Industry Profile: Seth Hurwitz
By Larry LeBlanc
This week In The Hot Seat with Larry LeBlanc: Seth Hurwitz
Seth Hurwitz understands what many of the big shots in the concert field don’t.
That the concert experience is sacrosanct.
Hurwitz, and his partner Richard Heinecke in I.M.P. Productions, have been independent promoters for over 30 years. They own the 9:30 Club in Washington, D.C., operate the Merriweather Post Pavilion in Columbia Maryland, and promote concerts in virtually all third party venues in Washington and Baltimore. I.M.P. is also the promoter of the Virgin Mobile Festival in the region.
What Hurwitz and his partner Heinecke have achieved, within their market, they’ve got from digging, scrapping with all comers, and paying attention to the fundamental rule of considering fans and artists on their own terms rather than part of a “sausage making” process.
In their partnership, Hurwitz handles the books and the negotiating, while Heinecke handles the marketing and researches bands.
A fellow local promoter marvels how the pair outpaced Cellar Door Productions, (which eventually became part of Clear Channel) the region's dominant promoter in the 1980s.
“Seth had the hide of an elephant and the furious tenacity of a terrier in a rat pit,” says the promoter. “He can be as charming as can be when the situation needs, and as cold-blooded as a swinging meat cleaver when it comes to (negotiating) the money.”
In February, Live Nation president/CEO Michael Rapino and Ticketmaster CEO Irving Azoff were grilled in a 90-minute hearing in Washington, D.C., by the U.S. Senate Judiciary's antitrust subcommittee over the proposed merger of the two giants.
Rapino and Azoff defended the proposed merger, arguing that the U.S. concert industry is in disrepair and overdue for an overhaul. They contended that a combined company would bring new revenue streams to artists that could lead acts to lower the prices of their concert tickets.
Hurwitz, however, was among the independent concert promoters on hand to question the proposed merger. “One cannot blame Live Nation for trying to take over as much of the industry, from top to bottom, as they can, if they are allowed to do so,” he said. “Why shouldn't they try? You can't blame them any more than you can blame a shark for eating people.”
He added, "If this merger is allowed to happen, my biggest competitor will have access to all of my sales records, customer information, on sale dates for tentative shows, my ticket counts and they can control which shows are promoted and much more. This will put all independent promoters at an irreparable competitive disadvantage."
Antitrust officials from more than a dozen states, including Massachusetts, Connecticut, Florida, Illinois and Iowa have since joined the federal government in examining the proposed merger.
A multi state task force coordinated by Pennsylvania attorney general Tom Corbett is conducting the review.
Hurwitz began his booking career at the Ontario Theater working for the late Washington producer and promoter Sam L'Hommedieu, co-founder of Cellar Door Productions. Later, in exchange for booking movies for a new owner, Hurwitz and Heinecke got a chance to use the theater on non-movie nights to book bands. While working to fill the Ontario, Hurwitz and Heinecke branched out to the old 9:30 Club which they purchased in 1986.
During the next decade, artists ranging from R.E.M. to Nirvana to the Red Hot Chili Peppers to Smashing Pumpkins played the club.
On January 5, 1996, after extensive remodeling, the former WUST Radio Music Hall opened as the new 9:30 Club with an appearance by The Smashing Pumpkins. Today, the club is recognized as one of the finest clubs in North America.
Meanwhile, Hurwitz and Heinecke scored their first big show, booking George Michael's "Faith" tour in 1988 at the Capital Centre. By the early 1990s, they were booking the first Lollapalooza music festivals.
In 2004, I.M.P. took over Merriweather Post Pavilion. Once on the brink of closure, it has since rebounded to become a significant concert venue.
Hurwitz is currently looking for a new home for the 2009 Virgin Mobile Festival. The event had been held at the at Pimlico Race Course in Baltimore for the past three years, but the track owners Magna Entertainment filed for bankruptcy earlier this year.
According to rumors, which he would not comment on, Hurwitz is looking at moving the festival to the Merriweather Post Pavilion.
I.M.P. has been tapped by Earth Day Network and Green Apple Festival to help produce this year's Earth Day festivities on the National Mall in Washington on April 19th The event, to be emceed by actor Chevy Chase, will feature the Flaming Lips, moe., Los Lobos, DJ Spooky, and the Joy of Motion Dance Center’s teen hip hop company, Urban Impact. I.M.P. will handle stage management and artist relations.
You are a music junkie?
I play music all day. I am always checking out new music. I am still buying CDs that I can’t get for free. Obscure stuff. People will call and say, “I can’t believe you are listening to music.” That’s like saying to a chef, “ I can’t believe you like food.” The fact that anyone thinks (listening to music) is the exception is basically what’s wrong with our business.
You have played drums onstage for Chuck Berry, the Dixie Chicks, 10,000 Maniacs, Cracker, Smash Mouth, Robbie Williams, Barenaked Ladies, and the Fleshtones. Are you a frustrated drummer?
I’ve never been a frustrated drummer. It’s a privilege having that seat onstage. C’mon, it’s insane. It’s like the time I was onstage with (the late American/performance artist) Spalding Gray. I was sitting there talking to him and thinking, “Wow, this is the best seat in the house.” Playing drums with the Foo Fighters was like getting to appear in my favorite scene of a movie. With Robbie Williams, it was my favorite song “Old Before I Die.” To be able to get up there, and be in the song, was great. But it is a challenge. It is important for me to play well. It’s like getting up to bat. You still have to hit the ball.
As a promoter do you still get a buzz from the concert experience like a fan?
You need to feel to fan. You need to get what a fan feels about the music because they are your customer. I remember the excitement of a show going on sale. Seeing an ad in the paper, waiting in line (to buy a ticket), finding a ride to the show, and then going -- the whole process. Obviously, when I go to a show now, it is far from that, but I never want to forget what that felt like.
Rich and I want to go to our shows and have fun. One of the first things we do when we hire a new production manager—and if he shows up and he’s all very serious--is tell him, “Man, lighten up. It’s just a rock concert. Let’s not forget that.”
I love walking around a concert and seeing people having a great time. When I look out from my balcony at the 9:30 Club, I check the band out and then I really look at the audience. I like the idea we’ve had an influence on their lives.
I loved walking around Lollapalooza where there’d be 40,000 people on a Tuesday afternoon. I was not the only reason why they were there but I was a piece of it. If it wasn’t for me, we wouldn’t have found that site (Merriweather Post Pavilion) Yes, they would have placed the show somewhere else but I happened to put this show on and, therefore, I was instrumental in giving someone this experience they would remember for life. That’s very satisfying.
Entertainment is still the carnival world.
It’s about show business. And it is called show business for a reason. You can talk about how we sell this part of the product or about the stage production. But the fact is what we sell is the excitement of going to a show. We sell escapism.
I want people to go (to a show) and escape. What I try to do with my venues, whether it’s the 9:30, Merriweather or the Virgin Festival, is to have people go and discover the magic. It’s like Walt Disney World. It should be hidden management. People walk in, and it’s this wonderful thing. It is ridiculous that people might believe that a band just wanted to play the 9:30, and just showed up that night. But that is how they should feel.
Your company took over promoting at Merriweather Post Pavilion in 2004. What are some of changes you made?
Everything. It was a matter of walking around and seeing an ugly sign printed in block lettering. Well, that’s no fun. There was another sign that said, “Bathrooms & Beer.” I understand the relation between the two but I’m not sure you need to point it out. So we changed that. We also made sure that there is great food, nice landscaping, and no bare wires hanging.
One of my challenges was that there was a dead space at the back of the venue. Nobody was going back there. So we did festive lighting, put in an air stream bar, put in some stairs, and a sign saying, “Check out The Backyard.” It was a great moment for me when we had our first show, and I saw that it worked. There were people walking through the space. One might consider that isn’t about the music but it is. You need to get people (to the venue) to see the bands but, in doing that, you have to have a wonderland. It has to be a fun place. There needs to be escapism.
It is about making people feel welcome.
People should feel welcome. That’s what makes people come back. I laugh reading articles about companies just now figuring out that customer service is important. Well, duu-ahhhh.
There also is no reason not to do your best. I abhor the words, “It will be fine.” The purpose of uttering that phrase is to say something is (only) “Just good enough.” When you are trying to get a band to do what you think is the right gig, whether its your or a different venue, and they make a decision you don’t agree with, it usually ends with the phrase, “It will be fine.” That usually means they themselves know that it is less than the best thing to do.
In their appearance before the U.S. Senate Judiciary's antitrust subcommittee, (Live Nation president/CEO) Michael Rapino and (Ticketmaster CEO) Irving Azoff defended the proposed merger, arguing that the combined forces of the companies could bring new revenue streams to artists, which could potentially lead acts to lower the prices of their concert tickets.
The whole plea on Capitol Hill by these two guys was that they could do better for the business by controlling (it).
You can’t blame Michael Rapino for trying to win by, perhaps, controlling an industry which has flaws. Because that could work.
But it’s not realistic. If (Live Nation) concentrated on just doing a better job, having better venues, having core values and showmanship, and if they treated each venue equally and individually, they would make more money. Stop buying tours and throwing stupid money (at acts) to have the entire tour. Stop forcing bands to play places they don’t want to play.
I feel for Michael Rapino. I wish I could control these assholes (managers and agents) but I can’t. I identify with Rapino’s plight in that (view of) “Agents and managers are animals who don’t care if we stay in business or not.” it’s ridiculous that with the business that Live Nation does that they be treated as anything but their best customer (by managers and bookers).
If you ran Live Nation what would you do differently?
I’d absolutely negotiate each venue separately. I’d pay $50,000 for an act when it was worth $50,000, and $100,000 if it was worth $100,000. Look, I make money as a promoter. How is it that I am able to make money, and they can’t with all of their venues?
If the proposed merger is allowed to stand….
That can’t happen or if the government doesn’t see what’s wrong with it… If the merger goes through, I don’t think it’s going to save them anyway.
What I cringe about with all of this merger talk is that it lays (our business) out bare for people. They should not be going to a show thinking about our business. I hate all of this stuff being in the headlines. There is now article after article about what is wrong with this business. Now, it’s okay to talk about why you hate (Live Nation and Ticketmaster). The outpouring is not necessarily justified but everybody has been able to cut loose. Day after day, there’s another article about why people hate either or both (companies).
Certainly, the issue of secondary ticketing has been brought into the open over Ticketmaster’s affiliation with TicketsNow. But scalpers have always been raising prices above what promoters sell for.
Re-selling tickets is illegal in some states. It should be made illegal everywhere or a cap should be put on the resale. That would get rid of this problem. But people in our business just cannot stop counting other peoples’ money. (With secondary ticketing) people have been watching other people making money off of their product. Managers seeing scalpers making money off of their artists and think, “I need a piece of that.” Of course, the agent representing the manager and the act has to get their piece. People saw these scalpers making further money on their shows and thought, “If there’s further money to be made, “Where’s my piece?” That’s where everybody got into trouble.
I have always felt that it is hard enough to sell the ticket once. That’s all I need to do. I didn’t care who else would sell tickets. I do care now because (secondary ticketing firms) have developed ways of getting bulk tickets quickly and they are taking inventory away from he public. They have taken an important part of the concert going experience away from the public. The excitement of buying a ticket, they have taken that away. I think that’s wrong. I think it’s killing the business.
High-priced tickets seem to have shut many people out of the concert experience.
I sat at the Capitol Hill hearings and heard (Rapino say), “What we have to pay the bands...” I thought, ”Whoa there. What is this ‘What we have to pay the bands?’” Why do you have to pay the bands that? There’s your problem. Who says you have to pay the bands anything? You are the ones making that choice. Stop paying them that figure. Okay, you won’t get the whole tour. You won’t force them to play Nissan Pavilion (in Bristow, Virginia) instead of Merriweather.
Should the blame for high ticket prices go back to artists and their management?
Everybody’s greedy. To point fingers at the artists, managers or Ticketmaster is just bullshit. I blame the spiraling (ticket prices) on the tour offers. If you offer someone a lot of money and say, “This is what we need to charge” you, as the promoter, you are basically advising the band that this will work. The bands are going to take the offer, saying, “Well the promoter said it would work.” Could the band say “No.” I suppose. But as I said in my testimony, “If you put ice cream in front of kids, they are going to eat it.”
The bottom line is you add everything together--the facility fee, parking, what the artist makes, ticket rebates, the price of a ticket ends up being $75. That should be the bottom line. Our problem is that when we lay this out for people they have fingers to point. “Who’s fault is it that this ticket costs $75?” It is everybody’s fault.
I was dealing with a show the other day where I didn’t have to charge $75 but I probably could sell a thousand tickets at $75. I thought, “If people only pay $40, maybe they will go to another show.”
You and Richard Heinecke have been partners for over 30 years. How did you two meet?
He was my substitute teacher in junior high school (Herbert Hoover Middle School in Potomac, Maryland). He used to come in with his pile of music magazines like Trouser Press and New Music Express. He was the cool substitute teacher and we used to talk about music and stuff. We were both music fans.
You were later a disk jockey on radio. Were you any good?
I was at the old WHFS and it was truly progressive in those days. I really got off on playing music. That was in the days when you picked your own music. I used to play stuff that I wanted to turn people onto music. I took pride in dreaming up a cool segue and pulling it off. I had a lot of fun. I thought that this was my career.
‘HFS was a progressive station but then they got stuck in this Little Feat/Bonnie Raitt/Robert Palmer kind of mode. I was past that. I played some music other DJs there played, and then I played music that people there gave me a hard time over. I played Be Bop Deluxe, Roxy Music, Lou Reed, and the Stranglers. One night (general manager and part-owner) David Einstein called me into his office. He fired me saying, “Too much Bill Nelson.” (Nelson fronted the English progressive rock band Be Bop Deluxe) Guess what? A year later they were playing Be Bop Deluxe, and Roxy Music.
How did you take being fired?
It actually broke my heart because (being a DJ) was what I wanted to do (in life). It was my dream to be a disc jockey and, after 18 months, I was fired. It was devastating. Then I got a job at WGTB, the Georgetown University radio station and did a talk show there. Nobody on the station went to the school.
After you interviewed Sam L'Hommedieu on WGTB, you began working with him.
Sam had just split up with Jack Boyle at Cellar Door Productions. He had taken over the Ontario Theatre, and I went to work with him. (Hurwitz parents had taken him to the Ontario Theatre to see “Mary Poppins.” as a kid). Sam wouldn’t let me book any (music acts) but I booked the movies which was a wonderful job. It was basically a black exploitation house, and we had triple features. Just to educate the audience, I would put David Lynch’s “Elephant Man” on a horror bill. Or I’d put Tod Browning’s 1932 movie “Freaks” on. Or, perhaps, an Akira Kurosawa film in the middle of a Bruce Lee bill.
Sam eventually let you book bands?
The film “Rock’n’ Roll High School” was set to premiere in 1979. At the same time the Ramones were playing at a local club, Louie’s Rock City. I thought, “Why don’t we have a premiere of the movie, get some local bands to play (including Razz and the Slickee Boys) and get the Ramones to come by and sign autographs?” I put that together, and it sold out.
Sam later took around to meet all of the (booking agents. I watched him and learned things. Like the word “pass” which, of course, is a very important word these days. Just the way he conducted himself. I probably still have a lot of nuances I got from him from 30 years ago.
What happened after Sam gave up the Ontario?
I made a deal with the new owner. He was a Spanish figure in Washington who bought the theatre so he could keep showing his Spanish movies on the weekend. I made this deal with him that I would book his movies if he would let me do music shows.
After noticing (Don Letts’ 1978 film) “The Punk Rock Movie” in the catalog, I called Rich up and asked him if he had money he was willing to invest in a show. So we booked the Cramps to go along with this punk rock movie. However, the Devil apparently spoke to (guitarist) Bryan Gregory, and he left the band (taking the band’s van and most of their equipment with him). The band canceled. [In 2001, Gregory died of complications following a heart attack. He was 46].
I decided to put the show on anyway because I had the movie and other bands. The show did well and made money. Then we started booking bands we liked. We booked Magazine with Howard Devoto. That did 280 people. So that didn’t work. Then we booked the Stranglers, one of my favorite bands, who arrived but their equipment didn’t. It had been stolen the night before after they played at The Ritz in New York. So we had another cancellation. We were being killed, but it worked out.
[Despite performances by the Clash, U2 and the Police, the Ontario Theater's lifespan as a music hotspot was short. The Circle movie chain bought the Ontario in 1985, and it soon closed]
Did booking agents accept you?
The only person who would always take my calls was Ian Copeland (the late founder of Frontier Booking International). Others took my call because I was able to use Sam’s name. It immediately got sorted into who took my call and who didn’t.
You soon did a deal with the 9:30 Club to present shows there.
I realized the only way we were going to get name bands was to book them when they were small. And I needed a place to do them when they were small. Our first band there was the Fleshtones which I booked with Frontier. We did shows at the 9:30 Club on a sporadic basis. But we learned early on the agent trick of pitting one promoter against the other. They started to pit us against the owners of the 9:30 Club. I thought, “We need a deal to book the whole club.” So we did.
You learned that booking agents played games?
I remember the first time that we lost a lot of money on a show. It was like a moment of clarity. I can’t remember the act. We lost on all of them in the beginning. But it was a moment of clarity that I realized that these people don’t give a fuck about me or my welfare. I don’t know any other business where one part of the food chain, an important part of the food chain, has such a complete disregard for the health and welfare of another important part of the food chain.
The (traditional accepted) program was that you did the bands when they were small and you’d get them when they were big. We naively thought that was a rule that if we followed it we would be fine. We learned quickly it is supposed to work that way but it didn’t always work that way.
What’s your attitude about that today?
If you fuck me on the big bands, I will not do your little bands. A lot of people think I’m kidding. I have had major showdowns with some pretty big characters.
You bought the 9:30 Club in 1986?
It was a labor of love for the woman who had owned it, but it wasn’t doing concerts (direct) so there was no reason to own it anymore. So she sold it to us. Then it was our money pit. The club was a loss leader. If we lost only $100,000 in a year that was a good year. I’m serious. If we could keep it under $100,000 we were good. We made money on concerts. We did a lot of them at the Ontario Theatre. And when bands got bigger, we weren’t intimidated about doing them in bigger places. We were making the good money on those shows. The net, when you subtracted $100,000 for the club, was still ahead.
When the Black Cat opened in 1993 on 14th St. Northwest, you briefly lost your leverage in the market.
The Black Cat was a very hard lesson that I will never forget. With the 9:30 Club, we were the cool room as opposed to the Bayou which decidedly was not the cool room or the Cellar Door Club. The Black Cat opens with a bit bigger stage, a bit bigger dressing room and bigger capacity (700). All of a sudden, all of these people that I thought were my friends were not my friends.
Bands, managers, agents?
Everyone. You delude yourself into thinking that you have friends. And I have made some good friends in this business, and I have met some genuinely nice people. But the vast majority of people are my friend until someone offers them $5 more. It was a hard lesson to learn, and one I will never forget.
There were some who didn’t fuck us in those days, like (booking agents) Frank Riley, Chip Hooper, and Marty Diamond. And there were some very loyal people that stuck by us, and didn’t jump immediately. Certainly, there were acts that had played the 9:30 that needed to play somewhere else. That’s going to happen whether they are your friend or not. But there were people who jumped ship so quickly. These were people that seemed to be very happy with us and, immediately, when there was somewhere better to play, they were gone.
Business is business. It isn’t personal.
But the same people who say, “Hey, Seth, it’s business” are the same people who, when they need something from you, they put it on a personal level. If you accept and understand this, and deal with it on that level, then you will be okay. But don’t kid yourself. What it taught me was a lesson I have never forgotten. Now, even when I am winning. I can recognize the tell-tale signs, the little things that agents do, that make me realize who will fuck me in two seconds.
Did many of those people come back with the expansion into the new 9:30 Club?
Yes, they did. It was so immediate. But I never forgot who fucked me and who didn’t. But what do you do with that kind of knowledge? My wife says it best, “Forgive and remember.”
The competition with the Black Cat was healthy in that it led to you establishing one of America’s leading club venues.
It forced us to build a better mousetrap. It caused us to want to build a club that would end the argument (of being best local venue). We wanted to build a club (with the attitude), “Top this motherfucker!”
This is way America is supposed to work. Competition is supposed to create a better product by having people competing. It is not about winning by controlling. This what my whole point at the hearings. Live Nation needs to show growth. I don’t care about growth. It makes things complicated. I don’t want to grow unless I have too.
You have no ambition to be a national promoter?
I have no reason to. A few years ago, another promoter told me that I was limiting myself. I said, “I don’t get it. Is there a car or a house you wish you could have? Why do you need more?” He said, “You don’t understand. I have a large staff ,and I do more concerts to pay for it.” I said, “There’s your problem. Your staff is too big.” If I had this animal that needs servicing, then I’d be too big. I don’t think I’d be as good a promoter if I wasn’t in touch with all of my product. If you expand, you run the danger of that. The people that work with me work out of my house.
What kind of company do you operate?
I try to build a family and have people who love what they do. This is home for them. That means you pay them well. You give them good benefits. We have security guys at the 9:30 Club that have been with us for 15 years. We don’t look at (security) as a starting (job), like being a waiter. It is not a way station. If you want to stay with us, we will take care of you. We are all part of the family taking care of each other and making it work for each other to have a wonderful place to work.
Will this year’s Virgin Mobile Festival being going to Merriweather?
We’re just looking at what to do. We’ve got some pretty big ideas. It will reveal itself shortly. I don’t really want to talk about it yet because it involves many different people. We are rethinking how to make it more special, and make it one of the premier events in the country.
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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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
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
Charlie Cran, The Strawberry Music Festival 04/05/10
Jim Cressman, Invictus Entertainment Group 06/06/12
Todd Culberhouse, Vision Management /Vision Records and Entertainment 09/05/08
Tony D'Amelio, Washington Speakers Bureau 04/21/06
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
Gene DeAnna, The Library of Congress 02/21/12
Tony DeLauro, DeLauro Management 12/23/04
Peter Denholtz, CelebrityAccess 11/29/00
Valerie Denn, Val Denn Agency 04/30/01
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
Mark Dinerstein, The Knitting Factory 11/17/06
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
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
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
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
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, Turntable.fm 09/20/11
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
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
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
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
David Hart, The Agency Group 02/20/04
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
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Seth Hurwitz, I.M.P. 04/20/09
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
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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