Industry Profile: Max Loubiere
By Larry LeBlanc (CelebrityAccess MediaWire)
This week In the Hot Seat with Larry LeBlanc: Max Loubiere, Tour Director.
For over three decades, Max Loubiere has worked in production-related touring jobs with such artists as Billy Joel (being his tour director since 1989), Bruce Springsteen, Ringo Starr, Neil Young, Boston and others.
Jackson Browne’s road epic "The Load-Out,” from his 1977 album “Running on Empty,” paid tribute to his roadies; but today’s tour crews remain largely unheralded road warriors with practically no industry recognition; and with very few retirement benefits.
Major music tours tend to be long; the hours irregular; and everyone involved is under tremendous pressure to see that all shows run as smoothly as possible.
In this setting, New Orleans-based Loubiere oversees all aspects of a tour; including dealing with any needs of the artist and backing members; and managing road crew personnel.
Prior to a tour, he works with the act’s management and booking agent in order to map out the routing and venue locations and the schedule; while planning out the accommodations, security, and transportation—and even developing plans for inevitable problems that may arise.
He also co-ordinates appearances, radio visits, interviews, and any promotions by the artist for each tour stop.
Anything that goes wrong out on the road, and needs fixing, soft-spoken Loubiere will quickly figure it out.
How long have you worked in the music business?
I have been in the music business since I got out of high school; pretty much since I started college in 1972.
Billy Joel is off the road for awhile?
He’s off the road right now. I don’t know when or if we are going to do another concert (tour) but I suspect that we will. We recently did four evenings of Questions & Answer (Lectures) in Florida--four college gigs not advertised to the public. What he tries to do is to get the people in the audience to use his vast knowledge of the music business by asking him questions. Not only about his lyrics or his music, but to ask him about the business in general. To ask him about the record business--if there’s a record business anymore--and to ask him about artist management.
Billy’s management troubles in his career are legendary.
I’m sure if somebody said, “Okay Billy, what happened with you and your managers? You don’t seem to be the right one to pick managers.” That he would answer it (the question). Billy has recovered from all of that. He’s done an incredible job with his career.
When did you start working with Billy?
In 1989. I’m 58, and Billy is 64. We’ve certainly done this long enough.
Touring takes its toll on artists but also on those people behind the curtain.
I wish what this business would do for people, and I think what we failed to do being some of the first people on the road in the business, is to have people understand that there’s no way to grow old in it (the tour business). There’s no 401Ks. Most people don’t have medical. The benefits are pretty lame. At one point we tried to set up a pool together to get insurance (for road crews). I think that needs to be done for people touring today.
There’s no old age pension for most people in the music business.
And there’s nothing for touring. For touring, you are an independent. I have been an independent employee or an independent contractor for all of these years. Unless you socked it away a bit or did some wise moves…I know that you also do get to a point of hearing, “Who wants these old people on the road?”
So it’s important to save or invest for retirement.
That’s tough. I hope that the younger people realize that.
Obviously, close friendships form with the people that you work with.
Yeah. I still work with today with Bobby Thrasher, the production manager for Billy that I met on Bruce Springsteen’s tours in the 1980s.
Prior to being with Billy, you had worked with Bruce Springsteen as a production road manager. How did you make the switch? In what capacity did you start with Billy?
I started with Billy as tour manager; working for a guy who I eventually took his place; and then I became tour director; my title until present. But I had to make to make a choice while on that (Springsteen) Human Touch/Lucky Town tour. Billy was gearing up. I had gone out with Billy in ’89 and ’90 on Storm Front, and he was gearing up to do another thing; another tour or something like that. I had to make a choice.
You chose to go with Billy. Why?
Because at that time Billy had severed all relationships with his management. He had fired his manager and all of those people in 1989. My position with him was that I would be working directly with him, his agent Dennis Arfa, his accountants, and his lawyer. That afforded me an opportunity to do more than I could have done with Bruce. George Travis had that (tour director) position. That position I got with Billy was me and the artist, and his inner circle of lawyer, accountant and no manager. That was pretty cool.
[In 1989, prior to his album “Storm Front” being released, Billy Joel took direct control of his business affairs--he fired his manager, former brother-in-law Frank Weber. He subsequently sued Weber for $90 million, claiming fraud and breach of fiduciary duty. In 1990, Joel was awarded $2 million in a partial judgment against Weber; and a $30 million countersuit filed by Weber was dismissed by the court.]
A learning curve in transforming to this new job?
I think the learning curve started when George put me into the road manager (position) for the Born In The U.S.A. Tour, and then I did a road management gig with Ringo (Starr) & His All-Star Band, the first tour that he did (in 1989). Then we did the Tunnel of Love Tour. I was the road manager on that for the band. I learned a lot from George. I learned about logistics, about venues, the production side of (touring), and sizing up the artist.
Did you become tight with Bruce Springsteen?
I never got close to Bruce--that close to Bruce--as close as I am to Billy.
With Billy, everyone around him immediately becomes family.
Exactly. And I still am. He’s family. And we all became family on that tour. I have pretty much stayed with Billy since ’89, and I have not toured (extensively) with anybody else. I did a few little odd things; like with Mariah Carey going to Japan. But most of my time has been with Billy.
You just missed the Soviet Union tour with Billy.
Yeah. I was almost on that one. I was actually hired for that one, and bumped off at the very last minute for another person, which is fine. I wish I had been on that tour because I know that it was an exciting time to go there. I’m sorry about it. But it worked out for the best.
[In 1987, Billy Joel became one of the first American rock acts to play in the Soviet Union since the Berlin Wall went up. There were performances in Moscow, Leningrad and Tbilisi.]
Billy has had innumerable career triumphs; including his unprecedented 12 sold-out concert run at Madison Square Garden in 2006.
Oh yeah. Twelve sell-outs.
[Billy Joel’s stint of 12 sold-out concerts at Madison Square Garden in 2006 broke a previous record set by Bruce Springsteen who had played 10 sold-out shows there. In 2006, Joel released “12 Gardens Live,” a double album featuring 32 recordings from the shows.]
Is it easier or harder when a show stays in one location?
It makes it easier, actually. We like to stay in one place. The tickets become harder to deal with. After awhile, your guest list increases. But sitting in Madison Square Garden for 12 shows was wonderful.
Billy also sold out 10 concerts at the 10,000-seat Mohegan Sun Arena in Uncasville, Connecticut in 2008. A casino gig.
That was a cool one. Mohegan was a fun gig; but the way that we got there was even more fun because Billy had a house in Sag Harbor (New York), and we would take his boat across to Connecticut to get to the gig. Sometimes, we’d take the boat back or take the helicopter back; whatever we felt like doing. That was a good gig. We came back every night. We stayed inside Sag Harbor the whole time.
Billy’s pair of performances at Shea Stadium in 2008, before its demolition, were very emotional; especially the final show.
It was very emotional. Getting all of those artists together at one time was a challenge. But it all went by pretty quick. Even to get Paul McCartney to come at the very last minute I might add. He was on a British Airways flight. Everybody pulled together and used resources to see how we could get him to land quicker--air marshals; air traffic control; all trying to get the airplane to land on time. We organized a quick run-through customs and immigration; and we had a police escort to meet him and whisk him away to the stadium.
All the time, Billy was on stage. He wasn’t really sure if Paul was going to make it or not because when he went on Paul was still in the air. We organized that pretty well and, with the help of a lot of different people, we got him there.
[On July 16th and 18th, 2008, Billy Joel played the final music concerts at Shea Stadium in Queens before its demolition. Guests included Tony Bennett, Don Henley, John Mayer, John Mellancamp, Steven Tyler, Roger Daltrey, Garth Brooks, and Paul McCartney who ended the show with a reference to his own performance there with the Beatles in 1965. The concerts were featured in the 2010 documentary film “Last Play at Shea.” The CD and DVD of the show, “Live at Shea Stadium” were released in 2011.]
Had you met Paul McCartney previously?
I had met him before casually but to be standing next to him; and him bringing his guitar; and one of the guys on the crew using a butter knife to change a string on it because he had to get up there, and play; and hearing that Billy wants to play this and Paul doesn’t want to play this; going back and forth to the stage to tell Billy what Paul wanted to play--it was all a challenge.
But it was awesome.
The moment Paul walked out on the stage, you just got goose bumps. He was incredible. Billy was just blown away. That’s probably one of the high times of his life because he so admired the Beatles. We all did. And to have Paul on the stage was amazing. Somebody brought this little star badge that Ringo had worn on his jacket when he played there (with the Beatles). Billy wore it the whole time. If you look at the concert footage; and if you see the star, that’s what they wore at Shea Stadium.
[In accordance with New York City law, Shea Stadium was dismantled, rather than imploded. The company with the rights to sell memorabilia was given two weeks after the final game to remove seats, signage and other potentially saleable/collectable items before demolition was to begin. After salvaging operations concluded, demolition of the ballpark began on Oct. 14, 2008. On Jan. 31, 2009, New Yorkers came to Shea for one final farewell. The last remaining section of seats was demolished, and the remaining section of ramps was torn down Feb. 18, 2009.]
From 1994 to 2010, Billy Joel and Elton John toured the popular Face To Face series. Offstage, Billy and Elton are so different.
On walking into Elton’s dressing room, he’s got carpet laid out; these Persian-looking rugs; a million sunglasses; a million pairs of shoes; candles burning all over; and flowers everywhere. We are like a locker room. Billy used to only wear black Armani suits. Elton, as you know, is not into the black look; the bankers look if you will.
That was a fun run?
We enjoyed working with them. They were very interesting. It was two different organizations that we melded together, and we did some incredible shows.
It was originally Billy’s idea to team up with Elton. Was the pairing logistically difficult to put in place?
The initial time of putting it together was challenging--thinking of the name of the tour, and who was going to do what. Elton had Keith Bradley who was my counterpart (as tour director for Elton John). We just put together a team of joint personnel that worked for both of them; and then they had their core people, and we had our core people.
Billy and Elton doing each other’s songs was great. Elton singing “New York State Of Mind” was cool.
Yeah, that was really cool. It worked. The chemistry worked. As different as these two were offstage; onstage, it worked beyond belief.
Because of their love of music?
Yeah, the love of music. I think it was driven by their love of music, and the mutual respect for each other as piano players and composer/artists.
A major music tour is akin to moving a city every few days.
Yes, it’s like moving a small city.
How far in advance of a major national tour do you start preparations?
Let’s just use Billy as an example. Once we decide we are going to do something we start booking the cities or looking at the cities or the routing with management. “Okay, we are going to go here. Let’s start doing the advance on ticket holds. What’s the ticket price going to be? The advertisements? The logistics of getting there? How many days off do we need between shows? How many shows a week can Billy do? Let’s route the tour so we can be based in a certain city. Let’s not use a dart board to route the thing.” In the later years, we started basing ourselves (regionally) out of cities.
Does your business degree come in handy in overseeing tour logistics?
Sure (laughing). But today’s tours are pretty much settled before you get there. It’s not like it used to be. It’s not as fun as it used to be. I miss the days of going in, and seeing Jack Boyle (retired co-founder of Cellar Door Productions in Washington, D.C.). You still see (promoter veterans) Wilson Howard, and Don Law and all of the (regional) people that used to be there.
How do you book hotels?
We go to places that we know, and we have had good times with. I know a lot of different hotels in different cities that we go back to for repeat business. If I’m doing a tour, I know where Billy wants to stay; and I know where the band wants to stay. I will pick the hotel. That’s one thing that Billy depends on me for--to put him where he wants to be.
With the spate of recent stage collapses, has stage construction become a greater concern?
I don’t know what happened with those stages that collapsed--what the problem was. It’s unfortunate these stages collapsed, and I’m not sure if it’s weather related or construction quality. In our situation, we trust it to be very safe before we go up there. We trust Bobby. I have to place our trust in the hands of or production manager. But I will tell you one thing, that if there’s any inclement weather, we’re not going on; and we are not doing the show.
Security is often a major concern as well.
Yes, it is a big concern. If you surround yourself with people who are competent enough, then you don’t have to worry about it. Everything gets done. It’s funny that with the four colleges that I just did with Billy, I didn’t really bring security with me, and the colleges did a great job. But every time we landed somewhere, there were always this group of professional autograph hounds. They knew that we were landing there.
We would fly in privately into, say, Gainesville, Florida. Now how the hell do these guys know that we are on a plane landing right there? And then, they chase you down. They follow you in a car. Stop at a red light, and they are banging on the windows for an autograph. Billy doesn’t mind signing autographs for fans, but these professionals make it awful for the fans.
A new phenomenon?
I don’t think that’s new. But I think that it's gotten worse with the internet, and with eBay and all of that (memorabilia) business. Professionals come up to Billy, and try to get him to sign a guitar fret. He doesn’t even play guitar.
People can track celebrities via Twitter and texting each other.
By flight status too. I told Billy that I didn’t think anyone was broadcasting that we are coming but there’s a way to figure it out. You are coming into Gainesville? They know you fly privately. How many people are flying privately into this airport?
What sets your radar off that there might be a potential problem with a crowd of onlookers?
Usually, if we are getting ready to leave a venue, I will walk around outside, and I can see people kind of hiding in the cracks. For the last gig that we did in St. Pete’s (St. Petersburg, Florida), I had a police escort take us out of there because there were a lot of people out there. In St. Pete’s of all places. It was a college gig that we were doing; and (the event) wasn’t even advertised off college but there must have been 25 or 30 people trying to get these stacks of albums signed.
It becomes a dangerous situation because people will literally chase you; and if you stop at a red light, they will jump out, and start banging on the car windows.
You went to Louisiana State University in Baton Rouge where you were involved in the production of concerts throughout the ‘70s.
I was taking business administration. In order to pay my way through school, I accepted a job at the LSU Assembly Center (renamed The Pete Maravich Assembly Center in memory of Tiger basketball legend Pete Maravich after his death in 1988) which was the arena where the concerts were coming. I became a stage hand there. I did all the grunt work. I ran spotlights during the shows. I saw a lot of terrific acts come through like Led Zeppelin; Bob Dylan and the Rolling Thunder Revue; probably Billy Joel; and Springsteen probably came through at the time. This would be from ’72 to ’77.
A great era musically.
I remember listening to Cat Stevens doing a sound check. I loved his music. Joni Mitchell played there as did Earth, Wind & Fire, and the Commodores. I can’t remember all the people that came through. Anybody big that was doing arena shows in the early ‘70s--we usually worked the shows if they came through Baton Rouge.
Pace Concerts’ Louis Messina promoting the shows?
It was Louis, and Don Fox (Beaver Productions) who had Bachman-Turner Overdrive, Z.Z. Top, and others.
Baton Rouge was then a major live music market.
Baton Rouge was a pretty good concert town at that time. It was a key market. When you go back to those guys, Louis Messina and others; the day when we had (regional) promoters, it was different.
Before consolidation, each regional promoter had their own fiefdom.
Correct. I liked it then. And (Don) Fox is still one of the only independents around that I know of. He did Katy Perry’s tour, and he did Dylan too. Dylan came through Fox.
How did you make the jump to working nationally?
When I graduated from college I was really liking the (live music) business. I didn’t know how to get on the road. A friend of mine Lyle Centola, who worked with me at the Assembly Centre, went out first as a rigger with Genesis and all of these people. He went all over the place as a rigger. I went to work for a local band Louisiana’s LeRoux. I knew the road manager Danny Kertacy. He was my roommate after I graduated college. I ended up doing the lighting for them. We were opening up for Kansas which was pretty cool.
I didn’t do a lot with Louisiana’s LeRoux. I bounced around. I worked for a spotlight company that rented spotlights out. Then I moved to New Orleans and went to work at the Saenger Theater in New Orleans for quite awhile, on and off. I worked a lot of Broadway shows which was pretty cool.
With a business degree, why didn’t you go into artist management?
Well, I tried to be a promoter. I did try that side of the music business before I ended up on the road with acts. The promoter part was kind of fun. I did a couple a couple of shows. Small shows like with Fats Domino. Barely breaking even. I did a country show, Mel Tillis and Tom T. Hall together. I took a little bath on that one. I didn’t know the control that Fox, and Louis and Pace Concerts had. I remember trying to book Linda Ronstadt and her manager (Peter Asher) said, “She can’t do that, man. She’s got all of these other guys that are doing that.”
So my promoter days were short-lived. That’s when I came to New Orleans, and I decided to work at the Saenger Theater for awhile. I got into the Broadway shows, and I really thought about going on the road with a Broadway show. But as far as getting into management, it never occurred to me. I was the grunt working at the LSU Assembly Center. I was young. It was a new business, and touring was relatively new. It just never occurred to me to pursue management.
Bands would then only do three or four week runs.
And that was it. You are right. (In 1979) Lyle Centola called me to go out on the road with him as a rigger on the New Barbarians (tour) with Ronnie Wood and Keith Richards. We did 30 days or something. It seemed like we did a show every night. It was a whirlwind tour that was pretty quick.
It’s funny but a lot of the people that I met on that tour, I’ve continued working with. We all ended up working different tours together, but that was the first one. Richard Fernandez was the tour manager. Mickey Heyes, who was working for Ronnie Wood, has been my tour assistant for the past 15 years or so. Rigging was hanging all of the cables from the ceiling.
[The New Barbarians was formed and led by guitarist Ronnie Wood, primarily to promote his album “Gimme Some Neck.” The line-up included Keith Richards, bassist Stanley Clarke, saxophonist Bobby Keys, and drummer Joseph Zigaboo Modeliste of The Meters, and former Faces keyboardist Ian McLagan. The band debuted as the Rolling Stones' support act at two charity concerts at the Oshawa Civic Auditorium in Oshawa, Ontario on April 22, 1979, fulfilling one of the conditions of Richards' 1978 Canadian sentence for possession of heroin.]
How did you come to work with Bruce Springsteen in the early ‘80s?
That came with “The River” tour (in 1980 and 1981). That came about because I was rigging with Lyle (Centola) as well; and he brought me onto Bruce’s tour as well.
A pivotal time in Bruce Springsteen’s career.
It was awesome. George (Springsteen tour director George Travis) was awesome to work with and taught us all a lot about the business. As well, Bruce was awesome to work for too. That was during the time that he was becoming a superstar.
You were a production manager…
Nah nah, I was a rigger. I started out with Bruce doing rigging; being ground rigger mainly, and then doing carpentry. I put the marley (Harlequin Reversible double-sided portable flooring called a “marley floor”) on the stage and stuff like that. We did a little bit of everything. In those days, everybody helped each other. I was not on the band side yet. That didn’t come until later on. That came on Born In The U.S.A. I moved to being a road manager. For Born In The U.S.A, Chris Chappel was the road manager; George was the tour manager; and I was the production road manager. I think that they made up a title for me to deal with all of the logistics on the crew side, and helping with the band as well.
That was when Bruce’s popularity soared.
That Born In The U.S.A. tour was huge, and it was a lot of fun. We went everywhere with it. My present day wife came out with us. She was doing merchandising until she got tired of the road. She’s not a road warrior. But that tour was just a lot of fun. It was a lot of work and when you are young you could do overnighters and stuff that I couldn’t even think about right now. An overnighter? Are you kidding me? An overnighter is when we have a day off in between a show.
When you are young, the road is appealing.
The money was good, and you know what? It was fun. I was out doing something that was fun. It was a different sort of thing, and we made decent money. Riggers got paid a lot more money at that point than anybody else in the crew.
Because you had to climb in the ceiling.
Were you in good physical shape?
I was in good shape but I was not physically strong enough to become a (longtime) rigger. It wasn’t the heights that bothered me. I remember in 1978, we rigged the Rolling Stones in the Superdome here, and that’s 300 feet. It wasn’t the heights; it was the weight. It was pulling that weight up. I wasn’t strong enough. I probably weighed 130 pounds at that time. Five foot seven with shoes on and 130 is not going to be pulling up these two ton chain motors. All of these tours had a lot of speakers hanging. That was the beginning of getting (speakers) off the stage.
I worked on and off with Bruce probably until 1992.
Did that include touring overseas?
Yeah. We went everywhere.
Touring overseas can be challenging.
You just go there with the attitude of this is what you’ve got. One time in Italy, we looked at the ticket, and there was no ticket price on the ticket. So we asked the promoter why there was no ticket price on the ticket. He said, “Well frankly we see no need.” Okay, whatever.
I did shows overseas when I did Amnesty International in 1988 with Bruce, Peter Gabriel and Tracy Chapman. We played a show on every continent except Antarctica I think. We had two fat DC-9s; one for the personnel, and one for the equipment. Bobby Thrasher was doing a lot of the logistics for the equipment which had to be a nightmare. Chris Chappel, myself and others were dealing with logistics of moving the artists around.
One of the strangest places that we went was Abidjan, Africa. That was a challenge. Delhi, India was too.
Let’s talk wine. You own a wine company Neat Wines, and you have an interest in the Red Hook Winery in Brooklyn.
I got into the wine business in 2005. I was looking for something to grow old doing. Mark Snyder was a guitar tech that was on the road with us with Ringo and Billy. We became really good friends. He was starting a wine (distribution) business in New York called Angels’ Share Wines. He said, “You should think about doing this. What are you going to do when Billy quits touring?”
“I don’t know. I hope he never does that.”
So Mark told me how easy it was to sell wine. “Boutique wines, they will sell themselves.” Well, I believed him, and I started Neat Wines in 2005 which I worked myself.
I started learning about California wines. I went out to Napa and met some of the down-to-earth farmers and winemakers there. When I went out there, I expected to see a lot of rich people; the beautiful people. What I found there were the salt-of-the-earth, and really wonderful people.
I started doing that in 2005. In the interim I got hit by Katrina. I lost my house in Lakeview. My house had eight feet of water in the inside; and I was five feet off the ground. So I evacuated to Florida for four months and lived in Destin in the Panhandle. My kids and my wife wanted to come back (to Louisiana). We came back and lived in a friend’s house for awhile.
In 2006, I bought the house I presently live in at a higher price than pre-storm because it’s on higher ground. I began to rebuild the wine business. It’s a very successful business today. Mark and I are partners today. I have a little of Red Hook Winery which takes the grapes from Long Island, the North Fork of Long Island (home of 38 wineries, and plenty of churches and farms). We use two Napa winemakers, Bob Foley, and Abe Schoener, to make the wines. We make some good wine.
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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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
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
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
Charlie Cran, The Strawberry Music Festival 04/05/10
Jim Cressman, Invictus Entertainment Group 06/06/12
Todd Culberhouse, Vision Management /Vision Records and Entertainment 09/05/08
Tony D'Amelio, Washington Speakers Bureau 04/21/06
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
Gene DeAnna, The Library of Congress 02/21/12
Tony DeLauro, DeLauro Management 12/23/04
Peter Denholtz, CelebrityAccess 11/29/00
Valerie Denn, Val Denn Agency 04/30/01
Robert DePugh, Alligator Records 07/29/05
Tom Derr, Rock Ridge Music 10/29/04
Paul Dexter, Masterworks Lighting Design and Road Cases 12/10/04
Marty Diamond, Paradigm 01/22/10
Glenn Dicker, Redeye Distribution/Yep Roc Records 07/07/06
Barry Dickins, International Talent Booking Agency 06/06/13
Mark Dinerstein, The Knitting Factory 11/17/06
Jasper Donat, Music Matters 2009/Branded 04/24/09
Jim Donio, National Association of Recording Merchandisers 04/22/11
Marc Dottore, M. Dottore Management 04/11/03
Tim Drake, The Roots Agency 12/12/08
Mike Dreese, Newbury Comics 11/23/11
Charles Driebe, Blind Ambition Management Ltd. 09/22/06
Jeremy Driesen, Ray Bloch Productions 09/07/01
Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of Denver’s Division of Theatres and Arenas 08/23/10
Art Edelstein, Festival Productions 12/01/02
Bruce Eisenberg, Audio Analysts 08/31/01
Martin Elbourne, The Glastonbury Festival 12/18/09
Michael Elder, Red Entertainment 03/17/06
Tod Elmore, Sixthman 11/24/06
Paul Emery, Clear Channel Entertainment 11/19/04
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock ’n’ Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gélinas, Festival d’été de Québec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, Turntable.fm 09/20/11
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
David Hart, The Agency Group 02/20/04
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Seth Hurwitz, I.M.P. 04/20/09
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
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
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Myles Lewis, Denise Rich Songs 12/20/10
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Larry Lieberman, 4EverWild 03/28/03
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
John Meglen, Concerts West/AEG Live 02/21/13
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Tamara Saviano, American Roots Publishing 07/22/05
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, ItsAboutMusic.com 11/26/04
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Peter Shapiro, Ideal Entertainment 04/16/04
Seth Sheck, Access Pass & Design 01/03/03
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Fenton Williams, 04/04/08
Del Williams, Right Arm Entertainment 04/18/08
Bryan "Birdman" Williams, Cash Money Records 09/13/11
Paul Williams, ASCAP 10/19/11
J.P. Williams, Parallel Entertainment 10/03/12
Kurt Willms, Green Room Productions 09/20/03
Chris Wilson, Heartbeat Records 03/02/07
Tony Wilson, Factory Records/In The City 06/01/07
Tom Windish, The Windish Agency 07/26/10
John Wiseman, XL Touring Video 05/05/06
Thom Wolke, Twincloud.com 02/08/02
Michael Wood, City Lights Entertainment 08/08/08
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, CultureCatch.com 07/27/07
Jeremiah “Ice” Younossi, A-List Talent 09/20/09
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06
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