Industry Profile: Peter Leak

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: Peter Leak, partner, 24-7 Worldwide Management.

Peter Leak’s sense of artistry is impeccable.

Under his current partnership with Craig Logan in 24-7 Worldwide Management,, England-born Leak oversees the management of such stellar acts as Katherine Jenkins, Lissie, the Pierces, Bridgit Mendler; and co-manages Dido with Logan.

Over the years, Leak has managed Polyrock, Comateens,10,000 Maniacs, Cowboy Junkies, Grant Lee Buffalo, Martha Wainwright, Jesca Hoop, Butterfly Boucher; and co-managed Avril Lavigne.

Through this partnership, Los Angeles-based Leak continues to develop his management business with a focus on developing acts for international markets.

Under Leak and Terry McBride, co-founder/CEO, Nettwerk Music Group, Dido went from being a promising singer/songwriter to being a superstar with the worldwide sales of 28 million units.

Under their co-management, Canadian singer Avril Lavigne sold over 30 million albums worldwide; scored six #1 hits worldwide; and had 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 five 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 eight different languages. The album racked up sales of over 25 million tracks in legal downloads.

Lavigne severed her management ties with the duo in 2008.

As an artist manager, it’s heart-breaking losing an artist. Does it make you cynical when it happens several times?

It is always heart-breaking. The first time that it happens it is probably the most heart-breaking. When Natalie (Merchant) left (in 1993) that was pretty heart-breaking for me. I had put my whole life into 10,000 Maniacs with her being obviously a major part of it—and I felt that I had done everything right; and I still got dumped. That was absolutely heart-breaking. When it happens subsequently, it is never as bad as the first time. But it always is really sad.

Yet, I like to think that I don’t allow myself that (cynicism) because I wouldn’t want that to creep into my life. I love the people that I represent, and I don’t want to think about what would happen if we didn’t work together anymore because I never really believe that we won’t work together again. I always go in with that kind of faith that we will be in this forever. All of the artists that I am currently managing I adore. Hopefully, they adore me. Things can change over the years but I do believe if you do a great job, you will be rewarded for it financially and with loyalty. Sometimes it doesn’t go down that way. Hopefully, more often than not, it does.

Have any of your breakups been acrimonious?

I wouldn’t say so. No. There are levels of…You always find clients that don’t want to pay you what you are owed; but as long as you pursue that, and make sure that you are fairly taken care of…you just have to move on.

There’s a music industry dictum that maintains that every artist will fuck you eventually.

You know whether it’s the artist or their lawyers or whoever, you always have to look out for yourself don’t you?

Does your management set-up still include your company, The New York End?

The New York End was my first management company that I started back in 1980. It still exists. It was previously in a partnership with Nettwerk; and it is now in a partnership with 24-7 Worldwide, which is an offshoot of a company called L.M.E., which is Logan Media Entertainment, owned by Craig Logan. Basically, Craig Logan and I have gone into a partnership, and our management company together is called 24-7.

When did that begin?

About six months ago.

At that point you ended your relationship with Nettwerk Management or is that ongoing?

It’s ongoing on a certain level, but really now it’s about what Craig and I are doing together.

Why the change?

I think that I was looking for new pastures. Craig and I have been friends for a long time; back to when I was managing Dido, at the same time that he was managing Pink and Sade. We became good friends. We felt that we had the same approach to management. At one point, he went off to run RCA Records in the U.K. for four years. He left management, and I carried on. Then he decided he wanted to leave RCA and get back into management, and he approached me. I felt that it was a really good time to start a new, smaller boutique management company together with a real emphasis on service. We really want to provide an amazing service for the few clients that we choose to represent.

[Craig Logan is a former UK pop star who has become one of the most leading figures in artist management. After a stint with the UK band Bros in the ‘80s, Craig Logan quit the band at 19; eventually becoming VP of international at EMI Music. In 1999, he left EMI to work with Australian artist manager Roger Davies, and he oversaw worldwide tours and releases for Tina Turner, Sade, Joe Cocker and M People before meeting Pink, whom he signed and co-managed with Davies for several years.

In 2006 Logan became managing dir. of the RCA Label Group in the U.K., signing Newton Faulkner, the Hoosiers, the Script and Sandi Thom. In 2010, he launched Logan Media Entertainment (LME), which has offices in London and Los Angeles.]

Who are you managing now?

I am managing, with another partner Tara Joseph who came into this set-up with me, we manage (Welsh mezzo-soprano) Katherine Jenkins. She’s on “Dancing With The Stars” and has had a phenomenal response. She’s amazing. She’s a superstar in many other parts of the world already; and this is a great break for her in the U.S. I think the U.S. public is going to fall in love with her. It’s very exciting.

I am managing Lissie. She’s amazing, and she’s doing very well. She’s playing Coachella soon (on April 15th, and 22nd, 2012) and she’s on the main stage of V (V Festival in August) this year. She has a new record coming out later in the year that I think will take off where the last one left off. She’s already sold 250,000 albums (of “Catching A Tiger” in 2010) quietly. She’s really well-poised (for a breakthrough), I think. I have been managing her for about five years now.

And I manage (New York-based band) the Pierces, Catherine and Allison Pierce who have had a lot of success in the U.K. over the past year. They put out a record (“You & I” in 2011) on Polydor which was produced by Guy Berryman from Coldplay, and engineer/producer Rik Simpson, that has sold about 150,000 records in the U.K. now on Mercury/Island/Def Jam.

The Pierces were recently on Leno (“The Tonight Show with Jay Leno”) and they will be opening for Coldplay on their (North American) West Coast tour starting April 17th.

[The Pierces supported Coldplay at the iTunes Festival in July 2011. They will be supporting Coldplay for their upcoming North American tour in April-May 2012; appearing at the Edmonton, Calgary, Vancouver, Portland, Seattle, San Jose and Los Angeles shows.]

You also manage actress/singer Bridgit Mendler.

Who I am very, very excited about. Her first single “Ready Or Not” (from her upcoming debut album "Hello My Name Is" due August/Sept.) is impacting at radio on June 11th. She’s shaping up very nicely. What’s interesting about Bridgit is that she already has this platform by way of her show on the Disney Channel which is a big, successful show; but she is also genuinely a great writer and singer as well. She’s made a phenomenal record; it’s not the typical Disney pop rock record. It’s really sophisticated. I think that people are going to love it across the board.

[Bridgit Mendler currently stars in the Disney Channel’s “Good Luck Charlie” series.]

Dido?

Craig and I are managing Dido together. She is in the process of making a new album. It is really exciting. There is some fantastic material already written and recorded. I’m not sure that it will come this year but, probably, next year.

A manager today has to look at as many revenue streams as possible.

Of course, yeah.

How do you deal with all these separate worlds? It’s being argued that there’s money still not going to artists from many of the new online services.

No, and I think that at some point inevitably that there is going to be some sort of lawsuit to recover some of that money. But at the point we are at right now, there’s just not enough money there to make it worth going after. I’m sure that at some point, as the streaming services become more successful—and I think that they inevitably will; and I think that’s good for the business—that artists are going to go, “Hold on a second. Where’s all of our money?” It’s already starting, but I think that the revenue is going to become a lot more soon.

With everyone seeking a piece of artist rights, an artist manager has to be quite protective.

You do. I don’t think that the 360 deals are inherently wrong but I feel that if they are going to entered into that there has to be some real commitment from the label. It only works if the label genuinely really commits. I see a lot of major labels signing 360 deals and not really delivering on the things that they have promised that they would do.

It is often a cash grab.

Sometimes it is. I did a deal with Lissie with Columbia that is a true joint venture. That means she also owns a huge part of her masters. She’s given some stuff up; but, in return, they have definitely given up some stuff to her. She earns at a much higher level because she’s on a profit share as opposed to just getting a royalty. That is a kind of a 360 deal that I think is a deal for the future. I think it is going to work for them (Columbia); and it’s going to work for her as she really takes off. But I think that the typical 360 deal right for new artists are ones that you would have to look really hard at before signing.

For an artist to break out internationally, they likely do need a relationship with a multinational—either directly or via distribution. Licensing territory by territory is difficult.

It is really, really hard. I’ve seen a couple of cases recently where artists have been able to independently break a few territories, and it’s really impressive; but it’s really hard to have a global impact without a global partner or at least two if you split two territories.

You have found a successful route for your artists by working between the UK and America. It must be helpful being so well-versed about the UK marketplace and then being able to then break acts in America.

To a certain extent and, in certain cases, that is definitely true. But interestingly, I have taken two American acts, the Pierces and Lissie, and they have signed to U.S. labels, and have broken out of the UK first.

So it’s a two way street.

But Dido actually started her career in the U.S. because she was signed to a little independent label in the U.K. (Cheeky Records founded in 1991 by producer/remixer Rollo Armstrong, Dido’s brother), and licensed to Arista. When I started managing her, the first album ("No Angel”) hadn’t come out yet. Dido spent most of her initial promo period, nine months at least, just working in the U.S. before anybody knew who she was in the U.K. It really wasn’t until “Stan”—the Eminem track—that people in the UK realized who she was. Even though she is English, she worked the U.S. first.

[Worldwide sales for Dido’s 1999 debut album, "No Angel” reached 12 million units, including U.S. sales of 4.2 million.

Cheeky Records, to which Dido was signed, was sold to BMG records in 1999. This delayed the release of “No Angel” in the UK, but also allowed her to concentrate on promoting the album in the United States.

As the album’s first single “Here With Me” went to radio in the U.S., Dido toured the major markets there, and played at showcases for press and radio. Then she did the same thing again, but this time with a small public audience on hand. Then the track “Here With Me” was placed on the TV show “Roswell” which added to her presence in America; and Leak secured five dates for her on the Lilith Fair tour.

Dido’s career exploded when Eminem’s “Stan” was released in 2000, although her album was already approaching platinum sales in the U.S., and “Here With Me” was becoming a hit.

How Eminem came to sample Dido’s “Thank You” as the basis for "Stan” is an interesting tale. Warner/Chappell UK placed “Thank You” on the soundtrack to Gwyneth Paltrow's 1998 film "Sliding Doors" before her album was released. Producer 45 King taped the music from a TV ad of “Sliding Doors” and sent tapes to several people. One of those tapes got to Eminem who created “Stan” to the track that the 45 King had put together.]

When I first start managing 10,000 Maniacs, I thought that they would break in the U.K. first because they were so special and so different and unique. I felt that the UK market would really take to them. In fact, John Peel was the first DJ to ever play 10,000 Maniacs. The first thing that I did when I started managing 10,000 Maniacs was to take them to England where they did some shows and had a following there. It resulted in them signing with Elektra in the U.S.

[The 10,000 Maniac’s track “My Mother the War" caught the attention of John Peel at Radio BBC Radio 1, and the song was a minor indie hit in the U.K. in 1983.]

So breakouts can be from all over the place, really.

I guess that there are all kinds of ways that you do it—depending on the artist. They can do really well in the UK first; and if you can do that, you can get a really good leg up because Britain is such a concentrated market. They have a lot of national media, national press, people really love music, they really care (about music), and then you have national radio. So if you have an artist that fits the bill over there, then it’s a great way to start a career off. Not every artist can start there, but if you have the right kind of artist you can.

In essence, you have an innate understanding of two prime music markets—the U.S. and the UK. That’s a big step going forward.

Yes. Absolutely. I think that gives me a real advantage. In fact, one of the things that Craig and I discussed when we were going to go into business together was that he has exactly that same kind of grounding. Being British—being generally based in England—and yet having a great knowledge of America as well. Obviously, he was managing Pink, and he was living in Los Angeles too. We both have that knowledge of not only the U.K. and the U.S., but the rest of the world as well.

Dido has sold 28 million albums over the course of the albums she’s put out so far. That was, to a large extent, because of the global market. The U.S. was a nice part of it (overall sales), but not the major part.

[Early in her career, Dido's UK sales numbers were astonishing. "No Angel," originally issued in 2001 in the UK was the biggest-selling album of that year, and now totals three million albums sold. The follow-up album "Life for Rent" was the top-selling U.K. album of 2003. It sold over 152,000 copies in the first day alone in the UK; sold over 400,000 units in the first week; and has sold three million units to date.]

Besides the UK, both Germany and France have been huge markets for Dido.

Yeah, absolutely and South America and Asia. It was all over place. Going back to when Terry McBride and I were managing Avril Lavigne together, Terry had asked me to get involved because I had that international knowledge. My role in the management of Avril, the first record “Let Go” in particular, was to do all of her international marketing and promotion whilst Terry really took care of the U.S.

Yeah, I’m proud of that (international) knowledge that I have of the rest of the world, and I think that it really does help. I never want to manage an artist who is just successful in one territory. In order to have success in a real long term career I feel strongly that you need to develop artist’s careers in other markets too. In fact, when you do crack Germany or France—or some of those international markets—that career can carry on forever there. Those audiences are so loyal there. People can tour forever in those markets; even when they are still not having success with their newer records.

You also have a leg up because there are so many British music executives that have recently landed in the top positions at labels, including Lucian Grainge, Max Hole, and Peter Edge.

Absolutely. Yes, all of these people…Lucian (chairman and CEO of Universal Music), I have obviously known a long time. It’s great to see the heights to which he has risen. And Peter Edge (CEO of RCA Music Group) too. I’ve known Peter since he was a junior A&R guy in the U.K. at Chrysalis. That’s when I met him.

Peter brought you Dido did he not?

Yes. I met with Peter Edge (at the time VP of A&R at Arista Records) in his office in New York, and he played me a Dido song and I was floored. I said, “Who’s this?” He said, “Her name is Dido, and we are making a record with her. She doesn’t have a manager. You should manage her.” So yeah, he definitely tipped me off about Dido. I initially just started managing Dido for the U.S. but as her career quickly started progressing, she asked me to manage her for the world. That was an unusual one (management signing) really because I was based in L.A.; she was in London; and I was managing her for the world. But I knew the UK market well enough that she trusted I would also be able to navigate that side of things for her.

This was during a time that the music business was becoming more global. A real learning curve for you?

You are absolutely right. I learned so much in those days working with Dido. In fact, you never stop learning. But that was a real quick…as I said, we had been working the U.S. for nine months before anywhere else and we got to about 750,000 units on the first album before “Stan” came out and created this amazing whirlwind of activity around the world. When it did take off, there was so much demand for her everywhere; and there was a lot of choosing the right things for her to do and there were things that she just wasn’t able to do.

The trick was to make sure that we had the same global success with her follow-up album (“Life For Rent”). You see so many artists who have one big album and don’t follow it up. Actually, Dido sold pretty much the same number of records on the second album as she did on her first. So that was great. Then she was really, really established.

Did working Dido internationally provide you with a template for Avril worldwide as well?

It really did help, and it helped that they were both on the same record label (Arista). So I also knew all of the international people around the world with the record company at the time. That also helped. But yeah, I learned a lot with Dido, and I was able to apply that to breaking Avril around the rest of the world as well.

What was Avril’s appeal in the Far East? It became such a huge market for her.

She just hit a nerve there. She was perfect for them. She imaged perfectly for them. The music was perfect. We made sure that she went over there a lot. She was available. Particularly in Japan, an artist really needs to go over there, and be seen to be working there. Avril was happy to do that. That was a market that we always thought that she would do well in. Japan was one of the first worldwide markets to be worked other than the UK.

You started working with Avril before her debut album?

Terry was already managing her before the first album, and he asked me to help him with it from the beginning.

What was behind the shift in direction for Avril’s follow-up album “Under My Skin” which didn’t include the production team The Matrix which had worked on the debut?

I wasn’t involved in the A&Ring of the second record. It was more an (Arista head) L.A. Reid, Terry, and Avril conversation. I was aware of what was going on. I think any artist wants to prove that it (success) was as much about them as the team that they were working with. I think at the time that The Matrix (consisting of Lauren Christy, Graham Edwards and Scott Spock) claimed that it was all about them. Certainly, it was partly about them but Avril was definitely carrying that whole weight on her shoulders promoting those songs; and they were very much Avril songs (on the debut). I think that there was also an element of her wanting to show that she could do it again with different writers.

How long did you work with Terry McBride?

I was with Nettwerk for over 10 years.

You have a remarkable relationship with Terry McBride. Why did it work for so long?

Terry and I just always…Terry is a very clever guy; very bright; a really good marketing guy. I love Terry.

What made it a successful team?

Certainly, for the things that I was involved in and with Terry specifically, I just really enjoyed—other than Avril, whom he handled himself—being very much involved in the creative process of the making of the records; the A&Ring; and the finding of new artists. We worked really well together. He would really help with breaking things in the U.S. If I was off in Germany, France or England with Dido, I knew that someone was still holding down the fort there, and making sure of things. Terry had a lot to do with the breaking of Dido in the U.S. originally. He really helped with radio. The fact that Nettwerk had had success with Sarah McLachlan, and with Barenaked Ladies really helped Dido. We were able to get support at radio for Dido because of that. Terry’s a great marketing guy. He was talking to radio. I was out doing more on the side of personal management and A&Ring and making sure that we were bringing the right records in.

It was also helpful having Nettwerk cover off any backroom activities with ancillary businesses being taken care of; like Maria Alonte McCoy in Los Angeles handling TV and film placements.

I couldn’t give Maria enough credit, in particular, for the ancillary businesses. Before I joined up with Nettwerk, I had my own company for many years. When Terry suggested that we go into partnership, I had been asked about working for record companies and other partnerships in the past, and it never felt right. Going in with Nettwerk felt absolutely right. From the moment that I set foot in there, it just worked.

For me, it was very liberating. I had got a bit fed up with the running of my own company. I just really wanted to manage artists, and provide a great service. That is why I got into management in the first place. I found that I was getting a little bogged down with the minutia of accounting and other stuff. So it was great to go with Nettwerk and have that sort of backup stuff taken care of. Then to have these other people helping me getting airplay or getting film and TV synchs.

During that time management was evolving into so many different sectors.

That’s right. The business became more and more complex, and you couldn’t take care of everything by yourself. Before I joined up with Nettwerk, I would make a list of everything that I wanted to do in a day; all the calls that I wanted to make; all the people that I wanted to reach out to. And I’d get to, maybe, 70% down the list. Then it was the end of the day; and I would have to start a new list the next day. Often at the bottom of the list, there would probably be contacting music supervisors. All those sort of things that you never quite got around to doing. So to have other people to help with that was really, really great.

And the business has since become just more and more complex. So it is still very important to have other people around to help with those various other aspects.

Prior to being with Nettwerk, you worked with Cowboy Junkies.

I think I started working with them in 1987. I had 10 years with them. I don’t think I wasn’t working with the Junkies when I started working with Nettwerk. I started working with them before “Trinity Session” (1987) came out. While I was managing 10,000 Maniacs, I wasn’t sure that I would ever find a band again that I loved as much as 10,000 Maniacs. Therefore, I didn’t know whether I would be able to manage anybody else.

How did you become involved with Cowboy Junkies?

A great guy named Jim Powers (then A&R dir.), working for Heinz Henn (senior VP of A&R/marketing at BMG International in New York, was their A&R guy. He had found them and signed them to BMG International in New York. (Singer Margo Timmins husband, entertainment lawyer) Graham Henderson contacted me, and said that he had heard about me. They both sent me some music. I will never forget putting this cassette in and listening to two songs and going, “Holy shit. This is amazing.” It was the first two songs on “The Trinity Session.” I couldn’t believe it.

When I heard that cassette, I was like “Oh wow. This is an act that I really want to manage.” So I contacted Jim; I spoke to Graham; and I went up to Toronto and I saw them play. I started managing them, and then “The Trinity Session” came out and, of course, “Sweet Jane” was a real phenomenon. We helped get a really cool video made. Just the imaging of Cowboy Junkies was really important in those early days. It really, really worked. They were on that tour, and everybody was just falling in love with the album. Bruce Springsteen was coming down to see at The Roxy. It was just such a wonderful scene.

10,000 Maniacs was once called Burn Victims.

And Dick Turpin’s Ride To York. That’s another name they had.

I remember them performing Cat Steven’s “Peace Train.”

Well, it was on their record (“In My Tribe” in 1987). We got VH-1 play with it, which led the way to “Like The Weather.” It’s not on the album now, but initially versions of the album had “Peace Train” on there as well. It did help to break down some barriers even though of course all of their original material was much much bigger.

Senior VP of A & R Howard Thompson signed them to Elektra Records?

Howard signed them but Hale Milgrim and Steve Schnur, I will give massive credit to for having helped break 10,000 Maniacs. Hale was head of marketing at Elektra and Steve was head of video promotion which came under marketing and not promotion. So Steve would get his budget allowances from Hale; and Hale always believed in 10,000 Maniacs.

I will never forget that there was a weekend (in 1988) when 10,000 Maniacs played on the Johnny Carson show (“The Tonight Show” in Los Angeles) on a Friday night and we all got on a “red eye” (overnight flight) and flew to New York, and they played The Ritz on a Saturday night and Hale came down and saw them. It was a sold-out Ritz (show); and it was an amazing show. Hale said, “We’re going to break this band.” That’s when we picked “Like The Weather” as a single and that’s when Elektra really started putting the pedal to the metal. Steve Schnur got them on MTV and VH-1 and every cable channel that he could. And radio followed. We had college airplay but radio certainly did not lead on 10,000 Maniacs. I often think that 10,0000 Maniacs came up in the slipstream of R.E.M. That R.E.M. were just that step ahead of 10,000 Maniacs and they helped to break down some barriers that we were happy to take advantage of. While they were not huge on Top 40 radio they built a massive live following and had four multi-platinum records.

In 1993, Natalie left 10,000 Maniacs after seven studio albums.

We all knew that Natalie was going to leave the band for a long time. I guess for me the big surprise was that when Natalie decided that she didn’t want to work with me anymore when she left the band. I had always assumed because I was doing such an excellent job (laughing) that it would be inevitable that I’d work with her.

This was a band that you had put your heart and soul into.

Exactly. But I think it was because that I had put my heart and soul into the whole band that Natalie felt like that she needed to find someone else—that it was going to be completely fresh. She changed lawyers; she changed managers; and she changed accountants.

You continued managing 10,000 Maniacs.

I wanted to see the guys have a chance to still have a career. They came to me with this idea of Mary (Ramsey) taking over. I was interested in that, and we did a deal with Geffen which put the first album (“Love Among The Ruins”) out. It did 350,000 units or something like that. Clearly, however, it didn’t stick to the level that everybody would like. The band is still going and doing tours. In fact, if anything, I think that it is picking up for them as more people now are looking back and remembering those artists that they used to like. They still sound wonderful.

Where did you grow up?

I grew up in a village just outside Chelmsford, Essex, 40 miles north-east of London. It is pretty much now a suburb of London today although it didn’t feel like that when I was growing up. I played in drums in bands. I would inevitably be the guy who organized rehearsals and got the shows.

How good of a drummer were you?

I was an okay drummer.

Were you going to shows in London at the 101 Club and other venues?

I played some of those gigs. I played the Nashville Rooms, and The Marquee. I had a job when I left school. I left school early, and I eventually went to work for a merchant bank. So I was merchant banking by day, and being a punk by night. Or trying to fake being a punk at night. I was actually on the phone at work getting gigs for my band Solid Waste. John Peel turned out to be a fan because we played the infamous Chelmsford Punk Festival (in 1977) with Slaughter and the Dogs, the Damned, and Eddie and the Hot Rods. All these great bands played at this one festival and were on the bill. John Peel was the DJ there, and he fell in love with my band. We’d hang out with him when he did a show. He was very, very supportive.

[Maligned in media reports as The Great Punk Flop Festival, Britain’s first open-air punk concert, organized by the Chelmsford City Football Club, reportedly ended in shambles when only 1,500 people turned up. Backstage, after 21-year-old promoter Bob Mardon was confronted by bouncers, he locked himself in his office as 60 of his employees walked away without pay. The Damned refused to play.]

At the time, it looked as if Virgin Records was going to sign Solid Waste which was later renamed Street Bizarre.

They came to see the band three times. I was playing drums and I thought that they wouldn’t take me seriously as a manager if I was the drummer as well. I had to make a decision whether I was going to be a manager or a drummer. I thought, “Management is what I would be better at and what I would enjoy more.” We almost got a deal; then we didn’t; and the band broke up. Then the bank I was working for asked me to go to New York. So I went to New York for the bank. That’s where I met the first band I ever managed a month into my being in New York.

Polyrock.

They were signed to RCA. Philip Glass produced their first two albums. They were a great band. They asked me to manage them. So I quit my job and I went into partnership with Bob Schwaid (of Sight & Sound Management) who had an office on 57th Street. It was an amazing live band but it imploded. There were two brothers in that band and they ended up fighting and not getting on. They did two albums for RCA, and then (guitarist) Tommy Robertson left and his brother (singer/guitarist) Billy carried on. We did an EP. Then I managed the Comateens which were signed to Virgin. They had a club hit called “Get Off My Case” (1983) which nearly took off. It was played on WKTU.

What was your impression of New York?

I adored New York. The Mudd Club, CBGB’s, and Hurrah, which was a great club. I first saw Polyrock at Hurrah. They were opening for the Specials. Hurrah had a lot of the UK acts. Their first (U.S.) gigs would be there. CBGB’s, it was slightly after the peak. In 1979, Talking Heads and Blondie weren’t playing there anymore, but there were still some great artists coming. I absolutely adored New York. I was 23 when I moved to New York. Then I had all of the ‘80s and half of the ‘90s there. There was so much great stuff happening. It was all just a little bit more dangerous in those days; and that much more thrilling for it.

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

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Joanne Abbot Green, CMJ Music Marathon and Film Festival 10/17/08
Lee Abrams, XM Satellite Radio 11/28/03
John Acquaviva, Fund Manager, DJ and Serial Entrepreneur 07/09/15
Jay Boy Adams, Roadhouse Transportation 05/04/07
Jamie Adler, Adler Entertainment Group 05/11/07
Gary Adler, National Association of Ticket Brokers 12/04/13
Rodney Afshari, Freeze Artist Management 03/01/02
JC Ahn, VU Entertainment 04/10/13
Steve Alaimo, Vision Records & Audio Vision Studios 05/26/06
Jaye Albright, Albright & O'Malley Consulting 07/19/10
Randy Alexander, Randex Communications 10/12/07
David Alexander, Sheer Publishing 07/21/16
Eva Alexiou-Reo, FATA Booking Agency 05/14/15
Marcie Allen, Mad Booking 12/14/00
Jeff Allen, Universal Attractions 08/16/02
Marcie Allen, MAC Presents 06/05/09
Marcie Allen Cardwell, MAC Presents 12/21/07
David Allgood, Bama Theatre 01/03/11
Patrick Allocco, AllGood Concerts 10/05/07
Michele Amar, French Embassy 05/26/16
Mike Amato, Rok Tours International 02/02/07
Jeff Apregan, Apregan Entertainment Group/Venue Coalition 09/30/15
Billy Atwell, AMP Studios 12/13/07
Bob Babisch, Milwaukee World Festivals Inc. 04/02/15
Tom Baggot, 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
Ben Baruch, By Larry LeBlanc (CelebrityAccess) 04/05/17
Paul Bassman, Ascend Insurance Brokerage 08/03/16
Adam Bauer, Fleming, Tamulevich & Associates 02/15/02
Ed Bazel, That's Entertainment International 10/05/01
Joachim Becker, ZOHO Music L.L.C. 01/12/07
Howard Becker, Comet Technologies 05/02/11
Mark Bego, Author 06/15/07
Jim Beloff, Flea Market Music 09/20/10
Richard Bengloff, The American Association of Independent Music (A2IM) 09/12/13
Seth Berg, South Bay Music 01/30/09
Aimee Berger, 2 Generations SPA Music Management 09/24/04
David Berger, Future Beat 10/29/14
Barry Bergman, Music Managers Forum 03/14/03
Steve Bernstein, Relix LLC 09/30/05
Mark Berry, Attack Media Group 04/07/07
Scott Billington, Rounder Records 01/17/12
Jeffrey Bischoff, Cinder Block 03/24/06
Sat Bisla, A&R Worldwide/ Musexpo 03/29/10
Nina Blackwood, Sirius Satellite Radio 07/14/06
Adam Block, Legacy Recordings 11/07/13
P.J. Bloom, Neophonic, Inc. 01/24/11
Rishon Blumberg, Brick Wall Management 06/27/03
Justin Bolognino, Learned Evolution, and The Meta Agency 04/25/13
Steve "Chopper" Borges, Total Pro and Borse Techos 03/03/06
Les Borsai, Mediocre Management 01/30/04
Shane Bourbonnais, Live Nation Canada 03/21/08
Jeff Bowen, Sears Centre Arena 03/13/08
Rick Bowen, Mystic Music Experience 07/11/08
John Boyle, Sanctuary Music Group 03/19/04
Jeff & Todd Brabec, Writers/Attorneys 01/03/12
Bill Bragin, Joe's Pub at the Public Theater 08/08/03
Joel Brandes, Avenue Management Group 11/02/08
Joe Brandmeier, Moving Pictures 03/15/02
Scooter Braun, SB Projects 12/13/10
Ron Brice, 3rd & Lindsley Bar & Grill 06/08/16
Billy Brill, Billy Alan Productions 11/11/05
Doug Brown, Talent Buyers Network 09/21/01
James Browne, Sweet Rhythm 11/01/02
Bob Brumley, Brumley Music Company 02/17/16
Tony Brummel, Victory Records 05/17/09
Charlie Brusco, TBA Entertainment Corporation 10/13/01
Del Bryant, BMI 05/18/07
Cortez Bryant, Bryant Management 12/06/10
Stephen Budd, Stephen Budd Management 07/13/17
Bruce Burch, University of Georgia Music Business Program 10/09/09
Deborah Burda, Kentucky Exposition Center 08/03/07
Patti Burgart, IEBA 06/07/02
Jordan Burger, The New Musiquarium 01/22/01
Ron Burman, Roadrunner Records 08/25/06
Suzanne Cadgene, Elmore 05/19/06
Karen Cadle, KGC Productions 03/12/04
Gary Calamar, KCRW 07/10/09
Charles Caldas, Merlin 07/05/10
Brian Camelio, ArtistShare 02/29/08
David Campbell, AEG Europe 08/02/10
Tom Cantone, Foxwoods Entertainment Group 10/20/00
Tom Cantone, Foxwoods Resort Casino 07/03/03
Tom Cantone, Mohegan Sun 08/30/09
Ashley Capps, A. C. Entertainment 05/21/04
Rio Caraeff, Vevo 07/12/11
Mike Carden, Eagle Rock Entertainment 08/16/11
Charles Carlini, Carlini Group 05/16/08
Mark Carpentieri, M.C. Records 05/27/05
Mark Carpentieri, M.C. Records 01/10/11
Troy Carter, Coalition Media Group 06/07/10
Daniel Catullo, Coming Home Studios 06/22/08
Raffi Cavoukian, Folk Singer/Children's Entertainer 05/11/16
Jeffrey Chabon, Chabon Entertainment Group 08/22/02
Mike Chadwick, Essential Music & Marketing 08/01/12
Rob Challice, Coda Music Agency 03/27/13
Tom Chauncey, Partisan Arts 01/11/02
Tom Chauncey, Partisan Arts 10/04/11
Lisa Cherniak, Artists Against Racism (AAR) 07/20/01
Bob Chiappardi, Concrete Marketing 06/13/03
Joel Chriss, Chriss & Co. 10/04/02
Michael Chugg, Michael Chugg Entertainment 09/14/01
Michael Chugg, Chugg Enterprises 10/02/09
Gary Churgin, Harry Fox Agency 09/13/10
Vinny Cinquemani, S.L. Feldman & Associates 12/13/12
Barry Coburn, Ten Ten Music Group 03/28/11
Matthew Cohen, Green Room Productions 10/19/01
Ted Cohen, TAG Strategic 01/10/13
Lisa Cohen, Associated Booking Corporation 02/10/06
Steve Cohen, Music + Art Management, Inc. 03/09/07
Dan Cohen, Music & Memory 01/12/17
Michael Cohl - Part 1, S2BN Entertainment 03/06/13
Michael Cohl - Part 2, S2BN Entertainment 03/13/13
Bryan Coleman, Union Entertainment Group 02/14/12
Mamie Coleman, Fox Broadcasting 07/05/12
Dennis Condon, Disneyland Resorts 07/13/01
Peter Conlon, Peter Conlon Presents 05/20/05
Tony Conway, Buddy Lee Attractions 10/06/00
Allen Cook, TOURtech 04/16/15
Tomas Cookman, Cookman International 09/05/03
Alex Cooley, Alex Cooley Presents 07/12/10
David Cooper, Foxman.com 10/31/03
Jay Cooper, Greenberg Traurig, LLP 05/23/11
Julie Coulter, Near North Insurance Groups 06/07/01
Amy Cox, Deep South Entertainment 02/09/07
Michael O. Crain, Crain Law Group, LLC 10/09/13
Charlie Cran, The Strawberry Music Festival 04/05/10
Jim Cressman, Invictus Entertainment Group 06/06/12
Russ Crupnick, MusicWatch, Inc. 07/23/15
Todd Culberhouse, Vision Management /Vision Records and Entertainment 09/05/08
Tony D'Amelio, Washington Speakers Bureau 04/21/06
Ruth Daniel, In Place of War 08/09/17
Ray Danniels, Standing Room Only Management, and the Anthem Entertainment Group 03/05/15
Ken Dashow, WAXQ-FM (l04.3 FM) - New York 09/08/06
Hal David, Lyricist 07/26/11
David Davidian, Independant Lighting Designer/Director 06/18/04
Anthony Davis, D&L Entertainment Services, Inc. 03/02/01
Chip Davis, American Gramaphone/Mannheim Steamroller 05/31/02
Mitch Davis, Tempest Entertainment 07/16/04
Jeff Dawson, Canadian Recording Services 06/08/08
Desiree Day, USO Celebrity Entertainment 08/10/01
Shauna de Cartier, Six Shooter Records/Six Shooter Management 10/23/13
Gene DeAnna, The Library of Congress 02/21/12
Vincent Degiorgio, Chapter 2 Productions 08/01/13
Tony DeLauro, DeLauro Management 12/23/04
Valerie Denn, Val Denn Agency 04/30/01
Val Denn, Val Denn Agency 03/06/14
Robert DePugh, Alligator Records 07/29/05
Tom Derr, Rock Ridge Music 10/29/04
Paul Dexter, Masterworks Lighting Design and Road Cases 12/10/04
Marty Diamond, Paradigm 01/22/10
Glenn Dicker, Redeye Distribution/Yep Roc Records 07/07/06
Barry Dickins, International Talent Booking Agency 06/06/13
Jim Digby, Event Safety Alliance 09/01/16
Mark Dinerstein, The Knitting Factory 11/17/06
Neill Dixon, Canadian Music Week 03/03/16
Thomas Dolby, Musician, academic, technologist, and author 11/09/16
Jasper Donat, Music Matters 2009/Branded 04/24/09
Jim Donio, National Association of Recording Merchandisers 04/22/11
Marc Dottore, M. Dottore Management 04/11/03
Tim Drake, The Roots Agency 12/12/08
Mike Dreese, Newbury Comics 11/23/11
Charles Driebe, Blind Ambition Management Ltd. 09/22/06
Jeremy Driesen, Ray Bloch Productions 09/07/01
Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of Denver’s Division of Theatres and Arenas 08/23/10
Paolo d’Alessandro, International Solutions 06/25/14
Ros Earls, 140dB Management 02/19/14
Art Edelstein, Festival Productions 12/01/02
Bruce Eisenberg, Audio Analysts 08/31/01
Martin Elbourne, The Glastonbury Festival 12/18/09
Michael Elder, Red Entertainment 03/17/06
Tod Elmore, Sixthman 11/24/06
Paul Emery, Clear Channel Entertainment 11/19/04
Arty Erk, Citrin Cooperman 04/27/16
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock ’n’ Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gélinas, Festival d’été de Québec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Chris Gero, Yamaha Entertainment Group 10/26/16
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Steve Gietka, SMG Entertainment 03/19/14
Darren Gilmore, Watchdog Management 03/17/16
Daniel Glass, Glassnote Entertainment Group 10/16/14
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Neil Goldberg, Cirque Productions 04/16/14
Martin Goldschmidt, Cooking Vinyl Group 09/29/16
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, Turntable.fm 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Justin Kalifowitz, Downtown Publishing 04/20/17
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Música e Cultura 05/04/17
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Paul Reed, Association of Independent Festivals (AIF) 06/14/17
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
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
Deb Suckling, SUGARRUSH Music 07/27/17
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Mandar Thakur, Times Music 08/06/15
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Marsha Vlasic, Artist Group International 05/31/17
Mat Vlasic, Bravado 06/28/17
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Kirt Webster, Webster PR 02/03/16
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Adam White, Author 09/14/16
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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