Industry Profile: Carl Leighton-Pope

— By Larry LeBlanc

This week In The Hot Seat with Larry LeBlanc: Carl Leighton-Pope

Carl Leighton-Pope knows how to pee out the window of a moving van without it stopping; how to change drivers without stopping; and he knows the motorway stops in Britain where band managers meet up for late-night grub.

These are just some of the many experiences Leighton-Pope learned as a manager coming up through the ranks in England in the ‘70s.

No doubt these experiences help him today to juggle the diverse roster at The Leighton-Pope Organisation, the London-based firm that oversees international bookings for such acts as Bryan Adams, Michael Bublé, Keith Urban, Mica Paris, Billy Ocean, Basia, and Alain Clark as well as the Harlem Globetrotters, and World Wrestling Entertainment (WWE).

It is, perhaps, an unlikely career for someone born in Gilfach Goch, a small, former coal mining village located in the Ogmore Valley of South Wales. English-born author Richard Llewellyn claimed he had based his 1939 novel, “How Green Was My Valley” on Gilfach Goch after spending summer holidays there with his grandfather.

Leighton-Pope comes from a long line of coal miners but after a tunnel roof collapsed on his father, he relocated his family to Swiss Cottage a suburb of London when Leighton-Pope was five.

Two years after leaving school, Leighton-Pope snagged a job in the cloak room of London’s legendary Marquee Club. From this cat-bird seat, Leighton-Pope saw first-hand the development of Britain’s contemporary music scene.

The typical week's program at the Marquee would be Manfred Mann on the Monday night, and New Band Night on Tuesday night when the Who, The Moody Blues or the Spencer Davis Group might be featured. Wednesday was Long John Baldry’s Invitational Evening with Rod Stewart on hand. The resident band on Thursday nights was Gary Farr and the T-Bones. Friday, it was the Yardbirds.

In 1968, now with a wife and young son, Leighton-Pope started a car hire company, Park Cars. The firm had a slew of celebrity accounts including with actors Richard Harris, Peter O’Toole and Michael Caine; TV host David Frost; and celebrity photographers Patrick Lichfield and David Bailey .

In 1971, when an old school friend offered him a half-share in Ddraig Studios in Cardiff, he jumped at the opportunity to be in the music business.

Soon, he was also managing the engineer's band, Sassafras. He bought them a PA system which got stolen at their first gig. However, Sassafras soon became a staple on the U.K. tour circuit. In 1975, the band toured the U.S., opening for Ten Years After.

Saddled with debts from the studio, Leighton-Pope went into bankruptcy the following year. However, NEMS Enterprise boss John Sherry hired him on as a booking agent in London.

It was here that Leighton-Pope discovered his true calling in life.

Within a year he was representing 20 acts, including the Motors, Styx, Journey, REO Speedwagon, Simple Minds, Camel, UFO, and Dire Straits.

Following defections of key agents at NEMS, Leighton-Pope and two other agents there founded the Perfoming Artists Network Agency. In 1981, after three years with the agency, UFO approached him to manage them, and a year later, he signed Matt Bianco for management and for bookings.

Next, with Saga’s manager Clive Corcoran, Leighton-Pope set up Bonaire Records, a publishing and management company with offices in London, Los Angeles and Munich. During this time he signed booking agreements for Bryan Adams, BonnieTyler and Huey Lewis .

In 1991, Leighton-Pope launched the Leighton-Pope Organisation. The company may have enjoyed substantial success touring Bonnie Tyler, Van Morrison and the Chippendales around Europe but after Bryan Adams’ album “Waking up The Neighbours” (powered by the global hit "(Everything I do) I Do It For You") launched him as an international mega star in 1992, Leighton-Pope became one of the music industry’s few power brokers.

Leighton-Pope’s power and clout developed further in the millennium years with the global break-outs of Michael Bublé and Keith Urban

Your hometown of Gilfach Goch means what?

The little red valley. Before the coal came, there was a stream running through it always red with salmon. The coal dust killed the fish and (the population) all moved into an industrial area in the ‘20s, 30s and ‘40s.

My father was a coal miner. He was one of 13 children. He was one of six generations (of coal miners). My great grandfather, my grandfather, everybody worked in the pit. My father had a bad fall when a (mine) roof collapsed on him when I was 5. It killed the guy working next to him. When they dragged my father out by his ankles, he said, “My boys aren’t doing down there.”

The family moved to Swiss Cottage, a suburb of London.

My father got a job as a chauffeur driving a Rolls Royce for a wealthy guy. We grew up in a normal working class environment. I went to school in St. John’s Wood (district). I had a sensational childhood which culminated with my rugby teacher coming to me at 16, and saying, “You haven’t a hope of passing a single exam. If I were you, I would leave now.” I asked what he considered now to be. He said, “Well, it’s Tuesday. Friday would be ideal.” So I was 16 in January, and I left school in March.

It was a great time to be growing up in London.

It was sensational, and music was everything. You bought a record every Saturday morning and that record determined what you looked liked, how you dressed, what clubs you went to, the girls you knew and what parties you were invited to. Your whole life was all about “Hey! Baby” by Bruce Channel or “Runaway” by Del Shannon. Those songs told people who you were. In those days, identity was vital to your survival in the city.

With the Beatles emerging in 1962 in England, everything changed.

Yes. By the time the Beatles released “I Want To Hold Your Hand” (on Parlophone Record in Nov. 29, 1963) in the United Kingdom, we were all on our way.

But ’62 and ’63 was the time when we were all finding out who we were. In 1962, you’d walk a girl home 10 miles for a kiss goodnight. By the end of 1963, you were sleeping with the girl, and maybe didn’t know her name. That is how fast our lives were whizzing past.

You were a mod?

Our favourite band in 1963 was the High Numbers (later renamed the Who) which we followed passionately. We all got jobs in the city because you could wear a suit to work. In those days there were a ton of jobs. You could get a job anywhere. We all had scooters, and we were fighting on the beaches.

Surely you didn’t go down to Brighton and fight the rockers on the beach?

I’m afraid so. A little bit. I fought in Littlehampton (a seaside resort town in West Sussex) and a couple of other places.

Did you identify with Sting as the mod character Ace Face in the 1979 film “Quadrophenia” based on the 1973 album “Quadrophenia” by the Who?

Of course, he was our guy. But there wasn’t as much fighting as people think. They weren’t real battles. The police would decide they wanted to clear the beaches. It was more of a battle than we were actually fighting. At the same time, when (this rocker) and his two friends came to our youth club dressed in leather boots, leather trousers, leather jacket and a crash helmet, looking for me, I hit him with three snooker cues. He still beat the shit out of me. We were seriously outnumbered by fashion. We wore Hush Puppies (brushed-suede shoes with the lightweight crepe soles) for Christ’s sake.

In 1964, your life changed when you got a job at the Marquee Club, starting the day (Feb. 13 1964) it moved to 90 Wardour Street from Oxford Street.

The day the club opened, I arrived to get my job and a guy was on a ladder focusing some lights so I gave him a hand. He said, “Okay, you’re in the cloakroom.” I had a quick look out around 9 P.M. and the guy who had helped focus the lights was Long John Baldry and he was onstage playing with Rod Stewart.

[The first act to perform at the new Marquee Club was the supporting band the Yardbirds followed by Long John Baldry and the Hoochie Coochie Men, and U.S. bluesman Sonny Boy Williamson.]

Working there changed my life. There’d be the Yardbirds with Eric Clapton on Fridays. There was always Manfred Mann. New bands came in on Tuesdays including the Who, the Moody Blues, and the Spencer Davis Group. Suddenly, the whole music scene just exploded in my face through ’64 and ’65.

There so many happening London clubs then, including The Flamingo, The Roaring Twenties, The Q Club, The Scene, and La Discotheque.

Saturday night was very important. We’d dress in tailor-made mohair suits with shirts, and ties. I used to get my boots hand made in Camden Town by a Greek guy who always made them a size smaller than you asked for because they looked better. Pointed shoes with Cuban heels. There was a lot of pain but the look was sensational.

We would start our evenings at the Marquee Club which closed at 11 P.M. Remember, none of these clubs had(liquor) licenses. You couldn’t buy a drink in any of them. So we’d start at The Marquee. Then we’d go to The Scene (in Ham Yard, off Great Windmill Street, in Soho) onto the Mod Club where Reg King (the singer with the Boys and the Action) would be playing. Then we’d go to The Flamingo where George Fame and the Flames or John Mayall (and the Bluesbreakers) would be playing.

We’d finish at 3 A.M. in The Roaring Twenties on Carnaby Street, a black club owned by Count Suckle. It was the only black club north of the Thames in Soho. The music was amazing. “Louie Louie” by The Kingsmen, ska and reggae, brilliant Jamaican music.

You did acting, standup comedy, even tried running a bar.

I tried everything.

Were you any good as an actor?

No. Useless. I was lucky because my father had a pub, The Crown and Two Chairmen in Soho in Dean Street. When I was out of work I had a bedroom upstairs and I had a job behind the bar. So when I was unemployed I worked for the old man. He kept me alive during periods where my film stardom moved further and further away.

Then you started a car hire company, Park Cars .

I had married and I had a couple of kids. I was 22 or 23 years old and I started a car hire business with two other guys. I was the salesman. The first accounts we opened were with Richard Harris, Michael Caine and with the Royal Family and fashion photographers like Patrick Litchfield. David Frost and Peter o’Toole had accounts with us. We did the cars for the 1969 film “Anne of a Thousands Days” with Richard Burton as well as for “Cromwell’ (1970) which was Richard Harris’ film.

I still wanted to be in show business. I wanted to hang out with people that were in that business. I was always very close. I was never going to be in the car hire business for the rest of my life. The car hire business was going to get me to where I wanted to be but I wasn’t sure where that was.

In 1971, an old school friend offered you a half-share of his recording studio, Ddraig (Dragon) Studios in Severn Road, Cardiff.

I got a call asking me if I had some money. I said “Yes.” We then opened up a little recording studio in his shop in Wales. This guy had worked on the Seven Bridge Development (connecting England with the Principality of Wales in 1966) and stolen all of the bricks and blocks we needed to build the studio. He built the studio but he had no money.

You ended up managing Sassafras.

This 18 year old (guitarist) Dai Shell, who was our studio engineer, was in Sassafras. I didn’t know anything about bands. What I did know is they needed £1,000 for a PA, and that they were on the road. I became their manager even though I didn’t have a clue about management. I drove the van. I bought the PA. We started playing clubs. I thought it was all fantastic.

I said to Chris O’Donnell who was co-managing Thin Lizzy at the time, “They write all of their songs.” He said, “They are singing ‘I've Seen All Good People.’ They didn’t write that.” (Performed by Yes, and written by Jon Anderson, the song was included on “The Yes Album” in 1971). Well, it turned out that they didn’t write all of their own songs. The Beatles’ “I Am the Walrus" was their big encore number. However, I got them signed to Chrysalis Records (in 1975).

Chris O’Donnell was also handling Gypsy then.

That’s right. He had Gypsy; I had Sassafras; and Paul Charles had the Irish band Frupp. We all had bands and we all ate in the same motorway services all over England on our way back from gigs. Birmingham was curry town. If you wanted a curry at 2 a.m., Birmingham was the place.

Many North Americans don’t realize that you can drive England bottom to top within a day.

If the money was £75 as opposed to the £50 we were usually getting, we’d drive to Newcastle and back as a one-off (date). We had a van with all the gear in the back. We knew how to pee out of the window without stopping. We knew how to change drivers without stopping. We were a band and we were on he road.

You didn’t get £75 or even £50 most nights.

No, we were getting £20, £25 and £30. if a big gig came along, we took it wherever it was. Denis Desmond would book four or five clubs in Ireland and we’d go there two or three times a year and play. And we played in Eastern Europe. I went to Yugoslavia when (President) Tito was there. I went to Romania (also behind the Iron Curtain). All with Sassafras.

You went to the United States with Sassafras in 1975 when they played St. Louis, Baltimore, New York, Chicago, Boston, Detroit, and Buffalo.

And Topeka, Kansas. We were playing arenas as the opening act on the last Ten Years After tour ever. (Fronted by guitarist Alvin Lee, the British band broke up after touring the 1974 album “Positive Vibrations.”) The middle band was Peter Frampton who was recording the album “Frampton Comes Alive!” (which stayed at #1 on Billboard’s Top 200 chart for 10 weeks in 1976).

You were 29. It was the first time you’d been on an airplane. What was your impression of the United States?

I loved Americans. I loved the size of the country. I loved the history. I loved the fact that we were in Missouri and so were all of these cowboys. It was, “Wow, I’m in Philadelphia.” It blew us all way. We had had a good laugh on the road with Peter Frampton who is English. We did some dates with Fleetwood Mac and hung out with Mick Fleetwood and all of those guys. It was just a great. We were a young band. I didn’t have a clue. None of us had a clue. But when a band walks onstage and plays for 10,000 people and the most people they’d play for up to that point was 500 people, it is sensational, even if we didn’t make any money.

The first gig of the tour was in Topeka, Kansas.

We got to Topeka on a Sunday and we walked up the main street, six of us, and there was not a single person. I see this big sign that says, McDonald's. We’d never seen a McDonald's before. We had the Wimpy's hamburger chain in England. The McDonald's sign said, “Ten million hamburgers sold every day.” Do you know what (guitarist) Ralph Evans said? He said, “I’m not going there. We won’t get a fucking seat.” The place was empty.

They were Welsh and they were so funny.

That night we went in the dressing room and there was a big deli tray, and beer forever. The following morning (singer) Terry Bennett is dragging this suitcase out of the hotel. He’s dragging it on the floor. He stole all of the beer we didn’t drink and put it in his suitcase. We carried it all the way to St. Louis. When got into the dressing room in St. Louis, there were more beer. So we stopped stealing beer.

In Baltimore there was a riot.

There was a riot and a car was on fire in the street. They gave us this big black guy in a white suit with a bald head (as security) to walk us back to the hotel. Ralph Evans said, “You must have looked after some famous people.” The security guy replied, “Sure mac, I looked after the Kennedys.” Ralph turned around, and said, “They are fucking dead. I’m no going with him.”

Despite so much touring and releasing three albums, Sassafras never made it big. By ’77, Sassafras had split up.

Sassafras never sold any records. It was a business that went on and on. They were never going to be a big band. But I made a lot of friends.

How did you become bankrupt?

We owed money from the recording studio. I didn’t know what was going on. Suddenly, a guy turned up one day and padlocked my office. It was actually a good thing for me. It made me grow up real quickly and become a responsible businessman. We had four children by then. I was bankrupt. I had no money. I had no bank account or credit cards. I said, to my wife Pamela, “I have to get a job.”

After you travelled to London from Wales, to repay a £200 debt to Sassafras' booking agent John Sherry at NEMS, you ended up working for him.

I said to Pamela, “Look, I owe John Sherry £200. I can’t owe people money.” So I got on a train, and I went to London. At exactly 5 P.M., I walked into John’s office and I gave him the £200. He asked me what I was going to do. I said, “i'm packing it in. I might as well get a job as a lorry driver. I’d be making more money than I am now. I’ve got a wife and four kids. I have to look after my family.” He said, “Why don’t you come and work for me? You could be an agent.” He gave me back the £200 and said, “That’s five weeks salary. £40 pounds a week. In five weeks time if it hasn’t worked out, then leave. I think it’s going to work out.”

[Leighton-Pope came to NEMS when the agency included such powerhouse agents as Ian Copeland, Ian Flukes, Ed Bicknell, Ian Sales, Norman Dugdale and Phil Banfield.]

Did you move to London?

I left the family in Wales. My mother-in-law lived in an apartment in Notting Hill (London) and she had a living room with a sofa in it. I slept on the sofa for a year. I would go home on a Friday, and return on a Monday. I did that for a year.

You were soon busy?

I got lucky. One of the first bands I signed was the Motors which Richard Ogden was managing. I knew Richard because was he was the press officer (with his company Heavy Publicity) for Black Oak Arkansas. Sassafras had done some dates with them.

One of Richard’s friends was Charlie Levison who was then running Virgin Records in New York. I met Charlie and he said I had to meet Ina Meibach She was managing Patti Smith who was about to have a big hit with Bruce Springsteen’s song, “Because The Night” (from the 1978 album “Easter”). I met Ina and we really got on. So, I booked the Patti Smith tour of 1978 where she headlined the Reading Rock Festival.

Suddenly, the phone was ringing. Derek Sutton called me with Styx. I got Journey from Herbie Herbert. REO Speedwagon from John Barratt. Simple Minds from Arista Records. Dire Straits came in the office. Ed Bicknell said he really wanted to manage them. He asked if I wanted to be their agent. So I booked Dire Straits for the first couple of years. I also got Camel and UFO. Both were very big in England.

Suddenly, within a year of being at NEMS I was representing 20 acts. All of which were flying. Every time I met someone, they’d suggest that I work with this or that band. I suddenly thought, “I can do this.”

You obviously had what it takes to be an agent?

I think it’s about (developing relationships) with people. The deals are the deals. Learning the deals took awhile but once I got the deal, I realized I could fight anybody for the money. John Sherry was a good mentor for me. Ed Bicknell was really helpful. Ian Flukes was really great. And I was very lucky. I knew that I was in the right place doing the right thing.

What was important to me, after having had an (unsuccessful) act for four years, was being involved in the success of an act. I’m suddenly in sold out Hammersmith Odeon with 3,500 people watching Styx and thinking, “This is brilliant!” And then you go back stage, and they all love you. “C’mon to dinner.” That’s even more brilliant. Instead of going backstage, and the band is going “augggh.”

Within two years, however, you left to form Performing Artists Network.

John Sherry came to me and said, “I am leaving NEMS to start my own management company with Wishbone Ash and I want you to be the agent. You should leave NEMS.” So Phil Banfield, Norman Dugdale and I sat down, and had a cup of coffee. I said, “Norman if you manage the company, Phil and I will sign (and book) the acts. So we formed Performing Artists Network in 1979.

By this time you were a well-known booking agent?

I was booking all of these bands so my name got around. I wasn’t looking for publicity in those days. I was looking for money. I was looking to secure the future of my family. We had moved back to London. I had a real nice roster. I was doing well. I bought a little house for £18,000. I was going home every night. It was great.

That didn’t last long.

In 1981, I did the big Styx tour of Europe. (Germany's leading concert promoter) Marek Lieberberg really liked Saga. PolyGram Europe liked Saga. So I put them on a Styx tour and started working with them.

In 1982, I got a phone call from UFO saying that they had sacked their manager. They needed a manager quickly. They were about to go on tour in America with Ozzy Osbourne for 30 weeks. They needed someone to look after them, so I became UFO’s manager and we did the big Ozzy tour. But I never liked (management). I never enjoyed the experience. It was a lot of work. I made a lot of money but (by then) I was an agent.

A pivotal moment for me at PAN was when Gerry Lacoursiere (then president A&M Records Canada) came into my office. He said, “Derek Sutton speaks very highly of you. I have a band that, I think, is perfect for your roster called the Payolas.” He played me a cassette and I said I couldn’t get them on a tour unless he got a lot of support from A&M (UK). I told him I might be able to book them in some clubs. Gerry said “great.” Then he said he’d put me on his mailing list for new releases. That’s when I first got my first Bryan Adams’ record, “You Want It You Got It.” (released by A&M Records in 1981).

There was the perception back then that American-styled rock acts couldn’t break in the UK or Europe. This included Bruce Springsteen, Bob Seger, REO Speedwagon, Journey and others. The same was said about Adams then too, even though he was a newcomer.

Well, I certainly was having a problem ( booking American rock bands). Journey and REO Speedwagon didn’t do any business over here. The American band that did do business in the U.K., and Europe was Styx because they had a big UK hit with “Babe” (reaching #6) and they had a hit in Europe with “Boat On The River.’ So we were able to put them in arenas straight away

The problem for (American bands) was the image. The spandex trousers, the shirt tied up and all of that stuff. The Steve Perry look. It was a horrible look. And nobody over here liked it. We were coming out of punk and going into the new Romantic era which started in ’82 or ’83. So there was this hiatus where these bands didn’t work here. Everybody was losing faith, as I was, in American acts.

Still, you wanted to work with Bryan Adams in 1983?

I got a call from Marek Lieberberg who was doing Rockpalast (a music television show broadcast live on German television station Westdeutscher Rundfunk). He said he had a Canadian band called Loverboy and I should come over and see them. Before I left England, I had a meeting at Sony and I was told that Loverboy was managed by Bruce Allen who also handled a kid called Bryan Adams. I thought, “Wait a minute.” I came back to the office and went through my albums. I found “You Want It You Got” and “Cuts Like A Knife.” I played them again and thought “This is great.” I loved the imagery of “Cuts Like A Knife.”

So I flew over to Westfalia Dortmund (Germany) to meet Bruce Allen. I didn’t fly for Loverboy. In fact, I knew that I didn’t want Loverboy because Journey and REO Speedwagon were both non-starters here

I walked in. I had a quick look at Loverboy and thought, “Nope. Not for me.” I went backstage and met (Loverboy’s co-manager) Lou Blair first. He said to me, “I guess you’ve come for Loverboy?” I said, No. I’ve flown over for Bryan Adams.” Bruce Allen, standing next to Lou, said, “What.” I said I’ve flown over to meet you. I’ve come for Adams.” We then drove from Dortmann to Düsseldorf to the Intercontinental hotel where he was staying, sat in the bar, drank and told road stories all night. And we shook hands on working together. And that was it.

Bryan Adams broke in the UK and Europe opening for Tina Turner but with little support from A&M Records.

In ’84, Bryan did some club shows in the U.K. It wasn’t that there was a resistance from A&M (UK). The company here was phenomenally successful in its own style. with the Supertramp and Joan Armatrading (international) stories, and with “Frampton Comes Alive!” A&M was a boutique label that you would have loved to have your act signed to. Gerry Lacoursiere and Bruce Allen worked hard but the Europeans (A&M in Europe) weren’t really up for it.

Bryan’s nightly duet with Tina Turner of “It’s Only Love” later released on his 1984 album “Reckless” was the key to breaking him there.

Bruce called me and said, “We’ve got to get on this European tour with Tina Turner. We called Marek who was doing most of the dates. I took a meeting with (Tina’s agent) Barrie Marshall (founder of London-based Marshall Arts) who I’d known for years. Everybody got together, and we made the deal. I think it was Bruce who came up with this sensational idea during the negotiations that Bryan would play his show, and Tina would do her show, and then Bryan would play the first encore with her every night. It was a fabulous idea. Every night they sang “It’s Only Love” together, and the crowds went crazy. We all knew he was here to stay.

Bryan is the ultimate live artist. You put him on a stage with two people or two million people, and Adams does it. Every single night.

Your relationship with Bruce Allen led to you working with him on Michael Bublé two decades later. How did the relationship develop?

Bruce and I connected on a number of different levels. We are both passionate (about music and the business). We aren’t afraid to speak our minds. I got on well with (Bruce’s North American team) Terry Rhodes at ICM (International Creative Management) and Don Fox (of New Orleans’ Beaver Productions).

Bruce is a fantastic marketer in his own right. He keeps everybody focused. He builds. (With Bryan) Bruce made the right decisions in terms of TV and interviews and radio. Then we worked all the right people. Of course, Bryan made a great record with “Waking up The Neighbours” (in 1991) which launched him (as an international star) in ’92.

One of the reasons I am still here, at the age of 63, is my relationship with Bruce Allen, and his artists. He has demonstrated many times his loyalty to me, both privately, and publicly. These are the values that I wish were more prevalent in our industry.

To launch Michael Bublé internationally in 2002, Warner Music International devised a showcase campaign around his self-titled debut album on 143 Records/Reprise that targeted 13 countries in nine months. If I recall, he was in England 8 times in 8 months

There are only two taste maker markets in the world, America and London. Michael came to London. We won the battle (for him) to play Ronnie Scott’s Club. They were queuing around the block. Then there was the relationship between Michael and Michael Parkinson who was a powerful personality in radio and TV. Within 11 months, Michael went from playing Ronnie Scott’s to playing his (two) sold out shows at the Royal Albert Hall.

What is Michael Bublé's appeal?

One of the most interesting things about this style of music is the message (of the song) is still there. What had been missing over the years were the message carriers. They were either dead or almost dead. When Michael played the first showcase for Warner Bros. one of the girls who works at the company came over to me after he sang (the jazz standard) “All Of Me” and said, “So, he writes all of his own songs.” I said, “I wish he did, honey.”

I thought it was cool that Keith Urban opened for Bryan Adams on the 2005 UK and Ireland tour.

That was Bruce Allen who also manages (American country star) Martina McBride. He called me and said when we did the next run of UK dates he wanted Keith Urban. I spent a lot of time looking at Keith Urban. I was friendly with Gary Borman (head of Borman Entertainment which handles Urban) who’s a very smart guy. I reached out to him. I now represent Keith and have a sensational relationship with Gary Borman.

Keith Urban could be a mainstream rocker.

I think that Keith is in a transition period. He’s a country superstar but, inside his heart, I think he’s a rocker. He is like a Jon Bon Jovi locked into country. But he’s harder, more cutting edge than most country acts.

How did you come to work with the male revue, the Chippendales?

In 1990, I was contacted by an American guy representing them. He came to London, took me around, and then kept sending me Chippendale stuff. I kept throwing it in the bin. It just went on and on.

In those days, I played squash every morning with choreographer Anthony van Laast. Subsequently, I told Anthony about them over breakfast, and he said “Why don’t you make it a theatre show? Don’t put it in clubs. Choreograph and direct it properly and turn it into a show only for women.” And that’s what we did. We got them on Terry Wogan’s nightly television show. (“Wogan”). They sang one song and the my phones melted.

My son Andrew now works with them here. They are having a resurgence. They are playing the Edinburgh Festival in August, and they’ve got a 60 date tour across Europe that is doing great business. With a new generation of girls, they are popular again.

All your children work in the business.

I’m so proud of them. Andrew came to work with me in 1984 when I started Bonaire, and he stayed with me. Lara manages all of our family business, our properties and our investments. Jake is at CAA, and Toby is at Live Nation.

In Europe, and the U.K., independent promoters still thrive.

Absolutely. I’ll tell you why. Nobody’s got a monopoly here. Even the promoters owned by Live Nation here still do business with anybody and everybody.

Is that because they don’t own their own buildings there? The power of Live Nation and A.E.G. in the U.S. is that they own the sheds.

Anschutz is hoping to build in Europe. But we don’t have successful indoor sports here. We do not have ice hockey or basketball. If you build an arena, you have to put in as much stuff as you possibly can whether it is exhibitions or concerts. Just get it filled. It is not like a (North American) ice hockey arena where 150 dates are already taken by the ice hockey team. So it means that these people would have to deal with everybody.

Secondary ticket reselling is becoming an even bigger business worldwide. With recorded music sales dipping, managers, acts, and agents are looking for other streams of revenue.

The secondary ticketing market is a fact of life. It has been a fact of life all my life. There’s always been touts outside of the building trying to sell or buy tickets. Because of the Internet, this is now a massive business.

The problem is if you multiply the ticket price by the (venue’s) capacity that’s still the gross. Once you have maxed out your ticket price—which I think we have now in the industry—then you have to look inside the deal to find out what you can do. Whether that is a merchandising deal, a sponsorship deal, or whatever.

The fact is the secondary ticketing deal has arrived. This money is being generated with or without you. Then why would you say no to it? If you do say no, then do something with the money (like giving it to a charity) but if you say yes, to cover costs or to make a larger profit, then yes is okay.

That money is being generated whether or not you want to be involved.

With great respect to Bruce Springsteen and Jon Landau, if they don’t want to be involved in secondary ticketing, that’s up to them, I perfectly understand. But I think for somebody to say, “I want nothing to do with that, I don’t want to be involved” then that is slightly irresponsible. That money should go to a good cause. It should not go into somebody’s pocket who is not interested in the business, doesn’t contribute to the industry, and simply buys a bigger car.

Do you still get a “buzz” from a live show?

The sad thing is probably not. If you are in the music business, one of the things that you do lose is that excitement.

I’m a Chelsea (Football Club) season ticket holder. When I get invited to the dressing room and stand there with all of those players and talk to (midfielder) Frankie Lampard, that is a massive buzz for me. I ran into Paul McCartney recently in Hyde Park. It was nice to meet Paul again but I’ve met him four or five times. He’s just another guy in the music business.

What I haven’t lost is the enjoyment of sharing that (event) excitement with others. I’ll take a couple of Bruce Springsteen fans and I give them VIP passes for backstage. Then they go out front and see Bruce and come back with their faces aglow. You have no idea the pleasure and the power you give to those people.

You still get excited by new artists though?

Oh yeah. I was recently a guest speaker at a Dutch event. That evening they showcased three acts. Each played one song each. The middle act was a guy named Alain Clark. He’s 6 foot 4 and he sang a sensational song. I signed him for the agency. I was excited by the music and by the opportunity. I couldn’t say no. (Clark’s debut album “Live It Out” has recently been released on Warner Bros. in the U.K.)

What is the status your musical “Carnaby Street" that you wrote with the grown-up character of Jumpin' Jack Flash looking back over the ‘60s?

It opens in the U.K. in February. We’ll take it out on the road for 12 weeks and, hopefully, we will bring it into the West End (in London). It was 12 years of work. I’m a Capricorn. We just keep going.

Larry LeBlanc 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, the London Times and the New York Times.

.

Industry Profile Archives:
Mick The DJ, DJ/Enterpeneur 04/30/15
Joanne Abbot Green, CMJ Music Marathon and Film Festival 10/17/08
Lee Abrams, XM Satellite Radio 11/28/03
John Acquaviva, Fund Manager, DJ and Serial Entrepreneur 07/09/15
Jay Boy Adams, Roadhouse Transportation 05/04/07
Jamie Adler, Adler Entertainment Group 05/11/07
Gary Adler, National Association of Ticket Brokers 12/04/13
Rodney Afshari, Freeze Artist Management 03/01/02
JC Ahn, VU Entertainment 04/10/13
Steve Alaimo, Vision Records & Audio Vision Studios 05/26/06
Jaye Albright, Albright & O'Malley Consulting 07/19/10
Randy Alexander, Randex Communications 10/12/07
David Alexander, Sheer Publishing 07/21/16
Eva Alexiou-Reo, FATA Booking Agency 05/14/15
Marcie Allen, Mad Booking 12/14/00
Jeff Allen, Universal Attractions 08/16/02
Marcie Allen, MAC Presents 06/05/09
Marcie Allen Cardwell, MAC Presents 12/21/07
David Allgood, Bama Theatre 01/03/11
Patrick Allocco, AllGood Concerts 10/05/07
Michele Amar, French Embassy 05/26/16
Mike Amato, Rok Tours International 02/02/07
Jeff Apregan, Apregan Entertainment Group/Venue Coalition 09/30/15
Billy Atwell, AMP Studios 12/13/07
Bob Babisch, Milwaukee World Festivals Inc. 04/02/15
Tom Baggot, thebookingagency.com 05/02/03
Stephen Bailey, EPACC & Deleware Center For The Arts 02/06/04
Cary Baker, Conqueroo 05/11/11
Vince Bannon, Getty Images 07/05/11
Phil Barber, Barber & Associates 02/04/01
Camille Barbone, WineDark Records 12/09/05
Erin Barra, Musician/Producer/Educator 07/10/14
Ben Baruch, The Fox Theatre 09/27/08
Ben Baruch, By Larry LeBlanc (CelebrityAccess) 04/05/17
Paul Bassman, Ascend Insurance Brokerage 08/03/16
Adam Bauer, Fleming, Tamulevich & Associates 02/15/02
Ed Bazel, That's Entertainment International 10/05/01
Joachim Becker, ZOHO Music L.L.C. 01/12/07
Howard Becker, Comet Technologies 05/02/11
Mark Bego, Author 06/15/07
Jim Beloff, Flea Market Music 09/20/10
Richard Bengloff, The American Association of Independent Music (A2IM) 09/12/13
Seth Berg, South Bay Music 01/30/09
Aimee Berger, 2 Generations SPA Music Management 09/24/04
David Berger, Future Beat 10/29/14
Barry Bergman, Music Managers Forum 03/14/03
Steve Bernstein, Relix LLC 09/30/05
Mark Berry, Attack Media Group 04/07/07
Scott Billington, Rounder Records 01/17/12
Jeffrey Bischoff, Cinder Block 03/24/06
Sat Bisla, A&R Worldwide/ Musexpo 03/29/10
Nina Blackwood, Sirius Satellite Radio 07/14/06
Adam Block, Legacy Recordings 11/07/13
P.J. Bloom, Neophonic, Inc. 01/24/11
Rishon Blumberg, Brick Wall Management 06/27/03
Justin Bolognino, Learned Evolution, and The Meta Agency 04/25/13
Steve "Chopper" Borges, Total Pro and Borse Techos 03/03/06
Les Borsai, Mediocre Management 01/30/04
Shane Bourbonnais, Live Nation Canada 03/21/08
Jeff Bowen, Sears Centre Arena 03/13/08
Rick Bowen, Mystic Music Experience 07/11/08
John Boyle, Sanctuary Music Group 03/19/04
Jeff & Todd Brabec, Writers/Attorneys 01/03/12
Bill Bragin, Joe's Pub at the Public Theater 08/08/03
Joel Brandes, Avenue Management Group 11/02/08
Joe Brandmeier, Moving Pictures 03/15/02
Scooter Braun, SB Projects 12/13/10
Ron Brice, 3rd & Lindsley Bar & Grill 06/08/16
Billy Brill, Billy Alan Productions 11/11/05
Doug Brown, Talent Buyers Network 09/21/01
James Browne, Sweet Rhythm 11/01/02
Bob Brumley, Brumley Music Company 02/17/16
Tony Brummel, Victory Records 05/17/09
Charlie Brusco, TBA Entertainment Corporation 10/13/01
Del Bryant, BMI 05/18/07
Cortez Bryant, Bryant Management 12/06/10
Stephen Budd, Stephen Budd Management 07/13/17
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
Ruth Daniel, In Place of War 08/09/17
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
Andrea Johnson, ICM Partners 11/02/17
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Justin Kalifowitz, Downtown Publishing 04/20/17
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Elliot Lefko, Goldenvoice 09/21/17
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Música e Cultura 05/04/17
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Paul Reed, Association of Independent Festivals (AIF) 06/14/17
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Jack Ross, APA Canada 09/07/17
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
Peter Shapiro, Dayglo Ventures/Brooklyn Bowl 11/15/17
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
Deb Suckling, SUGARRUSH Music 07/27/17
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
Adam Tobey, Concert Ideas 08/24/17
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Marsha Vlasic, Artist Group International 05/31/17
Mat Vlasic, Bravado 06/28/17
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Kirt Webster, Webster PR 02/03/16
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Adam White, Author 09/14/16
Lisa White, Pearl Street Warehouse 10/04/17
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
Jason Zink, Emporium Presents 10/19/17
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

.

Return to front page of ENCORE



© 2001-2017 Gen-Den Corporation. All rights reserved.
CelebrityAccessSM and Gen-DenSM are service marks of Gen-Den Corporation.

** ENCORE readers and those that utilize ENCORE features are bound by the ENCORE NEWSLETTER USE AGREEMENT. If you choose not to be bound by this agreement, please discard the e-mail and notify us of your desire to be removed from future mailings. **