Industry Profile: Rob Hallett

— By Larry LeBlanc (CelebrityAccess)

This week In the Hot Seat with Larry LeBlanc: Rob Hallett, CEO, Robomagic.

Rob Hallett is back.

Boy is he back!

The wily, seasoned London-based deal broker who exited as president of international touring, AEG Live in April, 2014 after a decade, has launched a formidable boutique music firm.

Hallett’s AEG portfolio is filled to the brim with unprecedented (if unlikely) triumphs, including: Global tours by Leonard Cohen, Jennifer Lopez, Justin Bieber, Usher, and Black Eyed Peas; three Bon Jovi stadium tours of Europe; a record-breaking 21 nights of Prince at The 02 Arena in London; the Barclaycard presents British Summertime series at Hyde Park; and the Capital Radio Summer Time Ball.

Hallett’s recently-announced new company, Robomagic, is a 360-styled operation.

A promotion unit, Robomagic 360, seeks to strike 360-styled deals with emerging artists, encompassing recording, publishing, artist management and brand management, while making use of strategic partnerships.

Robomagic Capital offers financing to emerging and established artists to help them grow their businesses.

Finally, a live promotion company, Robomagic Live, will oversee arena and stadium tours on a national and global scale.

A follower of Brighton’s punk scene while growing up, Hallett began his music career booking bands into such local clubs as The Hungry Years, and The Alhambra.

A brief spell at March Artists in London led to Hallett working with the Clash, and then managing, and touring reggae artists.

Next Hallett worked at The Cowbell Agency, where he handled UB40 and was introduced to a new band, Duran Duran—his career break. The band became his global calling card, and he continues to work with them today.

Hallett’s move from being agent to promoter came during a prolific decade stint with Marshall Arts, working with Keith Sweat, R, Kelly, Mary J Blige, and Back Street Boys, ‘N Sync, Britney Spears, and Justin Timberlake.

Hallett joined Mean Fiddler Music Group in 2001, and subsequently managed the live music firm's international touring, and promoting arm. In 2004, he was responsible for the UK and European tours of Britney Spears, Justin Timberlake and Usher.

Hallett arrived at AEG Live UK following a takeover bid of Mean Fiddler Group by Live Nation, and Irish promoter MCD Promotions.

What staff do you have at Robomagic?

I have 6 people. It took me awhile to find people. I’ve got mostly a young staff that has just left university. Young promoters. Svetlana Scheck, my head of marketing, though, has been with me 10 years. Then there’s a pool of production people that I have worked with over the years such as Kahren Williams, Keith Morris, and Keith Wood. Keith Morris, I have known for over 30 years.

That’s more staff you had when you launched AEG Live in the UK.

The time at AEG was good for me. It enhanced my reputation, undeniably. I’m starting out now with more visibility, and with a bigger vision. A better vision.

You have taken various components of your career to forge this new company.

I have always been enamored with the entire (music) industry. I think that it’s very hard to de-compartmentalize an artist’s life. I have tried, when I’ve been able to and when I have been in a position to, to have an overview of the whole thing. That is what I have kind of done all my life. It’s not that I can’t decide what part of the industry that I want to work in. An artist is in all sides of the industry. Why shouldn’t their reps be?

You have been an agent, a promoter, a manager....

I’m 55. I started when I was 17. So I have been around forever. Yep, I’ve been a manager, and I had a label back in the ‘80s with Andy Taylor when he left Duran Duran. We had a little label with SBK Records and Charlie Koppelman. It was called Equinox.

In essence, Robomagic is a three-tiered company.

Yes, it is three-tiered, basically. There’s (the promotion unit) Robomagic 360, which is set up to sign new talent; to invest in new talent in ways that record companies don’t. With revenue streams across the board, I can sign an act, like a label signs an act for three years, for touring, and for production. I’m not going to be a label. It’s going to be series of partnerships. That’s how I built up my global business at AEG, and before with Mean Fiddler.

Still, you are acting as a label in that you are funding acts while controlling their musical rights.

We don’t own any music rights. Basically, we provide capital. There are variances (with the different licensing deals). It sort of switches to a record company deal a little bit with the developing acts. We lend them money. It’s guaranteed against the income. Once they repay the mortgage, they own their material, however.

Rights revert back to them?

The rights go back to the artist.

Your intent is to make your investment back?

Yes, and have an override. It flips the (traditional record deal) model on the head. Instead of it being 80/20 in the favor of the label, it’s more likely to be 60/40 or better depending on the artist’s sales base in the artist’s favor.

Will Robomagic be involved in recording, publishing or management activities where there may not be an early reversion of rights?

Yeah, on the developing side. Basically, making a fair deal for the artist is at the heart of the company. Artists should always own their own art. It’s hard to own stuff. In this day and age, very few artists sign for perpetuity for anything.

Perhaps, with their publishing.

Any act that is hot, they don’t.

Of course not. The traditional template for the music industry is that developing acts get screwed over for three album cycles and then hammers the label and/or music publisher in negotiations for futures, and tries to regain ownership of their full catalog.

I would rather do a fair deal, and save on the legal costs. Do a fair deal in the first place. Do the 10 year license, and then get screwed with the new advance to keep it (the licensing deal) in 10 years’ time. You are making the majority of the income in the first 10 years of a song anyway, unless you are very lucky to get a band that is....

I don’t know if that’s true. For recording income, yes, but not necessarily on the music publishing side.

Yeah, but how many songs are there that can be placed in syncs? Can be chosen to be in movies, and for other things? I hear you. There are songs that can earn money for hundreds of years or for the life of copyright. But that number is small, and I’d rather be fair. Give them back (rights) after 10 years and, because you are being fair, you hope that they will give you a fair deal to extend the license.

You are going to be a music publisher, however.

We are going to be a music publisher in a new model. I wouldn’t be signing life of copyright. I think that artists should end up owning everything once they get to a certain level. It’s their pension, you know. It’s going to be strategic partnerships. Everything is going to be strategic partnerships. You can’t be all things to all people.

Are there different licensing time periods with some of the deals?

No. As long as we have a good relationship we will be able to work together. I am still working with Duran Duran 35 years later.

For emerging bands?

It’s all down to negotiation, if anything else. But the heart of the model is that the artist at the end of the relationship will end up owning their own stuff.

How far away are you from announcing your first project.

Not far. Very close.

Anything you can mention?

No. It’s bad luck to talk about anything before it’s real. You will be surprised. It’s multifaceted. There’s quite a few different projects that I am working on at the moment across the board.

It took you 9 months to set Robomagic up. Obviously, you set it up carefully and as your own vision connecting the dots in the industry.

That’s the plan. It took me 9 months because I wanted to get it right. I didn’t want to come out half-cocked. Having worked at the level I had worked at I wanted to maintain that (level). In this day and age, the independent promoter working with his own check book, it is virtually impossible. The big boys have come in. The big money is there. Without the right backing, I just would not have been able to work at the level I have been in the past 10, 15, 20 years or whatever it is. I didn’t want to become a club promoter.

Or a manager?

No. I want to be a manager. I love managing. Being part of Usher’s management team was great. I really loved, and enjoyed it. It was one of my favorite times in my life. So management is something I aspire to again.

[Hallett has promoted Usher since he was 14, and was brought on as part of the management team for the album “Raymond v Raymond” in 2011.]

How did you attain the financing for the company?

Through my own endeavors. One thing that I have learned is you can’t sit back and rely on other people. I just kept knocking on doors. Every meeting that I had, I listened to what they said, and I tweaked the business plan a little. I had another meeting. “Well, we like this, but you really need a little bit of that.” I tweaked it again.

Did you meet with bankers and venture capitalists?

I met with everyone. I spoke to venture capitalists, and to equity investment companies. The first thing they said was, “What’s the out in five years?” I said, “What do you mean what’s the out in five years? I don’t want an out. This is my life. It’s my career.” I spoke to banks. I spoke to private individuals. In the end—a magician never gives away his secrets—however, it’s (the financing is) a combination of private individuals, and private banks; depending on the capital (for projects). I put together a jigsaw of investment people who are like-minded, and who want to be in our industry. They see the opportunity (in the music industry). They see it as a growth area, unlike some of the pessimism that is out there. And I really do see our industry as a growth area.

Why?

I have never known so much talent being around. The artist being able to make music without a recording studio has really moved the talent hunt leaps and bounds. People on an iPad can make music, can make hits in their bedrooms. So the amount of talent that is emerging is staggering. Artists don’t have to spend 1,500 or 2,000 bucks a day in a recording studio. The kind of talent that is emerging because of the home recording studio is just incredible.

As well, with the use of social media, their potential audience reach today is global.

And this is what I specialize in, and this is what I want to do. I’ve got on my (office) wall a plaque that I am looking at with Leonard Cohen; where he played three continents, 30 countries, and 372 shows. Jennifer Lopez, 5 continents, and 65 cities. That’s what I do. As you said, social networking and everything else has made it much easier to get a message across, and for an artist to make music and to immediately put it out. If we had had this in the punk rock era, the music landscape would be very different today. The whole thing then was everybody wanting to do it yourself, but you couldn’t.

Nor did punks want anything to do with branding or corporate sponsorships.

The punk ethos could have gone more global with these things. Now major corporations want to get involved with rock music. There was a time when I was knocking on corporation doors, and they’d be saying, “You guys are a bit dangerous with scandals and drugs. We’ll stick with sports.” In the post Tiger Woods era, it’s kind of, “Hang on a moment, you think we are dangerous? Look at them (sports celebrities). We are actually squeaky clean (in comparison).”

Within the music industry, it’s argued that there’s too much money either being left on the table or being siphoned off by others.

Yes. Absolutely. One of my roles for the company is to help guide new artists through the jungle with my 35 year experience of where all of the landmines lie. I hopefully can use that experience with a young team to guide people through that minefield

A few years ago, Ted Cohen, managing partner of TAG Strategic, told me about Ovation Towers in Los Angeles developing an efficient live recording process. The show you are seeing tonight, you can purchase as a CD or a download on your iPhone on your way out the door. Labels and managers weren’t then interested.

I would have a concern about supporting that. When you have a long tour like Justin Bieber doing 124 shows, an artist is not going to be great every night. They really don’t want that as being a legacy. They want their best work out there. I’m not a huge supporter of taking a CD from a show. Anyone I love I want them at their best.

Sure, but look at the shoddy bootlegs available.

They are fun. Some of them have mistakes which make them fun on that level. Once you start commercializing that (live music), it’s no longer fun, is it? I used to sneak a little cassette player into the Brighton Dome under my greatcoat when I was a kid. I’d press “record,” and I’d get it home and hear the conversation of the guy next to me. The sound wasn’t all that good. It was fun. It was atmosphere.

The concepts behind Robomagic resemble the development strategy Live Nation had been planning with Live Nation Artists, and Live Nation Recordings. Yes, big acts like Madonna, Jay-Z, Shakira and Nickelback and others were brought into 360 type deals, but emerging acts like the Zac Brown Band were being developed as well. That grassroots development strategy, however, didn’t go forward.

To be honest, Larry, I’m not that familiar with that model. I obviously know about the Madonna, Nickelback and Jay-Z deals. The smaller ones (deals) I’m really not aware of. I was distracted doing other things. Trying to build a company called AEG Live. I know that it didn’t last very long and I don’t the reasons why and I don’t know the deals that they were making.

Live Nation’s 360 deals with Madonna, Jay-Z, Shakira and Nickelback encompass future music and music-related businesses, are based on performance, but the money discussed got scary.

Yes, they (the deal figures) got scary, but the Jay-Z deal paid off in spades.

And the Nickelback deal seems to have paid off.

Yeah so...

And the Madonna deal has paid off.

We all sat back, and said, “Wow, that was dumb!” But, actually, it was smart. Michael Rapino (president and CEO of Live Nation) is a very smart man. He’s built up a huge empire with balls of steel. Not many people have had the balls to throw that type of money at (artists’ careers), and everything else. And it has just worked for him. But not everybody wants to be part of the giant multinational. When I was fundraising, everybody said, “How can you combat Live Nation? They are huge. They are everywhere.” Blah, blah, blah.

Back in the ‘70s when I was growing up as a music fan there was Capitol EMI (in the UK) that had everything from Cliff Richards to Bing Crosby (with a Grace Kelly duet “True Love” in 1956 and 1983) right through to Queen, Duran Duran, and Dexys going into the ‘80s, and right on up to the Rolling Stones. There was also Chris Blackwell, who had this little company (Island Records) that had a dozen of the greatest acts that you ever heard. The artwork was done to perfection. And we had Richard Branson building up (Virgin Records) that was more across the board.

Island and Virgin were boutique-styled labels that made their way into the mainstream.

Yes. They managed to compete and have great businesses, healthy businesses against the multinationals. I don’t see it as any different in this day and age. I don’t want to be as big as them (the multinationals). I am not trying to be the world’s #1 promoter or the world’s #1 anything. I am just trying to be an alternative as a boutique operation for artists who are interested. Ironically, I’m in the Virgin Building (actually the RB Building). So the Virgin analogy is quite a good one because I’m sitting in Richard Branson’s old office, the one on (557) Harrow Road.

Labels, music publishers and managers are all trying to do 360 deals. I don’t think that labels can quite pull them off well because they don’t understand live music business.

They say they don’t. Of course, they understand it. It’s not rocket science. What they don’t like is the fact that you can lose a million bucks each time.

Manager Peter Rudge and I recently discussed that if you go back 15 or 20 years ago, few label executive are in the business today, but almost all of the promoters are. Live music is just a different world.

I think it is, but I think also there’s different ethos. Record companies don’t value people over 40. They don’t value experience. I have friends in the record business who, just as they were getting great at their jobs, and they knew everybody, they got fired, and it’s, “We’re going to bring the kids in.” We, in the live industry, may not have been as good a success as them because we like our jobs and we hang on to them. Until the advent of companies like Live Nation, and AEG Live we could because we owned our own businesses. The live music business until the advent of Live Nation wasn’t a corporate business. It was a cottage industry.

Up until the time when Robert Sillerman rolled up all of the regional North American promoters into SFX in the late ‘90s.

He put everybody in a box and said, “I’m going to make you rich.” Well, thank you. Even the biggest promoters were often living hand-to-mouth. So we weren’t corporatized until Sillerman came along. We didn’t have these methodical guys making decisions on who to hire and who to fire. That was never there. And we (in the live music sector) valued experience, and we still do as an industry, whereas the record industry, to my mind, never has done that historically.

[The consolidation of America’s concert market came as Robert Sillerman’s SFX Entertainment spent about $2 billion buying promoters and other entertainment properties, including snapping up 11 regional companies and 82 venues. Such legendary American concert companies as Delsener-Slater Presents, Cellar Door, Pace Concerts, Bill Graham Presents, Don Law Presents, Sunshine Promotions, Contemporary Productions, Evening Star, Electric Factory Concerts, and Avalon Productions came under the same corporate umbrella. Sillerman then sold the company to Clear Channel Entertainment for an estimated $4 billion. In 2005, Live Nation was formed from a spin-off of the subsidiary, Clear Channel Communications.]

Today, the landscape is littered with former A&R executives without jobs. According to Ritch Esra, co-publisher of The Music Business Registry, 37 A&R executives exited their A&R jobs in 2014. Out of that 37, not one has managed to get another A&R job.

Because with record companies, once you hit 30 they think that you are old. They don’t value age and experience. They really don’t.

One of the best periods you had at AEG was 2012. You had big tours with Bon Jovi, Justin Bieber, Leonard Cohen, the Rolling Stones, and the Who.

It was a huge year for me. One of the biggest of my life. One of the biggest for AEG.

Did the departures of AEG CEO Tim Lieweke and AEG Live CEO Randy Phillips, as the company posted its first billion dollar year in 2013 influence, your decision to leave AEG Live?

Ahhh, how do I put this diplomatically? Tim brought Randy in. Randy has been my friend for 25 or 30 years. They were no longer there. It’s a different place.

You had a relationship, of course, with Jay Marciano who was named chairman of AEG Live.

I’ve known Jay for years but Tim and Randy brought me in and they were no longer there. Everybody has their own visions of the company, I guess.

[Jay Marciano had only been COO of AEG 7 months following the exit of AEG founding CEO Tim Leiweke. Marciano had been CEO of AEG’s European operation, a position he took in 2011 after a 6 year stint as president of Madison Square Garden Entertainment.] An industry joke is that Live Nation is awash with Canadians. At AEG Live, senior VP Debra Rathwell is a Canadian, and both Jay and John Meglen (co-president/CEO of Concerts West/AEG Live) worked in Toronto for years.

So America gave you one American back which was Tim Leiweke. I’m sure that Tim is causing havoc in Toronto. I love Tim. He’s an unstoppable force. He’s an amazing executive, and an amazing individual.

[Tim Leiweke, who joined Maple Leaf Sports & Entertainment as CEO in 2013 after working for 13 years for the Anschutz Entertainment Group, said in Aug, 2014 that he planned to leave MLSE by June, 2015. Since New Year, Leiweke has been acting as a consultant to the MLSE board, not the company's CEO. He has confirmed to Bloomberg News that he has talked with former Live Nation Entertainment chairman Irving Azoff about starting a joint venture.]

Who at AEG Live pitched the 02 Arena residency series to the late Michael Jackson?

It was Randy Philips. I can only take credit for the promotion.

Why England?

Michael. I think that Michael knew that he was loved here He wasn’t being hounded by the press as much here as he was there (in the U.S.). He knew that he had a home here and that people loved him here.

[“This Is It” was a planned residency show of 50 concerts by Michael Jackson to be held at The O2 Arena in London. They were scheduled to begin in July 2009 and continue through to March 2010. By then there had been considerable use of AEG’s multiple-show residency concept at O2 for such acts as Prince, the Spice Girls, and Bon Jovi. Speculation was rife that the London comeback gig might kick-start a global Michael Jackson tour, including shows in China.]

Did you attend any of the Michael Jackson rehearsals in Los Angeles?

That was Mr. Philips and Mr. (Paul) Gongaware (co-president/CEO of Concerts West/AEG Live). I simply sold the tickets.

Do you recall your reaction when you heard about Michael‘s death on June 25th, 2009, just two weeks before he was to arrive in London?

Devastated. Totally devastated. It took me days to recover. I wasn’t in the office for three days. It was devastating. Not just for me and the AEG folks, but for the whole world. Michael was loved. If only he knew in his lifetime how much love there was out there for him.

Originally only 10 concerts were announced, but the tickets were sold out in less than an hour and the public demand for tickets resulted in 40 more concerts being added, making 50 in total. Tickets sold like crazy.

Crazy, crazy, crazy. Nobody has ever done anything like it. Crazy, crazy, crazy. If only the shows had happened.

What initially led to Michael Jackson's ticket sales exploding?

The thing I was most proud of was that I came up with this idea of taking a whole ad break to launch a tour. So on (ITV’s) “Dancing On Ice” we took the full 30 second ad in the final break. The ad (viewed by 11 million people) just started with his greatest hits edited it together with live video with no (apparent) reason. In the ad, you didn’t know why you were watching Michael Jackson’s greatest hits on video. Then, at the end it was. “Michael Jackson Coming Live To London” with the website (address). That was the match that set sales off.

Did you have difficulty with your AEG Live associates in convincing them about Leonard Cohen doing a world tour starting in 2008?

Yeah, they all looked at me. At that point I was still being indulged and Randy was very much my friend. He was like, “You’re not going to be able to shut him up.” It really didn’t take too long to prove the point. In respect to my American cousins. They really don’t know what‘s going on in the rest of the world too much. I knew there was a market. Leonard’s poetry has been translated into Polish, Greek, and so on. I just knew that there was a market for him. I was convinced. Convincing Leonard (about touring) actually was harder than convincing AEG to be honest.

Prior to the tour—his first in 15 years---Leonard did 18 warm-up dates. There were two reasons. One, Leonard was unsure if he would be any good anymore. And secondly he didn’t know if people would want to see him anymore. We basically called the tour, “First we take Fredericton, and then we take Moncton.”

[After Leonard Cohen stepped onto the stage of the 700-capacity Playhouse theatre in Fredericton, New Brunswick on May 11th, 2008, the audience responded by giving him a standing ovation before he had sung a note. He rewarded them with a three hour show.}

For those dates you were working with veteran Montreal-based promoter Ruben Fogel.

Having a meeting with Ruben, and André Ménard (co-founder of the Festival International de Jazz de Montréal) you better take a day off. I don’t know who talks the most between the two of them. I love them both. André can talk for Canada. If they ever have a Talking Olympics, just put André in and you’d win all of the events.

When Leonard came to Europe with his “Old Ideas World Tour,” you were busy trading off dates there with Bon Jovi.

Probably. As you say in 2012, I was flipping between Bon Jovi, Leonard, Rod Stewart, and Justin Bieber. I had a hell of a year. The Who were out as well that year.

People thought you were crazy putting Leonard in the 16,000-capacity O2 in London, but tickets sold out in 24 hours. In all, he did three shows there.

Yes. That came about because at some point I said to Leonard, “I want to do an arena tour, but I don’t want to scare you.” With a glint in his eye, he said, “Well, maybe, one or two arenas.” Then, in Manchester, we were playing at the Opera House. It was beautiful, and everything. He was playing “Closing Time.” I was in the audience, and I got up and danced to “Closing Time” and people were saying, “sit down.” I was like, “This isn’t a church. This is a celebration of the man’s music.” So I thought we’d give it (an arena) a shot. I love the opening shot of “Live In London” (DVD) with Leonard’s face when he comes out and sees 16,000 people there. His little face, it light ups. He looks shocked almost. It became a party that I had imagined. It wasn’t reverential. People were singing and getting up and dancing. Standing up and dancing to “First We Take Manhattan,” “Closing Time,” and “Take This Waltz.” In Dublin, I remember people waltzing in the aisles in the pissing rain. It was just wonderful. When you play small venues, it becomes too reverential.

As a young punker you were moved by the music and poetry of Leonard Cohen?

Absolutely.

You have said that he’s written lines that you have lived your life to. What lines?

“I will not be held like a drunkard under the cold tap of facts.”

That’s “What Am I Doing Here” from Leonard’s 1964 collection of poetry “Flowers For Hitler.” Obviously, Leonard profoundly influenced you early on.

Leonard has been a force in my life since I was about 13 when I first heard him and through my punk, reggae, and my pop years. Leonard Cohen has been the consistent through my life. I love the man. I’ve read every poem that’s he’s written, and heard every note he’s written. I have every record he’s released, including bootlegs and cover versions. The man is an artistic God in my eyes.

Leonard has been described as “The King of Sorrow,” “Poet of Loneliness,” and “Prince of Anguish.” In person, he’s a very funny man.

He’s hilarious. I can never understand people saying, “Oh, he’s a merchant of doom. He’s so miserable you want to slit your wrists.” Listen to the motherfucker. As a Canadian, you must have seen that (1965 National Film Board) film “Ladies and Gentleman...Mr. Leonard Cohen” (that shows Cohen at 30 on a visit to his hometown of Montreal). I keep saying, “Why don’t you write another novel? Your novels are great.”

Leonard started his musical career as a country singer.

There’s still a lot of country in his music. In the last couple of albums there’s a lot of country, and blues.

[As a child Leonard Cohen was touched by the music he heard in his Montreal synagogue. The first singers he listened to were the folk singers Pete Seeger, and Josh White, and country stars George Jones, and Johnny Cash that he heard on radio station WWVA in Wheeling, West Virginia. At McGill University, he began writing poetry, and formed the country and western trio, the Buckskin Boys.]

There are pockets of international support for Leonard in cities like Dublin and Paris.

Ireland for sure. Belgium is huge. I have a plaque on my wall for selling 100,000 tickets in Belgium. There are tons of places (where Leonard is popular).

Not bad for an old guy in a bad suit.

No. As Leonard would himself say, “Lazy bastard living in a suit.” My favorite film is “Bird on a Wire,” the (1972 documentary) made by Tony Palmer where he was playing decent-sized venues. I got them all. “Bird on a Wire,” I remember watching that when I was a kid. They called him a “prick hero.” Leonard Cohen, to all of the women, is like a prick hero. I defy anyone to watch that movie and not become a Leonard Cohen fan.

How did you come to elbow out the competition for British Summertime at Hyde Park, starting out with the Rolling Stones in 2013?

We pitched it. In this business, you need a bit of luck. It was an anniversary. The Stones hadn’t played there since 1969. We showed them the site plans, and we came up with a compelling offer, and they went for it. It was serendipity. The first year that we had Hyde Park was the first year that they were looking to work for awhile. It all made sense.

[The Rolling Stones performed at Hyde Park in 2013 during the band's 50 and Counting Tour, celebrating the band’s 50th anniversary. The 65,000 tickets were sold out in three minutes.. In 1969, the Rolling Stones had performed a free concert in Hyde Park two days after the death of founding member Brian Jones, with the gig also serving as the introduction to new guitarist Mick Taylor.]

Let’s talk about some of you great moments at AEG Live.

My proudest thing at AEG Live in the UK is the fact that I started out there in the corner office in the corporate building with just me.

You really did build AEG Live UK from the ground up?

Yes, from the ground up. My international network today is exactly the same as when I joined AEG Live. AEG had to have offices in Los Angeles, and in London. I was doing global tours for the same partners that I had been using since the Marshall Arts days.

Didn’t you have another company, Megafactor, affiliated with AEG Live? Within a month it was announced you were actually joining AEG, and would be running its European touring operation.

Well, we sold Mean Fiddler to Live Nation. In the interim I started a little service company Megafactor. It didn’t trade more than six months.

So AEG Live had no footprint in the UK or Europe before your arrival?

No. AEG had no footprint. It was my Mean Fiddler footprint. My Marshall Arts’ footprint. Barry Marshall was my big mentor in the ‘90s. He turned me from an agent into a promoter.

During your decade at Marshall Arts you worked early on with Keith Sweat, R. Kelly, Mary J Blige, and the Back Street Boys.

When I first joined Marshall Arts, I had nothing. My whole Duran Duran period had gone up in smoke. Andy Taylor and I had bought a recording studio that went bankrupt

Don’t forget you managed Private Lives.

Oh God, you’ve done your research.

Well, there aren’t that many bands that did as poorly on EMI America, having just the single album, “Prejudice and Pride,” in 1984.

Ironically, Gary Gersh signed them to EMI America, and he’s now president of global talent at AEG Live. So the irony of ironies.

That was after you had left Derek Block Artistes Agency where you worked with UB40, Duran Duran, and Adam and the Ants. What led you to move to Los Angeles to manage a band?

‘Cuz, I couldn’t work in England. I had an injunction against me when I left Derek Block When I left Derek Block he slapped an injunction on me preventing me for working for a year there. It took a year to get rid of it. I was young and impetuous and he wasn’t paying me enough money. I said, “Fuck you. I’m leaving.” I was joining Apollo Leisure at the time. He kind of went, “No, you’re not” and slapped an injunction on me. So I couldn’t work for a year in the UK. So I said, “I will go to L.A. and work.”

You returned to the UK to work with Barry Marshall for a decade.

Yeah. I love Barry. A great guy. After Private Lives, I came back to England and Andy and I bought a recording studio, and we had Equinox Records and it all went tits up. I went to Prestige Talent for a moment with Miles Copeland and Phil Banfield. Personality clashes. That only lasted six months.

Then, I was at the ILMC (International Live Music Conference) and I was standing at the bar, and Barry Marshall was there. He said, “I haven’t seen you for years. What happened to you? One minute you were a bright star in our industry. You had just come from nowhere. The next minute, you had disappeared.” I said, “Long story, you know?” He said, “Well, why don’t you come and work for me?” It seemed like an eternity at the time to make a deal with Barry. It took about three or four months. I made a deal, and it was the smartest thing that I have ever done in my life. Barry kind of brought me back onto the straight and narrow. I didn’t have any acts. He said, “Here’s Al Jarreau who I have done for awhile. Why don’t you help me out with that, and book him for jazz festivals.” Then he had Marcus Miller and (David) Sanborn. I started getting heavily into jazz musicians. I took on Herbie Hancock myself, and a few others. I became Mr. Jazz. I could make a living whilst I was looking for the next pop break.

Previously you were Mr. Reggae.

It was back in the day. I love music. I really love music

The stint at Marshall Arts gave you further opportunity to work in America.

I was always working in the States, from the Duran Duran days.

Yes, but you had more on your plate now, and more opportunities.

I always knew that America was a place that I needed to get some credibility to get the American acts. It was too hard working with the English acts. All an act had to do in England was get on the front cover of NME in those days, and they had every agent in the world fighting to get them. Whereas not many people (in the UK) were looking to America. I got there at a very early age with Duran Duran, and I wandered around and found out that everybody wanted to do business with the new breed of English acts so I was dealing with Wayne Forte, and Dennis Arfa. They were like, “Why don’t you give me this, and we will give you that?” Wheeling and dealing. Suddenly, I was hearing, “You should pick up some American acts.”

Many Brit acts were at a loss about working in America at that time.

You could sign British acts for the world as an agent for 15%. They would leave you to sort out the space for them. It was wonderful.

You had started working with Duran Duran at Cowbell did you not?

It was at Cowbell. That’s when I picked up Adams and the Ants. Before that I was....

You were at March Artists for about 5 minutes.

Yeah. How do you find out all this stuff.

[Having made the decision to move back into the mainstream after managing reggae artists, Hallett was offered a job at Cowbell Agency by Martin Hopewell and John Jackson. One of his first acts was UB40 who told Hallett about a band in Birmingham rehearsing in the room next to them. That was Duran Duran. One Friday night Hallett got a telephone call from the booker at the Marquee Club in Wardour Street telling him that the Associates had pulled out of the Sunday show, and asking if he had a replacement. Hallett told him about the demo from an unsigned band that he liked, maybe he should book them? The booker agreed. As a result, Duran Duran played its first London gig 48 hours later. Two weeks later Hallett had the band open for John Cooper Clarke/Pauline Murray and The Invisible Girls at the Lyceum. Duran Duran became Hallett’s calling card for years.]

At March Artists while working with the Clash, you tracked down Jamaican reggae DJ Tapper Zukie for an opening gig slot, and everybody then began to think of you as the reggae guy.

Do you know about Manic Artistes?

No.

Manic Artistes was my reggae agency after March Artists. I also had Manic Records.

[Check out Militant Barry’s (aka Barry Dunn) 1979 Manic Record track “Pistol Boy,” questioning of the death of Nancy Spungen and the following drug overdose by her boyfriend, Sid Vicious (Youtube Link).

I know that you were involved in managing and promoting reggae acts.

I went to Jamaica. I managed a couple of reggae bands and a couple of other things including managing Tapper Zukie. I persuaded every act in Jamaica that wasn’t Bob Marley that I could tour them in Europe. That there was a market for them there. I came back (to the UK) and I toured I Roy, Prince Far I, the Gladiators, the In Crowd, Gregory Isaacs, Culture, and the Mighty Diamonds.

This was after you left March Artists?

This was after March. The punk world had taught me about reggae. (March) didn’t want to do reggae. They thought it was dangerous or whatever, so I got on a plane to Jamaica, and signed everybody.

Did Cowbell offer you a job because of your reggae connections?

Cowbell offered me a job on the basis that I dropped all my reggae.

But Cowbell had the reggae/pop band UB40.

I got UB40 because they contacted me saying, “You are the reggae guy. We want to work with you.” They were the acceptable face of reggae because they were from Birmingham, and not from Kingston I guess.

Aren’t you from Brighton?

Yes and no. I was born in London. As a very young child of 6 or 7, we moved to Sussex, originally Uckfield. Then, at 14 or 15, we moved to just outside Brighton. Then I came back up to London when I was 18. Brighton seems longer because I was there for four or five years in my formative years. The years when you are growing up, and going out to see bands like T. Rex, Quintessence, and ELP at the Big Apple in Brighton.

There was a great local music scene in Brighton in those days.

Yes. I used to manage a band called Isabella. Then I worked with a (British funk/rock) band called Krakatoa. When (singer/keyboardist) Maggie Ryder left Krakatoa, she was replaced by Hans Zimmer. Then Krakatoa signed to Polydor for one record in 1975, I think, and then off we all went.

What did your parents do?

My mum was a school dinner lady when I was at school. When I was born my dad was a lay preacher and later he went on to be a national sales rep for a company called Howson Algraphy that was in the printing industry.

You attended the Uckfield School, and then Lewes Tertiary College. Why didn’t you go off to university?

Because I discovered rock and roll. I was waiting to go to university when I read this article on the Sex Pistols article in ’76 or ’77. I then came up to London, and I’ve never looked back. My parents wanted me to go to Magdalene College (in Cambridge). I did my A levels in a year because I was considered bright. So I got my A levels at the age of 17, and I was going to university that summer. Then I discovered rock and roll.

You saw an article in Melody Maker featuring the Sex Pistols’ manager, Malcolm McLaren?

Yes. Malcolm McLaren was saying that they couldn’t find an agent for the Pistols. I found his number and called up and said, “I’m an agent.” I was 17 running gigs in a pub in Brighton called the Alhambra. I kind of knew what an agent was.

You also booked shows at The Hungry Years too.

(Laughing) You know too much.

This was when you were operating as Domino Promotions?

Yeah, Domino Promotions. I got my business cards printed at Quick Print. I remember to this day it had my mum’s address. I was still living with my mum. So it was my mum’s phone number of the business card.

You met Malcolm, and he gave you the job as the Pistols’ agent. However, you only managed to get the band a pub date for a £50 fee, a third of the fee he was seeking.

Yeah. I got fired within a couple of weeks.

Were the Sex Pistols signed at that point?

No they weren’t signed at that point. They were just making a tour around London. Glen Matlock was still the bass player. It was before Sid (Vicious) was in the band.

What were they like live?

One of the most exciting things that I’ve seen in my life to this day, probably. Steve Jones is a fantastic guitarist. He’s one of the best guitarists out there. With the power that he played, he just shook the room. (Bassist) Glen (Matlock) was a proper musician, as was Cookie (drummer Paul Cook). Glen, Steve and Paul Cook--when they were very young--you wouldn’t see a better rock and roll band. That’s what it was. There’s was the punk attitude, but it was rock and roll. One of the greatest ever, I think, in my mind. Your memory is a wonderful thing. I remember being blown away as a kid.

Were the Sex Pistols better than the Clash?

The Clash was more than a rock and roll band. They were a reggae. They were also a rock and roll band. There was much more musicality in the Clash. A much different group. Will history even think of the Clash as a punk group?

You became immersed British’s punk scene.

Google the Cheltenham punk festival, City Rock ’77. That was the punk festival (Sept. 17th, 1977) that I did when I was about 17. Did you know that? Bob Marland was the promoter of City Rock ’77 at the Chelmsford City Football Grounds, and I was the booker. I used to manage a band called Eater as well. I remember them having a 14-year old drummer called Dee Generate (aka Roger Bullen). I got turned on to them by Rat Scabies. Fruit Eating Bears is another band I managed who I put on that festival.

Just looking at that bill. There was Eddie and the Hot Rods, Doctor of Madness, Chelsea, Slaughter and the Dogs, Fruit Eating Bears, the Lew Lewis Band, Aswad, Glory, and Solid Waste. I don’t remember Solid Waste. When I look at the crowd, it looks more like skinheads than punks.

By then British punk was at its peak with the Clash, the Damned, the Boomtown Rats, and the Adverts happening, and such London clubs as The Vortex, and the 100 Club, as well as Sundown, Red Cow, and Hope and Anchor supporting the genre.

After the Pistol thing (concert promoter and manager of the Damned) Ron Watts invited me down to the 100 Club. We talked about the first punk festival (The 100 Club Punk Festival) from the day before. I started working with him and the band (the Damned). Then I started working with quite a few different punk acts.

When I was at March Artists I was given the job of booking The Vortex. Every act that played The Vortex had to come through me. That’s when I picked up for the agency, Wayne County & the Electric Chairs, Johnny Thunder and the Heartbreakers, and a few other (American) things. A lot of New York things coming over there.

What was your football team growing up?

Chelsea all the way. My dad took me to Stamford Bridge in 1967 after England won the World Cup. I was inspired by football. My father really wasn’t into football. My uncle was a Chelsea fan. But my dad took me to Stamford Bridge, and we beat Manchester United 2 to 1. That’s when they had George Best, and we had Pete Osgood and Peter Bonetti and Bobby Tambling.

There’s speculation of Chelsea picking up Lionel Messi from FC Barcelona. Unlikely.

Yeah, there has been talk. I don’t know if we need him. If you bring him in, he could destroy the dressing room with the players because he’s going to come in and want 200 grand a week wages. Almost a million a month. I think it’d be bad for Chelsea. Do we really need him? You only play a handful of real games a year, probably. Do we need him on a wet Tuesday night? Do we need to pay 200 grand to have someone play that game? (With all the big money) it is so corrupt, football, isn’t it? It’s not the game I fell in love with as a kid.

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.” 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 is a board member of the Mariposa Folk Festival in Orillia, Ontario.

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Industry Profile Archives:
Mick The DJ, DJ/Enterpeneur 04/30/15
Joanne Abbot Green, CMJ Music Marathon and Film Festival 10/17/08
Lee Abrams, XM Satellite Radio 11/28/03
John Acquaviva, Fund Manager, DJ and Serial Entrepreneur 07/09/15
Jay Boy Adams, Roadhouse Transportation 05/04/07
Jamie Adler, Adler Entertainment Group 05/11/07
Gary Adler, National Association of Ticket Brokers 12/04/13
Rodney Afshari, Freeze Artist Management 03/01/02
JC Ahn, VU Entertainment 04/10/13
Steve Alaimo, Vision Records & Audio Vision Studios 05/26/06
Jaye Albright, Albright & O'Malley Consulting 07/19/10
Randy Alexander, Randex Communications 10/12/07
David Alexander, Sheer Publishing 07/21/16
Eva Alexiou-Reo, FATA Booking Agency 05/14/15
Marcie Allen, Mad Booking 12/14/00
Jeff Allen, Universal Attractions 08/16/02
Marcie Allen, MAC Presents 06/05/09
Marcie Allen Cardwell, MAC Presents 12/21/07
David Allgood, Bama Theatre 01/03/11
Patrick Allocco, AllGood Concerts 10/05/07
Michele Amar, French Embassy 05/26/16
Mike Amato, Rok Tours International 02/02/07
Jeff Apregan, Apregan Entertainment Group/Venue Coalition 09/30/15
Billy Atwell, AMP Studios 12/13/07
Bob Babisch, Milwaukee World Festivals Inc. 04/02/15
Tom Baggot, thebookingagency.com 05/02/03
Stephen Bailey, EPACC & Deleware Center For The Arts 02/06/04
Cary Baker, Conqueroo 05/11/11
Vince Bannon, Getty Images 07/05/11
Phil Barber, Barber & Associates 02/04/01
Camille Barbone, WineDark Records 12/09/05
Erin Barra, Musician/Producer/Educator 07/10/14
Ben Baruch, The Fox Theatre 09/27/08
Paul Bassman, Ascend Insurance Brokerage 08/03/16
Adam Bauer, Fleming, Tamulevich & Associates 02/15/02
Ed Bazel, That's Entertainment International 10/05/01
Joachim Becker, ZOHO Music L.L.C. 01/12/07
Howard Becker, Comet Technologies 05/02/11
Mark Bego, Author 06/15/07
Jim Beloff, Flea Market Music 09/20/10
Richard Bengloff, The American Association of Independent Music (A2IM) 09/12/13
Seth Berg, South Bay Music 01/30/09
Aimee Berger, 2 Generations SPA Music Management 09/24/04
David Berger, Future Beat 10/29/14
Barry Bergman, Music Managers Forum 03/14/03
Steve Bernstein, Relix LLC 09/30/05
Mark Berry, Attack Media Group 04/07/07
Scott Billington, Rounder Records 01/17/12
Jeffrey Bischoff, Cinder Block 03/24/06
Sat Bisla, A&R Worldwide/ Musexpo 03/29/10
Nina Blackwood, Sirius Satellite Radio 07/14/06
Adam Block, Legacy Recordings 11/07/13
P.J. Bloom, Neophonic, Inc. 01/24/11
Rishon Blumberg, Brick Wall Management 06/27/03
Justin Bolognino, Learned Evolution, and The Meta Agency 04/25/13
Steve "Chopper" Borges, Total Pro and Borse Techos 03/03/06
Les Borsai, Mediocre Management 01/30/04
Shane Bourbonnais, Live Nation Canada 03/21/08
Jeff Bowen, Sears Centre Arena 03/13/08
Rick Bowen, Mystic Music Experience 07/11/08
John Boyle, Sanctuary Music Group 03/19/04
Jeff & Todd Brabec, Writers/Attorneys 01/03/12
Bill Bragin, Joe's Pub at the Public Theater 08/08/03
Joel Brandes, Avenue Management Group 11/02/08
Joe Brandmeier, Moving Pictures 03/15/02
Scooter Braun, SB Projects 12/13/10
Ron Brice, 3rd & Lindsley Bar & Grill 06/08/16
Billy Brill, Billy Alan Productions 11/11/05
Doug Brown, Talent Buyers Network 09/21/01
James Browne, Sweet Rhythm 11/01/02
Bob Brumley, Brumley Music Company 02/17/16
Tony Brummel, Victory Records 05/17/09
Charlie Brusco, TBA Entertainment Corporation 10/13/01
Del Bryant, BMI 05/18/07
Cortez Bryant, Bryant Management 12/06/10
Bruce Burch, University of Georgia Music Business Program 10/09/09
Deborah Burda, Kentucky Exposition Center 08/03/07
Patti Burgart, IEBA 06/07/02
Jordan Burger, The New Musiquarium 01/22/01
Ron Burman, Roadrunner Records 08/25/06
Suzanne Cadgene, Elmore 05/19/06
Karen Cadle, KGC Productions 03/12/04
Gary Calamar, KCRW 07/10/09
Charles Caldas, Merlin 07/05/10
Brian Camelio, ArtistShare 02/29/08
David Campbell, AEG Europe 08/02/10
Tom Cantone, Foxwoods Entertainment Group 10/20/00
Tom Cantone, Foxwoods Resort Casino 07/03/03
Tom Cantone, Mohegan Sun 08/30/09
Ashley Capps, A. C. Entertainment 05/21/04
Rio Caraeff, Vevo 07/12/11
Mike Carden, Eagle Rock Entertainment 08/16/11
Charles Carlini, Carlini Group 05/16/08
Mark Carpentieri, M.C. Records 05/27/05
Mark Carpentieri, M.C. Records 01/10/11
Troy Carter, Coalition Media Group 06/07/10
Daniel Catullo, Coming Home Studios 06/22/08
Raffi Cavoukian, Folk Singer/Children's Entertainer 05/11/16
Jeffrey Chabon, Chabon Entertainment Group 08/22/02
Mike Chadwick, Essential Music & Marketing 08/01/12
Rob Challice, Coda Music Agency 03/27/13
Tom Chauncey, Partisan Arts 01/11/02
Tom Chauncey, Partisan Arts 10/04/11
Lisa Cherniak, Artists Against Racism (AAR) 07/20/01
Bob Chiappardi, Concrete Marketing 06/13/03
Joel Chriss, Chriss & Co. 10/04/02
Michael Chugg, Michael Chugg Entertainment 09/14/01
Michael Chugg, Chugg Enterprises 10/02/09
Gary Churgin, Harry Fox Agency 09/13/10
Vinny Cinquemani, S.L. Feldman & Associates 12/13/12
Barry Coburn, Ten Ten Music Group 03/28/11
Matthew Cohen, Green Room Productions 10/19/01
Ted Cohen, TAG Strategic 01/10/13
Lisa Cohen, Associated Booking Corporation 02/10/06
Steve Cohen, Music + Art Management, Inc. 03/09/07
Dan Cohen, Music & Memory 01/12/17
Michael Cohl - Part 1, S2BN Entertainment 03/06/13
Michael Cohl - Part 2, S2BN Entertainment 03/13/13
Bryan Coleman, Union Entertainment Group 02/14/12
Mamie Coleman, Fox Broadcasting 07/05/12
Dennis Condon, Disneyland Resorts 07/13/01
Peter Conlon, Peter Conlon Presents 05/20/05
Tony Conway, Buddy Lee Attractions 10/06/00
Allen Cook, TOURtech 04/16/15
Tomas Cookman, Cookman International 09/05/03
Alex Cooley, Alex Cooley Presents 07/12/10
David Cooper, Foxman.com 10/31/03
Jay Cooper, Greenberg Traurig, LLP 05/23/11
Julie Coulter, Near North Insurance Groups 06/07/01
Amy Cox, Deep South Entertainment 02/09/07
Michael O. Crain, Crain Law Group, LLC 10/09/13
Charlie Cran, The Strawberry Music Festival 04/05/10
Jim Cressman, Invictus Entertainment Group 06/06/12
Russ Crupnick, MusicWatch, Inc. 07/23/15
Todd Culberhouse, Vision Management /Vision Records and Entertainment 09/05/08
Tony D'Amelio, Washington Speakers Bureau 04/21/06
Ray Danniels, Standing Room Only Management, and the Anthem Entertainment Group 03/05/15
Ken Dashow, WAXQ-FM (l04.3 FM) - New York 09/08/06
Hal David, Lyricist 07/26/11
David Davidian, Independant Lighting Designer/Director 06/18/04
Anthony Davis, D&L Entertainment Services, Inc. 03/02/01
Chip Davis, American Gramaphone/Mannheim Steamroller 05/31/02
Mitch Davis, Tempest Entertainment 07/16/04
Jeff Dawson, Canadian Recording Services 06/08/08
Desiree Day, USO Celebrity Entertainment 08/10/01
Shauna de Cartier, Six Shooter Records/Six Shooter Management 10/23/13
Gene DeAnna, The Library of Congress 02/21/12
Vincent Degiorgio, Chapter 2 Productions 08/01/13
Tony DeLauro, DeLauro Management 12/23/04
Valerie Denn, Val Denn Agency 04/30/01
Val Denn, Val Denn Agency 03/06/14
Robert DePugh, Alligator Records 07/29/05
Tom Derr, Rock Ridge Music 10/29/04
Paul Dexter, Masterworks Lighting Design and Road Cases 12/10/04
Marty Diamond, Paradigm 01/22/10
Glenn Dicker, Redeye Distribution/Yep Roc Records 07/07/06
Barry Dickins, International Talent Booking Agency 06/06/13
Jim Digby, Event Safety Alliance 09/01/16
Mark Dinerstein, The Knitting Factory 11/17/06
Neill Dixon, Canadian Music Week 03/03/16
Thomas Dolby, Musician, academic, technologist, and author 11/09/16
Jasper Donat, Music Matters 2009/Branded 04/24/09
Jim Donio, National Association of Recording Merchandisers 04/22/11
Marc Dottore, M. Dottore Management 04/11/03
Tim Drake, The Roots Agency 12/12/08
Mike Dreese, Newbury Comics 11/23/11
Charles Driebe, Blind Ambition Management Ltd. 09/22/06
Jeremy Driesen, Ray Bloch Productions 09/07/01
Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of Denver’s Division of Theatres and Arenas 08/23/10
Paolo d’Alessandro, International Solutions 06/25/14
Ros Earls, 140dB Management 02/19/14
Art Edelstein, Festival Productions 12/01/02
Bruce Eisenberg, Audio Analysts 08/31/01
Martin Elbourne, The Glastonbury Festival 12/18/09
Michael Elder, Red Entertainment 03/17/06
Tod Elmore, Sixthman 11/24/06
Paul Emery, Clear Channel Entertainment 11/19/04
Arty Erk, Citrin Cooperman 04/27/16
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock ’n’ Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gélinas, Festival d’été de Québec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Chris Gero, Yamaha Entertainment Group 10/26/16
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Steve Gietka, SMG Entertainment 03/19/14
Darren Gilmore, Watchdog Management 03/17/16
Daniel Glass, Glassnote Entertainment Group 10/16/14
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Neil Goldberg, Cirque Productions 04/16/14
Martin Goldschmidt, Cooking Vinyl Group 09/29/16
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, Turntable.fm 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, ItsAboutMusic.com 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Peter Shapiro, Ideal Entertainment 04/16/04
Seth Sheck, Access Pass & Design 01/03/03
Seth Sheck, ACCESS Event Solutions 06/22/16
Seth Shomes, The Agency Group 11/12/14
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Michael Simon, The Harry Fox Agency 08/14/13
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Peter Smidt, Eurosonic Noorderslag & manager Buma Cultuur 07/17/13
Garrison Snell, Gyrosity Projects 02/23/17
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
Nikki Solgot, Circle Talent Agency 02/18/15
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Mandar Thakur, Times Music 08/06/15
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Kirt Webster, Webster PR 02/03/16
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Adam White, Author 09/14/16
Adam Wilkes, AEG Live Asia 10/13/16
Fenton Williams, 04/04/08
Del Williams, Right Arm Entertainment 04/18/08
Bryan "Birdman" Williams, Cash Money Records 09/13/11
Paul Williams, ASCAP 10/19/11
J.P. Williams, Parallel Entertainment 10/03/12
Kurt Willms, Green Room Productions 09/20/03
Chris Wilson, Heartbeat Records 03/02/07
Tony Wilson, Factory Records/In The City 06/01/07
Tom Windish, The Windish Agency 07/26/10
John Wiseman, XL Touring Video 05/05/06
Thom Wolke, Twincloud.com 02/08/02
Michael Wood, City Lights Entertainment 08/08/08
Keith Wortman, Blackbird Presents 03/22/17
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, CultureCatch.com 07/27/07
Jeremiah “Ice” Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
Kevin 'Chief' Zaruk, Chief Music Management 06/10/15
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06

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