Industry Profile: P.J. Bloom

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: P.J. Bloom, partner, Neophonic, Inc.

Slash loathes “Glee.”

In fact, Guns N' Roses, along with Red Hot Chili Peppers, and Kings of Leon, have refused to allow their songs to be covered by the cast of “Glee.”

“Glee," nevertheless, is a pop cultural phenomenon.

As well, “Glee" has become the must-go-to platform for any music publisher intent on finding a sizzling promotional vehicle for their copyrights.

Each week after the musical comedy-drama television series airs, digital sales of the music featured on the show sky-rocket.

The series—if you don’t know—follows the fictitious lives of the members of William McKinley High School’s glee club, the New Directions, as they deal with life, sex and being supercharged teenagers in Lima, Ohio.

The show’s track record for snaring attention is downright impressive.

Nineteen Emmy nominations (and four wins); a Peabody Award; a Golden Globe for best TV series, and two Grammy Award nominations.

The show's first soundtrack, "Glee: The Music, Volume 1" received a Grammy nomination for best compilation soundtrack album for motion picture, TV or other visual media. "Glee" also received a nomination for best pop performance by a duo or group with vocals for the cast's version of Journey's "Don't Stop Believin' (Regionals Version)" on the "Glee: The Music-Journey to Regionals" album.

Traditionally, television has motivated fans to purchase music—often existing third party songs—that they hear on a show. "Glee” is absolutely unique in that its fans buy both the new version performed by the program's cast as well the original by the pop superstar act.

How the show came about was that in early 2008, after the success of his cutting-edge, FX show "Nip/Tuck," the show’s co-creator and director Ryan Murphy read an edgy independent film screenplay by Ian Brennan titled "Glee."

Murphy became so fixated on the title that he asked Brennan to redo "Glee" as an acerbic television comedy. Then, with co-writer Brad Falchuk, they successfully pitched the show to Fox Television executives in the spring of 2008.

The potential for the show's music to be a digital sales powerhouse was demonstrated when the "Glee" pilot aired on Fox on May 19, 2009, greatly benefiting from a sizable lead-in of "American Idol" viewers during finale week.

The pilot episode achieved 9.6 million viewers on it first broadcast, and 4.2 million viewers when a director's cut version was later aired.

The pilot featured one song placement after another—more than 20 in an hour's time—including Amy Winehouse's "Rehab", energetically performed by the glee club members decked out in frilly blue, polka-dot skirts.

After Murphy had committed to making Journey’s “Don't Stop” the signature song for the pilot, the production team began the process of turning one of the best known pop/rock songs of all time into one of the 'Glee' greatest triumphs.

Murphy, however, hadn't cast his actors for the series yet. This resulted in no less than 20 different demo versions being created by two different producers sung by everyone from the top session singer in Los Angeles to a Journey cover band frontman.

In the end, “Glee” producer Adam Anders created what we needed—which, in turn, was sung by the cast. The rest is showbiz history. The “Glee” cast's version of "Don't Stop Believin'" has racked up one million sales, according to Nielsen SoundScan.

In season two’s opener, besides performing Lady Gaga and Beyoncé's ”Telephone," Filipina singer Charice sang a powerful rendition of the latter’s ”Listen."

The choices of such recent contemporary hit fare signaled that “Glee” had shifted from being reliant on catalog to really entering the pop superstar sweepstakes.

Now that “Glee” is “GLEE” it has the latitude to explore newer songs on their way to becoming mega-hits.

The program has the clout, in fact, to add to the hit making machinery.

This was evidenced by Blaine and his Dalton Academy classmates singing Katy Perry's "Teenage Dream” that landed first-week sales of 214,000 digital downloads; and well as cast covers of Travis McCoy's "Billionaire" and Cee Lo Green's "Forget You" being mega-hits as well as re-igniting sales of the original recordings.

In Oct., 2010 recordings by the “Glee” cast overtook the Beatles in terms of the number of songs placed on the Billboard Hot 100. To date, "Glee" has placed 102 songs on the chart.

For the show’s success, give credit to where credit is due: to Murphy and the team of producers, writers, directors, and editors who are encouraged to contribute their creative input to the show.

Also, overseeing the music in “Glee” for the show's production company, Ryan Murphy Television, is the very versatile P.J. Bloom, a partner at the music supervision firm Neophonic, Inc.

Once Murphy picks a song for inclusion in “Glee,” Bloom tries to clear the rights with its publishers. Songs are then rehearsed, choreographed, and recorded. The process begins six to eight weeks before an episode tapes, and can finish up. the day before.

For over a decade, Bloom has been one of Hollywood’s most prominent music supervisors.

He has supervised, coordinated and consulted on everything, from small independent films (such as the 1999 documentary “Better Living Through Circuitry” on electronic music, and rave culture) to major studio projects by such film makers as Steven Spielberg, Jerry Bruckheimer, Ridley Scott, Michael Mann, John Frankenheimer, Norman Jewison, Mike Nichols and others.

His impressively long list of credits include “Terra Nova” the sci-fi drama television series that is scheduled to air on Fox in 2011; as well as such TV series as: “CSI: Miami,” “United States of Tara,” “Nip/Tuck,” “The Shield,” "Angels Over America,” “Lincoln Heights,” “Trust Me,” “State of Mind,” “Night Stalker,” and “Baywatch.”

Bloom has also been a music consultant at HBO Films since 1998, overseeing such projects as "Angels in America," "The Life & Death of Peter Sellers,” “Maria Full Of Grace,” “The Gathering Storm,” "American Splendor,” “Generation Kill,” and “The Ballad Of Bettie Page.”

Born and raised in Los Angeles, Bloom first worked at honing his craft in the soundtrack divisions of Columbia Records, and Arista Records. As well, he worked at the Grammy Foundation, operated by the National Academy of Recording Arts & Sciences (now known as the Recording Academy).

Along the way, Bloom has been a prominent club DJ, a music journalist, an internet radio host, and part of the creative team behind Disneyland's "Rockin' Both Parks" event which updated the soundtracks for both the Space Mountain and California Screamin' roller coasters in 2007.

As well, he was music supervisor for such feature films as “Eat, Pray, Love,” and ”Running with Scissors.”

With your job, is it hard to listen to music for pure enjoyment?

I just don’t have time. I am juggling so many projects here, and I need to stay so far ahead. That is what, in a lot of ways, producers and directors who hire me expect. I don’t have so much personal time to spend with any one (music) thing. If I did, I would just lose too many hours of the day. I have to be constantly rifling through new stuff.

You also have a two-and-a-half year old son.

Yeah, so I don’t have any friggin’ time to sit down, and listen to music (at home). I am chasing him all over the place, and trying to be a husband, and a father while I do this music business thing in the day.

Do you find yourself listening to music thinking, “Maybe, I can use that?”

I don’t think there’s any moment I spend with music these days that I’m not thinking about how I can apply it to my work. That is just a double-edge sword of what I do, and how long that I have been doing it. It all seems to factor into the visual media for me in some way, shape or form.

Was that true when you started doing music supervision?

I guess when I discovered soundtracks, I was lucky enough to find a creative area that really coincided with who I am as an artistic person. I was excited to be able to apply my love of music to music supervision, and that I actually had an outlet to do it. I think I was proactively trying to figure out how I could take everything I was listening to, and apply it to the projects that I was working on. Now it is completely unconscious.

The main thing about my career, and my relationship with music is that I’ve essentially sacrificed my fandom for the work. I don’t have time to spend with back catalog or to listen to albums I love from back in the day. I’m constantly looking forward, and living this ephemeral existence with music. And, I do love that part of it. But, it’s unusual that I listen to albums more than once or twice.

That’s kinda sad being a music junkie.

I couldn’t imagine doing anything else with my life and yet, as blessed as I am, there is this downside to crossing commerce and art that no one who’s not in (the music business) can understand. As overjoyed I am with what I’ve managed to accomplish, I can’t just sit and listen to music anymore without overanalyzing if/how it relates to my work, which zaps a lot of the pure enjoyment. Makes me long for the old days when I was an impoverished, jobless stoner surrounded by a sea of vinyl that I spun all day long.

I hosted an internet radio show (Hunnypot Radio) for four years, up until recently. The best part about it was just getting to play my favorite tunes for three hours a week. No business, just music. It was so great.

The music business is a business few people understand.

Well, it’s definitely not the real world. It is not the world that we really live in. Everybody else lives in the real world. I really hope that this music business thing continues to work out for me because if it doesn’t, I’m screwed because I do not have any real world skill sets. If I’m forced to go and push a pencil in a cube somewhere, it will be a rough road for me. I think that I’d sooner put on a back pack, and go and wash dishes across Europe.

What makes you and Ryan Murphy work so well together? “Glee” isn’t the first series you have worked on together. You worked together for 6 seasons on the FX series "Nip/Tuck” and the 2006 film "Running With Scissors.”

Honestly, I think that the thing that makes my relationship with Ryan work so well is that I just get him what he wants. Ryan is very sure about his wants, his desires and his needs. We have a very good short hand, and he tells me what he wants to do, and I make it happen for him. If he wants my creative input I am happy to share it with him. But, in terms of facilitation, I get him what he wants, and I get the job done, and I get it done on time and on budget. I think that he is appreciative of that.

You and Ryan must be on the same wave length for many things.

I think so. I think that Ryan appreciates my intensity about (music) and my conviction. He is a very intense guy himself. He knows exactly what he wants. He has a vision, and I think that he appreciates that from me as well. And I think that he appreciates the progress that I have made as well.

When we first started working together, I was not nearly the music supervisor that I am now. He gave me an opportunity to show him that I could do what I said that I could do, and it worked. And I think for one of the first times in his career his projects have been recognized for the music, and he’s been recognized as a music person—someone who pays very close attention to soundtracks. I think I can take a little bit of credit for that.

Does your company Neophonic handle all of the musical clearances for the show?

We do. I prefer it that way. We are very hands-on here. Clearance, in a lot of ways, is the backbone of music supervision. We pride ourselves on doing an incredible administrative job, and having a very tight business affairs ship. I personally believe that while it’s positive, and a good thing to know music in a creative way and have some artistic ability, I do not think that is a primary component of music supervision. I think that music supervision is a very specific skills set that includes creative, but it also includes technical and business affairs, money management, and politics. All of these things that so many of the younger “music supervisors” don’t necessarily appreciate or know how to do.

Obviously relationships are important in your work.

Yep. That’s our entire business. In the music business and the entertainment business in general, relationships are a lot of it. And, you are only as good as your last job.

Now that “Glee” is so popular, have you gone from where music was hard to clear to suddenly the floodgates are open?

It’s definitely (now) more the latter. It was a huge uphill battle at first. We had this incredibly ambitious endeavor in an episodic musical. The episodic musical had failed miserably over the years with shows like “Cop Rock” or “Viva Laughlin” which went a whopping two episodes (on CBS) before it got canceled. So we were behind the eight ball for sure. A lot of my time was spent convincing all of these A-list songwriters and major publishers that “This is going to be different,” and “We’re going to be great,” and “It’s going to mean so much,” and “It’s going to be so wonderful.”

No doubt, these publishers and songwriters were all saying, “Show me the money.”

There was a lot of that stuff. People are still saying, “Show me the money.” Now with the show, obviously everything has changed. We’re incredibly popular. We sell a lot of records. So there’s a huge ancillary income stream (for creators). There’s a huge marketing component. When our songs go into the charts, the original versions re-enter the charts as well. It brings recognition back to the original artists. There is just a lot of great stuff that happens for everybody who is associated with the show.

“Glee” has spent an unprecedented amount of money on music for a scripted network drama. Do you still battle for music rights on your other film and TV projects?

Every show is a battle. “Glee” is no different. It’s not like I just sit back in my chair and pick the things that I want. There are still a lot of money conversations. Any songwriter or any publisher is still concerned about content; especially using huge songs by certain acts, like the Beatles, Billy Joel or any of these huge catalog acts; or even these new acts, like Lady Gaga. They want to make sure that they are being really represented (in the show). Just because we say that it’s “Glee” it’s not a given that it is all going to be good and positive for everybody. There’s still a lot of work to be done.

How did it feel having the show’s cast overtaking the Beatles on Billboard’s Hot 100 singles chart?

It is difficult to process when you see it there in print. It’s amazing, and at the same time it feels a little bit blasphemous to a music person like me. There are just certain things that you are not supposed to mess with. Obviously, it feels incredible. I am thrilled for the success of the show, and Ryan’s success, and my own success because of it. At the same time, we are doing covers. We didn’t overtake the Beatles’ singles record by writing songs, so it needs to be kept in perspective. But, you know, it’s awesome.

Sir Paul McCartney didn’t send a telegram?

Paul has been an incredible friend of the show. We’ve used several of his songs and we will continue to use several of his songs. We have also used a couple of Beatles songs. We’ve have been talking to Paul, and his camp about doing a Paul McCartney tribute episode which will definitely happen at some point.

So many people are excited about being involved with “Glee” because they all have kids and grandkids.

If there is an accolade that Paul hasn’t won over the years I would be surprised. So I would assume that he wasn’t too broken up by “Glee’s” success.

[The episode that will feature Paul McCartney’s songs has yet to be announced. According to Reuters, Ryan Murphy was a sent a set of mix CDs by McCartney “It came out of blue in a package, handwritten, and it had two CDs and it said, "Hi Ryan, I hope you will consider some of these songs for ‘Glee,’” Murphy said. “So, of course, we are going to do something with him.”]

Ryan has been teasing a Justin Bieber episode.

Justin Bieber will be represented shortly. His episode is coming around in February. Everybody has Bieber fever right now. “Glee” is no different. We’re not immune.

One of the most fun things of “Glee” for me is that we get to participate in all of these cultural things that are happening right now. The first season, in a lot of ways, was built on catalog. We needed to have these huge hit songs that everybody knew in order to establish the series. Now, in season two, now that we are so much more popular, we get to really attack the charts as they are happening. Whether it is Katy Perry or Justin Bieber, we have our versions of these songs coming out within weeks of these songs becoming charts hits.

Are there concerns from the original artist’s labels that by using a song with the “Glee” cast, you are taking away from what they do?

No, no one is really concerned. There are certainly questions that are talked about because the record companies are running campaigns with their artists, and we’re doing our things. What has happened is that (covering original songs) only spikes sales for the original acts. We do our Paramore song (“The Only Exception”) and Paramore comes back onto the charts. We do a Kate Perry song (“California Gurls”), Katy Perry sells more records.

Everybody buys them both, especially the younger demographic, the teenagers and the young ‘20s. These folks are out there buying music and they are spending time on iTunes. They are buying, and they are re-buying. They are buying digital and then they will go ahead and buy at retail.

Was the show’s 15th episode "The Power of Madonna” on April 20, 2010 a water-shed for the program? Covering Madonna was risky, but the show went so well. It was so popular.

Certainly from a business standpoint (the spotlight one performer) hadn’t been done. It took us weeks and weeks to set this deal up. Madonna and her team were integral and Warner-Chappell, her publisher, was integral in helping us with that. So was Jeff Bywater over at 20th Century Fox, who is the head of music television there. This show could not run without him. It took the best of all our efforts to make the Madonna thing happen. Once we were able to get the deal on its feet, Ryan and his team just took the creative part to another level. I think that we were all excited about the way it turned it. We were all pleased. At the same, you have to give birth to it. You hope to put it out there and the world responds. If you do justice arguably to the biggest female act in the world, people will respond.

[The Madonna episode was the first time the music on “Glee” was turned over in its entirety to one performer. According to Nielsen, the episode was watched by 13.5 million viewers in the U.S. Michele's lead performance of Madonna's "Like a Prayer" sold 87,000 digital downloads, according to Nielsen SoundScan. The stand-alone "Power of Madonna" soundtrack from the episode debuted at #1 on the Billboard 200.

Sony Music Label Group chairman Rob Stringer explained to Ann Donahue in Billboard (May 8, 2010 issue) that "The Power of Madonna” was a risky album release being that it was based on the songs from a single episode. "It's kind of weird," he said. "It's a different marketing angle, but the episode is so bloody good."

Getting Madonna’s approval for the "Power of Madonna" episode and the album that followed was, by no means, easy. Her camp originally passed on the concept. Further pitching was done, and the deal was only green-lighted after Ryan Murphy sent an appeal letter directly to Madonna.]

“Glee” covers aren’t identical covers of the original recordings.

“Glee” doesn’t try to be something that it is not. We pay homage and honor to all of the songs, and all of the acts that we cover. We’re certainly unique out there in the world, but, we are not trying to completely reinvent the wheel.

We have some of the best singers in the business. We have incredible actors. Ryan is a master story-teller, and there’s all the creative team. Everyone on this team is incredible at what they do. Kudos to Geoff Bywater, and to the production executives, and creative executives at 20th Century Fox. Everybody has been so gracious with their talent and has worked so hard to make this thing (show) so great.

The addition of Darren Criss—who sang the show's cover of "Teenage Dream"—as a cast regular and recurring guest stars like Charice must give Ryan and you a greater range to pick songs.

Absolutely. Every cast member brings something different to the table. A lot of new people coming in, and people who are going to visit in the future, just add a new dynamic and broadens our ability to do different kinds of creative things. It allows us to keep fresh.

[According to Laraine Santiago of the Santa Ana Celebrity Examiner, Ryan Murphy has confirmed that Charice is returning to the show. "She is coming back to 'Glee' in a big way; we're finishing the year with her. She's coming back for five episodes at the end of the year. She's gonna be great! Lots of big, big ballads for Charice."]

So when do we get a Nirvana/Led Zeppelin/Sex Pistols episode?

(Laughing) I would enjoy that one. I’m told that the Nirvana camp is up for it. I’ve been told Led Zeppelin would potentially consider it. Sex Pistols? I really haven’t gone there. I haven’t had the pleasure to talk with Johnny (Lydon) about it. I would hope if that day comes, it would come to pass.

Didn’t you license Nirvana’s music for “CSI: Miami” in 2006?

That deal disintegrated just before the finish line. I spent quite a long time working on that, and quite a lot of effort. Unfortunately, that was not meant to be. I certainly believe that my efforts laid the groundwork to what came after it because prior to that Nirvana had never been on a scripted television show in that way. That has since happened, it probably would have happened, but I certainly teed it up.

[The 2007 season premiere of “Cold Case” featured eight Nirvana songs: “All Apologies,” “Stay Away,” “If You Must,” “Lithium,” “Drain You,” “Something in the Way,” "Come As You Are" and “Heart Shaped Box.”

In Oct. 2006, Forbes magazine had reported that four Nirvana songs, including “Come As You Are,” would be used on “CSI: Miami” in November 2006. However no Nirvana tracks were on the soundtrack when the episode aired.

In the third season's finale of ABC-TV’s “Lost” in 2006, Jack Shephard is driving down the street listening to Nirvana's "Scentless Apprentice,” right before he arrives to the Hoffs/Drawlar Funeral Parlor. This was the first usage of the band's music on a network television program's soundtrack.]

Vanity Fair magazine outed you as a Rush fan.

Rush are truly one of my all-time favorite bands. My wife loves them too, actually which is fun for us. I’ve never met them. I know Neil (Peart) has made mention of “Glee” so I feel I’m like one degree of separation from the band.

You’re a David Bowie fan too.

David Bowie is probably my singular, all-time favorite artist. He is the ultimate pop/rock artist, and songwriter. I would kill to be involved with him in some way. He is an artistic chameleon—changes every time he comes out with a new album. Just as a representative of music and rock and roll, he is my all-time, all-time favorite. I’ve never had the opportunity meet him. He’s one of very few people I would be starstruck by.

Music supervision for film and TV has changed considerably over the past decade. Ten years ago music supervisors were often dropping in licensed tracks in postproduction.

Nowadays, music supervisors can front-load the creative, business and production elements of a soundtrack well in advance of shoot days. Often you are brought into script and concept meetings.

I would say that 10, 15, or 20 years ago, music supervisors were facilitators in a lot of ways. Now, we—at least some of the best ones—are known for our creative prowess, and what we bring to the table. We all do a very different thing, a very unique thing. We are brought on to not only handle the production, technical and the business affairs needs of the show, but as a true creative component.

We are also in one of the few above-the-line roles that are in the trenches—working with the film makers and television producers from day one, really. We are there on the set. We are there during the editing process—start to finish.

There weren’t many popular soundtracks in the ‘60s and ‘70s that successfully licensed eliciting third party songs. In the ‘80s, I remember the popularity of “Stand By Me” (1986) reigniting Atlantic Records’ catalog.

There was also “The Big Chill” (1983). The concept of licensing existing third party songs en masse for film soundtracks is something that is relatively recent, as in the last 30 years. In the ‘40s, ‘50s and ‘60s, it was all about original music. If it wasn’t a musical where the songs were created specifically to support the story, (studios) were commissioning (original) works. It was never about licensing 12, 15 or 20 tracks for a film. It was about commissioning that one big song to anchor the project.

[The soundtrack of “Stand By Me” reached #31 on the Billboard 200 in 1986, staying on the chart 45 weeks. “The Big Chill” reached #17, and stayed on the chart for 161 weeks.]

Studios either had an orchestrator, music composers, and lyricists in house or had orchestrators like Alex North, Leonard Bernstein or Henry Mancini do the music.

Exactly. It was just an entirely different medium back then.

Warner Bros. Records was originally established in 1958 as the recorded music division of the American movie studio Warner Bros. Pictures.

Among the label’s early releases were albums by Warner contract players such as Tab Hunter, Edd Byrnes, Connie Stevens, Jack Webb and William Holden. That was a rare planned marketing match up of TV and music.

Absolutely. I would also say that back then that these film companies never really looked at soundtracks as a marketing tool. (The soundtrack) existed solely to support the body of the film, and the creative aspect of the film. Later, when you get into the ‘80s, the Michael Mann era of television with “Miami Vice” or the early ‘90s with “Beverly Hills, 90210” you have these soundtracks that were not only driving the episodes but they were also being used as marketing tools by the studios and the (TV) networks.

Michael Mann was one of the first to bring a sound and a look to a TV series.

Absolutely. I did a series with Michael Mann (as executive producer), the short-lived “Robbery Homicide Division” (in the 2002-03 season for CBS). At the time we were going up against CSI, “Crime Scene Investigation,” the original Las Vegas one. We absolutely got killed by that show. “Robbery Homicide Division” went off the air after a short 10 episodes. But Michael did tell me a couple of great stories about licensing music for “Miami Vice” back in the day. Nobody really cared back then. It wasn’t a money-making operation. The music industry didn’t really care about the licensing because everybody was still selling records and making money at retail. So, for him to license a song like Phil Collins “In The Air Tonight,” he said that he paid in the neighborhood of a few hundred bucks, and the deal was done in a day.

Some directors and producers are more attuned to music than others.

Yeah, there are a lot of directors I’ve worked with who have incredible taste in music and an incredible sense of it. Ryan Murphy is definitely one. Unfortunately, I think, more directors and producers really just have a sense of story, and a sense of picture, and not so much a sense of music. I find that, more often than not, most people are looking to (license) their favorite songs which may or not apply to the film or the television show. Usually what makes a favorite song is that you have your own incredible memories when you first heard it, like getting laid in the back of a car during prom (night) or on your wedding night, whenever it was. That’s what they look to. Your memories are never the same as the world’s.

And those are usually the tracks that are impossible to clear because they are such big hits.

Right, exactly. In some cases, they are such a small hit that they have no significance whatsoever.

You worked in the soundtracks department of Columbia Records in the early ‘90s?

I started my whole (music supervision) journey at Columbia back in the ‘90s. I was doing soundtracks. That’s where I discovered the trade. I ended up getting a job with Maureen Crowe, (then VP of Soundtracks at Columbia Records) who had just come off “The Bodyguard” soundtrack which was one of the big-selling soundtracks of all time. She was offered a department at Columbia Records. She started up the soundtrack department there, and I got a job working with her.

You left Columbia after a year.

After leaving Columbia in 1995, I went to NARAS (the National Academy of Recording Arts & Sciences—now known as the Recording Academy) and worked for the Grammy Foundation for awhile during the Mike Greene era. Jim Berk was running the Foundation at the time. I was glad I was exposed to what NARAS was doing, but it was not my bag. Then, I opened up a nightclub in Los Angeles.

A nightclub in Hollywood?

It was called The Night Watch. Do you remember the club "Simply Blues" on top of the Sunset and Vine Tower? It was there for about 20 years on the top floor of the Sunset and Vine high-rise on the south-east corner of Sunset and Vine. That’s where our club was.

You lost your ass.

Oh, absolutely. We spent about 18 months building the club, and we were open for about nine months before we had to close, but it was fun. We booked live talent and had a dance club. It was another thing to add to my music repertoire. In some shape and form, my journey.

After that, you had to look for a job.

I had been exposed to soundtracks by that point, and I wanted to stay in (that field). I ended up finding a job with Evyen Klean, who is now my partner in music supervision. His partner, at the time (in Klean/Broucek Music), was Paul Broucek (now president, Music, Warner Bros. Pictures). I was their assistant for a little while.

Six months into that, Evyen and Paul got asked to, essentially, become the music department at New Line Cinema. Evyen had pretty much lived his entire existence as an independent music supervisor, and he didn’t have any kids. Paul Broucek, on the other hand, had two kids who were imminently going to college. So the idea of steady income was more enticing to him. So they ended up splitting up. Paul went on to run the music department at New Line Cinema (as President, Music, 2004-2008 until New Line Cinema was folded into Warner Bros. Pictures).

So, that left just me and Evyen doing the music supervision thing when Evyen had “Baywatch.” All of a sudden I was thrust into this greater role. I got to spend my early days finding music for Pam Anderson running down the beach with her boobs flapping around.

Welcome back to the music supervision business.

Yes, exactly. That’s when I really thought, “You know what? This is for me.”

Didn’t you also launch Hunnypot Unlimited with John Anderson?

John and I founded Hunnypot together. It started about 10 years ago.

You started out by throwing free parties.

We did. The soundtrack world was starting to have a real voice within the music industry as digital started to come around, and physical retail was meaning less, and soundtracks were meaning more. There was a much greater spotlight cast on this industry.

As a way to bring people together in a social way, John and I started throwing these parties around town (Los Angeles). We would do them, probably, quarterly. They were great. It was everybody in the then-burgeoning film and television music business. We were all having fun. We were all doing really cool creative stuff. We were making money for the business. We were all having a good time. There wasn’t a whole lot of pressure. We weren’t supporting the rest of the record industry like we are now. We were flying just below the radar. We had enough prominence where we had the respect, but didn’t have so much of the responsibility and accountability that we have now. It was a lot of fun throwing parties for this group.

[A decade ago, Bloom and “Hot Tub” John Anderson, senior VP of film, TV and creative for Windswept Music Publishing), started throwing film and television music mixers to coincide with the then-burgeoning soundtrack field. About 30 to 40 people showed up at the early parties. As the world of film and television music grew, so did their events.

Hunnypot parties have had as many as a many as 1,000 people, and have included live bands and tastemaker DJ’s. Hunnypot has also had a presence at several music conferences, including CMJ and South by Southwest. In addition, Hunnypot broadcasts a weekly online radio program.]

Flash-forward about eight years, John and I decided to try and monetize this thing, and get into the (music) publishing world. We found some money, started signing bands, and began working with different acts.

In 2008, Hunnypot Unlimited joined with EverGreen Copyrights for a music publishing, placement and marketing venture.

EverGreen were the first people to come in and fund us. That was a difficult experience for us. It was fun trying to get funded, to go out, and look for money. We had a couple of suitors at the time, but we decided to work with Evergreen. They were funded in an around-about way by Lehman Brothers Merchant Banking Group (now known as Trilantic Capital Partners).

It was difficult to work within the music business medium, especially publishing, when developing new acts. There is probably a three or four year arc before you see any money, or any movement, on the acts that you are working with. But we were involved with bankers who were getting quarterly reports. So every three months, we would have these huge conference calls, and board meeting type of affairs, where they would keep asking us, “Where are we? What’s our progress? How much money have we made?” The answer, generally, was, “Well, we’re nowhere. We haven’t made any money. We are still spending money. We are still developing.”

We would talk in all of this esoteric street jargon with a bunch of suits-and-ties that were using a bunch of economic acronyms that I didn’t really know about, or care about.

Is Hunnypot Unlimited still active?

John and I are still partners, although I no longer participate in the day-to-day (business). We have a publishing deal with (the electro-dance group) Far East Movement, among others. They currently have an international superhit with “Like A G6” (which reached #1 on the Billboard Hot 100). Their second single “Rocketeer” is in the Top 30 and rising.

You are from L.A.

I am from L.A. I grew up in the Benedict Canyon area. It is technically Beverly Hills, but I am just embarrassed to even say that.

Don’t tell me you went to Beverly Hills High School.

I did. There are two other successful music supervisors from my high school class—Lisa Brown, who has done a lot of Disney stuff over the years, and Ann Kline.

Your parents are in entertainment.

My father, George Bloom, is an Emmy Award winning screenwriter. My mom, Sue Bloom, is in fashion. She has dressed a lot of very famous people over the years.

Your dad has been nominated for three Emmys, and won as head writer for “Cyberchase” in 2007.

He worked on Lou Wasserman’s team at MCA from ‘62 to ’68, and was involved in shows like “The Alfred Hitchcock Hour,” “Wagon Train,” “Ironside” and “It Takes a Thief.” Then he became a freelance writer in the later '60s to now. He wrote for “Starsky & Hutch,” “The Incredible Hulk,” and “Maude” in the '70s, and wrote the film “Last Flight of Noah’s Arc” starring Ricky Schroeder and Elliot Gould. He switched to children’s programming in the '80s to now, writing for “Transformers,” “My Little Pony,” “Magic Schoolbus,” “Cyber Chase” and other shows.

You got a taste of Hollywood while very young.

Growing up, I would go with my dad to all of the studio lots. I grew up going to 20th Century Fox when they still had the old “Hello Dolly” set there or going to the old Paramount Studio. I’d go with him to take meetings or I would go with him when he was on set to shoot. So the whole concept of being in Los Angeles, being in the entertainment business, and being surrounded by Hollywood for all of this music stuff, is very natural to me.

Did you hang out at Tower Records on Sunset Boulevard?

I worked at Tower Records in the summer of ‘87. I’m the real deal in that way. It’s amazing to me that it doesn’t exist anymore. I still live in Los Angeles and I drive down the Sunset Strip all of the time. I look over to where this iconic record store used to be, and it just seems odd that it’s not there.

Where did you go to college?

I went to the University of Colorado (in Denver). I got a degree in music and a degree in interpersonal communications there. I went there as a piano performance major. I ended up getting in a bit of a row with the head of the piano department. She was a strict classicist, and insisted that we did the theoretical lessons by performing music by dead people, music by dead composers. I wanted to exploit the theoretical lessons by writing my own stuff, which is what I thought was kind of the idea of going to music school and learning how to play and how to perform. Apparently, she disagreed.

So at that point, I lost interest and wanted to drop out of the (music) program, but one of my professors there was Dick Weissman (then a tenured professor in the Music & Entertainment Industry program). I think that he’s also one of the top claw-hammer banjo players in the country. He’s written books on the music business. I credit him for putting me on the path. I took classes from him. He suggested that, if I was going to drop out of the music program, that I should stay and get into the very young music business program at that time. I loved taking classes with him.

[A member of the legendary folk trio the Journeymen with John Phillips and Scott McKenzie, Philadelphia-born Dick Weissman is also a renowned teacher and writer of over 20 books, including: “The Music Business: Career Opportunities and Self-Defense,” “The Folk Music Sourcebook,” and “Which Side Are You On? An Inside History of the Folk Music Revival in America.”]

You collected records for years.

(Records stores) were a big deal for me. (I can remember) all the Rhino Records backlot sales, all of the penny sales that they used to have. Record Surplus down on West Pico Boulevard—all of these places. For me, my father is a screen writer, but I developed this sort of music passion on my own.

I DJ'ed for a long time at clubs and I would lug my vinyl around everywhere. It just meant everything to me, it still does. I love to see these statistics where CD sales go down 30% every year, but vinyl goes up 200%. That is just amazing.

Do you miss the warmer sound of vinyl?

I have really expensive gear in my office. I’ve got tube amplifiers. I try to pull as much warmth out of (music) as possible. When I still DJ, I work with the digital vinyl medium Serato (Scratch Live). I basically take my turntables, and play actual physical vinyl that it is encoded so it reads the MP3s that I have on my computer. I still have my hands on the vinyl in that way.

Do you still own vinyl?

I don’t. I don’t really have that much at all. The bulk of my major collection was stolen about a decade ago. I had it in storage and the storage facility was broken into. So the bulk of my collection was stolen. The rest of it I either gave away or…I’m not so much a believer in the physical manifestation of music anymore. I was in that for a long time. I don’t know what it means to me anymore. I’m in this incredibly unique position of having everything at my fingertips at any time. I’ve taken that to, “So why do I need to own it?”

One flick of the wrist on the internet, you can listen to what you want.

It’s true. And you can stream these bootleg concerts. Go to a show, and the next day you can hear the show that you went to. I love all of that as someone who grew up in the world of record stores, and rifling through the bins.

I was always nervous for the next generation of the record-buying public, just knowing how voracious my appetite was back then, and how excited I was to leave my house and to go to the record store, be there at midnight when the album of the big band that I wanted went on sale or taking the bus to the record store and spending every last nickel that I had rifling through the used record bins.

I didn’t think that the world of digital retail would have the same kind of meaning. I thought that there would be some apathy from the record buying public. But what has ended up happening is the world has now been unified and people can now go on the internet, and find anything that they want at any time. It has given people a new kind of curiosity to try to find as much as they can. They have developed a hunger and an appetite for (music) in a different way.

Then there’s a medium like Pandora where you input one type of music that you like, or one band that you like, and Pandora spits out, “Well, if you like this, maybe you will like this music.” It gives you a playlist of everything that is kind of like this one band or this one act or this one genre that you like, which is also kind of a neat thing.

Anyone in a rural area 30 years ago couldn’t get access to diverse music. Now, they have access through the internet.

Access is everything. Back 20 or 30 years ago, we had to leave the house and go to the record store or go to the concert if we wanted to hear music. There was no access. The challenge was finding (records) and getting (records). If you were one of the few people who caught onto one of these things, you were revered for it. Now access is everywhere. So the acquisition of it doesn’t mean the same.

The internet has also exiled the traditional gatekeepers to music such as radio programmers. There’s no format on the internet. A kid can be listening to Journey followed by the Sex Pistols, and Charlie Parker.

I would say that is true of terrestrial radio. For me, terrestrial radio has been a big waste of time for a lot of years. I don’t (really) listen, and when I do listen, I find myself just completely frustrated searching around the dial for something that I want to hear. The world of satellite radio or internet radio is rife with creativity, and much more reflective of what free-form radio used to be back in the day.

Terrestrial radio is still out there, and has an audience, but a 17-year-old today can make up their own playlists on the internet.

Absolutely, and that is a beautiful thing.

Larry LeBlanc is widely recognized as one of the leading music industry journalists in the world. Before joining CelebrityAccess in 2008 as senior editor, he 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, and the London Times. He is co-author of the book “Music From Far And Wide: Celebrating 40 Years Of The Juno Awards.”

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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
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
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, ItsAboutMusic.com 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Peter Shapiro, Ideal Entertainment 04/16/04
Seth Sheck, Access Pass & Design 01/03/03
Seth Sheck, ACCESS Event Solutions 06/22/16
Seth Shomes, The Agency Group 11/12/14
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Michael Simon, The Harry Fox Agency 08/14/13
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Peter Smidt, Eurosonic Noorderslag & manager Buma Cultuur 07/17/13
Garrison Snell, Gyrosity Projects 02/23/17
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
Nikki Solgot, Circle Talent Agency 02/18/15
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Mandar Thakur, Times Music 08/06/15
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Kirt Webster, Webster PR 02/03/16
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Adam White, Author 09/14/16
Adam Wilkes, AEG Live Asia 10/13/16
Fenton Williams, 04/04/08
Del Williams, Right Arm Entertainment 04/18/08
Bryan "Birdman" Williams, Cash Money Records 09/13/11
Paul Williams, ASCAP 10/19/11
J.P. Williams, Parallel Entertainment 10/03/12
Kurt Willms, Green Room Productions 09/20/03
Chris Wilson, Heartbeat Records 03/02/07
Tony Wilson, Factory Records/In The City 06/01/07
Tom Windish, The Windish Agency 07/26/10
John Wiseman, XL Touring Video 05/05/06
Thom Wolke, Twincloud.com 02/08/02
Michael Wood, City Lights Entertainment 08/08/08
Keith Wortman, Blackbird Presents 03/22/17
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, CultureCatch.com 07/27/07
Jeremiah “Ice” Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
Kevin 'Chief' Zaruk, Chief Music Management 06/10/15
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06

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