Industry Profile: Riley O’Connor

— By Larry LeBlanc

This week In The Hot Seat with Larry LeBlanc: Riley O’Connor

Riley O’Connor is top dog in Canada’s concert world.

Since 2007, O’Connor, 58, has been chairman of Live Nation Canada, which dominates the country’s concert field. It also owns the Molson Amphitheatre in Toronto and the Commodore Ballroom in Vancouver.

O’Connor is widely regarded as a wily and astute talent buyer. However, in 1977, after 5 years abroad working in stage production in Europe, he returned to Canada, and co-founded Perryscope Concert Productions in Vancouver with no promotion experience whatsoever.

At first, O’Connor worked as the company’s production manager. In 1980, he became general manager, chief of operation and talent buyer.

By then the golden era of punk and new wave was in full swing in Vancouver (even if the media, promoters, and booking agents largely ignored it) with such local bands as the Pointed Sticks, D.O.A., Young Canadians, and the Subhumans.

Perryscope began bringing in popular international punk, reggae and new wave bands to Vancouver. However, appropriate venues were hard to find. City-owned theatres didn't allow rock concerts never mind what O’Connor had in mind.

In 1980, O’Connor struck a deal with management of the Kerrisdale Arena, then facing budget cutbacks and staff reductions. For three summers, the East Boulevard hockey arena hosted a series of memorable all-ages concerts. Members of local bands were even drafted on their off nights as stage hands.

On Aug. 13, 1980 it was Devo with an $8.50 ticket

On Sept. 2, 1981, the Tubes’ Fee Waybill sang in bondage gear while choreographed dancers acted out songs.

On Aug. 29, 1981, there was an ear-shattering double-bill of Jimmy Cliff and Peter Tosh.

On June 5, 1982, the Jam performed. It was the Brit mod band’s last North American appearance. It broke up following the tour.

Three weeks later the Clash arrived for an electrifying two-hour show with a split-screen backdrop displaying slide images of war, nuclear power, racism and the Third World. An audience of 4,000 turned out. Hundreds more milled outside without tickets.

The Kerrisdale concert series ended in May 1982 with Motörhead. After neighbors blocks away from the arena complained, civic authorities took action and stopped the series.

By this time, Perryscope was doing shows at the Commodore Ballroom and various local clubs and community halls.

In 1987, O’Connor moved to Baseline Entertainment as a sports marketing manager and coordinated sports and corporate events.

In 1989, O’Connor moved to Toronto to become Project Manager and Director of Talent and Production Operations at Concerts Productions International (CPI).

Michael Cohl and Bill Ballard had started CPI in 1973, financially backed by partner Molson and later Labatt's. CPI of course, became an international leader and innovator in full-service touring. It created new revenue streams around tours, including utilizing aggressive merchandising, VIP ticketing, and fan clubs. in 1987, Cohl and Ballard became partners with Labatt’s in BCL Entertainment.

In 1996, MCA Concerts Canada and Molson Breweries purchased the concert divisions of BCL Entertainment, including CPI (which Cohl would later take back and sell again in separate deals to SFX, Clear Channel and Live Nation), Perryscope Concert Productions, and Donald K. Donald Productions in Montreal.

MCA Concerts Canada morphed into Universal Concerts Canada and then House of Blues Canada.

Prior to Live Nation, O'Connor was House of Blues Concerts Canada’s senior VP of Central Canada operations, overseeing tours by the Spice Girls, Backstreet Boys, Celine Dion, Andrea Bocelli, Elton John, Eric Clapton, Billy Joel, the Smashing Pumpkins, Kiss, the Tragically Hip and others.

Canada has been a productive territory for touring artists for at least five years, propelled by a strong dollar and a sizable demand for live music throughout the regions.

It was not just the major metropolitan centers that were cranking out strong box-office numbers. Canadian promoters were able to attract acts like Bon Jovi, The Backstreet Boys, Sheryl Crow, Motley Crue, the Eagles, and Elton John to play all types of venues from St. Johns to Victoria; places that were traditionally ignored in the past.

Concert totals for Canadian venues for 2008 (running from Nov. 14, 2007 through Nov. 11, 2008) according to Billboard Boxscore, show a gross of $328,974,485 on a total of 1,280 shows. In 2007, there were 1,411 Canadian shows for a total gross of $302,279,974.

Despite the North American economy coming to a stand-still in November, the volume of ticket sales, and demand for shows has stayed steady in Canada in 2009. While a decline in the Canadian dollar spurred a cooling-off period, business has been holding in Canada where the economy still fares better than in the United States.

However, Live Nation Canada, like its American counterpart, has introduced “No service fee Wednesdays” to stimulate business.

On July 8th, it also entered into an agreement with Rogers Wireless that allows customers to purchase tickets to all Live Nation events in Canada through Live Nation without service charges.

"No service fee Wednesdays" kicked off in Canada June 10th.

Why has Canada produced so many people who are prominent in the live concert field?

Canadians inherently want to have a voice. We have an advantage because we’re well-educated. I think we have an open view and an accommodation on an international stage. There’s an inherent (factor) that we are not about putting up walls. We want to take them down. We want to engage (the industry) with fairness and opportunities for a lot of people.

And, I think, just because the dynamics of working in Canada-- it is so challenging regionally, geographically and even economically as well--that we all got a taste of doing a lot of things. Because of our size as a country, you grow up being taught that you are always the underdog. People say, “You can’t do that.” You think, “Why can’t I do that?”

Regional promoters started working closely together in Canada in the ‘70s which solidified the market nationally. There’s been over 30 years of sharing business that didn’t come to the U.S. until the ‘90s with the SFX buy-outs.

We needed to work together out of economic necessity. You couldn’t do it all on your own. So there was this natural evolution in Canada.

There’s a different approach (to business) here as well. I think it is part of our (social) make up. For example, I work with venue (bookers) in this country because I’m part of the community. I live here 365 days a year as they do. They are not my enemy. I’ve worked hard to try to build up our local infrastructure to give people a sense of community in every community I work in. I really believe in it and believe we should invest more in (building an infrastructure). It provides more real jobs, long-term employment, more engagement, and more socializing.

Both Live Nation CEO Michael Rapino and Steve Herman, Live Nation’s president of artist services are Canadians who worked in the concert industry in Canada. What autonomy do you have?

A lot -- more so because of the years of all of us all working together. They know where I am coming from. I am also not afraid of telling them what I am thinking, and where I am going. There’s no hidden agenda (between us). (Working together) is all about engagement, and giving everybody a better shot at opportunities.

With a number of Live Nation executives In America being from Canada when you say something they would have an understanding of where you are coming from?

We’re like a family. I supported those guys even when I was on the other side of the fence (at House of Blues Canada).

For almost 5 years Canada had a more robust concert market than the U.S., Is that holding true this year?

We are on an even keel. We are not as robust as we have been in the past four years. There are some hiccups, economically, on the landscape in Canada as far as touring is concerned. But there has also been a change of expectations. Previously, you would go into certain Canadian markets, say Alberta, and everything was huge. You only wished the buildings were bigger. But the (economic) boom is over in Canada. So, in terms of the concert business, the boom is over as well. It’s back to the reality of how people manage their affairs.

Were there too many shows?

Yeah, but there are more dynamics in play today as well. It’s hard to make comparisons to what had been going on a decade or two decades ago. It’s a different world. It’s a different Canada, even. We are bigger in population.

The biggest transformation as far as the concert business is concerned, is that Canadians are better off economically coast-to-coast than they have ever been. Our economy is more even-keeled (nationally). No one region has more advantages than the other. We are better connected (for communications). The ability to be informed at the same time is equal in every quadrant of this country. So if you choose to be informed, you will be informed. It is not a matter of where you live any more.

In the U.S., Live Nation and AEG largely dominate the concert field due to owning venues. Live Nation Canada is the Canadian market leader but it only owns Molson Amphitheatre in Toronto and the Commodore Ballroom in Vancouver.

Could the Canadian template work in Europe where neither own that many venues?

I am not sure you can take a template that is successful in this country and apply it to another part of the world because of the evolution of this market. Europe has a different set of dynamics. I was familiar with touring in Europe in the ‘70s but I don’t know that what I knew back then would hold true today.

Canada remains a challenging country to tour in because of its size and lack of population.

This country is enormous. It is a geographic challenge. There’s no doubt about it. In terms of our population and total land mass, we are an anomaly in the world. There’s other country like it. And we have everything on that level to consider.

At one time, it was impossible to get international acts to tour parts of Canada. Today, acts like the Backstreet Boys, the Eagles, and Elton John play smaller Canadian cities. How did that come about?

For over a decade now, I have championed the fact that there is a story to be told in taking an (international) act and going coast-to-coast in Canada. I tell (acts) “If you are looking at touring here, isn’t it better to say that you have conquered and accomplished something in a country that most people ignore geographically? You will probably be richer for the process because of experiencing our regionalism. It is a profound experience you will have for the rest of your life.”

You also tell them that you will make sure that touring Canada will be special. Is that how you sold a 13-date Canadian tour to the Backstreet Boys in 2008?

Absolutely. I convinced the Backstreet Boys to start their tour in Newfoundland, saying that they would never forget the experience, and they won’t. I also told them to play Victoria (British Columbia) because they would never believe that there is a part of Canada like Victoria.

[In 2008, the Backstreet Boys kicked of its 13-date Canadian “Unbreakable” tour at Mile One Centre in St. John's, Newfoundland. Howie Dorough told the crowd, "I couldn't think of a better place to kick off the Backstreet Boys tour than right here in Newfoundland.”]

There is money in secondary markets as well.

Money is a part (of playing secondary markets). You have to have a convincing economic story because it is expensive for these acts to go (to secondary markets). Traveling and touring in Canada is expensive and it doesn’t take long for that diesel fuel to get eaten up kilometer after kilometer. But I don’t overemphasize the economics because that is too black and white. I don’t want people making black and white decisions. I want them making subjective decisions. I want them to feel good about their experiences.

(This attitude) goes back to when I started off as a promoter in Vancouver (at Perryscope Concert Productions) working with Michael Cohl (Concerts Productions International in Toronto) and Donald Tarlton (Donald K. Donald Productions in Montreal). They both believed that there were unique stories to be had working in Canada. So I took (that attitude) on as a Western approach and later worked it on a national level.

I’m proud of the accomplishments we’ve done in Canada as far as growing a music business. I feel that I have been part of the pioneering spirit of touring live music in Canada. One of the best things that happened out of all this is that we have been able to build our own artist industry. We have been able to develop Canadian acts and work with them in the same way as international acts coming into Canada. That has afforded more opportunities for people in Canada.

When you joined Concerts Productions International in 1989 what kind of company did you join?

One full of confidence that allowed people to take enormous risks.

It was then still a very Toronto-focused company.

Coming from Vancouver to Toronto, I had to learn that the Toronto marketplace was unique and different from any other part of Canada. The country was then divided up in regions as how we promoted. Economics dictated a lot. When we did (national) tours it was like being on a roller coaster. It was hit and miss. One day you might be screamingly successful; the next day you might wonder why you bothered (promoting a show). Everybody was learning something as well. It was a really vibrant time.

Led by Michael Cohl, CPI had an enormous impact on the concert world.

I think it was because we were all self-starters and we were given an enormous range to be able to execute our visions and our beliefs. We were not about building walls to protect our individual territories. Our strategy, and what Michael allowed us to do, was to work together.

When you launched CPI USA, you were working within a North American context?

Yes. There was the evolution of CPI. As it grew, part of my job was looking after CPI USA and the partnerships that we created in the United States with CC Productions in the Carolinas, Rose Productions in Minneapolis and Feyline Productions in Denver.

Our strategy was to tap into the local expertise if it was there. We could learn more about (the individual market) by having (a local promoter) involved. It was not about taking somebody out (of the market), it was about bringing somebody in. That was always our philosophy. It wasn’t about cutting people off. It was about, “I will probably have the act. I will bring it into your market but I’m not going to kill you. You can work with me on a partnership basis.”

[Under Michael Cohl's direction, CPI extended its sphere of influence across Canada through affiliations with Donald K. Donald in Montreal, Perryscope Concert Productions in Vancouver and other regional promoters. CPI came to hold a 50% interest in Feyline Productions of Denver and had partnerships with several U.S.-based presenters. In 1990 Canadian concerts accounted for about half of some 1,000 CPI presentations worldwide.]

Where are you from originally?

Montreal. I started off as a stage hand at the Montreal Forum. I was then studying communication arts at McGill University and Dawson College. I thought I was going to work in TV or video. I thought I was going to become the world’s next biggest documentary videographer.

In ‘70s, Canada’s best progressive rock radio station was CHOM-FM with DJs like Doug Pringle.

I was a big CHOM listener. Pringle, I lived with him. I went to hang out with him. There was a singular moment, when I was 18 or 19 that I remember (deciding to be in the music industry). I was sitting around in the basement of my parent’s house listening to music with my best friend Dave Clark. I turned to Dave and said, “Dave, I love music so much. I know that I am going to be in this business. I’m not a musician. I can’t play anything but I am going to be in the music business.”

Did you go to shows at the Montreal Forum?

One of the first shows I saw was the Dave Clark 5 at the Montreal Forum in 1964. I wouldn’t go to just any concert. I was very picky and choosy of where I went and saw bands. I was also very critical of shows, whether they did it for me or not.

Then you got a job working with Mahogany Rush, the Montreal band led by guitarist Frank Marino.

The main reason I was hired was that I was old enough to rent the truck. And I pretended to know something about electronics. My game plan working with them was that I wanted to video them and put them on community cable TV which I did. I worked with them mainly on week end gigs because their career was still early.

Then Mahogany Rush grew (in popularity) and got so busy (with dates) that it was taking me out of school. I was coming into my next semester (of school) and the band was starting to happen. They got a recording contract (with Columbia Records) and (work) was turning into three or four nights a week. They were getting big bills and playing in Detroit and all of these places.

I was at the crossroads of my life where I didn’t know what to do.

I sat down with a dear friend of mine, a plumber from Ireland who had emigrated to Montreal. He said, “Riley, just come to Ireland with me. You will figure it out.” So I quit school. I quit the band. I went to Ireland with him for three months. And I figured it out; I stayed in Europe for five years.

You went to London?

I went to London after Ireland. Then I traveled to North Africa and came back to London. After a year, I said “I am not going back to Montreal without a dime in my hand.” Norman Perry was in London working for Harvey Goldsmith. I asked Norman for some contacts and he gave me ESP Lighting’s name and address. I went and hung out at their warehouse. After two weeks of making the governor’s tea, they offered me a job.

You were on the road with the Who for awhile?

In Europe, I was the chief electrician for them. It was mesmerizing watching them every night. I was building up a good career in production. The Who, Elton John, Queen, the Rolling Stones, you name it, we did it

What brought you back to Canada?

I met my first wife who is a Montrealer. She was going to school in London and we got together. We agreed that as much as we both loved living in London that if we were going to continue our lives together and have kids, we wanted them to grow up and experience Canada. So I talked with Norman who, by then, had left the UK and was the advance man working for the Who and Pink Floyd in North America and we decided to form Perryscope Productions. I went straight to Vancouver.

What gave you the confidence to be a promoter in Vancouver where S.L. Feldman & Associates (under A&F Music co-owned by Bruce Allen and Sam Feldman) was the only game in town. It had everything all tied up.

That’s right. It didn’t take Norman and I long to figure out that the old boys weren’t going to sell us anything. It was a real club house of promoters and agents back then. It was all very territorial and very tight-knit. No agent was going to talk to us. Yet, I saw the music landscape changing. I had already experienced the change in the UK. (Vancouver) was a territory that (promoters) were afraid of and didn’t want to touch. They didn’t think it was real. My attitude was, “This is the most real (music scene) you’ve ever seen. We’ll put the Clash in The Commodore Ballroom and blow people’s minds.” And that’s exactly what we did (on Jan. 31, 1979).

Perryscope did a lot of cool shows at the Kerrisdale Arena.

Absolutely, we started and ended shows there.

The Motorhead show in 1982 was the last straw for the neighbors.

Yeah, but it was a series of shows from Peter Tosh to Motorhead. The Jam and the Clash shows in Kerrisdale Arena were seminal moments. With Motorhead there were a few cranks who didn’t like the fact that some inebriated person decided to take a whiz on their lawn. But I provided permanent jobs for the working staff of Kerrisdale Arena and for every business that could cater to our crowds. I had the local business people on 41st Street thanking me for bringing business to the area.

There weren’t many good venues in Vancouver then.

The PNE Gardens is one of my favorite venues, but, you’re right there were challenges (to promoting shows). I went to city hall and met with the civic board, and challenged them on their banning of rock ‘n’ roll in (Vancouver’s) civic venues like The Queen Elizabeth Theatre and the Orpheum Theatre. Soft rock was okay. Anything that might bring in an element where someone might light up a cigarette…ehhhh. They were ultra conservative in those days.

We opened that door up again after it was closed by a Bob Marley concert in the early ‘70s. The first band we brought in was U2 at the Queen Elizabeth Theatre (in 1983).

Vancouver was the Canada’s epicenter of punk and new wave in the early ‘80s.

It was an absolutely fun scene. There was this brotherhood of people you could work with there. It was far removed from what we regarded as the established media and music industry. It was people who wanted to have a sense of partaking in a larger community and knowing that they had something of artistic value to offer.

Perryscope Concerts became a window of opportunity for (local) acts to access. I had them coming into my office, and working for me. I‘d say, “You need a job. Put up some posters for us, and we’ll pay you.”

(Local bands) In Vogue to the Young Canadians to the Pointed Sticks, we worked with them all. We’d put local acts as supporting acts on international shows. A lot of time (a show) wasn’t a club. We would book the local community hall. We did a lot of shows at University of British Columbia Gym and in the Student’s Union Meeting Hall there

Did you book many clubs?

We booked everything. But the (club) landscape was so entrenched in an established formula. To get a bar gig there, a band had to work three hours, take certain set time breaks, and club owners wanted to know what songs the bands were going to play. If you didn’t give them the set list, and if you weren’t going to play the top 40 hits, you didn’t get a gig. And you couldn’t start a show until 10 PM. All this kind of nonsense.

We only booked clubs that would work with us on our rules. I told owners, “I don’t care what you think the bar drinking crowd is interested in. If you allow us in, we start shows at eight o’clock and we end at 11. if you don’t want our business, fine.” And those were the only places we would work in.

Despite your responsibilities today, you don’t seem stressed.

I can’t complain about anything I’ve got in this business right now. I can’t complain about anything on my career path. I would never have thought in a million years that this business would give me this livelihood in which I could be as successful as my parents.

Larry LeBlanc 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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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
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
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
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
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
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
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
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
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
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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