Industry Profile: Chuck Morris

— By Larry LeBlanc

This week in the hot seat with Larry LeBlanc: Chuck Morris

For a near half-century, Chuck Morris, president and CEO of AEG Live Rocky Mountains, has been a pivotal figure in presenting live music in America.

In 2006, Anschutz Entertainment Group opened an office in Denver, Colorado, wooing Brent Fedrizzi and Don Strasburg followed by Morris in 2007—the dynamic team that had spent 8 years building up Live Nation's Colorado franchise

Today, AEG Live Rocky Mountains operates in Colorado as well as Wyoming, Utah, Idaho and New Mexico.

It oversees The Blue Bird Theatre, and The Ogden Theatre--the Denver venues for which AEG has long-term leases. As well, AEG does shows at Red Rocks Amphitheater, and the Pepsi Center, two venues still open to all promoters.

In 2008, AEG Live Rocky Mountains inaugurated the first annual Mile High Music Festival at Dick’s Sporting Goods Park in Commerce City, Colorado. This summer the festival featured 50 acts including Widespread Panic, Tool and the Fray.

Also in 2008, partnered with AEG’s St. Louis office and with Denver-based Madison House, the company launched the Rothbury Music Festival in Rothbury, Michigan. This year’s lineup featured over 70 acts including the Dead (their only summer performance), Bob Dylan, Willie Nelson, Ani DiFranco, and Toots & the Maytals.

AEG Live Rocky Mountains was recently tapped by the City of Broomfield, Colorado to manage the 6,000-seat Broomfield Event Center along with Kroenke Sports Enterprises which also operates Denver's Pepsi Center, Dick's Sporting Goods Park and the Paramount Theatre.

Brooklyn-raised Morris became hooked on music the moment he heard the Kingston Trio perform at a summer pop series at the Chautauqua Institution in western New York. A pre-teen Morris can be seen in an audience photo on the trio’s 5th album “Sold Out” in 1960.

After graduating from high school at 16, Morris earned a college degree in political science from Queen’s College (The City University of New York). Then he moved to Boulder, Colorado to pursue a doctorate in political science at the University of Colorado. However, at 20, he dropped out of the PhD program and was soon managing and booking bands at a local club called The Sink.

Morris went on to operate the Tulagi nightclub in Boulder for 2 1/2 years, hiring such notables as the Doobie Brothers, Bonnie Raitt, the Eagles, Linda Ronstadt, ZZ Top and others early in their careers.

In 1974, staked by Barry Fey of Feyline Productions, Morris converted Marvelous Marv’s in Denver into the Ebbetts Field club, named for the ballpark that stood just ten blocks from his childhood home. For four years, he booked such leading acts as Lynyrd Skynyrd, Steve Martin, Carole King, Richard Pryor and others.

Morris then became Senior VP of Feyline Productions, responsible for running the booking and promoting departments.

In, 1986 Morris launched his management company—first as Chuck Morris Entertainment followed by Morris, Bliesener & Associates (with publicist Mark Bliesener) and then as Chuck Morris and Associates. Over the years, Morris has represented such artists as the Nitty Gritty Dirt Band, Lyle Lovett, Suzy Bogguss, Big Head Todd and the Monsters, Highway 101, Taj Mahal, and Leo Kottke.

Today, Chuck Morris Entertainment manages Kottke.

In 1998, Morris partnered with Bill Graham Presents, the San Francisco-based promotion house founded by the legendary concert pioneer Bill Graham, to launch Bill Graham Presents/Chuck Morris Presents.

Six months into the co-venture, Bill Graham Presents/Chuck Morris Presents was purchased by Robert Sillerman’s SFX Entertainment (that evolved into Live Nation).

Morris and his team built this company into being the Colorado market leader. The company went from 42 shows in its first year to more than 300 per year. The company developed the Fillmore Auditorium in Denver; and the Universal Lending CityLights Pavilion, a 5,000-seat amphitheater in Denver modeled after Harborlights in Boston. In 2005, the company took over the running of Denver's historic Paramount Theatre.

Morris arrived at AEG Live in June, 2007 after his non-compete agreement with Live Nation expired. By then Fedrizzi, (today COO AEG Rocky Mountain Region) and Strasburg (now VP and partner of AEG Rocky Mountain Region) had spent months setting up the regional offices for AEG in advance of his arrival.

You have worked at both Live Nation and AEG. Can you compare them?

It’s hard for me to compare and to contrast (them). And I hate to do it. All I can tell you is that I have very few complaints about my years at Live Nation and Bill Graham Presents/Chuck Morris Presents. We built the Fillmore Auditorium (in Denver), and we made them a lot of money. They treated us very well. I just had an opportunity (to come to AEG Live) that I couldn’t resist.

Anschutz Entertainment Group is a privately held company owned by Denver billionaire Phil Anschutz. AEG's live entertainment division AEG Live, created so that AEG could maintain a flow of content to its venues, remains second to Live Nation. Why make the jump?

I have such great respect for both Phil and Tim (Tim Leiweke, AEG president and CEO). I just felt that their game plan--in the long run--was going to be the home run. I always wanted to work for Phil and Tim, but I never wanted to ask them for a job. Then, they asked me. But I couldn’t talk specifics until my contract was up (at Live Nation), and then I couldn’t start working with (them) until the non-compete clause was up.

Phil Anschutz is a long-time friend. How do you know Tim Leiweke?

I gave Tim one of his first (job) shots. When we (Feyline) opened the Sandstone Center for the Performing Arts (in Bonner Springs, Kansas, later renamed the Sandstone Amphitheater) in 1984, Tim and his brother were our publicists.

What were some of other attractions of going to AEG?

They were doing some really cool things. Like doing the King Tut Exhibit (King Tut and the Golden Age of the Pharaohs Exhibition) around the world. Building that theatre (the Colosseum at Caesars Palace in Las Vegas) for Celine Dion. They were building beautiful clubs and arenas around the world.

How did you specifically come to work at AEG?

I went to a Live Nation meeting (in Los Angeles) about three years ago. I called Irving Azoff (then founder & CEO of Front Line Management Group), whom I consider my oldest friend in the music business, to have dinner. He talked me into seeing the (Denver) Nuggets who were playing the (Los Angeles) Clippers in a playoff game at the Staples Centre. I couldn’t say no. During dinner at The Palm Restaurant, Irving BlackBerried Tim saying, “I’m here with Chuckles. He’d love to see you” which I did. Even though, we were competing, I hadn’t seen him for years.

Five minutes later, Tim walks into The Palms. We get to talking and he mentions that Phil hasn’t opened (an office) in Colorado yet, and that he didn’t want to do it without me. He also asked when was my contract was up (with Live Nation). It was up at the end of the year. I had signed a couple of extensions and I was ready to sign another one. I told Tim I was pretty happy (at Live Nation). He said, “We’re going to make you a lot happier.” That’s how it started.

It must have been difficult to make the jump?

It was a little scary being 62 years old and starting a new company. But I really feel rejuvenated again. Not like I got lazy or whatever. I’m one of those workaholic guys that likes to work every day and has fun doing it.

There’s a bunch of veteran guys in this company. As there are at Live Nation which I totally have respect for. But, I’ve really enjoyed myself here with Tim and Randy Phillips (CEO AEG Live). And Larry Vallon (Executive Vice President, Regional Booking, AEG Live in Los Angeles) worked for me at Feyline years ago.

Brent Fedrizzi and Don Strasburg came to AEG Live Rocky Mountains before you.

Yep. Then I made them partners here. If you want to keep good people, you got to take care of them. One of my assets is being a great cheerleader, and making it fun so people can do their best; showing loyalty by treating people right and paying them right; and keeping them.

Your philosophy in business is to hire great people.

I pride myself on hiring great people and having (a company with) a lot of loyalty. I am only as good as my staff. I can’t do what I do without them. I am more of an orchestra leader. I consider my best asset to be taking care of people and making a great working environment. Because of that I have a staff that has been with me a long time, and I work with some of the best people in the industry.

You have 16 people in the office.

(Executive assistant) Jan Martin has been with me almost 30 years. I worked with Brent at Feyline since 1990; he’s now my partner and COO of the company. He’s not only a great booker but probably the best numbers guy I’ve seen. He started off as a runner at Feyline. He was there with me from day one at Bill Graham Presents/Chuck Morris Presents. I also hired Don Strasburg,--the brilliant kid who started at the Fox Theatre when he was 23--the first week we were open. My production manager Tommy Hauser goes back to the Feyline days. Rob Thomas, head of Mile High Music Festival, started as GM at the Fox Theatre (the Boulder venue which Strasburg co-owns). Then he was GM at the Fillmore, and then moved to us.

How about your reputation as an eccentric?

I think that makes people laugh. I get total abuse from my whole staff. There’s laughter, screaming and camaraderie in our office. I still have a smile on my face when I walk in here at 9 A.M. every (week) day. Working with the people I work with today--from Phil on down--is such a pleasure.

The roots of you working with AEG began in 1988 with Phil in Moscow?

Absolutely. It actually goes back before that. Phil was a huge Nitty Gritty Dirt Band fan. I had worked with the Dirt Band since the ‘70s, first as their promoter and in the ’80s I was their manager. Phil used to come to all of the Dirt Band shows when they played around here and there were a lot of them. So we became really good friends.

How did you come to have 9 days in Moscow?

In 1988, Phil called me and asked me if the Dirt Band could come to Russia in the summer of ‘89 for (the opening of) the Anschutz Western Art Collection at the Tretyakov Gallery in Moscow. Phil has the largest western art collection in the world and he tours it around the world to promote the West. He said he wanted to invite his favorite country band to play a half hour acoustic (set) in the entrance (of the museum) before they cut the ribbon (for the show). He’d fly me and the band, girlfriends or wives, and put us up; give the Dirt band their fee; and they could do a half-hour set to open the exhibit.

The band said fine but asked if Phil could get us a few more shows to play, even for free, because they were going half-way around the world

Is that how the Dirt Band got to play at the Moscow Variety Theater?

That’s exactly how. I called Phil back and asked him to see if we could do more shows there. He told me it took two days just to get a phone line into the Soviet Union. The country was a mess. The Russian Mafia was taking over then. But he said he would try.

[On Feb. 7, 1990, the Central Committee of the Communist Party of the Soviet Union agreed to give up its monopoly of power. The Union of Soviet Socialist Republics (USSR) collapsed the following year.]

Three or four days later, Phil calls back to say that on the second night (following the opening) he had arranged for the band to play this opera house in downtown Moscow by invitation only. (For that show) he invited the staff of U.S. Embassy (in Moscow), various Soviet officials, and he gave away 1,500 tickets to Russian kids who love music.

For the show 25 kids came onstage to play with the Nitty Gritty Dirt Band.

I think there were more than that. (Officials) must have sent out Dirt Band music because we had 25 to 50 kids come onstage with banjos and violins, playing with the band impromptu. They just walked onstage. It was breathtaking. These kids were 6 to 18.

Were there any other dates in Moscow?

The third night Phil arranged a free concert for the band in Gorky Park. There were between 10,000 to 20,000 people there. They were the only act on the bill. (Fiddler) Mark O’Connor joined us on the tour. He lost his luggage and, for the entire trip and all shows, he had to wear Nitty Gritty Dirt Band T-shirts. Phil put everything together in three days, 18 months before the Russian Revolution. Even though I knew Phil was a big mover and shaker, that blew my mind. He took us out for dinner every night with his family, and we got to be close.

[In 1977, the Nitty Gritty Dirt Band became the first American group selected by the Soviet government to tour the USSR, spending a month there playing to audiences. In response to the Soviet Union's military incursion into Afghanistan, Jimmy Carter’s administration ordered a U.S. boycott of the Summer Olympics in Moscow in 1980 and cultural exchanges between the two nations ceased.]

The trip to Moscow must have been quite emotional for you. Your grandparents were Russian immigrants who came to the U.S. at the turn of the century.

That’s very true. It really was emotional to me. I am fully Russian, really. Both sides (of the family). A ton of Russian Jews came (to the U.S.) in the early 1900s. Both of my grandfathers came in over in 1901 or 1903. They didn’t know each other. They came over separately.

My grandfather Harry once told me that one month he was Russian and the next month he was Polish because the border (where they were living) changed so much depending on the war. There was a lot of anti-Semitism then, so they came here. My grandfather Harry was a milkman. My other grandfather Mourice was a barber in a one-man barbershop in Brooklyn.

Your mother met your father and you grew up in Brooklyn?

I grew up in Brooklyn until I was 12 and not in a very good area. On Montgomery Street in Crown Heights. A rather poor area. My father was a school teacher and my mother was an assistant to a principal in New York. We had the smallest apartment. I shared a room with my brother. We didn’t have a family car until I was 12.

What was your original family name?

Moscowitz. My father was a Latin and Greek major at City College, and his brother Bernie was a genius who had PhD in accounting and economics and worked for the I.R.S. They were named Moscowitz but neither of them could get jobs in 1929 so they changed their names to Morris. My dad died four years ago at 95. My mom died last year at 96. My grandfather Harry died when he was 99. So I have some pretty good genes.

How were you introduced to music?

I went to my first concert at Lake Chautauqua, New York in 1957 and fell in love with music. We stayed there for the summer each year. My father was a camp counselor at the boys’ club and I would go to a lot of the shows. I loved the concerts there, and I fell in love with music.

I saw the Kingston Trio there in 1957. In fact, there’s that live album that has a picture of them at Lake Chautauqua, and you can see an 11-year-old Chuck Morris sitting on the floor in the first row. I’m an old folkie. I got started by loving folk music from seeing the Kingston Trio. I actually bought a Martin tenor guitar because Nick Reynolds played (a Martin 0-18T tenor guitar) with the Kingston Trio. So I learned how to play tenor guitar (a fretted four stringed instrument, most commonly shaped like a guitar, sometimes smaller than a normal guitar).

As a teenager you used to go on the subway to Broadway shows.

I started babysitting in New York when I was 12 and 13. I saved every penny I could and I’d go to Broadway musicals from about age 12 to 16. They used to sell $1 “Standing Room Only” (tickets) for matinees the day of the show. I saw “Okalahoma,” “South Pacific,” “My Fair Lady,” and I saw Jackie Gleason in “Take Me Along.” I saw all of the shows. I can still sing some of the songs from those shows. (here Morris breaks into the reprise of “Take Me Along.”)

[Gleason won a Tony Award for Best Actor for the show, which ran from 1959-60.]

It’s funny but I was just with Bonnie Raitt. She’s been playing for me since my first club Tulagi (in Boulder) in the early ‘70s. Of course, her father John Raitt was a star of a lot of those shows, including “Oklahoma!’ and “Carousel.”

[The late American singer/actor John Raitt starred in such Broadway musicals “Carousel,” “Oklahoma!,” “The Pajama Game,” “Carnival in Flanders,” “Three Wishes for Jamie,” and “A Joyful Noise.”]

Being in New York and loving music, it’s a wonder you didn’t end up working in the music business from there.

My father was a school teacher, and all my uncles were doctors, lawyers or teachers. Education was a big thing (in our family). I graduated from high school when I was 16. I went to Queen’s College (The City University of New York) and graduated from there when I was 20 taking political science.

Then you came to Boulder, Colorado to get a PhD degree at the University of Colorado?

I got a fellowship to study there in a PhD program when I was 20. I was a teacher’s assistant in Boulder in 1964 or 1965. I looked about 12 years old. I have always looked younger than my age. I was going for a doctorate in constitutional law. I love politics as much as I love music. Politics is my second love. I’ve spent a lot of time doing benefits for different politicians. I consider people like Ken Salazar (the United States Secretary of the Interior), Governor (Bill) Ritter and some other politicians good friends.

I read political books all of the time. I’m in the middle of reading a book by a Republican (“The Last Best Hope” by Joe Scarborough, host of MSNBC’s “Morning Joe”) that I’m enjoying. That scares me a bit. I don’t disagree with too many things he says (in the book) which is unusual for me (with a Republican).

You are a Democrat?

Absolutely.

What do you think of these times? Aren’t you glad you didn’t go into politics given these times?

Yeah, I probably would have ended up a lobbyist.

Your daughter Brittany was a lobbyist at CRL Associates, one of Denver’s leading political consulting firms. She also attained a Masters in political science at the University of Colorado.

Yes. Now she’s (director) of economic development for Commerce City which is a big (northern) suburb here. She’s really got political chops. I think she learned that from my (political) side.

After studying political science at University of Colorado for two years, you left and worked in a Boulder club called The Sink?

I decided one day that I loved music more than I loved going for a doctorate. I was 22, and I was only 18 months away from getting my PhD and teaching.

This is when your parents went berserk, right?

Pretty much. My dad didn’t understand what the music business was. My mom sort of did. They were both very disappointed, of course. My mom died a year ago. Close to her dying days, she was hopeful I’d go back to graduate school and get my doctorate. Very Jewish.

Did your father ever come to terms with your career?

Every morning before my father went to school to teach—eventually he became a principal and then went on to be on the Board of Education—he would read the New York Times. It was his Bible. He would do the crossword puzzle and the (word puzzle) cryptogram in about three minutes and with a pen.

In 1978, there was a recession when I was at FeyLine. So there was a story in the Times, and I was quoted on the recession. My father called me. It was as if he’d seen the light because I was quoted in the New York Times.

How did you come to work at The Sink?

I was friends with Herbie Kauvar who owned The Sink which is a legendary 3.2 beer place across the street from the University of Colorado. I used to come in there at 11:30 P.M. and a have beer with him. We sort of became friends. One day, I told him I had dropped out of graduate school. He told me that his manager had just quit and asked if I could come in and manage The Sink. It was small. Just a beer and a hamburger type place. It is still open.

Did you book bands at The Sink?

I started booking local bands in the back room. But this was a place where on Friday afternoons it would take a half hour to get in the front door. There would be a line around the block. There was no cover charge -- you just had to show a (legal drinking age) I.D.

[The Sink, originally a European style restaurant named Summer's Sunken Gardens, opened in 1923. The trademark Sink Angel continues to watch over University of Colorado students. Robert Redford mopped the floors there as a janitor in the 1950s. He had received a baseball scholarship to the University of Colorado but lost the scholarship due to alleged excessive partying.]

How did you come to open the Tulagi club on University Hill in Boulder in 1970?

I managed The Sink for 2 1/2 years. Then I convinced Herbie to open Tulagi which was a dance club in Boulder for years on the same street as The Sink. It was bankrupt. I just felt that Boulder was ready for a national rock club. Boulder was becoming a real musical place. People like Joe Walsh, Stephen Stills, Chris Hillman were moving there and (producer) James William Guercio opened the Caribou Ranch studio. We had some underground magazines. I didn’t have any money but I convinced Herbie that we should go and buy the building. He gave me a piece of it and I started booking nationals bands.

[Caribou Ranch was built by producer James William Guercio in 1972 near Nederland, Colorado, some 17 miles west of Boulder. The recording studio was in operation until it was damaged in a fire in 1985. It gained international prominence when Elton John recorded his album “Caribou” there in 1974. Also passing through to record there were America, Badfinger, Jeff Beck, Chicago, Earth, Wind & Fire, Dan Fogelberg, Billy Joel, Michael Murphey, Rod Stewart, Stephen Stills, Joe Walsh, and others.]

At Tulagi, you booked Bonnie Raitt, Randy Newman, Miles Davis, the Doobie Brothers…

I booked everybody. Every blues musician who ever lived played there including John Lee Hooker, Muddy Waters, Lightnin' Hopkins, Mance Lipscomb, Charlie Musselwhite, and the Siegel-Schwall Band. There were the folkies. I had Eric Anderson, the Earl Scruggs Revue, the Nitty Gritty Dirt Band (that’s how I got friendly with them), Leo Kottke (who I still manage) and Mimi Farina 4 or 5 times. I also had ZZ Top and Ry Cooder. From San Francisco, I had Cold Blood, Stoneground, Dan Hicks & the Hot Licks, and Sons of Champlin which was one of my all-time favorite bands.

In those days, many of these acts didn’t cost much to book. You booked the Doobies for a week for a $500 guarantee.

Oh you are right. It was $500 versus 50% of the door. They walked out with about $10,000. It was their first tour. Fred Bohlander (today senior VP at Paradigm Talent & Literary Agency – Monterey) was their agent. He turned out to be one of my greatest friends.

The Doobies were originally a Hell’s Angels biker band.

They were a biker band, and their first album had totally stiffed. Unlike today, labels then would let acts do three or four records (before dropping them). I booked them when (the single) “Listen To The Music” had just come out (in Aug. 1972). I booked them because I thought it was a great record. In those days, I could take a record down to KRNW which was then an underground station in Boulder (to become KBCO in the mid-70s). If a disc jockey liked it, they’d start playing it. They started playing it, and we sold out for 10 shows in five days. The week they played for me the band was on the cover of Rolling Stone magazine. A month or two before the show I had expected Fred to call and cancel because they were getting so big. But he didn’t.

[The Doobie’s self-titled 1971 debut album, The Doobie Brothers failed to click but the subsequent album “Toulouse Street” in 1972 featured "Listen To The Music" that reached #11 on the Billboard singles’ chart.]

Starting out at Tulagi, how did you get major booking agents to take your phone calls?

If you say, “I’m a promoter in a new club in Boulder, Colorado. I’m interested in your acts” they take your phone calls. Their business is to sell acts. They want to sell acts. The first (agent I worked with) was Fred Bohlander who was then at IFA. I called him about Leo Kottke and the Doobie Brothers, two of the first acts that I had at Tulagi.

Did you have to fight for acts over the three years of running Tulagi?

Like nuts. And I fought against Barry Fey. He really owned Denver then as a major promoter. I lost four or five bands to him.

One of the acts you lost to him was the Eagles.

I had booked the Eagles for the second show that they ever played. Irving (Azoff) was then working for David Geffen and Elliot Roberts at Geffen-Roberts (the booking agency which then handled the Eagles) Irving or Elliot (who then managed the band) called and asked if I would book this band for five nights for $100 a night. They wanted to play in front of somebody before they recorded. It was two weeks before Christmas 1971. I said, “It’s two weeks before Christmas. Nobody is in Boulder. School is out. Everybody is skiing or back home. I usually take my vacation then.” It was either Irving or Elliot who said, “This band is going to be huge. We’ll come back and play for you when the (first) album comes out.”

Now, Don Henley, Glenn Frey, Randy Meisner, and Bernie Leadon had been in some pretty famous bands (including Longbranch Pennywhistle, Poco, and the Flying Burrito Brothers). Boulder was so hip that everybody knew those bands, for sure. Also, I had Linda Ronstadt and the band (backing her) play a couple of times before.

So I booked the band at Tulagi. They were incredible. But they only drew about 12 people a night. Nobody came. (Producer) Glyn Johns flew in from London and took notes while they were performing because he was producing their first album (“Eagles” in 1972). It was great being at the bar watching him watching the show and taking notes, and then talking to the band after the show. It was history.

[Billed as Teen King and the Emergencies, the Eagles’ first dates were in Aspen where they played four nights at the Gallery. At Tulagi, the band was paid $500 for 5 nights. British producer Glyn Johns had agreed to fly over from England to listen to them play. It was a horrible, cold, snowy night, and nobody was at the concert since it was also school finals week.]

So “The Eagles” album comes out.

Yes, several months later (July, 1972) it comes out. Of course, Irving and none of the guys at Geffen-Roberts would take my phone call when I called about the Eagles playing for me. They played (a date) for Fey. That (debut) record took off (with the single “Take It Easy” reaching #12 on Billboard’s single chart) and they immediately became a concert act.

About 18 months later, I decided that if I am ever going to get in the big leagues I better join Barry Fey. I had never met him in person. We had fought over the phone a few times. So I decided one day to call him. I didn’t think he’d take my phone call but he did. He asked, “What the fuck do you want?” I told him I was interested in opening a club in Denver. At that point there was no Denver rock club. His old Family Dog club had been dead and gone for years (since 1968). There really wasn’t anything. I told him I wanted to work with him and that I wanted to build a club in Denver.

To my honest shock, he said he’d come up the next night and talk to me which he did. He told me to find a club and he’d put the money up. So I found a place called Marvelous Marv’s (with leopard or zebra skin on the walls) and Barry bought it. We opened up Ebbetts Field because I grew up 10 blocks from Ebbetts Field in Brooklyn.

You ran the club for four years?

Yeah, and everybody in the world played there too. Lynard Skynard, Steve Martin, Richard Pryor. You name an act from that time, they played there. We opened up with the Mark-Almond Band which Frank Barsalona (founder of Premier Talent) booked. I’ll never forget calling him for the booking. He sent me flowers when we opened. So did Bill Graham.

How did you come to work at Feyline Productions?

Feyline was then getting so big. Barry was doing the Rolling Stones in 10 cities, and doing tours with The Who. He really needed me at the main company. We had decided the club wasn’t making any money. So we sold the club and I became the senior VP at Feyline from 1976 to 1986. Then I decided to leave. I was managing a bunch of bands and doing well.

Feyline did U2’s famous show at Red Rocks Amphitheatre in 1983.

One sad thing about leaving Live Nation is not being able to work with U2. I love (manager) Paul McGuinness and the whole band. We did the “Under the Red Blood Sky” at Red Rocks. It was a breathtakingly unbelievable show that helped to break the band in America.

But the afternoon of the June 5 show it looked it was going to be canceled or be moved inside.

Bono said “No way.” We used to move shows indoors (due to poor weather). It was 31 degrees (F) and snowing. I didn’t want to cancel it. Bono refused to move (inside). Because of the cold, the (steam) coming out of their mouths and the fire on the side of the rocks, it turned out to be one of the greatest videos ever.

[The show was chronicled in U2’s “Under A Blood Red Sky” CD/DV which reportedly costs the band $250,000 to record and film]

Despite teaming up with Barry Fey, you continued to have run-ins with Irving Azoff.

There are so many stories about Irving. I have plenty of stories where he bull-shitted me I will tell you. Some really funny stories.

At the end of any deal with Irving, when the smoke clears he is the survivor.

No question. I will tell you the best Irving story. Barry and I did the Eagles at Mile High Stadium (Aug. 8, 1976). We had the Eagles, Linda Ronstadt, Pure Prairie League, all of the country rock stars at the time on the bill. We did 28,000 (people) which was good but we paid the acts a lot of money. I can’t remember the guarantee, but it was a lot. The day of the show we asked Irving for some of the (guarantee) money back. He told us, “I love you guys. I know you got killed” and said he’d talk to the band.

So, of course, you don’t hear from him.

Right. A month or two later, Barry tells me to call Irving and ask him what was going on. Irving says that things were looking good. Henley was probably going to say yes and Frey was in. There were just the other three guys to give their consent.

Two months later, I call him again. He says things are even better. Meisner had said yes and the new guy (Don) Felder had said yes. Irving says he’s waiting for Joe Walsh. I don’t call Irving for two months. When I do, he says that “Joe is leaning toward saying yes. So we’re really close. Don’t worry.”

Almost a year from the date, Barry comes into the office in an angry mood and says, “Get Irving on the phone. It’s been a year.” Then he says, “Instead of getting Irving on the phone, get Joe Walsh on the phone.” Joe was living in Boulder at the time. I said “Barry, are you sure you want to do this?” because you don’t phone manager’s acts. Certainly, you don’t call Irving’s acts. Barry said, “I don’t care. Get Joe on the phone.” But I wouldn’t do it. Barry calls Joe and asks him if we are getting the money back from the show. Joe doesn’t know what he’s talking about. Irving hadn’t talked him about a reduction.

The best part of the story is that five minutes later Irving Azoff is one the phone screaming at Barry for having the audacity to call one of his acts. I thought that was hysterical because that’s so Irving.

Irving never talked to any of them?

That‘s a little game that Irving plays. That’s just they way he is. Irving can be the toughest mother in the world but if I was dying of something and I needed a doctor, and the doctor was from India, the doctor would be on a plane knocking on my door the next day. And Irving would have paid the ticket. That’s the way he is with his friends. I love Irving even though he’s competing against us now with Ticketmaster.

At what point did Michael Cohl’s Concert Productions International buy into Feyline?

It was in 1986. By then, I had decided to leave (Feyline). I was managing a bunch of bands and doing well. I didn’t leave entirely. Barry was having some financial problems and Michael (Cohl) decided to help him out by buying half the company. But Michael and Barry asked me to stay on as a consultant part-time which I did. I was already managing the Dirt Band, Leo Kottke, and I had just signed Lyle Lovett. I was having a lot of fun managing. I would be in the office about one day a week. I’d book certain shows and certain acts. The agents would rather talk to me. So I stayed on for 10 years part-time while I was managing a bunch of bands.

Michael Cohl was really the first to start consolidating the U.S. concert market.

You are absolutely right. Michael is just brilliant. When I was consultant for him and Barry, I’d go up to Toronto and have a meeting with him four or five times a year. He’s just brilliant.

I wonder what his next step will be now that he’s not with Live Nation?

Anything he wants.

Why did you go into management?

The Dirt Band asked me. I was very close to the band because I had booked a million Dirt Band shows. They were living in Colorado. One day Bill McEuen their first manager (and John’s brother) called me with John, and asked me up to Aspen to talk to them. They took me out for dinner and Bill said he was so busy—Steve Martin, who he was managing, was exploding then— and that I was one of the few people that understood these guys.

Frankly, their career was then peaking because rock radio wasn’t playing them anymore. I said I would manage them but I wanted to take them to Nashville. I felt that country was the only (radio) format that would play them. We got them off United Artists (owned by Capitol Records) and then got on Warner Brothers Nashville.

That resulted in Irving Azoff refusing to talk to you for over two years in the early ‘80s.

Irving was president of MCA, and he wanted the Dirt Band. He was trying to build a country division in Nashville. So he wanted them. But Mo Ostin (chairman) at Warner Bros. wanted them too. So Irving made an offer and (Warner Bros. Nashville president) Jim Ed Norman made an offer. Irving’s offer was $100,000 less a record. That’s a lot of money for a band that aren’t no superstars. So I asked Irving to come a little closer but he wouldn’t raise the offer by one penny. He just expected me to sign with him because he’s Irving. The band decided to go with Warner. Bros. I called Irving and he called me every name in the book and hung up on me. I sent him about 50 letters and his secretary Susan (Markheim) said that he wouldn’t talk to me.

This lasted for about a year.

A year later I read in Billboard that Irving was speaking at the NARM convention in Miami at the Fontainebleau. So I decided I was going to fly down for one day, wait in the lobby of the hotel, and see if I could find him. I knew if I saw him in person he’d remember how good friends we were, and how much he cared about me. I fly down and sure enough I’m in the lobby and Irving comes walking in 10 minutes later comes with Don Henley and an entourage. He sees me and he starts smiling. Then he remembers he hates me. He comes over to me and, in front of Henley, says, “You are the last guy I thought would ever screw me.” So I left.

About a year later, I get a hockey puck in the mail, and it says, “From the desk of Irving Azoff, MCA Records.” I called his office and his secretary Susan says, “Irving woke up yesterday and decided he really missed you. So he bought a hockey puck. This is his way of saying you are out of the penalty box. Starting tomorrow, your friendship is back on.” I have the hockey puck framed in my office.

You also then began to manage Leo Kottke.

Leo called me one day in 1986. He had just signed with Private Music. I had promoted a 100 dates with Leo, and we were also best friends. He called me and said he wanted to meet with me. I was worried sick. I thought he was dying or getting divorced. Why would he call and want to come in from Minneapolis for the night? I asked, “What’s the bad news.” He said, “No bad news. But I haven’t had a manager in 10 years. I just got a new record deal and (my agent) Fred Bohlander, and my wife think I should get a manager again. You are one of the few people that get my jokes.” I said the same thing to him that I said to the Dirt Band. If it was going to hurt our friendship, I didn’t want to do it.

You have been managing Leo since.

He’s the only act I still manage. When I joined AEG, everybody wanted me to concentrate on promoting. So I got rid of my (management) clients. I had Leo, the Dirt Band, and Taj Mahal who is now managed by my nephew Kevin Morris (at Red Light Management). I just had to keep Leo.

Is being manager the worst job in our industry?

It all depends on how you train your acts, and what they expect. It all depends on what the act wants and needs. I’ve managed probably 25 acts in my career and they all want different things. Some of them I have been able to help musically. With the Dirt Band, I would find songs. But when I managed Lyle Lovett, music was his thing and he did it all. We did more administrative work and bookings.

Do you like managing bands?

I prefer managing bands even though it’s four or five calls instead of one because band (members) fight with each other so much that they forget about me. It’s true.

You famously beat out Bill Graham in 1983 to work on Apple co-founder Steve Wozniak’s US Festival headlined by David Bowie, Van Halen, Ozzie Osbourne, Judas Priest, U2, and Berlin. Wozniak put up all the money?

Oh yeah, we just got a fee. He didn’t care how much he paid (acts). It was his party. He wanted David Bowie so bad. Bowie was playing a festival two nights before and he’d only play with his own equipment. The only way to get all of his equipment, including sound and lights, out to Santa Barbara, basically in Wozniak’s back yard, was to rent a 747 (airplane) which we did. Wozniak couldn’t have cared less. He wanted what he wanted. When you have that kind of money, you can do that.

You also worked directly with Bill Graham. What is your take of him?

We co-promoted some Dead dates. Of course, we booked some of the acts that he managed. There will never be another Bill Graham. He was the Dean. He was the King. He was an amazing guy. I had a lot of respect for him. He was as tough as nails. But they all were (then). Jack Boyle was no slouch either. Nor were John Scher, Don Law or Ron Delsener. Barry used to say that Bill Graham’s idea of his hometown is any town where he changed planes. That’s funny.

How did your co-venture with Bill Graham Presents come about?

In 1997, when Barry announced his retirement (and Universal purchased the remaining 50% it didn’t already own of Feyline Presents) I decided it was time to go back to start my own promoting company. So I called my friend Gregg Perloff at BGP. We had co-promoted a lot of dates with BGP with Bill. I had almost taken the House of Blues’ job. They had bought out Michael Cohl and they offered me the job to take over when Barry was retiring. Then they changed their mind about hiring me. So I called Greg and he and Nick Clainos who ran BGP—Bill’s two sidekicks—were on a plane here the next day and we started Bill Graham Presents/Chuck Morris Presents.

My first thing was that I wanted to buy Mammoth Gardens (which had once presented such acts as Jimi Hendrix, the Doors, the Who, and the Grateful Dead) and make it a Fillmore. And that’s what we did.

Was there a natural alliance between your two organizations?

Yes, it worked unbelievably well. It was a great partnership.

In the late 1990s, consolidation hit the concert business when Robert F.X. Sillerman, under the SFX Entertainment banner, spent about $2.5 billion rolling up promoters in North America and Europe. That included your co-venture.

When we were signing the co-venture deal Greg said that they might be selling BGP to Bob Sillerman. They would buy my part too. He said we’d all get long-term contracts and I said, “This guy is going to give me a bunch of money; pay me more money than I am making now, and I still am going to run the company the way that I want?” He, “Yeah.” I said, “Well, that sounds okay to me.”

Did you receive a good payout from SFX?

We were only open for a year. I got one of the smaller (settlements) but it put three of my kids through college. We didn’t have any buildings except the Fillmore which we had just opened. But I can’t complain.

Have you had a good summer this year?

We are having a real good Red Rocks year. We did 32 shows at Red Rocks and have a few more left. We sold out a brunch of (shows). We’re averaging about 85% capacity and I can’t complain.

Without having to lower tickets?

Nope. Well, we have been a little more careful. (A ticket) is really band-based and based on how much the guarantee is. People always forget that. They always blame the promoter. But is really based on how much you have to pay the band.

The Mile High and Rothbury Festival are intricately tied to your switch from Live Nation to AEG Live. AEG, of course, is involved in everything from Coachella to the New Orleans Jazz Fest. A festival is something that was missing form the Denver market.

I had been thinking about that for about five or six years. Actually, Coran Capshaw (Starr Hill Presents and founder of Red Light Management)--he’s one of the founders of Bonnaroo (Bonnaroo Music and Arts Festival)—and I had been talking about doing a festival. Phil and Tim were unbelievably supportive about doing one in Denver.

What are your plans for the Broomfield Event Centre with Kroenke Sports Enterprises?

We just took it over. We will be spending about three months fixing it up. It is a wonderful three-year-old building that needs some soul, some ambience. They sort of ran out of money when they built it. It was built by Tim Romani (Romani Group) who builds most of Phil’s buildings. Its 6,000 reserved seats and 7,000 GA. It is 15 minutes from downtown Denver, and 15 minutes from downtown Boulder. We hope to open around February (2010). We’re going the change the name and put a whole bunch of color into the place.

My plan is to build a Colorado Rock and Roll Hall of Fame on the Concourse with all of the famous people who either grew up here or moved here like Dan Fogelberg, Joe Walsh, Chris Hillman, and Stephen Stills.

You have a long relationship with Kroenke Sports.

I do. I made a deal when I ran Live Nation that we partnered a whole bunch of stuff. We shared a lot of stuff. They have some great buildings. They have their own power base. I real like Stan Kroenke. I just think that 1 + 1 some times equals three.

Do you still get a thrill walking out to a full house?

Yep. And I still get a thrill meeting certain artists. I still get a thrill having success when I do. I still get a thrill talking to old friends who have survived the business like me. And I get a real big thrill trying to advise some of the young kids coming up. The young kids of today are going to run our business tomorrow. I love trying to be a mentor to some of them.

You often speak at colleges about the music business, but you try to convince kids not to get into the music business.

It was tough enough when I got into it. You had to be lucky and smart and all that. Today it is almost impossible but, if you won’t give up and have some good instincts, it might work out. I do think there are opportunities. But I try to be realistic to kids who want to get into the business because it’s show business. I know how tough it’s going to be. I used to mop floors at Tulagi’s I know. Glam gets old really quickly. You have to love the music and love the people to stay in (the business) and to thrive. It is a business where most people are underpaid and you work 24 hours a day. So you better love it which I still do.

What acts have you had a buzz out of meeting recently?

There are a couple of great bands that have come out of Colorado in the past two years. There’s the Fray, and Flobots (both from Denver) and 3OH!3 (pronounced "three-oh-three") a hip hop band that is exploding. They just graduated from Boulder CU two years ago. They are my 10 year old’s favorite band. Mind you every second word is a curse word, but that’s life. I’m sure that is what my parents said about my music growing up too.

What about the promoter truism that almost any agent or manager will screw you somewhere down the line?

Absolutely true. No question. And I have been a manager. How that’s for the second part of it?

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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Industry Profile Archives:
Mick The DJ, DJ/Enterpeneur 04/30/15
Joanne Abbot Green, CMJ Music Marathon and Film Festival 10/17/08
Lee Abrams, XM Satellite Radio 11/28/03
John Acquaviva, Fund Manager, DJ and Serial Entrepreneur 07/09/15
Jay Boy Adams, Roadhouse Transportation 05/04/07
Jamie Adler, Adler Entertainment Group 05/11/07
Gary Adler, National Association of Ticket Brokers 12/04/13
Rodney Afshari, Freeze Artist Management 03/01/02
JC Ahn, VU Entertainment 04/10/13
Steve Alaimo, Vision Records & Audio Vision Studios 05/26/06
Jaye Albright, Albright & O'Malley Consulting 07/19/10
Randy Alexander, Randex Communications 10/12/07
David Alexander, Sheer Publishing 07/21/16
Eva Alexiou-Reo, FATA Booking Agency 05/14/15
Marcie Allen, Mad Booking 12/14/00
Jeff Allen, Universal Attractions 08/16/02
Marcie Allen, MAC Presents 06/05/09
Marcie Allen Cardwell, MAC Presents 12/21/07
David Allgood, Bama Theatre 01/03/11
Patrick Allocco, AllGood Concerts 10/05/07
Michele Amar, French Embassy 05/26/16
Mike Amato, Rok Tours International 02/02/07
Jeff Apregan, Apregan Entertainment Group/Venue Coalition 09/30/15
Billy Atwell, AMP Studios 12/13/07
Bob Babisch, Milwaukee World Festivals Inc. 04/02/15
Tom Baggot, thebookingagency.com 05/02/03
Stephen Bailey, EPACC & Deleware Center For The Arts 02/06/04
Cary Baker, Conqueroo 05/11/11
Vince Bannon, Getty Images 07/05/11
Phil Barber, Barber & Associates 02/04/01
Camille Barbone, WineDark Records 12/09/05
Erin Barra, Musician/Producer/Educator 07/10/14
Ben Baruch, The Fox Theatre 09/27/08
Ben Baruch, By Larry LeBlanc (CelebrityAccess) 04/05/17
Paul Bassman, Ascend Insurance Brokerage 08/03/16
Adam Bauer, Fleming, Tamulevich & Associates 02/15/02
Ed Bazel, That's Entertainment International 10/05/01
Joachim Becker, ZOHO Music L.L.C. 01/12/07
Howard Becker, Comet Technologies 05/02/11
Mark Bego, Author 06/15/07
Jim Beloff, Flea Market Music 09/20/10
Richard Bengloff, The American Association of Independent Music (A2IM) 09/12/13
Seth Berg, South Bay Music 01/30/09
Aimee Berger, 2 Generations SPA Music Management 09/24/04
David Berger, Future Beat 10/29/14
Barry Bergman, Music Managers Forum 03/14/03
Steve Bernstein, Relix LLC 09/30/05
Mark Berry, Attack Media Group 04/07/07
Scott Billington, Rounder Records 01/17/12
Jeffrey Bischoff, Cinder Block 03/24/06
Sat Bisla, A&R Worldwide/ Musexpo 03/29/10
Nina Blackwood, Sirius Satellite Radio 07/14/06
Adam Block, Legacy Recordings 11/07/13
P.J. Bloom, Neophonic, Inc. 01/24/11
Rishon Blumberg, Brick Wall Management 06/27/03
Justin Bolognino, Learned Evolution, and The Meta Agency 04/25/13
Steve "Chopper" Borges, Total Pro and Borse Techos 03/03/06
Les Borsai, Mediocre Management 01/30/04
Shane Bourbonnais, Live Nation Canada 03/21/08
Jeff Bowen, Sears Centre Arena 03/13/08
Rick Bowen, Mystic Music Experience 07/11/08
John Boyle, Sanctuary Music Group 03/19/04
Jeff & Todd Brabec, Writers/Attorneys 01/03/12
Bill Bragin, Joe's Pub at the Public Theater 08/08/03
Joel Brandes, Avenue Management Group 11/02/08
Joe Brandmeier, Moving Pictures 03/15/02
Scooter Braun, SB Projects 12/13/10
Ron Brice, 3rd & Lindsley Bar & Grill 06/08/16
Billy Brill, Billy Alan Productions 11/11/05
Doug Brown, Talent Buyers Network 09/21/01
James Browne, Sweet Rhythm 11/01/02
Bob Brumley, Brumley Music Company 02/17/16
Tony Brummel, Victory Records 05/17/09
Charlie Brusco, TBA Entertainment Corporation 10/13/01
Del Bryant, BMI 05/18/07
Cortez Bryant, Bryant Management 12/06/10
Bruce Burch, University of Georgia Music Business Program 10/09/09
Deborah Burda, Kentucky Exposition Center 08/03/07
Patti Burgart, IEBA 06/07/02
Jordan Burger, The New Musiquarium 01/22/01
Ron Burman, Roadrunner Records 08/25/06
Suzanne Cadgene, Elmore 05/19/06
Karen Cadle, KGC Productions 03/12/04
Gary Calamar, KCRW 07/10/09
Charles Caldas, Merlin 07/05/10
Brian Camelio, ArtistShare 02/29/08
David Campbell, AEG Europe 08/02/10
Tom Cantone, Foxwoods Entertainment Group 10/20/00
Tom Cantone, Foxwoods Resort Casino 07/03/03
Tom Cantone, Mohegan Sun 08/30/09
Ashley Capps, A. C. Entertainment 05/21/04
Rio Caraeff, Vevo 07/12/11
Mike Carden, Eagle Rock Entertainment 08/16/11
Charles Carlini, Carlini Group 05/16/08
Mark Carpentieri, M.C. Records 05/27/05
Mark Carpentieri, M.C. Records 01/10/11
Troy Carter, Coalition Media Group 06/07/10
Daniel Catullo, Coming Home Studios 06/22/08
Raffi Cavoukian, Folk Singer/Children's Entertainer 05/11/16
Jeffrey Chabon, Chabon Entertainment Group 08/22/02
Mike Chadwick, Essential Music & Marketing 08/01/12
Rob Challice, Coda Music Agency 03/27/13
Tom Chauncey, Partisan Arts 01/11/02
Tom Chauncey, Partisan Arts 10/04/11
Lisa Cherniak, Artists Against Racism (AAR) 07/20/01
Bob Chiappardi, Concrete Marketing 06/13/03
Joel Chriss, Chriss & Co. 10/04/02
Michael Chugg, Michael Chugg Entertainment 09/14/01
Michael Chugg, Chugg Enterprises 10/02/09
Gary Churgin, Harry Fox Agency 09/13/10
Vinny Cinquemani, S.L. Feldman & Associates 12/13/12
Barry Coburn, Ten Ten Music Group 03/28/11
Matthew Cohen, Green Room Productions 10/19/01
Ted Cohen, TAG Strategic 01/10/13
Lisa Cohen, Associated Booking Corporation 02/10/06
Steve Cohen, Music + Art Management, Inc. 03/09/07
Dan Cohen, Music & Memory 01/12/17
Michael Cohl - Part 1, S2BN Entertainment 03/06/13
Michael Cohl - Part 2, S2BN Entertainment 03/13/13
Bryan Coleman, Union Entertainment Group 02/14/12
Mamie Coleman, Fox Broadcasting 07/05/12
Dennis Condon, Disneyland Resorts 07/13/01
Peter Conlon, Peter Conlon Presents 05/20/05
Tony Conway, Buddy Lee Attractions 10/06/00
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
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
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
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, ItsAboutMusic.com 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Peter Shapiro, Ideal Entertainment 04/16/04
Seth Sheck, Access Pass & Design 01/03/03
Seth Sheck, ACCESS Event Solutions 06/22/16
Seth Shomes, The Agency Group 11/12/14
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Michael Simon, The Harry Fox Agency 08/14/13
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Peter Smidt, Eurosonic Noorderslag & manager Buma Cultuur 07/17/13
Garrison Snell, Gyrosity Projects 02/23/17
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
Nikki Solgot, Circle Talent Agency 02/18/15
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Mandar Thakur, Times Music 08/06/15
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Marsha Vlasic, Artist Group International 05/31/17
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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