Industry Profile: Stephen Posen
By Larry LeBlanc (CelebrityAccess MediaWire)
This week In the Hot Seat with Larry LeBlanc: Stephen Posen, Sole Executor of the Estate of Glenn Gould.
Toronto lawyer Stephen Posen is jetting off to the Grammy Awards in Los Angeles next month to collect a Lifetime Achievement Award for the late Canadian pianist Glenn Gould.
The Recording Academy’s Lifetime Achievement Award honors performers who have made contributions of outstanding artistic significance to the field of recording. This year’s recipients also include Charlie Haden, Lightnin' Hopkins, Carole King, Patti Page, Ravi Shankar, and the Temptations.
Posen has been the Sole Executor of the Estate of Glenn Gould following the Canadian pianist’s untimely death in 1982 at the age of 50.
Gould, whose statue sits outside the CBC's Toronto headquarters, is one of the most acclaimed classical musicians of the 20th-century; his life and recordings chronicled in more than 50 books, a dozen films, three plays, and endless musical tributes.
Over the past year, Sony Classical has issued a wonderful parade of Glenn Gould Anniversary releases, celebrating what would have been his 80th birthday year, and the 30th anniversary of his death. Among the releases are: “This is Glenn Gould: Story of a Genius,” “Best of Glenn Gould’s Bach,” and “The Great Legacy: The Glenn Gould Collection.”
Also released on DVD were three films Gould made with Bruno Monsaingeon between 1979 and 1981 as “Glenn Gould Plays Bach.”
The genius pianist, while prolific as a recording artist, was also a writer, composer, conductor, and a television and radio broadcaster. Additionally, he was a steady contributor to musical journals in which he discussed music theory, and his musical philosophy.
Gould performed fewer than 200 concerts over the course of his career. On April 10th 1964, he gave his last public performance, playing the Wilshire Ebell Theater in Los Angeles.
Posen was Gould's lawyer from 1971 until his death. He is a senior partner at the prominent Toronto law firm Minden, Gross having been managing partner for a number of years.
Posen’s legal world lies primarily outside entertainment with extensive experience in all aspects of commercial leasing involving office, retail, industrial, and other commercial properties.
Posen joined Minden Gross in 1967 and two year later, being a junior lawyer, was assigned Gould as a client. Although he initially viewed the Gould account as a relatively minor task—handling mostly commercial work— his work with the pianist evolved over time
On Sept. 27, 1982, after experiencing a severe headache, Gould suffered a stroke that paralyzed the left side of his body. He was admitted to Toronto General Hospital, and his condition rapidly deteriorated. On Oct. 4th Gould died. About 3,000 people attended his funeral. He is buried in Toronto's Mount Pleasant Cemetery.
In the decades following Gould’s death, Posen has, with considerable expertise, fully protected Gould’s image, his property rights, and his artistic reputation.
So you will be attending the upcoming Grammy Awards to collect a lifetime achievement award for Glenn Gould?
So they tell me. I am kind of excited. It’s not really my world, but I think that it’s interesting. To be perfectly honest with you, I am thrilled for Glenn. And I feel that I am the appropriate person to go, and receive the award for him. So I am looking very forward to that.
If he was alive, Glenn wouldn’t likely attend the event, but he’d get a big laugh out of being honored.
That’s exactly right. In the statement I was asked to write for the (Grammy) press release for the announcement of Glenn’s award, I said that he would have been pleased and secretly amused. You said it better. He would have really chortled over this.
While it’s wonderful for him to be recognized, there’s also been considerable hard work involved behind having him recognized more than three decades following his death.
That’s right. (When I was informed) I got a little bit teary-eyed; I was so moved by the award being given to Glenn. I said to Neil Portnow (president, the Recording Academy) “You, yourself, probably don’t know how appropriate it is that Glenn to receive this award.” He said, “How so?” So I told him about three things. “Number one, Glenn gave up live concert giving in order to pursue his entire music career on recordings which was pretty much unheard of at the time.”
Then and now, really.
“Secondly, he taught your (recording) industry how to make a perfect recording by editing. He developed the editing process, and he did some (studio) experiments of which I was a part.”
He really taught the recording industry how to use edits to make the best possible recording.
“Thirdly, it turns out to be the award is being given out at the Wilshire Ebell Theater which is the site where Glenn gave his last live concert (on April 10, 1964).”
Isn’t that ironic?
Glenn died in Toronto on October 4th, 1982. What were some of your thoughts that week about how his legacy would evolve?
I made a list literally on the back of an envelope of things that I felt had to be dealt with, and objectives to be achieved. Things along the lines of (having) a collection of his writings; and a biography. I remember 5 or 6 different items on that list. I felt that it was my obligation to try to achieve that list over some period of time. That was my first thought. My second thought was, “What am I doing in this role?”
You became the Sole Executor of the Estate of Glenn Gould.
How has the catalog fared?
Glenn gave up an awful lot of money by deciding to forgo his concert career in favor of a recording career. He could have been a very wealthy man by the time he was 50. He could have made a lot of money. He didn’t because he pursued his life and his career the way that he wanted to. It was sufficient for him to maintain the lifestyle that he wanted to live. When he passed away, I received advice from a number of people to what one could forecast in terms of his future career, if you like.
What was that assessment?
We assumed, based on that advice that his sales would atrophy over a period of 10 years, and then just stop. So what is rather interesting about Gould is that hasn’t happened, and honestly I feel indirectly that I can take some credit for this. Not for what I have personally done, but for what I obtained in the assistance from others to do, which was to push forward.
But also because Glenn Gould was so unique.
I feel that I have indirectly contributed to (the Gould legacy) but the fact is that because he was so unique in terms of his performances, and so excellent (as a musician) that his sales have maintained a fairly steady performance level over the years. The beneficiaries have received many, many times the estimated total value over 30 years than they would have received otherwise.
Is Glenn making more money today than he did in his lifetime?
Well, he’s not making more (every year). He may have made more last year (2012) because last year was a very robust year with his 80th birthday. There will be recurrences on significant anniversary years. But, on the whole, his sales have held up fairly steadily. Is it more than he earned during his lifetime? Ah, yes it is. It has been. Not every year, but on the whole.
Obviously, Glenn Gould isn’t Adele in terms of sales today. So it must be an ongoing lobbying process in getting Sony to release new Gould sets.
It is. That has been occupying the Estate’s time over all of the years from time to time. I have continuously pressed on the idea that Glenn Gould can and should be a perpetual best-selling artist within the narrow world of classical music because of his unique style of playing; and because there are always new generations, and that there are new territories.
Of course, instrumental music goes across international boundaries as well.
Do people tend to download his music or buy CDs?
I think that there’s a lot of downloading. A lot of it is digital, and it’s growing.
I take it despite the changes in formats from vinyl to cassette to CD that the royalty rate for his Sony catalog hasn’t changed.
That’s kind of a thorny question. The answer is that as of now the royalty rate is the same. But it’s an area of discussion between us and the recording company (Sony Music Entertainment). I am concerned. On one hand, they are good partners; but, on the other hand, if they insist on staying with the same rate, I think that they are taking unfair advantage.
For the most part, Glenn Gould’s recordings are timeless, in particular his classic 1982 release, “Bach: The Goldberg Variations.”
I am not knowledgeable enough about classical music to be able to comment (on the overall musicality of the Gould catalog) but I agree with you about the ’82 Goldbergs. It’s astonishing to admit that the executive of The Glenn Gould Estate isn’t a huge fan of Bach. My desert island recordings are the Brahms’ recordings. Those are the ones that I love the best.
[In 1981, Gould re-recorded the “Goldberg Variations” digitally and in stereo in the Columbia 30th Street Studio in New York City. He somewhat abandoned the showmanship of his 1955 recording and replaced it with a more introspective interpretation. In 2002, Sony issued a three-CD collection, titled “A State of Wonder: The Complete Goldberg Variations 1955 & 1981.” It includes the 1955 and 1981 Goldberg recordings, and a disc with 1955 studio outtakes as well as a lengthy interview with music critic Tim Page.]
This has certainly been a banner year for Glenn Gould reissues.
Yes it has. I think that Sony has been a good partner in that context. The initiative honestly came from the Estate through Faye Perkins (an advisor to the Estate of Glenn Gould who heads Real World Artist Management). Faye and I talked about it (Gould’s anniversary), and talked about trying to get some activity but Sony was very responsive, and they have done a good job.
Has the Canadian Broadcasting Corporation (Canada's national public radio and television broadcaster) been a good partner as well?
Yes. The same thing. I think that it has taken some initiative from the Estate to nudge them along but, at the end of the day, they have been a very good partner as well. I think that there’s more to be done in terms of some still unreleased material, and some different ways of using existing material. (Utilizing) some different channels of getting the music out to the public. But for the whole, I think that CBC and Sony have done a really good job to date.
Is the unreleased material largely audio or video?
Is there a lot of stuff that wasn’t released by the label?
Not a lot. But there was a wealth of recorded taped music in his (personal tape) collection as a whole.
I can’t say that it’s all good quality, but there’s a lot that is of good quality. Some people have said that he has released what it is that he wanted to release; and released what he felt was appropriate to release. One can argue that what he hadn’t released shouldn’t be released. But I think that it would be depriving the world of the benefit of some of his work. Some will be available in different channels over time.
There’s little Glenn Gould merchandise available. I’d kill for Glenn Gould T-shirt.
That’s a very interesting thing. Our family goes down to Florida over the Christmas holidays each year. I have family that meets there from Chicago, Minneapolis and so on. We always go to the same place. I’m walking the beach this year, and I see a guy wearing a (Johann Sebastian) Bach T-shirt. So I stopped to talk with him. I wheedled the discussion around to Glenn Gould, and ended up telling him that I was his Estate Executor. This guy almost exploded with ecstasy. He couldn’t believe what a fabulous thing that is. So the value of T-shirts does have a lot of appeal to me. From time to time, we have talked about it (merchandising). All I want to say now is, “Stay tuned” because among Faye Perkins, Jodie Ferneyhough of CCS Rights Management, and the Estate we are talking about exactly that. About the question of whether or not if there is any value to the merchandising of Glenn Gould’s name and likeness.
One of the factors that may have led to Glenn’s enduring popularity is that he recognized that recordings would enable him to reach a wider audience. The narrow classical touring route might have restricted the audience for his recordings.
I don’t know the answer to that. I know one thing. He disliked giving live concerts. He didn’t like the sort of competitive nature of people looking for mistakes and that kind of thing.
Performing live also became more difficult for him physically as well.
The end result of his retiring from the stage is he has so many recordings and so many TV shows available in his catalog. More than most classical musicians.
I think that’s right.
[In an era of considerable new advances in audio recording technology, Glenn Gould abandoned live performances for the recording studio where he could control every aspect of his musical performance by the use of repeated takes and splicing in order to assemble the perfect record.]
Glenn brought you into the recording studio at one point because he wanted to know if a non-musician could spot his edits.
He tried (the experiment) with a number of people, female and male, technicians, musicians and lay people, which I was one, to see what the correlation was between the detection of edits, and the actual edits. The only ones that had any correlation he told me afterwards were the technicians. Neither the musicians nor lay people had a meaningful correlation to the actual edits, which I found very interesting.
The Beatles’ first single, "Love Me Do," has entered into the public domain for copyright in Europe due to current copyright law in the European Union. There’s the possibility of some of Glenn’s recordings going into public domain there as well.
Yes there is, but that’s an area that I don’t really want to get into discussing because of the fact that I think that there’s an immorality about the position that it becomes public domain. So the idea from my perspective is to get the law and the morality lined up so that the artist gets the benefit of his work product rather than not.
That is tricky when copyright reversion differs around the world.
[As the European Union copyright law currently stands, copyright for recorded music is set to expire after 50 years. Since "Love Me Do" released in 1962, protection for the track expired on Dec. 31st, 2012. Although there is a move underway to extend recording copyrights to 70 years there, the revised law won't come into effect this year.]
You were a young lawyer when you became involved with Glenn Gould. Was it Morris Gross, head of your law firm Minden Gross, who brought him to you?
Yes it was. (Glenn’s manager) Walter Homburger and Morris were friends or colleagues going way back. Walter referred Glenn to Morris at some juncture before I joined the firm. That’s the origination of his association with our firm.
What did your early work for Glenn consist of?
There were contracts for various items. For example, there was the contract for the making of the (1976) “Cities” series for the movie “Toronto” with John McGreevy. Then there were contracts with a couple of Bruno Monsaingeon’s (television) series. There was a contract once for that acquisition of some audio equipment. That was a rather distasteful moment because we were talking about how the financing and the securing of that acquisition was going to go. The audio company supplying the equipment to him was from Hamilton (Ontario). It was then common folk lore that organized crime had some foothold in that activity. Glenn asked, “How are they going to enforce that (the terms)?” I said, “Glenn, the people from Hamilton have a way of enforcing things.” He clearly did not understand me, and he asked me to explain. When I explained it, he was very irritated with me because it was (about something) violent.
[“Cities” was a 13-part series by John McGreevy Productions featuring Peter Ustinov in Leningrad, Elie Wiesel in Jerusalem, George Plimpton in New York, R.D. Laing in Glasgow, Glenn Gould in Toronto, Jonathan Miller in London, Hildegard Knef in Berlin, Germaine Greer in Sydney, Studs Terkel in Chicago, Mai Zetterling in Stockholm, John Huston in Dublin, Anthony Burgess in Rome, and Melina Mercouri in Athens.]
His perfectionism with his music is well documented. Was he a good legal client?
From a commercial perspective, he was a small client. Was he a good client? Well….
After all, this was someone not used to listening to other people.
No. And he didn’t listen to his lawyer that much. He did all of his own commercial deal-making himself. When I said to him that I thought that certain things should be done, he listened. He was attentive. He wasn’t disrespectful. But he’d just say, “I think we will do it the way that I had said” or something along those lines. Even when it came to the writing of contracts, he didn’t like the rhythm of what I was suggesting….literally.
What was his objection?
He didn’t like the cadence of the way that I had expressed it (the writing). He wanted it expressed a different way. He was, as you already know, a complete perfectionist. He just wanted it the way that he wanted it. And he would work it (a contract) over and over to get it the way that he wanted it.
You once had to get his piano back from….
The States. It wasn’t that it was hard. It was just that they (Canada Customs) wanted to charge him duty on his own piano, which I thought was absolutely crazy. I had forgotten about that. I remember having discussions with the tax or foreign affairs people or whoever it was. “You guys are out of your minds. You have a Canadian treasure here, and you are trying to penalize him for sending his piano to the States to get fixed, and then bringing it back. Are you crazy?” Anyway, according to them, they had to pass a special Order in Council to exempt Glenn Gould’s piano from the effect of the customs’ legislation.
I read that Montreal virtuoso pianist Marika Bournaki was recently given a chance to perform on one of Glenn Gould’s prized Steinway pianos. Did Glenn have a number of pianos scattered around?
He did. There were none in New York that I was aware of. There were five that I was aware of I think. The old childhood Chickering (Chickering & Sons piano) that he had and a practice Steinway (a CD 318 model) were both in his apartment. He had the Steinway that he made many of his recordings, a CD 352 I think, and then he had two Yamaha pianos. One he owned that, according to Ray Roberts, who worked directly with Glenn as his assistant, was the piano that Glenn wanted to make his piano going through to the future. He owned it, but never recorded with it.
Where are the pianos today?
The childhood Chickering piano is at the CBC Broadcast Centre (in Toronto) as an artifact in the lobby of the Glenn Gould Studio. The practice Steinway was sold to the (Canadian) government, and it’s in the Governor-General’s residence right now. The Yamaha that he made his last few recordings on is owned by Roy Thompson Hall (in Toronto), and it is usually on display in the lobby. The other Yamaha was sold to a church out west, and it has been sold again. I forget where that is. The Steinway that he made most of his recordings on was with the National Library and Archives Canada, and was transferred (in 2011) to the National Arts Centre in Ottawa. It is apparently in use there now. So those are the five.
Was his use of the Yamaha pianos a result of his stormy association with Steinway & Sons?
He had an intriguing relationship from what I can gather.
Well, how do you build a piano to perfection and keep it that way for someone like Glenn Gould?
How about the famed customized chair?
The chair is in Ottawa (at the National Arts Centre).
[In 1953, Gould's father customized a lightweight wooden folding chair for him to use at the piano. He took the adapted seat with him as he traveled the world to perform, and also used it during recording sessions.]
Glenn played the stock market quite heavily.
He sure did.
And he bought considerable property. Did you handle those transactions?
His death came only 9 days following his 50th birthday. It’s remarkable that he was so young when he passed away.
You pushed him to do a will in 1979, and then he died three years afterwards
I went to visit him in the hospital after he suffered the stroke, and I thought to myself, “Glenn, I hope that’s it’s not my fault. I hope that it wasn’t true. That it wasn’t bad karma. I hope it wasn’t. But, anyway, it was what it was.
You drew the will up with the Toronto Humane Society and the Salvation Army as beneficiaries. Was this to be his final will?
What he said was that he didn’t want to make a will because it was bad karma or bad luck. When I suggested certain things to him by response to the instructions that he was giving, he said, “Sir, we will make a perfect will when we are in our 80s. Right now, these are your instructions.”
[The issue of drawing up a will was something that Stephen Posen proposed to Gould on numerous occasions. it wasn’t until 1979, just three years before his premature death that Gould agreed to make a will. The idea of having Salvation Army and the Toronto Humane Society as the two main beneficiaries of his Estate apparently was a spur-of-the-moment decision. Gould thought his will would be revised at a later date. In addition to the two beneficiaries, Gould left a trust fund for his father in the amount of $50,000.]
After his death, did anyone else come forth to contest the will? His father?
His father got a life interest in a trust fund of $50,000. If it was invested, he’d receive the income.
Glenn broke off contact with his father when he remarried 5 years after his mother Florence died in 1975.
Something had happened which I don’t want to discuss. The comment that Burt Gould, Glenn’s father, made was that if he was younger he would have taken a shot at overturning the will.
Did Cornelia Foss contest the will?
Did you know about her?
Interestingly, I didn’t. I knew that there was a “her” but I didn’t know who the “her” was until later.
[Glenn Gould carried on an affair with married painter Cornelia Foss for five years, beginning in 1967. She left her husband Lukas, himself a prominent pianist and conductor, and moved her two children to Toronto at the height of the affair. ]
You didn’t have a background in entertainment law before become sole executor of the Estate of Glenn Gould.
Part of what I was concerned about was that I would have to operate in areas that I wasn’t familiar with representing the Gould Estate’s interests. He derided that saying “Even you sir can buy a Guaranteed Investment Certificate (GIC).” Well what happened, and this is a characteristic of mine, I really like a variety of different kinds of legal work. But I approach f(contracts and negotiations) from basic principles in that I don’t know background in certain areas. I once did a mortgage transaction—one of the first mortgage transactions that I ever did—and the lawyer on the other side was a very senior lawyer from another law firm that I had been a junior at. I actually read the mortgage. We’re sitting there talking about negotiating the mortgage, and he said, “Steve, people don’t read this stuff.” Anyway we revised it. He was very courteous. It was amusing to him. “He said, “You’re right (about the revisions) but this is the way it goes.”
All boilerplate stuff.
Right, exactly. We made a lot of changes. And the few times we did mortgages after that, he pulled out the same mortgage form. Why that is relevant is because several years ago I was doing an agreement for Glenn for the licensing of video materials for re-editing, repackaging and remastering. I was dealing with an entertainment lawyer on the other side. I was told by people in the entertainment industry that the proper royalty rate for the artist for this is always 15%. We ended up doing a royalty rate that was around 37.5% by reworking of the whole contract. I didn’t know anything. I just did (the revisions) with what I felt was the right resolution of the business and the legal points. That is a little bit about the way that I like to practice law.
The subject of over 50 books, there’s practically a small media industry around Glenn Gould trying to explain his mystique. Meanwhile, so many myths about him have developed over the years.
I can’t comment on where these myths have come from, Larry. You are the expert on social media. I don’t know where they have come from.
What’s the most outrageous story you have heard about Glenn Gould that isn’t true?
That he was gay. That’s the most outrageous thing I’ve heard. Apparently, not to my observation personally, but many, many women have said how good looking and sexy he was.
The enduring myth that Glenn Gould was a recluse also isn’t true. I worked in the studio next to him at the old CBC-Radio building in Toronto and found him very sociable.
Within a week or 10 days after he passed away, I was out with an aunt for dinner in a restaurant where the tables were jammed in too close together. There was a fellow with his mother at the next table, and he was telling her about this pianist—he didn’t remember his name—who had died. He said that they (the media) had talked about the pianist as being a recluse or a hermit. He said, “He was the most gregarious guy I had ever known. I used to see him in the park all of the time, and he was very talkative and very chatty.”
Like you said, he was very sociable. It was sort of his individual way of socializing that he wouldn’t do with people who idolized him. He would shun that. If it was just with people (on a one on one basis) then, it seems that he was very gregarious. He was not social in a group of people as one would imagine a gregarious person. But that’s the way he was.
Over the years, Glenn has been likened to both James Dean and Marlon Brando. I briefly worked for Leonard Cohen, and I see comparisons in their personalities.
I think that’s right. I met Leonard Cohen when he won the Glenn Gould Prize last spring. He showed up which Glenn probably would not have done, but he was withholding even in the group of people he was with. He was very patient with people with people who wanted to rub shoulders with him. But you could see that he was kind of looking inward. I would imagine that Glenn would have been like that too, if he would have exposed himself to the public which he very rarely did.
The usual take on Glenn is that he was a hypochondriac. True?
Self-interested in his own well-being; I don’t think hypochondriac. He’d call and say, “How are you?” I’d say, “How are you Glenn?” It wasn’t a social, “How are you?” It actually led to an answer. I don’ think he was a hypochondriac at all. I think that he had real (illness) things wrong.
Glenn certainly had mental and emotional difficulties, but you have also said he might have had Asperger’s syndrome as well as focal dystonia, which is a repetitive motion injury.
I think that it’s almost a certainty. There’s a doctor (neurologist) from California Frank Wilson who has written about focal dystonia who I met. He told me the story of how one night that he was watching Glenn Gould on television and he quickly called a friend Peter Ostwald, who was a psychiatrist that had met Glenn in the ‘50s (and author of the 199 book, “Glenn Gould: The Ecstasy and Tragedy of Genius.”] He said, “Turn on the television quick. What do you see?” They both diagnosed him watching his hand as having focal dystonia.
Focal dystonia can be devastating to a musician.
I think that one of the great stories about Glenn is his overall heroism of overcoming a number of physical and probably emotional and mental obstacles to achieve the success that he did. One was that. Frank Wilson wrote about Glenn Gould’s hand, having researched it. He said that he’s the only musician to ever overcome it (focal dystonia) to some degree. And he also said that he thinks it dictated part of his repertoire.
The Glenn Gould Prize is 10 years old?
No. Maybe 10 cycles old. The cycles were three years. Now they are two years. I think the first one was awarded sometime in the mid or late ‘80s.
The Glenn Gould Prize was launched with the birth of the Glenn Gould Foundation?
Correct. A number of people came, and said “You have to start a foundation” which I didn’t want to do. Not that I felt it shouldn’t be done but that it wasn’t my milieu to do it.
And it was only within a year of Glenn’s death.
It was very early on. But I turned to John Roberts (Gould’s friend who had served as the head of radio music at CBC) and I said, “John, there are people looking to have a foundation. What do you think we need to start it? He is the one who put me and (Canadian philanthropist and supporter of the arts) Joan Chalmers together. Joan liked John’s idea which was the Glenn Gould Prize to start the foundations, and she took us off to see her father Floyd (the Canadian editor, publisher and philanthropist) who was then living in the Manulife Center (in downtown Toronto). I was astonished of how quickly he was prepared to support this initiative.
Floyd Chalmers committed $150,000 just like that.
Yes. Just like that. To me today, it’s a lot of money. In those days, it was a whole lot of money. It was a world that I wasn’t used to. I thought that was just great. I’m on the board of the foundation in my capacity of representing the Gould Estate. But even the board doesn’t influence the selection, the nominating process or the selection process.
[In 1983, The Glenn Gould Foundation was established to honor Gould and preserve his memory. Among its activities, the foundation awards The Glenn Gould Prize every three years. The prize consists of $50,000 to a living individual for a lifetime contribution to the arts. Past laureates include Leonard Cohen, Yo-Yo Ma, and Oscar Peterson.
This year’s winner will be announced at a news conference on Feb. 21, 2013 at Toronto’s Sony Centre for the Performing Arts.]
Larry LeBlanc is widely recognized as one of the leading music industry journalists in the world. Before joining CelebrityAccess in 2008 as senior editor, he was the Canadian bureau chief of Billboard from 1991-2007 and Canadian editor of Record World from 1970-89. He was also a co-founder of the late Canadian music trade, The Record. He has been quoted on music industry issues in hundreds of publications including Time, Forbes, and the London Times. He is co-author of the book “Music From Far And Wide.”
The recipient of the 2013 Walt Grealis Special Achievement Award, recognizing individuals who have made an impact on the Canadian music industry, Larry will be honored at the 2013 Juno Gala Dinner & Awards on April 20th in Regina, Saskatchewan.
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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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