Industry Profile: Larry Weintraub

— By Bob Grossweiner and Jane Cohen

Larry Weintraub, the 33-year-old former vice president of Artist Development/Artist Relations and A&R at A&M Records, spent eight years at the label, where he was instrumental in developing the careers of Sheryl Crow, the Gin Blossoms, Blues Traveler, Soundgarden, MxPx and Dishwalla. He is still passionate about artist development and has created a new venue for himself and partner, Terry Dry, another A&M alum, called Fanscape.

Not unlike many of his industry peers, Larry Weintraub got involved in the music industry while still in high school. At Santa Monica High he started managing bands and put on his first show at the school's Greek Theatre. He went on to manage more local bands in San Diego while he was at the University of California, San Diego (UCSD), where he booked shows for the campus for over three years. Among the bands he booked and promoted were Jane's Addiction, Crowded House, 10,000 Maniacs, Soundgarden, Replacements, Squeeze.

Larry's experience in the music industry encompasses nearly every area including marketing, sales, artist management, production, recording, radio promotion, advertising, and merchandising.

Simultaneous with his A&M employment, Larry was operating a personal management company that oversaw such multi-platinum clients as Korn, the Offspring, and Social Distortion. Larry co-founded Fanscape in 1998 to focus on the need to handle the mail order and fan club businesses that artists rarely have time to develop. As a former artist manager, Larry was frustrated by his own lack of time to focus on these areas. Spotting a large void, he created Fanscape after the closure of A&M Records following Seagram's purchase of PolyGram.

Larry is the two-time recipient of Pollstar's Artist Development Executive of the Year Award, voted on by his music industry peers. He has a degree in Economics from the University of California, San Diego.

Describe Fanscape
The service that Fanscape provides is called Fan Management. When my partner Terry Dry and I started this company nearly three years ago, our goal was to build a company that truly connected the fans with the bands. We both come from Artist Development backgrounds and we spent years trying to help bands keep track of their fans on the way up. We'd give them mailing list sheets, or mailing list cards, and these things would come back and no one would enter them. So, Terry and I started helping bands keep track of these fans and then responding to them. It sounds like common sense but most bands, managers, and labels just can't focus on this. So, we started the company to do just that.

Now we have numerous clients that we assist with this service. Some of our clients are multi-platinum artists and some are just starting out - A Perfect Circle, Smash Mouth, Lit, Eve 6, American HiFi, Sum 41, A*Teens, Weezer, 311, Craig David, Sunshine Anderson, Doyle Bramhall II, and Sheryl Crow.

We're hired by labels, bands, and managers, to manage their fan bases, and to utilize grass roots marketing techniques to inform the fans about new releases, songs on the radio, tour dates, and every other event that an artist is doing.

While at A&M, what was your relationship with booking agencies like?
I had a really good relationship with almost every booking agency. The great thing was that I started at A&M as an assistant. My best friends in the early days at A&M were assistants at many of the agencies. So, a lot of us basically grew up in the business together.

I learned some lessons the hard way too. The main one being, don't do the agent's work. I used to get really caught up in helping our bands. I'd route tours, talk to promoters about availability of their rooms...Not a good idea! A good slap on the hands by a veteran agent set me straight.

Part of the art of working with an agent is getting them to respect you. Many don't like the record companies for obvious reasons. No one likes to get hyped on a project that doesn't stand a chance. You have to be honest and then stand by the artist and the agent. I felt like I built many a strong relationship because of my honesty.

Do you think you would ever get back into managing?
Yes. I actually do some now. Managing is in my blood. I've been doing it for over half my life. I've been lucky in my life to have managed some of the biggest acts in the world. But it's the development process that I love. The two bands I co-manage with my partner, Jillian Newman, are small bands with great loyal fan bases. There is nothing more exciting than watching the band you manage sell out small rooms all over the country. It's like watching a career blossom right in front of your eyes.

Will record companies and promoters ever close their gap?
Well, I think they did for a while and now it might have opened again. That's just because it's really hard for labels to focus on the touring world. They are generally geared towards selling albums. They don't make any money selling seats, just albums.

There was a time when we had budgets to really fund tours and work with promoters on advertising and retail tie-ins. Now those funds are tighter and the artist development departments are spread too thin. My goal at A&M was to make sure that every promoter knew who to call at our label when they needed information, tools, or help. We were focused on breaking bands from the ground up. You won't find too much of that any more. It's sad, but it's all an offshoot of the state of the business.

How do you feel about record companies these days?
If you want to be a huge artist, generally you need the backing of a major record company. Why? Because it is incredibly expensive to get a record on the radio and to get the right price and positioning in retail. For a band to have a hit record on the radio and in the stores, that's an investment of at least $1 million. And that is VERY conservative, it's usually several million. Are there exceptions? Sure. But generally that's what it takes.

Major labels have huge overhead and require huge funds to break artists. Plus, they are owned by major corporations, which need to show growth every quarter, and every year, which is very difficult in an artistic environment. Thus, when people consider them machines that don't develop artists, that's just an offshoot of those huge expenses and structure. Are they evil? No. They are what they are. If you are a band and you want to be signed to a major record label, then you just have to know what you are in for.

The flip side to that is the independent label. There are some really good independent labels out there. These labels often find a niche and learn to market and service their core buying audience. The upside - you get attention and the opportunity to tap into a set audience. The downside ñ low funds mean small chance of major stardom.

What was your master plan in trying to create your department at A&M?
A&M had a great reputation for Artist Development. Though it wasn't always an actual department, there were amazing people at A&M who had basically nurtured artists since the birth of the company. Bob Garcia was the man behind the Police, Styx, and Supertramp long before I got there. When we created the Artist Development department, we did the same thing for artists like the Gin Blossoms, Blues Traveler, Sheryl Crow, and Soundgarden.

Basically, Artist Development was the department that was in charge of handling all the artists that no one knew what to do with yet. It was our job to give them a place to start, or focus on, until a buzz was created and the other departments at A&M could take a story to radio, press, and retail. Much of this was focused around touring. That is usually the way we started new acts, by putting them on the road.

There was no master plan. It was just my personal goal to know every concert promoter, independent retailer, and radio station programmer in the country. I needed to tie them all in to every project we were working on. If the Gin Blossoms were going out on the road, I needed to make sure that their full potential in the market was realized. I needed to coordinate with the promoter to get the ticket price low, and support the date with advertising, and promotions. While they were in town I needed them to visit at least one retail outlet, if not many. And, if possible, I needed them to visit a radio station to do an acoustic performance, or interview. This needed to be done with several bands in multiple cities constantly. Not to mention the most important part, which was to make sure the A&M field staff was adequately prepared with all the relative information for these events.

All I wanted was for A&M to be the best. I never wanted a promoter to claim that they didn't know who to talk to at A&M. I never wanted a band to feel unappreciated. I think we did a good job.

How do you feel about the promoter consolidation?
To me, it's always been about the relationship. I think the world of Paul Tollet at Goldenvoice. If he's being consolidated I don't care. As long as I can work with Paul then I know my artists will be taken care of. Same is true with many of the promoters out there. I'm sure the bigger picture is scary, but I've always been focused on developing artists as opposed to major artists. So, I need to know that the promoters I'm working with can fill the club or the theatre. If promoters become like major record companies and can't focus on the developing business then that could be a problem. But if that happens, then there will be plenty of small promoters that will move their way up, just like independent record companies.

Do you believe there will be a managerial consolidation?
I don't think so. I do know this - there are very few great managers. This is unfortunate but true. The good ones will continue to grow, and in order to grow they will need to hire more managers to expand their companies. To some extent this is consolidation, but not like one company gobbling up another, more a natural growth of a successful company.

What's your reaction to the Napster ruling?
I'm really disappointed in this. Napster is one of the best things to come to the music business in years. It shook up the business, which was overdue. Basically, while all the major record companies battled over who should control what, a 19-year-old kid came up with a music distribution system that 70 million people wanted to use. Now, instead of the music industry saying, "Wow, let's utilize this amazing new format to distribute music, break new artists, and provide new revenue streams to our bottom lines..." they decided to shut it down instead. I don't understand this.

Do I think it is right to give away music? No way. Do I think artists have the right to control how their music is dispersed? Of course. But I also think that a user base of such huge proportions was perfectly set up for the first true music subscription service. See, you can control Napster. Napster sits in one place and gives people the opportunity to trade music. You can charge for this service. Napster was easily on pace to have 100 million users by the end of the year.

If one-fifth of them - 20 million - stayed around when it went to a $5/month subscription price, then that would mean a revenue of $100 million / month and $1.2 billion in the first year of business. Split that up with the artists and the labels and there are hundreds of millions of dollars that don't exist right now. Think about what that could do for labels and artists. I don't understand how you don't give this a shot. It was a gift. Tens of millions of people were already sitting in one place Ö do you know how long it takes to build and manufacture something like that? Imagine the advertising dollars that will have to be spent by the record company versions to build their subscription environments.

Now comes the bigger problem. You strike a big blow to Napster and what happens? Tons of little Napster's start showing up. File sharing networks that don't sit in a central area but on each user's individual computer. How do you shut that down? How do you monetize that? You can't. Basically file sharing will continue and the record companies will have a hard time capitalizing on this.

Favorite industry memory/experience
My favorite memory was standing on stage at Woodstock in 1994 while Green Day was playing. Everyone in the crowd started throwing mud on stage and it turned into this huge mud fight. Billy and Mike from the band were sliding all over the stage and having an amazing time. I was crouched in a corner wearing a rain poncho loving the spectacle and trying not to get pegged with a dirt clod. Ahh, good times.

Best business advice received
I can't put my finger on one specific bit of advice, but I can say that I've had the opportunity to work with some of the smartest music people in the business. I have tons of respect for people like Bob Garcia, Larry Butler, Jim Guerinot, Marc Geiger, all of whom have given me tons of advice over the years.

Industry trends you foresee
The Napster situation should show us all that the power of this business is really in the hands of the public. We've lost sight of what the fans want, meanwhile they tell us every day. Whether it's on the Internet or in a nightclub, we will soon spend a lot more time listening to the public.

Business advice to share
To the artists I say, do it yourself. Make your own albums, book your own shows, design your own t-shirts. Don't expect others to do everything for you. You'll be let down every time. If you know the business then you'll have a better chance of not getting burned. And take your time, there isn't a hurry. Find your audience and nurture it. Your fans will stay around a lot longer if they feel like you care.

To the frustrated industry executives, take a chance. I did. If you work for someone else and you aren't happy then you have no one to blame but yourself. If you've got a good idea, give it a shot.

One more thing - work hard and treat everyone with respect. Sometimes the business doesn't feel like it rewards people for this, but trust me, it does.

First industry job
I managed my first band and promoted my first concert while I was in high school in Santa Monica. My first real industry job was also in high school. I worked at a record store in Westwood, Calif. called Music Plus. I started as a clerk and worked my way up to assistant manager before I went away to college.

Best business decision
Going to work at A&M right out of college. I had opportunities to go into concert promotion, merchandising, and booking. I'm very glad that Jim Guerinot plucked me out and taught me the record company and artist management business.

Worst business decision
I'm sure there are a ton, but I can't remember what they are. I've been very lucky.

Greatest challenge
Starting my own business. It always sounded like a great idea to start my own company, but you never really understand the challenge of paying the bills and keeping employees happy until you do it. But it's working, so I feel like it is all paying off.

Outside of music, what's your passion?
Well, anyone who knows me knows that I'm a die-hard Los Angeles Clippers fan. I inherited the company seats for the Clippers when I was at A&M. Herb Alpert and Jerry Moss, who founded A&M, bought season seats right on the floor when the Clippers moved from San Diego to Los Angeles. Over the years they got handed down, until they finally reached me. I've been going to Clippers games for about 10 years. There was a time when I couldn't give those seats away, now my phone is ringing off the hook. We've finally got a great exciting team and I've got the best seat in the house.

Industry pet peeve
People that work in the music business that don't love music. I've seen too many. Once you forget why you got in this business then it's time to get out. Music is one of the best things in the world. It sets moods, conjures memories, and provides the soundtrack to our lives. We're very lucky to work in this business. We should never forget that.

Larry can be reached at 323-851-3267; e-mail: larryw@fanscape.com.

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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
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
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
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
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
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
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
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Larry Lieberman, 4EverWild 03/28/03
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
John Meglen, Concerts West/AEG Live 02/21/13
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
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
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
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
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
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
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
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
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
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
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
Tamara Saviano, American Roots Publishing 07/22/05
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
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
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
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
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
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
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
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
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
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
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, CultureCatch.com 07/27/07
Jeremiah “Ice” Younossi, A-List Talent 09/20/09
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
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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