Industry Profile: Michael Jaworek
By Larry LeBlanc
This week In The Hot Seat with Larry LeBlanc: Michael Jaworek
The Washington D.C./Baltimore Maryland corridor has some of the worst traffic as well as the highest housing costs in the United States.
It also houses The Birchmere, the legendary music hall heralded by many as one of the finest music venues in the world.
The Birchmere is located in Old Town Alexandria, Virginia, a city along the western bank of the Potomac River, approx. 6 miles south of downtown Washington. Both Neko Case and Stewart Copeland were born in Alexandria that has also been the hometown of David Grohl and Jim Morrison, Cass Elliot and John Philips of the Mamas & the Papas,
The Birchmere opened at its first location in an Arlington strip mall in 1966. Its second home, from 1981 to 1997, was just up the street from the current venue.
Among the artists who have performed at The Birchmere have been Ray Charles, Johnny Cash, Emmylou Harris, Roger Miller, Vince Gill, Lyle Lovett, Donovan, Rodney Crowell, Alison Krauss, John Hiatt, Joan Baez, Gordon Lightfoot and Mary Chapin Carpenter.
The Birchmere's founder/owner Gary Oelze opened this "neighborhood bar" on Apr. 4, 1966, retaining the original Birchmere name. Oelze also opened the club's stage to the bluegrass music of his native Kentucky.
In the '50s, when Buzz Busby and the Bayou Boys and the Country Gentlemen were popular nationally, Washington became known as the "Bluegrass Capital of America." In the '70s, the Seldom Scene became the city's most prominent and longest-lasting bluegrass band.
In the early '70s, Oelze lured the Seldom Scene away from Bethesda's Red Fox. They became The Birchmere's home band for over 20 years and still play there four times as year. In the '70s, artists like Linda Ronstadt and John Prine would drop by to perform with them.
As the Seldom Scene was winding down its 20-year residency, newer roots-styled acts like Mary Chapin Carpenter, Alison Kraus and the Indigo Girls were coming up the ranks to perform at the music hall.
Mary Chapin Carpenter started there as a support act. "The Birchmere is one of the finest places in the world to perform and listen to music and to have it in my backyard was beyond fantasy," she once said in an interview, "It has always booked wonderful acts... and the audience is just great. They're respectful of the performers and you get the feeling they have a deep love of music. Every time I come back, it feels like home."
Today, acts big and small laud the concert club's no-frills charm and intimate setting, whether playing its main room, that seats 500 or performing in The Bandstand which holds 1,000 people.
The Birchmere makes audiences feel at home in a way few clubs do. Those who arrive first get the best seats up front and patrons can be served dinner as they enjoy the show. All tickets are the same price, regardless of seating. Prices for shows are mostly in the $35 to $45 range.
The Birchmere's bookings are eclectic and broad. Etta James, Southside Johnny & The Asbury Jukes, Candy Dulfer, David Grisman Quintet, Orchestra Baobab, Lowen & Navarro, Little Richard and Vince Gill are among the coming attractions.
As its vice president, Michael Jaworek books The Birchmere on a daily basis with about 300 shows annually along with 30-50 outside shows promoted by The Birchmere.
Jaworek has been a concert promoter for over 35 years and has been on the Washington D.C. Board of Governors for The National Academy of Recording Arts & Sciences for several years. He has also been active with Musicares. The Washington Area Music Awards, also known as the Wammies, was founded by Jaworek and Mike Schreibman in 1985.
From 1997-2004, Jaworek also booked acts for The Iota Club & Café in nearby Arlington, Virginia for co-owners Stephen and Jane Negrey. Such acts as John Mayer, Jason Mraz, Jack Johnson, Great Big Sea and Norah Jones played their first Washington area gigs at IOTA.
Following five years of negotiations, The Birchmere ended its quest to open a second venue in Silver Spring, Maryland in 2007. The Birchmere had planned to open an $8 million, 800-seat venue on the former JC Penney department store site owned by Lee Development Group. The Birchmere said in a statement that both government officials and the development company backed out of an agreement.
You booked The Birchmere before you worked there?
I have booked The Birchmere since 1988 when I was at Chesapeake Concerts (in Falls Church, Virginia) that was a spin-off from Cellar Door Productions. It was operated by Sam L'Hommedieu who had co-founded Cellar Door Productions with Jack Boyle. Jack and Sam split in 1978 and then I joined Sam in 1986.
How did you come to work in-house at The Birchmere?
The Birchmere has been in business for 43 years. So when it was obvious that they were opening at the present site in June, 1997, I considered what was happening at Chesapeake Concerts and with The Birchmere moving into a new site. It was obvious that I was going to be on the road more and more at Chesapeake and I didn't want to do that. I wanted to stay put in the D.C./Baltimore corridor. So Gary Oelze (the founder and owner) of The Birchmere and I almost simultaneously asked each other if I could go in-house. So I have been here since March, 1997.
Within the D.C./Baltimore corridor, there are venues of about every type.
That's true. Between the two cities and even in Washington, we have almost everything. The only thing we are lacking is a big ballroom-a space for two to four thousand capacity like The Electric Factory in Philadelphia, The Aragon Ballroom in Chicago or the Roseland and Hammerstein Ballrooms in New York. You'd have to go to a college gym to get that equivalent. But other than that we pretty much have it all.
You have seating for both 500 and 1,000 people?
We have two rooms. There's a 500 capacity music hall. Then we have the 1,000 capacity stand-up room we call The Bandstand. We don't use The Bandstand a lot but we will use it for artists like George Thorogood, Train (for three nights) and Orchestra Baobab. We don't run (the two venues) concurrently due to sound bleed.
Is intimacy one of attractions of The Birchmere?
It is the intimacy. When you get above 700 or 1,000 people the paradigm (of a venue) shifts. As one artist said to me, "What's wonderful here is that we can see everybody out there." Somebody else said, "(The room) treats the artist and the audience equally well without compromising one for the other."
What are the other components that have made The Birchmere successful?
There are several. We have a large, free, lighted and secure parking lot. So the parking issue of safety or cost doesn't exist. The doors for the building open at 5 P.M. We give (customers) a line number so when we open the doors for the concert hall at 6 P.M. if they came in earlier, they get to go in first. It is first-come-first-served general admission seating.
Washington/Baltimore has traditionally been home to a wide spectrum of music, including folk, jazz and bluegrass.
Washington/Baltimore has been a nexus for all sorts of music for varied reasons. There was the exodus from the south east after World War II by both Caucasian and Afro-American coming here for jobs with the federal government. Washington is also our nation's capitol so there are people from all around the world here with the embassies, from immigration and other reasons.
So different artists can be presented because of that. With Orchestra Baobab, for example, there will be folks from Senegal that will come as well as Peace Corp veterans, folks from the international community and people who are interested in world beat and the public radio set.
This was the home club for the Seldom Scene for many, many years. Then the bluegrass audience tapered off. But they still come in about four times a year, including every Thanksgiving and New Year's Eve.
Also there's a significant college community locally.
We get some (college students) but not a lot. If anything, we get more of the staff and faculty from the local colleges. There are some college kids that do come if we book an artist they want to see, like younger bluegrass or new grass acts or some of the contemporary singer/songwriters like Colbie Caillat or Gavin DeGraw.
The club's bookings are quite musically diverse.
We will have The South Memphis String Band (with Luther Dickinson of the North Mississippi Allstars, bluesman Alvin "Youngblood" Hart and Jimbo Mathus of Squirrel Nut Zippers) and then we'll book Mother's Finest for Mother's Day (May 10) with a classical '70s funk rock band.
In bookings, you seem to be a music generalist.
Well, I have been in this market for 30 years and I've had to be a generalist because of the nature of the competition within the marketplace. Being a generalist made it possible to survive. In terms of research, I read the (music) trades. I talk to local DJs within certain genres and with a couple of guys I know at the record stores. As well, we keep pretty good records so I know what we did with America and Boyz II Men the last time they were here. It let's me know what the track history is out there (on an act). Also, CelebrityAccess/industry trade grosses are valuable
We don't have a (local) non-commercial or triple A radio station that supports the majority of the artists that we have here. We do have good radio stations. Urban non-commercial WPFW is helpful for world music, the blues and R&B. The urban AC stations (WHUR-FM and WMMJ-FM) are very strong. The country station (WMZQ-FM) is strong. We did lose a smooth jazz station which is unfortunate.
This is a market that is fairly economically stable because the federal government is based here. The state capital of Maryland is in Annapolis, only an hour away. As a result, there is a certain level of education and income here; and people who are active (entertainment) seekers. And they are internet savvy. We have an email list of about 35,000 (addresses) and we have sold out several shows off of our email list.
Without radio support for some genres, do you have to platform and develop acts in your market?
That's true. For example, we have been able to build James McMurtry up to be a headliner and Dave Alvin. There are several that we have been able to do that with. Shawn Colvin, we also did play when she was beginning. That's a good example of getting the act on the way up.
Many of the acts you present are from '60s or '70s, like Poco, Firefall and smooth jazz saxophonist Candy Dulfer.
To some degree, we get acts on the way up and we get them on the way down. We get some artists who are some times at the top of their game where they have decided to do either "an underplay" or they have heard that The Birchmere is a conducive place to hear great music with audiences that listen really hard to acts. I've seen any number of opening acts that were probably unknown to the headliner sell over 100 CDs off of a 30 minute set because people here listen very intently.
Candy Dulfer is very much remembered here and she usually sells out. She has continued to put out records and has found support in the world of urban AC and smooth jazz.
Would you compete with the 9:30 Club or are they more alternative? You have presented acts like Aimee Mann.
There is some overlap (with the 9:30 Club) but not a lot. I don't think there is any one single direct competitor but there is some overlapping (with other venues) because of the breadth of what we do here. There is some overlap with the PAC (pop adult contemporary) market, some overlap with pop rock market and some overlap with a few of the folk promoters.
Tickets for shows at The Birchmere are quite reasonable. Do you have to fight with booking agents to insure that fees are reasonable for the venue?
Over the years, agents and managers have realized the quality of the experience here. They also know that we can often cover the fee that is requested (by them). When we can't, we will say "I can't pay X but I will pay Y and I will do (the show) on any day of the week." So, to a degree, (having an agreed fee) is a routing situation.
For example, B.B. King was in the day before Thanksgiving; and Vince Gill is here on two weekdays (Monday June 15 & Tues. June 16).
Some times we are solving a problem where (a major act) has been in the market quite a bit but still wants to come through. So we make an offer where we hit the money that they are looking for, or come close and hype the ticket up. It can be a hefty tag but you are seeing that act in an intimate, comfortable environment where you can also drink and eat.
Frankly, for a prime adult entertainment experience, what do you pay for great seats at a Broadway show or a major league sporting event or, indeed, some of the best seating at many of the best concerts in arenas and other facilities?
Couldn't some of these acts, like Vince Gill, play bigger venues?
He could but, as with many artists, we have past history with Vince. We have been able to engage artists who would normally be playing larger facilities and they have decided that playing an intimate venue for, perhaps, a higher price but a better experience is a win/win for all parties.
There have been plenty of artists who have felt that, "The fee being offered is close to what I am looking for or is what I am looking for. If I only have to sell 500 seats, why do I do I have to feel the need to sell 1,500 to 4,000 seats (in a bigger venue)?"
Frankly, overhead here is greatly diminished by being in a club. We have our own in-house sound and lights. We are able to take that overhead money and give the lion's share to the artist for their guarantee.
At the same time, fans can come see Leo Kottke or Ralph Stanley for $35.
Sure and that's the alternative.
You also booked acts for The Iota Club & Café for 7 years?
I felt I needed a smaller room to build acts and be "promoter of record." I called the owner (Stephen Negrey) cold and he said "Why not?" Unfortunately, the phrase "promoter of record" has become somewhat, but not entirely, oxymoronic, so I stopped. We played Jack Johnson, Norah Jones and John Mayer there before anyone knew of them. We have not seen them here at The Birch yet. But Kathleen Edwards, James McMurtry and Dave Alvin to name a few have stayed with me.
You're not from Washington?
No. I grew up in Newark and Nutley New Jersey.
How did you become a promoter?
While I was a freshman at University of Illinois (in Champaign-Urbana) in 1970 me and three other guys started a student concert group Bluespower to bring Chicago blues acts to town. We started in February, 1971 with Hound Dog Taylor & The Houserockers with special guest Blind Jim Brewer, at the Illinois Union Ballroom. We needed 500 people to break even and 1,500 people came. We then (booked) most of the Chicago artists, except Muddy Waters and Howlin' Wolf who we couldn't afford, for the next four or five years.
After graduating, I got a job with the student activities department of the University of Tennessee in Knoxville. I was the local promoter. I worked with Concerts West and I presented Elvis Presley and Doc & Merle Watson.
In 1978, I heard of a job up at the University of Maryland in College Park, (Maryland) working as staff advisor to Student Entertainment Enterprises. From '78 to '85, I did concerts, lectures, dance, puppet shows, you name it. I did shows there with the Ramones, the Clash, Adam Ant, the Grateful Dead, Frank Zappa and even Sha Na Na.
When did you promote the Elvis Presley show?
It was in 1977, three months before he passed away. I didn't meet him because he was surrounded by a phalanx of police and his bodyguard, who had his hand in his coat (on what might have been a gun). But Elvis did pass by me, about two or three feet away. He didn't look well. He was very bloated and pasty, but he certainly sounded great that night. I remember walking down to the loading dock and meeting (guitarist) James Burton. I said, "James, it's so wonderful that you are here." He looked up and said, "You know who I am?" He was genuinely shocked that someone knew he was.
What is your relationship overall with agents? Do you ever get strong-armed to take an act?
Yes and some times I will say that I don't want to play the game. That happened just last week where I had a spirited discussion (with an agent) and did not come to terms on the financing of a show. So the act is not playing for me and I am at peace with that. I did not feel that the deal was at all in our interest.
Generally, I get along well (with agents) but, at the end of the day, we have different agendas. Most agents I deal with "get me" and get what the club is about.
How many shows do you do a year?
Just at the club alone, we do about 300 shows. We also promote or co-promote another 30 to 50 shows outside.
You work with other promoters?
We have co-promoted with all sorts of people, including Live Nation, A.E.G., Outback Concerts, JAM Productions--where we bought a date on a tour where they had all the other dates. We're open to conversations with just about everybody.
In 2007, negotiations between The Birchmere and the city of Silver Spring for a new club collapsed. Now what?
We are pursuing expanding to a second site in College Park that is literally across the street from the University of Maryland. It would be nice to open next year. It would be very much like the present club with the exception of that the sit down room would be the same or a little larger. There probably would also be a smaller room with, maybe. 200 capacity.
Why have a second site?
Besides the size of the D.C area and the traffic, there is a large part of the population that finds it too onerous to travel to Alexandria from the Maryland suburbs. We feel that we have been losing market share for adults who'd love to be here. Coming to see even Dr. John on a Friday due to the commuter traffic, they might pass. So this way we'll get them.
Ticketmaster currently handles ticketing for The Birchmere. Do you have concerns that if there is a Ticketmaster/LiveNation merger that LiveNation might access your files?
Oh yeah, sure. That does come to play. There are other promoters who have spoken out that concern on Capitol Hill and other places.
Is it a real concern?
And if the merger goes through?
I hope it doesn't. I think it would impact our business dramatically in terms of proprietary information being common knowledge while in the hands of a competitor. Though we may not compete on a day-to-day, head-on-head (basis) with LiveNation, we certainly are in competition for certain shows. Every bit of advantage that one may have one needs in this struggle.
Would you not agree with Live Nation president/CEO Michael Rapino that the concert business needs a re-adjustment?
It depends on how one defines the word re-adjustment and where. He's right in that there are things wrong in our industry. But you can't always be objective about (such issues) because there's so much passion attached to music.
People define themselves by certain types of experiences, especially in the entertainment realm. Sports and music dramatically affect certain people's lives and how they define themselves. That emotional attachment is so interwoven with people's lives. That is why (the merger) is such an emotionally charged subject. More so than if we were talking about other properties other entities.
What is happening with arts and sporting events more and more is that it is about the bucks. The rest is conversation. It is about who can pay what for a certain experience.
(The concert industry) is a single source supply. If you are poor, you can eat poor because there are all sorts of (cheaper) food. If you are poor and need a car or transportation, you can buy a junker or you can take public transportation. Even with baseball, you can see minor league baseball. But if you want to see Bryan Adams, there's only one Bryan Adams.
And being (a single source supply industry) is why many of these issues are so emotionally charged. That (exclusivity) colors dealing with issues in a more objective way.
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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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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