Industry Profile: Marsha Vlasic

— By Larry LeBlanc (CelebrityAccess)

This week In the Hot Seat with Larry LeBlanc: Marsha Vlasic, president, Artist Group International

As a talent booking agent for more than four decades, Marsha Vlasic has a solid reputation for being a shrewd businesswoman who has done much in shaping the metal genre for the mainstream.

Scrappy, classy, and creatively inventive in her bookings, New York City-based Vlasic is unquestionably an astute judge of both the musical merits and business potential of her clients -- some of which, under her direction, have become music's biggest stars.

In 2014, Vlasic was named president of Artist Group International, one of the top independent booking agencies in the world.

Founded by its CEO Dennis Arfa three decades ago, AGI was acquired in 2012 by Y Entertainment Group, part of Ronald Burkle's investment firm the Yucaipa Companies. Vlasic’s jump to AGI with her clientele added even more industry clout to an already commanding agency.

Vlasic had previously served as the senior VP of Concerts at ICM Partners leaving the firm after a 5-year stint. She had joined ICM in 2008 after the agency acquired her boutique agency MVO (My Very Own) which she launched in 1993 following tenures at American Talent International, ICM, and the William Morris Agency.

She had returned to ICM with the intention to build up its contemporary rock music department.

At AGI, Vlasic represents Neil Young, Elvis Costello, the Strokes, Cyndi Lauper, PJ Harvey, Imelda May, Moby, Band of Horses, Cage The Elephant, Sheppard, the Heavy, Silversun Pickups, Regina Spektor, Moby, Iggy Pop, Romes, Devendra Barnhart, the Breeders, Mariachi el Bronx, and Butch Walker.

After 5 years at ICM Partners, you left in 2014 to join Artist Group International. Why did you decide to leave ICM?

Well, my reason for going back to ICM (in 2008) didn’t pan out. I thought that I was really not going anywhere. So I wanted to make a move.

You have said that you left because you wanted more of a legacy?

I did. I wanted to build a department. To build it strong. My philosophy, unlike some other agents, is not to steal bands from people who have worked really, really hard on a career; but to basically bring in agents. I have a great roster, and I don’t want to take something away from somebody, really. If somebody (an artist) is going to fire their agent, and they want to have a meeting then, of course, I would be one of the first to have a meeting. But, at this stage of my life, I would just like to bring in agents that have great clients and feel responsible for that.

How is this summer shaping up for your roster?

I don’t necessarily have full tours out this summer. A lot of my bands are mainly doing...I shouldn’t really say that. Band of Horses, and Cage The Elephant, they are doing festival dates. A lot of festival dates, and connecting the dots in between. Elvis Costello is doing two legs, which are looking good. And I have Cyndi Lauper with Rod Stewart, and that’s looking very well.

Your personal artist roster is so damn impressive. What does that say about your instinct in finding and developing talent?

I don’t know. I want to say that it’s luck.

Bullshit. You have an ear for talent.

I don’t know. Maybe, I am a well-rounded person. I don’t know what it is. I don’t go out and say, “Today is going to be a singer/songwriter day.” I can watch Band of Horses and just drool. Drool. And then I can watch Cage the Elephant and think, “My gawd.” Maybe, it is just that I like all music. Well, I can’t say all music. There have been people that have said to me, “How many acts do you represent?” I will tell you that I have never counted them. Never, never. And I have never not had time for an act. Not everybody tours at the same time. Not everybody’s demands are the same. I don’t know. I could take on 10 more acts right now.

Watch it, your phone line might start ringing off the hook.

I’m not saying 10 baby bands. The thing about baby bands which really started affecting me personally is that the agent is the first one to take the bullet. So I was like set up to fail. And I don’t like failing. I like failing if it’s my fault for failing. When the record company is not taking the record to radio because they don’t have a tour, and I can’t get a tour, I failed.

You look at a baby band or act, and you have to think, “Where are they going to be in 20 years?”

Exactly. When I used to see a band, I used to try and close my eyes and say, “Can I see this band on the stage of Madison Square Garden?”

Primarily meeting with a manager, and their client, it used to be, “We’re #1 in Akron.”

It doesn’t matter.

Today social networking moves faster than word of mouth of the past. Debra Rathwell (senior VP) at AEG Live told me that promoters have to look for a “sticky” factor. That we can look at an act that might have 9 or 10 million hits on YouTube, and it doesn’t mean anything. You can’t sell tickets on them, or put together a tour.

Yes, that’s true.

You have said that nothing was planned in developing your roster. Surely, you have thought, “I need a balance here.”

No. Really, I have always had an incredibly eclectic roster. There were times when I had Bob Dylan, Tracy Chapman, AC/DC, Ozzy Osbourne, and Metallica. Whenever an agent would say to me, “That’s not my niché,” I kind of would get a little angry at that because what does that mean? It’s not your niché. If you are into music, you are into music. Great artists, how could that not be your niché?

You belong to a generation which grew up with multiple styles of popular music. First on television and later in clubs, concert halls, and festivals

We did. I come from the Murray the K shows. I used to beg for money. I used to walk around the streets asking for money so that I could get enough money to buy a ticket because I didn’t have the money. Doo-wop was one of my favorite types of music at the time; the Paragons, and the Jesters. One of the first bands that I took on (as an agent) was Mink DeVille. To me, that was very doo wop-ish. My favorite Mink DeVille song was “Mixed Up Shook Girl.”

Did you fall hard for punk music when it happened?

Oh yeah. It was real punk. Elvis Costello was as punk as you can get. Lene Lovich, Wreckless Eric, Ian Dury, and Rockpile. I loved it all. Elvis and I are very close friends. We speak I would say two, three four times a week.

Many major American booking agencies in the ‘60s and early ‘70s didn’t prioritize their rock clients.

Well, back in the ‘70s is when I started. I went from ATI to ICM and I had one of the strongest rock rosters that there were at that time. I had Rush when Rush was considered a heavy metal band. I had Rush and Styx and I had all of the British Stiff stuff. So I don’t know.

You returned to ICM in 2008 as VP to head up the company's new contemporary rock division, right?

Right. Then I had Elvis, and I had Neil Young. And I had Styx and Rush. I think that I had Metallica then as well. I also had Anthrax and Biohazard. I always had metal.

It’s fitting you came to Artist Group International which has Metallica, Def Leppard, Megadeth, and Linkin Park.

Well, I have no history with Linkin Park and Megadeath.

But AGI’s roster resides on the hard rock side of the music street you have always been working.


These days how do you stay in touch with what’s happening with music on the street?

I don’t know if the street exists as much anymore. It’s sad but I would hesitate in going to see a brand new band at the Mercury Lounge that wasn’t associated with someone that I knew was credible. I don’t know if it can happen from the street.

You do have younger agents who are more street focused.

Oh sure, I have lots of younger agents. They go here, and there. But you do hesitate. What’s the right baby band to take? What is the best baby band to put your efforts into?

I do feel that it’s a good time for discovering new acts.

I don’t know if it’s a good time for new music in terms of rock. We are living in a pop world right now which I have nothing against. I’m sorry that I don’t represent any pop. It wasn’t deliberate, and I would be happy to take on a pop act. Although I did have Craig Bruck, while at ICM, sign Fifth Harmony. I think that we are just going to go through another cycle and see what happens.

How about electronic dance music? You book Moby and pioneered the way for EDM-styled festivals by organizing his Area 1 and Area 2 tours a decade ago.

I did more than Moby. (While the Marsha Vlasic Organization) I was in a partnership (in 2003) with Jimmy Van M (co-founder and president of the Balance Promote Group), in The Collective Agency which had Sasha, (John) Digweed, Sander Kelinenberg, Steve Lawler, and Junkie XL

While EDM may have been underground in the early ‘90s, the genre broke into the international mainstream a decade ago and remains one of the most popular genres anywhere. Still, so many music industry figures predict that the EDM wave has subsided in the U.S. But EDM is not going to go away.

No. I don’t think it’s going to go away. I think what has happened is that it (EDM) doesn’t deliver the same way. It’s hard to put these acts on a regular stage at a festival, and compete with a live band. So I think if it’s an EDM festival then one act outdoes the other in production which is their selling point, but if you put them up on a regular festival, they kind of sound alike.

EDM in North America may return more to club and warehouse spaces.

I think it probably will. But I think people will hesitate a moment to do the warehouses just because of the drug situation, and other problems like security, insurance, and all that stuff.

For decades, it was the labels that mandated when an act’s tour would happen, and how many dates it would be. But that’s not the case anymore.

No, that’s not the case. The know everybody passes the buck on responsibility, and it became sad to me. I wasn’t feeling good about myself. Why should I not be feeling good about myself because I couldn’t get a baby band a major tour, and yet the record company didn’t have to get the record on the radio? Didn’t have to get it into the stores. Didn’t have to do anything.

Still, tour planning sessions can be productive.

I love doing that. I love sitting down with the whole team. I think that you have to be in a room together, and looking at each other. This way people aren’t saying, “Well, that’s the agent’s jobs,” or “No, that’s the record company’s job.” No, you sit there and you talk about reality.

You also walk out sometimes knowing that someone is full of crap. They aren’t going to do anything.

Yep. Exactly Been there, done that a lot of times.

How do you first sit down with a manager of a baby band that you might be interested in? Do you ask, “What are you bringing to the table?”

Well, it all starts the same way. “Oh, we totally get it. We understand. We know exactly,” and that lasts about 10 minutes. For me right now, I’d gladly take on a baby band depending on who the team is. That’s how it is for me. I have to be surrounded by people who can do as much as I can.

Professional and responsible people who get it?


With the high profile roster you have, a manager of a baby band might be apprehensive in approaching you. How did you, for example, come to represent the Aussie indie pop band Sheppard?

Michael Chugg (executive chairman of Chugg Enterprises) came to me. I really loved the band, and I’ve known Chuggi forever, as everybody else does. But Steve Strange (co-founder of X-ray Touring in the UK) is going to do it, and he and I are really close, and good friends.

Sheppard is doing mostly Australian dates this summer

They are not coming to the U.S. yet. They have released new music, and the plan is just being rolled out now.

You also do represent your roster internationally, of course.

I have always done Japan, Australia, and South America. I personally don’t do Europe.

You work with other agencies there, including X-ray Touring.

With Barry Dickins (International Talent Booking Agency), X-ray, and with John Giddings (Solo Music Agency). People like that.

Today, it’s harder to develop a baby band or create a buzz around a tour even with mid-level acts. In past decades, radio might have done some of the promotional advance work. Today, you can’t count on radio.

You can’t count on them. It’s about the team. I still want to feel the pride of standing on the side of a stage seeing an act grow and seeing the audience grow. I pride myself in dealing with career artists.

Give me some examples of that growth happening.

I just experienced two amazing situations with two different artists. I started representing PJ Harvey about a year and a half ago. That was an introduction through Jeff Craft at X-ray in the UK. Polly and I hit it off immediately. We really, really did. But I had no guidelines. She hadn’t toured America in 10 years, and when she did the last tour, she had hated it and wound up firing CAA for it. So I had nothing to go by. I had a record (“The Hope Six Demolition Project” which debuted at #1 on the UK Albums Chart) that came out, and not much happened to it (in the U.S.). She did not believe in doing press or anything like that. And yet, I knew that there had to be something out there for her. During our first meetings, it was like, “Oh no, oh no, I don’t want to play beautiful theaters. I just want to play industrial spaces.” I started going out trying to fulfill her dreams, and I couldn’t. I knew that I couldn’t. Those venues didn’t exist, and to have promoters four-wall a venue not knowing what the business is going to be, nobody was going to take that risk. So I sat down with her, and I booked a tour that I felt that she should do. I think I did a great job in choosing the venues that wouldn’t offend her that badly.

What was the outcome?

We wound up having two dates that were not 100% sold out. Two out of 20 something dates. She did the longest tour that she has ever done of America. She loved every moment of it. We had brunch at the last date at the Greek Theatre in L.A. which was her second time back to L.A. on the cycle. She couldn’t thank me enough, and she couldn’t have been more appreciative of how great this was for her to come back to America this way. And I just went on my own instinct.

[Fresh off a Grammy nomination for Best Alternative Music Album, PJ Harvey embarked on her most extensive North American tour in over a decade to showcase her album, “The Hope Six Demolition Project.” Harvey's tour kicked off April 13, 2017, at Toronto's Massey Hall then trekked westward-- including an April 20th stop at New York's new Brooklyn Steel venue – until concluding May 12th at the Greek Theatre in Los Angeles. In August 2016 Harvey had played a pair of shows in Los Angeles, and New York, her first American shows in five years.]

Who is the other artist?

Regina Spektor. She had been off the road for over four years. She had had a child. She did a new record (“Remember Us To Life” in 2016). Changed management. I had to figure out, “Where do I put her? Is her audience still there? What do I do?” She had a 100% sell out tour including Radio City Music Hall (in New York City), and the Chicago Theatre.

So, to me, these are careers. These are careers that have been built.

How about handling booking for both a group and a group member who has a solo career? Like you did with the Strokes and its frontman Julian Casablancas, who has had a very successful solo career.

Well, that did not work, and I don’t do it anymore. The solo part. Because the band never felt like I was working for them.

Any opportunities for Julian, the band would be going, “How come we didn’t get that?”

No, it doesn’t work. It doesn’t work at all. Even when you sit there, and you couldn’t be more honest, and more open with all of them. I mean, the last meeting I had with the boys, they said that they didn’t want to use Julian’s name (laughing). If they are not accepting their lead singer as the reason why...

Are you still representing the group?

The Strokes, yes. Oh my God, yes.

The role of a talent agent has evolved from booking live dates and introducing artists to labels and, maybe, overseeing a film contract. Managers today are looking to agencies to help them explore and exploit other areas of the artist’s career.

We don’t have a 100% full-service agency. All the years that I was at ICM and William Morris (now William Morris Endeavor), full-service agencies, in those years bands didn’t necessarily require it, but I think that the hip-hop and pop worlds kind of changed all that. Those artists really do want a full-service agency. The clients that I personally represent, like the Strokes, don’t want to know from film. Don’t want to know from other things like sponsors, and things like that. Neil (Young) certainly doesn’t want to know about sponsorships or film for that matter. So it’s different. I think that it all has to do with each artist.

Artists in hip-hop and pop have largely embraced commercialism at the highest level.

Well, my son Mathew (Mat Vlasic, CEO of the Universal Music Group-owned merchandising company Bravado) did all of Kanye’s pop-up stuff (pop-up stores), and he did all of the Justin Bieber things, and Lady Gaga. He has been written about as being the one that is taking fashion and coupling it with merch but making it far more interesting than tour merch.

[A global, 360, full-service merchandising company, Bravado designs, manufactures and distributes merchandise. Founded in 1997 by brothers Keith and Barry Drinkwater, and acquired by Universal Music Group in 2007, Bravado has produced merchandising for the Rolling Stones, Guns N’ Roses, Eminem, Lady Gaga, Kanye West, and Justin Bieber.]

With dwindling music sales, artists to have had to make up the income from other sources. It has to come from somewhere.


Your other son Franco is a musician?

Franco had a band called the Sexy Magazines, and the High Class Elite. He’s now a DJ, and he’s opening a barbeque restaurant in Tribeca called Holy Ground in the Fall.

One of the things Chris Silbermann (a founding partner of ICM Partners) has said about you is that you are a good mentor.

One of the things (laughing).

A lot of people in entertainment won’t always help others. You are widely known for helping promising agents, and managers.

It could be the Jewish mother in me, whatever. The mother. The grandmother.

It’s a good business strategy as well. A way to build up relationships that could pay off down the road.

Well, yes. But it’s about who you are, and that is your personality. People accused me, for many, many years, of being that bitch. Being hard-nosed. Yeah, I’d fight hard for my clients, but I still had ethics, and you couldn’t take that away from me.

I didn’t want to play the “female card” with you, but I’m going to bring it up.

Yeah. It’s hard to avoid.

It is hard to avoid because while developing as an agent in the business you came up against a lot of chauvinism. Also around the time you started as an agent, the only two woman I knew about as agents were yourself, and Barbara Skydel, who began her career in 1968 as the assistant to Frank Barsalona at the Premier Talent Agency in New York.

There also was Jane Garrity (also at the Premier Talent Agency) There were three of us. Unfortunately, Barbara and Jane have not survived. But you know, I was just recently at a conference and there was this young girl who said to me, “So being a woman, you know, it is really hard,” and I said, “Hold on, this is 2017. How dare you say that. Who are you talking to? Is that like a stock thing you have been told to say? There are more women in our business than ever. There are woman agents, woman record company executives, woman publishers. No, you can’t use that (issue) as an excuse. That’s pathetic.” I got so angry at her.

When you started as a booking agent in the early ‘70s being a woman really was an issue.

It was true. It was definitely true.

At the same time, you were married with children and trying to prove that you could represent Deep Purple, Uriah Heap, and Rod Stewart. That wasn’t the type of thing that was readily accepted in the male-dominated entertainment world.

No. It was not. It absolutely was not. I had a great opportunity. I was incredibly blessed and I am thankful for the opportunity given to me at ATI to become an agent. Bruce Payne was leaving to manage Deep Purple. He thought that I was going with him as his assistant. I was told that I could stay, and be an agent.

How did you come to work at ATI?

I was a secretary. I worked for three agents. I worked for Wally Meyrowitz, who is no longer with us, Greg McCutcheon, and Bruce Payne.

Was that your first agency job?

No. I had worked for a small, little middle agency. I had befriended this go-go dancer who said, “My manager/agent really needs help, and you could come in and really run their office.” So I went and I met with them, and it was a trip. They were really like out of a storybook. They wheeled and dealed, bought and sold, and they did a lot of go-go dancers and things like that. One of the go-go dancers was Goldie Hawn.

[Goldie Hawn, interviewed by her daughter Kate Hudson in Interview (May 2017 issue) talked about her life when she moved to New York to start her career. She remembered one of her first jobs in the city being a go-go dancer. Hawn said she made $25 a night and used it to pay rent, but every night wasn’t a success.

“When I went to go-go dance at the Peppermint Box in New Jersey, I took a Greyhound bus,” Hawn said. “I was slow dancing on a table to ‘Everybody Loves Somebody’ by Dean Martin with my little outfit on. But when some guy in a suit showed me his penis, I said, ‘I need to get home.’ The bartender was like, ‘You won’t get a Greyhound now. It’s too late.’ And then I went to every guy at the bar — it was a truck stop — until finally, two guys said, ‘Okay, we’ll take you home.’ And I went home in an 18-wheeler.”]

What was the name of the agency?

Oceanic Productions or something like that. They changed it (the name) often because they had to hide some of the things that they were doing. It was crazy. So I got my footing that way. So that’s how I started. Then I started meeting other people and I got offered a job at ATI.

Brooklyn’s fantasy back then was that there was no need to ever go to Manhattan. Your avowed intention was to escape Brooklyn for New York City and make a better life.

I was determined to get there.

What was the allure of New York City?

Because we were so close. The city was the city like it is for a kid who lives outside of New York and wants to feel the excitement and pace of New York City.

New York wasn’t too expensive in to live in the late ‘60s.

It was pretty bad.

You came from substantial poverty in Brooklyn.

I did. An apartment in a tenement and we all shared one bathroom.

You are credited on Rush’s self-named, debut album in 1974 as Marsha Weiss. Vlasic isn’t your maiden name?

No, it’s my married name. My maiden name is Weisenholtz. My mother in business used Weiss. So I became Marsha Weiss when I started working. Then it got too confusing having three names. So when I got married, I switched to my husband’s name. It’s a Croatian name.

You and Peter have been married over 40 years.

I think it’s 42 years, but we’ve stopped counting.

How did you come to represent Neil Young who you have worked with for over 40 years?

Well, that was more through Jeff Franklin who was one of the owners of ATI. I was a bit of a protegé for him. He kind of gave Neil to me. (Neil’s manager) Elliot Roberts and myself, we really hit it off. We started working together, and we are still working together. We became very close.

Elliot came from the booking agency world.

Yes, working with David Geffen at William Morris.

With his background and with the acts he has represented, Elliot would have quite specific ideas of how to represent Neil. You must give him what he wants.

We are in it thick and thin. I adore him and, after a certain amount of time, he has just become like family. I know what makes him tick, and I know what I tell him and what I don’t tell him. It’s like having two artists.

For three decades, you and Elliot worked together on the programming of the annual Bridge School Benefit Concerts connected to Neil, as well as Pegi Young who co-founded the school.

Elliot and I literally did it together for 30 years. Every day of our lives. He’d have an idea; I’d have an idea. I get two acts. He’d get one act. We’d lose one act. We’d gain two acts. We worked on it hand and hand together, just the two of us for 30 years. We said that we were done after 30 (years). We are done. It was a labor of love every year. Every year.

When you represent an artist for 40 years, obviously the relationship with their manager becomes more than business?

Well, Elliot knows my family, I know his family. He was just honored at the Personal Managers Hall of Fame in Las Vegas. The last thing I wanted to do was to get on a plane, and fly into Las Vegas Thursday morning, and out Friday morning. But I was there for Elliot and his family, and his children. I feel part of his family.

[Sponsored by the National Conference of Personal Managers (NCOPM), the 2017 Induction Ceremony held May 18, 2017, in Las Vegas, honored Elliot Roberts along with 11 other entertainment managers. Over the years, Roberts has managed not only Neil Young but also the Cars, Bob Dylan, Joni Mitchell, Graham Nash, and Stephen Stills.]

Are you still representing Pegi Young?

No. I have resigned from that. I love Pegi with all my heart, and I think she’s very talented as well.

When you were approached two years ago by Paul Tollett, C.E.O. of Goldenvoice, about booking Neil for Desert Trip you were at first skeptical. You told him, “There is no way that this is going to happen.” How do you take such an implausible proposal like that to Elliot?

Well, Paul first came to me because I kept saying to Paul, “How come you don’t make me any Neil Young Coachella offers?" Neil really, really, really should play Coachella.” He said, “I have an idea. I can’t fully tell you about it yet, but I have a great idea which is going to be so amazing for Neil.” I was like, “Oh, I hope I hear about it soon.” Then he came to me in October or November a year before. This was going on for a very long time. He said, “Okay, “This is my idea,” and he specifically named each act. We all knew that this wasn’t going to come together unless the Rolling Stones were in. At the time that he made the financial offer—I think it was right before Christmas—I shared it with Elliot. I didn’t want to share it with him beforehand because if all these pieces of the puzzle didn’t fit, there was nothing to be discussed, and I hesitated to share it with Neil until I had more of a commitment. So once (Paul) McCartney was in, and once the Who and Roger Waters were in, Dylan was not--considering it, but not officially—and I knew that Paul was in the midst of trying to get the Rolling Stones done—it looked like it was coming together. Then things went quiet for awhile. I negotiated the money, and the deals were really strong. The beautiful point of what Paul was offering was that it was just the live performance. No filming. Nothing else other than that they (the artists) come. They could have as much of a guest list as they wanted. They would have a compound that they keep all weekend. And they play. “And, we don’t want anything else (but the performance).”

[Desert Trip--the three-day October extravaganza Oct. 7-9, 2016 at the Empire Polo Grounds in Indio, California brought together several of the biggest box-office attractions of all time, the Rolling Stones, Paul McCartney, Roger Waters, Bob Dylan, Neil Young, and the Who.]

With its headliners, Desert Trip may forever be regarded as the ultimate nostalgia-driven event. I’m unsure if Desert Trip could happen again along the same lines.

Well, I think that Paul has a definite idea as to what would make it happen again.

Few people consider Neil Young nostalgia. He’s stayed current all these years. Most certainly, he wouldn’t want to be considered a heritage or oldies’ act.

No, he wouldn’t. The acts that were being proposed were his peers. He loves Paul McCartney. He used to close (shows) with (the Beatles’) “Day In The Life.” I will never forget in Hyde Park (on June 27, 2009). I was standing on the side of the stage and Neil was out there, and he was coming up to “A Day In The Life,” and Paul was on the side of the stage, and Neil didn’t know. As Neil started the song, Paul walked out onto the stage (actually at the 2:46 minute mark). Paul has been to The Bridge School benefit a few times. So that relationship is strong. The Who relationship is strong with Neil. Neil respects Bob Dylan. Elliot used to manage both of them. This wasn’t an oldies’ package.

[Neil Young’s performance at the Hard Rock Calling festival in Hyde Park in London was the final date of a two-year world tour in which he closed many of his concerts with “Day In The Life,” including his headline set on the Pyramid stage at the Glastonbury Festival the night before. After coming back on stage for an encore, Young then began playing “Day In The Life,” and McCartney joined him singing the rest of the song:

YouTube link.

During his set at Desert Trip, McCartney welcomed Young to the stage to join him for a performance of “A Day in the Life,” which eventually morphed into the Plastic Ono Band’s “Give Peace a Chance.” They also performed the Beatles’ “Why Don’t We Do It in the Road.”]

Desert Trip's talent budget alone was said to have exceeded $35 million US. The event reportedly grossed a record-breaking $160 million US. Despite the gross, the fee for talent was a scary number.

It wasn’t my scare. The money was coming from a good source. I try to really watch out for my artists, certainly the more that you start reading about bankruptcies of these festivals, especially Pemberton. I have thousands of emails with (festival) offers for Iggy Pop, Neil Young, and Cage The Elephant. Iggy didn’t want to travel to Pemberton. That was the only thing that stopped him from confirming. He doesn’t drive three or four hours in a car. His body just won’t let him sit that long.

Pemberton Music Festival in Pemberton was just north of Whistler, British Columbia.

Right, right. We were deep into negotiations. We were trying to figure out helicopters to get Iggy in and out. But the helicopters there don’t fly after certain times. So we were still trying to figure out the slot. That’s how deep the negotiations had developed. So when I saw the acts that were getting stiffed, I was like “Oh, my God.”

[The Vancouver Sun has reported that the Pemberton Music Festival may owe ticketholders and other creditors more than $16.7 million. There are 120 unsecured creditors. The organizers are being accused of fraud after filing for bankruptcy and announcing that automatic ticket refunds for the canceled July 13-16, 2017 event would not be issued. The festival had reportedly collected $8.2 million in ticket revenue this year in contrast to the budgeted expenses of $22 million, according to a fact sheet posted by the bankruptcy trustee. Among the artists booked were Alesso, Big Sean, Tegan and Sara, Slightly Stoopid, Ben Harper & The Innocent Criminals, and Eagles Of Death Metal.]

Barry Dickins’ wife once told him, “I’m too old to stand in a field. I don’t care where the field is. I’m not standing in a field. I’ve done all that for years. I’m not doing that anymore.”

Well, she doesn’t have to do that. I go in fields. I do.

How about your involvement in developing Ozzfest that was launched in 1996 with a bill that included Ozzy Osbourne, Slayer, Danzig, Sepultura, Biohazard, Earth Crisis, Powerman 5000 and others?

You know, Sharon (Osbourne) had a vision. Sharon had a dream. I loved the Osbournes. I was the guardian of their children. That’s how close we were. I put my heart and soul into Ozzfest, as she did. Sharon really worked hard. This meant everything to her. You worked on Ozzfest all year. There never was a period that there was a down time for Ozzfest.

Ozzfest was fascinating in that you could put a festival together around someone who was a cult figure to some degree.

I also thought of Ozzy as...

Bigger than life?

I did.

The following year you became involved with the annual H.O.R.D.E. tour.

My involvement with H.O.R.D.E. was because Neil Young did it (in 1997). That year was a tough year. It was a terrible year. It was not a pleasant experience.

Larry LeBlanc is widely recognized as one of the leading music industry journalists in the world. Before joining CelebrityAccess in 2008 as senior editor, he was the Canadian bureau chief of Billboard from 1991-2007 and Canadian editor of Record World from 1970-89. He was also a co-founder of the late Canadian music trade, The Record. He has been quoted on music industry issues in hundreds of publications including Time, Forbes, and the London Times. He is co-author of the book “Music From Far And Wide.”

Larry is the recipient of the 2013 Walt Grealis Special Achievement Award, recognizing individuals who have made an impact on the Canadian music industry. He is a board member of the Mariposa Folk Festival in Orillia, Ontario.


Industry Profile Archives:
Mick The DJ, DJ/Enterpeneur 04/30/15
Jeremy Lascelles & Robin Millar, Blue Raincoat Chrysalis Group 12/01/17
Joanne Abbot Green, CMJ Music Marathon and Film Festival 10/17/08
Lee Abrams, XM Satellite Radio 11/28/03
John Acquaviva, Fund Manager, DJ and Serial Entrepreneur 07/09/15
Jay Boy Adams, Roadhouse Transportation 05/04/07
Jamie Adler, Adler Entertainment Group 05/11/07
Gary Adler, National Association of Ticket Brokers 12/04/13
Rodney Afshari, Freeze Artist Management 03/01/02
JC Ahn, VU Entertainment 04/10/13
Steve Alaimo, Vision Records & Audio Vision Studios 05/26/06
Jaye Albright, Albright & O'Malley Consulting 07/19/10
Randy Alexander, Randex Communications 10/12/07
David Alexander, Sheer Publishing 07/21/16
Eva Alexiou-Reo, FATA Booking Agency 05/14/15
Marcie Allen, Mad Booking 12/14/00
Jeff Allen, Universal Attractions 08/16/02
Marcie Allen, MAC Presents 06/05/09
Marcie Allen Cardwell, MAC Presents 12/21/07
David Allgood, Bama Theatre 01/03/11
Patrick Allocco, AllGood Concerts 10/05/07
Michele Amar, French Embassy 05/26/16
Mike Amato, Rok Tours International 02/02/07
Jeff Apregan, Apregan Entertainment Group/Venue Coalition 09/30/15
Billy Atwell, AMP Studios 12/13/07
Bob Babisch, Milwaukee World Festivals Inc. 04/02/15
Tom Baggot, 05/02/03
Stephen Bailey, EPACC & Deleware Center For The Arts 02/06/04
Cary Baker, Conqueroo 05/11/11
Vince Bannon, Getty Images 07/05/11
Phil Barber, Barber & Associates 02/04/01
Camille Barbone, WineDark Records 12/09/05
Erin Barra, Musician/Producer/Educator 07/10/14
Ben Baruch, The Fox Theatre 09/27/08
Ben Baruch, By Larry LeBlanc (CelebrityAccess) 04/05/17
Paul Bassman, Ascend Insurance Brokerage 08/03/16
Adam Bauer, Fleming, Tamulevich & Associates 02/15/02
Ed Bazel, That's Entertainment International 10/05/01
Joachim Becker, ZOHO Music L.L.C. 01/12/07
Howard Becker, Comet Technologies 05/02/11
Mark Bego, Author 06/15/07
Jim Beloff, Flea Market Music 09/20/10
Richard Bengloff, The American Association of Independent Music (A2IM) 09/12/13
Seth Berg, South Bay Music 01/30/09
Aimee Berger, 2 Generations SPA Music Management 09/24/04
David Berger, Future Beat 10/29/14
Barry Bergman, Music Managers Forum 03/14/03
Steve Bernstein, Relix LLC 09/30/05
Mark Berry, Attack Media Group 04/07/07
Scott Billington, Rounder Records 01/17/12
Jeffrey Bischoff, Cinder Block 03/24/06
Sat Bisla, A&R Worldwide/ Musexpo 03/29/10
Nina Blackwood, Sirius Satellite Radio 07/14/06
Adam Block, Legacy Recordings 11/07/13
P.J. Bloom, Neophonic, Inc. 01/24/11
Rishon Blumberg, Brick Wall Management 06/27/03
Justin Bolognino, Learned Evolution, and The Meta Agency 04/25/13
Steve "Chopper" Borges, Total Pro and Borse Techos 03/03/06
Les Borsai, Mediocre Management 01/30/04
Shane Bourbonnais, Live Nation Canada 03/21/08
Jeff Bowen, Sears Centre Arena 03/13/08
Rick Bowen, Mystic Music Experience 07/11/08
John Boyle, Sanctuary Music Group 03/19/04
Jeff & Todd Brabec, Writers/Attorneys 01/03/12
Bill Bragin, Joe's Pub at the Public Theater 08/08/03
Joel Brandes, Avenue Management Group 11/02/08
Joe Brandmeier, Moving Pictures 03/15/02
Scooter Braun, SB Projects 12/13/10
Ron Brice, 3rd & Lindsley Bar & Grill 06/08/16
Billy Brill, Billy Alan Productions 11/11/05
Doug Brown, Talent Buyers Network 09/21/01
James Browne, Sweet Rhythm 11/01/02
Bob Brumley, Brumley Music Company 02/17/16
Tony Brummel, Victory Records 05/17/09
Charlie Brusco, TBA Entertainment Corporation 10/13/01
Del Bryant, BMI 05/18/07
Cortez Bryant, Bryant Management 12/06/10
Stephen Budd, Stephen Budd Management 07/13/17
Bruce Burch, University of Georgia Music Business Program 10/09/09
Deborah Burda, Kentucky Exposition Center 08/03/07
Patti Burgart, IEBA 06/07/02
Jordan Burger, The New Musiquarium 01/22/01
Ron Burman, Roadrunner Records 08/25/06
Suzanne Cadgene, Elmore 05/19/06
Karen Cadle, KGC Productions 03/12/04
Gary Calamar, KCRW 07/10/09
Charles Caldas, Merlin 07/05/10
Brian Camelio, ArtistShare 02/29/08
David Campbell, AEG Europe 08/02/10
Tom Cantone, Foxwoods Entertainment Group 10/20/00
Tom Cantone, Foxwoods Resort Casino 07/03/03
Tom Cantone, Mohegan Sun 08/30/09
Ashley Capps, A. C. Entertainment 05/21/04
Rio Caraeff, Vevo 07/12/11
Mike Carden, Eagle Rock Entertainment 08/16/11
Charles Carlini, Carlini Group 05/16/08
Mark Carpentieri, M.C. Records 05/27/05
Mark Carpentieri, M.C. Records 01/10/11
Troy Carter, Coalition Media Group 06/07/10
Daniel Catullo, Coming Home Studios 06/22/08
Raffi Cavoukian, Folk Singer/Children's Entertainer 05/11/16
Jeffrey Chabon, Chabon Entertainment Group 08/22/02
Mike Chadwick, Essential Music & Marketing 08/01/12
Rob Challice, Coda Music Agency 03/27/13
Tom Chauncey, Partisan Arts 01/11/02
Tom Chauncey, Partisan Arts 10/04/11
Lisa Cherniak, Artists Against Racism (AAR) 07/20/01
Bob Chiappardi, Concrete Marketing 06/13/03
Joel Chriss, Chriss & Co. 10/04/02
Michael Chugg, Michael Chugg Entertainment 09/14/01
Michael Chugg, Chugg Enterprises 10/02/09
Gary Churgin, Harry Fox Agency 09/13/10
Vinny Cinquemani, S.L. Feldman & Associates 12/13/12
Barry Coburn, Ten Ten Music Group 03/28/11
Matthew Cohen, Green Room Productions 10/19/01
Ted Cohen, TAG Strategic 01/10/13
Lisa Cohen, Associated Booking Corporation 02/10/06
Steve Cohen, Music + Art Management, Inc. 03/09/07
Dan Cohen, Music & Memory 01/12/17
Michael Cohl - Part 1, S2BN Entertainment 03/06/13
Michael Cohl - Part 2, S2BN Entertainment 03/13/13
Bryan Coleman, Union Entertainment Group 02/14/12
Mamie Coleman, Fox Broadcasting 07/05/12
Dennis Condon, Disneyland Resorts 07/13/01
Peter Conlon, Peter Conlon Presents 05/20/05
Tony Conway, Buddy Lee Attractions 10/06/00
Allen Cook, TOURtech 04/16/15
Tomas Cookman, Cookman International 09/05/03
Alex Cooley, Alex Cooley Presents 07/12/10
David Cooper, 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, 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, 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, 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, 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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