Industry Profile: Thomas Dolby

— By Larry LeBlanc (CelebrityAccess)



This week In the Hot Seat with Larry LeBlanc: Thomas Dolby: Musician, academic, technologist, and author.

In a newly-released autobiography, “The Speed of Sound: Breaking the Barriers Between Music and Technology” (Flatiron Books), Thomas Dolby recounts the details of his fascinating career that has led to the Johns Hopkins University in Baltimore, Maryland where he is its first Homewood Professor of the Arts.

It’s an exhilarating book that you likely will race through, just to relish the bumps, triumphs, and curves of this 57-year-old’s career.

Plus, he’s one hell of a compelling storyteller.

Dolby entered the world as Thomas Morgan Robertson in London, England in 1958.

His music career ignited at 17 after he discovered a Transcendent 2000 synthesizer in a dumpster while walking home fired from his job at a grocery store.

By 1982, after playing keyboards with Bruce Woolley and the Camera Club, and Lene Lovich as well as recording with Robyn Hitchcock, Foreigner, and Def Leppard, Dolby became an international cultural phenomenon with his international synth-pop hit, “She Blinded Me With Science,” and its brilliant, self-directed music video.

With a solid recorded catalog and a reputation as an electronica innovator, Dolby was soon sought out to work on projects with such high fliers as David Bowie, George Clinton, Joni Mitchell, and Stevie Wonder,

By the early ’90s, however, Dolby had grown weary of the machinations of the music industry. He moved his family to the Bay Area where he pioneered sound on the internet. He was behind adding audio to virtual reality, and he created Nokia’s signature ringtone.

In 2014, Dolby was named Homewood Professor of the Arts John Hopkins University where he is helping create a new center to serve as an incubator for technology in the arts.

When did you start working on the book?

About two years ago. It took a year and a half in total (to finish).

Several publishers had approached you to write a music business/tech-guru type book. Why did you decide to work with Flatiron Books?

They didn’t want to mess with the concept. That was a good thing. I think they felt that, although an immediate calling card would be people who remembered me from MTV or were into ‘80s music or whatever, but that the book had the potential to have a broader appeal.

Writing an autobiography can be quite a daunting task.

Well, yes. A lot of it was based on diaries that I had or on notes that I had made.

You came up with the idea of writing the memoir in a journal format after sifting through your personal archive of diaries, Filofaxes, Palm Pilots, Danger HipHops, and notepads.

Yes. I had a framework for it. I started out thinking that, maybe, I would just fill in the blanks in the same style. But it (the book) evolved into a first person, past tense narrative. The daunting part was the transition from the journal format to a single narrative. I was worried that I would lose the immediacy (of the storyline).

The book flows well and is easy to read. You seem to have brought some of the same editing skills you have utilized in music and film-making to the book.

I think that music and film editing as well…Yeah, there are some things that (producer) Mutt Lange taught me. One is this ability to be able to view things as for the first time. That’s a really important skill to have. I think you can develop it at the time but, once you develop that kind of skill, maybe, it works across different disciplines.

Was the first part of writing the book--when you wrote things down in a stream of consciousness---enjoyable?

That was actually the easiest part, really. Yeah, that was a lot of fun. I didn’t stop and sweat that, really.

You didn’t get sidetracked looking up dates or facts?

No. A lot of dates I could figure out just by googling them. Some things I had, and some things I didn’t immediately have at my fingertips, but I would pick a random date, write it in, and fact check it later.

In the past 15 years, there has been considerable disruption in how music is both distributed and listened to that weren’t as evident when we were going through the process. Did you reflect on that metamorphosis while reading notes written by your younger self?

I guess so. I think that as you get older, that unless you work incredibly hard to pay attention to how younger people are enjoying and accessing their music—pay attention to what they are listening to--it’s very easy to get out of sync with that. A lot of people tend to use their kids as yardsticks. I’m not sure how valuable that information is as an insight into an entire generation of music fans. It seems to me that in our lifetime music has gone from being a very rarified thing--where you would get excited before a record even came out. You would rush down (to a record store), put it (the record) on in a listening booth, and then you would buy it and take it home. You would spend the first few days flipping between side one and side two, and poring over the lyrics, and the credits, and discussing it (the record) with your friends. Then seeing if you could find articles about the artist. Maybe, they (the band) was coming through on tour. Music was a very rarefied commodity in those days.

In the ‘70s and early ‘80s, whenever a band released a new single or album, everyone knew about it.

Yeah. There was a fraction of the quantity of music coming out then. It was filtered by the fact that there was a finite number of record companies, and finite manufacturing capability, and stocking in the stores. That (amount of music), of course, is all close to infinite at this point.

There were also slim pickings in finding music in specific genres like blues, jazz or worldbeat. Today, it’s all available.

Yeah, that is exactly right. It’s great today from a consumer’s point of view that you basically can get access to all of the music in the world, instantaneously. That’s fantastic, and I think that it is good for music as well. There’s a certain friction-free environment where someone making a recording in their backroom can upload it, and have the same access available as a superstar act. It’s all very good from the point of view of the barriers to entering (the music marketplace) being down. That’s what you want when you are a talent starting out. You believe that this is the world, here’s the music, and they (music consumers) can fall in love with it.

The power of record companies in the past was that they controlled via distribution the path to music retail, consumers, booking agents, club and concert promoters, and radio programmers. Today, the biggest obstacle is being heard when so much music is available.

Absolutely. I agree with you on that. Generally, though, I think it’s a very good thing, you know. We moan about the issues that the record industry has but, in a way, the need for a music industry has gone away. Obviously, there are new gatekeepers, the iTunes, and Spotifys of the world, but the physical manufacturing limitation has gone away.

In truth, there was good A&R personnel and good producers under the old label system. It wasn’t all bad for artists trying to enter the music industry.

It wasn’t all bad, but it’s (the industry is) gone. What are you going to do? Busby Berkeley style of dance numbers have gone from the movies. There was a golden age for them, and you can go back and enjoy them, but you can’t resist forward progress. And, sometimes, the baby gets thrown out with the bathwater. We don’t have the choice of winding back the clock and setting it to the way things were. All we can debate is whether the audience’s enjoyment is as good as it can be. I think that it’s fantastic now that you can get so much music so easily. That young people have a much more eclectic tastes, and ranges of likes than our generation had.

Few artists in the ‘80s were doing what you were doing on your own with your music in utilizing layered sounds. Frank Zappa, perhaps. Few record companies then would give artists such production control.

It is a form of orchestration, really. Many classical composers start with the piano, and then work out how to divide up the voicing between instruments of the orchestra; coming up with interesting tonal variations, and different forms of expression for the different parts. So the approach that I took to electronica arrangement, I would say, was like electronica orchestration.

Influenced by your approach to film editing as well?

What about that?

With “She Blinded Me With Science,” you took a storyboard into the label, and they said, “Is there any music to go with this?” You had an idea of what you were doing, you just hadn’t written the music yet.

Yeah, exactly.

Did you have a compositional or arrangement background?

I was never trained in that. I sang in a choir when I was a kid. I did a bit of music theory. That was about it really.

You are a silent film aficionado. What silent films do you like?

Not so much the art films, but just some of the classics of Charlie Chaplin, Buster Keaton, and Harold Lloyd. I’ve always identified with the underdog hero.

Were you, like some Brits, fascinated with American culture while growing up?

I think that inevitably my generation, growing up with access to American film and TV, were fascinated by the (American) culture. It was rare to travel in those days. I first came to the U.S.A. when I was 10. I had a friend at boarding school, and his parents were stationed in Seattle, Washington. So I came over. I was the first kid in my class, certainly, to have done that trip (to America). It was very unexpected. I found the (reality of the) U.S. different from TV, and the movies. There was a big cultural gap (between the UK and America) which has gradually narrowed I think. Over the years you would see a lot of American culture imported into the UK. Often turned on its head, and adapted with our own particular style. But that happened more and more quickly over time.

At the start of your career, it was an exciting time for music in the UK. Was it hard to break into the scene as an artist?

It was pretty hard. Unless you knew somebody, you weren’t going to get signed. You just sent a stamp-addressed envelope to an A&R man if you didn’t have contacts in the industry. I was involved with music, and one thing led to another. I got pretty lucky

You had early success as a songwriter with “New Toy” being recorded by Lene Lovich in 1981. The single reached #53 on the UK Chart. Your mother purchased 20 copies.

Yeah, she was always the first down to the record stores when I had a record out.

The first time an artist or a songwriter hears their music on the radio is a memorable moment.

Yeah, it’s very exciting. It certainly was a bit of a shock, but it didn’t take very long after that to realize that I was making a product, and I had a brand.

That in itself must have been a bit of a shock.

Yeah, but you get used to it.

Playing keyboards with Lene Lovich on BBC’s “Top Of The Pops” would have been a big deal because the next day everybody would have recognized you. Millions watched the show then.

Well, exactly. The population in the UK was 56 million at the time, and on a good night, two-thirds of the UK population were watching “Top of the Pops.”

Writing “New Toy” became a calling card for you in the UK music industry?

Absolutely. It got a lot of radio play, and notice. It’s a song where the composition and the arrangement are very evident. Within the industry, a lot of people took note of that.

You also performed on BBC’s “Old Grey Whistle Test.”

I did it with Bruce Woolley and the Camera Club.

With “Whispering” Bob Harris hosting?

Absolutely.

Why get involved with a music publishing deal with Zomba Music Publishers at the start of your career?

I thought that getting a publishing deal might be a quicker way to get what I needed than trying to get a record deal right off the bat. So I sent music to a few music publishers. That’s how I met Mutt Lange. One of Zomba’s partners, I guess it was Clive Calder, sent Mutt my tapes and asked, “What do you think of this?” Mutt took a shining to the keyboard playing and said it was what he wanted for the Foreigner album that he was working on.

Mutt hired you to play keyboards for Foreigner's 1981 album “4.”

He took a chance on me. He believed in me enough to hire me for that project. I got the chance to work with someone who is a real craftsman, who puts so much care and attention into his work, and who is willing to take risks in the production area.

[The fees from working on Foreigner's 1981 album “4,” as well as revenue from tour dates, enabled Dolby to fund the studio time for his 1982 debut album “The Golden Age of Wireless” from which his solo career was launched.]

The tracks “Europa and the Pirate Twins,” and “Cloudburst at Shingle Street” from “The Golden Age of Wireless” contained electronica sounds many of us had never previously heard. Were there innovative producers around then that you considered peers like, perhaps, Brian Eno, who was also opening up a new universe in music?

Yeah, the ‘80s was a very interesting period in terms of genres breaking down, and people being willing to step outside the conventional labeling of genres of music. Brian Eno was very interesting with the experimental stuff that he did. The ambient music, the music for airports, and all of the collaborations that he did on the one hand, and the more commercial efforts with U2, Coldplay and people like that on the other end. He’s really a true renaissance man. It was very inspiring that he could have the cake, and eat it too.

As an artist/songwriter/producer were you given the necessary freedom in the studio? Or did you have label executives coming around trying to guide you?

No record company every got near my studio. It wasn’t necessarily because I prohibited them from coming down. But in those days there were some artists that you would mess with, and some that you wouldn’t. They knew that I always made up my own mind, really. It was great of them to indulge me like that, but the thing is that even if they are not pulling their weight, a record company can make life very difficult for you just by assigning their resources elsewhere if you don’t collaborate.

You discover your record isn’t a label priority.

Yeah, and often you would be a priority for a couple of weeks but if the record didn’t catch fire they would move onto to somewhere else.

You are credited as co-producer of Joni Mitchell's 1985 album “Dog Eat Dog.” She’s not renowned for sharing musical concepts. How did you two get on? You were brought in as co-producer with her then husband Larry Klein. Did that surprise you?

Well, it was very flattering. I suppose in my mind that I saw that there was this kind of through line of (band leader) collaborators including (bassist) Jaco Pastorius, (saxophonist) Tom Scott and others. I imagined myself in that role as sort of the latest flavor of being a Joni collaborator.

She had been experimenting with a Fairlight CMI at the time?

Yeah. She and Larry had just got the first Fairlight (one of the earliest music workstations with an embedded digital sampling synthesizer). It was very new to them, and I think that they wanted to work with somebody who had a bit more experience with it.

[Bassist Larry Klein became famously connected to iconic Canadian Joni Mitchell after being hired for her 1982 album “Wild Things Run Fast.” Romance ensued, and the two married in 1982. The couple worked closely together for more than a decade, including on Mitchell’s 1994 Grammy-winning album “Turbulent Indigo” that chronicled the end of their marriage. Despite the split Klein helped Mitchell with her albums, “Both Sides Now” (2000) and “Travelogue” (2002)]

An intimidating lady?

Yep. Certainly, she is. I mean very charismatic. A great storyteller. She knows her own mind. She has the right, and any artist has the right, to be thoroughly...how to put it? You know there’s no obligation for an artist to take input from anybody else, even if it’s the correct input. You have the right as an artist to be completely single-minded in terms of the choices that you make, and to ignore advice from others that may be objectively good advice. You can ignore that, and that’s fine because there’s a lack of single artist artistry in the world. There’s an awful lot of stuff that is made by committee.

So Joni, with all of these people that she had worked with--she sort of ping-ponged between them, taking little bits from here and little bits from there-- came to feel that at the end of the day that she was the only person that she needed to please. And she is absolutely 100% correct. There’s not ultimately a right or a wrong way of doing things. The artist has final cut, basically, and that’s the way it should be. As a producer or as a co-producer you are there to serve the artist’s needs. I believe that, and that was certainly my only desire, really.

How did you and Larry Klein as co-producers split up production duties?

How did we split up duties? Well, the band stuff was mostly recorded with Larry’s set of LA.-based musicians including (drummer) Vinnie Colaiuta, and (saxophonist) Wayne Shorter. In terms of wrangling them (the musicians) into the studio, and getting that happening, that was definitely Larry’s domain. I didn’t have a lot of input into that. We would then sample stuff and sequence it in the Fairlight. That was really my domain. Then the other thing that I would do was--going back to myself being involved with orchestration with electronics--I would take her compositions, and I would start to layer them and divide up the harmonies, and the chords into different parts with different sounds.

I think that was something that Joni didn’t really embrace on the album.

Sometimes I would be programming a sound that that was designed for a three or four note motif, and Joni would say, “Ooh, that’s a lovely sound.” She would bump me off the piano stool, sit down, and start playing a two-handed piano part on that sound. She’d say, “Record this. Record this.” This was in the days of limited tracks. I would say that this sound was not designed for a piano style part. It was just designed for a three note melody. She’d say, “No. I love it. Let’s put it down.” The engineer would say, “Well, we’ve only got a couple tracks left.” She’d say, “So we will wipe that stuff we did the other day.” I would be thinking, “You mean the stuff that took me 10 hours to program on Tuesday. You want to wipe that?” Joni would then say, “Yeah, yeah do it. I want to burn my bridges.” So we were slightly at odds from that point of view.

I would imagine a further clash came when fitting in her vocals.

Yeah, with the vocals. Quite often with a singer in the booth, and you have someone in the role of producer in the control room who is saying, “I really like that take if we just re-do the first line, and the 6th line then I think we have a great take.” You would punch that in. It was the day of analog tape. So you were burning your bridges (recording over recorded tracks). You were recording a previous vocal, and taking a chance that it (the new vocal) is going to fit, and work.

We found out quite early on that her choices of her vocal lines that she wanted to keep, and that she wanted to go over, were the direct opposite of the ones that I would have kept.

So there’s no answer to that, really.

It really doesn’t matter, objectively, who is right and who is wrong. She’s Joni so she gets to have her way. I backed off on that. My role for the months that I worked on the album became more and more marginal to the point where at the end I went to a different location, and I would program the Fairlight, and I would send over floppy discs to the studio where they were all working. It was disappointing to me. I liked some of the results, but it wasn’t the kind of easy collaboration that I’m used to with other people that I’ve worked with.

You played keyboards with David Bowie’s backing band at Live Aid in 1985, and again in 2000. David was known to be more open to collaboration than Joni.

Well, he had a very different style. Joni has a hand in every sound that goes onto every song that goes onto her albums. Bowie, on the other hand, I think believed in the talent of the musicians that he assembled, and he acted more of an inspirational figure, really. He brought out the best of the musicians that he worked with because they were inspired by him. They worked well together as a band and their talent came to the fore by his inspiration. So it’s a very different kind of leadership from Joni’s.

[Thomas Dolby and David Bowie were interviewed together at Live Aid].


David had no qualm about bringing in outsiders to flesh out his sound.

Well, yeah and, to be fair, he never took credit unreasonably for anybody else’s work. He would always give them credit; whereas journalists and media wanted to know about one person (David) and one person only, but I think that he was always very gracious with his musicians. Bowie was a collage artist in every sense. He would take a little bit from here and a little bit from there. But at the end of the day it always had his stamp on it. So he wasn’t an appropriator.

While working in tech start-ups in Silicon Valley, did you find parallels to the music industry?

They are very different industries. Music is magic fairy dust, really. You can’t predict how the public is going to respond to a new product the way you can to a bar of soap powder. Proctor & Gamble can’t sell music. The people selling music early on were basically music fans who, over the decades, made it into an industry, and they tried everything they could to make it (the process of releasing music) more predictable; to make it more so if they were going to invest millions in a new act that they would be guaranteed a return on their investment. But they never approached the quantifiable business practices of the high-tech industry, for example. There is some fairy dust in high tech as well. Who the hell knows whether the Apple watch is going to take off or be a flop? I am not saying that there’s no magic in the tech industry, but the way that it’s funded, and the way that it’s executed is a lot more methodical and scientific than the music industry. So, correspondingly, the people operating in Silicon Valley, it was a more adult environment, really.

The technology and music worlds were far apart in the ‘90s. Those in the music industry worried about technology, wanted to monetize everything, and were slow to adapt to what came to be offered via technology.

Yeah, and it was very mysterious. It was mysterious even to the business people, and I was not a business person.

Well, you had to be. You had your own companies, Headspace and Beatnik Inc. You may have been winging it as a tinkerer working with music and technology, and trying to figure out everything—but you were still a businessman.

Yeah, I had no choice. But to be fair, in the early days, when you have a VC-funded business, it’s speculative. It’s a different set of rules from a typical business where, if the numbers don’t add up at the end of the month, then you are out of business. (In the VC-funded tech world) you are given this red carpet that is rolled out, and you have a certain amount of time to try and prove an idea is viable. So it’s a different type of the thing. I had a board to answer to, but I didn’t really have...there was basically zero revenue from those companies.

Certainly, Beatink Inc. would have imploded, as did so many dot-com companies at the time, if not for Nokia licensing Beatnik Audio Engine technology in 1999. Can the VC-funded tech world be summed up as “We are going to give you X amount of funding, and we will give you a certain amount of time, and we will return and you show us what you have. Then we will either give you more funding or you close you down?”

That’s pretty much the sum of it, yeah.

Why did you resign from your own company, Beatnik Inc., and exit from the tech world?

I lost interest in it (music-based technology). It got mainstream. A lot of the things that I do, once they go mainstream, I lose interest in them. I am mostly drawn to something when it is still hazy. That was the case with most of the things that I did.

You are a self-described tinkerer. At various points in your career, you have jumped on and off projects that you found intriguing or that had promise or you felt you could express myself with. Do you primarily prefer working in sectors where the rules are still undefined?

Yeah. Once things go mainstream it becomes about engineering and money, basically. There’s less wiggle room, really, for creativity. That’s why I tend to move on. I am a migrant tinkerer.

There’s also an element of Mutt Lange’s anonymity with your career as well. Despite your music and video-based celebrity status, and significant name-recognition, you can pretty well walk anywhere you want today without being recognized, right?

Yeah. But we were talking about tinkering. Mutt doesn’t tinker. He can take something that is already good, polish it, and make a fabulous gem out of it with hours in the studio. There are not a lot of people like that. Artists tend to not have the patience. We want to quickly get to the finished results. That’s very different from me. Mutt didn’t do a lot of experimental stuff, really. He tended to work with artists that were already on a trajectory, and he just took them to the next label.

You spend three-quarters of the year in Baltimore. Where do you spend the rest of the year?

In the UK. I have three children who live there. They are in the ‘20s.

Do you still oversee hip-hop workshop classes for students at the Margaret Brent Elementary/Middle School in Baltimore?

We do that after school. They (students) come down to the lab, and we teach them how to make their own beats, and how to record vocals and so on.

A rewarding experience for you?

It’s very rewarding. Baltimore is a big city with problems, and John Hopkins is relatively a big fish in a small pond. So we try to be a good neighbor. The nice thing about Baltimore is that just about everybody that you talk to has views, or are actively involved, in trying to answer, “How do we make it better?” That’s refreshing because there are a lot of big cities where people don’t have that attitude.

You were living in Los Angeles In 1994 when the earthquake hit and caused $240,000 to your home in the Hollywood Hills.

Yeah, that was a bit annoying.

With that extent of damage why didn’t you bulldoze the house?

We didn’t bulldoze it because it’s a beautiful 1920s Spanish mansion.

Still, you soon moved because you and your wife (American actress Kathleen Beller) were expecting your third child.

L.A. is not really a good place to bring up small kids.

Not necessarily always the best place for a creative person either.

Depends at what stage of your life that you are at, really.

When you approached John Hopkins University, you applied for a part-time film position.

That’s correct. It is still what I am doing now. I teach music part-time, and the rest of my time here is spent on community outreach programs and, generally, getting the new film center off the ground.

Was it a big learning curve switching careers to be now teaching 20-year-old university students?

Ahhh, yeah. It certainly was a big learning curve. Academia has a lot of quirks of its own. I have lectured a lot, but teaching is different. You need to roll your sleeves up and really get into the thick of things. John Hopkins’ students are brilliant but reserved.

They grew up embracing technology. Do you wonder about the path of their experiences in the future? Where they might take us?

Yeah. I definitely wonder. It’s an amazing time, really, for creativity, and the beginning of a new era. So it’s exciting to watch.

Meanwhile, you are now able to put the moniker “author” next to your name.

Yes. That’s nice. Along with the other monikers.

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 a 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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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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