy had called me up and asked if we wanted to turn that into a House of Blues. Our real estate guys took a look at it, and they passed. I was like, “Are you kidding me?” At the end of the day, we didn’t take Terminal 5, and the rest is history. One of the biggest grossing clubs in history now.

In 2006, Live Nation purchased House of Blues Entertainment and the following year you were appointed president Live Nation New York, overseeing more than 1,200 shows a year. Of course, Ron Delsener was there as the chairman Live Nation New York

Ronnie was the chairman, and I was the president. Being chairman was more a nod to him, and his history. The onus of the P&L and the shows fell on myself and our team. I had three of the greatest talent bookers anywhere in Jason Miller, Phil Ernst, and Sean Striegel. We had the sheds where artists can make the most money. So that’s good. We had the exclusives on Roseland Ballroom and Hammerstein Ballroom, which are mid-level 3,500-seaters that artists need to get to a Radio City Music Hall sized room. We had Irving Plaza, and we had just opened the Gramercy Theatre, a 400 seat venue where an artist could start.

What was the contrast going from House of Blues to Live Nation?

House of Blues started from the ground floor so I was in the trenches from day one with some people. There was a real family bond by the time it was sold. I still stay in touch with those people. We became more than work colleagues. We became best buddies. When I came into Live Nation it was as the third president in New York. Live Nation was making their transition from Clear Channel.

You obviously knew all of the players in New York.

At one point with the House of Blues Jay Marciano, Michael Yerke, and Melissa Miller were on our team. All of sudden, in a blink of an eye, we were all in New York together. Jay and Melissa, two of the smartest people in our business, were running Madison Square Garden. They are both so talented. Jim Glancy was running The Bowery Presents, and I was running Live Nation (New York). And there’s John Scher who we almost did a deal with House of Blues. We almost bought John Scher’s company (Metropolitan Entertainment). He and Jay were going to run North America as far as the concert division of House of Blues.

All of a sudden we are all in New York at each others’ throats and being competitive.

In 2011 you left your Live Nation New York post return to Los Angeles to join the North American Touring office of Live Nation as senior vice president. Soon afterward, you launched Steel Wool Entertainment.

(Live Nation president/CEO) Michael Rapino has been as good to me as anybody in the business. He let me start Steel Wool during the last two months at Live Nation. I actually started Steel Wool in their offices, and he was supercool. He told me, “Come back, and sell it to me.”

As I said at the beginning of our interview, you returned to a changed artist management environment.

It’s just so global today. I have relationships in Taiwan that I deal with weekly. I have relationships with labels all around the world in which we have to sync up our release dates, and our video releases. We are constantly talking to the Koreans and to mainland China, and to the Australians.

Decades ago people on the West Coast got up early to make phone calls to the east today. Today you are working on an international clock.

I start at 5:30 in the morning. At that time I am doing Europe. Then East Coast, LA. And so on. We’ve also got artists that are sprinkled all over the world too. Now it’s from 5:30 in the morning to 7:30 (P.M.) when you are getting them when they are waking up in Australia and Indo-Asia and then hitting Europe.

Ever use your smartphone or computer in the middle of the night to monitor your work activities?

Oh, no. At about 9:30 I am sound asleep. I’m out. You can’t not sleep. I am not going to do that to myself.

Meanwhile, so many markets are opening up for Western acts like China and India, a market which has really stepped up.

We just got massive offers for Anderson Paak in India. Watsky played India last year. Once again you start to realize how small the world is, and what were underdeveloped countries back in the day are actually now ahead of us on some levels. There are different platforms that you have to be aware of in those countries to make sure your artists get maximum penetration. If you are not aware of those, or your partner isn’t on the case, then your artists are going to suffer. You have to stay up on what’s going on here (in North America), but also in the entire world, you have to know what’s going on. In every one of these countries, it is changing. Every country. Every month something comes up.

Danish rock band Lukas Graham typifies the strategy of slingshotting artists onto the world stage via streaming and social media.

Yeah, a band will be big overnight and you will think, “Where did they come from and how did they even happen?” I remember Hillsong United (from Australia) when we were in New York. We got to know those guys and all of sudden they can do stadiums. They went from a thousand to a stadium overnight. That’s pretty nuts. There’s only a handful of artists that can do stadiums. I remember Michael Rapino getting a hard time when he said on one of our (Live Nation) conference calls that there will be artists breaking within a year. From playing a nightclub to playing an arena. A bunch of people criticized him, but Michael was right. There’s not a whole lot of them. There’s maybe a handful a year that happens to, but it happens.

Meanwhile, so many newbie artists seek to play Coachella or Bonnaroo before they are ready.

They are not ready, but remember the guys who run those things and book these festivals are music guys. (Coachella booker) Paul Tollett has a real sense of what he wants on at Coachella, and the guys at Bonnaroo know what they want. They may want to throw something like a (Sir) Paul McCartney on to blow everybody’s mind. Lollapalooza, those guys are music fans. They know want they like.

Obviously, they are going to have to pick some commercial acts, but they are a brand as well. As much as they don’t want to admit it. Coachella is a brand, as is Bonnaroo, and Lollapalooza. So they have to do what is right for their brand. A young band comes and says that they want to play Coachella? Paul probably has 300 bands vying for those 20 spots on his card. He will probably do a couple of favors, but he will do what fits his brand, and pick the best bands, and pick what he wants the most.

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.


Industry Profile Archives:
Mick The DJ, DJ/Enterpeneur 04/30/15
Jeremy Lascelles & Robin Millar, Blue Raincoat Chrysalis Group 12/01/17
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, 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, 10/31/03
Jay Cooper, Greenberg Traurig, LLP 05/23/11
Julie Coulter, Near North Insurance Groups 06/07/01
Amy Cox, Deep South Entertainment 02/09/07
Michael O. Crain, Crain Law Group, LLC 10/09/13
Charlie Cran, The Strawberry Music Festival 04/05/10
Jim Cressman, Invictus Entertainment Group 06/06/12
Russ Crupnick, MusicWatch, Inc. 07/23/15
Todd Culberhouse, Vision Management /Vision Records and Entertainment 09/05/08
Tony D'Amelio, Washington Speakers Bureau 04/21/06
Ruth Daniel, In Place of War 08/09/17
Ray Danniels, Standing Room Only Management, and the Anthem Entertainment Group 03/05/15
Ken Dashow, WAXQ-FM (l04.3 FM) - New York 09/08/06
Hal David, Lyricist 07/26/11
David Davidian, Independant Lighting Designer/Director 06/18/04
Anthony Davis, D&L Entertainment Services, Inc. 03/02/01
Chip Davis, American Gramaphone/Mannheim Steamroller 05/31/02
Mitch Davis, Tempest Entertainment 07/16/04
Jeff Dawson, Canadian Recording Services 06/08/08
Desiree Day, USO Celebrity Entertainment 08/10/01
Shauna de Cartier, Six Shooter Records/Six Shooter Management 10/23/13
Gene DeAnna, The Library of Congress 02/21/12
Vincent Degiorgio, Chapter 2 Productions 08/01/13
Tony DeLauro, DeLauro Management 12/23/04
Valerie Denn, Val Denn Agency 04/30/01
Val Denn, Val Denn Agency 03/06/14
Robert DePugh, Alligator Records 07/29/05
Tom Derr, Rock Ridge Music 10/29/04
Paul Dexter, Masterworks Lighting Design and Road Cases 12/10/04
Marty Diamond, Paradigm 01/22/10
Glenn Dicker, Redeye Distribution/Yep Roc Records 07/07/06
Barry Dickins, International Talent Booking Agency 06/06/13
Jim Digby, Event Safety Alliance 09/01/16
Mark Dinerstein, The Knitting Factory 11/17/06
Neill Dixon, Canadian Music Week 03/03/16
Thomas Dolby, Musician, academic, technologist, and author 11/09/16
Jasper Donat, Music Matters 2009/Branded 04/24/09
Jim Donio, National Association of Recording Merchandisers 04/22/11
Marc Dottore, M. Dottore Management 04/11/03
Tim Drake, The Roots Agency 12/12/08
Mike Dreese, Newbury Comics 11/23/11
Charles Driebe, Blind Ambition Management Ltd. 09/22/06
Jeremy Driesen, Ray Bloch Productions 09/07/01
Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of Denver’s Division of Theatres and Arenas 08/23/10
Paolo d’Alessandro, International Solutions 06/25/14
Ros Earls, 140dB Management 02/19/14
Art Edelstein, Festival Productions 12/01/02
Bruce Eisenberg, Audio Analysts 08/31/01
Martin Elbourne, The Glastonbury Festival 12/18/09
Michael Elder, Red Entertainment 03/17/06
Tod Elmore, Sixthman 11/24/06
Paul Emery, Clear Channel Entertainment 11/19/04
Arty Erk, Citrin Cooperman 04/27/16
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock ’n’ Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gélinas, Festival d’été de Québec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Chris Gero, Yamaha Entertainment Group 10/26/16
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Steve Gietka, SMG Entertainment 03/19/14
Darren Gilmore, Watchdog Management 03/17/16
Daniel Glass, Glassnote Entertainment Group 10/16/14
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Neil Goldberg, Cirque Productions 04/16/14
Martin Goldschmidt, Cooking Vinyl Group 09/29/16
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Andrea Johnson, ICM Partners 11/02/17
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Justin Kalifowitz, Downtown Publishing 04/20/17
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Elliot Lefko, Goldenvoice 09/21/17
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Jennifer Lyon, MeanRed Productions 01/18/18
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Música e Cultura 05/04/17
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Paul Reed, Association of Independent Festivals (AIF) 06/14/17
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Jack Ross, APA Canada 09/07/17
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Jonathan Shank, Red Light Management 12/13/17
Peter Shapiro, Ideal Entertainment 04/16/04
Peter Shapiro, Dayglo Ventures/Brooklyn Bowl 11/15/17
Seth Sheck, Access Pass & Design 01/03/03
Seth Sheck, ACCESS Event Solutions 06/22/16
Seth Shomes, The Agency Group 11/12/14
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Michael Simon, The Harry Fox Agency 08/14/13
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Peter Smidt, Eurosonic Noorderslag & manager Buma Cultuur 07/17/13
Garrison Snell, Gyrosity Projects 02/23/17
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
Nikki Solgot, Circle Talent Agency 02/18/15
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Deb Suckling, SUGARRUSH Music 07/27/17
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Mandar Thakur, Times Music 08/06/15
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
Adam Tobey, Concert Ideas 08/24/17
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Marsha Vlasic, Artist Group International 05/31/17
Mat Vlasic, Bravado 06/28/17
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Kirt Webster, Webster PR 02/03/16
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Adam White, Author 09/14/16
Lisa White, Pearl Street Warehouse 10/04/17
Adam Wilkes, AEG Live Asia 10/13/16
Fenton Williams, 04/04/08
Del Williams, Right Arm Entertainment 04/18/08
Bryan "Birdman" Williams, Cash Money Records 09/13/11
Paul Williams, ASCAP 10/19/11
J.P. Williams, Parallel Entertainment 10/03/12
Kurt Willms, Green Room Productions 09/20/03
Chris Wilson, Heartbeat Records 03/02/07
Tony Wilson, Factory Records/In The City 06/01/07
Tom Windish, The Windish Agency 07/26/10
John Wiseman, XL Touring Video 05/05/06
Thom Wolke, 02/08/02
Michael Wood, City Lights Entertainment 08/08/08
Keith Wortman, Blackbird Presents 03/22/17
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, 07/27/07
Jeremiah “Ice” Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
Kevin 'Chief' Zaruk, Chief Music Management 06/10/15
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Jason Zink, Emporium Presents 10/19/17
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06


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