Industry Profile: Marty Diamond
By Larry LeBlanc
This week In The Hot Seat with Larry LeBlanc: Marty Diamond
Marty Diamond is smart about who he is; where he hangs his shingle; and where and how his clients fit in the marketplace.
In 1994, Diamond founded Little Big Man Booking in New York. It grew it into one of the most successful boutique booking agencies in history, representing Coldplay, Sarah McLachlan, Avril Lavigne, David Gray and the Arctic Monkeys, among others.
Diamond emerged as the East Coast head of music for Paradigm Talent after Little Big Man was acquired by Paradigm in 2006.
Paradigm was formed in 1992 by chairman Sam Gore as an independent film, TV and literary agency after the Gores/Fields Agency merged with STE Representations, Robinson, Weintraub, Gross & Associates, and Shorr, Stille & Associates.
Over the past decade, Paradigm has expanded through a series of strategic acquisitions, starting with its 2004 purchases of two boutique literary agencies, Genesis and Writers & Artists Group International.
Today, with offices in Los Angeles, New York, Monterey, and Nashville, Paradigm provides representation to clients across its motion picture, television, music, comedy, personal appearances, theater, books, new media, commercial and physical production departments.
Paradigm significantly boosted its music division with several recent deals, particularly the 2005 purchase of Monterey Peninsula Artists, which represented Aerosmith, the Black Crowes, Dave Matthews Band, Toby Keith, Black Eyed Peas and others; and its buy-out of Little Big Man Booking which had also been courted by numerous majors.
LBM’s Diamond, VP Larry Webman, and the entire staff, including agents Steve Ferguson and Jonathan Adelman, came over with the purchase.
Paradigm’s music stakes continued to grow.
In 2008, Paradigm signed up Matt Galle and Andrew Ellis, both principals in Ellis Industries, to work out of Paradigm's New York office. They brought a lengthy list of clients, including My Chemical Romance, Dashboard Confessional, Taking Back Sunday, Brand New, Boys Like Girls, Alkaline Trio, Metro Station, Hellogoodbye, Circa Survive, Thrice, New Found Glory and Say Anything.
Ellis had founded Ellis Industries agency in 2000 while working as a part time stage manager. Galle helped to found the Kenmore Agency in Boston in 2000, joining Ellis Industries in 2003.
In June 2009, Bigshot Touring Artists founder/owner Kevin French joined Paradigm in New York as a music agent. French brought his Bigshot client roster, including the Decemberists, the National, the Walkmen, White Rabbits, Langhorne Slim, Lou Barlow, Brian Jonestown Massacre, the Broken West, Clem Snide, French Kicks, Sebadoh, Richard Swift, Laura Veirs, White Denim and You Am I, among others.
Currently, Diamond along with Canadian singer/songwriter Sarah McLachlan, and Nettwerk Music Group principals Terry McBride, and Dan Fraser—the team that established Lilith Fair as one of the highest grossing touring festivals in the world from 1997 through 1999—is deeply entrenched in launching a new Lilith tour for this summer.
Planned to date are 35 shows in North America, another 6-8 in Europe, then Asia and Australia in spring 2011. Then a return to North America in the summer of 2011.
The dates announced so far are: Atlanta, Austin, Boston, Calgary, Charlotte, Chicago, Dallas, Denver, Detroit, Edmonton, Hartford, Houston, Indianapolis, London, Los Angeles, Minneapolis, Montreal, Nashville, New York, Philadelphia, Phoenix, Portland, Raleigh, Salt Lake City, San Diego, San Francisco, Seattle, St. Louis, Tampa, Toronto, Vancouver, DC and West Palm Beach.
Among the 100-120 artists announced to date are: Beth Orton, Brandi Carlile, Butterfly Boucher, Cat Power, Colbie Caillat, Corinne Bailey Rae, Donna Delory, Emmylou Harris, Erin McCarley, Erykah Badu, Frazey Ford, Heart, Indigo Girls, Jill Scott, Ke$ha, Loretta Lynn, Mary J. Blige, Meaghan Smith, Metric, Miranda Lambert, Missy Higgins, Norah Jones, Serena Ryder, Sheryl Crow, Sia, Sugarland, and Tegan and Sara.
McLachlan designed Lilith Fair in 1996 as a unique, all-female-headliner music festival tour. It was inspired in part by her reaction to a predominance of male-centered summer tours, and reluctance by some venues to book a double-female bill.
Lilith Fair was put to the test in the summer of 1996 with shows in four U.S. cities with a bill that included Patti Smith, Emmylou Harris, Lisa Loeb, Paula Cole, Aimee Mann, Suzanne Vega, Michelle McAdorey, and McLachlan.
From 1997 through 1999, the all female lineup grew to include such current (or future) luminaries as Sheryl Crow, Christina Aguilera, Erykah Badu, the Dixie Chicks, Missy Elliot, the Pretenders, Nelly Furtado, Jewel, Queen Latifah, Indigo Girls, and Tegan and McLachlan.
Little Big Man Booking, like Monterey Peninsula Artists, Ellis Industries and Bigshot Touring Artists, fitted Paradigm's acquisition strategy. These were specialty boutiques that had carved out strong niches for themselves, and that firmly fitted in with the Paradigm culture.
Diamond argues that he and the other former boutique executives have maintained their respective business cultures within Paradigm. This has effectively infused Paradigm with an independent spirit, and approach to business that enabled it to compete fully against the major full-service agencies.
With past stints at Cricket Talent & Booking, Bill Graham Presents, Arista Records, Polygram, and International Talent Booking, Diamond was knowledgeable and shrewd enough to know that with the shifting tides in the music business, there was a need to build a new business model in which agents are increasingly more partners with their clients and their team, and less about being solely their booking representatives.
At Paradigm, Diamond is now able to better leverage crossover opportunities for his clients in all areas of film, television and live performance, as well as new media, publishing and endorsements.
Are you a tough negotiator?
‘Cuz I’m protecting my clients’ livelihoods.
Was that a factor when you started as an agent?
I started with a bunch of bands where the goal was to forge careers for them. So was (the toughness) there? I guess the fight was there, and the fight continues to be there. I am still very much in the developmental business. Obviously, I have bigger clients, and the scope of that process changes.
What are things that turn you off about an artist? That you will pass on an artist over?
We are all creatures of adaptation, but I think for us, it still runs to music. It still starts and ends with music.
That’s simplistic. There are such factors as management.
Absolutely. But I think that if anyone is going to sign something in this office, they are signing it because they have some affinity to it. That there’s something that speaks to them. That it’s not signed--and I know that this is going to sound wrong--as pure commerce. Yes, we are a business, and we have to keep the lights on to do those things that any business does but it is not like we are going to sign something purely because it’s going to make us money.
How about a great artist with a lousy manager? Would you still sign that artist?
If the artist wants me to represent them. Then you try to work toward a solution. Every once in awhile there are artists that want to be here, and their managers wanted them to be somewhere else. We try to live in the solution.
What is the biggest mistake that managers make in dealing with an agent?
It boils down to if it’s about, “Get me work.”
What is the biggest mistake a venue owner makes?
Believing the hype.
Industry hype or their own venue hype?
Both. A lot of time people (buyers) make mistakes (with bookings) where there’s this fevered pitch (over an artist). Then they go, “That didn’t equate to tickets.” It is still about tickets. (Any booking) has to equate to tickets.
Decades ago, with an ad or review in Rolling Stone and some FM airplay, everybody knew about an act. Today, it’s difficult getting noticed.
What are the genuine signs that you are breaking ground with a developing act today?
There are still indicators. They may not be the purest indicators but there are certainly indicators. Though I’m not the biggest believer in terrestrial radio, I still think terrestrial radio is a sign. Look, there are also 9 million blogs. There are certain ones that are more meaningful than others, and more telling. But, the fact is that people are talking. All of that is very much part of (breaking an act.) If nobody’s talking, we are all fucked.
Still, it is tough to establish an artist today.
I’m working with Lissie. She made an EP with Band of Horses. The record is magical. She is magical. She is one of those people when you see her, you think, “Oh my gosh, she’s amazing.” The record is too. So, for us, the mantra is about getting her out in front of people. She did dates with Ray LaMontagne, and she’s out on City and Colour dates right now. It’s not about, “I want to get her out. I want to get her out.” I don’t want to be an employment agent. I want to be a talent agent. She is someone when you put them in front of people, she will win. She will win whether she was selling music or a paper bag.
Over the years, you have worked with numerous artists in the early stages of their careers. What acts have been the most satisfying in watching develop?
David Gray is one. He’s one of my oldest clients. Coldplay. Sarah McLachlan is someone who I have watched, and watched not only grow as a person but grow as an artist. I think that with every artist, we thrive on how they flourish. I don’t think that it’s necessarily an all encompassing thing. Success and growth come in varying places. There might be clients that we have that (for) them landing a soundtrack deal; that is success for them. Other people doing a sold out tour; that’s success for them. It varies from artist to artist.
Artists come to you with different skill sets, and different levels of maturity.
But we grow together. With each client relationship, it’s a process of growing together. In order to understand someone’s needs, you have to be able to hear them and understand what they want.
Each artist has different expectations?
Absolutely. I think that everybody comes with a different agenda. Some people come in here, and they say “You have to get us a support tour.” And that might be their agenda for a particular moment in time. But, everybody comes in with their own agenda or their own issues.
As the business continues to evolve—the distribution of music with a lot of other components that are all part and parcel of that process--I think that those agendas do change in terms of expectations; in terms of what we can bring to the table. Part of the reason of why I did my deal with Paradigm is that we, as a company, are able to explore other ways to broaden our clients’ careers.
Was there a simpatico between Little Big Man and Monterey Peninsula Artists which came to Paradigm a year earlier?
Culturally, we are very similar people though we worked differently in terms of style of booking. We don’t work territorially and they do in some sense. There was very much a boutique mentality for both of us. We still retain that boutique mentality. We are a big company with a boutique mentality. That’s hard to maintain, but it goes back to personal relationships. It goes back to hearing what the client wants. What does my act want? What does my act’s manager want? Is there an open forum for dialogue? If it’s just a name on a routing sheet, we are all fucked.
Great agents have that balance between being fiercely independent and entrepreneurial, whether they are working within a boutique or bigger agency culture.
I think that there are a lot of entrepreneurial agents (and their work) isn’t rooted in the music or the artist. It is rooted in commerce.
Due to their agency’s culture?
Some of it is the agency culture. It’s a lot of things. With Andrew Ellis, his love of Dashboard Confessional is his love for Dashboard Confessional. My love of David Gray or Sarah McLachlan, Coldplay, Lissie, or the Low Anthem is my love for these acts.
Matt Galle and Andrew Ellis coming with Ellis Industries rounded out Paradigm’s music division.
We have a phenomenal team. Whether it’s Matt Galle and his relations with My Chemical Romance; and Matt and I have signed things together. Or Jonathan Adelman with the Fray; and we work Sia together. There’s Larry Webman, who is my cohort in crime to some degree, working on Coldplay, David Gray or Lilith with me. We anticipate each other really well. (Former Bigshot Touring Artists founder/owner) Kevin French has adapted to the culture really easily.
Nobody is in each other’s face here. Nobody has asked anyone to corrupt their mindset or their style. That reverberates loudly to (chairman) Sam Gores who owns Paradigm. He has not come in here, and said, “You need to do things this way.” Yes, we have shifted some things around but, in the grand scheme of things, nobody has changed the culture. I feel like I still go to work at Little Big Man every day because the culture hasn’t been corrupted.
[This month it was announced that Jim Griffin, the former executive VP and Head of Television at William Morris has joined Paradigm to head up Paradigm's new broadcast shop in New York, bringing along his roster of clients. These include Regis Philbin, Fred Thompson, Jim Lehrer, Chris Cuomo, Geraldo Rivera, Charles Grodin and Willard Scott.
As well, it was announced that Industry veteran Bob Kinkead is coming aboard. Among Kinkead's clients, bolstering Paradigm’s comedy roster, are Jeff Foxworthy, Larry the Cable Guy and Bill Engvall.]
Paradigm wasn’t the first big agency to knock on your door.
No. I had dialogue with William Morris (Agency) and with Endeavor (Entertainment) at one point in time; way before there was a William Morris deal (to form William Morris Endeavor Entertainment in 2009). I’ve had dialogue with everyone. They are all great companies. They are all good at what they do.
Why did you hesitate or pass with the others?
With all of them with, maybe, the exception of Endeavor, I don’t know if they were completely married to the idea of having a music department or in the configuration I existed in originally. With Endeavor, it was the wrong time and wrong place type of thing. With Paradigm, there wasn’t any cultural drift. They understood who we were. For me to adapt to William Morris, and become a territorial agency would have been very difficult. I don’t work that way; and it’s not how my clients expect me to work.
What is the benefit of working non-territorially? That you can see the overall picture for the artist?
I think that’s the case. It’s seeing the overall picture. Sometimes, it depends on who the RA (responsible) agent is, but, within the territorial system, a horse sometimes becomes a camel by committee. That’s my opinion. Everybody has a differing opinion.
Working on regional basis, there may be agents that can dig down deeper or have stronger relationships with buyers. At the same time, they might overlook the overall career goals of an artist.
I can’t comment about a system I’m not in. But I can comment to the fact of someone saying, “I’m going to pursue the best dollar deal” because I didn’t catch that part of the meeting where someone said that there were other significant cultural issues (in booking the act that) I had to bear in mind. “Oh, the band didn’t want to be in a 21 and over room? I didn’t realize that.” Because (the best dollar deal) becomes an easier way to traffic volume.
There are artists you’ve have been living and breathing with since their first gig. You know what they are comfortable with or what they are not comfortable with. I am thinking of Sarah McLachlan.
Yeah. Sarah McLachlan knows that she can pick up the phone to call me and she knows I will pick up the phone to call her. I was Sarah McLachlan’s product manager at Arista Records. I’ve known (her manager) Terry McBride (CEO/co-founder of the Nettwerk Music Group) for a very long time.
Some of your clients may want to write music for films and television; some of them may want to act. Has working within an established film/TV/literary agency like Paradigm enabled you to leverage crossover opportunities for those clients?
Regardless of whether it is Little Big Man or Paradigm, the mantra here is still about career and artist development.
There are some clients that want me to be their booking agent, and that’s all they want me to be. There are other clients that I see opportunities for them to broaden their career. Carlos Dengler from Interpol has interests outside of being in the band. Carlos is a voice over client, and he’s a theatrical client. At some point, I pass the baton on to somebody in the voice over department who embraces or doesn’t embrace (a proposal). I don’t walk down the hall with every client. You don’t say, “They are musicians, and they all should be voice over clients.” I can only take the shots when someone is willing to take the time and the energy to do auditions.
Were these opportunities there when you operated Little Big Man on your own?
They were an incoming call as opposed to an outgoing call. Now they are very much an outgoing call. Whether it is Carlos Dengler or Rachael Yamagata as voice over clients, they are no longer incoming calls. If the client is willing to be proactive, we can be proactive.
Some (activity) speaks really loudly to that, you know when an artist needs to be doing something else. You know when an artist wants to do something else. Mates of State’s Kori (Gardner) and Jason (Hammel) have a vision of a TV idea, and our TV department has engaged incredibly well with them. (The project) is still a work in progress. Its like, “Watch that page.” Everybody is still trying to find the chink in the armor; trying to find the right way to accomplish what they want to do.
Film and TV have become key outlets to expose music.
We have had a lot of success (in TV), with the Fray and their presence at ABC on “Grey’s Anatomy” and Sia has had great success with “Six Feet Under.” Snow Patrol has also had great success there. We have had tremendous success with clients that have had great sync opportunities, regardless of where they came from.
Do you get involved in sync pitches?
It depends on the act. It depends on how much we have to be engaged. If the client is asking, “Please be part of the team” then we go as deep as they want us to. I have certain clients, they do their own work in the sync world; and there are other artists who do their own work in the sync world but who will say, “Can you help us? We could use another oar in the water.” It varies.
Labels are more willing to listen to agents today.
The relationship has changed. I have labels that are really great partners. The days of me strolling over (to a label office) for a marketing meeting, they are far and in between now. But, when it happens, (label executives) are usually dead on.
Even a decade ago, labels would tell you when the tour would be.
Yes. I don’t know if I am missing (that) a lot. The dynamics have changed. For me sometimes, it is taking from Peter to pay Paul, particularly in development, in terms of helping people get out the door. A lot of that is, “What else is out there? What else can we do that doesn’t corrupt the band to help them get out the door?” It’s a lot of not leaving a stone unturned (today).
Two decades ago, the label would just hand the act the marketing plan for the album
They also lived in the branch philosophy. It was, “You have to hit all of our branch markets” or “We’re going to get the dude from (distributor) Handleman to buy.”
With labels so thinned out, most management offices today have in house marketing people.
Most management companies we deal with have a marketing person. Or, if they don’t have a marketing person, we infuse ourselves to help extrapolate information from local marketing plans. What can be utilized? What’s a waste of time? What looks nice on paper but doesn’t mean anything?
Do you co-ordinate releases around tours?
To some degree, you do. There are still people that are racing toward that first week (of sales). I don’t know if that’s necessarily the move for me. On the developmental acts, it’s not about the first week for me, it’s about week 26 or week 58 (of a release).
Can acts tour too far in front of a release?
I don’t know if it can ever be too soon (to tour). We now have an audience that is so impressionable. One kid twittering after a show takes this very small insular experience, and makes it a bigger experience. I don’t think that we can ever forsake that.
Kids are pretty sophisticated about music these days and at an early age. They hear music everywhere.
It is a great time for music. Where we all struggle—and I think we all have to stay on point—is that we all need to be in the business of breeding loyalty. We need to keep people coming back. It just can’t be, “I saw that act.” We have a generation of kids that have lived texting, and twittering. As we all do. We live in a world of incomplete sentences, and we live in a world of abbreviations. We need to make sure that we complete the thought. Part of that is breeding loyalty. It is the completion of the thought. If someone goes, and sees the Low Anthem. I want them to come back. I don’t want them to say, “Oh, I liked that last record” and they are onto something else.
With more one-promoter deals around today; and with multi-right deals being more prevalent, are you being involved in discussions in things like presales and sponsorships?
Yep. That’s part of what we do if we’re asked to help co-ordinate pre-sales or help out if there’s a sponsor in terms of needs being sorted out. We’re involved with all that whether it’s arguing for better merch rates or something like, “Hey, we want to do this for our fans, exclusive to the normal pricing.” We are as deeply engaged as we are asked to be and, to some degree, we will instigate (deals). We are obviously aware of new campaigns and new promotions so we can insinuate those things into the deal too.
The plan for Lilith is to have 11 artists a day, 3 on the B stage and 3 in the village?
Yeah. I don’t know what the stages will be named. There’s a movement away from the festival being perceived as a women’s’ thing playing acoustic guitars. With the most recent artists’ announcement made (Jan. 21) I think everybody will go, “Wow.” There will probably be one or two more (artist) announcements, and then the tour will go up.
The plan is to have 35 shows in North America; 6-8 in Europe; and, maybe, Asia and Australia with a return to North America.
Back to North America in the summer of 2011.
How many shows are planned for the last leg in North America?
I don’t know yet.
What are the plans for Europe?
We have moved Europe. We are going to look at that in the Fall. It’s sort of, “Get what we do best right” before we step out the door, and go to other places.
Lilith has had limited exposure in Europe.
We have done some things, including Royal Albert Hall in London. Our goal is to be as true to the mission as we can be. Diversity is a driving mantra for us at this point.
How involved are you in picking acts for Lilith?
There’s a real team here, and we all discuss artists. Terry McBride will tell you that I am sometimes the “squeaky wheel.” I hate being the “squeaky wheel” (the naysayer). But, any time that Sarah asks me to try something, I try it.
How heavy has the politicking been from managers and agents vying to have their acts on Lilith this time around?
There’s politicking. There’s been a fair amount of it. There are still a couple of heritage acts (being considered), and some interesting turns we have taken with some of the heritage acts. The interesting thing for me is when you have to say to someone, “I can’t do A & B. I can do A or I can do B. I can’t do both.” The perception (for many people) is, “That feels old.” But the thing you have to remember is that we now have a generation of kids that, having music on their IPods, span generations. Also having Guitar Hero, and Rock Band has generationally widened the gap.
We’d be sitting there with some of the bands that kids are listening to today and thinking, “That was so uncool when I was a kid.” Now these acts are cool. There are 12 and 13 year olds who are now listening to Journey. We now have kids who never saw the Ramones but know who the Ramones are. Our ability to have music in peoples’ hands, and in their houses is very different now.
One big change with the 2010 Lilith Tour is that there’s a multi-platform media partnership with ABC Entertainment that includes featuring Lilith and specific artists across ABC’s programming and online in the months leading up to and during next summer’s tour, including ABC’s physical presence at each tour date.
When we concluded Lilith Fair 10 years ago, our experience in the TV world was that there was a VH-1 “Behind The Music” special and, maybe, some local TV coverage as a result of us being in town. ABC Entertainment is now our media partner with a much broader stroke, and a more encompassing stroke in terms of what they can bring to Lilith. This includes what we can bring to them; and what we can all accomplish.
Where are you originally from?
Merrick in Nassau County on Long Island (New York).
What was your first industry job?
I worked as a college buyer. I was the concert chairman at the University of Delaware. I went there as a medical technology major with the intention of being premed. That didn’t work out. I ended up getting a communications degree and a economics minor.
You ended up in the music industry.
Well, I loved music.
Any memorable shows you put on while at university?
I scheduled a Ramones’ show once, and the Ramones had to cancel ‘cuz they were going to shoot (the 1979 film) “Rock ‘n’ Roll School.” The irony is that Allan Arkush, who directed “Rock ‘n’ Roll School,” is a Paradigm client, and a friend. We have this weird common thread. I played the B-52s, James Taylor, Pure Prairie League, and Firefly. There was the Hooters from Philadelphia, and I played their first incarnation. They were a band signed to Arista called Baby Grand.
[Baby Grand released two albums on Arista Records, one eponymous and the other titled “Ancient Medicine.” While the band had some critical success, it never achieved any commercial success and eventually disbanded.]
I had a car so I did a lot of road trips with roommates and friends. We used to drive up the Jersey Turnpike to CBGB’s in New York; drive to Millersville State College (in Millersville, Pennsylvania) to see Little Feat and drive to D.C. to see other things.
When you started Little Big Man what was the environment?
I started it in Vernon Reid’s (Living Colour) guitar closet. It was myself and Tammy Shin. Then Larry Webman joined me. He worked in the guitar closet with Tammy; and I worked down the hall where I was sharing an office. Someone was kind enough to let us go in their office. We ended up in the basement of my Gramercy Park apartment. (The agency) just kept growing.
[Larry Webman joined Little Big Man in March 1995. He was previously an agent at Flash Group Concerts in Connecticut.]
Did you have any booking experience?
Oh yeah, I had been an intern and an agent going back ages. I was at Cricket (Cricket Talent & Booking). In the heyday, we had clients like Madness, Haircut 100, and the Thompson Twins. Then I went to work as a buyer at The Ritz. I was a product manager at Polygram in the ‘80s. I worked for Bill Graham Management. I was the head of artist development at Arista Records. So I’ve had a lot of experiences.
When did you know you really wanted to be in the music business?
I think that I knew while I was doing an internship in college at Cricket. I knew that was what I needed to do. I remember walking into The Ritz (which I booked) with my parents the night after the Eurhythmics played there, into a room full of strewn cups and glass and bottles. I looked at my dad, and said, “Isn’t this great?” My dad who is an accountant, said, “Hmmmm. I don’t know if I would call this great.”
You are a music biz lifer?
I think it’s in my blood. I love music. I married someone who is a trained opera singer. She went to the North Carolina School for the Arts for Opera. I’m around music a lot from very different places.
Do you have kids?
I have two daughters, a 6 1/2 year old named Apple; and a 2 1/2 year old named Story. Apple refers to what I make her listen to in the car as classical music. She spends a lot of time listening to Bruce Springsteen, Tom Waits and Little Feat. When she is in the car with me, we spend lot of time talking about Bruce Springsteen, the Grateful Dead, and Tom Waits. She will ask me questions because she understands what magical writers that they are. She loves the Boss.
My kids still listen to kids’ music too. I’m involved in a series with Live Nation called House of Kids. I am very engaged with kids’ music
What was your job at Polygram?
I was the international product manager. There were a bunch of things I was involved in at different parts of my career there. I worked on Banarama, Big Country, Cameo, and John Mellancamp. Linda Walker and I were the first two (contemporary) product managers in the company that was still much more in the mindset of old school CBS type product managers.
You worked at Bill Graham Presents in New York.
I worked for Bill. I ran his New York office. When I came in I worked first with Stan Feig who ran the office. When Stan moved, I was Bill’s guy in New York working with Beth Kittrell. I worked on Live Aid with Bill. I got to see a (personal) glimpse of Bill because I saw Bill away from San Francisco. He loved New York. I worked out of his little apartment off of Madison Avenue in a little brownstone. I loved it. I had a lot of time to hear Bill talk about stuff. Some of it was waxing poetic, and some of it was just Bill-isms. He had an incredible passion. But, at the end of the day, he was still a businessman. He got a lot of things right; he got a lot of things wrong. But he was a risk taker.
You have worked with some interesting people including Clive Davis while you were at Arista. What are Clive’s strengths?
He’s the ultimate song guy. He knew how to spot artists and he knew what songs would work for people. He still does. He is still fiery and he has a passion.
While working at labels did you stay close to the booking world?
I remember as a record executive that we would sign an act, and I would pitch my wares to Frank Barsalona (founder), Barbara Skydel (senior VP) or (agent) Barry Bell, trying to get Premier (Premier Talent Agency) to take them on. Or, I would try to get ITG (International Talent Booking) to take them on. Then I was at ITG. I was brought over to do marketing, but I soon became an agent. I left there to start Little Big Man.
Larry LeBlanc was the Canadian bureau chief of Billboard from 1991-2007 and Canadian editor of Record World from 1970-89. He was also a co-founder of the late Canadian music trade, The Record. He has been quoted on music industry issues in hundreds of publications including Time, Forbes, the London Times and the New York Times.
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Ben Baruch, The Fox Theatre 09/27/08
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
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
Ray Danniels, Standing Room Only Management, and the Anthem Entertainment Group 03/05/15
Ken Dashow, WAXQ-FM (l04.3 FM) - New York 09/08/06
Hal David, Lyricist 07/26/11
David Davidian, Independant Lighting Designer/Director 06/18/04
Anthony Davis, D&L Entertainment Services, Inc. 03/02/01
Chip Davis, American Gramaphone/Mannheim Steamroller 05/31/02
Mitch Davis, Tempest Entertainment 07/16/04
Jeff Dawson, Canadian Recording Services 06/08/08
Desiree Day, USO Celebrity Entertainment 08/10/01
Shauna de Cartier, Six Shooter Records/Six Shooter Management 10/23/13
Gene DeAnna, The Library of Congress 02/21/12
Vincent Degiorgio, Chapter 2 Productions 08/01/13
Tony DeLauro, DeLauro Management 12/23/04
Valerie Denn, Val Denn Agency 04/30/01
Val Denn, Val Denn Agency 03/06/14
Robert DePugh, Alligator Records 07/29/05
Tom Derr, Rock Ridge Music 10/29/04
Paul Dexter, Masterworks Lighting Design and Road Cases 12/10/04
Marty Diamond, Paradigm 01/22/10
Glenn Dicker, Redeye Distribution/Yep Roc Records 07/07/06
Barry Dickins, International Talent Booking Agency 06/06/13
Jim Digby, Event Safety Alliance 09/01/16
Mark Dinerstein, The Knitting Factory 11/17/06
Neill Dixon, Canadian Music Week 03/03/16
Thomas Dolby, Musician, academic, technologist, and author 11/09/16
Jasper Donat, Music Matters 2009/Branded 04/24/09
Jim Donio, National Association of Recording Merchandisers 04/22/11
Marc Dottore, M. Dottore Management 04/11/03
Tim Drake, The Roots Agency 12/12/08
Mike Dreese, Newbury Comics 11/23/11
Charles Driebe, Blind Ambition Management Ltd. 09/22/06
Jeremy Driesen, Ray Bloch Productions 09/07/01
Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of Denver’s Division of Theatres and Arenas 08/23/10
Paolo d’Alessandro, International Solutions 06/25/14
Ros Earls, 140dB Management 02/19/14
Art Edelstein, Festival Productions 12/01/02
Bruce Eisenberg, Audio Analysts 08/31/01
Martin Elbourne, The Glastonbury Festival 12/18/09
Michael Elder, Red Entertainment 03/17/06
Tod Elmore, Sixthman 11/24/06
Paul Emery, Clear Channel Entertainment 11/19/04
Arty Erk, Citrin Cooperman 04/27/16
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock ’n’ Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gélinas, Festival d’été de Québec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Chris Gero, Yamaha Entertainment Group 10/26/16
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Steve Gietka, SMG Entertainment 03/19/14
Darren Gilmore, Watchdog Management 03/17/16
Daniel Glass, Glassnote Entertainment Group 10/16/14
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Neil Goldberg, Cirque Productions 04/16/14
Martin Goldschmidt, Cooking Vinyl Group 09/29/16
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, Turntable.fm 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, ItsAboutMusic.com 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Peter Shapiro, Ideal Entertainment 04/16/04
Seth Sheck, Access Pass & Design 01/03/03
Seth Sheck, ACCESS Event Solutions 06/22/16
Seth Shomes, The Agency Group 11/12/14
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Michael Simon, The Harry Fox Agency 08/14/13
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Peter Smidt, Eurosonic Noorderslag & manager Buma Cultuur 07/17/13
Garrison Snell, Gyrosity Projects 02/23/17
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
Nikki Solgot, Circle Talent Agency 02/18/15
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Mandar Thakur, Times Music 08/06/15
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Kirt Webster, Webster PR 02/03/16
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Adam White, Author 09/14/16
Adam Wilkes, AEG Live Asia 10/13/16
Fenton Williams, 04/04/08
Del Williams, Right Arm Entertainment 04/18/08
Bryan "Birdman" Williams, Cash Money Records 09/13/11
Paul Williams, ASCAP 10/19/11
J.P. Williams, Parallel Entertainment 10/03/12
Kurt Willms, Green Room Productions 09/20/03
Chris Wilson, Heartbeat Records 03/02/07
Tony Wilson, Factory Records/In The City 06/01/07
Tom Windish, The Windish Agency 07/26/10
John Wiseman, XL Touring Video 05/05/06
Thom Wolke, Twincloud.com 02/08/02
Michael Wood, City Lights Entertainment 08/08/08
Keith Wortman, Blackbird Presents 03/22/17
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, CultureCatch.com 07/27/07
Jeremiah “Ice” Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
Kevin 'Chief' Zaruk, Chief Music Management 06/10/15
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06
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