Industry Profile: Paul Williams

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: Paul Williams, president and chairman of the board, the American Society of Composers, Authors and Publishers.

Like Norma Desmond, Paul Williams is back for a close-up.

But this time, he’s working the shadows.

Williams is a natural to be chairman/president of the American Society of Composers, Authors and Publishers (ASCAP), one of the three major performing rights organizations in the U.S. that collect royalties on behalf of publishers, and songwriters.

He is a small—literally—businessman who has spent his career putting what has been in the center of his chest into his work.

These include such memorable songs as: "Evergreen (Love Theme from A Star Is Born),” "We've Only Just Begun," "Rainbow Connection," "Rainy Days and Mondays," "I Won't Last a Day Without You" “Waking Up Alone,” and "Just An Old-Fashioned Love Song.”

Williams, who is also a celebrated actor, spent much of the '80s out of the spotlight while battling alcohol and drugs. He has been sober since March 5th, 1990. The documentary "Paul Williams Still Alive," recently screened at the Toronto International Film Festival, chronicles his road to recovery.

Key to his position at ASCAP is that Williams knows firsthand the daunting steps it takes for a songwriter to reach a wide audience while fighting to be paid fairly.

Williams is concerned that if music is not fairly valued or compensated, then a successful career in music will be increasingly out of reach for many young creators.

The viability of our industry, he tells you over and over again, depends upon insuring that these creators have the opportunity to pursue music as a profession, not just as a hobby.

However, after decades of occupying one of the most stable corners of the music business, performing rights organizations like ASCAP are now facing unprecedented competitive challenges.

ASCAP's annual revenue slipped 6% in 2010 to $935 million, down from a record-high $995 million in the prior year.

EMI Music Publishing announced in May (2011) that it will now issue bundled mechanical and performances licenses directly to online services for its EMI April Music catalog, assuming responsibility for functions previously handled by ASCAP.

It is a move that other leading music publishers are expected to follow.

As well the Supreme Court this month declined to hear an ASCAP appeal that may have resulted in increased royalties for digital music use.

The decision lets stand a lower court’s ruling that downloading a song does not constitute a public performance of it.

The case, originally filed by ASCAP in 2007, concerns the two types of royalties paid to publishers for the music and lyrics that underlies any recording.

Most forms of online streaming are considered a form of public performance, which allows publishers to be paid a royalty based on the performance right of copyright holders.

A download, on the other hand, incurs a different royalty as a “mechanical reproduction” of a song in a fixed format.

ASCAP argued that the digital transmission of a download was a public performance, in addition to its being a permanent reproduction. A federal district court had earlier ruled against ASCAP.

The Supreme Court decision effectively affirms the status quo.

As Irving Berlin once said to Hal David, “Why do you want to be president (of ASCAP) for? You are such a good songwriter.”

There’s this club I belong to of recovering alcoholics and addicts. One of the guys responsible for starting this amazing club said recovery is all about love and service. So, it’s about being loving, and about being in service. But I would take it one step further. It’s about finding something that you really love and are passionate about.

How can it be in 2011, and the runt of the litter--this old, out-of-work actor--has found a life beyond what he could have imagined? To have the opportunity to now take that gratitude into the position that I have today. So there’s a passion about being able to give back, and I can’t say enough about the feeling of being made to feel really useful. I have never felt more useful in my life.

For you, this is all happening at 71.

71 is the new 68. I feel younger now. I got sober when I was 49. I am in better shape and, having exited Maybeville in 1990, I am totally present in the world that I am living in today. Gratitude is the fuel that drives my life. You will be hard pressed to find a human being on this earth—certainly find another songwriter—that is more grateful than I am for the life that I have today.

It’s a stunning gift.

In a way, it’s two lives. There was the life before I went away; and there is the life after I came back. You ask why I would want to do this job. Part of the reason is just out of the pure gratitude for the life I have today. Don’t spread this around, but I have never had more fun.

ASCAP has such an amazing legacy.

It is an amazing legacy. To take it into the board room today, and for me to sit there, and l look over and there’s Jimmy Webb (as writer vice chairman), Hal David, and Irwin Robinson (as publisher vice chairman). Talk about a world-class publisher. I have had experiences there with (entertainment lawyer) John Eastman, and with all of these people around the room.

You will be hard pressed to find a gathering more passionate, and more giving to what they are working on than the ASCAP board. It is the most amazing collection of purely dedicated men and women that I have ever sat across from in my life. It’s beyond personal interests. The personal interests are left outside of the board room. What I observe is a deep, deep caring for the task before them. The love of the work, and the love of the music is so present in that room, even amongst the people from the conglomerates, and the new world publishers—even amongst them, the love for the music, I feel, is immense.

Songwriters are the unsung heroes of the music business. They are still in the shadows to some degree unless they are a performer as well.

I don’t know who hung that front door on the front of my house, but I use it every day, and I am grateful for it. The fact is that songs become a door to intense emotions. They become bookmarks to the human experience that are cherished. I can listen to songs ranging from 1956 to three days ago; and, as I go through the material, there are personal memories that are bookmarked by these beautiful songs, these wonderful songs.

What do you make of the music industry today with all of its changes and challenges?

First of all, the creation of the internet has to be equal to the creation of the printing press as far as having an impact on the world as we know it. The cultural access; the gift and the opportunities that come with it; and, of course, the challenges that come with it. There’s more music being played on more strange little devices, and in more places, than ever before in the history of the world.

The challenge is to make sure that, in the advancement of the technology, the music creator is not left behind.

The technology has always outrun the law. But it’s has never been the case before where there was ever a challenge, as far as the general public is concerned, to the music creators’ right to make a living with what they do.

We went through a really interesting period during the Napster days where we actually had to deal with that. I think that things have gotten much better about that. If you look at kids under 12 or so today, they have a much better concept of copyright and intellectual property.

There’s a certain age, 12 to 26, that slots into that Napster period, where the accessibility of music—because it was in a little rectangle on your computer, and because it was there and you could just take it—we had to go back to a certain point of educating. Part of the education process was legal accessibility, and the fact is there are now wondrous ways to legally access music.

iTunes must be credited for creating a legal digital market.

Absolutely.

Still, the Supreme Court recently declined to hear ASCAP’s appeal in a case that could have resulted in increased royalties for digital music.

In history, as the technology evolved, there have been issues. You go back to radio, which turned to the music world, and said, “This is an electronic transmission; this is not a public performance.” So we fought that at radio, and we worked it out. The courts worked it out, and in the Senate we worked it out; and then through the legal system. Then we went through the same dance again with television; with cable; with satellite radio; all along the line.

We have always had to first establish a right and, once we established a right, we began to work on establishing a proper (tariff) rate.

Interestingly, the record industry first felt that both radio and television would destroy record sales.

Sure. There’s been a struggle as this whole thing evolved. I kinda get Jiminy Cricket about this whole thing. I think that people who make music are really magical. It is just stunning to me that somebody sits down and writes.

I had a really interesting thing happen at the Songwriter Hall of Fame when they were changing some sets for James Taylor. I was told to go out, and fill (time). This was right after I was elected president; in my first term at ASCAP. I went out, and I said, “You know, right now somewhere out there is a woman probably writing on an electronic keyboard with headphones on so she won’t wake the baby in the next room. She probably has to get up, and go to work in the morning. She’s putting what is in the center of her chest on paper, and recording it. Let’s not forget that is who we are working to protect--this future songwriter who is going to give us something. Who is brave enough to share something from the center of her chest that she feels strongly and passionately about in her own life that is going to match up to ours. Someday you might dance with your daughter to that tune.”

Larry, the response that I got was amazing. To this day I have people come up to me saying, “I have never thought of it like that. I never thought about who you really represent.”

To me, as I say, it’s a very Jiminy Cricket kind of thing. I just feel that there is something mystical, and magical about what we offer.

In some sense, I feel an almost universal support. There’s something about whether or not you believe in that moral right (for a copyright). The thing that pleases me the most about Canadian (copyright) law is the moral right. The thing with the Eaton Centre is just fabulous. To think that the legal system stepped up to the plate, and defended the moral right of the artist there is just a classic example that this thing can work for us. The law can work for us. We can take care of music creators, and make sure that they can make a proper living with their work.

[The case of Snow versus The Eaton Centre Ltd. in 1982 is a leading Canadian decision on moral rights.

The Ontario High Court of Justice affirmed the artist's right to integrity of their work.

Artist Michael Snow was commissioned to do a sculpture called “Flightstop” consisting of a flock of Canadian geese in flight in the atrium of the Toronto Eaton Centre. During the Christmas season of 1981, the Eaton Centre placed red ribbons around the necks of the geese.

Snow brought an action against the Centre to get an injunction to have the ribbons removed. He argued that the ribbons offended the integrity of, and distorted, his work.

The judge agreed with Snow. He held that the sculpture's integrity was "distorted, mutilated or otherwise modified" which was "to the prejudice of the honour or reputation of the author" contrary to section 28.2 of the Canadian Copyright Act.]

ASCAP is really trying to insure that the music of the fictitious woman you mentioned in your speech will be fairly evaluated and compensated.

Absolutely. I am spending so much time in D.C. these days. We don’t have a specific ask. We are not right now walking into a congressman’s office saying, “This is what we want.” But we have really solid bi-partisan issues that I can work with, and I can walk into a senator’s or a congressman’s office, and sit down and say, “This is who we are. We are 420,000 members of the music creators--composers and authors—and, at some point, we are going to come back to you. What we want you to know is who we are; what our issues are; and what we are dealing with in the digital world--that there is stuff to be dealt with.

We don’t have a specific task right now but, in the meantime, I am there creating relationships. I have to tell you, we have amazing friends on both sides of the (political) aisle.

ASCAP created the Legislative Fund for the Arts for lobbying in Washington.

Absolutely.

The National Music Publishers Association president/CEO David Israelite has lashed out at the Electronic Frontier Foundation, Public Knowledge and other advocacy groups for pursuing an "extremist, radical anti-copyright agenda" in Washington, D.C.

ASCAP has criticized some of these same groups.

Of course, and I disagree with their agenda. The fact is that there are arguments on both sides.

Was ASCAP’s appeal petition to the U.S. Supreme Court’s part of a legal process to eventually clarify the way songwriters and music publishers are paid in the digital world?

Absolutely part of the process. Our petition was denied without comment which says a lot to me. What it says to me is that, “There is not time on the agenda for this right now.” There was no, “this is not an appropriate issue.” That was never related back to us. I think that it was all about the time that they had on the docket, and the availability of space. At this point, they simply denied our petition. We would like to be heard in the Supreme Court. The Court said, “We’re sorry we can’t do that right now.” That’s it.

Does ASCAP now have to start to go through a legislative process in order to bring about a change in the law?

I think that our options are probably legislative at this point. That’s why Paulie is flying to Tyler, Texas with my friend Louie Gohmert, who is a (Republican) congressman from Texas. I was down there when he was being honored by the Boy Scouts. I went down there to speak for him. Marsha Blackburn (Republican congresswoman for Tennessee's 7th congressional district) did a big fundraiser in Nashville, and I flew down.

Louie, who is very right wing, takes me and says, “I want you to meet some people.” He walks me in to meet (House Majority Leader) Eric Cantor, and Congressman Pete Sessions from Texas, guys that are in the epicenter of that (Republican) party, and says to them, “This is a guy you need to know. He’s a smart little guy.”

The fact is that I can talk to Leahy (Democratic Sen. Patrick Leahy of Vermont) and I can talk to (Orrin) Hatch (Republican Sen. Orrin Hatch of Utah), and I can have the same solid connection on points of view with both of them. I get very excited about that opportunity. I have actually written two songs with Orrin who is a member of ASCAP.

How did copyright protection end up being so associated with the Democrats? Does it go back to the late Jack Valenti, the long-time president of the Motion Picture Association of America, being close with the Kennedys, and later President Johnson?

I think that you have very good detective instincts. I have taken my own personal politics, and stuck them away. My own personal politics have nothing to do with my assignment. My assignment is to make sure that both sides of the aisle understand our issues at ASCAP. The Democrats understand that we are dealing with intellectual property and, with the Republicans, it’s a reminder that this is intellectual property. Did you hear that again? Property rights.

When I sit down with someone, whether it’s Leahy or Gohmert or (Republican congressman) Billy Long from Missouri, I can say, “Look, this is the kind of thing that we are dealing with. A guy sits down to write a computer code for streaming, and a guy sits down to write computer code for a download.

Let’s say the same guy writes the same codes.

The guy who writes the computer code for streaming puts in an auto play as part of the code. He doesn’t put it in the download. So based on this little click of computer programming, "I get paid or I don’t get paid?” That’s like saying there’s a guy on the street selling apples and if he brings the apple out with his right hand, you buy it from him; but, if he brings it out with his left hand, you get it for free.

You know what happens? A guy like Senator Leahy will say, “I can use that” or a light will go on when I say that we are a collection of small businessmen.

Metaphorically, I am the perfect president for ASCAP. I am a small businessman. When you make that connection, it is interesting that I own a 1949 Studebaker which I love, and I keep it parked out in the barn of my farm which I also love which has been in the family for years. I can leave the farm (in my will); and I can leave the Studebaker to my kids who can leave it to their kids who can leave it to their kids. But, by God, if you write a song today (it is with a term ending 70 years after the death). When ASCAP started, when you grabbed your chest and died, you said goodbye to that property. That’s not the case anymore. So there’s been amazing improvement. We should be able to keep our songs in perpetuity.

I was in Washington a few weeks ago. I met with U.S. Trade, and I met with the new register of copyrights (Maria A. Pallante, appointed the 12th Register of Copyrights, and director of the United States Copyright Office on June 1, 2011). We talked about the Caribbean, Russia and China. This is an ongoing process and part of my daily life now. At the same time, I am still dealing with my own creative life. But I am excited about the work. I think that we can make real headway and it feels like a really good fit. Marilyn (Bergman) was president (and chairman of the board) for 15 years. I don’t know how long I’m going to be doing this, but it feels like a good fit.

When I walk into one of these guy’s offices in Washington, they may not be overly impressed with the fact that I won the Oscar for “Evergreen” but, by God, they love “Smokey and the Bandit.”

[In the "Smokey and the Bandit” film series, Williams played Little Enos who had the memorable line, “I guess a legend and an out-of-work bum look a lot alike, daddy.”

The U.S. has agreements around the world in countries which recognize a performance right. Under the reciprocal terms in these agreements, American songwriters and publishers are losing out on significant international income.

It is reciprocal and that is what I share with them (the politicians). That needs to be adjusted, and that is a legislative adjustment. At some point, we will walk onto the Hill and say, “This is our specific ask.” We don’t have a specific ask today, but I am going everywhere I can to talk to anyone about preparing the ground for that.

The film composers and the television composers have an especially difficult time right now dealing with…

To look at the wireless industry right now that is willing to charge for texting, and will add music as an add-on. Wait a minute. You are wanting to give music away? Wait a minute. (As a songwriter) I have rent due. I’ve got to buy gas for my car, and I have to drive my kids to school, and feed them at the end of the day.

In the lawsuit ASCAP founder Victor Herbert brought to the Supreme Court of the United States against a restaurant playing his music, Justice Oliver Wendell Holmes wrote the decision of the Court that the performance was very much for profit. "If music did not pay,” he declared, “it would be given up. Whether it pays or not, the purpose of employing it is profit, and that is enough.”

I will match Oliver Wendell Holmes' quote with a quote from (singer/songwriter) Bill Withers. Walking into a congressmen’s office, Bill said, “Congressman, if the law doesn’t protect songwriters, we are going have to do something else to make a living, and songwriting is going to become a hobby. And congressman, you do not want Ozzie Osbourne as your plumber.”

In an editorial statement in the June 11th, 2011 issue of Billboard, Roger Faxon, chairman and CEO of EMI Music Publishing, argued that music publishers must embrace new ways to license music to digital services.

He also noted that: "Services don't care what specific rights are called or which part of the value chain those rights sit within--they just want to get the permission to do what they want to do, in a timely and efficient manner. Rather than forcing services to adapt to our processes, it is incumbent on us to adapt to their needs, and only by doing so will we speed digital development.”

It certainly seems that many digital services don't care what the specific creator rights are.

Exactly. So our fight has to be to adjust that and be part of the education and be a big part of the legislation process as well. We’re in this unique world now with the digital word. We have a long and a continuing relationship with EMI, and it is one that was adjusted recently, and will continue to be very productive. I think it’s going to be productive in ways that people don’t even know about yet.

[In May, 2011, EMI Music Publishing announced plans to issue bundled mechanical and performances licenses directly to online services for its EMI April Music catalog, assuming responsibility for functions previously handled by ASCAP. Other leading music publishers are expected to follow this move.

EMI’s new licensing for the EMI April Music catalog doesn’t cover all online users.

There are huge hunks of online users that it doesn’t affect. There are some specific licensing areas.

If more publishers pull back licensing rights, if that trend continues, will that pose a danger to ASCAP?

No. Very simply, how would you like to try to process all of that data? Who can process that data better than we can? Is there anybody in the world that is better prepared? You look at the prep. You look at our system, and look at the way we are lined up to the rest of the world, and the way that we process data. We’re the best. We are absolutely the best.

What is evolving are new ways of using those skills. If you want to go out and direct license the rest of the world, you have the right to do that. But how are you going to collect the money? Who are you going to turn to in order to do that for you? I believe that ASCAP continues to be the absolute leader as far as being able to process all of this information, and deal with it.

[ASCAP recently finished the development of a new back-office distribution system, which now provides members with 24/7 access to the organization's database as well as increased transparency.]

You started out acting in Albuquerque, New Mexico. An early A&M Record bio said that you were “on the verge of becoming one of Albuquerque’s hottest showbiz properties when you decided to move out of town.”

It probably reads better in the bio than it actually was. My life for the past 21 years has been infected with rigorous honesty. That career back in Albuquerque, as a summer stock actor or whatever, was not as successful as it was written in earlier bios.

A point in my life is that “no” is a gift. I didn’t get the acting career that I wanted. I got a major “no.” But, as soon as I started writing songs, I had that. There was something in the center of my chest that just went, “Okay, this is what I can do. This is what I can do.” It was like coming home.

You once wrote that you wanted to be Walter Pigeon. You dedicated an album to him, Roddy McDowall, and the cast and crew of the 1941 John Ford film “How Green is My Valley” in which they both appeared.

I actually said that, didn’t I? I have shared that with Roddy through the years. It was one of those weird things. They put this album out (in 1977) called “Classics,” and I was embarrassed by the title. I thought, “Let’s dedicate it to the film classic that have touched me.” I worked with Roddy. We did the “Battle for the Planet of the Apes” together (in 1973).

You once described the lot of A&M Records in Hollywood as the corner drugstore of your life. When they put your name up on the parking space, you must have felt like you had arrived in Hollywood.

To feel like old Hollywood, it’s a big leap from feeling different to feeling special. A dangerous leap. It is a classic example in my life opening a gift. I went to Hollywood to be a actor.

Your first big role was in Tony Richardson’s “The Loved One” in which you played a 14 year old genius in 1964. The next year, you were in the Marlon Brando film, “The Chase.”

I was in both of those pictures. I thought I was going to have a career. I looked like a kid until you put me next to a real kid. Then I looked like a kid with a hangover. So it was hard to cast me in films.

I think those two pictures are a year and a half or two years apart. You can’t make a living doing that.

There’s an amazing moment in “The Chase” where I was sharing a dressing room with Marc Seaton, director George Seton’s son. He had a beautiful guitar. I picked it up, and I started plucking it, and he went nuts. He said, “No. No. That’s a Martin,” or whatever it was. It was a very expensive guitar. But I was fascinated by it. I went out and bought a cheap little guitar.

“The Chase” was shot in Los Angeles?

Most of it was night shooting on the Fox ranch or the back lot of Universal. We were also on the back lot of Warner Brothers.

Based on the story, there was a character named Bubber (Charlie “Bubber” Reeves played by Robert Redford) in it. Bubber is hiding out in this junk yard that we set fire to. And I, to myself almost, went, “Bubber Bubber, come out wherever you are” (on guitar) with three chords or whatever. It is probably the first song that I’d ever written. Robert Duvall was walking by, and he asked, “What’s that?” I went, “Nothing.” He said, “Come here” and he walked me over to (director) Arthur Penn, and said “play that for Arthur Penn.” Arthur said, “C’mon here, and stand by the fence.” He brought the Kodak (camera) around, and they fired up the fire in the background, and it’s in the movie.

It’s almost as if it’s my birth as a songwriter as its most shallow, obnoxious, and untalented is actually caught on film.

Marlon Brando playing a sheriff must have been intimidating on the set.

Oh my God. I just walked around following him like a puppy. Just watching him. He never talked to anybody. He never talked to anybody. People would walk up and say, “Hey Marlon, I’d like you to meet my wife” or whoever, and he would just ignore them, and walk away. He was so brilliant.

It must have been great working with some of your heroes as a kid.

One of the stories I tell onstage when I do “Ordinary Fool” from “Bugsy Malone” is that I wrote the song in the styling of an Ella Fitzgerald (performance). In my lifetime, Ella Fitzgerald recorded it. That’s the miracle of my life in a sentence. I started out as nothing but a fan to movies and music, and wound up in a place where I could pay tribute to the things that I love; and wound up having those people honoring me by recording the songs.

You came into showbiz at the end of what I call the Ring-A-Ding Era.

Finally it has a name. Larry, that’s perfect because I have been saying that onstage for years. I caught the third act of all of those brilliant careers.

You worked with social comedian Mort Sahl in the mid-60s.

Mort had a local television show in L.A. where all he would talk about was The Warren Commission (The President's Commission on the Assassination of President Kennedy), and about (New Orleans D.A.) Jim Garrison, all this (conspiracy) stuff that was going on. Mark Lane (author of “Rush to Judgment” and “Plausible Denial”) was his constant guest.

I went on as an improvisational actor/writer for a few episodes. I met Biff Rose there. I was playing a boy scout who President Johnson…he was going to pin a badge on me, but he drafts me on the spot. In the same sketch, Biff Rose is playing a Chicken Delight delivery boy delivering chicken to the White House and he gets drafted. Biff and I ended up writing songs together.

This was an era in which booking agents would have pictures of Liberace on their walls, and they told performers, “You could be as big as Jackie Gleason.”

Gleason used to call me Hardly. When we were doing one of the “Smokey and the Bandit” movies, I got some kind of an honor, and I won an Oscar. He said, “Ahhh, you’re getting all of these awards, I’m going to call you Laurels and Hardly.” He dropped the Laurels, but whenever I would see him he would go, “Hardly, c’mon here. We’re going to make this fucking script work.” I loved him. I just loved him.

["I was going to thank all the little people, but then I remembered I am the little people," quipped Williams in 1977 on receiving his Oscar for Song of the Year for co-writing "Evergreen (Love Theme from A Star Is Born)” with Barbra Streisand. He and Streisand also won a Golden Globe award in the category of Best Original Song.]

Who signed you at A&M’s publishing house, Irving Almo Music? Chuck Kaye?

Chuck Kaye, yeah. I still go to the lot once in awhile because it’s the (Jim) Henson guys there today. I stand on the lot and I think, “There were 28 of us.” I have a picture shot from a helicopter when they just painted A&M on the parking lot. Only 28 people had offices at A&M; 28 in all, when I first got on there. Isn’t that amazing?

One of your earliest covers was Claudine Longet’s recording of “It’s Hard to Say Goodbye” which you wrote with Roger Nichol.

She was Mrs. Andy Williams. I had two releases at the same time (in 1968). I also had the B-side of Tiny Tim’s “Tip-Toe Thru The Tulips With Me” (with “Fill Your Heart” co-written with Biff Rose).

I said, “What kind of writer am I? This is insane. Claudine Longet and Tiny Tim?

It’s funny because from that point on almost everything Roger (Nichols) and I wrote got cut. It was just an amazing time to be a staff writer there at A&M. Our stuff was going out. We’d write it, and it would get cut. It was on albums, B-sides. But we went three years without having a song on the radio. When you are that age, three years is a long time. I was convinced that I was never going to hear one of my songs on the radio. Then everything changed.

What happened at Reprise Records where you recorded with Holy Mackerel?

Well, it started with my voice on the demos that I sent over to (producer) Richard Perry. He liked the way that I sang, and what I wrote. He said let’s make an album. I went, “Whoa, I’m not going out there alone.” I had been fooling around with a little group. It wasn’t quite an official group. He said, “Okay, do it with your group. What are you going to call it?” I don’t know why I came up with the name Holy Mackerel. It was just like, “Okay, the Holy Mackerel.” I think that it was almost like camouflage or something. It never occurred to me to record as a single (performer). By the time the album came out, the group had broken up because it wasn’t really a group. It was sort of put together for the purposes of the project. My brother (Mentor Williams) was in it.

I still have the Holy Mackerel album.

You’re the one that bought it. Nobody bought that album. Then when Reprise dropped the group, they kept me, and they wanted to do an album. That’s the “Someday Man” album (in 1970).

You were so involved with Irving Almo then.

Well, I was at Irving Almo as a writer, but I did the “Someday Man” album (as an artist at Reprise). More than 40 years later, as it comes up with the occasional accolade, I have to just hand it back to Roger because that was a Roger Nichols’ album. It was songs I wrote with Roger. It was his production, and his arrangements. Everything just felt like it was Roger’s album.

You didn’t see yourself as an artist?

I think that there was part of me that, maybe, didn’t love the way that I sang; and wasn’t sure that I wanted it (a career). My taste wasn’t getting on record is what it felt like.

Then Herb Alpert sent me over to France to do this album (“Wings”) with (French composer) Michel Colombier that included Billy Medley, Lani Hall and everybody--first trip to Europe--an eye-opening experience and all. It was amazing. Then Herb said, “Make an album with A&M. Make any kind of album that you want. You can design your own album cover, if you want to. This is an artists’ label, and it has to completely reflect what you want to do.”

It was just an amazing freedom.

At the time, I had become friends with (producer/engineer) Michael James Jackson. He said, “I’d like to present you just really stripped down, really intimate. Really vulnerable as you are when you sit there and sing them in person and the way that you are on the demos.”

[Michael James Jackson produced Williams’ A&M albums, “Just An Old Fashioned Love Song” (1972) as well as “Life Goes On” (1972)].

Meanwhile, the Carpenters had come into your life.

The longer I live, the more I realize that crossing paths (with Richard and Karen Carpenter) was a huge gift into my life. When you think about it, they were a true alternative act. When we had a #1 record (in 1970) with “We’ve Only Just Begun” they were as far away commercially from what was going on as you get it.

A little girl playing drums and singing?

You listen to Karen’s voice; you listen to the depth and all the purity of the sound of the voice. There was this amazing intertwining of innocence and honesty and sensuality. It was such a wonderfully sensual voice. The longer I’m alive, the more precious she becomes.

The thing that was interesting about the Carpenters was that when Chuck Kaye brought them in—I was working in the office with Roger; we were sitting at the piano—nobody knew who we were. We had all of these album cuts but nobody had a clue of who we were. We were not famous writers. There’s a knock at the door and Chuck said, “I want to introduce you to Richard and Karen who have just signed with the label. They will be recording for us.” Then Richard is mentioning some of our cuts. He mentioned the Steve Lawrence cover (“The Drifter”) or the record ("Trust”) with the Peppermint Trolley Company.

He had this awareness of us as writers that nobody did. It made us feel like big shots. It was like, “Wow, these kids are wonderful.”

Of course, the first thing that they recorded of ours was “I Kept On Loving You” which I thought was going to be a single. We went over to hear it (at the studio), and it sounded great. Then they played this other song they had just cut called “Close To You” (written by Burt Bacharach and Hal David). I just went, “My God, that’s such a monster. That’s huge.”

A&M put “I Kept On Loving You” on the B-side of “Close To You.”

In those days, you could be a 30th of an inch or whatever was the width of a 45 was, close to greatness, and get paid for it as well. The B-side was one of the joys of making music in the ‘70s.

“We’ve Only Just Begun” was written for a Crocker Bank commercial. Was it an Irving Almo song?

That started out at Irving, exactly. Years later, you look at your first publishing deal and ask, “Was it a straight deal?” Well, it was. I built a career there. I walked into Irving Almo, and I have absolutely no regrets because, first of all, I was at the foot of a master with Roger Nichol. He became my music school. The guys I wrote with are where I learned about song structure.

And listening to the music of people like Hal David and Burt Bacharach.

For me, when I was a kid, it was Cole Porter. When everybody else was listening along to rock and roll in high school, I was listening to (Frank) Sinatra and listening to what I now identify as the Great American Songbook. It was, in fact, the music that just reached out, and grabbed me.

The writings of a lyricist like Larry Hart—I just went, “Oh my God.” He wrote, “If they asked me, I could write a book about the way you walk and whisper and look. I could write a preface on how we met so the world would never forget.”

That must have done something to my heart, and to my head that lead me to the path of where I wanted to write.

When I first started writing, I was told to write with Roger, and not waste my time (with other writers). “Just write with Roger and you two are going to have great success.” I was writing alone. Then I had great success with “Old Fashioned Love Song” which I wrote the words and music to. So it was, “Okay, write with Roger, and write by yourself, but that’s it.” Then I wrote “Family Man” with Jack Conrad, my bass player. Chuck Kaye then said, “Okay write with whoever you want to write with. Just keep writing.”

You co-wrote “Rainbow Connection” with jazz pianist Kenny Ascher.

You know, again, a great music school. Writing with Kenny was great.

One of your most powerful lyrics is “That’s Enough For Me” from your first A&M album.

Thank you. “That’s Enough For Me,” when you think about it, that’s a pretty vulnerable lyric. For me, to write really honestly about my own vulnerability—or my own tenderness or whatever which is, perhaps, against the machismo model—got a wonderful response from the listener. That’s enough for me. For a long time, that was my favorite love song that I ever wrote.

Was being tagged “The Hobbit Crooner” personally hurtful?

After my first deal with Irving Almo I got into my own publishing situation. My publishing company was Hobbit Song Music. I loved the (J.R.R. Tolkien) Hobbit books. My Bugatti’s license plate was “HOBS 1.” My corporation today is Hobbitron Enterprises.

In interviews in the ‘80s, you talked about different projects, everything from writing a novel to directing, and working on the film “$1.98” with Charles Bronson.

I never directed. I wrote (TV) episodes. I wrote “Baretta” and other things. I also co-produced, and did “Rooster”(in 1982) with producer Glen Larsen (for 20th Century Fox Television, and broadcast as a two-hour movie on the ABC-TV).

There was a period in the ‘80s where as soon as we had something on the books we would announce it. A lot of things that we announced never got done. “$1.98” was with Charlie Bronson and his wife Jill Ireland. I was supposed to play Jill’s brother in that. I went over, and met with Charlie, and we became friends with him but the picture never got made.

One of the biggest disappoints was that I had two studios involved, and we were going to do “The Wizard of Id” as a feature film (based on daily newspaper comic strip created by American cartoonists Brant Parker and Johnny Hart) with me playing the King. It was a hilarious script. It was during the whole (David) Begelman thing, and it fell apart with both studios, Universal and Columbia.

Johnny Hart and I spent some wonderful afternoons working on it, and we were having too much fun.

This was in a period in which your life was unraveling.

This was a period where the influence of drugs and alcohol began to roll into how I conducted my business. I think that some of the things not getting done turned out to be, if not a gift to the world, might have been a gift to the investors because at the end of the ‘80s I was in no shape to be spending other peoples’ money doing projects.

I did 48 “Tonight” shows. I remember six of them. I went on ”The Tonight Show” website, and don’t remember interviewing some of these people.

There was an amazing response at the Toronto Film Festival earlier this year to the documentary “Paul Williams Is Still Alive.” A knuckle biter in a few places. Like you guest hosting on “The Merv Griffin Show.”

To me, the film is about recovery. When I looked at the footage of me watching that widescreen, and I was joking about marital infidelity, I turned to Stephen Kessler, the film maker, and said, "This is the most grandiose, vapid, arrogant little bastard that I have ever seen in my life. How could anyone be a fan of that? You cannot put this in the film. There’s no way that this can be in the film.”

But the segment stayed in.

The film turned out to be about recovery and to get the arc of where my life is today from where it was, he had to put it in there. I finally agreed to it, and it feels like one of the more dangerous things I have ever done. The wonderful thing about the response to the film is that he started out to make a film about where I was, and he ended making a film about where I am now.

I’m an advocate for recovery. I believe (being a) celebrity was as large of an addiction as anything in my life. The fact is that I was flat-out addicted; I was flat-out addicted to that camera. I loved the attention.

My addiction to alcohol and cocaine outran that addiction. I started hiding. Then I just quit. I left.

Do some of your issues go back to your father dying in an automobile crash when you were 13, and your family moving around a lot? You were always the new kid.

Always the new kid on the block, always the littlest kid. Absolutely. I say that I began acting like an alcoholic long before I drank like one. I remember being in the car with my dad and he was driving very drunk in a horrible rain storm. It was dark out. He was going to take me to see the Cleveland Indians play baseball. We drove through this rainstorm to Cincinnati. He drove to the wrong city. But we are driving through this rainstorm, and the car is all over the road. I remember thinking that my concentration was keeping the car on the road. I just kept thinking, “Stay on the road. Stay on the road.”

To me that feels like was almost like the head waters or the birthplace of my grandiosity. You are confronted with such a horrible fear that you are going to die that you replace that fear or you calm that fear. You treat that fear with absolutely fantastical thinking. Magical thinking.

You are now a certified drug and alcohol counselor.

Buddy Arnold was the one who sent me to U.C.L.A. to get my certification as a drug and alcohol counselor. He told me, “It won’t do you any harm and it might actually keep you sober.” We started at Brotman Hospital with me working a few hours there in the morning. He had a bed there for musicians. The fact that MusiCares stepped up to the plate after Buddy died, and picked up the reins for MAP (Musician's Assistance Program) for the musicians is a blessing. Buddy’s funniest line was, “Musicians are always underinsured and overmedicated. You got to help them.”

[Tenor saxophonist Buddy Arnold’s career was compromised at times by prison terms and drug abuse. He played in bands led by Joe Marsala, Georgie Auld, Herbie Fields, Buddy Rich, George Williams, and Claude Thornhill in the 1940s. After studying music and economics at Columbia University, he toured with Buddy DeFranco, Jerry Wald, Tex Beneke, Stan Kenton, and Neal Hefti. In 1958, he was imprisoned for attempted burglary. After his sentence ended, he played again with Kenton, as well as with Tommy Dorsey.

In the 1980s, Arnold was again imprisoned. Following his release, he and his second wife, Carole Fields, established the Musician's Assistance Program (MAP) in 1992, dedicated to helping performers seeking drug and alcohol treatment. In 2004, MusiCares acquired the Musicians Assistance Program in 2004, following Arnold’s passing the year earlier of complications following open-heart surgery. He was 77.]

Many writers think they are hacks or they will never write again.

When I got sober, the first thing that I got asked to do was to do songs for “The Muppet Christmas Carol” (in 1992). I was scared to death. At the same time, I was on this pink cloud that I had found a way to live. For the first time in my life I was feeling normal; feeling part of a larger community. There was something wonderful about that.

The first song I had to write was about (Ebenezer) Scrooge. The scene is that you are looking at Michael Caine’s feet, and he’s going through the mud and the snow. You are watching these little creatures, and it seems to be getting colder as he goes by. I thought, “I’ve read the Dickens novel; read the screenplay; I have 40 years of writing in my subconscious; it’s up there.”

I basically said, “Let me know when you have an idea--whether it’s the big amigo (God) or the creative unconscious or whatever it is up there; let me know when you have an idea and we know what the song is about.”

I picked up a Lawrence Block novel, and I started reading a bloody mystery. About two pages into it, I set it down, and went, “Boody boom boom boom, Boody boom boom boom; when a cold wind blows it chills you. Chills you to the bone. But there’s nothing in nature that freezes your heart like years of being alone.” I went, “Hell, that’s not bad. That’s not bad at all.” It is like I wasn’t there when it was written, but I wrote it from the place that it comes from. What I realized at that point that was huge for me that is trust. If I don’t stand on the hose; if I don’t work at it; if I allow whatever this magical mental thing to occur that happens inside; the lesson is that we are more powerful than we imagine we are.

Stay out of the way, and just celebrate what you write.

If I am going to write a lyric for whatever I am working on, if I look at what I am supposed to write, and start writing right away, then it’s a struggle. If I forget about it for two days, and sit down again, it comes.

At a certain level, a writer never falls down below a certain quality level.

I totally co-sign that. I wish I had the balls to say it but I totally co-sign that.

Writers also suffer creative dry periods and sometimes have to go away.

That’s part of the writing process. You need to go away. Part of my success as a writer was writing unedited what was in the center of my chest and never stopping to go, “This is schmaltzy.” Just writing it. Then in the late ‘70s, and really in the ‘80s, I got into a period where it was, “Okay, you’ve got to top what you’ve done.”

That’s when I started intellectualizing and, instead of being authentic, it became unauthentic; trying to out-intelligentsia myself. At a certain point, I had to go away. When I got sober, and after I wrote “The Muppet Christmas Carol,” I went away. In ’97, I went down to Nashville, and there’s something in the water in Nashville. All of a sudden, I wanted to write again.

Your life seems on an even keel today.

I feel intensely passionate about three specific areas.—of course, music creators’ rights; and recovery. I am a huge advocate for recovery, and I will always be willing to speak at a public level about that.

The third one (passion) is golf. I know that somewhere in there is a mediocre golfer. (Actor) Harvey Korman was a buddy, and whenever Harvey would see me, he used to say, “Hey, Paul, it must be lonely at the middle.” What I long for in my golf world is to someday hit it up the middle.

This year there was the release of “The Green Album” with bands like Weezer, My Morning Jacket re-recording your Muppet songs.

I have six songs on there. I listened to these kids performing these songs, and hearing a band like My Morning Jacket that I wasn’t aware, and all of a sudden I have started listening to their music, and saying “Oh my God, this stuff is fabulous. It’s wonderful. This deserves to be heard.”

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.”

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Industry Profile Archives:
Mick The DJ, DJ/Enterpeneur 04/30/15
Joanne Abbot Green, CMJ Music Marathon and Film Festival 10/17/08
Lee Abrams, XM Satellite Radio 11/28/03
John Acquaviva, Fund Manager, DJ and Serial Entrepreneur 07/09/15
Jay Boy Adams, Roadhouse Transportation 05/04/07
Jamie Adler, Adler Entertainment Group 05/11/07
Gary Adler, National Association of Ticket Brokers 12/04/13
Rodney Afshari, Freeze Artist Management 03/01/02
JC Ahn, VU Entertainment 04/10/13
Steve Alaimo, Vision Records & Audio Vision Studios 05/26/06
Jaye Albright, Albright & O'Malley Consulting 07/19/10
Randy Alexander, Randex Communications 10/12/07
David Alexander, Sheer Publishing 07/21/16
Eva Alexiou-Reo, FATA Booking Agency 05/14/15
Marcie Allen, Mad Booking 12/14/00
Jeff Allen, Universal Attractions 08/16/02
Marcie Allen, MAC Presents 06/05/09
Marcie Allen Cardwell, MAC Presents 12/21/07
David Allgood, Bama Theatre 01/03/11
Patrick Allocco, AllGood Concerts 10/05/07
Michele Amar, French Embassy 05/26/16
Mike Amato, Rok Tours International 02/02/07
Jeff Apregan, Apregan Entertainment Group/Venue Coalition 09/30/15
Billy Atwell, AMP Studios 12/13/07
Bob Babisch, Milwaukee World Festivals Inc. 04/02/15
Tom Baggot, thebookingagency.com 05/02/03
Stephen Bailey, EPACC & Deleware Center For The Arts 02/06/04
Cary Baker, Conqueroo 05/11/11
Vince Bannon, Getty Images 07/05/11
Phil Barber, Barber & Associates 02/04/01
Camille Barbone, WineDark Records 12/09/05
Erin Barra, Musician/Producer/Educator 07/10/14
Ben Baruch, The Fox Theatre 09/27/08
Ben Baruch, By Larry LeBlanc (CelebrityAccess) 04/05/17
Paul Bassman, Ascend Insurance Brokerage 08/03/16
Adam Bauer, Fleming, Tamulevich & Associates 02/15/02
Ed Bazel, That's Entertainment International 10/05/01
Joachim Becker, ZOHO Music L.L.C. 01/12/07
Howard Becker, Comet Technologies 05/02/11
Mark Bego, Author 06/15/07
Jim Beloff, Flea Market Music 09/20/10
Richard Bengloff, The American Association of Independent Music (A2IM) 09/12/13
Seth Berg, South Bay Music 01/30/09
Aimee Berger, 2 Generations SPA Music Management 09/24/04
David Berger, Future Beat 10/29/14
Barry Bergman, Music Managers Forum 03/14/03
Steve Bernstein, Relix LLC 09/30/05
Mark Berry, Attack Media Group 04/07/07
Scott Billington, Rounder Records 01/17/12
Jeffrey Bischoff, Cinder Block 03/24/06
Sat Bisla, A&R Worldwide/ Musexpo 03/29/10
Nina Blackwood, Sirius Satellite Radio 07/14/06
Adam Block, Legacy Recordings 11/07/13
P.J. Bloom, Neophonic, Inc. 01/24/11
Rishon Blumberg, Brick Wall Management 06/27/03
Justin Bolognino, Learned Evolution, and The Meta Agency 04/25/13
Steve "Chopper" Borges, Total Pro and Borse Techos 03/03/06
Les Borsai, Mediocre Management 01/30/04
Shane Bourbonnais, Live Nation Canada 03/21/08
Jeff Bowen, Sears Centre Arena 03/13/08
Rick Bowen, Mystic Music Experience 07/11/08
John Boyle, Sanctuary Music Group 03/19/04
Jeff & Todd Brabec, Writers/Attorneys 01/03/12
Bill Bragin, Joe's Pub at the Public Theater 08/08/03
Joel Brandes, Avenue Management Group 11/02/08
Joe Brandmeier, Moving Pictures 03/15/02
Scooter Braun, SB Projects 12/13/10
Ron Brice, 3rd & Lindsley Bar & Grill 06/08/16
Billy Brill, Billy Alan Productions 11/11/05
Doug Brown, Talent Buyers Network 09/21/01
James Browne, Sweet Rhythm 11/01/02
Bob Brumley, Brumley Music Company 02/17/16
Tony Brummel, Victory Records 05/17/09
Charlie Brusco, TBA Entertainment Corporation 10/13/01
Del Bryant, BMI 05/18/07
Cortez Bryant, Bryant Management 12/06/10
Bruce Burch, University of Georgia Music Business Program 10/09/09
Deborah Burda, Kentucky Exposition Center 08/03/07
Patti Burgart, IEBA 06/07/02
Jordan Burger, The New Musiquarium 01/22/01
Ron Burman, Roadrunner Records 08/25/06
Suzanne Cadgene, Elmore 05/19/06
Karen Cadle, KGC Productions 03/12/04
Gary Calamar, KCRW 07/10/09
Charles Caldas, Merlin 07/05/10
Brian Camelio, ArtistShare 02/29/08
David Campbell, AEG Europe 08/02/10
Tom Cantone, Foxwoods Entertainment Group 10/20/00
Tom Cantone, Foxwoods Resort Casino 07/03/03
Tom Cantone, Mohegan Sun 08/30/09
Ashley Capps, A. C. Entertainment 05/21/04
Rio Caraeff, Vevo 07/12/11
Mike Carden, Eagle Rock Entertainment 08/16/11
Charles Carlini, Carlini Group 05/16/08
Mark Carpentieri, M.C. Records 05/27/05
Mark Carpentieri, M.C. Records 01/10/11
Troy Carter, Coalition Media Group 06/07/10
Daniel Catullo, Coming Home Studios 06/22/08
Raffi Cavoukian, Folk Singer/Children's Entertainer 05/11/16
Jeffrey Chabon, Chabon Entertainment Group 08/22/02
Mike Chadwick, Essential Music & Marketing 08/01/12
Rob Challice, Coda Music Agency 03/27/13
Tom Chauncey, Partisan Arts 01/11/02
Tom Chauncey, Partisan Arts 10/04/11
Lisa Cherniak, Artists Against Racism (AAR) 07/20/01
Bob Chiappardi, Concrete Marketing 06/13/03
Joel Chriss, Chriss & Co. 10/04/02
Michael Chugg, Michael Chugg Entertainment 09/14/01
Michael Chugg, Chugg Enterprises 10/02/09
Gary Churgin, Harry Fox Agency 09/13/10
Vinny Cinquemani, S.L. Feldman & Associates 12/13/12
Barry Coburn, Ten Ten Music Group 03/28/11
Matthew Cohen, Green Room Productions 10/19/01
Ted Cohen, TAG Strategic 01/10/13
Lisa Cohen, Associated Booking Corporation 02/10/06
Steve Cohen, Music + Art Management, Inc. 03/09/07
Dan Cohen, Music & Memory 01/12/17
Michael Cohl - Part 1, S2BN Entertainment 03/06/13
Michael Cohl - Part 2, S2BN Entertainment 03/13/13
Bryan Coleman, Union Entertainment Group 02/14/12
Mamie Coleman, Fox Broadcasting 07/05/12
Dennis Condon, Disneyland Resorts 07/13/01
Peter Conlon, Peter Conlon Presents 05/20/05
Tony Conway, Buddy Lee Attractions 10/06/00
Allen Cook, TOURtech 04/16/15
Tomas Cookman, Cookman International 09/05/03
Alex Cooley, Alex Cooley Presents 07/12/10
David Cooper, Foxman.com 10/31/03
Jay Cooper, Greenberg Traurig, LLP 05/23/11
Julie Coulter, Near North Insurance Groups 06/07/01
Amy Cox, Deep South Entertainment 02/09/07
Michael O. Crain, Crain Law Group, LLC 10/09/13
Charlie Cran, The Strawberry Music Festival 04/05/10
Jim Cressman, Invictus Entertainment Group 06/06/12
Russ Crupnick, MusicWatch, Inc. 07/23/15
Todd Culberhouse, Vision Management /Vision Records and Entertainment 09/05/08
Tony D'Amelio, Washington Speakers Bureau 04/21/06
Ray Danniels, Standing Room Only Management, and the Anthem Entertainment Group 03/05/15
Ken Dashow, WAXQ-FM (l04.3 FM) - New York 09/08/06
Hal David, Lyricist 07/26/11
David Davidian, Independant Lighting Designer/Director 06/18/04
Anthony Davis, D&L Entertainment Services, Inc. 03/02/01
Chip Davis, American Gramaphone/Mannheim Steamroller 05/31/02
Mitch Davis, Tempest Entertainment 07/16/04
Jeff Dawson, Canadian Recording Services 06/08/08
Desiree Day, USO Celebrity Entertainment 08/10/01
Shauna de Cartier, Six Shooter Records/Six Shooter Management 10/23/13
Gene DeAnna, The Library of Congress 02/21/12
Vincent Degiorgio, Chapter 2 Productions 08/01/13
Tony DeLauro, DeLauro Management 12/23/04
Valerie Denn, Val Denn Agency 04/30/01
Val Denn, Val Denn Agency 03/06/14
Robert DePugh, Alligator Records 07/29/05
Tom Derr, Rock Ridge Music 10/29/04
Paul Dexter, Masterworks Lighting Design and Road Cases 12/10/04
Marty Diamond, Paradigm 01/22/10
Glenn Dicker, Redeye Distribution/Yep Roc Records 07/07/06
Barry Dickins, International Talent Booking Agency 06/06/13
Jim Digby, Event Safety Alliance 09/01/16
Mark Dinerstein, The Knitting Factory 11/17/06
Neill Dixon, Canadian Music Week 03/03/16
Thomas Dolby, Musician, academic, technologist, and author 11/09/16
Jasper Donat, Music Matters 2009/Branded 04/24/09
Jim Donio, National Association of Recording Merchandisers 04/22/11
Marc Dottore, M. Dottore Management 04/11/03
Tim Drake, The Roots Agency 12/12/08
Mike Dreese, Newbury Comics 11/23/11
Charles Driebe, Blind Ambition Management Ltd. 09/22/06
Jeremy Driesen, Ray Bloch Productions 09/07/01
Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of Denver’s Division of Theatres and Arenas 08/23/10
Paolo d’Alessandro, International Solutions 06/25/14
Ros Earls, 140dB Management 02/19/14
Art Edelstein, Festival Productions 12/01/02
Bruce Eisenberg, Audio Analysts 08/31/01
Martin Elbourne, The Glastonbury Festival 12/18/09
Michael Elder, Red Entertainment 03/17/06
Tod Elmore, Sixthman 11/24/06
Paul Emery, Clear Channel Entertainment 11/19/04
Arty Erk, Citrin Cooperman 04/27/16
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock ’n’ Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gélinas, Festival d’été de Québec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Chris Gero, Yamaha Entertainment Group 10/26/16
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Steve Gietka, SMG Entertainment 03/19/14
Darren Gilmore, Watchdog Management 03/17/16
Daniel Glass, Glassnote Entertainment Group 10/16/14
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Neil Goldberg, Cirque Productions 04/16/14
Martin Goldschmidt, Cooking Vinyl Group 09/29/16
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, Turntable.fm 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Justin Kalifowitz, Downtown Publishing 04/20/17
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
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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