Ellis Hooks, left & Jon Tiven

Industry Profile: Jon Tiven

— By Bob Grossweiner and Jane Cohen

Jon Tiven, a transplanted New Yorker now residing in Nashville, is a triple threat music industryite -- producer, songwriter and musician. With credits that are highly impressive, one of his latest productions, Frank Black's new solo album, Honeycomb, is getting him a lot of notoriety.

Most young musicians grow up wanting to emulate their rock 'n' roll heroes -- Keith Richards, Jimmy Page, John Lennon. Jon liked those guys, but the little names in parentheses below the song --- the writers --- were the people who grabbed his interest.

"I never thought I was much of a singer, but I always had songs of my own going on in my head," Jon explains. "I heard them being sung by my favorite writers' voices like Otis Redding, Sam Cooke, Bobby Womack and Don Covay. If I could make something like that happen, I knew that would be my calling." By the time he reached his 30's that dream would be a reality, and in his 40's he would have the confidence to be reinventing blues and soul music.

"Jon Tiven believes in the greasy groove," states fellow songwriter Dan Penn. "He's a funky fellow, a fine record producer, a writer and player of soul music." Although Jon's best known for writing songs for the premier blues artists of our time -- B.B. King, Buddy Guy and Robert Cray--Jon's career path is now leading him to produce alternative rock icon Frank Black and country artist Marty Brown. "I bring a little extra groove to whatever I do," says Jon, "and I try to stretch the boundaries of whatever form I'm in."

Jon started his career in music as a journalist, initially reviewing for his own fanzine, The New Haven Rock Press, which he started in 1967 at age 12 and edited for five years. As more traditional magazines became intrigued by this young journalist, they called upon him to review for them, and his byline was soon to appear in Rolling Stone, Fusion, and Melody Maker, among others. Although Jon took a stab at college at Yale and Sarah Lawrence, he was not particularly interested in graduating and took a job at Chess Records in 1975 in their New York office, where he took care of publicity and artist relations. Living in New York on his own gave him a thrill, but Chess was in the process of closing their East Coast branch. When they offered to relocate Tiven to Los Angeles, he turned them down and instead moved to Memphis. There he would produce his first record, Alex Chilton's solo debut, as well as play guitar on a Major Lance recording, sign with East Memphis Music, and make some demos as the group Prix, which would eventually surface and land his partner Tommy Hoehn a deal with London Records.

When Jon returned to New York, he licensed the Chilton record to the upstart punk rock label Ork Records and continued his recording career producing for them. He made a solo album under the group moniker The Yankees, during which time he met the young Sally Young, who would eventually become his second guitarist, wife, and later, his bassist and co-writer. Embroiled in a lawsuit with the record label Big Sound Records that released the Yankees record, Jon was enjoined from taking advantage of the group's success, but several artists began covering his songs. He started to realize his dream as an artist who did not have to tour. "I don't drive and that's for a good reason," he explains. "I'm not crazy about riding in cars. Or vans. After about two hours I start getting really antsy, so I wanted to avoid that lifestyle at all costs." Jon would take one more stab at the road as a member of The Jim Carroll Band (Dry Dreams, 1981) and then retire from touring.

Jon was starting to get more and more of his songs recorded and also was thrown into the "Saturday Night Live" entourage, first as John Belushi's guitar teacher and sometimes guitarist, occasionally writing songs with Peter Aykroyd, which Dan Aykroyd would use in the film Spies Like Us, and eventually landing in a group with the comedy team of Al Franken and Tom Davis. The latter would spawn a film based on the group, One More Saturday Night (Columbia Pictures, 1986) which would feature Jon and Sally as actors as well as writers of five compositions.

Shortly thereafter, Jon rekindled a friendship with Don Covay, a favorite artist of his who he initially met in the '70s while he was still a journalist. He, Sally and Covay began a series of all night writing sessions that would spawn a new solo record for Covay (D'ya Know What I'm Sayin, 1991, Island Records, which unfortunately to this day remains unreleased) and a big hit for Huey Lewis & the News, "He Don't Know What To Do For You," later recorded by Robert Cray and Otis Clay as well. The Tivens began playing sporadic performances with Covay, but when Covay had a stroke in the early '90s, there were no more gigs.

However, Jon was getting some fine production work. He produced four sides by B.B. King, was recruited by Shanachie for a series of three tribute albums to great soul songwriters (Curtis Mayfield, Otis Blackwell and Covay), and began writing songs with Dan Penn, Donnie Fritts, Spooner Oldham and Don Nix, which would open the door to his moving to Nashville 10 years later. Jon also took his last stab at being a recording artist with two albums under group names bearing his moniker: Jon Tiven's Ego Trip and The Jon Tiven Group. Although the albums got good reviews, Tiven had neither the time nor inclination to adequately promote the albums in a live setting. Instead he would spend his time producing a succession of contemporary soul albums by Wilson Pickett and Covay that would bring critical acclaim, including Grammy and Handy nominations -- Wilson Pickett's It's Harder Now (Rounder) and Don Covay's Ad Lib (Cannonball) -- and eventually the attention of record labels offering him production deals. He went with eMusic and contracted with them to make seven records over two years. Among the artists he was to produce for eMusic was Ellis Hooks, Syl Johnson, Freddie Scott and Don Nix.

"Ellis is more or less a younger version of the guys I was used to working with," Jon explains. "There's a little bit of Pickett, a lot of Redding, and some Womack in him, too. And even some Robert Plant, Steve Marriott, and Van Morrison in there, but there's a whole lot of Ellis. The guy has his own personality, and it's strong." Jon produced a series of five albums by Ellis which would receive terrific reviews and propel Ellis into a major European attraction, although his U.S. following is not quite as large…yet.

In 2002 Jon and his family moved to Nashville, where he would relocate his Hormone Studios to a more deluxe setting and produce nine albums by artists as diverse as Little Milton, Frank Black, Marty Brown, Ellis Hooks, Steve Cropper/Felix Cavaliere, and Essra Mohawk. He continues to write for other artists as well and collaborate with a host of co-writers in his new setting. Jon's songs have been recorded by Shemekia Copeland, Ricky Fante, Johnny Winter, Tinsley Ellis, and Deborah Coleman -- all since moving to Nashville.

"Nashville is Music City," Jon acknowledges, "and there's a whole lot of folks here besides myself who aren't completely locked into existing formats. I get to hang out with old friends like Dan Penn and new ones like Jack Clement. I like to stretch, and here I can do that. People know I do soul and blues, but I'm as interested as bringing that sensibility to other kinds of records. I'm held responsible for taking Frank Black into the world of the great soul musicians, which blows my mind, and I consider that a major accomplishment."

How did you and Frank Black hook up?
Peter Lubin, who signed the Pixies to their Elektra deal, is someone I went to high school with, so when I was making my Otis Blackwell Tribute album in 1993, I asked Peter if he could put me in touch with Frank --- actually his name is Charles, Charles Thompson -- and Peter was very helpful. I had him do one song on the album, and it turned out so great he decided to do a second, and we really hit it off. I brought a friend of mine, Lyle Workman, to the session. He wanted to meet him, and within a matter of weeks Lyle became his guitarist. Which I guess Charles appreciated as well.

So we stayed in touch. I did a few more tribute albums and when I asked him to participate, he jumped in feet first, and then next thing I know he's asking me to produce an EP in New York. Around that time, we sat down and just talked about music, and he had musical goals in his life, one, of which, was to make a record in Nashville with "The Cats." I had done some writing in Nashville with Dan Penn, Donnie Fritts and Spooner Oldham, and for my money those were the veterans worthy of respect.

A few years later I ended up producing a few records in Nashville, and I got to know more of "The Cats." Charles and I would talk a few times a year, and I'd always put the bee in his bonnet about doing his Nashville album, He would give me a wink and a smile over the telephone as in "all in good time, my good man," so when he called me to tell me that he actually wanted to make this an actuality, it wasn't completely unexpected, but the timing couldn't have been better. For one thing, I had just moved to Nashville in 2002 so that made things a lot easier in terms of the logistics. And I was 10 years older, wiser and better equipped musically and emotionally to deal with a project of this artistic magnitude.

Why is this a project of artistic magnitude?
The artist wanted to take a flying leap at appealing to a wider audience, and he chose me to shepherd him into an area that he felt would be a challenge. Not everybody in the music business is looking for Peter Pan and eternal youth; some of us are open to actually growing older with dignity. And this is a very difficult business in which to do that and maintain a profile, because it's youth-youth-youth that the record companies keep seeking. So he wanted to make sure that he could take on this kind of an adult-oriented record and maintain his credibility, not seem too much of an old fart in the process, but at the same time acknowledge the fact that he was 40, just going through a divorce and singing about it. Who has done that before? Nevermind the clarity, the perspective, and the brilliance he brings to it...and uplift at the same time. This is a record that can change the way people look at their own lives. And dance to.

What makes a good producer?
There are a lot of aspects to producing and not every producer is right for every project. There are producers who do great at creating tracks but have no people skills, and there are producers who can create the right atmosphere in the studio and yet couldn't really talk musical language with the players. Some producers have a light touch and just are able to be around when great music happens, and then there are people who have to play every note on the track and sign their name in indelible ink. And then there are producers who have made the jump from being brilliant engineers. That's not me at all, but that's valid, too.

The producers I initially knew and looked up to were Andrew Oldham, who is absolutely a vibe guy, and Todd Rundgren, who is a brilliant guy who did everything - -the first person I knew personally who could write, play, produce, engineer and handle a self-contained band. I hung around these guys as much as I could when I was a young man because as far as I was concerned, they had done it.

Because I can play pretty much every instrument and write a good song there are projects I do where I'm very involved in the actual creation of the music. I definitely enjoy that, but it's very hard work, like on my Ellis Hooks records or my Little Milton record. With Honeycomb it was much more of a challenge because I had the luxury of not being directly responsible for the creation of the songs, and I barely played on the record, just a little harmonica and acoustic guitar overdubbing. I wanted a situation for Charles where the studio would either enhance the music or disappear completely, where I could create a comfort zone for him and the musicians to do these songs justice. Because as soon as I heard the rough demos of the songs, I knew it was going to be a very heavy record about an emotional turning point of his life, the end of one marriage and the beginning of a new love affair and marriage. I don't think anybody's ever written such an honest account of a divorce and what comes after, but it's never a downer or depressing. I just wanted a record that could live up to the promise of the material, and I think we succeeded.

What makes Honeycomb different from Black's previous solo recordings?
Charles had written a bunch of songs that were brutally honest and direct, and he wanted to make sure that they weren't played like just another batch of songs. He wanted musicians who could really bring some of their own emotional weight to the sessions, and believe me there were enough divorces in that room to keep Marvin Mitchelson working for a lifetime. And the players didn't know exactly what to expect, although I sent them all copies of his last album, Show Me Your Tears, before the sessions and got reactions from the guys like "wow, this is pretty offbeat compared to what we're used to, but I like it, very creative." They all showed up with open minds and open hearts, and every one of them showed Charles amazing respect. Because they knew this wasn't a product of your Music Row mentality where every chord change is a button pusher and everything falls into a standard time signature, there were parts of the songs that had to be felt not read. It had been a long time since these guys played a session like that. We had magic in the studio for those four days; I listen to the record and still feel it.

What kind of pre-production did you and Black do?
First off, I had to put the band together. That was a joy: find your first-choice guys and they all said "yes" with the exception of Levon Helm, who had to put us off as he was resolving some health issues. But Levon came and made the follow-up record with us a couple of months later. I didn't have to twist anybody's arm. They were plenty thrilled to be a part of something well outside of the usual.

Charles called me a month later to do another session, which will be out sometime early next year, and it's a very different record from Honeycomb. We cut all of the tracks initially in 24 hours, and I thought that was going to be the album, but now we're going in again soon so maybe it'll be two discs, I don't know. But that's another album, another story.

Charles sent me demos, and they were rough. Some songs didn't have lyrics, some were just works in progress, but they were all brimming with intensity in a non-Pixies way. I heard "I Burn Today," and I kept telling Charles I thought it needed another section, a bridge in G, and he wasn't seeing it. So the day before we cut it, I sat with him and played him what I thought it should do, which was totally wrong but helped point him in the right direction to come up with what he did. I was happy that he was open enough to make the change, because it provides a lightness and relief to the song that is key to the hope that the song induces. We had no rehearsals. He walked into the studio on day one and everybody played their hearts out.

Some of the best songs on that album were the result of Charles being so psyched-up by the first couple days of recording that he wanted to finish "My Life Is In Storage" and "Honeycomb" so they could make the record. He played them for me a couple of different ways the morning of day three, and I let him know my preferences.

I was very intent on all the musicians putting their stamp on the arrangements, but particularly the guitarists. We had three of the greatest guitarists walking the face of the earth in Steve Cropper, Reggie Young and Buddy Miller, and I wasn't going to let them get off easy. Steve and Reggie had known each other since high school and never cut an album together. I knew that there was a mutual respect there that we needed to tap, and the lick-trading was the culmination of two lifetimes of incredible work.

How did you get to produce the four tracks for B.B. King?
I was at a CMJ party right after the Jeff Healey Band had recorded my song, "River of No Return," and it sold a couple million copies, so I was feeling pretty bold. I ran into Bob Grossweiner and Jim Cowan, who were affiliated with Sid Seidenberg, who at that time managed B.B. I don't know whether I suggested to them or they suggested to me getting the songs to B.B., but they did. Next thing I know, I get a call: "This is Sid Seidenberg from B.B. King's office, and we got your tape." I took a deep breath. "We like the songs a lot, but B.B. doesn't record songs that have already been made into records." I responded that these were not records but demos I had made in my one bedroom Manhattan apartment. "Well, what would you think about producing B.B.?"

It was a little more complicated than that, and it didn't happen overnight, but essentially that's how it went down. I was a little intimidated, so I suggested that my buddy Vernon Reid of Living Colour produce with me, and Sid didn't know who he was but said he'd run it by the record company and see if that was acceptable. This was right in the middle of Living Colour fever, so that became a no-brainer.

Were you satisfied with the results?
The four songs we cut are fantastic and stand up to this day. B.B. hasn't cut anything since with that kind of fire. And energy. We had a great time and B.B. did as well. Originally we were to produce four tracks with the hopes of completing a record, and some people who were a little conservative, got a little frightened that B.B. was "rocking out," which was incredibly stupid, as this was in the wake of the U2 collaboration "When Love Comes To Town," which had been very successful for him. So of the four tracks we cut, only three have been released, and they've been scattered on several different records as not to scare children or small dogs. "The Biggest Crime," which is the best of the four tracks, has yet to see the light of day. There were some other people whispering in B.B.'s ear at the time who put the kibosh on us finishing the album, which was a shame because every time these tracks turn up on a B.B. collection, the reviews all say "What a great and lively B.B. King track!" It would be wonderful to be able to produce an entire album by B.B., because he is one of our greatest talents, but his talent has been squandered on his most recent records.

Who do you want to produce in the future who you have not produced before?
Believe it or not, I'd love to produce Mick Jagger. He's one helluva songwriter and singer and hasn't lived up to his potential because he's always slumming with whoever is fashionable. But I don't know if he'd be willing to put up with a producer who wasn't a yes man. If he was, I could make a record with him that would not only be his best solo album, but could stand with his legacy from 20 and 30 years ago. Keith would thank me it would be so great.

From the same generation, I'd really enjoy producing Van Morrison, but he doesn't need the help, he does pretty well on his own, for the most part. But if he wanted me to do it -- and he and I talked briefly about doing it five years ago --I would drop everything except my pants to make it happen. He's one of my favorite songwriters, and he let me record one of his unrecorded songs, "If You Rock Me," on my second Jon Tiven Group album.

Bob Dylan. What can you say, as Paul Simon calls him, "King of the Jews." He is, you know. If he listens to Honeycomb, maybe he'll give me a call. I could make his Black On Blonde. I think Bob would enjoy making a record with someone with my sense of humor because he's so funny. His film, "Masked And Anonymous," is absolutely hilarious. P.F. Sloan and I watched that and howled.

Of course I'd jump at the chance to produce the Pixies, but that might be hard because the rest of the group night see me as being Frank's guy. I enjoy all of them as people and their musical personalities and could see presenting them in a way that exploits that a bit more, but all of this is a silly supposition because I'm Frank's guy.

Of course, there are a lot of young artists who aspire to make works of great intelligence and taste, and perhaps some of them may listen to Honeycomb and say, "Let's get that Tiven guy!" and I'm completely open to that. I like My Chemical Romance, greatly at the instigation of my 14- year-old daughter Lucy. They're really good songwriters and singers. They remind me of Queen, who are friends of mine.

I just like making records with people who can write, sing and play. I'm not stuck so much in one genre as I used to be. I used to be seen as the soul and blues guy, and now I'm more the guy who brings a soulful sensibility to other genres. So far it's more welcome than trying to rock up a blues record. I'm making a record right now with Marty Brown, who has primarily been known as a traditional country artist, but the record we've made is closer to a Petty/Springsteen sensibility and it's very powerful. He's brilliant, and I'll work with anybody brilliant who isn't intent on driving me crazy.

How have the changes in the music industry during the past 10 years affected your work?
I've sort of a strange way of looking at the record industry because I don't feel that connected to it. I don't go round to the labels looking for work. I'm way under the radar, and they only notice me when my records are in their face enough to not ignore me. I'm optimistic that someone like myself, who doesn't actively seek to either follow or create trends but just create the music that I feel I can, can at least survive in an industry where niche music is respected. That's a good thing. The decline in sales is very unfortunate, but perhaps when the people who run these labels figure out that people really want to buy music of substance, they will call upon me more often. Andy Lack, do you hear me?

Why did you move to Nashville?
I'd been in New York for 27 years, and when I first started, I could go down to Bleecker Street and see Otis Blackwell perform or I could stumble upon Bob Dylan woodshedding his material, then hop over to the Bowery and see Television or the Ramones. Those were vital days. As I found fewer opportunities to experience these kinds of musical moments, my ties to New York became looser.

I remember when Ed Koch said that people making less than $50k a year shouldn't live in New York, the handwriting was on the wall. "What the fuck am I doing here?" How long ago was that? After three or four administrations in power intent on bringing money to New York at the cost of depleting the artistic community, I felt there was less and less to make me stay in New York. My last big artistic endeavor in New York was meeting Ellis Hooks, a great soul artist from Bayminett, Ala., who also thought New York was the place to make it. I couldn't get him a record deal until I left town. When we hooked one, it was with a New York label. So go figure.

I made several records in Nashville and always enjoyed myself there/here, so when 9/11 happened, I got the hint that we New Yorkers were all collateral damage. I started investigating other cities in a hurry. I called Marshall Crenshaw and Graham Parker and said, "How's the music scene in Woodstock?" and they said, "What music scene and the weather's shitty," so that was out. I called Dan Penn and said, "Are the Saudi's bombing any of your high rises yet?" and he said, "Not that I'm aware," so me and the family got out of Dodge in a hurry. It was one of the best things I've ever done.

Why are you affiliated with BMI and your wife Sally with ASCAP?
Sally and I write most of our songs together. If somebody from BMI or ASCAP makes a mistake, and you're both with the same company, how would you know? I've always seen that there were advantages to both companies, and this way we can keep them honest. I've tremendous relationships with people at ASCAP and BMI, and I get the best of both worlds this way.

As a songwriter, do custom your songs to an artist you pitch them to?
I pretty much write what I feel, period. I write the best and most original songs I can and then try to figure out who would sing them.

As a writer, producer and musician, which is your preference?
Writing is very natural to me as I can do it on a variety of instruments, including the typewriter. For some of my collaborators, I strictly write lyrics, which is a challenge. Some people I write with in the same room, we sit around and bang on guitars until we come up with something which sounds like music. And then there are artists who like me to send them a track and they lock themselves in a room with it until they turn it into a song. All of these scenarios are very fulfilling to me. Producing is often an extension of the writing, so it's hard to differentiate. With Frank Black however, it is a far different experience. Lording over a Frank Black session is about the most wonderful experience a producer can have. It's like the instrument I play is my opinion, and I only have to toot every once in a while because the music answers the musical question "Is this great?" with a resounding "yes" so frequently.

Playing an instrument -- any instrument -- is a great way to express my feelings. I think all of these work together. I don't think I have to choose, because when the phone rings in the music business you can never tell which guy they're gonna need. It's heavy on my head, but I'll continue to wear three hats, thanks.

First concert attended
Tommy James & the Shondells, Sam the Sham, Royal Guardsman & Keith at the Oakdale Theatre in Wallinford, Conn., in 1966.

First concert worked
Big Star at Max's Kansas City in New York in 1974. I played guitar.

First industry job
Published New Haven Rock Press.

Career highlights
1970's: playing on the Rolling Stones' "Jiving Sister Fanny" on Metamorphosis and Major Lance's single, "I Got a right to Cry" b/w "You Keep Me Coming to You";
1980's: teaching John Belushi guitar and gigging with him, playing in the Jim Carroll Band, playing and writing with Don Covay;
1990's: producing B.B. King, Don Covay, Wilson Pickett -- all singing songs I wrote or co-wrote, writing gold songs for Huey Lewis & the News ("Don't Know What to Do For You"); a double platinum single for Jeff Healey Band ("River of No Return") and a triple platinum single for Ian Moss ("Mr. Rain"); and 2000's: producing Frank Black, discovering and producing Ellis Hooks, producing Marty Brown.

Career disappointment
Bringing Arthur Alexander out of retirement and then getting the elbow from the record company.

Greatest challenge
Holding my temper when people insult me.

Best business decision
Not to sing or drive.

Best advice you received
The speed at which you go up is the speed at which you go down.

Best advice to offer
If you want to get rich quick, the music industry isn't the best way to that end.

Most memorable industry experience
Playing guitar onstage with Don Covay and Ron Wood at Woody's on the Beach, Miami Beach in 1989.

What friends would be surprised to learn about you
I don't drive.

Industry pet peeve
Tunnel vision.

Office paraphernalia
Guitar tuner.

If I wasn't doing this, I would be...
...rich but unhappy

Industry mentors
Jonny Podell, Dan Penn, Andrew Oldham, Steve Cropper.

Jon can be reached at: 615.385.0830; email: jontiven@comcast.net

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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
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Justin Kalifowitz, Downtown Publishing 04/20/17
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Elliot Lefko, Goldenvoice 09/21/17
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Música e Cultura 05/04/17
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Paul Reed, Association of Independent Festivals (AIF) 06/14/17
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Jack Ross, APA Canada 09/07/17
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, ItsAboutMusic.com 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Peter Shapiro, Ideal Entertainment 04/16/04
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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