Industry Profile: Peter Shapiro

— By Larry LeBlanc (CelebrityAccess)

This week In the Hot Seat with Larry LeBlanc: Peter Shapiro, founder of Dayglo Ventures/Brooklyn Bowl.

The big booming musical-instrument salesman Harold Hill from the Broadway and film musical “The Music Man” pales to Peter Shapiro.

Shapiro is also a canny salesman/showman, but his jam-packed world celebrates the belief that the live musical experiences he presents at his venues and festivals should be joyous occasions, and that the presenting artists he hires be highly valued.

Whether it be fan-immersing, artist-pleasing events at his Capitol Theatre in Port Chester, Westchester County, or at his pair of Brooklyn Bowls in Williamsburg, Brooklyn (the first green bowling alley in America), and Las Vegas or at the annual Lockn’ Festival, or with his music magazine Relix, Shapiro is an impassioned believer in hard graft to make events magical.

In 1996, the 23-year-old Shapiro purchased his first club, the Wetlands Preserve in Manhattan, and turned it into a late-night paradise for jam bands, ska acts, and social activism.

Wetlands, however, shuttered in 2001, a victim of escalating New York rents.

The first Brooklyn Bowl, built in Williamsburg in a former factory followed in 2009, the same year Shapiro bought Relix magazine, originally launched in 1974 as the Grateful Dead newsletter.

In 2012, Shapiro revived the Capitol Theatre, a long-dormant former rock palace. In 2014, Brooklyn Bowl Las Vegas opened.

Along the way Shapiro has produced two IMAX concert films, “All Access” and “U2 3D” with his brother Jon; launched an environmental consulting firm GreenOrder with his other brother Andrew; and co-produced the Grateful Dead's 50th-anniversary “Fare Thee Well” tour in 2015.

Earlier this year Shapiro put together teams to film the Women’s March on Washington, and the March of Science on the National Mall.

What an independent concert promoter does is a ballsy high wire act. They present events often knowing bankruptcy could soon follow.

I’ve been close a couple of times. Guess what? I would say that somebody that has been doing what I have been doing, if they have not come close to bankruptcy a couple of times, I don’t think that they did it right. They ought to be able to make more money. I am not saying say that they didn’t do it right and that they didn’t make more money, but they didn’t do events like “Jazz & Colors” like I did.

[On November 10, 2012 Shapiro launched the inaugural Central Park free “Jazz & Colors” event, featuring 30 bands all playing a single common set list.]

The live music world is dominated by both Live Nation, and to a lesser degree by AEG Live. You partner with both as well as with Madison Square Garden. You are like Switzerland.

Right.

You will work with others as long as you keep creative control?

I have worked to do that. It hasn’t been easy. It’s the best of all worlds to collaborate with the big guys to utilize the resources that they have. You tap into the skills sets of the people that are there. There are good people at these companies. And I hope I can continue to collaborate with these different leading companies in the entertainment space. It’s a great, great thing. Not many (independents) do that. Usually, they pick one or the other, and they go with it. And there aren’t many of us (independents) left.

You have dipped your feet into the high-stakes festival world with the Virginia-based Lock’n Festival an annual four-day music festival held at Oak Ridge Farm in Arrington, Virginia. Festivals are a big boy game because a lot of money is at play.

Ah, it’s a hard big boy game. You learn that a lot. I am very happy that you call me on this day (when Democrat Ralph Northam won Virginia’s gubernatorial race, and Democrats also won a surprising number of races for the Virginia House of Delegates). It’s a great day for the state of Virginia. I’ve got the big camping music festival. We have done it for 5 years, and we have a great 6th year coming. We have just confirmed our headliner, but I can’t tell you who it is but I am excited. We are outside Charlottesville, and we have Lockn' people that come from around the country. A lot of Grateful Dead people are at it. People travel from all over the country and go to Lockn' for camping. If that election had gone a different way there would have been a lot of people saying, “I am not traveling in my VW bus to Virginia.” And they (the voters) flipped it. Now, I think that people will say, “We want to go and support that state. They made a statement.”

Why the recent Red Light Management minority stake in Brooklyn Bowl? I know that you have known Red Light Management’s owner Coran Capshaw for 30 years. Why do the deal?

That was with Red Light, but I would say it was more Coran. There are not a lot of people on the planet who I can speak with who understand Malcolm Gladwell's 10,000 Hour Rule. Coran has obviously got a million artists as a manager, and he’s got festival experience. He’s got all of this stuff. He’s a great counsel if I want someone to go to for counsel. Someone I can trust. Someone I like, and someone who is a friend. I like to work with my friends. I had a partner before. Basically, Coran replaced that partner, and I’m very fortunate to have him as a partner.

My old partner said, “You should have a partner who can help you. Who can talk to you about these things.” My first partner didn’t know about anything that we are talking about. He’s not a music guy. He was an old friend who had the financial resources to help me out, but he wasn’t engaged. The first guy I thought about was Coran. I have known him since Wetlands, and he crosses into so much stuff.

Are you seeking to franchise out Brooklyn Bowl or open up new outlets on your own?

Yeah. There will be news of some things that we are working on. I don’t think we will go to franchising. We control the venues. I operate them in Vegas, and we control it. The same with the Lockn’ Festival, and the Cap (Capitol Theatre). We are doing a lot of things, but there are more things coming on a couple of levels, and you will see something coming.

In 1997, you took over Wetlands Preserve, a downtown Manhattan nightclub in the Tribeca neighborhood. You were only 23. Owner Larry Bloch (who died in 2012) wanted someone to take over the club. Your father thought you were crazy. Larry then served as an influential life counselor to you.

Yeah, it (the acquisition) wasn’t looked upon well (by my family), but I figured Larry could surely tell me the things to do. I wasn’t the first guy there. I couldn’t have done it at 20. I took over an existing thing. He gave it to me. I didn’t have to pay big money. I paid him on a note every month. My rationale was, “Okay, this place is really famous. Here’s the rent. Here’s the Con Ed bill. The garbage bill. The water bill. I’ve got to be able to draw at least even.” I was 23. I didn’t have a family of my own. I had low overhead, so I didn’t need to make a lot of money.

Wetlands was where groups like Pearl Jam and Oasis played their first New York City gigs, and Dave Matthews was an early semi-regular. A great vibey club, but it was hampered by poor sightlines of the stage.

Yeah. That’s why I built Brooklyn Bowl. I learned, right? As an entrepreneur, you learn so much. So I learned. The sightlines were not great there, but because the sightlines weren’t great people were forced to watch the show over at the bar or downstairs in the lounge. They really couldn’t see the show. They could hear it, and they were talking to friends. So they were interacting with people. If you go to a venue where it’s perfect sightlines in New York, it’s The Bowery Ballroom and Irving Plaza, and you are not interacting with people as much. You are cocking your head back, and you are watching the show.

Was the importance of Wetlands in your career that you made deep connections with bands like the String Cheese Incident, the Disco Biscuits, and Phish?

Yeah. I had a great run there, from 23 to 29 years old when I had no kids. Whether String Cheese finished at 2 AM, and the Biscuits played to 3 or 4 AM, I was there. I was there to give them a shot of tequila. I had the bottle in the green room. I didn’t have to wake up for my kids the next morning, which I have to do now. I didn’t need to pull the same money out to try and make it then as I do now with a family and all of that. I didn’t have a family. I could run it in a more pure way. More true to what made the venue a great venue. That was the first priority that I had. I was trained by Larry Bloch, and I was into it. I believed. So I was idealistic, naive, and I believed. So I tried to do things, and I did do things according to, “What is the best move for the experience of the fans of the venue?” And that does not always align with the concept of, “How much money can I make?” I didn’t need the money. I wasn’t a rich kid or anything. It was more I didn’t have any kids. I didn’t have to pay for school. I didn’t have a wife. I lived with three other people above 77th Street and York Avenue in New York where rents were pretty cheap. For New York City, at least. The low overhead, I had. Really my adult education it was Larry Bloch who started it, and he built it (the club) not just because of a need, but an obligation that there should be a venue. It just wasn't about making money.

Larry Bloch was also a Dead fan.

Yeah, Wetlands was built by Deadheads for Deadheads. That was the thing.

Specifically, what did Larry teach you?

That the first priority should be the experience that the fan has at the show. That was number one priority. And that there is money below that. If you are working for a big or a public company, you have an obligation to make money. So we’d do shows that probably someone working at SFX, which is now Live Nation, where it was, “You are not allowed to do that show” by which I mean that it is a Saturday afternoon, and we are doing a hardcore show, maybe, with Agnostic Front, a hardcore band at three in the afternoon. There are 700 or 800 people on hand. Seven or eight security and the bar does like $300 for the whole day because you put out free water. So you are doing a show where you are spending thousands on the band and the crew—let’s say the band gets covered on the door—and the production, and security. You aren’t selling drinks. You are giving out free water.

It was an investment. People at that show would remember it, and they would return.

You and me, we are on the same page. What I was brought up to learn is that you have to invest. That will pay off long term. If I worked for Live Nation or a big company like AEG Live, and I was losing money on a Saturday afternoon with Agnostic Front doing 800 people with a $300 bar with 10 security there because they aren’t drinking anything, and it loses money I’m not sure...Listen, maybe, there’s a head of some big company that will say, “That’s cool. We can lose money on a Saturday afternoon because you are building loyalty. You are building a relationship with the fans and the venue.” However, big companies do stop creating shows that lose money when they sell out.

The music industry is so often based on short-term money.

Right. I learned from Larry not to think that way. That it pays (going) forward. I hope that it pays going forward. To think long term. To develop bands. Hopefully, you will do more with them. Believe that you will. Not just to be a skeptic and a cynic, but create a community. Work with your venues to mold them in the physical structure, and staffing levels. Put on the back of their (staff) jackets that it says, “WELCOME.” Not “SECURITY.” Try to create an environment where people come up to me from the audience, and say, “I met my wife there (at Wetlands). Because I couldn’t see the damn band, I was downstairs in the basement meeting my future wife.” The environment lent itself to that. At The Bowery Ballroom, and at other top venues in America and in Canada, I don’t think that you hear that as much.

Wetlands, as with most clubs, was faced with what happened with McDonald’s, and Burger King years ago. “We have this great building, but it’s empty part of the day. Can we do breakfast?” Not only are the Brooklyn Bowls both bowling alleys, but during the day there are so many other activities going on.

Particularly, the weekends when we are open at 11 AM. We do a kids’ show at 11:30 AM. We are doing with the DJs, and you can watch sports. And then we have a band at 9 PM, and a late show at midnight. We are moving three shows around.

So many different things are going on.

We learned. Brooklyn Bowl was built by a very direct relationship to the people that owned Wetlands. Me. I learned at Wetlands. We talked about the different areas of the club that was created because you could not see the show (at Wetlands). You backed off, and you could hear it at the back of the bar downstairs. Like a small town. While we created that at Brooklyn Bowl, we had great sightlines, great air, high ceilings, but then later came the village, the different pockets of the village, the different parts of the village. We added some food, and we integrated everything with the visual screens where you get a great view, and a great sound and we really tried to create something at the site. It’s an amazing venue that stands on its own as a venue.

You started Brooklyn Bowl with Charley Ryan.

He was the general manager of Wetlands when I owned it. He’s a great partner and friend and we have had a strong, enduring working relationship.

Brooklyn Bowl was previously an ironworks-foundry building in the 1880s. So obviously, there’d be great sightlines.

We do have great sightlines, but we also added elements. Most venues with live music have been around since there was rock and roll concerts in the ‘50s, and most venues are a stage facing a bar. That do have pretty good sight lines. Pretty simple, right? The Brooklyn Bowl was an effort to take what was there; take what we’ve learned at those clubs that are cool, and try to elevate all that. Really try to elevate everything. You learn, and take from what you see out there. I’m a big fan of Malcolm Gladwell’s 10,000 hours shit. I meet people all the time who say, “I can come in, and do this (oversee a venue). I know how it works.” Nah, it takes someone a lot of hours to really get good at something. The 10,000 hours thing, right? To be really good, to be excellent, you have to do a load of work over the years. And I got good. I’ve put on a show in New York pretty much every year for 20 years, so I know when I walk into a room now about the vibe, the deal, the light level. The band can feel it. I can feel it. I’ve been trained for this. I am good at this. I’m a little tired from doing it, but I know that I am good at it because I have done it so much.

In 2014, Brooklyn Bowl Las Vegas opened. A 80,000 square foot building not tied to a casino. Your partner is Madison Square Garden, and Caesars Palace is the landlord. Why take the risk in such an entertainment-intensive town? Was it hard to get a foothold?

Hard? Oh, yeah. You don’t see a lot of that stuff, but it’s big companies there. We are independent. We are the only guys that came in, and built a venue of that size and scale that is not in a casino, not getting fed by the casino. But also the magic is that we have our own building. So artists like a Perry Farrell or Beck who, maybe don’t want walk through the bowels of a casino, don’t have to. Across the board we do stuff with sponsors, but not deeply. No naming rights. But you know, the cream rises. People notice the difference in how we treat people. How I do my thing. And in Vegas, it was like that there should be a live music venue doing all of that and there wasn’t.

You recognized something that Las Vegas has been slow to pick up on. I know House of Blues presents alternative bands, but there are few other major venues there offering different types of music. Las Vegas is musically safe. For the most part.

Yeah, and how many clubs in one city do you need?

With a 2,500-capacity, Brooklyn Bowl Las Vegas is a great cap room.

Right. There was room. Every city has room for a great 2,000 to 2,500 cap room. They didn’t have one in Vegas and it’s worked. We have been named two years in a row in Las Vegas Weekly’s Readers’ Choice as the best music venue in Vegas.

But it was hard at first to get a footing there?

It was very hard with all of the shows going on, but we’ve made it, and it’s a great feeling. The same with the Capitol Theatre. It was hard to go in there. You start at the beginning without the infrastructure, and the history. The existing infrastructure that the bigger companies go to a new town and they already have it. To go without it and open, and say, “I am here,” that is hard shit.

Before we talk about the Capitol Theatre, London's 800-capacity Brooklyn Bowl closed at the end of 2016, three years after it opened. It sits inside the O2 arena complex. As you know, the O2 Entertainment District is undergoing the building of a 205,000 square foot retail development due to be completed late next year. London's Brooklyn Bowl has been a partnership with AEG Live. What’s going on?

Yeah, it’s a partnership with AEG. There is a pause there. There’s a lot of construction there. We kind of put it on pause while they are doing all that. I will see what I’ll do. I wouldn’t mind being more aware of our neighborhood. In Vegas, we are dead center (in the town). There we went further outside of the city. It’s hard to find land in London.

The O2 arena complex, of course, is across the Thames River.

Yeah. We are across the river in South East London. There are no new venues in the heart of London due to the difficulty of getting real estate, and getting it (construction) approved by the local community councils. We have a partnership there, and we will see where it goes. They are building it out further and during that period there’s construction everywhere around us that makes it harder. So we will see what happens there. But the location there, that was hard.

The regal Capitol Theatre in Port Chester, Westchester County is certainly well-located.

That why I went to the Capitol. We bring that opportunity to a great location near the city, on I-95 accessible to everywhere. A rock palace. There are no rock palaces left. The original Fillmore East is gone. The original Fillmore West is gone. All these theatres are gone. We did an interview for CBS, and they said, “You are working in a rock palace. What does that mean?” At a rock palace, you must have killer food, the Stones, Pink Floyd, (David) Bowie, Janis (Joplin), and the Dead. You need to have those. History matters.

You aren’t going to name the jam band Strangefolk which was your first Capitol concert in 1998?

(Laughing) Well, Jesus Larry, you’re on. I loved that show. So none of these rock palaces were standing. I took this thing. We made it contemporary, and it’s on fire because we are tapping into people who are both from New York City and who can get there by car or train, and from up north. Location is extremely important. And cream rises.

[In its early 1970s heyday, the Capitol Theater played a key role in bringing major acts to the New York suburbs, a relationship that flourished because it was far enough away from Manhattan not to compete with clubs there. Among acts that appeared there were the Grateful Dead Traffic, Jefferson Airplane, Pink Floyd, Santana, and Janis Joplin, who played her next-to-last show at there on Aug. 8, 1970, two months before she died.]

What’s the seating capacity for the Capitol Theatre?

It’s 2,000 for GA (general admission) floor and 1,500 with all seated. It was built in 1926 by Thomas Lamb, who is really the preeminent architect of American theatres (who also designed the United Palace Theater in Upper Manhattan).

For Capitol’s reopening in 2010, it has been said you spent $2 million in renovations that included pulling out benches, replacing carpets, repainting walls, upgrading bathrooms, as well as adding state-of-the-art light, sound, and video systems. Even upgrading the decor with custom-made wallpaper featuring the likenesses of Janis Joplin, David Bowie, and other past performers).

Well, it ended up a lot more. I put in a bunch more. But that’s okay. It’s doing really well. We are making money. It’s a winner. When you are creative like me you get excited. It’s about, “We can do X or we can do Y.” It’s either that we can put in this sound system, and it will cost X or we can put in the best, and it will be 2X..” That’s hard to do.

All your venues have cutting-edge technology, energy conservation, and specialty food by...

Blue Ribbon.

All of this relates back to your experiences at Wetlands?

We try to bring a feel to what we do to reflect Wetlands. All of this stuff comes from what we created there. Where we had to work harder to create a vibe because the room was not the perfect concert venue. The sightlines on top of that. So we had to work harder to give people a good energy, a good vibe.

Brooklyn Bowl, I will make this point, was an effort to combine great sightlines, great air quality, great sound, all of that stuff. There are different pockets. There are different environments. There are different areas. We wanted to take the best of what Wetlands had and fix the challenges that Wetland had and replace it with the bar with perfect sightlines. Brooklyn Bowl was an effort to fuse that energy from the Wetlands’ vibe and social atmosphere which is just people that come to a venue that is just stage and a bar and they are watching a show. There’s not much vibe in watching a show other than great sound. So with Brooklyn Bowl, and all of the venues, we do what we can.

With the internet, you can Google us and see the images of the Capitol Theatre that appear on the wall. The projection and stuff. All of the venues of Brooklyn Bowl screens are about bowling, and it’s all about what I can do with the screens and the canvas because of the bowling. The screens are 120 to 130 feet from your eye and they are 100 feet wide. People have said “Oh, it’s like Disney for adults.” And I’m like, “Yeah.” You don’t have that impact without that geography. You have to be 130 feet from the screen. You have to have it 100 feet wide. You go to a concert and you see a plasma screen 14 feet from your eye you are not going to get the impact that we have in an 8,000 or 10,000 square feet (venue) that we have to be able to create that distance from your eye depth and width-wise. If it’s not bowling lanes, and it’s just that you have 10,000 feet of carpet, it’s going to look really weird.

Still, you don’t have to be fully “green.” But you and your brother Andrew started GreenOrder, a company with a mission to help other companies be more sustainable,

I started GreenOrder with Andrew because I had experienced first-hand how difficult it was to be green at Wetlands. I thought, “We should make it easier.” Wetlands was built on activism. Who gets involved? Young people. Where are young people? The school, the library, the synagogue, the church, and the rock clubs. “So okay, a rock club. So let’s use that basement before shows. What’s going on? Nothing.” This was pre the internet. This was the ‘90s. We wanted to gather people. You couldn’t gather people on the internet then. “So let’s have a Media Wetlands in the basement.” We did it every week.

I learned from Larry Bloch and from Wetlands the power of combining activism and music in a good way. Growing up, and by studying the history of the ‘60s of how rock and roll and music really comes out of social movement. I wanted to continue that. Wetlands as a building, however, was not green at all. But the messaging was. The Brooklyn Bowl, when I got the chance to build a new one, it was, “Holy shit. I have to talk the talk. If I am building a new one (venue) it has to be built with sustainability in that space because we are going to talk about all of these activism events. If we have control of this building, we have to do our part.” We may be the first certified bowling alley in the world. We have special equipment for that. We have stages with a special kind of rubber. And special kinds of lights. Power in the kitchen. It touches everything. I’m proud that we did that about 9 years ago. Activism touches everything I do. I produced the March of Science on the National Mall in April. I did all of the filming for the Women’s March on Washington.

Your career first took shape after a 1992 Grateful Dead concert in Chicago in 1993. So impressed were you by the music and community around the band, you made the documentary “And Miles to Go Before I Sleep: On Tour with the Grateful Dead Summer 1993.” You couldn't get the band to talk to you, so the movie was about the fans.

Yeah, I couldn’t get an interview. I went to the concert, and I had a once in a lifetime experience. I had never had an experience like that. I wasn’t a live music kid. In high school, I didn’t go to shows. I went to film school at Northwestern University in Chicago. I went to a Dead show in March of ’93 at Rosemont Horizon Arena. March of my sophomore year, and it changed my life. I went to the library that next morning. A month and a half later I got a van with another film student (cameraman Philip Bruell) and made a film about the Dead scene, what was happening. All of these people who were 21 like me. But they weren’t going home. They were on the road chasing something. I wanted to document that. I couldn’t get the band to be in the film, but I made it. That led to the “Tie-Died” documentary the next year which real filmmakers captured the Dead scene which was very large in size and cultural impact the year before Jerry Garcia died.

For the “Tie-Died” documentary, director Andrew Behar, also a Northwestern University graduate, interviewed numerous Deadheads at five concerts during the Grateful Dead’s summer 1994 tour.]

After Garcia dies (Aug. 9th, 1995), I go to colleges showing my films. I went with a Grateful Dead cover band. The bass player comes up to me in Feb. ’96 at Bloomsburg University in Bloomsburg, Pennsylvania, and he says, “Dude, you should take over Wetlands.” I’m like, “What do you mean?” I had only been there once. He said that Larry Bloch was looking to pass the club onto to someone who could continue the mission. I had never thought of owning a venue but I had spent this time on the road with the Dead, and I saw the size of this scene. With Garcia gone, they (Deadheads) weren’t going to just listen to the Dead. The scene was going to splinter off. So I met with Larry Bloch. I showed him my films, and that’s when he chose me. And I believed in it. I was there I believed that jam scene was important and it still is. It’s still big. After “Fare Thee Well” (the Grateful Dead’s 50th anniversary concerts) two years ago, it’s really cool to see that it’s big again. It’s really big.

Did you graduate in film studies from Northwestern University?

Yeah. It was four-year course.

My film school experience consisted of watching films like “Battleship Potemkin,” the 1925 Soviet silent film directed by Sergei Eisenstein.

No, it was radio, TV, and film that I was doing. I was more focused on the media industry. Thank God, by the way, that I focused on that. It helped me in understanding everything today

At the time media was undergoing a dramatic upheaval due to the explosive change brought about by the internet.

It has all changed, but I was paying attention. I have 25 years of dealing with what’s going on. Because I am a creative dude also dealing with the business side, I have been paying attention and watching it evolve. So luckily I was focused on that, and not on how to cut film and watching “Battleship Potemkin and what happened in Scene #14 or what an interesting track shot.

Well, the film I want to see is your 2005 short, "A Conversation with Ken Kesey” with the countercultural author.

That’s a great story. He turned me down and then I got the interview because I said I was going to be in Oregon and they said, “C’mon over, and just meet him.” Then he agreed to do the interview once I loosened him up. I was really fortunate to have spent that day with him. I loved it. The interview is awesome.

The Grateful Dead have often been caricatured as the Fabulous Furry Freak Brothers of rock, yet they pioneered a lot of standards that evolved in live music including in merchandising, ticketing, and live music archives for fans.

Some of the best things in life happen by kismet. I know some of the best experiences, and some of the most successful experiences I’ve had in 20 years of being an entrepreneur you just don’t have that idea, and boom you do it. It’s a path, and the key is that on the path, one the journey, there are roads, and they split. A lot of times, it’s about going the right turn. A lot of it is unintended. You get to a place that you didn’t intend to be there. The key is seeing it. When you get to the unintended, and you see a vision, and you end up adjusting, and pivoting to go for it.

The Dead, I don’t think that they intended in 1965 and 1966 to be the forerunner of the band/fan relationships, and deepening that with things like being the first (band) to enable the taping of shows, and that it would lead to the trading of shows by the fans which lead to this culture and depth of fandom that was deeper for them than other bands because they and everybody would encourage it. I don’t think that it was as thought-out genius as it became. They didn’t sit there and think it all through. They just thought, “Let the kids tape the show.” The same where they took self-control over key elements of their (business) operations, their production, the wall of sound. I don’t think that they sat there thinking, “We are going to innovate how sound is done.” They just probably thought, “Let’s just have a wall of sound. It’ll be awesome.” Then, as they were building it, or as they first saw it it was, “Well, that’s amazing. What if we do this or if we do that?” And they go with it, seeing the trading of tapes, enabling fans to record shows. Once they saw that happening they created a bigger space behind the front of house, a tape section, and facilitated it.

It was Phil Lesh who sought out Canadian John Oswald for “Grayfolded,” the two-CD album featuring the Grateful Dead song "Dark Star" using over a 100 different performances of the song, recorded live between 1968 and 1993. Utilizing an editing process he called "plunderphonics,” John built, layered, and folded all of re-taped micro clips to produce two recomposed one-hour versions,

Very cool stuff.

Yes, very cool for the Dead to let John have full access to their recorded music vault. Meanwhile, the Canadian Recording Industry Assn. on behalf of several of their clients (notably Michael Jackson, whose song "Bad" had been cut up, layered, and rearranged as "Dab") tried to shut him down.

Some of the guys who get shut down are the ones are often the ones that are at the forefront of pushing limits, pushing into the next frontier. Usually, the first guy doesn’t win. It’s the second guy or the third guy who learned from the first guy. This is what happened to me, and that can be frustrating for the first guy. The first guy in business being an entrepreneur. You go to a new market--that’s hard to find today but (being) first—but the first shows that you do are really hard.

Even now in this day and age?

If you go into L.A. or you go into Vegas and open a Brooklyn Bowl. Hard. A new town and there’s a hundred shows a night going on. Just buying ads? It’s not going to work. Hard. Now once you are established, once you are there and are competing with a company that’s been there for years, that already has an email list, there’s a great advantage. For a new guy, it’s exciting and new, but to be able to reach people, to have experience, and to have been doing it for a while is a big advantage. Often the second or the third guy wins because they will look at what the first guy did. They saw what he got wrong. They saw what he got right. And a smart second guy learns and takes advantage of what worked and learns what didn’t work and cuts that out. As an entrepreneur that‘s one of the things that I learned.

One of the most important days in your life was January 21st (2017) when an estimated 3.3 million Americans attended either the Women’s March on Washington or the satellite marches throughout America. You put together a team to film the Women’s March on Washington, 7 cameras, and 9 Jumbotrons. You then arranged for the footage to be broadcast on Facebook, Twitter, and YouTube and to be aired by the New York Times and other media outlets. What led to you volunteering you volunteered your services?

How do you not do that? I had experience from doing the “Fare Thee Well” shows. I made the movie “U2 3D” and I have done some large scale shows, and I still do the Grateful Dead cover bands. I can do big and small (events). It’s back to experience. I’ve got experience doing large scale shows. The “Fare Thee Well” Pay-Per-View is the largest ever Pay-Per-View. I know how to do this. So the Women’s March deserved to have a person who has done this a lot to volunteer their time. I needed to do it because it was the right thing to do. They needed the help. If I worked at Live Nation or a big company like that I am not going to be able to take a week off and do it for free on behalf of a public company, but I have the ability as the independent guy to do things like this, and so I lean into things like that. I’m on 6 or 7 boards because it’s important, and I have been fortunate to be operating in those large format environments for other people. How to do the TV work. How to have thoughts on how we should shoot it. How to share it with a lot of outlets. Once you have done it that give you a lot of value and motivation in putting it on. Other people may have done a lot as well but they may be working at big companies like CBS or YouTube. They may not be able to leave their gig. I did. I have my own company, So I can go and volunteer.

Did you pay for the equipment out of your own pocket?

They covered the costs. I volunteered my time, and Joe Healey, our head of video volunteered his time so we could produce for free. Then, we did the March of Science on the National Mall. How could you not, coming from Wetlands and from where I come from? Everything I do today is informed by that even though Wetlands is gone. I’m just going forward now. I haven’t made the big money yet, but with experience, you have a responsibility There’s nothing like having done it. So when the March of Science came and they wanted to do it like the Women’s March I signed on. So it (activism) stays with me. I hope that it always will. In fact, sometimes it makes it difficult because there so much floating around that I want to do.

Who else would plan the free Central Park “Jazz & Colors” event in 2012 featuring 30 bands all playing a single common set list? Today few venues even book jazz anymore.

That’s why I did it. So where do you go and see jazz? In jazz clubs but there’s not a lot of them around. New York City has got them. How do kids get turned on to jazz? It’s not on YouTube. It’s not on TV. It’s not on radio. It’s not on satellite (radio). It’s not on Spotify, really. How do you get turned onto jazz except a 10 o’clock at The Bluenote (Jazz Club in New York City) for $30? So my thought was, “Well, this is not going to make any money.” But I did it anyway. At Wetlands, I learned. I was young. When I had an idea, I owned the stage. I owned the venue. I could make it happen. Let’s just do it. So I got used to doing it. Okay, let’s make a movie with U2 in 3D. I believe that I could do it. “Jazz & Colors” with 30 bands around the park. I believed I could do it. It was an unbelievable way to experience music in a large park. Thirty bands across all different part of the park all playing the same set list, the same time, their own way.

Talk to me about going to summer camp with your brothers at Camp Keewaydin in Salisbury, Vermont The camp was the subject of “Camp” (Warner Books, 2005), a memoir by Michael D. Eisner, the former chief executive of the Walt Disney Company.

You got it. The camp was important in putting me on the right track from a young age on how to work with others, how to collaborate, and how to be creative. I learned about great ways to interact with other people. I learned a lot of what I do collaborate with people. I started GreenOrder with my brother Andrew because I had experienced first-hand how difficult it was to be green at Wetlands, and I made the “U2 3D” with my other brother, Jon. I collaborate with my friends. I collaborate with my family. I am not afraid to. That is something some people don’t want to do. I’ve never had a big falling out with anyone. You can’t do anything alone.

The Brooklyn Bowl and everything else I do is big on teamwork. It’s a big thing now with hundreds of people that are part else of it. We touch a million people a year that come to the events that I put on. I think that is why I got the “Fare Thee Well” Dead shows and not with the big companies. People ask, “How did you get that show?” I answer them saying, “Because I worked with the guys in the band.”

With “Fare Thee Well” you sold tickets for the two Santa Clara, California shows (June 28 and 28, 2015) through an online lottery. Were you happy with the results?

Yes. We got the whole stadium done that way. You can’t buy a lottery. What happened in the lottery was that everyone sent their credit card in—I think that they had 72 hours—they de-duped credit cards and addresses, and after 72 hours they had 350,000 entries, and we picked 150,000. There was 75,000 a day at the stadium. Maybe it was less because some holders had two or four tickets. And if you get picked your credit card runs through. It’s a great way to do it. Look, I’m looking at ways, everybody is looking at ways to figure out this whole ticketing thing. It’s complex. Technology often creates issues. I bet if you asked people they’d rather Tower Records opened back up, and then they could stand in that line. But now, you can get an app for someone to stand in that line for you

How about wristbands?

There are ways that we are trying. Everybody is trying. I don’t think it is going to be Ticketmaster or Access figuring it out. It’s going to be some neutral thing that hopefully we can all work with to figure out the best way to understand who the real true fans are not just those who watched the YouTube video 40 times or who bought merch or paid to join a fan club. But something non-monetary, and more merit-based. I have a venture called FANS. We have a big thing coming.

In some ways, FANS, or Fans.com, is a continuation of a Deadhead tradition in that it collects data on loyal fans’ music preferences, and their habits. How has the growth of FANS been?

It’s been good. but it’s hard. Nothing breakthrough. Look at what the major platforms are. They are the same ones as three years ago. LinkedIn, Pinterest, Facebook, Twitter, Instagram, and Snapchat broke. Nothing replaced Myspace. Facebook is not Myspace. There is a need for Myspace. Where are the photos from seeing the Clash in 1984? In a shoebox? Facebook wasn’t built to pull those things in. I can go off here because I get excited.

Many digital photos are being lost to history.

You are right. How about if we could organize them and you could pull up your photos of the Clash in 1984 at the Orpheum in LA in 30 seconds? You just go 1984 the Clash, and boom there are your photos. That doesn’t exist. Facebook wasn’t built to do that nor were any of the other major platforms. And what if you wanted to review that show? The most reviews on the internet right now are albums on Amazon.com. And there should be a better place for those reviews than just on Amazon.

Do you still get a thrill in taking a chance on an emerging act, and then watching them become headliners a decade later?

Yep. That’s what we do, brother.

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.”

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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, thebookingagency.com 05/02/03
Stephen Bailey, EPACC & Deleware Center For The Arts 02/06/04
Cary Baker, Conqueroo 05/11/11
Vince Bannon, Getty Images 07/05/11
Phil Barber, Barber & Associates 02/04/01
Camille Barbone, WineDark Records 12/09/05
Erin Barra, Musician/Producer/Educator 07/10/14
Ben Baruch, The Fox Theatre 09/27/08
Ben Baruch, By Larry LeBlanc (CelebrityAccess) 04/05/17
Paul Bassman, Ascend Insurance Brokerage 08/03/16
Adam Bauer, Fleming, Tamulevich & Associates 02/15/02
Ed Bazel, That's Entertainment International 10/05/01
Joachim Becker, ZOHO Music L.L.C. 01/12/07
Howard Becker, Comet Technologies 05/02/11
Mark Bego, Author 06/15/07
Jim Beloff, Flea Market Music 09/20/10
Richard Bengloff, The American Association of Independent Music (A2IM) 09/12/13
Seth Berg, South Bay Music 01/30/09
Aimee Berger, 2 Generations SPA Music Management 09/24/04
David Berger, Future Beat 10/29/14
Barry Bergman, Music Managers Forum 03/14/03
Steve Bernstein, Relix LLC 09/30/05
Mark Berry, Attack Media Group 04/07/07
Scott Billington, Rounder Records 01/17/12
Jeffrey Bischoff, Cinder Block 03/24/06
Sat Bisla, A&R Worldwide/ Musexpo 03/29/10
Nina Blackwood, Sirius Satellite Radio 07/14/06
Adam Block, Legacy Recordings 11/07/13
P.J. Bloom, Neophonic, Inc. 01/24/11
Rishon Blumberg, Brick Wall Management 06/27/03
Justin Bolognino, Learned Evolution, and The Meta Agency 04/25/13
Steve "Chopper" Borges, Total Pro and Borse Techos 03/03/06
Les Borsai, Mediocre Management 01/30/04
Shane Bourbonnais, Live Nation Canada 03/21/08
Jeff Bowen, Sears Centre Arena 03/13/08
Rick Bowen, Mystic Music Experience 07/11/08
John Boyle, Sanctuary Music Group 03/19/04
Jeff & Todd Brabec, Writers/Attorneys 01/03/12
Bill Bragin, Joe's Pub at the Public Theater 08/08/03
Joel Brandes, Avenue Management Group 11/02/08
Joe Brandmeier, Moving Pictures 03/15/02
Scooter Braun, SB Projects 12/13/10
Ron Brice, 3rd & Lindsley Bar & Grill 06/08/16
Billy Brill, Billy Alan Productions 11/11/05
Doug Brown, Talent Buyers Network 09/21/01
James Browne, Sweet Rhythm 11/01/02
Bob Brumley, Brumley Music Company 02/17/16
Tony Brummel, Victory Records 05/17/09
Charlie Brusco, TBA Entertainment Corporation 10/13/01
Del Bryant, BMI 05/18/07
Cortez Bryant, Bryant Management 12/06/10
Stephen Budd, Stephen Budd Management 07/13/17
Bruce Burch, University of Georgia Music Business Program 10/09/09
Deborah Burda, Kentucky Exposition Center 08/03/07
Patti Burgart, IEBA 06/07/02
Jordan Burger, The New Musiquarium 01/22/01
Ron Burman, Roadrunner Records 08/25/06
Suzanne Cadgene, Elmore 05/19/06
Karen Cadle, KGC Productions 03/12/04
Gary Calamar, KCRW 07/10/09
Charles Caldas, Merlin 07/05/10
Brian Camelio, ArtistShare 02/29/08
David Campbell, AEG Europe 08/02/10
Tom Cantone, Foxwoods Entertainment Group 10/20/00
Tom Cantone, Foxwoods Resort Casino 07/03/03
Tom Cantone, Mohegan Sun 08/30/09
Ashley Capps, A. C. Entertainment 05/21/04
Rio Caraeff, Vevo 07/12/11
Mike Carden, Eagle Rock Entertainment 08/16/11
Charles Carlini, Carlini Group 05/16/08
Mark Carpentieri, M.C. Records 05/27/05
Mark Carpentieri, M.C. Records 01/10/11
Troy Carter, Coalition Media Group 06/07/10
Daniel Catullo, Coming Home Studios 06/22/08
Raffi Cavoukian, Folk Singer/Children's Entertainer 05/11/16
Jeffrey Chabon, Chabon Entertainment Group 08/22/02
Mike Chadwick, Essential Music & Marketing 08/01/12
Rob Challice, Coda Music Agency 03/27/13
Tom Chauncey, Partisan Arts 01/11/02
Tom Chauncey, Partisan Arts 10/04/11
Lisa Cherniak, Artists Against Racism (AAR) 07/20/01
Bob Chiappardi, Concrete Marketing 06/13/03
Joel Chriss, Chriss & Co. 10/04/02
Michael Chugg, Michael Chugg Entertainment 09/14/01
Michael Chugg, Chugg Enterprises 10/02/09
Gary Churgin, Harry Fox Agency 09/13/10
Vinny Cinquemani, S.L. Feldman & Associates 12/13/12
Barry Coburn, Ten Ten Music Group 03/28/11
Matthew Cohen, Green Room Productions 10/19/01
Ted Cohen, TAG Strategic 01/10/13
Lisa Cohen, Associated Booking Corporation 02/10/06
Steve Cohen, Music + Art Management, Inc. 03/09/07
Dan Cohen, Music & Memory 01/12/17
Michael Cohl - Part 1, S2BN Entertainment 03/06/13
Michael Cohl - Part 2, S2BN Entertainment 03/13/13
Bryan Coleman, Union Entertainment Group 02/14/12
Mamie Coleman, Fox Broadcasting 07/05/12
Dennis Condon, Disneyland Resorts 07/13/01
Peter Conlon, Peter Conlon Presents 05/20/05
Tony Conway, Buddy Lee Attractions 10/06/00
Allen Cook, TOURtech 04/16/15
Tomas Cookman, Cookman International 09/05/03
Alex Cooley, Alex Cooley Presents 07/12/10
David Cooper, Foxman.com 10/31/03
Jay Cooper, Greenberg Traurig, LLP 05/23/11
Julie Coulter, Near North Insurance Groups 06/07/01
Amy Cox, Deep South Entertainment 02/09/07
Michael O. Crain, Crain Law Group, LLC 10/09/13
Charlie Cran, The Strawberry Music Festival 04/05/10
Jim Cressman, Invictus Entertainment Group 06/06/12
Russ Crupnick, MusicWatch, Inc. 07/23/15
Todd Culberhouse, Vision Management /Vision Records and Entertainment 09/05/08
Tony D'Amelio, Washington Speakers Bureau 04/21/06
Ruth Daniel, In Place of War 08/09/17
Ray Danniels, Standing Room Only Management, and the Anthem Entertainment Group 03/05/15
Ken Dashow, WAXQ-FM (l04.3 FM) - New York 09/08/06
Hal David, Lyricist 07/26/11
David Davidian, Independant Lighting Designer/Director 06/18/04
Anthony Davis, D&L Entertainment Services, Inc. 03/02/01
Chip Davis, American Gramaphone/Mannheim Steamroller 05/31/02
Mitch Davis, Tempest Entertainment 07/16/04
Jeff Dawson, Canadian Recording Services 06/08/08
Desiree Day, USO Celebrity Entertainment 08/10/01
Shauna de Cartier, Six Shooter Records/Six Shooter Management 10/23/13
Gene DeAnna, The Library of Congress 02/21/12
Vincent Degiorgio, Chapter 2 Productions 08/01/13
Tony DeLauro, DeLauro Management 12/23/04
Valerie Denn, Val Denn Agency 04/30/01
Val Denn, Val Denn Agency 03/06/14
Robert DePugh, Alligator Records 07/29/05
Tom Derr, Rock Ridge Music 10/29/04
Paul Dexter, Masterworks Lighting Design and Road Cases 12/10/04
Marty Diamond, Paradigm 01/22/10
Glenn Dicker, Redeye Distribution/Yep Roc Records 07/07/06
Barry Dickins, International Talent Booking Agency 06/06/13
Jim Digby, Event Safety Alliance 09/01/16
Mark Dinerstein, The Knitting Factory 11/17/06
Neill Dixon, Canadian Music Week 03/03/16
Thomas Dolby, Musician, academic, technologist, and author 11/09/16
Jasper Donat, Music Matters 2009/Branded 04/24/09
Jim Donio, National Association of Recording Merchandisers 04/22/11
Marc Dottore, M. Dottore Management 04/11/03
Tim Drake, The Roots Agency 12/12/08
Mike Dreese, Newbury Comics 11/23/11
Charles Driebe, Blind Ambition Management Ltd. 09/22/06
Jeremy Driesen, Ray Bloch Productions 09/07/01
Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of Denver’s Division of Theatres and Arenas 08/23/10
Paolo d’Alessandro, International Solutions 06/25/14
Ros Earls, 140dB Management 02/19/14
Art Edelstein, Festival Productions 12/01/02
Bruce Eisenberg, Audio Analysts 08/31/01
Martin Elbourne, The Glastonbury Festival 12/18/09
Michael Elder, Red Entertainment 03/17/06
Tod Elmore, Sixthman 11/24/06
Paul Emery, Clear Channel Entertainment 11/19/04
Arty Erk, Citrin Cooperman 04/27/16
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock ’n’ Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gélinas, Festival d’été de Québec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Chris Gero, Yamaha Entertainment Group 10/26/16
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Steve Gietka, SMG Entertainment 03/19/14
Darren Gilmore, Watchdog Management 03/17/16
Daniel Glass, Glassnote Entertainment Group 10/16/14
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Neil Goldberg, Cirque Productions 04/16/14
Martin Goldschmidt, Cooking Vinyl Group 09/29/16
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, Turntable.fm 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Andrea Johnson, ICM Partners 11/02/17
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Justin Kalifowitz, Downtown Publishing 04/20/17
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Elliot Lefko, Goldenvoice 09/21/17
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
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, ItsAboutMusic.com 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, Twincloud.com 02/08/02
Michael Wood, City Lights Entertainment 08/08/08
Keith Wortman, Blackbird Presents 03/22/17
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, CultureCatch.com 07/27/07
Jeremiah “Ice” Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
Kevin 'Chief' Zaruk, Chief Music Management 06/10/15
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Jason Zink, Emporium Presents 10/19/17
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06

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