|Sam Feldman (l) & Bruce Allen
Industry Profile: Bruce Allen & Sam Feldman
By Larry LeBlanc
This week in the hot seat(s) with Larry LeBlanc: Bruce Allen & Sam Feldman
Given the long history between Sam Feldman and Bruce Allen, partners in Vancouver-based A&F Music, it is surprising the two have never sat together for an extensive interview.
But this relationship has at times been stormy. Since 1979, in fact, the two have operated from separate offices in the city.
“It’s as good as it can be between us now,” Feldman says. “It’s been almost 38 years.”
Bruce Allen Talent—like S.L. Feldman & Associates, is a division of A&F Music. Over the year, Allen has taken four Canadian acts, Bachman-Turner Overdrive, Loverboy, Bryan Adams, and Michael Buble from the ground up to global success.
As well, he has brokered a sizable country career for Martina McBride, and reignited Anne Murray’s career. He also manages leading Canadian producer Bob Rock
With more than 70 employees in offices in Vancouver and Toronto, S.L. Feldman & Associates has a towering presence in entertainment.
As Canada’s largest full-service talent agency, it represents over 200 artists, ranging from Avril Lavigne, Sarah McLachlan, Jann Arden and Nelly Furtado.
S.L. Feldman & Associates has various divisions, including Music Supervision Services, Watchdog Management and, notably, Macklam/Feldman Management which oversees the management of the Chieftains, Joni Mitchell, Diana Krall, Norah Jones, Elvis Costello, Ry Cooder, Tracy Chapman and others.
As well, it has an interest in Characters Talent Agency.
Prior to Feldman and Allen teaming up in 1972 under the umbrella booking firm Bruce Allen Talent Promotions (that became A&F Music), Allen had managed local club acts Thin Red Line, Five Man Cargo, and Crosstown Bus.
Feldman had worked for a Vancouver booking agency, then booked Uncle Slug and Sweet Beaver on his own, managing the latter.
When Allen and Feldman began, there was just two of them, and a part-time receptionist.
In 1979, Feldman began running the booking division—renamed S.L. Feldman & Associates. At the same time, he had considerable domestic success managing Trooper, the Headpins, and Doug and the Slugs.
It was Allen, however, who had the high-profile management triumphs: Bachman-Turner Overdrive followed by Loverboy, Red Rider, Prism, and Bryan Adams.
Not everything Allen and Feldman have touched has turned to gold.
With several partners, the two launched Penta Entertainment in 1988, with a label, Penta Records, distributed worldwide by Elektra/Asylum/Nonesuch. After several unsuccessful releases by Raymond May, and Paul Laine, it was folded within two years.
Feldman's scope expanded globally in the mid-90s with his management joint venture with Steve Macklam who had earlier managed Canadian bluesman Colin James. Macklam came with the Chieftains and, soon afterwards, brought fellow Canadian Joni Mitchell into the management fold.
Under Allen’s management, Bryan Adams is Canada's most successful international pop star—period. His career has spanned three decades, 15 albums and worldwide sales in excess of 65 million albums.
Despite declining U.S. sales in recent years, Adams has maintained his international sales base, particularly in such markets as the Pacific Rim and the United Kingdom. He is known in countries where other western rock acts have seldom, if ever, performed.
As well, Allen has deftly guided the global career of the Canadian contemporary crooner, Michael Buble.
Edgar Bronfman, Jr. [Chairman and Chief Executive Officer of Warner Music Group] recently announced that any new acts coming to Warners will have to come in on under a 360 deal.
BRUCE: So I guess we won’t be starting any acts with Warner Brothers.
SAM: Universal is doing (360 deals) too. What the labels are doing is a continuation of cutting their own businesses off at their knees. They are going to force managers who are on the fence about digital distribution business to do those things. A lot of artists just won’t do these kind of deals.
Labels don’t supply the kind of infrastructure or services to deserve that kind of grab of the income stream.
In a sense, it’s easier for us to back into their business than it is for them to back into our business. Artists also have to have an advocate; and a corporation can’t be an advocate.
Are the labels today too thinned out to be effective?
BRUCE: (Cutbacks at labels have) forced us to staff up. We now have marketing people and radio people. People we never used to have before. We would rely more on their resources.
The record companies are still at their best as distribution pipelines. They still have money to invest in acts. They can profile artists better than anyone. I have a lot of friends at record companies. I enjoy working with them. Record companies have been slashed back and what is left are some very good people. [Sony Nashville head] Joe Galante has a wonderful staff. Diarmuid Quinn is a top guy at Warner Brothers (in Burbank, California). David Joseph, who runs Universal UK, is fantastic. All I am working with is good people. I’m not working with idiots or a bunch of punks who were assigned to me.
SAM: I’m not too sure about the 360 deal. The labels either have to provide these services or they have to provide a lot of extra money to buy those income streams. You can count on two hands, if you are lucky, the number of managers today that can do the job effectively. This is a very unique skill set. It is just not like you can have a corporation and appoint a manager. Nor can you have a corporation appoint an agent. It’s a Moroccan Bazaar and artists need an interpreter. We are the interpreters, and we are the artist advocates.
BRUCE: The record companies are looking for people like Sam and I. People that they can work with. Get that synergy working, and you can still do a pretty good job. Can you sell 26 million records? Of course, not. But you can get your act established, get them to be a live act, and get them a career with the record companies involved.
Bruce, you and Nettwerk Group CEO Terry McBride are friends but your views differ on the music industry
BRUCE: We are 180 degrees apart in lots of way. Terry, at best, is ahead of the curve which, to me, is worse than being behind the curve. I am still a believer of the record company system. I know it’s broken. I know it may never be fixed. But it is not dead yet. I still use it, and it has helped me tremendously. I broke Michael Buble. I could not have done that with Terry’s model. I had to do it with a major.
So you don’t buy Terry’s model of acts as independents?
BRUCE: The big thing in the industry now is being independent, independent, independent. The majors are old school. Fuck you! The majors have done some things that have been, maybe questionable, but I enjoy working with them. I enjoy the people they have on staff.
Independents, all I see with them is that they go to the majors for distribution. Nobody has sold as many records on the internet as they have with traditional CDs. I think there is still a spot for the record labels.
Sam, do you have the same view?
SAM: I agree. But it is more difficult for an artist who doesn’t have a profile to get the majors to do all of the things that Bruce talked about. It is really tough.
Bruce can make demands of a major with a commercial act like Michael Buble. With Ry Cooder, you can’t necessarily do that. Do you instead look for a boutique label or another distribution partner for that type of artist. Even with Joni Mitchell.
SAM: Absolutely, there’s been a lot of controversy about Starbucks putting music in the shelves. Whether they should or shouldn’t or if they care enough about music. I don’t care about anything of that. All I care about is that Starbucks gets people buying coffee, and if there’s a CD on the counter, there’s a good chance that people might buy it.
For Joni, the deal with Hear Music [a Concord/Starbucks affiliate], was fantastic. She sold more records than she’d sold in 17 years. A lot of people got to hear her music who hadn’t before. For Norah Jones, maybe, it wouldn’t be a great thing. Maybe it would be. It just depends on the artist and whatever a label can do for you.
BRUCE: I’d love to do a 360 with Disney [The Walt Disney Company] because they can bring something to the table. If I ever had the right act, I’d go there. That’d be a 360 deal that works.
Would you do a 360 with LiveNation?
BRUCE: No. Who’s going to market the music? They are a touring company. They aren’t going to staff up with 90 people to sell records. They will have Warners or Sony as a distributor instead.
Two decades ago, a Canadian wouldn’t have had the chance to manage Martina McBride. At best, her manager would have been from Nashville or from Texas. Is it a source of pride what has happened in her career?
BRUCE: I have a lot of pride in her. I was not well versed in country when I started with her but I think I am now. Her husband (John McBride) has been a great help. He’s very active in her career. It’s a little team we have that has done pretty good. I don’t have 10 country artists. I have one. That’s enough for me.
I am surprised that Shania Twain hasn’t knocked on your door.
BRUCE: I had a meeting with Shania Twain but it didn’t work out. We are still friends. It was a different deal than what I would take.
Has Anne Murray retired as she has hinted at for years?
BRUCE: If you talk to Anne today, she probably will not tour again. She wants to take time off, stand back, and make sure she wants to do it again. If she doesn’t, she’s gone out on a high note. She is starting to work on a book that we will hopefully have out by October.
Sam, you just signed Tracy Chapman. What attracted you to her?
SAM: Why wouldn’t we? She’s a great artist and she certainly fits into our mode. Her first album sold 17 million. Steve saw her in Europe and he was just raving about her live show. I flew to San Francisco to find out what I was dealing with. It turns out she’s really sweet, really thoughtful. We just thought that this woman needs some help.
It’s clear from our roster that we are just not looking for the next big thing. If it comes along, fantastic. But we still have the same philosophy we had when we took on the Chieftains. Let’s hit some doubles. I feel good working with artists that if every radio station went off the air tomorrow our artists would still be working and doing very well.
Would you work with a commercial pop act?
SAM: I would never say never. I am not an anti-commercial guy. Our Watchdog Management division is a pop division (with Hedley, Jon McLaughlin, and A Fine Frenzy). There are probably certain people I wouldn’t want to work with but I’m not snobby about it.
What is an artist’s definition of success today? Success might mean having a great recording and live career. Or it might mean making great music and being able to work on a more limited scale.
SAM: Artists are all different. Ry Cooder is going to Europe with Nick Lowe this summer. We are being told he can do 10,000 and 20,000 people a night in many places. People are standing by with cheque books in hand. Ry will not work a venue bigger than 2,000 seats. Come hell or high water. He feels that he cannot connect with a bigger audience, and that the sonics won’t be right. That’s just the way he is.
How do you and Steve Macklam handle day-to-day management?
SAM: We try to figure out who can push the buttons of people we need to motivate. Steve is more hands on day-to-day with a number of the artists. But we cross over a lot. It depends on what the function is. If it is setting up the marketing (of an album), we probably both do it. If it is a tour, we’ll both do it. If it is a re-negotiation or signing with a record label, we’ll both do it. We are both on the road a lot, Steve a bit more than me. He covers Europe and South East Asia more than I do.
Bruce, you used to shake your head and ask, “How can Sam make any money from these (artistic niche) acts?”
BRUCE: I sometimes still shake my head at things that Sam does because I wouldn’t do that. I couldn’t do it. But he knows how to do it. Sometimes too, I sit there in wonderment, and go, “Wow.” But Sam is a real musical guy. He has very eclectic, very weird tastes. I can’t deal with those types of people.
Well, you did manage (Cajun star) Zachary Richard years ago.
BRUCE: Sam does it better than me. He’s got a great bedside manner. I don’t have that.
SAM: It’s funny that our basic DNA comes through. In the beginning Bruce had Crosstown Bus, a commercial top 40 band. I managed Uncle Slug that was led by this SDS (Students for a Democratic Society) radical with a bunch of draft dodgers. Trooper was more mainstream but my musical tastes have always been more towards blues, R&B and original music.
What happened for me on the management side was Steve Macklam walking in and asking, “Do you want to manage the Chieftains together?” I felt that was a good idea because they are so collaborative. We could network out from that and build the (management) business.
The Chieftains are a group that doesn’t get radio airplay but is always working.
SAM: I’ve never been crazy about having a pop act, spending 18 months in the studio and being stroked by the A&R department before being switched over to the radio promotion guy who says, “I really don’t like this” or “You aren’t giving me enough money (to promote your record)” Then bang, being gone.
With the Chieftains, I thought, “Why don’t we just hit a couple of doubles?” The Chieftains can sell out theatres. We can build everything up. Macklam came up with the idea for “The Long Black Veil” album in 1995 with the collaborations with the Rolling Stones, Ry Cooder, Sinead O'Connor, Sting, Van Morrison and others. That took the Chieftains up a whole bunch of notches.
Then, with (Canadian singer/songwriter) Sarah McLachlan coming up, I said, “Why don’t we do a (Canadian) subscription seat tour throughout the summer (of 1995) with Sarah?” That was a win/win for everybody.
We really advanced the Chieftains’ career significantly and, in the process, we met a lot of people. We were in Japan, and there’s Joni Mitchell. Lucky us. Steve had known her, and we started to manage Joni. We spent a year getting to know her. Of course, that was a big signal to a lot of people. Then there was Diana Krall, Norah Jones and on and on.
Picking up Norah Jones in 2002 on the eve of the release of her first album “Come Away with Me” was a lucky break.
SAM: Bruce Lundvall [Blue Note Label Group president and CEO] sent over her album. It was amazing. Before the first song was over, we were talking about how to get involved. It was just that good, although you would never have guessed it would get such radio airplay or sell 22 million copies. As if anyone is ever going to do that again.
While Sam and Steve developed Norah Jones and Diana Krall internationally in recent years, Bryan Adams was one of the first artists from North America to have a global career.
BRUCE: Bryan Adams himself was a big driving force about going to break Europe in 1983. He knew about that market from living there.
You weren’t happy about Bryan touring the UK and Germany then with Tina Turner when you and A&M were trying to break him in the U.S.?
BRUCE: I wasn’t thrilled about it at all. I had a record company jumping all over me about going there. I had (A&M co-founder) Jerry Moss telling me that if we went and did all this European touring with Tina Turner I might as well kiss Bryan’s career goodbye. When a guy like Jerry Moss says that, you listen to him. But we held firm, and it worked out. It was a dangerous game for me because getting America then was very important.
Bryan Adams is a global star today but, ironically, his weakest market is the United States.
BRUCE: Absolutely. It something we are addressing. Our commitment is to work in the U.S. for the next six months. Bryan came up with this idea of doing solo shows. It has taken away the thing of him being a pop star or the romantic balladeer or whatever people wanted to pigeon-hole him as. To see Bryan onstage at the Ryman Auditorium in Nashville, Tennessee with an acoustic guitar and talking about where all of these songs came from, is thrilling.
Anyone who sees the show loves it.
You both want the U.S. market back?
BRUCE: I do. At one time, I was more driven about it than he was. But he’s now found a way where he’s comfortable (performing) there. We stayed away from the three band packages, with REO Speed Wagon, Journey, Heart or whatever.
But Bryan would love to get a song on the radio.
BRUCE: That’s true. There’s no doubt that is his goal. But artists of his ilk and with his history aren’t considered (by U.S. radio) anymore. Everybody wants to play something new. Bryan Adams, John Mellancamp, and Bruce Springsteen are from another era. Radio is hard for us in the United States. But Springsteen doesn’t get any hits from U.S. radio either.
Bruce, when Bachman-Turner Overdrive broke in 1973, I recall that you didn’t have that much experience working in the United States.
BRUCE: I had minimal experience. Just booking clubs with bands like Five Man Cargo and Crosstown Bus. Some American agencies would help us out by giving us dates here and there. We’d go down to Portland or to Chicago. So when Randy Bachman came to Vancouver with Brave Belt (that later became Bachman-Turner Overdrive) and wanted to make a management deal, I felt he knew a hell of a lot more about working in the United States than I did.
Bachman-Turner Overdrive kick-started the rock era in Canada from Vancouver.
SAM: Ontario had a mini-star system because there was a population base to support it. A band from Vancouver didn’t have that. (To work with bigger audiences) they had to cross the Rockies or go south. So BTO was doing a different style of rock and roll. In Ontario, you had a lot of Rush clones.
Brave Belt came to Vancouver because you and Bruce could work them.
SAM: There was a nightclub circuit in western Canada that we were tied into that enabled us to work talent and build the booking roster.
BRUCE: When we started there were 18 clubs in Vancouver playing music. In every one of those clubs there were bands playing some original music buried amongst the hits of the day.
Bruce Allen Talent was the only game in town for years. You had everything, the one nighters, high schools, all tied up.
BRUCE: We had a booking monopoly on everything in British Columbia, period. Bands came here because they could make money. Sam and I had figured out a point where the club made money, where the band made money, and everybody was happy. We didn’t have any competition. But we never got into price gouging or selling bands out cheap just to get a commission. We had a nice thing going until the music changed. Disco came in, and everything changed. But for years there was a really healthy scene here because we dominated the market.
In 1972, you made a booking alliance with Tommy Wilson’s Concept 376 in Toronto that enabled Canadian bands to tour across the country for the first time.
SAM: We made a deal where we would represent all of their talent for western Canada, and they would represent our talent for eastern Canada, insuring that artists would have an agent on the ground in both territories to look after them.
BRUCE: Sam would go out of his mind when he would deliver bands for $2,500 for a week in Vancouver, and our bands would get $1,000 a week in Ontario.
Did the success of Bachman-Turner Overdrive change your business?
SAM: BTO was seminal because they happened quickly and Bruce began to spend much of his time on the road with them. But we didn’t want to give up the agency business; it’s a good business. So I continued to develop the agency, and Bruce developed the management side.
Didn’t you try to follow Bruce by managing Trooper and then Doug & the Slugs?
SAM: Totally. The plan was to have this agency and to manage. Neither one of us got into this business to spend our lives booking clubs. It was just a means to an end.
The first band I managed, Uncle Slug, did original blues. When the draft dodger singer left, they got offered a record deal from Studio 3. The piano player, I think, said “There’s a clause here saying that they might make us put strings on a track.” So they broke up. Then I saw Applejack which became Trooper.
Their 1979 MCA compilation album “Hot Shots” sold over 600,000 copies in Canada. That’s a sensational figure.
SAM: The band sold out coliseums and big arenas in Canada but didn’t break in the U.S. It was a syndrome for some (successful Canadian) bands. It was frustrating. Admittedly, I didn’t have the experience as a manager either.
BRUCE: That goes on today with the Tragically Hip. That’s a Canadian phenomenon.
Bruce, did being on the road with Bachman-Turner Overdrive so much cause a strain between you and Sam and the staff in Vancouver?
BRUCE: The strain was when I came back home. As long as I wasn’t in the office, there wasn’t a strain on anybody. When I came back, I would step into the business, and try to take over. I’d walk in and go, “What the fuck?” It couldn’t work. Sam was put in an untenable position because he was working with these people all of the time. The problem was my own ego or immaturity. It didn’t come from Sam.
SAM: Bruce was like a Green Beret coming home from war while we were all expecting him to calm down.
Sam, you walked out with the entire staff, except for Bruce’s personal assistant, and opened up another office.
SAM: We weren’t getting along. Basically, Bruce wasn’t supporting the stuff I was trying to do. I thought, “I can’t make these things bigger, and make more money if I don’t have the support of my partner.” When I said we should split the company up, Bruce said “Let’s keep it together.” I felt I owed that to him.
Bruce, why not split up the company?
BRUCE: I always believed that the agency was going to be continual. It was going to go on and on. Acts come and acts go. I fought hard to hang onto the agency because I knew that if all of the acts I was managing didn’t like what I was doing and left, at least I had some cash flow coming in (from the agency).
The booking agency was bankrolling the management side as well?
BRUCE: Without a doubt.
Did you two then still trust each other?
SAM: There was always trust on the money. We just had different ways of doing things.
Sam, after moving out did you then concentrate on the booking agency as your core business?
SAM: I focused on all of it. But I was always trying to do management. There was Trooper, Doug and the Slugs, the Headpins, Chrissy Steele and A Boy On A Dolphin.
In hindsight, to be running and building an agency and trying to put the time and effort into managing as well, my odds of success were not good. Management is like pushing a rock uphill. You can delegate more effectively in the agency business than you can in the management business. In management, artists want to you to be there.
When we took over The Agency in Toronto (in the early ‘90s) and became a national company, there was staff that could do a lot of the management of the agency. I’m still involved but not so much on a day-to-day level.
Bruce, by the time Sam left, Bachman-Turner Overdrive had cooled down, and you were working with Prism and Red Rider. What happened next?
BRUCE: I got lucky. Lou Blair came into in the office and wanted some help managing Loverboy. Then Bryan Adams came in. I was lucky. At that juncture, I could have been frozen out (of the industry).
Did the success of Loverboy put you back in the game again?
Bruce, for much of your career, you’ve worked with promoter Don Fox (Beaver Productions) in the U.S., and Carl Leighton-Pope [the founder of the Leighton-Pope Organisation]. Why such long relations with these two?
BRUCE: They understand me. They understand what I want. They are small enough that can really focus on my acts. My acts are very important to their bottom line.
Carl is an extension of me in Europe. He’s on the ground there. He knows everybody there and knows how to get things done.
I don’t think I could have broken Michael Buble through a traditional way in our industry. I needed a guy like Don Fox alongside of me. He is one of the last independent national promoters. He’s really passionate about Michael. Ditto for Adams and other stuff we’ve done together.
Michael Buble has established himself as an arena act anywhere in the world. We are now more in control of his destiny. He has a very bright future.
Because he has had three successful albums?
BRUCE: It is more than being three albums deep. People who came to see him initially thought he was trying to be the new Frank Sinatra, Dean Martin or Bobby Darin. But with his live performances and television appearances, Michael has established his own identity, and all that (being compared) gone away now.
Sam, for your management clients with Steve Macklam, do you have your own contacts? Or do you also use Carl and Don?
SAM: We do a lot of stuff direct with European promoters. I use Don wherever I can (in the U.S.). He’s a great promoter who knows his market, and you get a straight story from him. But because our roster has artists with different agencies in the U.S, we use a different network.
My view is that (having a management team for an act) is like casting. Some agencies, some lawyers and some promoters are right for some acts. Some are right for someone else.
Diana Krall’s next album "Quiet Nights” will be released next year (on March 31, 2009). It is her first album of new material in three years and the first since her having twin sons (with husband Elvis Costello in 2006).
SAM: The album has a South American feel to it. It is a romantic and sensual record. Diana will be touring Europe this summer. I was over at their house the other night for a Christmas carol party, belting out Christmas songs with Diana playing piano and Elvis singing backup.
You can’t beat that.
SAM: What you can’t beat is watching the cover band we got for them at their wedding in England doing Beatle songs and watching Paul McCartney on the dance floor singing along to “Back In The U.S.S.R.” That was really fantastic.
Larry LeBlanc is widely recognized as one of the leading music industry journalists in the world. Before joining CelebrityAccess in 2008, Larry was the Canadian bureau chief of Billboard from 1991-2007 and Canadian editor of Record World from 1970-89. He was also a co-founder of the late Canadian music trade, The Record. He has been quoted on music industry issues in hundreds of publications including Time, Forbes, the London Times and the New York Times.
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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
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
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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