Industry Profile: Shaw Saltzberg
By Larry LeBlanc (CelebrityAccess MediaWire)
This week In the Hot Seat with Larry LeBlanc: Shaw Saltzberg, senior vice president, S. L. Feldman and Associates.
Shaw Saltzberg has been the strategic rook within S.L. Feldman & Associates almost since Canadian manager/agent Sam Feldman slapped his name on the firm in 1979
Saltzberg, who came aboard in 1982, has been a prime catalyst in the emergence of one of the most successful talent agency and management firms in the world.
As senior VP for SLFA In Vancouver, British Columbia, Saltzberg’s personal roster—all heavyweight acts, by the way—includes: Michael Bublé, Bryan Adams, Diana Krall, Norah Jones, Sarah McLachlan, Nikki Yanofsky, Barenaked Ladies, Elvis Costello, Pink Martini, Steven Page, Colin James, Chantal Kreviazuk, Melody Gardot, the Chieftains, Ry Cooder, Michael Kaeshammer, Meaghan Smith, and Naturally 7.
In recent years, Saltzberg’s activities have extended to other core entertainment sectors, including concert promotion, corporate and endorsement sponsorship, and casino consulting.
Among his corporate clients have been: the 2010 Vancouver Winter Olympic Games; the Calgary Winter Olympic Games; the Beijing Summer Olympic Games; the International Commonwealth Games; British Columbia’s 150th Birthday Celebrations; the Great Canadian Casino Corporation; and the British Columbia Department of Tourism.
He has also produced national theatrical tours for the wildly popular CBC-TV children’s program “The Doodlebops.”
With offices in Vancouver and Toronto, SLFA Canada represents over 125 artists—including Jann Arden, Nelly Furtado, and the Tragically Hip -- has various divisions, including Music Supervision Services, Watchdog Management (handling Colin James, Hedley and others) and, notably, Macklam Feldman Management which oversees the management of the Chieftains, Joni Mitchell, Diana Krall, Norah Jones, Elvis Costello, Ry Cooder, and others.
Like Bruce Allen Talent, SLFA, is a division of A&F Music, co-owned by Bruce Allen and Sam Feldman.
Over the years, Allen has taken four Canadian acts, Bachman-Turner Overdrive, Loverboy, Bryan Adams, and Michael Bublé from the ground up to global success. As well, he brokered Martina McBride’s career for over a decade (she recently departed), and reignited Anne Murray’s career. Allen has managed Canadian producer Bob Rock for over two decades.
Prior to Feldman and Allen teaming up in 1972 under the umbrella booking firm Bruce Allen Talent Promotions (that became A&F Music), the two had both separately managed local club acts in Vancouver.
By 1982, when Saltzberg, a former singer/songwriter from Halifax (with a philosophy degree) arrived on his doorstep, Feldman had been running SLFA for three years, with mostly a regional reach. At the same time, he had sizable domestic success managing Trooper, the Headpins, Powder Blues Band, and Doug and the Slugs, all acts whom Saltzberg cut his teeth booking nationally along with Allen’s powerhouse management roster of Loverboy, Red Rider, Prism, and Bryan Adams.
Saltzberg’s world became global in the mid-90s after Sam Feldman’s management joint venture with Steve Macklam, who came in with the Chieftains. Soon afterwards, Joni Mitchell came into their management fold. As well, there was the opening of an office in Toronto in 1993; and a partnership with Marty Diamond’s Little Big Man Booking in New York.
Meanwhile, Saltzberg’s long-standing ties to the principals of Vancouver’s upstart Nettwerk Productions (renamed Nettwerk Group), led to SLFA handling the bookings of Sarah McLachlan, Barenaked Ladies, Chantal Kreviazuk, and Avril Lavigne.
Vancouver is rightly hailed as an artist management hotspot. Overlooked, perhaps, is that it’s been Saltzberg--the ultimate positional player--who has called the middlegames, and the endgames of artists’ careers along the way.
You have been with the agency for nearly three decades.
The agency’s scope expanded globally in the mid-‘90s with Sam’s management joint venture with Steve Macklam.
On a global level, my agent world began to open up with Sam’s partnership with Steve Macklam. After Steve brought in the Chieftains to the company, together they signed Diana Krall, Norah Jones, Elvis Costello, Pink Martini, Melody Gardot and others. It was Steve who introduced me to promoters around the world.
That list (of artists) I now handle in various countries, principally the Pacific Rim, Australia, New Zealand, S.E. Asia, Japan and, in South America from Mexico to Brazil and Argentina. Those are mainstays for me with that roster. Then we dabble almost anywhere, including the Middle East; basically, anything outside of Western Europe and the United States.
That was quite an expansion for a Canadian agency.
Well, it was from a standstill. There was no history of (overseas bookings) in the company other than booking club bands into hotels into the far East
There’s a surprising amount of entertainment activity today in the Middle East.
We have booked Damascus, Bahrain, Beirut and Amman in Jordan. We have booked Israel. We have some artists that are really popular in those countries. One being Pink Martini as well as Diana Krall.
What are the pitfalls in working in some of these territories?
All of the territories I have are very challenging, because there are no strong promoter infrastructures. They are very competitive locally; and very dependent on sponsorship. You have to be very careful with whom you are working with, and know their position in the business at any time. Things change really quickly.
Vancouver, as a music industry centre, has its own challenges.
To some extent, (the problem is) the isolation. The U.S. border is a big barrier and there’s the Rocky Mountains; and Toronto is a long way away. There are a limited number of creative people in Vancouver. The whole goal is to get out. There’s no music business infrastructure in Vancouver, other than that we have a talent agency and we have several successful management companies. But there’s no record business. There’s no publishing business. There’s no radio headquarters. There’s no label headquarters. People are thrashing around, looking for a way out. So you have a lot of movement.
Vancouver has a history of political polarization.
British Columbia has a long history of far-left, and far-right politics. It has only been in the last 10 years that everybody has voted Liberal, which is a centralist party.
For decades, Vancouver’s artistic community was connected to the left, so alternative music flourished there.
The west coast absorbed those thinkers from all across the country, and certainly from the prairies. So you had an alternative community with its own lifestyle and values. That’s why you would have bands like (alternative-styled) Pointed Sticks on one hand, and (mainstream rockers) Loverboy on the other.
Is Vancouver’s remoteness a factor in fostering business and for working internationally.
I think it’s highly motivating. You really have to work harder to get out of the city, and learn about the world. So, (in) this process of elimination, only the strong survive. There’s a very small group of (successful) people, and we have really built ourselves out.
In Bruce Allen’s case, it was (working in) America. In the agency’s case, it was Toronto. From the management perspective, it was (making) a direct path to a global business. So everybody, Sam, Bruce, Nettwerk and I, are on the plane a lot, learning about the world, and, we are working twice as hard because there’s no backup plan when you live in Vancouver. (If you fail) you have to move away. None of us have moved away. None of us wanted to move away.
It’s more interesting because we did it all of this out of “Nowheresville, Canada.” We are not on the prime touring routing. You tour Canada and you hit Vancouver and then you drop into the water. There’s no place to go from here but home.
With the affiliated managements, are there significant pressures on you to deliver?
The closeness is a positive and a negative. I really understand them well. I understand their management style well, and how they approach the market with their artists. That gives me great insight to how to achieve their goals. The flipside is their access to me is 24/7, and they will change their agenda on a moment’s notice.
I’m not unique in the agency business in that I do an awful lot of research and development of ideas that don’t get off the ground I do a lot of in-depth research for tours that may not happen. Probably more so than any other company.
I have never heard Bruce Allen put you down.
Well, maybe (it’s because) I am in his annuity pocket. Bruce will have made a certain amount of money from me working in the agency for 28 straight years. He’s never lost a nickel. Not that his life’s fortune is made on the agency.
In house, you work alongside Macklam Feldman Management which manages the Chieftains, Joni Mitchell, Diana Krall, Norah Jones, Elvis Costello, Ry Cooder, and others.
There must be great expectation of what you can deliver on the agency front.
People there do have very high expectations. They work very hard for their artists and they are extremely responsive to their artists’ needs. They are committed 24/7 to being artist managers. Their style is very hands-on. They consider and think about every decision that they make.
The experiences and contacts developed must have led to even further opportunities.
I couldn’t be breaking Nikki Yanovsky around the world without some of the contacts and the experience that I have gained through those relationships. I’ve been very lucky. I have learned from some great people about the business from top to bottom. Specifically, in the touring business, and the concert business from great people who were active internationally before me and pioneered the fields.
Who does that include?
Bruce Allen, and Randy Berwick (at Bruce Allen Talent); and Steve Macklam himself. Certainly (Nettwerk Music Group president Dan Fraser and Terry McBride (co-founder/CEO, Nettwerk Music Group). These people had built their careers globally before I was active myself. The philosophy behind (the business); the business of (business); and maximizing the potential of artists, I learned from these great people.
You worked on booking for both the opening and closing ceremonies of the 2010 Winter Olympics in Vancouver in Feb. (2010).
Both. Sam and Bruce were on the committee to recruit artists for the opening and the closing, and I was on the committee for the Paralympic Games (that followed). So we were thoroughly integrated into the Olympics. We booked a large number of our artists and we also took advantage of the live stages throughout the city and the many corporate performances at the time.
There’s been criticism that there were too many S.L. Feldman acts, on both the opening and closing ceremonies.
I think (organizers) just picked the artists that they thought were the most appropriate. We happened to represent them.
There were few non-Feldman acts.
I never really added that up. It probably had something to do with the artists themselves. The global brands that represent Canada, if you think about it, we happen to represent most of them. Nickelback (booked by The Agency Group) was included in those brands.
Was it a proud moment for you to be in BC Place for the opening ceremony on Feb. 12, 2010?
It was an amazing moment for Canada, and for music in Canada. To see artists like Bryan Adams and Nelly Furtado on the stage together—artists who are known globally—in their case, both coming out of British Columbia, Vancouver and Victoria—and Nikki Yanovsky representing the next generation—all playing to 3.2 billion people was an absolute thrill.
It was two years of work for you to see that moment?
Two years of very hard work. Certainly not a highly paid position. It was a labor of love. It was very difficult with many special interest groups. But, we had an unbelievable life experience working through the Olympics. I think everyone won’t forget the experience.
What kind of bounce did you have after Nikki Yanofsky sang “O Canada” as well as CTV’s broadcast theme for the 2010 Winter Olympics, "I Believe?”
With the Olympic calling card, all of the territories were immediately interested. That visibility was a very big thing. But Nikki was signed to Decca International before the Olympics. The album was in production for over a year.
The Olympics was a last-minute break for her?
Celine Dion was the pick of choice and she got pregnant with her twins (Dion was, in fact, undergoing an in-vitro fertilization treatment the day of the Olympics’ opening ceremony] and didn’t want to work or travel. So, it became a last minute search. Nikki knew the “I Believe” co-writer Stephan Moccio. He had made a demo with her voice on that tune so Stephan pushed her. He felt she was the best choice. The organizers felt that she had the best vocal version, and that she would be an obvious symbol of youth and excellence (for the Olympics). It turned out to be great.
[Nikki Yanofsky appeared on television during the opening ceremony of the 2010 Winter Olympics in Vancouver to sing "O Canada,” the Canadian national anthem. Canada's broadcast of the opening ceremonies on CTV concluded with Yanofsky's version of "I Believe" written by Stephan Moccio and Glass Tiger front man Alan Frew.
What’s more, her version of “I Believe” was the recurring song played during CTV’s broadcasts during the games.
Yanofsky also performed at the Olympic closing ceremony and the Paralympic opening ceremony. Her version of "I Believe" reached #1 on the Canadian Hot 100 on the week of February 27. Her Decca album “Nikki” was released in Canada in April; and in the U.S. the following month. The album debuted at #1 on the SoundScan jazz chart in Canada, and at #1 on Billboard’s Heatseekers chart in the U.S.]
Nikki is your current development artist.
Nikki has a very strong foothold in the UK. She is getting a big push there. She has been there twice for pre-release promotion; and she’s back there in September for another round. Then, she returns in November for her CD release. She’s definitely a priority there.
Nikki has been to Japan three times. She has dates there in October.
She has 6 or 7 European jazz festivals in July. I’ve booked her into a large number of jazz festivals including in France, and Spain, German, Italy and the North Sea Jazz Festival in July.
She has an October tour of America. A PBS special was broadcast there this month (June), so 50% of the U.S. markets are with a PBS tie-in. Rob Light signed her for CAA (Creative Artist Agency) there; and Nigel Hassler has her in Europe, both with me at the helm.
At the end of this month, there is a Canadian jazz festival tour from coast-to-coast. Toronto and Montréal are both sold out.
You are originally from Halifax, Nova Scotia?
I was born and raised there. I left Halifax and went to central Canada (Toronto) for opportunities. Then you realize that you might not be the best fit for the big city, and you keep moving west. A lot of people did that.
Not many people came to Toronto and got an honors BA degree in philosophy at the University of Toronto.
That’s right. It was my major. We were idealistic, and we were about trying to find ourselves and understanding the world and learning about the history of ideas. It was all very idealistic. I thought I was on an academic track. Then I got a rude awakening. That academic life was stultifying existence--at least for me.
How did you reach that conclusion?
I took a close look at the professors, and the people in the university life. Getting to know them a little bit, and seeing how detached they were from the world was what jolted me. To me, (being an academic) was just too narrow.
The University of Toronto’s campus is quite an academic setting.
It has an Ivy League kind of vibe. It’s a great university with a campus in the middle of the city. When you get to that campus, you don’t feel like you are in Toronto. You are just living in the campus life.
Were you around for Yorkville Village’s club scene?
It was still kicking around. My interest was more in the singer/songwriter side of things. So I would go—to the extent that I had money—and see Bruce Cockburn, Dan Hill and Steve Goodman -- those sorts of artists at The Riverboat; and I’d go to a place called Egerton’s next to Ryerson (Ryerson Polytechnic Institute downtown). Because I was from the Maritimes (Atlantic Canada), I liked a lot of the Irish and Scottish heritage music. I used to go and see Stan Rogers and John Allen Cameron.
Halifax had a great music scene then too.
When I was in high school, I would play in coffee houses and church basements in Halifax. I had a little duo thing going with a friend for awhile. I always had a strong interest in music.
A big eye-opener was that I would go down to the Halifax Public Gardens (a Victorian era public gardens) and the CBC would be shooting “Singalong Jubilee” on a Sunday. They had the camera crew shooting outdoors, and Anne Murray would be singing in bare feet. I thought, “Wow. That is incredible stuff.” Some bands were rocking hard but I was just on a different side of the music. April Wine played my high school. I remember a booking agency that was in Halifax. I remember thinking. “What could they do in the Maritimes?”
Why go to Vancouver after Toronto?
My wife graduated in journalism at Ryerson. We thought we would go out to Vancouver on a one year adventure, as so many people do. “Let’s experience life on the west coast.” Once you get here, and settle in you tend to stay. My wife got a job, and I started singing (solo) to fill time. But once we absorbed Vancouver, we just were never going to leave.
Who was booking you?
A guy called John Whitefoot at the Whitefoot Agency. I was the type of artist who, if you told me four months in advance to show up somewhere, you only had to tell me once. I was the guy who sent the commission in after the gig. I was a flawless client.
Being a one man band, playing to lumber jacks, cowboys, and miners in Prince George or Terrace on a Saturday night is a rough assignment.
I may not have been well-suited to a mining town in northern BC (British Columbia). Maybe, that wasn’t my audience. I changed repertoire fast. From singer/songwriters like James Taylor and Leonard Cohen to the Eagles, Rolling Stones and Creedence Clearwater Revival.
I was privileged to have dinner with Leonard Cohen a few years ago, and I told him about my days playing his songs in mill towns. He asked how it went. I said "Not so well. Even when I doubled the tempos, I couldn't get them to dance.” He said, "I tried that too. It didn’t work out for me either".
You became an agent in 1979?
John had a career chat with me. He told me that I was a talented individual, but not in music; in business. I was taken aback, but I agreed to work as an agent in his office. When I first started, I didn’t have rock or contemporary bands. I was just booking people I met through networking that did something similar to what I did. After 6 months, I had enough clients to stop playing (on my own). Within a year, I had two agents working for me there, and I was doing half of the company’s business.
Any act big acts come out of your roster?
No. That’s why I left. It was a working man’s living, but it wasn’t really the music business. They were really only cover people there. I was booking them in bars, clubs, restaurants, and pubs. We only had two bands that were original (music) bands. There was Sparkling Apple, and David Raven & the Escorts. Sparkling Apple (“the ultimate party power trio”) was like a ZZ Top and David Raven was like a reggae rock thing from Britain.
When you began booking In 1979, Sam Feldman and Bruce Allen had just stopped working together under Bruce Allen Talent. Sam moved to another office with the booking division, which was renamed as S.L. Feldman & Associates. It was soon controlling the local market.
It was. But, I built my little world up. Over a couple of years, I booked all around Sam’s business. Everywhere there was a niche that he didn’t control—basically, everything that was non-rock—I got my finger into. Everything that wasn’t straight ahead rock ‘n’ roll. It was show bands, and Kool and the Gang, and the Commodores style of music. I got into every corner that I could.
How did you come to work at S.L. Feldman & Associates?
In 1982, a friend told me that Sam Feldman was looking for a new agent. He was the king of the clubs in British Columbia and Alberta. He also had a few management clients such as Doug and the Slugs and Trooper. He was curious about this other marketplace I was working in. It was profitable, but he didn’t have anybody in it. He had only one style of agent; one style of band; one style of club.
Were you hesitant about approaching Sam?
Yeah. I thought he was Irving Azoff or David Geffen. I thought he was incomprehensibly successful, and big. He was actually just a regional agent, but he had the region locked. I had no perspective. He had Alberta and British Columbia, and not even all of Alberta.
You met with Sam, and he turned you down.
I went back to him and demanded that he reconsider. He then asked his accountant to meet me. He told Sam afterwards that he thought I was very talented, "not in music; in business.” Sam offered me a desk, a phone but no starting salary or nothing. I had $10,000 in savings, a new baby just days old, and my first condo bought with a loan from my parents. Boy, did I work my ass off.
Who was working for Sam then?
Rob Hoskins was the VP at the time. He ran the office for Sam when I started. And there was Casey Boyle; Lach Buchanan, who went on to work for ICM and booked Loverboy in New York; and Lenny Goddard. There was also Sam’s first cousin Elaine Chick, who booked the colleges and the high schools.
What was most of the agency’s business then?
It was club business. Occasionally, we would book a recording artist once a month for a series of dates. The volume was clubs and top 40 bands and ’80s “party all of the time” lifestyle bands for boomers, either disco or rock bands.
Over the years, we gradually introduced legitimate recording artists to the system. There were Sam's management acts (Trooper, the Headpins, Powder Blues Band, and Doug and the Slugs) and his partner Bruce Allen's artists, such as Prism, Bryan Adams, Red Rider, and Loverboy. We booked Loverboy in clubs.
We also toured most of the successful artists from eastern Canada through (the west) with an arrangement we had with the biggest agency at the time there called The Agency (co-owned by Toronto promoter Michael Cohl and unrelated to The Agency Group). It had such bands as Rush, April Wine, Glass Tiger, and Honeymoon Suite. Interestingly, all of them still tour today.
By then, the golden era of punk and new wave was in full swing in Vancouver with such local bands as the Pointed Sticks, D.O.A., Young Canadians, and the Subhumans.
S.L. Feldman wasn’t part of that scene.
It was a separate scene. It had its own little world and it was very inside. It wasn’t monetized to a great degree. It was a high maintenance, very personal, passionate scene. You had to live the life yourself to be part of that world. There was no monetization of those bands’ activities--either in terms of record sales or even club business. And, you had a lot of self-destructive people in the scene that weren’t very dependable. We ended up representing D.O.A for awhile and we managed (Canadian punk godfather) Art Bergmann.
Late in the game, we thought that we’d better get ourselves a cooler roster. So we sort of came in. The monetization never worked out. I think that we were late adapters. But we had started to understand the music, and see that it was part of the culture, and that we should be involved.
Many in that culture in Vancouver wanted nothing to do with the mainstream that the Feldman agency represented.
It was very much that way. It remained that way for an awfully long time. For decades.
Over the years, you became the “go-to guy” for Sam and Bruce Allen, for running their agency, and touring their management rosters
Although I always enjoyed the business side of the music business, I really began to understand artist management because the company managed artists, and I was in on the decision-making process on a daily basis. This knowledge helped me tremendously in my career, and it gave me a competitive edge. I credit Sam and Bruce for this; but also Terry McBride, and Dan Fraser at Nettwerk, who were the next generation of successful managers to break out of Vancouver.
Did you know Terry McBride before working with Nettwerk’s acts?
I’ve known Terry and (Nettwerk) partners Ric Arboit and Mark Jowett from the time they were teenagers. They worked with my father and brother Brad in their store Odyssey Imports (on Seymour Street). The store, Vancouver's only import record store, was a hub for edgy dance and alternative music and attracted the (alternative) scenesters of the day.
What my dad was doing with this store, I'll never know, but he had a strong interest in music since his days in the U.S. Army's entertainment corps, and from being a nightclub singer in New York after military service.
When my father retired, my brother talked him into getting into the record business. My dad would walk among the goth kids with piercings and tattoos and, I think, he thought he had a platform to finally make it in show biz. Years later, decades after the store closed, and when Nettwerk was an established industry presence, he took his songbook to Terry who pressed 500 copies of his "Greatest Hits.” My father has since passed, but I still have the copies.
Your brother Brad was originally a co-owner of Nettwerk Productions.
Because the label was an outgrowth of the store. At one point, they decided that they were going to stop working at the store and go with a label. Everybody weighed in but my brother later decided he would stick with retail. So he sold his shares to the other guys. Ric Arboit (president of Nettwerk Records) really stepped into my brother’s shares and position. My brother was more on the distribution side (of the business). That ended up being Ric’s world which is label and distribution.
You worked at S.L. Feldman which was the mainstream but Nettwerk was somewhat alternative-styled when it began in the mid-80s with Moev, the Grapes of Wrath, and Skinny Puppy.
We didn’t add all of their artists at once. Skinny Puppy, we never had any involvement with, for example. I started to book Sarah (McLachlan) when she was just starting. She wasn’t alternative. She was a folk-based artist.
My early connection to the Nettwerk guys put me in line to represent their (management) roster. I have worked Barenaked Ladies, Avril Lavigne, Chantal Kreviazuk and others. Knowing them gave me many insights into artist development, certainly the financials of touring. In particular, Dan Fraser, Sarah's tour manager for years, and now a principal in the company, taught me so much about the nickels and dimes of touring.
Opening an office in Toronto in 1993 was a major step for S.L. Feldman. It then tried to go head-to-head with The Agency, owned by Michael Cohl and his companies, Concerts Productions International (CPI) and BCL Entertainment (co-owned with Labatt’s).
We did. We felt that the western artists that we were representing at the time weren’t getting a fair shake. We tried to work things out with The Agency. We had an alliance, but we just couldn’t become a priority (with our acts). We felt that the Toronto-centric thing was inhibiting our artists’ career. We felt that we could do even more for the eastern artists in western Canada if we had more direct communication.
(Opening in Toronto) was a business opportunity. It just seemed that (The Agency was) in the decadent phase, if you want to call it that, of their business cycle. Steve Herman, who was working for us at the time here, made a personal commitment to go out to Toronto and open the Toronto office. Then, it was Steve and (agents) Jeff Craib, Bernie Breen, and Richard Mills working there.
There was soon a merger, and The Agency ceased to exist.
It became one of those things that happens in the agency business where you start to talk to the artists regionally, and you try to convince them that you can do a better job. We ended up with a good portion of (The Agency’s) roster and their business was not as profitable. So we made a deal, and we brought some of their people over and merged into the (one) office. It was Steve Herman with Vinny Cinquemani (today president of S.L. Feldman) who came as the principal representative of The Agency with a very strong roster.
Did that expansion and foothold in Toronto re-shape the company?
Sure, it brought a level of efficiency; people weren’t concentrating on the business and the politics of the business anymore. We started to concentrate on the artist’s careers.
It had been intensely competitive between the two agencies.
For three or four years, it was a knock-down, total competition. Both companies were spending more time defending their business than they should have. So we were given the opportunity afterwards to work closer with the artists and build out their careers.
The Canadian music industry was also just breaking out.
The Canadian business was absolutely breaking out. Artists were starting to cross the (U.S.) border and have major international success. We hit the right time. The Canadian music industry was maturing, and going at a break-neck pace at that stage. So were our management artists with their opportunities. We ended up collectively having--if you put Nettwerk, Sam’s and Bruce’s (management rosters) together -- one of the biggest collection of top artists in the world.
Then, a deal was made with Marty Diamond’s Little Big Man Booking in New York.
Thank you for bringing that up. Once we had the Canadian deal (for The Agency) done, we started to concentrate on the agency business in America. We started putting money into Little Big Man and working with Marty. We were 50/50 partners together, for at least a decade. Marty’s company became a real force in the United States. A lot of it based on his own personality, and success with his roster. But, Sarah started to get big. Barenaked Ladies hit. Then, of course, he had some artists that he got on his own, Coldplay being the biggest one. Avril hit. So we had a real American presence in New York.
Could you have foreseen the agency having such an international presence?
This build out was always the (strategy) from the beginning. It was “How do we work on a global basis?” Everybody’s efforts were focused toward that. I also think diversifying the business was key (to growth), because we came from a marketplace that was relatively small on an international level. So, at the same time that we were working this roster, we were also trying to expand into other niches in the Canadian business that would create opportunities for our artists.
Sponsorship, endorsements, event production, talent buying, casinos buying eventually, and producing national theatrical tours such as for the Doodlebops. Basically, we do anything in the music business with the exception of competing with our promoter clients.
The casino business is growing in Canada.
It’s been a growth industry in terms of venues. Many of the venues are state-of-the-art performing arts centers--theatres with state-of-the-art sound and lights and top quality marketing. You are going to see (the Canadian casino business) build out (further) so that all of the major cities will have a really prime concert venue. Canadian cities are short of venues, which people in the concert industry know. There are cities like Edmonton, Calgary and Ottawa, where finding a venue to present an A-level artist is a big challenge year round.
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.
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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
Jennifer Lyon, MeanRed Productions 01/18/18
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
Jonathan Shank, Red Light Management 12/13/17
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
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