Industry Profile: Justin Bolognino

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: Justin Bolognino, founder and creative director of Learned Evolution, and The Meta Agency.

Incorporating art into large multi-media events is the latest new frontier.

At its crossroads is Brooklyn-based Justin Bolognino

As founder and creative dir. of Learned Evolution, and its companion company, The Meta Agency, he is becoming one of the world's leading brand strategists.

Among the top companies Bolognino has attracted are: Twitter, Samsung, Vimeo, Android, Lincoln Motor Co., Ralph Lauren, Coca Cola, Microsoft, Target, Google, Apple, Pandora, Hewlett Packard, Yahoo, Gawker, Spike TV, ESPN, Adidas, Guild of America, Variety magazine, and Embrace Presents.

Launched in 2006, Learned Evolution is digital agency that specializes in multidisciplinary design, social media marketing, and technology-driven experiences.

Founded in 2010, The Meta Agency manages visual, experiential, and interactive artists who can design for events, brand activations and permanent installations.

One of the breathtaking sights of South By South West 2013 in Austin, Texas was a five days and nights experience, #FEED powered by Twitter, that merged social media, art, parties, and technology.

Produced for SXSW for the second year by Learned Evolution and Twitter, #FEED wowed festival and conference goers by pushing beyond the boundaries of digital storytelling. Some 16 interactive media artists told the SXSW story in art installations curated by Learned Evolution, and The Meta Agency.

A nightly party, @NIGHT, brought DJs onto projection-mapped stages with interactive walls at the AMOA-Arthouse at the Jones Center.

Following graduation from Northeastern University in Boston in 2002 with a Bachelors of Science in Rhetoric, Communications and Eastern Philosophy, Bolognino’s first major job was as associate producer of the documentary film, “The Wetlands Preserved,” that profiled the celebrated Tribeca nightclub.

In 2004, Bolognino became production manager for RESFest, the most prominent digital film festival in North America until ending in 2006. Bolognino went on to be festival director for the Green Apple Film Festival at the American Museum of Natural History.

In 2009, Peter Shapiro and Charley Ryan, opened the Brooklyn Bowl, a massive concert, bowling, and dining venue in an old Williamsburg warehouse.

Bolognino, retained by Brooklyn Bowl two years before its opening, crafted a unique marketing and design strategy that favored social media over traditional advertising.

Brooklyn Bowl has grown into a popular American brand with Brooklyn Bowl Las Vegas slated to open next year. Learned Evolution remains Brooklyn Bowl’s creative marketing agency of record.

How many staffers do you have at your Brooklyn office?

There are 7 LE (Learned Evolution), and three Meta (staffers)

The Meta Agency is obviously still growing.

The beauty of Meta is the model is so networked and decentralized that the overhead is so low. We have 15 artists that we represent. They all have huge networks of creatives, production capabilities, and producers. So, for us, it is managing the relationships and contracts. I would love to have 10 (people) at Meta. It’s not the reality, right now. Still Meta did more business last year in its first year than Learned Evolution did in its sixth year, but its overhead is a third of what Learned Evolution is.

Is there anything out there quite like The Meta Agency?

With the model that we have? Not really. There are a couple of similar (agency) things, but not specifically targeting the event and the experience industry as well as representing the type of non-performing, experiential visual and interactive artists that we do.

A new wave of visual, experiential, and interactive artists—as well as the use of advanced technology--is providing greater opportunities than traditional event advertising.

It sure is. The Meta Agency was born out of an increasing demand, and a huge lack of supply. That this type of artist exists, but we really feel that there is a disease in the (entertainment) industry that thinks that visual, experiential, and interactive (artists) are somehow inconsequential compared to the music (artists). We believe that, especially in the electronic music world and (with) corporate events, as demand increases for this type of artistry, these people need to get billed, respected and represented in the way that musical talent does. Eventually, they will become draws in of themselves like musical talent is.

Live shows have evolved from vaudeville to spectaculars like U2’s 360° shows.

It’s come full circle. The Meta Agency is built on what we see as an unbelievable increase in demand for more show. No one is really representing the artist that are doing that show outside of the musical artists.

The Meta Agency isn’t unlike a literary, talent or ad agency pulling together varied creative talents.

Absolutely. The model is not different from a directors bureau or something along those lines. We like to say, though, that we are not a booking agency. We are much more a management and a development agency. But what AM Only did for DJs (electronic music artists) is, ultimately, what we want to do for this type of experiential artist.

Interactive artists may be entrepreneurs but they often lack the necessary contacts to get ahead.

That’s true. It varies. Some of our artists are much more business savvy, and want to be involved (in negotiations). Some don’t have to think about business whatsoever. It varies from artist to artist.

It’s hard for these people to stay on top of things when the terrain keeps evolving.

Absolutely, but I think that it’s more a layer of protection (with us). It’s very hard for a creative to negotiate, and get the prices, the respect, and the contracts that they deserve in working directly with an (advertising) agency or a brand. Not always, but more times than not, they will get taken advantage of. You never want to be in a position where you are the person responsible for negotiating, and being the creative.

That’s a traditional problem for creative artists.

It’s an incredibly difficult position being the person who has to ask for checks and deliver presentations at the same time. Often times that just leads to an unnecessary layer of stress. It gets in the way of the creativity. It causes problems. We represent the artist’s interest on behalf of them so that they can be artists at the end of day. Everybody gets a better product at the end of the day.

Creative artists tend to undersell themselves, particularly if they want the job.

Yes sir. Sometimes the best thing that you can do is say no. It’s one of the hardest things to learn.

Any push back from The Meta Agency representing visual, experiential, and interactive artists?

Absolutely. I’ll tell you a story. We were talking to one of the large festivals out there. We were talking their interactive art buyer. He looked at The Meta Agency, and what we do. We got on a (conference) call with him. He was like pretty upset with us, saying. “You don’t understand. I’ve been doing this for ten years. Now, you are telling me that I have to go through an agency to get to these artists. I have always dealt with these artists direct.”

Allow me to translate that for you.

What he was saying was, “Wait, do I have to pay these artists now what they deserve? I have to give them artist passes rather than vendor passes? I have to promote them on the website? I have to put them in the press releases?”

What happened?

Funny enough, a couple of weeks later, this guy called us up again, and said, “You know what? You guys got into my brain. I have been thinking about this and you are right.”

Was this a music festival?

It was a music festival. The music industry is the worst with the disease of thinking that you can pay a DJ $100,000 to get up onstage and press “play,” but the visual artist, who is half the show if not more at this point, is getting pennies, if anything at all.”

For years electronic music artists and DJs were below the radar and could hardly get a dime for what they did.

And we use that metaphor all of the time. What the DJ industry was 10 years ago…..If you were doing a product launch party, you didn’t bill the DJ. The DJ was the guy in the corner playing the background music. Now, he is the draw to get people to come and see the product.

Plus filling out stadiums.

And selling out stadiums. Basically, our attitude is imagine a world where, “What are you doing this weekend?” “I’m going to see the new Incredible Machines’ collaboration with CTRL.” Who’s the DJ?” “Oh, I’m not sure.”

One would expect that visual would be easier to pitch because of having a “wow factor.”

Like anything else, I think that it’s (about) the market demand. The audience needs to demand this (aspect) first and foremost. It’s getting there. The Amon Tobin (ISAM) show is a big turning point for the industry. But still, even with that show, they don’t bill V Squared Labs as the creative geniuses that are producing that for you. It is still Amon Tobin. In our world it would be Amon Tobin with V Squared. We don’t represent V Squared but (if we did,) we would fight to make sure that artist is properly represented to whatever percentage that they are part of the show. If they don’t have a name now, just like (electronic musician/DJ) Richie Hawtin didn’t have a (mainstream) name 10 years ago and wasn’t selling out stadiums, we keep plugging away at it, and keep insisting on these artists be credited. Eventually people will start to demand that these artists be part of the (live)experience.

[The ISAM tour features a stunning 25' x 14' x 8' multi-dimensional/ shape shifting 3-D art installation surrounding Amon Tobin and enveloping him and the audience in an ultra 3-D experience.]

How do you promote The Meta Agency’s roster to potential clients?

Certainly, I think #FEED is the biggest, and most obvious vehicle for that. But it’s really coming from (being in) the music industry, and from having the contacts that we have developed over the past decade or so; and building relationships on that front; and really positioning ourselves as a partner for them to rely on us.

Okay, you know that you want to do a big projection map stage, right? Where do you go to find the right artist? You can go to a big agency like Mother or an R/GA or someone like that, if you want to pay a few million dollars. But if you got $100,000 or $200,000 budget how do you find these people?

We are trying to make it easy for large event producers, and brands to source this type of talent that is at the highest level and knows how to activate some brands; and knows how to build systems that are robust enough to work at a festival or a large scale event; and then give them access. That’s really what it comes down to.

You offer a smorgasbord of services. Often things that a client may not have thought of.

Absolutely. We call it a toolbox. Right now, we are big on fashioning ourselves as strategic partners both on the event and festival side, as well as on the technology provider side. So we are almost a broker of access between those entities. We have a lot nice festival and event contacts, and we have a lot of nice technology and production contacts. Helping them speak to each other through our medium which is this huge toolbox of talent is how we are really position The Meta Agency right now.

Give me an example how that works.

Sure. Probably the best example is the Lincoln Motor Company re-launch that we did in early December. It’s a great case study because it was a huge project with a very short time-line. They needed a host of creative services from the production side to the technical side to content development and story-telling. We brought on one of our artists, Incredible Machines who, for this particular project, were kind of the overseers, and really the technical producers. It was their concept but they needed additional resources in content development. So they brought on CTRL and VovoxLabs—two other Meta Agency artists—to complete the mission. So where some artists are stronger in some areas we have other artists that are stronger in other areas. We have a nice palette that you can mix colors with, accordingly.

[On Dec. 3, 2012, the Ford Motor Company made a major announcement regarding Lincoln’s new brand direction. Beginning with a press event on Lincoln Center’s Plaza, Ford debuted the reinvention of the 90-year-old brand with a public premiere of the Lincoln MKZ premium mid-size sedan.

Open to the public, a one-day innovative and interactive installation, spearheaded by Incredible Machines, and design collaborators VolvoxLabs and CTRL, merged technology and design to highlight the new MKZ. The event culminated in an audio visual performance featuring projection mapping onto Avery Fisher Hall.]

A potential client may not know what they want. An education process?

Absolutely. And this (interactive) stuff is so near to us, but it is still so foreign to a lot of our clients that educating them is one of the things that we do on a regular basis. We often have clients that will go through an education process, and nothing will come of it. Then a year later, they will hit us up and say, “Hey, we now get this.” That happens all of the time.

What services do you offer clients?

We basically have three different approaches we take. The first is the fully custom approach. This is where a client says, “We need to do a launch. We don’t really know what we want to do. We need ideas.” For this, we shop and RFP (a request for proposal) from our artists that we feel are right for the job. Sometimes, it is with all of our artists. For this (approach), we demand a kill fee because the artists go above and beyond to create these presentations, and they generate a lot of high-level intellectual property.

Meanwhile, the client may be talking to five other parties.

And they could be talking to five other people at the same time, and usually are.

So that’s the custom approach. That’s what Lincoln was like.

Then there’s the second approach that we call the slot method. This is where a client says, “We are doing this huge event. We want to do projection mapping with an interactive Twitter feed on the wall.”

They have a better idea of what they want.

They have a better idea of what they want. They are looking at us to slot in something. That’s why we call it the slot method.

The third approach we call the turnkey, which is simply, “Hey, we want an installation. We’ve got $20,000. What can we get?” We have a host of turnkey installations that are essentially out-of-the-box, and that have pre-made pricing. That is they are ready to go. That the client can purchase like a product, (they can) license for their event as a one-off or as a permanent installation.

As a social curator, you would enjoy the 2003 Danish film “Five Obstructions” in which a director is given instructions to make five separate shorts films with the same script, but with restrictive parameters for each film.

I yearn for parameters like that as a creator. Clients don’t realize. They say, “Do whatever you want.” No, please, give us parameters. So much more creativity comes from parameters than just a vacuum. Vacuums often lead to paralysis.

[“The Five Obstructions” is a 2003 Danish film by Lars von Trier, and Jørgen Leth. The film is a documentary, but incorporates experimental films produced by the filmmakers. The premise is that von Trier has created a challenge for his friend and mentor, Leth, another filmmaker. Von Trier's favorite film is Leth's “The Perfect Human” released in 1967. Von Trier gives Leth the task of remaking “The Perfect Human” five times, each time with a different 'obstruction.”]

Parameters by clients have been relaxed in recent years.

Well, it depends. It depends. To answer your earlier question. Are there another other agencies like this? I don’t think that there have been because it’s so customized. Everything is a unique thing. It’s not cookie cutter. It’s not here’s this DJ. His set is 90 minutes long. It’s 10 grand to book him. Yes or no.” Everything that we do is nuanced and back-and-forth, and it’s a conversation. And we are trying to tell a story in a new and inventive way, and it’s tedious. It’s tedious work.

Having #FEED at the South by Southwest Music and Media Conference and Festival is advertising for your two companies, really.

It is. I didn’t position #FEED as this in the last two years as we did it (at SXSW) but moving forward, I am now calling #FEED an advertising platform that integrates innovative entertainment—be it the social media or (being) at night parties with all of the awesome talent that we have with the inspiring panel discussions and educational stuff that we do—and also (it is) a technology incubator that is fostering the next big thing in technology and in apps.

So yes, #FEED IS the culmination of The Meta Agency and Learned Evolution, which is my production company that does the design, social media and event side of #FEED. Then The Meta Agency provides the artist side of #FEED.

#FEED is really the vehicle that is going to get this out into the world in a big way. There’s no reason that #FEED shouldn’t be at Coachella, Bonnaroo, Outside Lands, Fashion Week, and in Cannes (for music and film festivals). Art Basel Miami, we are definitely going to do. Basically, #FEED could be existing all the time somewhere around the world, and needs to be. It’s a platform for huge growth. That’s why I am focusing on #FEED right now.

#FEED could be a 24/7 social-based CNN.

It literally can, should, and hopefully will be that, but in a much more fun way. How about #FEED New York or #FEED San Francisco where it is just as museum that has different pieces that are telling the story in real time around the city on social media?

With #FEED, you have partnered with Twitter with the branding being, “#FEED powered by Twitter.”

Yes sir. First and foremost, they allow me to use their name in conjunction with #FEED which is something that they categorically do not do (with others). It took me nine months of convincing them, and sharing my vision and restructuring what our relationship was (to accomplish that). But Twitter needs to be a revenue generating entity right now, and I have structured my relationship with them in such a way that it will hopefully lead to revenue generation with them.

Does Twitter have exclusivity or can you go to Facebook and other platforms?

I could. It’s on a per event basis. But I wouldn’t want to because Twitter is really the centre node of the (social media) ecosystem and I want to celebrate the ecosystem. If I did this with a Facebook, they’d want everything (to be) Facebook. Or if I went Google, they’d want me to use all of Google’s products. Twitter wants me working with SoundCloud. Wants me working with Spotify etc. They are agnostic, and I’m agnostic, and I want to celebrate the ecosystem. I don’t want to be making #FEEDs for Facebook. I would love to be able to take In Facebook feeds but I want it to be about the ecosystem and not walled off.

You would have made a poor Apple executive.

I probably would have. But I take Apple’s approach in systems and marketing.

What work did Learned Evolution do for Ticketfly?

Ticketfly came to us at Brooklyn Bowl in late 2007 or 2008 when we were still heavily in construction. They presented us with a vision of this social media-rooted ticketing system. The strategy that I developed for Brooklyn Bowl was for it to be the first social media routed venue. So it was a no-brainer for us (to collaborate). Andrew Dreskin (Co-CEO and founder of Ticketfly) and Pete Shapiro, the co-owner Brooklyn Bowl) were also old friends. So it made sense on a lot of levels. We really helped Ticketfly when it was an idea to a very basic platform. There’s all the huge evolutionary leaps they have taken since. We were there as their first partner, helping them to build a system on a client side.

Today, Vimeo is a natural ally for you.

My relationship with Vimeo is one that starts in love and trust for their product. It is where creatives go to show their work. The quality (there) is phenomenal, and the community is phenomenal. We first did a bunch of stuff with Vimeo with Eclectic Method which we used to represent at The Meta Agency but no longer do. Then we did a big event with Vimeo three years ago at South By South West called “Light After Dark.” That was really the precursor to #FEED in a way. it was after that event that my friend Chloe Sladden (Twitter's director of media partnerships) literally shook me, and said, “Why doesn’t Twitter do this type of event?” In that moment the whole concept of #FEED was born and didn’t change at all.

Today, people are being bombarded by audio and visual stimuli. I’m wired to my iPhone wherever I go, and the stimuli provided is leading to more stimuli which still has to be created.

That’s what we are trying to capitalize on. I like to say that I want to create real time film. I don’t really know what that means yet, but I feel that is what this is all leading toward.

(Author and inventor) Ray Kurzweil’s virtual reality embedded in glasses.

It’s here. I just finished “How to Create a Mind: The Secret of Human Thought Revealed.” It was a little heady. Not my favorite of his. But, he’s outrageous. It’s scary what he says. But you can’t deny it.

Forbes has described Ray Kurzweil as “the ultimate thinking machine.” So many things he has predicted have come true.

Yeah, like 80 plus percent or something, which is crazy. But I look at my two year old daughter, and how she interacts with an iPad. We never showed her but she will pull up Netflix, and go to a specific shows. My parents will call me, and ask me how to find Netflix on their.iPad. What is it going to be when she’s 10? That’s 8 years from now. That’s incomprehensible.

So in a decade….

I hate to say it ,and people think that I’m kidding, but I really think that chips are going to start getting into peoples’ brains. We are going to merge with technology. Ray Kurzweil was the first guy who said it. I have a Basis watch that I was given at South By. It tracks my steps, my heartbeat, the sweat on my body, my temperature, and then it sends all of that information back to my computer so I can look at the data of what I am doing day-to-day.

That is incredible to think about but there’s no reason that it needs to be a thing on my wrist. Why can’t it (a chip) be injected into my body, as scary as that is, and people don’t want to hear that? But when I look at my kid, and I see her interact with it and I think, “Shit, where is she going to be in 8 years? And if other kids have access to all of the information in the world at a thought, you can’t bet your ass that I will want my kid to. That’s the problem.

Why is there such a strong link between musical and visual experiences?

If you are asking me personally, I have always been able to see music. It has always been a visual thing for me. So it has always made sense when I see an auditory experience manifested visually. It just makes sense. I have always seen music. I don’t see the metronome. And I am playing at the “one” which is a thing that I see. It’s not a ticking clock.

So the marriage seems the most natural thing to you.

Just like visualizing social media now is the most natural thing to me. The internet, in my perception, is a manifestation of the true nature of consciousness. The internet is a physical manifestation of metaphysical reality. We are all interconnected. All the information is floating between us at all times. Now we can see it. It has been physicalized. Evolution is a process of taking what you can’t see-- which is metaphysical--and manifesting it into what is physical. That is really at the heart of everything that we do. Trying to make things that you can’t see and make them seen. It like when you put the leaf under the paper and scratch it with a pencil and the leaf emerges. But the leaf is (always) there. You just can’t see it. You have to figure out how to shade it, and bring the leaf through.

Technology is accelerating that transformation as well.

Absolutely. It’s another facet of the metaphysical world constantly trying to manifest itself into reality. You can go as spiritual as you want with it; as scientific as you want with it; as cultural as you want with it; but I really believe that is what reality wants. It wants to manifest itself.

As the transistor radio enabled us to take music anywhere in the ‘50s, the iPhone has freed us to take internet-driven media anywhere.

But it has also constrained us. You can’t forget that it’s a doubled-edged sword. Basically, doubled-edged swords and getting sharper and sharper. On one hand, we have all of this freedom. On the other hand,we are so beholden to these devices that we are their cage. We are free but we are caged. There’s that constant dance and that constant doubled-edged sword.

What was a cluttered content field in TV and radio has now become even more cluttered with social media via the internet. You need the proper couplings to break through that clutter.

Absolutely. Very well said.

You have a musical background.

Yeah. I’m a musician. I was trained as a guitar player, but I play a lot more drums than guitar at this point. In 2000, I started Learned Evolution as a band. It was kind of like a Miles Davis’ “Bitches Brew” philosophy. We would go onstage and improvise 100%. It was all live electronic music. That’s originally what Learned Evolution was.

Your dog Charlie Mingus is named after the late jazz icon.

Ahh, you picked up on that. Yeah, Charlie Mingus is my dog. Mingus, to me, talk about form and improvisation, my gawd. Such a great orchestrator, yet such a great improviser. That is something that I am constantly harping on here. (Being) practiced improvisers.

Learned Evolution morphed into being into being a digital agency in 2006.

Learned Evolution has always been my guiding operational principle for life. The idea that you have to constantly educate yourself and constantly evolve and create a feedback loop that the more that you learn the more you to grow and it (learning) accelerates and accelerates. That’s the idea.

Weren’t you planning earlier to be a filmmaker?

I was toying with it. I still like the idea of it. I have three pilots that are just sitting here.

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.

Larry is the recipient of the 2013 Walt Grealis Special Achievement Award, recognizing individuals who have made an impact on the Canadian music industry.

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
Dan Cohen, Music & Memory 01/12/17
Michael Cohl - Part 1, S2BN Entertainment 03/06/13
Michael Cohl - Part 2, S2BN Entertainment 03/13/13
Bryan Coleman, Union Entertainment Group 02/14/12
Mamie Coleman, Fox Broadcasting 07/05/12
Dennis Condon, Disneyland Resorts 07/13/01
Peter Conlon, Peter Conlon Presents 05/20/05
Tony Conway, Buddy Lee Attractions 10/06/00
Allen Cook, TOURtech 04/16/15
Tomas Cookman, Cookman International 09/05/03
Alex Cooley, Alex Cooley Presents 07/12/10
David Cooper, Foxman.com 10/31/03
Jay Cooper, Greenberg Traurig, LLP 05/23/11
Julie Coulter, Near North Insurance Groups 06/07/01
Amy Cox, Deep South Entertainment 02/09/07
Michael O. Crain, Crain Law Group, LLC 10/09/13
Charlie Cran, The Strawberry Music Festival 04/05/10
Jim Cressman, Invictus Entertainment Group 06/06/12
Russ Crupnick, MusicWatch, Inc. 07/23/15
Todd Culberhouse, Vision Management /Vision Records and Entertainment 09/05/08
Tony D'Amelio, Washington Speakers Bureau 04/21/06
Ray Danniels, Standing Room Only Management, and the Anthem Entertainment Group 03/05/15
Ken Dashow, WAXQ-FM (l04.3 FM) - New York 09/08/06
Hal David, Lyricist 07/26/11
David Davidian, Independant Lighting Designer/Director 06/18/04
Anthony Davis, D&L Entertainment Services, Inc. 03/02/01
Chip Davis, American Gramaphone/Mannheim Steamroller 05/31/02
Mitch Davis, Tempest Entertainment 07/16/04
Jeff Dawson, Canadian Recording Services 06/08/08
Desiree Day, USO Celebrity Entertainment 08/10/01
Shauna de Cartier, Six Shooter Records/Six Shooter Management 10/23/13
Gene DeAnna, The Library of Congress 02/21/12
Vincent Degiorgio, Chapter 2 Productions 08/01/13
Tony DeLauro, DeLauro Management 12/23/04
Valerie Denn, Val Denn Agency 04/30/01
Val Denn, Val Denn Agency 03/06/14
Robert DePugh, Alligator Records 07/29/05
Tom Derr, Rock Ridge Music 10/29/04
Paul Dexter, Masterworks Lighting Design and Road Cases 12/10/04
Marty Diamond, Paradigm 01/22/10
Glenn Dicker, Redeye Distribution/Yep Roc Records 07/07/06
Barry Dickins, International Talent Booking Agency 06/06/13
Jim Digby, Event Safety Alliance 09/01/16
Mark Dinerstein, The Knitting Factory 11/17/06
Neill Dixon, Canadian Music Week 03/03/16
Thomas Dolby, Musician, academic, technologist, and author 11/09/16
Jasper Donat, Music Matters 2009/Branded 04/24/09
Jim Donio, National Association of Recording Merchandisers 04/22/11
Marc Dottore, M. Dottore Management 04/11/03
Tim Drake, The Roots Agency 12/12/08
Mike Dreese, Newbury Comics 11/23/11
Charles Driebe, Blind Ambition Management Ltd. 09/22/06
Jeremy Driesen, Ray Bloch Productions 09/07/01
Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of Denver’s Division of Theatres and Arenas 08/23/10
Paolo d’Alessandro, International Solutions 06/25/14
Ros Earls, 140dB Management 02/19/14
Art Edelstein, Festival Productions 12/01/02
Bruce Eisenberg, Audio Analysts 08/31/01
Martin Elbourne, The Glastonbury Festival 12/18/09
Michael Elder, Red Entertainment 03/17/06
Tod Elmore, Sixthman 11/24/06
Paul Emery, Clear Channel Entertainment 11/19/04
Arty Erk, Citrin Cooperman 04/27/16
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock ’n’ Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gélinas, Festival d’été de Québec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Chris Gero, Yamaha Entertainment Group 10/26/16
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Steve Gietka, SMG Entertainment 03/19/14
Darren Gilmore, Watchdog Management 03/17/16
Daniel Glass, Glassnote Entertainment Group 10/16/14
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Neil Goldberg, Cirque Productions 04/16/14
Martin Goldschmidt, Cooking Vinyl Group 09/29/16
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, Turntable.fm 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Justin Kalifowitz, Downtown Publishing 04/20/17
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Música e Cultura 05/04/17
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Paul Reed, Association of Independent Festivals (AIF) 06/14/17
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, ItsAboutMusic.com 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Peter Shapiro, Ideal Entertainment 04/16/04
Seth Sheck, Access Pass & Design 01/03/03
Seth Sheck, ACCESS Event Solutions 06/22/16
Seth Shomes, The Agency Group 11/12/14
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Michael Simon, The Harry Fox Agency 08/14/13
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Peter Smidt, Eurosonic Noorderslag & manager Buma Cultuur 07/17/13
Garrison Snell, Gyrosity Projects 02/23/17
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
Nikki Solgot, Circle Talent Agency 02/18/15
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Mandar Thakur, Times Music 08/06/15
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Marsha Vlasic, Artist Group International 05/31/17
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Kirt Webster, Webster PR 02/03/16
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Adam White, Author 09/14/16
Adam Wilkes, AEG Live Asia 10/13/16
Fenton Williams, 04/04/08
Del Williams, Right Arm Entertainment 04/18/08
Bryan "Birdman" Williams, Cash Money Records 09/13/11
Paul Williams, ASCAP 10/19/11
J.P. Williams, Parallel Entertainment 10/03/12
Kurt Willms, Green Room Productions 09/20/03
Chris Wilson, Heartbeat Records 03/02/07
Tony Wilson, Factory Records/In The City 06/01/07
Tom Windish, The Windish Agency 07/26/10
John Wiseman, XL Touring Video 05/05/06
Thom Wolke, Twincloud.com 02/08/02
Michael Wood, City Lights Entertainment 08/08/08
Keith Wortman, Blackbird Presents 03/22/17
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, CultureCatch.com 07/27/07
Jeremiah “Ice” Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
Kevin 'Chief' Zaruk, Chief Music Management 06/10/15
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06

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