Industry Profile: Terry McBride
By Larry LeBlanc
This week In the Hot Seat: Terry McBride, co-founder/CEO, Nettwerk Music Group.
Nettwerk Music Group co-founder/CEO Terry McBride remains unfazed over the challenges faced by his entertainment conglomerate in the past two turbulent years.
Nettwerk Music Group is the umbrella company for: Nettwerk Management; the labels, Nettwerk Records, Artwerk (a co-venture with Electronic Arts), Nutone Records; and music publisher Nettwerk One.
With over 130 employees, the Vancouver-based Nettwerk Music Group has offices in New York, Los Angeles, London, Boston, Nashville and Hamburg. The firm’s principals are McBride, Mark Jowett, Dan Fraser and Ric Arboit.
Nettwerk handles the worldwide management of such artists as Sarah McLachlan, Martha Wainwright, Jars of Clay, Chantal Kreviazuk, Guster, BT and, recently added to the roster, Welsh classical crossover artist, Katherine Jenkins
Nettwerk Producer Management handles production heavyweights Don Was, Tom and Chris Lord-Alge, Howard Benson, and Mike Shipley.
Nettwerk Records is home to Delerium, Great Lake Swimmers, Old Crow Medicine Show, Thomas, Datarock, Jars of Clay, and Sarah McLachlan.
Currently, McBride is overseeing the launch of Polyphonic, a new music business model intended to provide funding for artists and their management to run their own businesses; as well as, along with Sarah McLachlan, Nettwerk Music Group president Dan Fraser, and Marty Diamond, East Coast head of music for Paradigm Talent—he is working on the return of the Lilith Fair touring festival this summer.
Planned to date are 35 Lilith 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, Washington, D.C, and West Palm Beach.
Among the 100-120 artists announced so far 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.
With all of this activity, McBride has pushed aside any of the dark clouds that started appearing at Nettwerk two years ago.
Nettwerk suffered its first blow in December, 2008 when Canadian pop-punk star Avril Lavigne cut ties with the company, despite the fact that Mark Jowett, VP of international A&R/publishing, had initially discovered her.
In 2000, Lavigne sent demos to Jowett. He gave her a development deal. But when Arista’s then A&R rep Ken Krongard came by a New York studio where the two were writing, he was so impressed with Lavigne that he returned with then Arista president/CEO Antonio "L.A." Reid. After she sang several songs, Reid offered to sign her. Later, he asked McBride to handle her management.
Under McBride, Lavigne sold over 30 million albums worldwide; scored six #1 hits worldwide; and 11 Top Ten hits.
Global shipments of Lavigne's debut, “Let Go” reached 10 million units after its worldwide release by Arista in 2002, including 5 million units in the U.S.
“The Best Damn Thing,” her third studio album, released in 2007, debuted at #1 in over 20 countries. According the International Federation of the Phonographic Industry (IFPI) it was the 4th top-selling album worldwide in 2007, selling 7.3 million units in 8 different languages. The album racked up sales of over 25 million tracks in legal downloads.
In July, 2009, the Barenaked Ladies jumped ship to the new L.A.-based firm, CAM 8 Management. This followed a raucous year in which the group's co-founder and singer Steven Page was arrested on allegations of cocaine possession, and then decided to leave the group to pursue a solo career.
In Aug. 2009, Nettwerk’s senior VP Pierre Tremblay departed the company with Canadian rock band Billy Talent as well as Silverstein, and Sweet Thing to set up his new venture, Vancouver-based Hive Management.
Tremblay was quoted in Billboard.Biz (August 14, 2009) as claiming Nettwerk had "lost focus." He added, “Basically Nettwerk has been going in a different direction than the one I wanted. I want to build a branding and management company and Terry wants to create a 'future music company.’”
Operating from the living room of McBride's apartment in 1984, Nettwerk was founded as a production company with a $5,000 loan to relaunch the career of Jowett's group, Moev.
Soon after its start-up, the company established its multi-faced corporate structure and was recording, managing and publishing such Canadian acts as Skinny Puppy, the Grapes Of Wrath, Ginger, Delerium, and Rose Chronicles.
While Nettwerk primarily managed only acts on its label roster at first, its focus changed significantly with the launch of Nettwerk Management in 1995; with the signing of the Barenaked Ladies in 1996; and with the North American breakthrough of McLachlan's “Surfacing” album in 1997 coupled with the launch of her annual high-profile Lilith Fair festival.
Lilith Fair reported 104 shows to Billboard Boxscore from 1997-1999 that grossed $52,937,965 and drew 1,616,500 people. The shows featured a wide range of acts including Sheryl Crow, Christina Aguilera, Erykah Badu, the Dixie Chicks, Missy Elliot, the Pretenders, Nelly Furtado, Jewel, Queen Latifah, Indigo Girls, and Tegan and Sara, and McLachlan.
Lilith Fair earned plaudits industry-wide for being well-run, and gave McBride—its co-executive producer—considerable industry clout.
By 2006, McBride had a message for his management clients and anyone other act that would listen: You no longer need to sign with a record label.
In 2007, Mama Group, the London-based music and artist management specialist bought a 20 percent stake in Nettwerk Music Group for $6 million.
This affiliation has led to Nettwerk Group, and the Mama Group recently joining with Radiohead manager Brian Message's company ATC Music to launch Polyphonic, a new music industry model aimed at giving emerging artists an alternative to label contracts. It has been launched with $20 million in seed funding for its first year of operation.
The Polyphonic model will provide funding for artists and their management to run their own business, with direction from Polyphonic. Unlike traditional record label deals, copyright is left in the hands of the artists but Polyphonic will take a share of any profits generated.
You are a music industry celebrity. Pundits like Bob Lefsetz slam you for continually flying to conferences around the world to speak.
I honestly don’t care. I haven’t read Bob Lefsetz’s column. Ever. I won’t because if I care what Bob says than I am building a huge ego (for myself). This is not about being somebody else’s vision of me. It is about me being authentic to me; loving my life; and being happy.
Artists often do not like working with managers who are famous. Does it hurt your management business being so well known?
Well, that’s up to the artist. I am not out there consciously trying to make myself famous. I don’t have a publicist. I do so much work not to have an ego. I am so non-attached to things that people would think I would be attached to. So when things happen, I am like, “whatever.” I have already moved past it. This is my personality.
How do you pick conferences to speak at?
People ask me and if it fits my schedule I go. I go in for the minimal amount of time I possibly can so I can be back (in Vancouver) and spend time with my kids.
Why speak at so many industry conferences?
Because they are put in front of me. Because I am curious. What am I going to learn? What little thing will I hear that may change my point view? Only if I’m open to (an idea) am I going to hear it.
Any speakers you’ve heard that have impressed you?
There are a couple of people I like. Derek Sivers who started CD Baby and (author) Seth Godin. I like hearing people who aren’t quite in my business to hear what they have to say that is relevant.
Vancouver seems to be an artist management hotspot with Bruce Allen (Bryan Adams, Michael Bublé); and Sam Feldman with Steve Macklam (Diana Krall, Elvis Costello, Norah Jones) also living there.
Is it random? Is it coincidence? It’s not by plan. We just prefer to live here. I tend to run into them outside of this city. I run into Bruce more in airport Starbucks than I do anywhere else. That’s where he and I catch up.
You each worked on aspects of the 2010 Winter Olympics that began with an elaborate opening ceremony on Feb. 12, 2010.
It was because it was in Vancouver. Sam, Bruce and Dan Fraser (president Nettwerk Music Group) worked on that for almost three years. They went to gazillions of meetings.
[Bruce Allen, Sam Feldman and Dan Fraser were on the board of the Vancouver 2010 Olympic Ceremonies Team.]
Sarah McLachlan performed at the opening. Were you there?
No. I went to the closing (ceremonies). Dan did the opening; I did the closing.
Did you watch the opening on TV?
Yes. I couldn’t do both. So I opted to do the closing. Dan opted to do the opener. I can’t say that I had the desire to be there (at the opening ceremonies). You have to realize that for Dan it was work. I stayed at home and watched it on TV. I had a nice glass of wine, and I had dinner. So it was really enjoyable. If I’m there, it’s just work. If I go to one of my artist’s shows, it’s work. I can enjoy myself, but it’s not the same as if I go to a U2 show where I just love it.
Like Queen Elizabeth II in 1992, last year was your "annus horribilis” with the departures of Avril Lavigne, Barenaked Ladies and Nettwerk Group senior VP Pierre Tremblay?
Well, it was a different year. The really interesting thing for me is that none of that bothers me.
Pierre Tremblay was with Nettwerk for 15 years. When he left, he was quoted as criticizing the company for losing focus.
I think that quote is taken out of context. Plus I have a different view of the future than Pierre has. I wish him all the best of luck but I have a certain vision. If you are going to be in this company then you have to suit that vision. If you don’t suit it, then, maybe, you are best elsewhere. I love Pierre. I wish him a lot of success. But he wants to do it his way. I completely get that because I like to do it my way.
His comment was that Nettwerk was moving more toward a branding and management company.
Well, artists are brands.
You worked with Avril Lavigne from the start of her career. Her abrupt departure must hurt personally.
No. It doesn’t. I am not Avril’s manager. I’m Terry McBride. I don’t value myself the other way. I love doing what I basically did. Avril and I had a great 7 or 8 years together. She’s changed. She’s LA-based, and with an LA manager (Azoff Music Management). Fine. Whatever. It is no issue to me. I honestly don’t care.
A big block of income walked out the door with her leaving.
It’s a big block of new income. It doesn’t affect the old income.
How is it new income?
I am still commissioning off past revenues.
The sunset clause in her management contract will end at some point.
Yeah, but by the time it ends I will have had a long enough run with it that I will have other things. C’mon, I have Lilith Fair coming. That’s bigger than BNL and Avril combined. Frankly, if we build (Lilith) in Europe, and if it becomes sustainable for the next 7 or 8 years, there’s far more money to be made from those concerts than from intellectual property. Guess what? I don’t have all of the same drama with it. I don’t have drug busts, drunken singers and all of the other shit to deal with.
What did you learn from managing a mainstream pop star?
They are all people; they all have to live their lives; and the media is always trying to find the negative there. It really hurts (the artists). It is one of the hardest things for a manager to deal with.
Look at the current media attack on Taylor Swift.
That media attack is going to happen when you get so high up. It happens to every single artist.
Avril certainly has had critical media.
North American media came after her heavy which is why a lot of my emphasis (in her career) was non-North America. Her income is about 70% outside of North America. Her career inside Europe and Asia is really successful. If she is smart, she will continue to work that and she will have a much longer career than what the average North American pop artist has. Avril just needs to be Avril, and she will be perfectly fine.
You have made the point that the independent albums by the Barenaked Ladies made them more money than all of their releases on Warner Bros. Don’t the major labels still bring sizzle to the table in a career? As an indie, it’s hard to retain that sizzle.
I think it’s hard to retain that sizzle even if you are on a major. So an artist has to ask themselves, “Do I want to sell another half-million units with Warners and make absolutely nothing? Have a bit more sizzle, but not sell any more concert tickets? How is that going to be economically beneficial? How is that going to make it so I can keep doing what I absolutely love for the next 10 years?”
If your strategy was so successful, why did the Barenaked Ladies leave Nettwerk?
Look at all of the shit that happened over the last 18 months. I am three weeks into working on a kid’s record (“Snacktime!”) and my singer gets busted for drugs. That band needed to go and do a bunch of changes to get their shit together. They needed to clean house. It was a 15 fun years. Awesome. I was out bowling with them the other night. They are really good friends, but the time had come for them to make some changes. They had to make it within. It wasn’t us. They had their own issues that they had to go through.
Do you regret making the comment after Steven left that Ed Robertson had been the "driving creative force" behind the band?
That wasn’t the full comment. That fucking asshole (journalist) pissed me off. I said “Steve wasn’t the only writer. Ed wrote some of those hits too.” Do you see what he did? Then Steve takes it, and runs with it (in the press).
Well, he was hurt.
But I had sent Steve a note within minutes of seeing that quote. Steve could of just backed off. The bottom line is that they are all really emotional, and they were all doing what they felt was the right thing for them to do at the time.
[Having been arrested for cocaine possession in Rochester, New York in late 2008, BNL co-founder and singer Steven Page split with the group in early 2009. His first solo outing, “A Singer Must Die” with the Art of Time Ensemble, has since been released by Toronto-based Pheromone Recordings. It’s a cover album of songs penned by Elvis Costello, Radiohead and Leonard Cohen. Page is now working on a solo album with producer John Fields. The Barenaked Ladies’ first album without Page “All in Good Time” is slated for release March 30, 2010.]
How proud are you of the growth of Sarah McLachlan over the past two decades? As a person and an artist.
Very. She’s the closet thing to a friggin’ angel that I have met in my lifetime. She’s a normal person, and she gives and she cares. You don’t see that a lot, especially with successful people.
What was her appeal to you when she was signed?
Her personality. She was a real cool person. There was no bullshit. She had that Nova Scotia personality. What you see is what you get.
You didn’t see her musical potential at first? She had briefly fronted the rock band the October Game.
Not really, no. When she was signed she hadn’t written a song. We signed her purely based on the fact that she could really sing, that she had this great personality, and that she had a desire to write her own songs.
There was nothing like her on the Nettwerk label at the time either.
We didn’t look at it in that way. We are not that clinical with how we think. A lot of what we have signed that has been successful has been purely intuitive.
What is your favorite Sarah McLachlan album?
I’d say “Surfacing” (1997), but there are parts of every album. To me, the song that showed what she was capable of was “Ben’s Song” from the first album (“Touch” in 1988). That was the first time she wrote from the heart. She had babysat a young boy who had a brain tumor. When he died, she wrote the song, and she wrote in all in one day. This was something that affected her so emotionally that she had to get it out. That was her first touching what she now truly writes from.
“Ben’s Song” was the precursor to “Angel.”
It eerie how similar those songs are in their genesis.
It’s been 11 years since the last Lilith Fair.
We first started talking about doing this again in August, 2008. I started working on it in April, 2009. We forgot how much work this is.
What led to a Lilith tour being discussed again in 2008?
It is now 11 years later. Sarah is now a mom with two kids. She’s only going to tour 6 or 7 weeks. At most. She’s only going to do work during the summer. The fun thing for her is to do Lilith. For me as a manager, it has the most impact for a very short time period when I’m launching a new album with her. We both felt that the (musical) climate was beginning to shift. We both felt that there was a full pile of talent that hadn’t played Lilith and there was a lot of talent that had played Lilith that was still relevant. So the reality was that we were looking at a different makeup.
Lilith ended in 1999 after three years. Why didn’t it continue?
Lilith ended on a high note. We only did three years and the third year was the biggest year. It was so dominating. I think that we felt that if we had kept going (after 1999) it wouldn’t have gone up (in quality). It would have gone down. We felt that we had capped, for the better part, a lot of the existing talent. We (then) felt that we would just be regurgitating things and (going on) would lose of some the excitement around it.
We also got burnt out. I wanted to get back to being an artist manager versus being a concert promoter. Let’s face it, it was a different mood within North America (back then), and it wasn’t one that really suited us. Sarah also needed a break. She was going to go away for 5 or 6 years anyway. Then when she came back, she wanted to do her own thing. Lilith is not really her own thing.
With the exception of the third year, there were no heritage artists previously. The lineups were made up of acts that had recently broken. Lilith 2010 has a mix of heritage and new artists
A lot of heritage artists--and I call Sarah one of those--still sell tickets, and are still relevant. They actually sell (concert) tickets better than the younger ones. The younger ones might sell more tracks and albums, but they don’t sell more tickets, with the odd exception of someone like Miley Cyrus.
With Lilith from ’97 to ’99, 95% of those artists had only been around for five years. With the exception of the third year with Bonnie Raitt or the Pretenders, there were no heritage artists. This time around there’s a great blend of heritage along with new artists. This is a blend we didn’t have the first time around.
Media coverage of Lilith then was restricted to VH-1. Now you have partnered up with ABC Entertainment.
With the exception of the odd support from VH-1, we didn’t have a lot of TV with Lilith. The media did not want to know about it. Even on year three when Lilith was the dominant touring festival, period. We didn’t have the Rolling Stone cover. The media couldn’t get their heads around the fact that this was working. Face it. Rolling Stone – their readership is male. I completely accept that.
The world has changed a lot.
It is a lot more media savvy. The amount of information you have access to, and how you filter it has gone up. So marketing Lilith Fair this time is very different in how it was marketed last time. Radically different.
I do think that our ABC affiliation is going to change how a lot of people view these things. I think what we are doing with the whole charity angle is also a game changer. There are a couple of things that we are doing that are complete game changers. People are going to look at this, in retrospect, and go, “Holy shit. Look at what they managed to pull off.”
[With the 2010 Lilith Tour, 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.]
This is a socially conscious and green tour.
The owners of Lilith are now a decade older. We are all parents. We are more socially conscious. We tend to view the world differently now. We now have the ability to get certain things across, like the i4c (denoting "i4c a better tomorrow"). Socially conscious, green-for-profit companies supporting socially conscious non-profit companies. What we are trying to do is to create an eco-system that lives beyond Lilith.
When Lilith ended in 1999 so did all of its charitable efforts.
That was a bit of a negative for us. At the time, we didn’t see it, but a couple of years later we thought, “That really kind of sucks.” We had such a positive movement, and we didn’t have the forethought on how to keep it going.
[The i4c (denoting "i4c a better tomorrow") is the brainchild of the TouchPoint Trust Group and functions as an investment model with a focus on "people, planet and profit."]
There was a naiveté there?
Absolutely. So I am aiming toward creating a supporting charity by tying all of these socially conscious things together. I’ve been working on the i4c thing for almost 14 months. I believe that if we pull it off, some major artists will look at it as a new model for their own charity efforts.
You have put off taking Lilith to Europe this summer.
I changed (the schedule). It is a matter of doing it right. We are going to get over there in the Fall. We are looking at indoors (then), and taking it outdoors next summer there. We are also going to Australia and Asia. It is my hope that by the end of 2011 that we will have about 20 international shows. We need to get the brand going in those markets, however. (Touring overseas) last time around would have been daunting.
You only did one Lilith date overseas. In London in 1998 at the Royal Albert Hall with Lisa Loeb, N'Dea Davenport, Beth Orton, Alison Moyet, Sinead O'Connor, and Sarah who didn’t have the marquee name in Europe then.
Sarah doesn’t have the marquee name there now, either. When we did the London show she wasn’t the headliner. We had a couple of big names, including Sinead. So we really didn’t have the desire to go ahead and do anymore dates.
This time around we know that we are doing two years of the traveling festival within North America. Then we are taking it from a traveling to a destination (event). We are going to pick two or three markets that we will be able to do each year. So we know (the time period of touring); we know the infrastructure of Lilith and what it takes to run it; and there is now an expertise we didn’t have years ago to take it to Europe, Asia, or to Australia and, in essence, build 20 shows (annually). We now have the years (of experience), and have a very viable organization.
Working extensively overseas with Avril, as well with Dido previously, you learned about those markets in the past decade.
Once you begin to understand cultural codes, then you understand how to actually do (Lilith there). If I would have tried to do it 11 or 12 years ago with a North American-centric view. It would not have worked.
Your were also frustrated by your experiences in trying to break Sarah McLachlan in Europe then.
I had not spent the time there. Over the last decade, I’ve been able to build worldwide artists, and have a more worldwide view versus (having) a very shuttered, North American view.
How does that worldwide view impact Lilith now?
What I love about this now is the genesis to localize those (overseas) shows with a lot of local talent but also some international talent. That begins to build bridges to bring the talent from Europe, and Asia back into North America. We are kind of doing that already with booking La Roux or Corinne Bailey Rae. We are actively going to Europe, and pulling in some of those artists.
I’d like to expand what we are doing. I would love to have the biggest Swedish or the biggest Spanish artists (on Lilith) But to make that happen I need to go to where they are and build the (Lilith) brand value.
You now have management and publishing affiliations overseas you didn’t have previously.
But we aren’t going to leverage that, frankly.
Still, working oversea markets with your acts, and being at international conferences has led to your perspective changing.
Absolutely. I have had my artists going there touring multiple times. So my knowledge of the marketplace has gone up tremendously. To break an artist in Europe is very different than breaking an artist here. Breaking an artist in Asia is different than breaking one in Australia. It’s a different ecosystem.
The major label system is still dominant in Europe.
Yes but I think it’s crumbling.
American music is also declining in popularity in many European markets.
There hasn’t been a lot of love for American culture inside Europe since Bush.
Why did you make the deal with London-based Mama Group in 2007?
Because they are like minded people. We spoke to them for probably three years before making the deal. (After the deal) we moved into their London offices which made a lot of sense for me. Some of their managers are in our LA office. The companies still work separately but the owners get along really well. And, Polyphonic has come out of it.
Do you view Polyphonic as a game changer in the music industry?
I don’t know if it’s a game changer but, based on the success that we are going to have, I think it’s another option. Only time will tell whether Polyphonic is game changer. If we break four of our first five artists to a different level then people will look at it as a game changer.
Where are you in terms of testing Polyphonic with an artist?
We’re very close. We'll probably announce the first artist in March.
Someone on your roster?
I’m not going to say.
Since 2006, you have been preaching that ownership of music can be meaningless because there are now so many parts of an act’s career.
It goes back to my belief of having a series of best, and practice services around an artist which then gives them the best shot versus being locked into a system that is, maybe 60% at best, best in practice.
It comes down to who does what best.
You still need a team of services. The issue with any record label, even 10 years ago, was that not all of those services were top notch. So the concept behind Polyphonic, depending on the type of music, is to try to have top notch across all categories of services needed. Then, I think the odds of that artist having success go up.
Aren’t the major labels becoming more accountable with aspects of 360 degree type deals? If a label wants to be an artist’s merch company, it has to compete and deliver.
Yes but making them accountable versus having the infrastructure to actually execute, I would say, are two different things. Even Nettwerk is 60% best in practice. There’s no one company that is good at everything. It’s jut not possible because (the market is) always moving. We were best at doing websites 5 or 10 years ago. We don’t do them now because there are people that do them better. That is the kind of reality that you have to adapt to.
What does Nettwerk do best?
I would say internet marketing, film and TV, digital distribution and worldwide management. As well, our publishing has done really well. It works because of all of the infrastructure. It works because we have built up a fairly sizable film and TV division that works well, and because of the alliance with Electronic Arts (the game developer and distributor). That’s why (publishing) has grown. Plus, we made it London-based. It probably works better than most major publishers.
Did Nettwerk really start in your apartment in 1984?
Yeah. Just with Mark and I. We wanted to release music that we loved.
Did you have any music industry experience?
Well, I was DJing at parties, at a local college radio station. and at dance clubs.
Were you any good as a DJ?
I did it for many years so I guess I wasn’t shitty.
The alternative scene wasn’t that big In Vancouver in those days. The city had mostly top 40 clubs, but there was the Luv-A-Fair where you were a DJ.
There was only Luv-A-Fair. That was it, baby. The punk kids were over at the Smiling Buddha. The goth and new wave kids were at Luv-A-Fair with any of the gay guys who wanted to dance to non-disco. That was the make-up (of the scene). It was so small. It wasn’t big enough to have faction. Everything was blended.
Do you recall receiving the first physical Nettwerk record released by Moev “Toulyev” in 1984? It was a 12-inch single.
That was kind of cool, but I can’t say that I was emotionally attached to it. It was when we did releases by Skinny Puppy, Grapes of Wrath and Moev all at the same time with concepts and all of that which was kind of cool.
In the late ‘80s, Nettwerk made a label distribution deal with EMI Music Canada. Any hesitancy being with a major after working with independent distributors?
I saw it as being very practical. Someone else was going to make the records at a cheaper price than what we were paying for. They were going to distribute them, and they were going to pay us monthly versus paying us when (retailers) needed more records. “Wow, now I’m going to have a regular cash flow. Awesome. And it’s going to cost me less. Awesome. I’m in.” It was pure practicality. We were living from hand-to-mouth. The only way we got paid was if someone needed more records. Then they had to pay us for the ones that they had already taken. There was now someone would store my stock rather than it being in my apartment. It was step up to a more organized infrastructure.
The recently released iPad tablet was supposed to take the personal computer world by storm. That hasn’t happened yet.
Think of when the iPhone first came out. There was an initial (sales) surge, and (demand) really cooled down. Sales flattened. Then the Apster (the application list generator) opened up to be an universal app store. Then brilliant apps got made which made you want to buy the iPhone. That is what is going to happen with iPad. All Steve Jobs is saying is, “Here’s is a fresh patch of fertile soil. Go have fun.”
It will be about what can be augmented onto it.
You can have two iPads and treat them like turntables. You can “scratch” because now it’s a surface that you can touch and feel. You can see the spin rates that are reading live. The set you are doing is automatically recording and streaming. It just changed the whole DJ world. Your fade meter doesn’t have to be a straight across meter. You can angle it the way you move your fingers.
The economic model initially for iPads will be books and things of that nature, but with an iPad you can augment reality.
To me, the iPad is all about augmented reality. You can take an iPad and, depending on the angle you tilt it, it changes the way you are traveling through a home. Architects are going to love this. Doctors will use it for surgeries. It has so much potential it is absolutely crazy. The application are boundless. When the initial apps hit market, it will be mind blowing.
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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Jaye Albright, Albright & O'Malley Consulting 07/19/10
Randy Alexander, Randex Communications 10/12/07
David Alexander, Sheer Publishing 07/21/16
Eva Alexiou-Reo, FATA Booking Agency 05/14/15
Marcie Allen, Mad Booking 12/14/00
Jeff Allen, Universal Attractions 08/16/02
Marcie Allen, MAC Presents 06/05/09
Marcie Allen Cardwell, MAC Presents 12/21/07
David Allgood, Bama Theatre 01/03/11
Patrick Allocco, AllGood Concerts 10/05/07
Michele Amar, French Embassy 05/26/16
Mike Amato, Rok Tours International 02/02/07
Jeff Apregan, Apregan Entertainment Group/Venue Coalition 09/30/15
Billy Atwell, AMP Studios 12/13/07
Bob Babisch, Milwaukee World Festivals Inc. 04/02/15
Tom Baggot, thebookingagency.com 05/02/03
Stephen Bailey, EPACC & Deleware Center For The Arts 02/06/04
Cary Baker, Conqueroo 05/11/11
Vince Bannon, Getty Images 07/05/11
Phil Barber, Barber & Associates 02/04/01
Camille Barbone, WineDark Records 12/09/05
Erin Barra, Musician/Producer/Educator 07/10/14
Ben Baruch, The Fox Theatre 09/27/08
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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