Industry Profile: Jason Zink

— By Larry LeBlanc (CelebrityAccess)

This week In the Hot Seat with Larry LeBlanc: Jason Zink, partner, Emporium Presents.

If President Trump is seeking a consultant to evaluate America’s integrated network of roads and highways, Jason Zink’s name should come up.

As in the case of the late alt-country icon Gram Parsons, there’s been some 20,000 roads in America Zink has gone down, down, down over more than two decades of promoting shows around the country.

Zink is a partner of Emporium Presents, the result of a 2015 merger between his Sherpa Concerts, and Dan Steinberg’s Square Peg Concerts, with Zink operating out of the Denver office, and Steinberg in Seattle with additional offices in Nashville, and Birmingham, Alabama.

Zink’s first entertainment job was doing lighting work in the summer months for the Cincinnati Opera while attending the University of Miami where he received a bachelor of science degree in economics. He was the school’s concert board chairman from 1993 to 1995.

After graduation, he was hired on at the Nederlander Organization in Cincinnati where he was assistant production manager at the Riverbend Music Center, and then production manager at the Taft Theatre.

In 1998, Zink moved to Denver, Colorado where he was hired on at House of Blues Entertainment as an assistant talent buyer working under Mark Norman. A year later he became operations manager at Denver’s Paramount Theatre where he negotiated contracts and directly oversaw all physical plant and staff issues at the theatre.

Then came a three year stint, from 2000 to 2003, whereas GM, he took on additional booking duties at The Paramount Theatre, authorizing and overseeing shows there by John Prine, Cedric the Entertainer, Nickel Creek, Vince Gill, Heart, Pat Metheny, Dwight Yoakam, Jerry Lee Lewis, Larry The Cable Guy, Steven Wright, Paul Rodriguez and others

In addition, he also coordinated shows as operations manager for House of Blues shows at the Red Rocks Amphitheater in Morrison, Colorado.

Next Zink moved to Nashville in 2003 in order to work as a talent buyer and promoter for Outback Concerts. Becoming VP of talent at Outback in 2006 he worked with the Raconteurs, My Morning Jacket, the Black Keys, Steve Miller Band, the Black Crowes, Lyle Lovett, Three Days Grace, Breaking Benjamin, Jason Aldean, ZZ Top and others.

Zink’s partner Steinberg began producing club shows in Denver while still a high school student. After graduating 1993, he founded 2B Announced Presents that promoted Colorado dates by Johnny Cash, Pam Tillis, No Doubt, Blink-182, Jello Biafra, and others.

While continuing to promote shows, Steinberg attended the Community College of Aurora, graduating in 2000. In 2002, Steinberg relocated to Seattle and began promoting under the banner Dan Steinberg Presents that, rebranded as Square Peg Concerts, grew to produce live events throughout the U.S.

Zink and Steinberg first worked together in Denver while Zink ran The Paramount Theatre, and Steinberg was promoting his Colorado shows with Johnny Cash and Pam Tillis. When Zink went to Nashville to work with Outback Concerts, the pair continued to co-promote together.

In 2009, Zink launched Sherpa Concerts, and oversaw successful shows for Dierks Bentley, John Prine, Old Crow Medicine Show, Yonder Mountain String Band, the Imagination Movers, Buckethead, G Love & Special Sauce, Dan Auerbach, Kris Kristofferson, Straight No Chaser, Merle Haggard, Eric Church, Umphrey's McGee, STS9 and others.

With the official announcement of the June 15th, 2015 launch date of Emporium Presents came the descriptive line, “As Steiny and Zink go together like peanut butter and pickles.”

(Laughing) Oh no.

The merger surprised few in the industry because you and Dan Steinberg had been co-promoting shows together for years, and sharing office space in Denver, Nashville, and Seattle.

We are now in Birmingham.

That opened in Nov. 2016 with Todd Coder and his longtime assistant Emily Haslett.


[Todd Coder had previously served as the talent buyer for WorkPlay Theatre and Soundstage in Birmingham for over a decade, and is the in-house buyer at the historical and newly-restored Lyric Theatre there, as well as the exclusive buyer for the Avondale Brewing Company in Birmingham.]

Dan had long referred to you as his partner.

We had functionally been partners for a number of years before we actually did Emporium Presents. At least two years. We just never re-branded. So we re-branded as Emporium Presents. It was only changing the logo, really. Nothing else has changed. When I started Sherpa Concerts (in 2009) I started doing more stuff with Dan than I had previously. We had our little map of what was a Sherpa show and what was a Square Peg show, and what was a joint (promoted) show. Then the lines just kinda got blurred. There were times that we couldn’t remember what was a co-promote, and what wasn’t. We were just doing too much stuff together. It was silly. “Let’s just put all of this in.”

You two did Johnny Cash and Pam Tillis shows together while you were at The Paramount Theatre in Denver.

Yeah, exactly. We had done some fun shows and some good business. Back then Universal Concerts managed Fiddlers (Fiddler's Green Amphitheatre), and The Paramount, and we did a ton of shows at Red Rocks (Amphitheatre). Dan and I used to go to random shows together. Just as music fans, and friends. We also did some shows together and had fun.

While at Outback Concerts, you and Dan worked on shows with Nickel Creek and Old Crow Medicine Show.

Yep, 100%. We did a lot of touring stuff together, and Dan always did a good job on shows. He worked really hard on things. It was easy to work with him wherever it was.

Just after you joined Outback Concerts in 2003, you and Dan managed to lose $40,000 together on a Kenny Rogers’ date in Sacramento.

(Laughing) Yeah, I remember that one pretty well. I had not been there very long.

Two weeks.

Yeah, when I booked that. So we did the show. It was a Christmas show. I left the morning after that show to go back to Nashville. It was the Outback Christmas party that night. I had to go back after not being there very long and say, “Hey Mike (Mike Smardak, Pres./CEO) look at what I lost.”

You worked in Nashville for Outback for 6 years. Nashville has more business people than cowboys and, while good ole boying you to death, they are highly competitive.

Nashvillians, you tend to be on the inside of that crew or you are on the outside. I have been fortunate to be on the inside from living there for so many years. I have a lot of great friends there. I didn’t realize how much it was like that until I was there.

You weren’t regarded as an outsider by the time you left?

Ahh, I don’t think so. By that point, I was part of that community, for sure.

Yeah, but you were booking acts so everybody there would have been even nicer to you.

Yeah (laughing).

You moved back to Denver in 2012.

We have an office in Nashville. I still go back fairly often.

Why did you make the move? Family?

I was completely happy in Nashville. My wife grew up just south of Nashville. We’d gotten married, and she had the desire to live somewhere else. She hadn’t lived anywhere else in her adult life. We put together a list, but I was pushing Denver pretty hard.

You didn’t tell her about the plan to buy property where a snow plow has to dig you out in the winter?

That was a trick because a Southern girl doesn’t like the cold. Not only did I move her to Colorado, but I moved her to (a home) 8,000 feet on the side of a mountain. It’s a little bit of a “Shining” kind of feeling there because we are so isolated, but she absolutely loves it up there.

How many shows do you and Dan now do annually?

It’s in the 500 to 600 range. It’s been about that for awhile. We really haven’t jumped up from there.

How did you come to so fully embrace the Americana genre? Is it one of your favorite musical genres?

It is. I really like it, and I really know a lot about the music, and it just comes from a real honest place. It’s like, “This is awesome. We have to spread the word about this.” That’s just my personal taste.

Texas continues to be a great breeding ground for Americana.

Yes, there’s Cody Johnson, Randy Rogers, and Josh Abbott. Those kinds of guys. We still do a lot of Robert Earl Keen shows. It’s good music. There’s a culture of story-telling there in Texas.

Did it get any better than seeing Guy Clark perform?

Oh no. The Guy Clark shows with Lyle Lovett. Those shows were classic.

What is Dan’s preference in shows?

Those that make money. I say that facetiously. Dan has great ears. Dan’s first love was punk. He’s into a lot of different stuff, but punk would be his primary love.

What’s the appeal of co-promoting shows other than covering a potential loss?

I don’t really look at it that way. I don’t really approach co-promotes from the perspective of covering a loss. It is either going to make money or it’s not. There’s usually some kind of a strategic advantage outside of the financing.

Recently, you presented Gillian Welch (Oct. 4th, 2017) at The Orpheum Theatre in Los Angeles that was co-promoted with Goldenvoice.

That’s a perfect marriage of a co-pro. I have a really good relationship with the artist and the agent, and Goldenvoice has a great grip on understanding Los Angeles. So working together, we are going to sell more tickets together than I would on my own. They may or may not have got that show on their own. But it makes sense. It’s a marriage of their knowledge of marketing strength, and who has good artist relationships.

There aren’t as many independent regional promoters in North America as there once was.

That’s definitely true. And promoters tend to have a bad name a lot of times. Trustworthiness and other stuff. I never really understood that until we started going around the country, and co-promoting with some people. It’s like, “Oh, and now I get it.”

Working extensively in secondary, and tertiary markets around the country you can’t always control what happens with a co-promoted show. If a local promoter is mucking it up, there’s not much you can do about it immediately.

No, no. There’s that and then there’s a difference in style and how you approach things. If we are doing a lot of dates, 20 dates with an artist, there’s a certain expectation for that artist of how the show is going to be presented, and how they are going to be taken care of. You want the artist to have the same experience. and everybody else representing you, they may not have the same experience. I’d say that we tend to co-promote less these days than we used to. We like to have control of things, and do things in a manner that we think they should be.

How do you identify which markets to work in?

I am fortunate. Primarily through my years with Outback I have physically been to almost every market in America. If you name the city, I can tell you the theatre and the arena, and the exact number of seats that are in it. It’s just ingrained. I learned a lot through that way of working. Just identifying what kind of shows sell there. What kind of shows don’t sell well there. So there’s paying attention to sales, and paying attention to talking to people in the market when you are doing shows. “Hey, what works here, and what doesn’t work here?” Anytime that you are doing a show, it’s time to do market research.

What markets do you like to visit?

I did a couple of weeks in Alaska this year. We did two Luke Bryan shows in Anchorage in August, and we just did Miranda Lambert out there.

Did you take your wife?

Yep. We do a lot of shows in Hawaii, as well. We just did a Sam Hunt show with Elliot (Goldenvoice VP Elliot Lefko) in Hawaii. My wife tends to make the Alaska and the Hawaii shows, but she has not shown up in North Dakota yet. Maine is another favorite of mine. I love it up there. Portland and I’ve done a bunch of shows in Bangor. Those two places for shows are great, but just driving up the coast is incredible. Steiny (Dan) and our families spent last Labor Day an hour and a half north of Portland.

Do you promote in Canada?

We do. We’ve done quite a bit in Canada over the past five or six years. We’ve certainly done shows in Toronto. We’ve even done a show in Newfoundland. We usually co-promote with Louis Thomas (Sonic Entertainment Group in Halifax, Nova Scotia). We do a lot of shows with him. We’ve done Gillian Welch all over Canada. We’ve done John Prine in Victoria, Vancouver, Calgary, and Edmonton.

If you are doing fewer co-promotes, you have to take fewer risks.

Fortunately, we are in a position that we don’t have to get too crazy with risking things. We have developed really good relationships with a lot of artists, managers, and agents, and we have a good solid business. We don’t have every show in America. We won’t have market share. I don’t want to think about having to have a certain percentage of market share.

If a business is growing efficiently and continues to increase its market share, they are theoretically keeping their competitors from taking business from them. To my mind, however, a promoter either makes money or loses money on an individual show or on a tour.

Yeah, I’m with you. Denver is a prime market of big companies just fighting to the death for the right to have a show that can lose money. It‘s like, “No. I have to have it above everything.” Goodness, can’t we just try to do good business here? Make smart offers, and do what we love to do which is bringing in music, and having people have an amazing time? But it’s not about that for everybody.

Are the secondary, and tertiary markets more advantageous to you still or have the major promoters like Live Nation and AEG Live drilled down to penetrate them in recent years as market competition has grown?

I wouldn’t say that it has become more competitive necessarily. Some of the bigger guys like to fill the real estate that they have bought, and there’s less money running around the country four-walling dates than there is sitting in an “A” market in a venue that they own. They are going to make more money.

It’s just a different approach.

In addition to (working) the market a lot of the times, it’s are you working with an artist that wants to tour? With an artist who wants to go to every last city in America? Or are you working with, say, a super cool rock band that only wants to play the “As?” We tend to like working with an artist that likes to play all different kinds of cities, and markets that are not the same money every single night. “This is what I make” versus, “Okay, what am I worth in this market? What am I worth in that market?” I think what we try to do is hang our hat on getting really, really good at selling that artist. So we are not wasting money on stuff that is never going to sell a ticket for us. I think the ability to experiment like we do over a lot of different markets, and over a lot of different media formats is really helpful.

With fluctuating fees, it should hopefully all iron out in the long run. But agent and management commissions are based on securing the largest fee for their clients. I’ve heard few agents say, “Yeah, we will take less money in this market, and more money in this other market.”

(Laughing) In theory, they do agree. In practice, however, they do not. There are a lot of different approaches on that. With the homogenization in the U.S., if you (as an artist) are on the radio in one market, the odds are you are probably on the radio in a lot of markets. Some of the individuality has been lost, but market to market there are still bigger venues obviously...

But if it doesn’t even out by the end of the tour run...

Yeah exactly. But there are certain managers who are like, “We need X amount of dollars every single date” and there’s not any real understanding that Sioux Falls, South Dakota is going to look different than Nashville or look different than Seattle. I think that you have to look at it that way. It’s time-consuming drilling down deep in those markets and seeing what works.

Do your advances fluctuate by each market on a tour or do you have a standard contract template, and change a few clauses? Or are your contacts specific to each date?

I tend to approach things that the dates are separate. There are certain benchmarks that you try to get to. But sometimes it is way above, and you try to get to more money on those dates, and then some of the dates are below, and it’s not worthwhile to pay more on those dates. So we try to have each guarantee suit what market we are looking at. More importantly for us being independent guys is working with people who care whether we make money or not because some people don’t care. That’s a fact of life in this business. Some people absolutely don’t care if the promoter makes money or not. You can test that out really quick.

I know agents in folk and Americana who have cautioned their clients about increasing their fees because a promoter may go under, and the artist then wouldn’t have a venue to play in some markets. Do you get that kind of feedback?

One hundred percent. The nature of an artist or a manager is to just want more, more, more. Yeah, it puts the agent in a tough spot because they have to sell that show, and they have to sell their other shows, and we have to be there next time for them to keep doing that. There are lots of really good agents who do care. Who are amazing about that. Then there are certain others who turn and burn and have an “I want to be your asshole” mentality.

But are the agents more likely to cut you slack working for the larger agencies?

You know, I honestly don’t look at it that way. It is really the individual as opposed to the agency, either large or small. Certainly being small, I think, they are a little bit more understanding, but I wouldn’t say that William Morris or CAA only behave a certain way. It is the individual agent.

At the end of the day, however, many agents are at the beck and call of their clients.

I totally respect that they have to do that for their artist because that’s what that artist understands.

How do you find out about new acts today? Word of mouth, talking to agents and other promoters?

There’s a lot of that. We certainly go looking online, and we can see what buzzes. We are paying attention to that kind of stuff. Talent alone, however, doesn’t get it. There are bands that I love. I learned a long time ago that if you only book what you love, you will go broke. We are fortunate that we do a lot of bands we love, but it’s a business still.

If it is a disrespectful agent, manager or artist, you’d take a pass?

Absolutely. It shouldn’t be this way but acts that I have loved musically, and I have had a bad experience with them or their manager or whatever, when I listen to that music again I don’t like it as much. It’s different. I shouldn’t be like that, but I am.

Do you attend many industry conferences?

I’m at about at all of them that Dan is except for the some of the super arts conferences. He tends to go to a few more of those than I do. He goes to the Western Arts Alliance and some of the stuff I don’t go.

Do you still attend South by Southwest?

I didn’t go this past year. I don’t think I’m going to go next year. I don’t see that as an every year kind of thing. That’s a good one to recharge your music batteries, however.

One of the problems of seeking out talent at music industry conferences is that the pool of talent gets fished out. You don’t have the same quality of acts year after year.

I don’t disagree but I love going to see the bands at South By, but the realization I made a few years back was that instead of standing in line trying to see an act that may or may not be anything, if I go to the bar instead and have a drink with the agents and managers who are going to represent the good one, they’ll let me know. I have sort of traded off drinking with the agents, and the managers as opposed to seeing every single band. We see a lot of music but I’m not looking for some we are going to try to grow into over the next year when it’s not there.

I keep telling young people trying to break into the music business that their greatest strength is that the older people aren’t on the street. Some young kid can say, “You should book this.”

I wouldn’t say that I’m looking for the next big thing.

How often have you taken a flyer on a young band and helped them along the way, and suddenly you were shut out from booking them?

I won’t name names but there are some very large acts in the business that ran around doing clubs and theatres, and then small arenas with us; and then after it’s built (a career) someone writes a check, and it’s like, “Why did I bother?” In the country world, I might be less inclined now than I used to be to take a new artist and use all of our resources to build them knowing that they are going to walk out the door once it’s (their career is) built. Yes, I absolutely have more hesitation in doing that because when it gets to that point, you can’t compete on that level.

The first thing many of those emerging acts do with success is drop their manager.

Oh yeah. “How did you get there? You have no idea do you?”

Are there artists or bands that moved on where you felt you had made a strong personal connection?

Oh yeah, of course. You know they aren’t bad people, but they make a business decision that they think is in absolutely in their best interests, but there are ways to do that, and not be completely shut out.

Those appreciative acts who move on to Live Nation or AEG Live will still give someone like you dates here and there or ensure you have a slice of a show. Those are the ones who are the most appreciative of what you did.

Absolutely, and there are a number of those guys that have over the past several years said, “Okay, here are a couple of show.” That works. I’m not going to be able to pay them more than Live Nation or AEG is going to pay them for a little tour. I get their decision. Throw us a bone once in awhile, and a lot of them can. A lot of them do. I respect that.

Block booking of tours has grown greatly over the years. Has that made the field more competitive with the artists that you have had access to?

A lot of those large level deals? Not really. We are not fighting over a lot of that stuff.

Live Nation and AEG Live probably don’t want to have the same level of concentration as you in secondary, and tertiary markets.

Also true. While that (block booking) has changed the business greatly, it hasn’t changed greatly how we do business.

Live Nation and AEG are both active in country, but neither has the footing in Americana, traditional, alt-country, and folk as you do. Nor does Goldenvoice as much, other than the Stagecoach Country Music Festival.

Yeah, their brand has been built on supercool and indie rock and all of that kind of stuff. It is an amazing brand. They do a lot more it than they used to but yeah there are some relationships there that we have in that world that has led us to do more stuff with them in Alaska and Hawaii and places like that sort of creating markets and opportunities. It worked out really well. Elliot (Lefko) is a great character. He’s one of those guys that you just trust explicitly. He has such a great ear. He’s a music guy, and that gets lost a lot I think in the corporate world. His heart is in the right place.

AEG Live has long had a solid footing in country with Louis Messina’s Messina Touring Group.

Live Nation does a lot of country, but on a big scale. They are not doing a lot of that on a small scale.

Americana, traditional, alt-country, and folk intimidate many promoters because the genres get such limited radio airplay and media exposure.

Absolutely. With Americana, generally, the success story is if you get them playing theatres that is a huge success story. But for the most part, it’s much more folk. Americana and bluegrass, it’s the same way. I grew up in Northern Kentucky and have always been a bluegrass fan. It’s always seemed weird. It never seemed like a big thing. Then “Down From The Mountain” (featuring a live performance by country and traditional music artists who participated in the Grammy-winning soundtrack recording for the Joel and Ethan Coen’s 2000 crime comedy film, “O Brother, Where Art Thou?”) kind of accelerated some of that bluegrass in Americana understanding, and suddenly there was a market. When I was at Outback, we were doing Alison Krauss show all over the country, and it was awesome. It was so good to see that music have wide appeal. Before that, you’d buy that show and wonder “How do I find the audience?”

There are fewer major attractions that have emerged in those genres in recent years with the popularity, say, of Nickel Creek, Old Crow Medicine Show, Milk Carton Kids, or Ruthie Foster.

That’s part of the thing (challenge). It’s audience development. How do we teach about this new music that we know they (audiences) are going to like? There has never been a great radio format for a lot of that music. Triple-A, the non-com (non-commercial) stations, have taken in some of that music, but not fully. It’s an obvious cliché, but the internet has really made it easier to target those people way more. And to really identify them. We try to do a really good job on data management for those kinds of crowds because they are so hard to find that when you find them, hang on to them the best that you can.

How do you market shows by artists in those genres to audiences when they don’t know many of the performers?

Targeting on Facebook, targeting on Google--all of those sorts of things has made that a little bit easier. The more shows that we have done, the larger shows we’ve done, finding those fans and being able to send them sending those people all of that information has worked for really well. John Prine, we did a ton of shows with. You have a John Prine show coming through the Dave Rawlings machine or Gillian Welch or Old Crow (data lists) with all of that information.

One of the craziest stories I’ve heard about you is centered on folk dancer and entertainer Jesco White opening for the Black Keys at the Ryman Auditorium in Nashville in 2008. You paid Jesco’s sister Mamie White, $100 to drag him off stage.

That was unbelievable. I used to do a lot of Black Keys’ dates, and I knew those guys pretty well. That was Dan Auerbach’s idea to get Jesco on there. I think it was the idea of the pristine Ryman and, maybe, sullying it a little bit with this character in Jesco. Well Jesco shows up, and he’s asking for the biggest bottle of Jack Daniel’s that we’ve got possible.

You just sort of knew that it was going to be a train wreck.

He’s onstage for maybe 5 minutes, and it feels like he’s been on for an hour. Then he’s been on for 10 minutes, and he’s taking his shirt off, and pinching his nipples. He’s hammered, and he‘s just fallen over. It’s unbelievable. Dan and Pat (Carney) are standing there. We were kind of laughing, but also kind of nervous. The GM of the Ryman at the time, G. Scott Walden looks over at me. He’s like, “I might get fired over this.” Jesco’s sister is standing next to us, and he’s now gone over on his allotted time, and there’s no end in sight. I can’t go out there and deal with this. I’m thinking, “Well, his sister is right here.” You see that documentary about and his life (“The Wild and Wonderful Whites of West Virginia,” a 2009 documentary film directed by Julien Nitzberg), you know his sister is kind of a bulldog. She’s a tough, tough girl.

I said, “Hey, if I give you a hundred dollar bill, will you go out there, get him, and bring him off stage? She’s like, “Sure.”

Grabbed the hundred, and went out there. If you look on YouTube there’s an amazing fan video of her pulling him offstage (YouTube). He’s fighting it, and he falls down, and goes down heavy down on the Ryman’s stage floor. Oh my God, it was amazing.

Jesco gets off stage, and he’s pounding on the elevator to go up to his room. As he’s pounding, the elevator opens, and the head of security is standing there. “Okay, you guys are leaving now.” They get escorted out the back door of the Ryman. He leaves. I think Hank III is playing at one of the honky tonks nearby, and so he went down there. Got kicked out of there and three other places, but he left his tap shoes, his father’s tap shoes on the table outside the Ryman. I ended up taking them home. He got back to his hotel, and realized that he didn’t have his father’s tap shoes, Lost it, and tried to break everything in the hotel. Got kicked out of the hotel. They had to drive back to West Virginia that night. They had nowhere to stay.

[Born in Bandytown, West Virginia, Jesco White has been featured in three documentaries. His father D. Ray, was profiled in the Smithsonian Folkways documentary “Talking Feet: Solo Southern Dance: Buck, Flatfoot and Tap” (1987) as one of the greatest mountain dancers in America. Jesco White has been sampled or referenced by numerous bands and artists including Ministry, Mastodon, Live, Big & Rich, Əkoostik hookah, Jim Shelley, the Atomic Bitchwax, and Tanner Flowers.]

After the death of his father Jesco had obtained his tap shoes which he was wearing while performing at the Ryman. So where did the shoes go?

I called him the next day and said, “Hey, I’ve got these. Where can I send them?” We ended up shipping them back to him.

Where are you from originally?

Grew up just on the other side of the river from Riverbend. So northern Kentucky but it was basically inside of Cincinnati. It’s a suburb of Cincinnati, but it’s Kentucky.

Sunday mornings driving down Highway 65 through Kentucky and listening to bluegrass-based gospel, you feel you are in the heart of America.

Most definitely. That’s definitely where I got my love of bluegrass from those type of stations playing bluegrass. It doesn’t get played in many places. That and bourbon and Kentucky basketball are my background. My misspent youth was spent at horseracing tracks in a bad way. Next to Riverbend Music Centre was River Downs. So I grew up on the hillside over there. So the 275 (highway) bridge was down at the bottom of my street. Before we could drive, when I was 13 or 14, there was a catwalk under the bridge. You could walk under the catwalk, and we would go to the track. That’s what we did most summers. I got really good at betting and knowing who the jockeys, and the trainers were. I spent way too much time at the track.

You attended the University of Miami and graduated with a bachelor of science in economics degree. What were your career ambitions? Maybe music because you were also the school’s concert board chairman from 1993 to 1995

Yeah, that’s true, but that started (in live entertainment) with my first job right out of high school (at 18) in the summer when I was working doing lighting for the Cincinnati Opera. I was a union stagehand (Local 5) in the summers and some other times. I was working (as assistant production manager) at the Riverbend Music Center, and the Cincinnati Music Hall. I realized I loved being around all of that.

How did you land a union job at 18?

My older brother was a union stagehand so he got me in.

Soon afterward you were hired as production manager at the Taft Theatre.

Through working with the union, I got an internship with Nederlander in Cincinnati which had the Riverbend amphitheater there. So I used to work for them in the summer during my junior year, and then came onboard full-time after my senior year. They had just taken over the Taft Theatre so I got to experience taking over a theatre and completely working with all different staff, with all different business methods, and different ticketing. All of that from scratch. That was a great experience. But I was the operating and productions managers there when I was 21.

I paid for my second semester of my sophomore year from a load-out that happened on New Year’s Eve. It was for “Phantom of the Opera.” It was a huge production, and they had to modify the Taft. We started working on New Year’s Eve and, other than a couple of hours to go home here and there, we worked straight through for three or four days. It might have been longer. So we were making crazy money. I was happy to do it. Working for those good wages is how I put myself through college.

Yet you didn’t end up in stage production as a career.

I got a great knowledge being around all of that, but I just didn’t want to push cases at four in the morning every day. I felt, “There are other parts to this business that seem interesting.” That is why I wanted to get involved at (University of) Miami which had a good (music) program.

Booking the Allman Brothers, Ray Charles, Bill Cosby, Live, and Widespread Panic. Little wonder you got sucked in by the live music business. Working a Ray Charles show alone at that

It was amazing. It was a huge show. We did 8,000 people. Live was about the same when we did that. My mentor was Barbara Hubbard.

Affectionately known throughout America’s live music industry as Mother Hubbard.

Barbara had a relationship with the school. So the Allman Brothers, Ray Charles, Gladys Knight, yeah, those were Mother Hubbard shows. We co-promoted with her, basically. She was amazing about letting us make mistakes, and letting us get in there, and doing things ourselves. She had an amazing impact all over the industry. A lot of people have gone on to do good things after first working with her. I was very fortunate that was my college experience. It was Barbara teaching me how to do things.

Did those Miami University shows have to make money? So many university dates don’t have to.

Here’s how that worked at Miami. The arena, it didn’t cost anything. For a lot of schools you get a budget every year, and you blow it. We didn’t get a budget. So if I lost a bunch of money on a show, the people the next year could only do small shows. So you really had to pay attention to what was going to make money and what wasn’t. There were gimmees on the calendar of shows that we had to do. There was Parents Weekend and some shows like that where you just can’t help but make money. Ray Charles and Bill Cosby were part of that. Back then Cosby had a wholesome image, and you’d do 8,000 or 9,000 in the round with Bill Cosby. Suddenly, you could take some risks on some cool shows that are just for the students

Barbara was executive director of All-American Collegiate Talent Search, a non-profit organization that raises scholarships for students seeking a career in the performing arts.

Yes. She was right in the thick of it then.

[Barbara Hubbard’s career at New Mexico State University began in 1966 as an administrator and part-time instructor in the school's athletic department. Four years later, she became program advisor at NMSU's Pan American Center. She then became a student activities advisor in 1970, and started bringing events to the building. Hubbard, who is now 90, was recognized with a Career Achievement Award at the 47th Annual IEBA Conference in Nashville on October 17th.]

The list of successful entertainers and industry people Barbara has mentored over the years goes on and on.

I remember Michael...

(Touring accountant) Michael Lorick who has been with Bruce Springsteen for years.

Yes, Michael Lorick. He came to the Allman Brothers show at Miami. We got to hang out a bit, and we settled that show together. Right after that, I think his first big show was Hootie and the Blowfish. He was their tour accountant. And then later, he was working with Shania Twain.

[Michael Lorick has also worked for Neil Young, Pearl Jam, Tom Waits, Oasis, Stone Temple Pilots, Red Hot Chili Peppers, Luis Miguel, and No Doubt.]

It really is a relationship business, and those relationships develop early on.

I completely agree, and it is the same people that you meet over and over again. We change roles here and there, but it’s the same people. You can’t say that you don’t like Live Nation or you don’t like AEG. It’s different opposites (from what we are). But it’s the people. It’s an amazing thing. If you are an asshole, it gets out there pretty quick. If you a good guy and you treat people with respect you can have a long career. That was one of the first lessons I learned when I started in the business. I was working at the Nederlander Organization office in Cincinnati under Harry Nederlander. Harry’s quote was, “All we have in this business is our word.”

Mike Smith was your first boss at Nederlander in Cincinnati?

Yeah. A great guy. He taught me a lot. He’s a really sharp businessman. Our two primary talent buyers, Mark Campana and Jason Wright, were in Detroit.

What lessons did Mike teach you?

From Mike, an example would Jimmy Buffett. Back then in Cincinnati, he used to do more business there than anywhere in the country. For Mike, it was about creating that special experience for the fans. You can go to any show, and get a burger and a hotdog, but with Buffett, he created a whole “Cheeseburger in Paradise” theme. He created a tent that did that and played (Buffett) songs there. It was about creating the experience for the fans that was meaningful. Nederlander Organization had really reasonable beer prices. Really reasonable food prices. They were trying to get people to come back as opposed to where a lot of venues make it (food and alcohol) a money grab. Going in, and getting your $15 beer today is insane.

From 1998 to 2003, first with House of Blues Entertainment, and then with Universal Concerts, you worked in the Denver/Boulder market which booking agents used to refer to as the "Ho Chi Minh Trail" because of the fierce competition among concert promoters there.

Oh yeah. That was ugly. When I arrived here, my first job was that I was Mark Norman’s assistant. He had taken over from Barry Fey when Barry Fey retired. Barry was still a consultant then. Basically, Barry would come in for a staff meeting, and tell stories for 45 minutes or an hour, and then we would finish the rest of our business.

[Legendary Denver promoter Barry Fey was an icon of American live music culture. He mounted his first show in 1966, booking the Association for a fraternity-sponsored party at the University of Denver. He promoted Led Zeppelin’s first North American date in 1968. Feyline Productions earned a national reputation by promoting dates for the Rolling Stones, and the Who throughout the U.S. After flirting with retirement in the late 1990s, Fey finally left the music promotion business in 2004. Fey’s death in 2013 was ruled a suicide, according to officials with the Arapahoe County Coroner's Office.]

You came in as an operations manager.

I was Mark’s assistant first, and then I moved down to The Paramount. I got to do some touring stuff with Mark. He booked in a ton of states. I learned how to build offers, and how to put a proper small tour together. Then I went down to The Paramount. By that point, it was Universal Concerts.

Among the forceful promoter characters in Colorado at the time were Chuck Morris, Brent Fedrizzi, and Don Strasburg.

In the early part of my time working there, Chuck and Brent had kind of left the fold and started their thing as Bill Graham Presents (Bill Graham Presents/Chuck Morris Presents) which ended up being SFX Presents, and then Live Nation. But they were smaller then. I remember them when they took over Mammoth Gardens and created the Fillmore which was a huge difference for the market to have that room here. But yeah, anytime that you picked up the phone with an agent, it was war. Every time, every call. It was crazy. And for me, at least , it was realizing that it was really wasn't about even doing good business. Like you are passing on an artist or you are not, it was just, “Here’s way too much money.” Even when you overpaid you sometimes didn’t get the show. It’s not like some other markets where you are trying to make good business decisions. There, you are just tending to make more bad business decisions just because it is over-competitive.

[In 1998, former senior VP of Feyline Productions Chuck Morris partnered with Bill Graham Presents, the San Francisco-based promotion house to launch Bill Graham Presents/Chuck Morris Presents. Morris reached out to Brent Fedrizzi and Don Strasburg to start the new BGP office in Denver. Six months into the co-venture, Bill Graham Presents/Chuck Morris Presents was purchased by Robert Sillerman’s SFX Entertainment that eventually evolved into Live Nation. Morris and his team built their company into being the Colorado market leader. The company went from 42 shows in its first year to more than 300 per year. In 2006, Anschutz Entertainment Group opened an office in Denver and wooed away Don Strasburg, followed by Chuck Morris, and Brent Fedrizzi, the team who had spent 8 years building up Live Nation's Colorado holdings.]

What did you learn working with Mark Norman?

From Mark, from the first days there he was turning things around for agents as fast as humanly possible. Trying to have a good relationship with all of those people. He was like, “Let me show you what I can do.” To an agent or a band or whatever. He operated very well, and I think that through his example to a lot of people it was like, “Mark’s a good guy. I want to work with that guy.” So there was a lot of that. He was very encouraging to me trying to move forward. I was 25 when I took over The Paramount. I probably was too young to be running a theatre in a big city.

Of course, you were too young (laughing).

You have to remember that I had been working at Taft Theater for a number of years doing operations and productions, and that kind of stuff. So I had had quite a bit of experience. Taking that (The Paramount) over it really wasn’t a learning curve for me. The learning came in starting to book shows there. Primarily Mark and Jason Miller were booking almost all of the shows there. I started to chip in with some unusual things. The first John Prine show I ever booked was right there. A few things that I thought were interesting that those guys weren’t necessarily focusing on. I was doing some of that stuff.

There are some great local venues in Colorado, including The Fox Theatre in Boulder; The Bluebird Theatre, The Ogden, the Fillmore Auditorium, and The Roxy in Denver; Red Rocks Amphitheatre in Morrison, and, of course, Dick’s Sporting Goods in Commerce City.

For a Phish show, that’s really a great place to see that band. That big open soccer field and the energy that is created there is really cool.

Denver’s Ogden Theatre and Paramount Theatre are two of the coolest venues in America.

Most definitely. In addition, in Denver, there’s the Buell Theatre and the Ellie Caulkins Opera House. I have to put a plug in for our newest venue, the Levitt Pavilion Denver here which opened this summer. It’s 7,500-capacity. We are having a good time with it.

[The Levitt Pavilion Denver, which opened in Ruby Hill Park on July 20th, 2017 is the 7th in a series of Levitt Pavilions. As an independently-booked venue, Levitt isn’t beholden to any one promoter.]

Given what has happened in the United States in recent years, particularly with what just happened in Las Vegas, have you and Dan stepped up security at shows?

Yeah. That is something that you have to really think about now. Not to say that what happened in Las Vegas, it wouldn’t have been prevented at all from the different security measures there at the festival. But are we doing a much better check at the doors, and making sure people are not bringing in weapons they shouldn’t? Are we doing all of those things? Yeah, and we didn’t use to. So I’m sure we have to pay attention to that. It makes everything a little bit scary.

In the wake of the 2011 Indiana State Fair disaster, when heavy winds knocked a stage down and killed 7 people, Jim Digby spearheaded the creation of the Event Safety Alliance. He believes that if the live music sector embraces a safety-based culture that lives will be spared.

I think that if you are in this business, and if you as a promoter are not taking the approach that. “the decision I make affect peoples’ lives, and their safety,” then you are not looking at it (promoting) the right way because we are responsible for bringing a good time to people, but we are also responsible for keeping them safe. We have to pay attention to keeping people safe, and making the right decisions, and fighting a band or fighting a venue for doing things a certain way because at the end of the day you know it is the right thing. You might get into it with the band over what they want to hang or how they want to do something.....

The focus traditionally has been on getting the show onstage. Of a less concern, until the Indiana State Fair outdoor stage roof collapse, was how much equipment is onstage or...

Or how much equipment is hanging on that roof. Not having the ability to bring that roof down because the video was hanging there.

Making use of wearable technology, an RFID wristband, to accept cashless payments has been a game changer for international promoters but there has been resistance to going cashless among American promoters.

I agree. Also, ticketing here versus ticketing in the rest of the world is just done differently. I didn’t realize that until I was somewhere else recently. “Oh, you can do this with a completely different method and have it work just as well if not a lot better.”

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 1970-80. 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.”


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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