Industry Profile: Diane Warren
By Larry LeBlanc
This week In The Hot Seat with Larry LeBlanc: Diane Warren
While the music industry continues to undergo a significant upheaval, Diane Warren is likely---at this very moment--writing one of her best songs at 6363 Sunset Boulevard in Hollywood.
The nine story office building--with its dramatic views of the Los Angeles basin and Hollywood hills—is at the corner of Sunset and Ivar.
The building houses Realsongs, Warren’s 23-year old publishing company.
It is also home to the Los Angeles Film School; and is the former setting of RCA Studios where the Rolling Stones recorded “Satisfaction” and where Elvis Presley rehearsed his live shows, and recorded sections of "Burning Love" and "Always on My Mind."
Each day for 28 years, excepting Sundays, this Van Nuys-born self-confessed workaholic has been coming to 6363 Sunset to work in her songwriting "cave." She begins writing at 8:30 A.M.--she's most creative in the morning—and then spends the afternoon pursuing artists and entertainment executives to cover her songs.
Realsongs, with 12 employees under executive VP Julie Horton, publishes and promotes Warren’s catalog of 1,400 songs. There are only about 25 Warren songs that the company doesn’t own completely. Sony ATV Music Publishing sub-publishes her works outside the U.S.
A fierce creator of works that have become part of the fabric of pop culture, Warren has had songs recorded by hundreds of artists including Celine Dion, Whitney Houston, Aretha Franklin, Toni Braxton, Barbra Streisand, Cher, Joss Stone, Mary J. Blige, Tina Turner, and Aerosmith.
She had her first hit in 1983 with Laura Branigan's “Solitaire.”
She has recently had songs recorded by Jennifer Hudson, David Cook, Rihanna, the Pussycat Dolls, Akon, Sean Kingston, and Tokio Hotel. She also tailored her song "I Didn't Know My Own Strength" for Whitney Houston.
Warren has had nine #1 hits top Billboard’s Hot 100 chart; and 31 songs peak in the Top 10.
Among her best-known hits are: “Because You Loved Me" (Celine Dion) and "If You Asked Me To” (Dion and Patti Labelle); “If I Could Turn Back Time” (Cher); I Don't Want to Miss a Thing" (Aerosmith) which was recently chosen as U.K. newlyweds’ #2 choice for a first dance tune); ("Nothing's Gonna Stop Us Now" (Starship); “Just to Hear You Say That You Love Me” (Tim McGraw & Faith Hill); "Can't Fight the Moonlight” (LeAnn Rimes); and “How Do I Live” (Rimes and Trisha Yearwood).
Warren’s song “Un-Break My Heart” launched the careers of both Toni Braxton and Il Divo. Braxton’s 1996 version held the top spot on the Billboard Hot 100 for 11 weeks. It made Braxton a superstar, and remains her signature tune. According to reports, Braxton initially didn't want to record the song. However, Warren was there for her vocal performance of the song in the studio, and predicted that she'd win a Grammy for it.
And Braxton did.
Since 1984, when Laura Branigan's version of her song "Hot Night" was featured in "Ghostbusters," Warren has had over 100 songs appearing in films. This includes “Space Jam,” “Prince of Egypt,” “Up Close and Personal,” “The Preacher's Wife,” and “White Men Can't Jump,” “Confessions of a Shopaholic," and “American Gangster.” Last year, she was the recipient of the inaugural Hollywood Reporter/Billboard Film and TV Music Career Achievement Award.
"Because You Loved Me," written by Warren as a tribute to her father for his encouragement of her career, was featured in the film Up “Close & Personal.” The song was nominated for an Academy Award and a Golden Globe Award, as well as four Grammy Awards. It won a Grammy Award for Best Song Written for a Motion Picture, Television or Other Visual Media.
Born in 1956 to an insurance salesman father who supported her musical aspirations, and a mother wary about the realities of a music career, Warren was raised In Van Nuys in the heart of the San Fernando Valley.
Growing up, the radio was Warren’s best friend. She would also study her sisters' 45s to see who wrote the songs. By 7 or 8, she thought that she could make up her own songs. After being given a guitar by her father, she began to spend hours each day writing in her parent's garden shed.
By 14, she was writing three songs a day. She tried, with her father's help, to gain a foothold within Los Angeles’ music world. However, publishers weren’t initially interested.
In 1983, she was hired as a staff writer by Laura Branigan's producer Jack White. After producing hits in Germany for Tony Marshal, Andrea Jürgens, and Lena Valaitis, Cologne-born White (aka Horst Nussbaum) hit the international pop music sweepstakes by producing Branigan's ‘80s hits "Gloria," Ti Amo,” and "Self Control,” all in a glitzy Eurodisco style. Later, he’d produce similar styled hits with actors Pia Zadora, Audrey Landers, and David Hasselhoff.
Warren’s first hit was Branigan’s "Solitaire" which reached #7 on the Billboard Hot 100 in 1983. The song was originally written and recorded in 1981 by French singer/songwriter Martine Clémenceau, a former Eurovision contestant. Warren only provided new lyrics.
Two years later, the Michigan family group Debarge recorded Warren’s original song 'Rhythm Of The Night” that reached #3 on Billboard’s Hot 100 chart.
Her career then took off.
Warren soon moved into 6363 Sunset Boulevard and set up shop in a cramped writing workspace she still uses.
Today, however, Realsongs offices also house two state-of-the-art recording studios where producers and engineers turn her songs into fully fledged recordings.
Although she started out writing on guitar as a teenager, and still has an acoustic piano in her writing room, Warren herself works predominantly on an ancient Yamaha DX7, recording her ideas for songs to a Sony TCS60 Walkman.
Warren founded Realsongs in 1985 following a lawsuit with White. She recalls, “My lawyer said, 'You have to keep your own publishing,' and I said, 'No, I want to be with a big publisher.’ Thank God I listened to her.”
A project based on Warren's life by Neil Meron and Craig Zadan, producers of the films "Chicago" and "Hairspray," is currently in development at the Lifetime cable network.
How cool is hearing your music on the radio or in films?
It’s all good. Seriously. Hearing my music anywhere is great. I still love to hear my songs on the radio. Being a kid who was in love with the radio, the fact that someone is hearing my songs and is touched by them is a full-circle kind of cool thing. I am always happy that my songs are heard and sung by people. I know songs touch people, and that's a wonderful feeling.
Watching a film do you wait for your song?
You recently wrote “I Don’t Know My Own Strength” for Whitney Houston who says she relates to the song because of her struggles as a single mother.
I’m really excited about the Whitney song. It is kind of her story. I looked at her life. I have worked with her through the years. I heard all of the stories like everybody else did. I had the title “I Don’t Know My Own Strength” that I felt was really cool. Then I thought, “I’m going to write this for Whitney. I’m going to write her story.” Write her story as I see it, anyway. You never know someone’s story unless you live in their skin, right? But I knew she was going to make a comeback record. I knew she had gotten clean (drug free).
You first played the song for Clive Davis (the Chief Creative Officer of Sony Music Entertainment Worldwide). You have a long working relationship with Clive including working on hits for Toni Braxton, Kelly Clarkson.
He has said that it was thrilling seeing you perform your own song at his bungalow at the Beverly Hill Hotel.
That’s sweet. But I don’t know. I am certainly different than hearing Whitney sing. Some times I do go and play for him. Some times I will play him a (recorded) demo. Clive appreciates it when I play something that is raw. We have done so many huge records together. What I love about Clive is that he still loves songs. The guy is passionate. He really believes in great songs.
With over 1,200 of your original songs in Realsongs’ catalog, do you forget that you have written certain songs?
Yeah, I do because I am always onto the next one. I am always writing new ones. I’ve got a lot of good stuff coming. I just did a great song on the new Sean Kingston album that I am really excited about. I like him. I like singers like that. Akon as well. I did a great song for his new record.
You started Realsongs in 1985 after suing producer Jack White to get out of your publishing deal?
Actually, he sued me for leaving. (The law suit) wasn’t cut and dry. It was complicated. My lawyer suggested I have my own publishing company and own my own songs. I was like, “No. I want to be a staff writer.” I couldn’t sign with (another) publisher so she said, “Well, you have to keep your own publishing.” At the time, I was frustrated because I was in a lawsuit with Jack. But then I settled it myself with him which I was proud of.
What was the appeal of being a staff writer in the ‘80s? I know you admire such Brill Building songwriter teams as Gerry Goffin & Carole King, Barry Mann & Cynthia Weil, and Ellie Greenwich & Jeff Barry.
I always aspired to be one of those Brill Building kind of people. But I couldn’t figure (that kind of career) out. It just worked out the way it was supposed to. I know Carole King a little bit but not well. I have never met Ellie Greenwich. I have talked to some people from those (Brill Building) days. It must have been a cool time. But the cool thing is that I can do (songwriting) on my own. I come here every day, and I am my own little weird Brill Building. I put myself in a weird little cubicle and I just make myself work.
I’m still a workaholic. I don’t like to work at home or I would never leave. I love the idea of going to work. I don’t need to write songs (financially) but I need to write to live. I’d go crazy if I didn’t write.
How many of your staff pitch your songs?
Julie (Horton) does and I do it constantly.
Do most people want to deal direct with you?
A lot of times they do. I’m fine with that depending on who it is. I can’t deal with everybody personally. But I love one-on-ones with artists. I really do.
You have a reputation for toughness. Maybe you’re not an LA person.
I am definitely not an LA type person. I’ve heard that I am aggressive and tenacious in business. That I am a pain in the ass. That’s because I believe (in my songs). I’m usually pretty nice but I am tenacious (dealing) with my songs.
Swear like a truck driver?
Definitely. But I am not rude or obnoxious.
Do you have a concern about traditional royalty streams fading in the digital age?
I am not thinking about it. Whether people buy a song on a wrist watch or wherever, if it is a hit, they will want to own the song. I definitely want to get paid for what I do. But I can’t think about that when I am writing. I am just trying to write great songs.
Have you seen a deterioration of income with your catalog?
The fact that records are selling less, I’m sure I’m making less money there. But my songs are used for everything. There’s radio, commercials and so on. There may be a commercial somewhere in the country I don’t even know about and they’ll pay me a few hundred grand to use my music. Okay. Hit songs are the gifts that keep on giving.
Will it become more difficult to get paid for songs in the future?
I think (publishers and songwriters) will be paid. There will always be ways to get paid. Records sales (are down) but there’s a million ways to get paid for a song. There’s sync (licensing). There’s (radio) airplay. Those Motown songs will be played on the radio forever.
I just heard the Miracles’ 1967 hit “I Second That Emotion” (written by Smokey Robinson) and thought it was something you could have written.
I could have written that. It has a good clever title which I like. Smokey Robinson is a great songwriter. Everybody has covered his song “The Tracks Of My Tears.” Linda Ronstadt had a hit with it. All those Motown songs are great.
The ‘60s was a great time for music on radio.
It was the golden age of songwriting in my opinion.
Were you a big radio fan?
I grew up listening to KRLA, KFWB, and 93 KHJ Boss Radio. I remember (announcers) B. Mitchell Reed, Sam Riddle, Robert. W. Morgan with “Morgan in the Morning” and Wolfman Jack.
Night time, did you have a radio under your covers?
I was that person. That is where I would live. I remember hearing faraway stations It was like (hearing) a train. I also loved listening to my older sisters' records, people like Buddy Holly and the Beatles. But I was more fascinated by the songwriters, people like Carole King, Leiber and Stoller, and Burt Bacharach. Those were my idols.
You went to Birmingham High School where Ron Fair (president/chairman of Geffen Records) also went.
I did. Ron Fair went to school there but he was a couple years older than me. He says he remembers me. We had the same music teacher, Mr. Waddell. I did not pay attention; Ron did.
A lot of successful people didn’t do well in high school or college.
Well, I did badly in all forms of school. I got kicked out of two junior highs. I barely graduated high school. I was kicked out for cutting school, forging (my parent) signatures (on absent notes), flipping off a teacher. Everything. I went to junior college for a couple of years. I went to California State University in Northridge for a couple of years. I was only going because my dad said that he would support me through college. I really didn’t care. I was mainly taking film classes.
You started doing the rounds of music publishers in Los Angles when you were 15. You kept being told, “You’ve got potential.”
I used to hate that word. I really did not like the word potential. I wanted to strangle people when they used that word with me.
You were writing three songs a day by then. Were your songs any good.
They were probably bad. Those people were probably right, I hate to say. Of course, they weren’t great. They were the beginnings of somebody that was going to get better later. The fact is that I believed that they were great is a big thing.
LA is a great place to start a music career.
I was from Van Nuys. Going over the hill was a million miles away. I didn’t know my way around here. You can get in a car (and get around) but it is night and day from where I grew up.
You never wanted to be a performer?
No, no. Some times I’ll think about doing a record, just to do one because I feel every (songwriter) should, perhaps, do one. But my aspiration was never about (being a performer). I wanted to be the one writing the songs. I wanted to hear my songs on the radio
Laura Branigan recorded several of your songs including “Solitaire” and "Hot Night."
She used to stay at the Chateau Marmont in West Hollywood. I remember us sitting together in the really echoey bathroom, going over the songs.
I heard she introduced you to Japanese food and the power of wasabi.
That (incident) really happened. It was at Imperial Gardens on Sunset. I don’t think I had ever had Japanese food before. She said, “Here have some green tea ice cream.” It was not a little tea spoon. It was a large table spoon. I swallowed it and I’m telling you I was on the floor. I felt like I was going to die. Then I wanted to kill her. (Looking back) it was kind of funny.
Despite her big ‘80s hits, like "Gloria,” "Self Control", "Solitaire" and "How Am I Supposed to Live Without You” Laura is often overlooked today. I thought she had vocal chops on par with Donna Summer or Celine Dion.
Exactly. During my first time working with Celine I remember thinking that she reminded me of Laura Branigan. Laura was a great singer.
[Laura Branigan died at her home on Long Island, New York, on August 26, 2004. Her death was attributed to a previously undiagnosed brain aneurysm.]
You were working with Laura’s producer Jack White?
I was signed to Jack White’s publishing company. He was my publisher and Arista Publishing administered his (catalog). Through them I got “Rhythm Of The Night” placed with DeBarge (in Berry Gordy’s 1985 film “The Last Dragon”)
“Rhythm Of The Night” still sounds great today.
Yeah. Isn’t that weird? But I do aspire to write songs that transcend genres and the times that they are written in.
You count “Rhythm Of The Night” as your first real success?
That was the first (song) I was excited about. I did the lyrics to “Solitaire” and, even though it was a hit, it never felt like it was a song of mine. I just wrote the lyric. With “Rhythm of Night” I wrote words and music. So it is something that I created on my own. To this day, that is what means the most to me.
As a top songwriter you have often been asked by labels to co-write with artists. Often a co-write doesn’t reflect reality.
I won’t do (that kind of co-writing). If there’s a co-written song then I’ve truly have written it with the artist. Early in my career there were times that I probably wrote more than the artist that I was writing with. Today my attitude is, “Do the song or don’t do the song.” Their name isn’t going on (a song) if they didn’t write it.
How often have your songs been changed by artists or producers?
People usually respect them. That being said, if someone wants to make changes of a few notes or a line that might be uncomfortable, I’m cool with that. It like an actor saying there might be something better for the screenplay.
Early on, however, you were told to write songs at 120 beats per minute.
That did happen while I was at Arista. I was playing a ballad for someone at the company and he interrupted me and said, “It has to be 120 beats per minute.” That was a little strange.
Well, the ‘80s were pretty wild.
When I got into the business it wasn’t very wild. Maybe it was but I had my blinders on. I just wanted to work. I was work, work, work. I wasn’t doing coke or partying. When everybody was doing that, I was at the office.
When you were a teenager, your father bought a subscription to Billboard. When it was founded in 1894, Billboard was a trade paper for the bill posting industry. Within a few years, it began to carry news of the circus industry. In many ways, artists and songwriters are carnival people still.
I think so too. I think I’m in the fucking circus. I think a lot of times it’s the circus (out there) and there are a lot of clowns.
Despite your success you had difficulty for years breaking down the barriers in Nashville. It wasn’t until 1997 with "How Do I Live,” recorded by both Trisha Yearwood, and LeAnn Rimes, that you were taken seriously by producers and artists there.
Do you know that the first person to do one of my songs was Barbara Mandrell? It was either before or just after (my success with) Laura Branigan. The song was “Bad Boys Do It Good” (for the 1983 album “Spun Gold.”) It was something that Arista Publishing got me.
It’s so weird (not being taken seriously in country) because my songs are so good for that world. A lot of (country) people have had hits with my songs. Reba McEntire ("I'll Be”), Mark Chesnutt (with a version of "I Don't Want To Miss A Thing"), and the Tim McGraw & Faith Hill duet of "Just To Hear You Say That You Love Me” was a massive hit.
You aren’t generally a public figure. Yet, you appeared this year on "American Idol" as a mentor and a judge; and two years ago you were a guest on "The Oprah Winfrey Show" (alongside Russell Simmons).
Were you being the businesswoman branding your music?
You gotta do what you gotta do. I don’t have to do (TV shows), really. But I’m a business person too. It is a part of (building) my brand. As much as I am shy, I need to be out there some times. And it’s fun too. Oprah was fun. It was cool being on with Russell Simmons. I loved that the show was about following your dreams. Oprah is awesome. She’s always supportive of what I do. The “American Idol” thing was a night of my songs.
"American Idol" provides a fast track into the music business. But you really have to have talent to stay in.
Oh yeah, totally. But everybody deserves a break. If it’s “American Idol” or some other way, they are still getting a break. As far as longevity (is concerned), it’s what you decide to do with your break. Are you doing the right song?
Why haven’t you written for other entertainment forms, like Broadway?
Because that’s not my thing. There’s talk about some (theatrical) projects happening and, if they work out, that would be cool. But it would have to be (with) hits. I just can’t have people breaking into songs (onstage). I can’t do that. If I can load up a show with hits, that’d be great. Maybe, somebody could take my songs and do a musical and do it in a cool way.
There are theatrical production of Ellie Greenwich hits (“Leader of the Pack”) and the hits of Leiber & Stoller (“Smokey Joe’s Cafe”) as well as “Dirty Dancing.”
They could do that with my songs as well. That’s fine with me. But I don’t know how to do it. It’s all about songs. And it’s all about making a compelling story. I don’t know anything about that. I only know the song part.
Your songs do have a common thread. Many of them are emotional.
Yeah. So, in the right scenario, they could be used. I have no idea of how that would work.
Are we ever going to hear another version of “Blame It On The Rain?” It was a #1 record worldwide for Milli Vanilli in 1989 before the lip-syncing scandal broke.
That’s an interesting question. I don’t feel any guilt about (the Milli Vanilli scandal). I think it’s one of my best songs. In fact, Fantasia and Sam Moore did a cool version of that song on his record. But, I think there’s another life to that song. Milli Vanilli is kind of hip again, again. Those records were great. My reaction (when I heard they didn’t sing on their records) was whoever singing is really good. Too bad he wasn’t onstage. I’m still proud of the song. Proud of the work on the record. Lip-synching was more prevalent in Europe than here. But I guess when you win Best New Artist at the Grammys, you probably should be singing. It’s not good when the tape stops in the middle (of a performance).
[Milli Vanilli was a pop/dance music project formed by Frank Farian in Germany in 1988, fronted by Fab Morvan and Rob Pilatus. The group's debut album “Girl You Know It’s True” achieved earned them a Grammy Award for Best New Artist in 1990.. However, their Grammy was quickly revoked after it was revealed that the vocals on the album were not the voices of Morvan and Pilatus. In 1998, Pilatus was found dead in a Frankfurt hotel of an apparent drug overdose.]
You wrote "I Wish That" for Israeli president Shimon Peres’ Center for Peace. Performed by Elliott Yamin and Liel Kolet, it was the grand finale song for the “Believe Concert” in Tel Aviv in 2008.
It was amazing to do that for the president of Israel. Shimon Peres. He’s a lovely man. I was asked to write something with the president in mind. But then I thought, “I have a really great song that fits better than anything I could write.” They loved it. It was really a great experience.
Did you feel Jewish being there.
Yes. I felt very Jewish. Very proud.
The last time you went to Israel you were almost arrested.
I was 15. I went there with a bunch of Jewish children of which I was one. We smoked hash when we were there. The night before (leaving Israel) a bunch of kids got high. We carried the hash pipes in my guitar case. I said, “Make sure you throw the (pipes) out before we get to the airport.” And they didn’t. I kind of remember being stripped-searched (at the airport).
With "I Wish That” you didn’t have the pressure trying to create a hit single.
Well, I had written it already. I would like to think that, everything I write, hopefully, will be a hit. There’s always pressure on me to write something great. I have never sat down and thought I’m writing something for the charts. I want to write hits but I am also trying to write something that I love too.
Did your parents live to see your success?
My father lived to see some of it. He went to the Golden Globes with me for “Rhythm of the Night.” He wrote out my acceptance speech on a napkin. He did. It was cute. But I didn’t win. My mom lived to see a lot of stuff (in my career).
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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Hal David, Lyricist 07/26/11
David Davidian, Independant Lighting Designer/Director 06/18/04
Anthony Davis, D&L Entertainment Services, Inc. 03/02/01
Chip Davis, American Gramaphone/Mannheim Steamroller 05/31/02
Mitch Davis, Tempest Entertainment 07/16/04
Jeff Dawson, Canadian Recording Services 06/08/08
Desiree Day, USO Celebrity Entertainment 08/10/01
Gene DeAnna, The Library of Congress 02/21/12
Tony DeLauro, DeLauro Management 12/23/04
Peter Denholtz, CelebrityAccess 11/29/00
Valerie Denn, Val Denn Agency 04/30/01
Robert DePugh, Alligator Records 07/29/05
Tom Derr, Rock Ridge Music 10/29/04
Paul Dexter, Masterworks Lighting Design and Road Cases 12/10/04
Marty Diamond, Paradigm 01/22/10
Glenn Dicker, Redeye Distribution/Yep Roc Records 07/07/06
Mark Dinerstein, The Knitting Factory 11/17/06
Jasper Donat, Music Matters 2009/Branded 04/24/09
Jim Donio, National Association of Recording Merchandisers 04/22/11
Marc Dottore, M. Dottore Management 04/11/03
Tim Drake, The Roots Agency 12/12/08
Mike Dreese, Newbury Comics 11/23/11
Charles Driebe, Blind Ambition Management Ltd. 09/22/06
Jeremy Driesen, Ray Bloch Productions 09/07/01
Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of Denver’s Division of Theatres and Arenas 08/23/10
Art Edelstein, Festival Productions 12/01/02
Bruce Eisenberg, Audio Analysts 08/31/01
Martin Elbourne, The Glastonbury Festival 12/18/09
Michael Elder, Red Entertainment 03/17/06
Tod Elmore, Sixthman 11/24/06
Paul Emery, Clear Channel Entertainment 11/19/04
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock ’n’ Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Marci Geller, Sonic Underground 08/15/08
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, Turntable.fm 09/20/11
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
David Hart, The Agency Group 02/20/04
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Seth Hurwitz, I.M.P. 04/20/09
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Myles Lewis, Denise Rich Songs 12/20/10
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Larry Lieberman, 4EverWild 03/28/03
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
John Meglen, Concerts West/AEG Live 02/21/13
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Tamara Saviano, American Roots Publishing 07/22/05
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, ItsAboutMusic.com 11/26/04
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Peter Shapiro, Ideal Entertainment 04/16/04
Seth Sheck, Access Pass & Design 01/03/03
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Fenton Williams, 04/04/08
Del Williams, Right Arm Entertainment 04/18/08
Bryan "Birdman" Williams, Cash Money Records 09/13/11
Paul Williams, ASCAP 10/19/11
J.P. Williams, Parallel Entertainment 10/03/12
Kurt Willms, Green Room Productions 09/20/03
Chris Wilson, Heartbeat Records 03/02/07
Tony Wilson, Factory Records/In The City 06/01/07
Tom Windish, The Windish Agency 07/26/10
John Wiseman, XL Touring Video 05/05/06
Thom Wolke, Twincloud.com 02/08/02
Michael Wood, City Lights Entertainment 08/08/08
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, CultureCatch.com 07/27/07
Jeremiah “Ice” Younossi, A-List Talent 09/20/09
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06
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