Industry Profile: Ruthann McTyre

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: Ruthann McTyre, head of the Rita Benton Music Library; and president of the Music Library Association.

Music did not begin to find its home in America’s libraries until late in the 19th century. As the success of those first music collections were reported, music then gained acceptance as viable library holdings.

Ruthann McTyre is head of the Rita Benton Music Library at the University of Iowa in Iowa City; and president of the Music Library Association.

Founded in 1931, the MLA is the main professional organization for American music libraries and librarians. It also serves corporations, institutions, students, composers, scholars and others whose work and interests lie in the music librarianship field.

The MLA provides a professional forum for librarians, archivists, and others who support and preserve the world’s musical heritage.

The purposes of the MLA is: to promote the establishment, growth, and use of music libraries; to encourage the collection of music and musical literature in libraries; to further studies in musical bibliography; to increase efficiency in music library service and administration; and to promote the profession of music librarianship.

Previously McTyre was at Baylor University in Waco, Texas as Head of the Crouch Music and Fine Arts Library, from 1992 – 2000; also serving as associate director for Organizational Development and Planning 1999-2000.

Earlier, she was the Public Services Librarian for the music library at the University of North Carolina in Chapel Hill.

McTyre holds a Master of Library Science degree from the University of North Texas in Denton, Texas; a Master of Music degree (Vocal Performance); and a Bachelor of Music (Music Education) from Southern Methodist University in Dallas, Texas.

McTyre’s published works include: “Library Resources for Singers, Coaches, and Accompanists: an Annotated Bibliography”; “'Source Readings’ in Music Reference and Research Materials”; and “Music in Britain in the 1890s,” a chapter in "The 1890s" for the “Encyclopedia of British Literature, Art, and Culture.”

The technology revolution has greatly changed music reference. If you know what you are doing, it has sped up research.

However, due to technology and increasing operating costs, there is the growing fear that music libraries in the future might be forced to focus exclusively on electronic collections. That collection development will almost cease to exist as selection of library materials become more patron-initiated. As a result, librarians may have to develop shared investment strategies to manage shared print archives. Also local special collections and archives might have to be funded by donations.

Yet, with music librarians being skilled and knowledgeable in music’s publication and dissemination, it is likely that they will still remain well positioned to teach about music, and to collect and collaborate on the online publication of research collections of music.

What size staff do you work with at the Rita Benton Music Library?

I have one para-professional staff person and a music cataloguer who reports to the head of cataloguing. She processes all of the original cataloguing items, and gets to work on a lot of neat projects. She does a lot of work with the rare materials and unique scores that come through.

With your job, have you had to broaden your musical scope?

You certainly learn a lot along the way. I used to watch MTV a lot in the early days just because it, at least, kept me up with what the hip kids were listening to. I don’t watch MTV anymore because it’s not my cup of tea nowadays. I listen to country music all of the time. That’s about all I can tolerate these days. We do collect some popular music here. But it’s not the focus.

Do you and your staff scan YouTube for reference?

Yep, and we do a lot of going through the (music) journals, and online resources and things like that. Part of my job is to work with the faculty and students in their research areas. So I learn a lot from them (about music) as they are trying to track down resources for their own research. That helps a lot with me keeping up with trends.

So you know now where Lady Gaga fits historically?

I think I do. She scares me a little bit, but I like her at the same time. She sure knows how to put on a show.

How many members are in The Music Library Association?

We have around 680 members. That’s institutional and personnel. We have one annual meeting in the spring. We have several (regional) chapters. Being local, they concentrate on their particular area. They provide an opportunity (for members) to meet in a small venue and they give people more of an opportunity to participate in programs at a local level. We do a lot of outreach with our library schools across the country, both on a regional and national level. It’s a great way for para professionals to participate when they might not have the opportunity or the funding to go to a national meeting.

Are music libraries in the United States at a crossroads today? Even the type of material to be collected in the future seems in question. There doesn’t seem to be an overall plan. Everybody is looking at problems in a different way.

That’s right. Public libraries have a very different approach from academic libraries. Conservatory libraries will look at (the problem) differently than a research library would, for example. You want to get the music product to the person in your school that they absolutely need to do their research and their learning. So, you are absolutely right. We are at a crossroads, and it is something that we talk about all of the time.

One example is that more and more, at least with popular music and now starting with classical, sometimes we can’t buy the CD of a title. It is only available as an MP3 file, which creates all sorts of problems for libraries. We can buy it but we can’t catalog it or provide access to it for our clientele because of copyright.

[Before using any prerecorded or printed material, librarians must first evaluate whether the use falls under one of the Copyright Act’s specific exemptions or those described in the voluntary guidelines.

For librarians, a major headache is deciphering the exceptions provided for them under the fair use provision. Fair use allows for the use of copyrighted material without permission. However, the fair use concept is very loosely defined by the law.

The Copyright Act, for example, does not specifically address the rights of copying for reserve. General practice among libraries rests on the assumption that the library reserve room functions as an extension of the classroom and, thus, is permitted to provide copies of copyrighted works related to the rights of copying for purposes of teaching.

Purpose, in fact, plays an important role in determining whether a use is fair. The law suggests several possible fair uses, such as criticism, comment, teaching, scholarship, or research. Other factors considered include: the nature of the work, the amount used, and the effect on the market for the work. The guidelines allow librarians to make a single recording of a performance of copyrighted material for educational or archival purposes. Beyond that, a license is required. Penalties for infringement can run from $750 to $30,000.]

Music libraries operate within the “classroom” exemption provided under the Copyright Act’s fair use provision. That’s pretty murky.

It is pretty murky. Music librarians tend to ride on the edge of that (copyright infringement), I think, a lot. We have had to provide access to our students. The way we get around (infringement), especially with the streaming audio and things like that, is that the databases that we subscribe to are IPS address driven. So that covers fair use. People who don’t have a university ID, for example, can’t access my streaming audio products. If we have a cursor or a clip of audio material it is only up on a page for that specific class. Again, they have to log in with their university ID and a password to get access to it. So that protects us. We have to be pretty careful. Things go up first semester on courses, and they go away at the end of the semester.

That goes to the purpose part of fair usage.

Yes, right. It’s the educational use. That sort of counts as your one copy.

The library is an extension of the classroom.

That’s correct. When we use CDs, and rip files to put on the streaming audio, we put the actual CD on course reserve as well. We don’t—and this is pretty standard within the American academic library—we don’t put up course reserves of material that we don’t own. The library has to own it to rip the file, and put it up.

How many copies for reserve are you allowed without permission?

One.

Any further copies and you have to make a payment?

Yes. To the copyright clearance people.

One copy is fairly limiting.

That’s our policy here. (Usage) has gotten tighter and tighter. We sort of have a direct line to university counsel for a lot of things, because there’s the copyright law; and then there’s the university’s interpretation of the copyright law.

Does that interpretation differ at each university?

Yes. There are some differences across the board.

There has yet to be a case of the “copyright police” sweeping down on music libraries in the U.S. for copyright infringement.

None that I know of. Knock on wood. But, when you get into the realm of film, (copyright) is an absolute nightmare.

Students might face tightened copyright restrictions at university libraries, but when when they are in dorms or at home they are likely downloading music illegally.

Absolutely. Our sound recordings circulate to our students. They will come in and check out piles of compact discs and then bring them back the next day. And you know exactly what they are doing. There is really nothing we can do about that, except educate them about what copyright means. Especially musicians. You explain to them that when they go to photocopy this score, that it is taking money out of the composer’s hand. “Look across the classroom at your friend who wants to be a composer. Are you going to make your friend starve?”

With the advances in information technology, the disbursement of information is more widely available to libraries today. Do librarians trade information back-and-forth?

Oh sure. We are all for access as much as we can, and to share it amongst everybody. We try to provide as much free access as we can to things that we can legally provide free access to (to other librarians).

So there’s significant back-and-forth?

I think that there really is. Librarians like to get information out, and like to help people with their research in any way that we can. We have, of course, the formal library loan process that we go through amongst all universities and all libraries, but there’s a lot of personal contacting. There’s a lot of “I need this in a hurry,” or “Can we get this in a hurry?” kind of things. So we do a lot of expatiating for each other to get the materials to people in an efficient manner.

Do some librarians hoard information or collections?

Do they hoard information? I don’t think so. If they hoard it, somebody else might have the same information. They might as well share. I think that librarians today are not, “you can’t have it,” or “you can’t touch my stuff,” anymore because it’s going to be out there in the online word in one way, shape, or form.

MLA performs different roles.

Music is like a foreign language to so many people who don’t understand or don’t know how to read music. Music tends to be a good testing bed for on-line systems that come into being for machine-readable cataloguing records. When we did develop OCLC (Online Computer Library Center) years ago, music presented such unique problems. If you could fix the way computers search music, then it was great for other things.

[Online Computer Library Center (OCLC) is a nonprofit, membership, computer library service and research organization dedicated to the public purposes of furthering access to the world’s information and reducing information costs. More than 27,000 libraries in 86 countries and territories use OCLC services to locate, acquire, catalog, lend and preserve library materials.]

For example, trying to find recordings of Beethoven’s symphonies could present a lot of problems if you think about the wide variety of titles that are out there. The Bibliographic Control Committee (of MLA), they do a lot for the profession and for cataloguing. We deal with a lot of technologies on the front-end. When CDs came out, librarians got them first. It was a big deal the day the first CD arrived. I remember it clearly, “Wow. What cool technology.”

[The MLA’s Bibliographic Control Committee maintains formal channels of communication among music catalogers, and with other groups requiring formulated positions on bibliographic control of music materials. It participates in maintaining and revising national and international codes for both descriptive cataloging and electronic transmission of bibliographic data.]

What happened with the library’s cassettes?

Well, we kept them for a long time. Every time a new technology comes out, it really pushes our budget to the max, because we have to buy the new technology. And we have to buy the (hardware) to play it. Schools of music and music libraries are expensive endeavors for people.

Not exactly a profit center for a university.

Exactly.

When there are institutional cut backs, they often start in the music library. Is that a concern for MLA members?

Yes it is. Especially as a lot of people retire, there’s the (attitude) that, “this is a good time to absorb the music collection back into the main library.” Or they will have someone come in who, maybe, does music reference and acquisition, but also does social sciences or does two or three other subjects as well. It is a concern for us, definitely, keeping the profession going.

But you go to the MLA (conference) each year, and there are encouraging signs. With our last conference, there was a music library student group there, started by two enterprising young women from Wisconsin. I think that we had 35 people interested in the profession as library school students who showed up at our annual meeting. That’s great to have that many people who are interested in doing that kind of work. It makes me feel good as I look closer to retirement myself at 56.

In the face of reduced purchasing power as well as with the continuing robust pace of print publication - especially music scores - and greater demand for digital materials, has an issue for music librarians become what to collect or what not to collect?

Yes, I think so. Because so many of us have the same streaming audio things, we can really focus in on what we really need to collect, and what we don’t need so much anymore. With more and more journals being in an online environment, do we store the print copies or do we get rid of them? When we get CDs in now that are reissues of LPs, we pull the LPs out and withdraw them. Space is an issue because libraries are downsizing in terms of staff across the board. It becomes a real cost issue of what we add and what we don’t add. In terms of staff time as well as space. So it is a daily problem.

I have, sitting in my office right now, the libraries from three emeritus professors. One is 96, the other is in his late ‘80s, and the other is in her late ‘70s. They have been collecting for a long, long time. Going through what is here is amazing. One of the things that we are excited about is (from) the emeritus cellist professor. The fingerings that he has in his scores, and the markings and things, that’s a goldmine for students; especially if you go back and look at peoples’ lineage of who their teacher was. It’s a neat way to record that kind of history. The score might be in awful shape, but we will hold onto it anyway just because of the value of the markings and the notes that person has put there.

Music did not begin to find its identity in America’s libraries until late in the 19th Century.

I think that’s a fair assumption. When they started building up libraries, especially in the East, music was a separate thing. The Music Library Association didn’t come into being until the early part of the 20th Century, when it was decided that there was a need for a separate association. We are fairly young.

Book libraries go back centuries.

Oh yeah. Alexander the Great had a library. I don’t think he had a music library. That would have been pretty boring back then.

[The first libraries were composed, for the most part, of published records. Archaeological findings from the ancient city-states of Sumer (in present day Iraq) have revealed temple rooms full of clay tablets in cuneiform script. These archives were made up of the records of commercial transactions or inventories, with only a few documents touching theological matters, historical records or legends. The earliest discovered private archives were kept at Ugarit in Syria; besides correspondence and inventories, texts of myths may have been standardized practice-texts for teaching new scribes. There is also evidence of libraries at Nippur (Iraq) about 1900 B.C. and at nearby Nineveh about 700 B.C., showing a library classification system.]

The first American libraries to collect music were the Library of Congress and the New York Public Library.

That’s right. The New York Public Library has a wonderful collection. Just wonderful.

Early on, American librarian, editor, and musicologist Oscar Sonneck introduced ANSCR (Alpha-Numeric System for Classification of Recordings), composed of 46 major categories into which all sound recordings are organized.

Public libraries still rely on ANSCR a lot. In this library and at a lot of larger academic libraries, we just do a straight acquisition number model on our sound recordings. Having 20,000 CDs classified by subject get a little clunky for our purposes. But for smaller collections, ANSCR is a real good solution.

[The Society for American Music was founded in honor of, and originally named for the first critical scholar and bibliographer of American Music, Oscar G. T. Sonneck, who passed away in 1928.]

You don’t break down musical genres?

No. We rely on our wonderful catalogers to do that for us in the online catalogs. The categorization (of music today) would be nutty. It’s interesting because I haven’t really thought about that system for a long time. It’s pretty neat and tidy (catalogue system) for a small public library or even a small college library that, maybe, doesn’t have a department of music that has a CD collection. It would make a lot of sense for people to walk in, and actually browse through the CDs themselves.

Where are you from?

I’m from Zionsville, Indiana. A little town just north of Indianapolis. I had, I think, 90 (students) in my high school class in Zionsville High School. My family transplanted to Texas when I was in college, so that’s how I ended up down there. My family moved to Midland, Texas which is in the oil country of west Texas. But I went to school at SMU (Southern Methodist University) in Dallas. I finished my education in Texas, and did my library degree at North Texas (University of North Texas) up in Denton. I worked as a church singer and a temple singer while I was working at the library and going to library school at North Texas.

What led you to being interested in this field?

Well, you know, as a graduate student I worked in the music library and was working on a Masters in vocal performance at SMU at the time. When I graduated with my Masters, I already had two really good singing jobs, and I was an oratorio singer with a lot of the churches in the city. There was a part-time job that opened up in the music library at SMU, so I just stayed on. That turned into a full-time job. I worked as a para-professional staff member for five or six years. Then I got a letter inviting me to apply for a music librarian’s position at UNC (University of North Carolina) in Greensboro, North Carolina. I had all of the qualifications but the degree. So I thought, “Shoot. I have everything else in line.” So I ended up at University of North Carolina-Chapel Hill after library school. It was a great first job, I can tell you.

Why did you leave?

There was an opportunity to be head of my own music library, which I thought was a good opportunity. That was at Crouch Music Library at Baylor (University).

That’s quite a prestigious position.

Well, it is. It was a nice place to learn to be the head of my own library, and to be an administrator. It was a small library faculty, and a really good place to work.

What kind of things do you learn in first running a library?

I think just learning to be a good manager of your staff. And to work in that kind of environment. As the boss, you need to have those kinds of managerial skills. You needed budgetary skills because you are responsible for a pretty big acquisition budget. The music end of it was already in place. It was more of the supervisory kind of things that I was interested in.

The Baylor Collection; it’s a wonderful music library.

It was long before I got there. It’s kind of amazing, because it’s in Waco, Texas. While it is not exactly in the middle of nowhere, it is not exactly a big city library either. But it is really a fine library, and a really fine music collection. It is a wonderful school of music. It is the same size that we have here in Iowa.,so it was a really good place to work.

It was there that you wrote the chapter “Music in Britain in the 1890s” for the 1993 book “Encyclopedia of British Literature, Art, and Culture.”

I was actually doing research in solo vocal literature as a possible thesis and dissertation topic before I decided to go to library school. So that’s been a subject of interest for me for a long time.

That period was when vocal music was re-introduced in Britain.

There was a big dead period after (17th century composer Henry) Purcell died, before (Sir Charles Villiers) Stanford and (Sir Edward William) Eigar started to write vocal music and people started paying attention again.

Did Queen Victoria’s court encourage this re-emergence of vocal music?

I think so, because she was such a big fan of (Felix) Mendelssohn and so many (British composers) went to Germany to study and came back (to Britain). (Ralph) Vaughan Williams, for example, and guys like that. It was an interesting time to see how the classical solo thing kicked back in again. As a choral singer, I just love that era of English choral music.

Your book “Library Resources for Singers, Coaches, and Accompanists: an Annotated Bibliography” was written before the advent of the new informational technology.

There’s really a huge amount of repertoire available today, so that’s a book I need to do an updated edition of someday. Just given the wide amount of resources that are out there these days. For example, for translations of vocal literature, that is just one small piece. There is a wide variety of material out there. Most of it is in print still, and not necessarily online.

Have many of the older scores been scanned and digitalized?

Yes. Public domain material certainly. It is sort of happening all over the place but specifically there are a group of music libraries in Boston who have started taking public domain reference works in music, scanning those, and putting them up on a database.

We have here a collection of the works of Ignace Pleyel, who was an 18th Century French composer and music publisher; and his family also started building pianos. The Pleyel piano company exists today in Paris. We have about 220 Pleyel scores that we have put into a digital database for scholars to use. That’s really cool, actually. We started getting questions—well, we have for years—from scholars all over the world needing access to these scores, especially the first editions. So, we developed the digital library services component in the library, which was one of the first projects that we were able to do.

[An Austrian-born French composer of the Classical period, Ignace Pleyel is a composer who was very famous in his own time but obscure today. Belgian musicologist François-Joseph Fétis wrote, "What composer ever created more of a craze than Pleyel? Who enjoyed a more universal reputation or a more absolute domination of the field of instrumental music? Over more than 20 years, there was no amateur or professional musician who did not delight in his genius.” Pleyel died in 1831.]

Preservation is becoming a growing reference issue today. As you know, you cannot get material back once it deteriorates.

That’s exactly right. One of the former resident string quartets here, the Stradivarius Quartet, performed for many, many years. So we had a lot of their concerts on reel-to-reel and audio cassette, and they were starting to deteriorate like crazy. So that’s a digital project that we have done here. A lot of academic libraries are putting university performances up in a digital format and preserving the actual (musical) item at an off-site storage. So what we do, again in compliance with copyright for preservation works, is that we make CD copies as well as the digital file. We tuck away the original and then we have two CD copies for preservation copies as well as the digital manifestation of the work.

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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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
Deb Suckling, SUGARRUSH Music 07/27/17
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Mandar Thakur, Times Music 08/06/15
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Marsha Vlasic, Artist Group International 05/31/17
Mat Vlasic, Bravado 06/28/17
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Kirt Webster, Webster PR 02/03/16
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Adam White, Author 09/14/16
Adam Wilkes, AEG Live Asia 10/13/16
Fenton Williams, 04/04/08
Del Williams, Right Arm Entertainment 04/18/08
Bryan "Birdman" Williams, Cash Money Records 09/13/11
Paul Williams, ASCAP 10/19/11
J.P. Williams, Parallel Entertainment 10/03/12
Kurt Willms, Green Room Productions 09/20/03
Chris Wilson, Heartbeat Records 03/02/07
Tony Wilson, Factory Records/In The City 06/01/07
Tom Windish, The Windish Agency 07/26/10
John Wiseman, XL Touring Video 05/05/06
Thom Wolke, Twincloud.com 02/08/02
Michael Wood, City Lights Entertainment 08/08/08
Keith Wortman, Blackbird Presents 03/22/17
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, CultureCatch.com 07/27/07
Jeremiah “Ice” Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
Kevin 'Chief' Zaruk, Chief Music Management 06/10/15
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06

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