Industry Profile: Fletcher Foster

— By Larry LeBlanc

This week In The Hot Seat with Larry LeBlanc: Fletcher Foster

There was a point a few years back where the country music consumer said, “You are giving me so many new people I can't tell them apart.”

More recently, other than top-40 styled Taylor Swift and Kelly Pickler, it’s been difficult for Nashville-based labels to successfully launch new acts.

However, this year Universal Records South has had two of its acts break through for the first time at American country radio.

First, the Eli Young Band’s single “Always The Love Songs” topped country radio playlists. Then Randy Houser broke out with his rollicking hit single “Boots On.”

The video for Houser’s hit incorporates a mesmerizing home video of 4-year-old Drake Dixon rocking out to “Boots On” first posted to YouTube. This original clip was then edited by Universal South with video footage featuring Houser. Together, the two versions have surpassed a million on-line streams and have aired on CBS’s “The Early Show,” CNN’s “Morning Edition,” and Perez Hilton’s infamous on-line blog site.

Houser was, perhaps, on his way to becoming a mainstream figure anyway. After CBS late-night host David Letterman heard his raunchy ballad "Anything Goes" on Sirius Satellite Radio, he asked his booker to track Houser down. After his appearance, Letterman joked that the song was, "The story of my life."

All this media actions makes Fletcher Foster, senior VP and GM of Universal South beam.

A savvy marketer and a widely-respected businessman, Foster is as comfortable hoisting beers with the boys at Billy Bob’s in Fort Worth, Texas as he is sampling a vintage French wine at Wolfgang Puck's upscale Spago Beverly Hills restaurant.

Foster was appointed senior VP and GM in 2006. He reports to Zach Horowitz, president and COO of the Universal Music Group; and to Mark Wright, president, Universal South.

Nashville may remain a byword for mainstream country music but Universal South is far from being a mainstream country label.

Its eclectic roster includes mainstreamers like Phil Vassar, Randy Houser and Joe Nichols but also raunchier sorts like Shooter Jennings and red-dirt act Cross Canadian Ragweed that first cut its teeth in Stillwater, Oklahoma and dissed the country-music capital in their song ''Anywhere But Here'.”

Prior to joining Universal South, Foster was senior VP of marketing at Capitol Records in Nashville where he was a key player in the market breakthroughs of Keith Urban, Dierks Bentley, Eric Church, and Trace Adkins, among others.

Foster’s association with country music started early.

Before he was 10, the Wichita, Kansas native had recorded several singles and an album that received local country radio airplay. The exposure led to him becoming a junior spokesperson for the Association for Retarded Citizens (ARC).

After he entered the music and business programs at Belmont College in Nashville, Foster got further studio experience and supported himself by recording advertising jingles. He also worked as an intern at Sony Music.

By the time, Foster graduated from Belmont College, Nashville had entered a slump. Unable to attain a full-time position, he worked part-time jobs at Mercury Records, MTM Records, and at the Country Music Assn.

Eventually, he landed a full-time position as a junior publicist at the CMA. He later moved to Sony Music as manager of publicity working campaigns for newcomers Ricky Van Shelton, and Mary Chapin Carpenter as well as overseeing publicity for Waylon Jennings, Merle Haggard, Tammy Wynette, Willie Nelson, and Joe Diffie in addition to working in artist development.

In 1993, Foster moved to Los Angles to work at Arista Records, then in the midst of break-out debut albums with Whitney Houston and Toni Braxton. As senior director of national publicity & media relations, his responsibilities included overseeing media for the label’s artists, including Houston, Braxton, Annie Lennox, TLC and Kenny G.

After three years, Foster moved over to MCA Records. However, after two years, he left MCA, which was going through significant restructuring, and returned to Nashville in 1998.

He was soon hired as president of artist development at Arista Records. Eighteen months later, he was promoted to senior VP of marketing. While at Arista Nashville, he created national marketing campaigns for such artists as Alan Jackson, Pam Tillis, Brooks & Dunn, and others.

Foster heads Universal South during a period that traditional retailers continue to disappear and even Wal-Mart, by far the largest seller of country music, devotes less floor space to music. At the same time, the Internet is being hailed as the future selling tool for music overall.

While almost all country artists have their own web sites as well as MySpace and Facebook pages, a disturbingly revealing March, 2009 survey by the Country Music Assn. of 7,500 people indicated that country's digital penetration is significantly less than that for other music genres.

The survey found that only 50% of core country fans have Internet access at home. That statistic sharply contrasts with a 2008 survey by Nielsen Media Research that found that 80% of all American homes have a computer, and almost 92% of those homes have Internet access.

What’s more the CMA poll revealed that 42% of country fans who do not have home Internet access have no desire to change the situation.

As well, the poll also revealed that core country fans are more likely to be female, between the ages of 25 and 39, married, white and from small towns. This group, according to the research, drives nearly half of all country music revenue.

Tony Brown and Tim DuBois launched Universal South in 2001 with the goal that it would evolve with a mainstream roster into a multi-genre label.

I think with having Shooter Jennings, Cross Canadian Ragweed and a lot of acts that were signed within the first 5 years, it led that way. Tim and Tony are really creative music guys. What I needed to do was also make (the label) mainstream too. We started the call with Randy Houser and the Eli Young Band breaking at mainstream country radio. But still keeping the integrity of the Eli Young Band with their Texas audience too.

Today, Universal South doesn’t look like a traditional Nashville country label? Am I wrong?

No. I think we are the only label in town that has a recording studio in the building. I love musicians coming in and out. We record overdubs here. If there’s something the (studio) staff are excited about we all can immediately listen to it and move very quickly on something.

Would you sign a non-country act?

Yeah, if I believed in it enough, and I felt that I could market the band and give them the best success. Absolutely.

Was the recent CMA study a jolt? That fewer than 50% of country fans have internet in their homes, and many of those don’t want the Internet. That surprised me.

I was surprised too. It is interesting considering that over the past four years there’s been the shift of a younger demographic into our format that Taylor Swift, Kelly Pickler and a lot of the “American Idol” artists have brought. You would think that (internet use) would have become much higher.

Taylor Swift may be up to 17 million tracks sold on iTunes, but that’s because of her being a top 40 crossover act.

I think that’s where it really comes from. You can’t sell that many (tracks) to a P1 (country) consumer. I don’t care if you are the Dixie Chicks or Taylor Swift or whoever. You are getting through the door of country music but where you live is in the multi-genres of music lovers.

This may lead to country radio programmers turning their backs on acts they think are too pop-oriented.

Yes. It’s a matter of are they crossing over or is the audience slowly finding them. I think musically the Dixie Chicks probably never left (country) even if you put aside the political ramifications. They were still very much making country music.

Country radio lets artists go to a certain point with cross over and pulls them back. But the labels like those big sales numbers.

You are right.

The CMA research indicates that married females 25-39 from small towns drive nearly half of all country music revenue. Does that impact A&R in country? It seems to be a narrowly defined core.

It is isn’t it? You do think, “Okay, what songs am I going to have to speak to that core P1s to get through?”

Maybe that’s why we haven’t broken as many female artists as were once in the format. You had the early ‘80s when there was Mary Chapin Carpenter, Kathy Mattea and that phase. (Females) sort of went away for awhile and came back with Shania Twain, Faith Hill and Martina McBride. Now, they have gone away again.

Now there’s this “young” (artist/audience) resurgence but it is still tough to have a female break through in the Top 10 as a radio artist. There has just not been that consistently--other than with Carrie Underwood and Taylor Swift. Its male acts or groups that have (broken through). The question is would a Zac Brown Band’s “Chicken Fried” really speak to a 35 year old woman? At the time I don’t know if my marketing mind would have gotten around that.

This year, Eli Young Band’s “Always The Love Songs” climbed the charts, and Randy Houser broke big with “Boots On.”

It is pretty exciting here. Everybody knows how hard it is to break new artists these days in a world becoming more and more consolidated with radio, syndicated programming and stuff like that. You either have to have a magical record that reaches the consumer or you have to invest a lot of energy.

You did non-traditional country marketing for Randy Houser.

We have been unconventional with him. The first single ("Anything Goes") was a somewhat lyrically controversial ballad talking about jeans on the bedroom floor (“I'm searchin' for my blue jeans on a stranger's bedroom floor”). We had some stations that had problems with that but it’s what got him on David Letterman. That was the verse that Letterman freaked out about.

A label would usually not go out with a hardcore ballad by a country artist first time out-of-the-box. But you made a conscious decision to release a ballad rather than an up-tempo track.

That is unconventional. My thinking was that his vocal performance was so amazing and the song could have easily have been Song of the Year if it caught wind; and, if it didn’t, we would establish him as a credible artist and a great vocalist in the format. I figured we could then take that base and run with it whatever way we wanted to go determined by how much success that we had.

Why not lead with a single that is a ballad if 50% of the core country audience is 25-39 female? A ballad would seem to be a natural.

You would think so. But radio programmers are mostly male and now with (the introduction of) PPM (the Portable People Meter) some of the bigger markets are concerned about how they read PPM. Some of them are saying that certain musical things automatically have people switching the channel. And ballads may be one of them. I don’t think we know exactly what (PPM data) means yet. We are still making a lot of assumptions on what it is.

Programmers have always said they don’t have enough up-tempo songs, but if a ballad impacts, it’ll stay on radio playlists forever.

Yep, and the ballad is the money song 9 times out of 10. You are probably right but you have to first get past the gatekeepers.

Randy Houser’s video, incorporating home video of 4-year-old Drake Dixon rocking out to “Boots On,” has become an Internet sensation.

That was where luck and timing all matched up. It was a matter of discovering a video of four-year-old Drake shot by his nanny in the back seat of a car. Then us finding it, licensing the footage from the family and making a (video) concept around it that incorporated Randy. By the time, we got the video made (with Randy) there were a half a million stream of it on YouTube. This was a great tool to make people aware of the song but it didn’t brand Randy as a new artist. That is why we had to incorporate him into (a new video). So what I did was think of a treatment that we could back into the footage as it pre-existed and have that footage make sense. It may be one of the most inexpensive videos I’ve done in my career. We probably shot it in less than two hours and with a crew of two people.

The original video had a half million streams before adding Randy?

Yes. It went up on Perez Hilton’s site one day and got a few hundred thousand (streams). The next day, we had calls from “CNN Headline News,” CBS “Good Morning,” and “Good Morning America.” They were all putting it up with intros and out-tros going into commercials talking about how you had to see this kid. CMT sent me an email the other day that they are still getting 10,000 plus streams a day (on the upgraded version).

Phil Vassar’s hilarious video for “Bobbi With An I” (featuring a guy who shows up at a country club dressed as a girl) premiered exclusively at AOL’s TheBoot.com. Why go to that platform first?

Obviously, the content of that song is not the most conventional country music lyric ever sung. (It’s about) a cross dresser. But having actor James Denton (from “Desperate Housewives”) in the video spread Phil to a new audience that was receptive to the song and to the video. It’s a more mainstream video that takes Phil into that (mainstream) world, something that we might not have been able to get with Phil by himself.

When marketing Eli Young Band and Cross Canadian Ragweed do you think, “If we get radio fine but what else can we do?”

Cross Canadian Ragweed and Eli Young Band are both from the Texas-Oklahoma area. Both made a great living without (signing with) a major record company. Both have come to a major record company. If they wanted to go to that next level they needed that marketing and promotion support a major record company offers.

In this case a major record company, Universal South, went to them.

In both cases, they wanted to go to that next level but on their own terms. CCR has a new album coming in the Fall. It’s their first record in 2 1/2 years. We kind of let them go and make the record that they wanted to make. They are who they are. They know their audience. They know the kind of music that they want to make. We let them make that record and we’ll do our best to support it and take it the consumer.

The Eli Young guys knew that to go to the next level that they had to work with a major label. Here was a band that was making a couple of million dollars a year before they even came to us. They had three records out, more merch than most country acts out there and they had their own lights and bus and sound. They were selling out Billy Bob’s and other big venues before we got involved. Our challenge was to take them to the next level.

What can you as a major label offer a band like that? They probably sell CDs at $20 each on the road and their merch sales are huge.

That’s what they have to figure out. Major labels aren’t for everybody and I’m cool with that. It is a matter of what you want out of a deal or what you are expecting a major label to get for you --either in marketing support, distribution, artist development, or financial resources.

As a local band are you really happy making the income you are being a local band? That is where the Eli Young Band was. They were selling out dates in Texas, Okalahoma, Kansas and Colorado. Their challenge was how to get into Chicago and Atlanta. They just played Atlanta for the first time and sold 900 tickets. How did that happen? It happened primarily through country radio and music videos. That wouldn’t have happened if they were still just being played on a handful of stations in Texas and Oklahoma.

What was the first single you made as a kid?

I don’t know (laughing). I honestly don’t know. I made it when I was really young and a local (Wichita) country station played it. We pressed some copies up and then someone working with the Association for Retarded Citizens (ARC) heard it and tracked my parents down and I became a spokesperson for ARC. It was a matter of me being young and from that area.

After high school you went to Belmont College in Nashville to study music. Why not go to New York or Los Angeles?

I was from Kansas. My parents weren’t going to let me go to New York or LA. That was a little bit much for an only child. I started at Belmont in commercial music, just briefly. Then I figured if I was going to (be in the music industry) I should take business classes more than music classes. I had a pretty good sense of music chord structures and I could pick a lot of that up by having conversations with my friends. I felt what I needed to know more about was the business, that’s when (my life) began to shift.

You did jingles as a singer?

It was great to do jingles because you can knock one out fairly quickly. I did (sings) “The Heartbeat of America is today’s Chevrolet.” in the ‘80s. I worked with (Bob Farnsworth’s) Hummingbird Productions and worked through some ad agents that would package commercials with their ad buys. Here I was in college and I was making some nice money for 30 minutes of work at the most.

You took on an internship at CBS while at college where you came to learn the business end of the music business. You have said, “The foundation of what I know now, I learned there.”

That is when my mind-set started switching. I made myself available (throughout the company) because I wanted to learn everything. Whenever I wasn’t in class I would go there. I would be there first thing in the morning until my classes and, after classes, I’d return and I’d be the last person to leave.

When you graduated from Belmont in 1985, you couldn’t get a full time job in Nashville for some time.

What happened is that country industry had come off that “Urban Cowboy” phase during which it had exploded so much. Record companies had built up staff and were then starting to stream line operations in ’85.

You were a fresh new face in the music business.

I was competing with people who had been in the business for years. I had to fight and say, “I will do anything, for whatever.” And I did. I worked three part-time jobs. I’d either be at Mercury Records or MTM Records in the morning, and then I’d go over to the Country Music Association and pack up the mail in the afternoon. Monday, Wednesday and Friday I was at Mercury Records. Tuesday and Thursday, I was at MTM. Afternoons I would go to CMA. Eventually, I got promoted at the CMA from being the mail room guy to working on “Close-Up” (magazine) and working in the information department. Then a job came open at Sony.

The secretary at MTM then was…

Trisha Yearwood worked there when I was there.

You then worked in publicity in Sony in Nashville.

That's where I worked my way up though the marketing umbrella of the record industry into artist development.

Did you realize that being a publicist wasn’t the way to get ahead?

It was more that my mind functions more like a marketing person than as a publicity person.

I don’t care if you are doing A&R or sales, to be really great at what you do, you have to have a marketing sensibility. If you are listening to songs for Phil Vassar or Joe Nichols, if you know that artist, know what he would sing and know his audience, then you are going to be better picking the songs that would work for that artist and for his audience.

Why the switch from Sony in Nashville to Arista Records in Los Angeles?

I had been in Nashville for a long time. I wanted a new challenge and (to discover) different thinking. Nashville is a great music community but you can get into a mind-set if you don’t watch it. I was in my 20s and I figured “If I am going to (move) I am going to do it now instead of in my 30 or 40s.”

With my knowledge of country music, I figured I could keep one foot in the country music (world) and, if I went to LA, I could work in the Hollywood world too and make some connections. So I went out to LA and worked at Arista.

You were responsible for getting several artists their first national network exposure, including Alan Jackson on the Grammy’s and Billboard award shows, Pam Tillis on “The Tonight Show,” and Brooks & Dunn on the “The Arsenio Hall Show.”

Arista Nashville had just started up with (founder) Tim Dubois (in 1989) and everything was just exploding. We were popping Alan Jackson, Brooks & Dunn, and Pam Tillis. Everything was happening. That created a groundswell of success for country music in general.

It was also a time when country music blossomed around Garth Brooks’ success. Country music became mainstream. It used to be that (night-time TV programs) would only put one country artist on every week or two. Then it got to the point where they wanted a country artist on weekly basis. The Nashville industry was so successful during that period. The littlest of country artist could walk away with a “gold” record in those days.

You also worked with Whitney Houston, Toni Braxton, and Annie Lennox.

Annie Lennox is one of my favorite artists and her (1992) “Diva” record is still one my favorite records. I worked with Phil (Vassar), Toni Braxton, Kenny G, Aretha Franklin, Barry Manilow and so many others. We started the LaFace Records' joint co-venture out of Atlanta (with the producing duo Antonio "L.A." Reid & Kenneth "Babyface" Edmonds and with early successes by TLC, and Toni Braxton).

In Los Angeles, you worked the full spectrum of publicity and marketing nationally. How did that impact you?

I definitely think (the experience) made me think bigger and, still to this day, it helps me think outside of the box. Some times I’ll take a step back and think, “If I was in LA, what kind of things would I be doing?” Although things have dramatically changed since I was there. But there are relationships I built up out there. Many of them can be useful now in going forward (with a project). Many of them can be useful now in going forward (with a project).

You wouldn’t know those people if you hadn’t worked in Los Angeles.

Exactly. I can call somebody up and ask, ‘What are you working on now?” They may be working on a boot campaign. I can say I have this Randy Houser boot song. You never know.

You still use the telephone as a prime means of communication?

I love the telephone. I think people hide behind it. For me, it’s “Pick the phone up” instead of going back and forth. Just talk it through and figure it out, especially when there’s conflict.

Is Keith Urban a rocker at heart?

I think he is a musical country artist that loves to rock. He can find a great guitar lick but he wants to produce records that have country sensibilities with banjo and mandolin in them as well.

We had our challenges at first convincing the industry that he was a viable country artist. Keith and I talked about this early in his career. Being Australian, he got his country influences from the United States, and got his rock and pop influences from Europe.

What made him so suitable for the American market?

There were two things, primarily. One, he’s incredibly talented. I remember the first time I took him to LA and had him do an acoustic showcase in front of people with the “Tonight Show,” the Grammies, and ”The American Music Awards.” They had heard me talk about him but once they saw him (the attraction) was immediate. He didn’t need five musicians behind him. He’s an incredibly talented guy who could stand up and play with only a guitar.

Secondly, from a credibility point, he was able to talk to the purists of country music, fans who are the gatekeepers. He could talk intelligently with them and convince them he was one of them. Just because you are Australian doesn’t mean you don’t have a history in country music. Even if he wasn’t from the States, Keith has an appreciation and knowledge of Glenn Campbell who he grew up on, and who was his musical mentor.

Keith, along with Martina McBride, is one of the few country artists with profiles in the U.K. Most country acts don’t even go over there.

They don’t, because the artists are so busy 365 days a year. Early in their careers, they are in trying to get a lock hold in this state (Tennessee). If they do have success they are then touring 250 or 300 dates a year throughout the U.S. Then they have radio success. And they go into that (touring world). So where is the time?

How do you convince an act to go to Europe when they are making $50,000-$100,00 a night in the US?

On a smaller scale, it is exactly the problem I had with the Eli Young Band. Here was a band making tens of thousands of dollars playing in Austin, Texas and I’m going, “Okay, you need to go to Chicago and do a date that is going to cost you $5,000 or $10,000.”

How do you convince bands to make the jump when they will lose money?

The question is, are they investing in their career. Do they want to be a coast-to-coast American artist? Or do they want to stay down there. The Eli Young Band sold 900 tickets in Atlanta even though it was their first time there. So will they go back there? Yeah, because it will probably be 12,000 tickets the next time.

You have to play 4 or 5 times in a market to really make an impression.

You have to make sure that the entire marketing machine from radio to publicity to visibility in the marketplace has been elevated each time you go in.

In 2003, you were a judge for the Miss America Pageant

I met someone at the going-away party for (former Recording Industry Assn. of America chief) Hilary Rosen. She introduced me to someone who was on the Miss America Pageant board. They had one spot open for a judge. So I took a week off at Capitol. It was amazing. People who think it is just a two or three hour show on television don’t understand the process. I had a new appreciation once I saw how hard these girls worked. And I picked the winner (Ericka Dunlap) from the very beginning.

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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Mamie Coleman, Fox Broadcasting 07/05/12
Dennis Condon, Disneyland Resorts 07/13/01
Peter Conlon, Peter Conlon Presents 05/20/05
Tony Conway, Buddy Lee Attractions 10/06/00
Allen Cook, TOURtech 04/16/15
Tomas Cookman, Cookman International 09/05/03
Alex Cooley, Alex Cooley Presents 07/12/10
David Cooper, Foxman.com 10/31/03
Jay Cooper, Greenberg Traurig, LLP 05/23/11
Julie Coulter, Near North Insurance Groups 06/07/01
Amy Cox, Deep South Entertainment 02/09/07
Michael O. Crain, Crain Law Group, LLC 10/09/13
Charlie Cran, The Strawberry Music Festival 04/05/10
Jim Cressman, Invictus Entertainment Group 06/06/12
Russ Crupnick, MusicWatch, Inc. 07/23/15
Todd Culberhouse, Vision Management /Vision Records and Entertainment 09/05/08
Tony D'Amelio, Washington Speakers Bureau 04/21/06
Ruth Daniel, In Place of War 08/09/17
Ray Danniels, Standing Room Only Management, and the Anthem Entertainment Group 03/05/15
Ken Dashow, WAXQ-FM (l04.3 FM) - New York 09/08/06
Hal David, Lyricist 07/26/11
David Davidian, Independant Lighting Designer/Director 06/18/04
Anthony Davis, D&L Entertainment Services, Inc. 03/02/01
Chip Davis, American Gramaphone/Mannheim Steamroller 05/31/02
Mitch Davis, Tempest Entertainment 07/16/04
Jeff Dawson, Canadian Recording Services 06/08/08
Desiree Day, USO Celebrity Entertainment 08/10/01
Shauna de Cartier, Six Shooter Records/Six Shooter Management 10/23/13
Gene DeAnna, The Library of Congress 02/21/12
Vincent Degiorgio, Chapter 2 Productions 08/01/13
Tony DeLauro, DeLauro Management 12/23/04
Valerie Denn, Val Denn Agency 04/30/01
Val Denn, Val Denn Agency 03/06/14
Robert DePugh, Alligator Records 07/29/05
Tom Derr, Rock Ridge Music 10/29/04
Paul Dexter, Masterworks Lighting Design and Road Cases 12/10/04
Marty Diamond, Paradigm 01/22/10
Glenn Dicker, Redeye Distribution/Yep Roc Records 07/07/06
Barry Dickins, International Talent Booking Agency 06/06/13
Jim Digby, Event Safety Alliance 09/01/16
Mark Dinerstein, The Knitting Factory 11/17/06
Neill Dixon, Canadian Music Week 03/03/16
Thomas Dolby, Musician, academic, technologist, and author 11/09/16
Jasper Donat, Music Matters 2009/Branded 04/24/09
Jim Donio, National Association of Recording Merchandisers 04/22/11
Marc Dottore, M. Dottore Management 04/11/03
Tim Drake, The Roots Agency 12/12/08
Mike Dreese, Newbury Comics 11/23/11
Charles Driebe, Blind Ambition Management Ltd. 09/22/06
Jeremy Driesen, Ray Bloch Productions 09/07/01
Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of Denver’s Division of Theatres and Arenas 08/23/10
Paolo d’Alessandro, International Solutions 06/25/14
Ros Earls, 140dB Management 02/19/14
Art Edelstein, Festival Productions 12/01/02
Bruce Eisenberg, Audio Analysts 08/31/01
Martin Elbourne, The Glastonbury Festival 12/18/09
Michael Elder, Red Entertainment 03/17/06
Tod Elmore, Sixthman 11/24/06
Paul Emery, Clear Channel Entertainment 11/19/04
Arty Erk, Citrin Cooperman 04/27/16
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock ’n’ Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gélinas, Festival d’été de Québec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Chris Gero, Yamaha Entertainment Group 10/26/16
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Steve Gietka, SMG Entertainment 03/19/14
Darren Gilmore, Watchdog Management 03/17/16
Daniel Glass, Glassnote Entertainment Group 10/16/14
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Neil Goldberg, Cirque Productions 04/16/14
Martin Goldschmidt, Cooking Vinyl Group 09/29/16
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, Turntable.fm 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Justin Kalifowitz, Downtown Publishing 04/20/17
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Elliot Lefko, Goldenvoice 09/21/17
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Música e Cultura 05/04/17
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Paul Reed, Association of Independent Festivals (AIF) 06/14/17
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Jack Ross, APA Canada 09/07/17
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, ItsAboutMusic.com 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Peter Shapiro, Ideal Entertainment 04/16/04
Seth Sheck, Access Pass & Design 01/03/03
Seth Sheck, ACCESS Event Solutions 06/22/16
Seth Shomes, The Agency Group 11/12/14
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Michael Simon, The Harry Fox Agency 08/14/13
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Peter Smidt, Eurosonic Noorderslag & manager Buma Cultuur 07/17/13
Garrison Snell, Gyrosity Projects 02/23/17
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
Nikki Solgot, Circle Talent Agency 02/18/15
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Deb Suckling, SUGARRUSH Music 07/27/17
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Mandar Thakur, Times Music 08/06/15
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
Adam Tobey, Concert Ideas 08/24/17
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Marsha Vlasic, Artist Group International 05/31/17
Mat Vlasic, Bravado 06/28/17
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Kirt Webster, Webster PR 02/03/16
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Adam White, Author 09/14/16
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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