Industry Profile: Neill Dixon

— By Larry LeBlanc (CelebrityAccess)

This week In the Hot Seat with Larry LeBlanc: Neill Dixon, president, Canadian Music Week

Canada’s music industry has been centered in Toronto for decades.

With a metropolitan population of 6 million---a mega-city since Jan. 1, 1998 following the consolidation of six municipalities--Toronto has long drawn music industry players and musicians daily from every corner of Canada.

That the global music market takes notice of Toronto is underscored by the staggering success of Neill Dixon’s Canadian Music Week--now in its 34th year--one of the leading music conference/festivals in the world.

Canadian Music Week 2016 will deliver a solid week of music-related events from May 2-8, including appearances by over 700 bands.

There is a formidable list of speakers confirmed this year, including: Neil Warnock, Head of Worldwide Music, United Talent Agency, Martin Goldschmidt (managing dir., Cooking Vinyl), Simon Wheeler (dir. of digital, Beggars Group), Geoff Taylor (CEO of British Phonographic Industry), Vick Bain (CEO, British Academy of Songwriters, Composers & Authors), Charles Caldas (CEO, Merlin Network), Steve Barnett (chairman/CEO, Capitol Music Group), Daniel Glass (founder/pres. Glassnote Entertainment), Jo Dipple (chief executive, UK Music), Mark Davyd (Music Venue Trust), Paul Pacifico (CEO, Future Artists Coalition), Alison Wenham (CEO, AiM), Jeffrey Remedios (president/CEO, Universal Music Canada), and producers Tony Visconti, and Eddie Kramer and others.

Canadian Music Week was launched in 1983 by David Farrell and his wife Patricia Dunn-Farrell--then co-publishers of the weekly Canadian music trade, The Record. It began as The Record Music Industry Conference and was modeled on competitor RPM Weekly’s “Three Days in March” conferences in the late ‘60s and ‘70s.

Dixon’s marketing company Chart Toppers was initially hired in 1983 to book speakers, and organize panels. Over the next few years, the convention morphed into Canadian Music Week, and Dixon became a co-partner a couple of years after it began.

Dixon had opened Chart Toppers in 1985 to handle a wide variety of functions in the music industry, including record promotion, concert event production, television production, and sponsorships. Among Chart Toppers’ consulting assignments were working with the Juno Awards, Molson Breweries, Pepsi-Cola, Ontario Lottery Corporation and others.

When Dixon took over Canadian Music Week fully in 1993, he transformed the event in order to address the evolving global reach of the music industry.

What Dixon has achieved with Canadian Music Week amidst ongoing seismic disturbances in the music industry, which transformed the conference multiple times, has been largely been because of his uncanny ability to continually reset the conference to tune into all sectors of the music, radio and technological sectors while paying close attention to the changing nuances of each sector.

What is the economic impact of Canadian Music Week on Toronto?

It had an economic impact last year of $22 million (Canadian) to the city.

How many people registered for the 2015 conference?

It was 2,600 industry professionals, and another 5,000 musicians. Last year, there were close to 800 bands that played. It bounces around between 700 and a thousand.

Do you expect the same turnout this year?

Yes. There’s close to 700 bands for sure.

Two months out from the conference, what salaried staff do you have?

About 20. We have all of the administrative staff, and we also work with some project consultants. We can’t afford to put them all on salary. But we do have a conference manager, a festival manager, and an international buyer in L.A. who work on the conference.

You must take pride in having your daughter Danya involved (as VP of programming) in the conference.

Yeah, she’s amazing. She’s really come along. She got it right from day one. She has an amazing personality. She was here part-time, and before that she was going to college. But she’s been solid here for the past three years.

A pivotal figure for the conference is its senior international consultant Gary Taylor who works from Vancouver.

Gary Taylor is another character—that‘s the only way that I can describe him—that has been with us 15 or 20 years. We go back to the early days. He was a musician (with the Classics), and quite the club owner (King of Clubs, Gary Taylor’s Rock Room, Gary Taylor’s Show Lounge and others).

How much government support and sponsorship revenue support does the conference receive? How does it break down?

I would say that about a quarter of the money we raise comes from funding, and the rest is from sponsorship, ticket sales, advertising, registrations etc.

Has sponsorship revenue grown significantly for you in recent years?

It has grown but there is now far more competition for the dollar. Sponsors are now inundated (with sponsorship requests). There are now so many festivals and events that there are just that many more people looking for sponsorship.

At the same time advertisers’ demands have increased. They now seek analytics indicating audience demographic data.

Absolutely. It used to be (providing) signage and a logo. Now it’s experiential marketing. Where they can touch (engage) the customer.

Many advertisers want a marketing strategy that directly engages consumers and invites and encourages consumers to participate in the evolution of a brand.

Yes. It’s more sophisticated now because you can get metrics on what’s happening and what people are doing and what they are spending, especially with RFID-enabled wristbands with a cashless feature.

[RFID-enabled wristbands not only provide historical data at events but enable ticket holders to connect with social media, potentially promoting not only bands, and the event itself, but also products that could advertise via social media.]

There are some formidable speakers confirmed to speak at your conference this year.

We lucked out because there’s some really great ones.

How far out do you begin seeking speakers and panelists?

It’s hard to believe but with the international people and the spotlights it’s two years in advance, and for the regular conference keynotes and what not, we start right after we finish (a conference). It’s starts a year out.

Any music executives on your bucket wish list to be keynote speakers? Lucian Grainge, the chairman and chief executive at Universal Music Group?

Lucian Grainge is at the top of the list. You can just go down the Billboard Power 100 list or the Vital 50 or whatever. There’s a long list of people we’d like to have. There is also Michael Rapino (pres./CEO, Live Nation Entertainment) whom I am seeing this week at ILMC (International Live Music Conference) in London. That’s a great conference. We go way back to Labatts. Those are the kind of people that we are after. A lot of it has to do with timing.

[Canadian born Rapino worked at Labatt Breweries of Canada in Toronto for 10 years in various progressive marketing and entertainment roles. While at Labatt, as dir. of entertainment and sports, he worked closely with Labatt's-owned Toronto Blue Jays. He subsequently became head of Labatt's Marketing brands. Upon leaving Labatt, Rapino co-founded Core Audience Entertainment which was acquired by SFX in 1999, creating SFX Canada. After running Clear Channel Entertainment’s Canadian operation, Rapino ascended to the head of its European operation in 2001, and was named global music head in 2005.]

< Has American manager Irving Azoff ever been to Canadian Music Week?

Never. We have been after him for years. He’s not in a big hurry to go out of the country.

What countries are being featured this year?

The spotlight is on the UK, and the focus country is Ireland.

[As part of the UK spotlight, the Complete Music Updates (CMU) Insights team will present a three-hour session during the Canadian Music Week music summit hosted by CMU Business Editor Chris Cooke.]

This year Canadian Music Week has added a one-day international summit, The Mastering of a Music City, aimed at expanding the discussion of developing music cities around the world. How did--what you are calling “an international creative-economy summit”--come about? Did you suggest it to Music Canada?

No. It was kind of a mutual thing. How it started was three years ago we started a Music Cities Panel at Canadian Music Week. The first year it was more about the upcoming alliance between Austin (Texas) and Toronto. Over the years, it (the panel) has progressed. It has got more sophisticated, but it has always had that at its core. Then came the “The Mastering of a Music City” report (launched at MIDEM 2015) which kind of put everything into perspective, and opened the opportunity to look at this as something more than just a Toronto-centric, “Wouldn’t it be good if we were a music city kind thing?” and “What is a music city?” So it has developed now into a worldwide phenomenon where there are not only historic music cities that are justified (being named a music city) because music was born in these cities. Like blues in Chicago or country in Nashville or jazz in New Orleans or rock and roll in Memphis. You can go on and on.

[Put together jointly by Music Canada, the International Federation of the Phonographic Industry (IFPI), and Music Cities Convention in Brighton, England, The Mastering of a Music City was inspired by Music Canada's Report on Toronto's 2012 Music City initiative with Austin, Texas, and then directly by Music Canada and IFPI's report “The Mastering of a Music City, Key Elements, Effective Strategies and Why It's Worth Pursuing.”]

You travel more than most of us, going to conferences in what could be considered music cities including: Los Angeles, New York, Austin, Amsterdam, Melbourne, Manchester, and Nashville. It must have struck you that there are parallels to the Toronto/Austin music cities axis.

Absolutely. It is apparent when you do travel. I think the other kind of thing that has been happening in the last 5 or 10 years is the growth of festivals around the world. A lot of them are close to metropolitan centers. They may be a metropolitan festival or they may be close by a city; but they have a huge economic impact on the region, and certainly the city, if they are close enough.

According to a recent independent study commissioned by AEG Europe, The O2 arena in London generates an additional income of $573.15 million (U.S.) a year for London. It also attracts up to 7.2 million visitors a year. Governments are more aware of these type of economic indicators today then ever before.

That’s true. They want their clients, if you want to call them that, to be more accountable. Now they are asking for financial impact studies from major events. We have been doing them now for four years I guess.

[AEG commissioned the consultancy firm Why Not to assess the social and economic impact of The O2 since its opening in June 2007. The study looked at The O2’s position as a visitor attraction, employer and catalyst for regeneration. The report found that the venue generated a total economic impact equivalent to more than double the original investment in the Millennium Dome, while providing a range of additional social, environmental and commercial benefits.]

Countries like Canada, Britain, Australia, and The Netherlands have significant cultural policies in place, and they are aware that the branding of music cities represent increased revenues from tourism and other sources.

Absolutely. Obviously some of these cities like Austin with “The Live Music Capital of The World” and “Music City U.S.A.” for Nashville are using music as branding. That’s another component of the Music City Conference. So the conference is a culmination of best practices of things that have gone on or are going on in different cities around the world. It is a basically a forum for sharing knowledge and hopefully getting some statistics that people can use. Not everybody has access to some of these bigger studies that have been done to help them along with their local councilor or with city and provincial governments, or their state government.

Quite a coup having so many high-end speakers coming in from other parts of the world for The Mastering of a Music City.

We are pretty excited. The caliber is really high. I think that the discussions will be at a great level. I wished we had made it longer. But when we started the discussions we had no idea of how it might turn out. We still don’t know, but it looks good. There seems to be a lot of interest in it.

The irony is that a study came out two weeks stating that Austin, Texas has lost 1,200 jobs in the music sector over the past four years.

I saw that. Everybody is subject to economies. If the whole ecosystem is suffering obviously the music component is going to suffer as well.

Meanwhile, music’s ecosystem is up in the air. Universal Music Group has become the first recorded music business to generate a billion dollars of revenue from streaming services in a calendar year. And YouTube is growing quicker than everyone else. There are predictions are that the majority of revenue in the future will be from video content. Global entertainment is in a transitionary period.

Absolutely. Absolutely. We go into that a lot in this year’s conference. It has been morphing every year. I guess that the one reason that it’s still here is that we try to keep it relevant.

Your marketing company Chart Toppers had an advisory role with the conference launched in 1983 by David Farrell and his wife Patricia Dunn-Farrell. You were basically a consultant in the early years?

That’s right, and we worked and developed that property which was The Record Music Industry Conference. It grew quite rapidly, and we became partners with them. It was one of those gradual things. We did more and more work on the conference.

For 14 years, the conference was an adjunct to Canada’s Juno Awards. In 1991, the Junos went to Vancouver—its first time outside Ontario—and the conference lost $100,000 (Canadian), partially because it had launched a public festival that year. You had to really regroup after that?

Well, it sent us back to Ontario that’s for sure.

Any halo effect of the Junos obviously didn’t happen.

Yeah, we were in the shadow of the Junos. No question about it. As soon as we got out of that—not by design; it was just one of those things that happened—we got out of that (Juno) time period. And we didn’t follow the Junos around. Previously, the Junos used to be in Ontario, and then they decided to hit the road. That (Vancouver) was one of the very first road events that they had. We realized that the business was based here in Toronto. That most of the infrastructure was here. So we could go out at any time of the year. So we did go out at a different time of the year, and we realized that we were getting a lot more attention afterwards because we are not those guys doing a conference when the Junos are on.

As a result of Canadian Music Week splitting away from the Junos, the conference changed and became more business to business. Splitting from the Junos freed you up?

It did.

You fully took over running the conference in 1993.

Yes, in 1993. It got to the point where we wanted to take the conference to the next level. “Let’s do a festival. Let’s do this. Let’s do that.” At that point, David had decided he was going to go into the digital world with his magazine (The Record) which was a bit premature. He was ahead of his time. So he decided that the conference wasn’t going to be part of his core business. He said, “Do you want to buy our shares?”

You re-shaped the conference which also became more accessible to young industry people. You launched a musicians’ level conference called TuneUp targeted at musicians and entry level people, and expanded the event further with the Canada Music Festival.

Yes, we repositioned the conference. We weren’t servicing readers of a magazine anymore. We were now servicing the music industry. Obviously, radio was still a huge part of it, but it was more about the music at that point.

You had been servicing the Canadian radio industry.

Yes, the Canadian radio industry.

Over the years you have emphasized that you try to keep Canadian Music Week as cutting-edge as possible.

Yeah, we try to be on the edge. No question about it. We are not mired in history.

When Canadian Music Week started in 1983, there were few international music conferences/festivals. Today, there are so many with similar programming. Canadian Music Week’s appeal is from its positioning. Being in Toronto and being able to draw speakers, panelists and registrants from diverse markets including from the United States, the United Kingdom, Australia, and South-East Asia.

I think the unique thing about Canadian Music Week is that for the past 15 years we have been very focused on international development, export marketing, and the development of bands We have made a concerted effort to bring those people to Canada to make it a lot easier to do B to B business. That has been the driver for us. Every year, we do an international country spotlight and we also do an international country focus. That galvanized our programming because it has been going long enough now that there are 400 or 500 people returning from various territories that have been here from back when we did spotlights on India, China or Japan etc. So it’s been about building the conference with a more international flavor and, as you know, it’s pretty difficult to make a living in Canada in the music business. You really need those international markets to round out your business plans, and your career. So that’s been our push and hence that is why the flavor of the conference is different. A lot of people do export development, but it’s not as focused as what we are up to I don’t think.

Some of the music conferences seem quite inclusive. The attitude of South by Southwest seems to be, “We’re here if you want us; this is what we do.” Or CMJ, where the attitude seems to be, “If you want to break the American college market, we’re here.” Canadian Music Week, instead, seems to try to provide opportunities going both ways—exporting and importing.

We are going both ways. I think that it is working. The Canadian business is so much more sophisticated now than it used to be. I think that young bands and managers, and labels here are looking outside the borders the first year of business.

Whereas years ago, bands would come to Canadian Music Week seeking a record deal. Now it’s, “Can I tour in these territories?”

That’s exactly right. We draw a lot of new faces every year. We will get somebody pointing out who is new in the room. Every year there is an influx of new faces. It keeps the conference fresh.

When you took over Canadian Music Week in 1993, the focus had been on bringing the music and radio communities in Canada together. You re-shaped the event by expanding and diversify activities in order to attract representatives from related industries?

Yes.

I can recall a conference moment in 1993 when many music and radio executives attending scorned the idea that digital technology would soon transform the music industry. Nicholas Negroponte, founder and chairman emeritus of Massachusetts Institute of Technology's Media Lab, warned attendees that if they were not in the digital business in 10 years they had better polish up their résumés. Everybody in the room was, “What are you talking about?”

I know. Everybody was shaking their head.

That was a dividing line moment for the conference in many ways.

That was. Even he was low tech. He had a slide show but on that slide he had a supermarket shopping cart full of CDs. Then he held his arm up in the air, and he said, “I’m holding a pin, and at on the head of this pin in a digital world, it can hold more information than this whole shopping cart of CDs. So if you are in the business of selling CDs, you should polish up your résumé today.” That upset a lot of people. But that was so prophetic. Back then only tour and road managers had electronic mail. Nobody called it email. Electronic mail. Most people didn’t know what it was. So for him to say, “Here’s your future, and it’s not bright” that upset a lot of people.

In the early days Canadian Music Week attracted a mixture of recording and radio industry people. So the speakers and panelists were people who could address the challenges in those industries. Of course, there weren’t many conferences back then.

The big one was the Radio & Records Convention that used to happen at Century Plaza in Los Angeles. That, of course, was in the halcyon days of music. There was a ton of money around, huge parties, and crazy going-ons.

Which happened at Canadian Music Week too.

Well, yeah (laughing). That and some of the early Billboard conferences. There wasn’t a lot of conferences back in those days, but Radio & Records certainly was the inspiration.

There was MIDEM as well.

And MIDEM, of course.

You are a habitual global conference goer. What conferences do you look forward to?

I divide my time between the music conferences that are showcase conferences, and some of social media digital tech start-ups. On the digital side, there’s the San Francisco MusicTech Summit. There’s also Digital Entertainment World in Los Angeles. There are some conferences that are purely social or are purely marketing which I don’t go to. Danya covers those. But those two I particularly like. As far as music, I don’t know if this will be the last year of MIDEM. It is looking kind of dodgy, so I don’t know. Certainly in Europe, there’s Eurosonic Noorderslag in The Netherlands, and there’s The Great Escape in Brighton and Hove. To me, those are probably the two for me. Actually, the conference and festival Liverpool Sound City has been growing every year, and now they have moved into the docklands (Bramley-Moore Dock) which is an historic area where they have renovated all of these warehouses.

Of course, there’s Music Matters in Singapore.

Yes, Music Matters, absolutely. It’s the major event in Asia. They get people from Indonesia, Malaysia, China, Hong Kong, India, you name it because Singapore is in the dead center of—it’s equal distance from all these places, including Australia. So it’s certainly the main one in the region.

You have attended BIGSOUND in Australia.

BIGSOUND is an exceptional event as well. It’s run by a government agency (QMusic, which is Queensland's music industry development association). They do an amazing job. It’s highly recommended.

[BIGSOUND is supported by the Queensland Government through Arts Queensland. BIGSOUND has been assisted by the Australian Government through the Australia Council of the Arts, its arts funding and advisory body.]

You were born in England. How did you come to grow up in Canada?

I was born in Newcastle Upon Tyne. A Geordie. It‘s a long story but the short version is that my parents decided they wanted to see the world. They left England when I was three, and they went to the U.S. When I was 6, they went to Bermuda where we lived for 10 years. Then my family emigrated to Toronto around 1962.

What did your dad do?

He was a school teacher. He could get a job anywhere, especially at a prep school or something of that nature. There were a lot of British prep schools around the world. Bermuda was an English colony so it was easy. He was at the grammar school there. We lived there for 10 years.

You attended high school in Toronto?

I did. I went to East York Collegiate, and then West Hill Collegiate in Scarborough. We lived in Guldwood Village.

Did you have any early connections to the music business?

No. There was no connection to the business. There were no relatives in it. I was just a music fan. Basically, that’s where it started. I collected records. The Stones, Them, and the Animals.

Did you go to local clubs like The Gogue Inn, The Modern Age or the Broom & Stone?

Yeah, The Broom & Stone. The Gogue Inn was the club that had three rooms?

Yes. It had three floors of music.

I’d also go to Yorkville Village. I’d see the Ugly Ducklings play. The Paupers was another band that I followed.

So you were a rocker rather than a greaser?

Yeah, I was a rocker.

You played bass in the band Misty Blue.

Yeah. Going back then.

What did you study at Hammersmith College in London?

Well, it’s a college of art and building. I was going to be an architect. I was there for three years

Were you booking bands while at college?

I was, yeah. Back in those days a lot of the British bands were just bands around London.

Were you the social convener at the college?

That’s what I was, yeah. It was my job to ferret out bands.

You returned to Canada in 1967 and became a club owner.

What happened is that I got totally into music while I was at college. I loved architecture, but I quit and I came back to Canada, and started a club here in Toronto called Grumbles.

I recall shows at Grumbles by such performers as Valdy, Ronney Abramson, and Ellen McIlwaine, and a week with both Jim Croce and Randy Newman.

That was a heck of a bill that one.

What made you think you could open a folk club?

I spent half of my time in clubs or coffee houses when I was in college in London. They had some amazing coffee houses. Then the folk music boom was happening here. So it was an entry for me to get into the business.

Bernie Fiedler operated The Riverboat in Yorkville Village which booked most of the leading folk and singer/songwriter acts of the day.

We were miles away from Yorkville though. We went into an area that was....

Hooker territory in those days.

Yeah, it was pretty funky. Over the years the area has gentrified. We operated the club as a restaurant during the day. That’s how we made sure that we survived.

By that time, you were married?

Yes. So my wife (Joy), and I ran the club. At that point, I was also booking bands from the U.S. Mainly New York agents. Pretty much the same agents that exist now. I think Universal Attractions was one of the bigger ones.

After three years Grumbles closed in early 1973 due to the Liquor Licensing Board of Ontario refusing to grant the club a liquor license.

Selling coffee is one thing, but you have to sell a lot of coffee to make a good living. We needed a liquor license. We applied two or three times to get a liquor license. We were turned down because—and it’s kind of a crazy reason—that the area was already serviced by enough licensed establishments.

There weren’t many licensed outlets in the area.

No. There was The Jarvis House, and a couple of hotels. But the problem was that there was no residential down there. There were no condos or townhouses. It had to do with the ratio of people that lived in the area versus the amount of restaurants and bars servicing the areas. When it (the Board) hit this folk room they would not consider more. Now you can’t get enough of them. They are everywhere today. That was one of the risks of operating a club back then. We never saw that coming.

Ontario then had some unusual drinking restrictions. Licensed establishments then were required to adhere to a wide variety of regulations, including a limitation on singing, the number of patrons allowed to sit together, and most importantly the segregation of females from unmarried male drinkers. Women were only allowed to drink in the presence of an escort in a segregated ladies and escorts’ room.

The Jarvis House had a men’s entrance and a ladies and escorts’ entrance. Mixing sexes and drinking was not allowed.

How did you come to work at RCA Canada as a local promotion rep?

Well, I worked enough RCA acts at Grumbles. I had RCA’s (Ontario promo rep) Johnny Murphy hanging out there probably five days a week. I got to know (RCA executives) Johnny, Ed Preston, and Barry Haugen (national country promotions) all though Grumbles. There was a lot of reasons for them to be down there. So (national promotion dir.) Ed Preston offered me a job. I had to say, “Well, I am also booking The Jarvis House, The El Mocambo, The Hook & Ladder Club, and The Colonial Tavern.” I was like a consultant buyer to a ton of (local) venues. I was doing all these clubs. I said to Ed that the only way I could do it (be Ontario promo rep) is that I would have to continue booking on the side. But I would love to do it because I wanted to learn about the record business. So that’s how it happened. We closed Grumbles, and I got into that.

How long were you at RCA Records as an Ontario promotion manager?

Not too long. Two years approximately. Then I went to GRT Records of Canada (as VP Promotion and A&R Manager).

What did you learn about the record business?

Well in those days it was a great business. Pretty much everything I know about the record business I learned from Ed Preston. It’s funny but when you are on the outside you never look at the details. I learned a lot of the basics of publishing and royalties. The mechanics of the music business that I had never previously thought about. There were no schools or anything back then. There weren’t a ton of books, and there were no courses. I was in the business and I learned everything myself.

How long were you at GRT Records?

Not long. And I was still booking The Jarvis House. I always kept these things in case things don’t work out.

A lot of mainstream Canadian rock bands played there.

Yes. So there were a lot of rock and roll bands going in there. And there were some show bands. It’s funny but back in those days clubs didn’t have a format.

Bands also played six nights.

That’s right. They played multiple days, and they played a lot of covers.

I met your future partner Steve Propas after he opened an office in Toronto in the early ‘70s for Kevin Hunter Associates that was handling the Bells, which was performing in Toronto clubs.

That’s how I met him. He said. “We could really do a job here if we got together because you’ve got all of these connections, and I’ve got all these connections.”

You and Steve started off as managers?

We managed, but we also booked. We never stopped the booking. The booking helped with the management.

One of the early groups you two managed was Act 3, which included a young guitarist named Rik Emmett.

We had rooms we booked in Northern Ontario as well. So we put Act 3 through those rooms. Rik Emmett was in Act 3 before he went to Triumph. That was our introduction to Triumph.

Dixon-Propas Productions also managed Martha Reeves, who had left Motown Records and signed with MCA Records. Was she living in Toronto in the ‘70s?

No. She never lived here, but she had come through Toronto a number of times. We had met her on a number of different occasions. We had Junior Walker & the All Stars first. Junior introduced us to Martha. How did we meet these people? We booked them. We used to book The Generator. Every act that came in there we were like, “Hey, have you got a manager?” It was kind of an organic business.

While Triumph was able to get a record contract, many other groups in the Dixon-Propas stable weren’t so fortunate. So you and Steve decided to start your own record label, Solid Gold Records.

Yeah, that’s exactly what happened out of frustration. Triumph we managed and Triumph was on Attic Records.

Who couldn’t you get a deal for? The band Toronto?

Toronto. Toronto was the first act that we signed to our own label because we had shopped the band to everybody twice, three times and could not get arrested. So we decided we were going to lose this band if we didn’t put a record out because the management deal had a performance stipulation. Steps that we had to do, and a record deal was one of the. After two or three years of managing them, we thought we’d better put out a record.

Solid Gold Records is famous for its gold and platinum successes with Toronto, the Headpins, the Good Brothers, Chilliwack and others; and infamous for the recreational excesses of its executives. If you watched “Vinyl” in recent weeks on HBO...

I thought that was based on us.

Steve Propas once said me, “Do you know what I think the downfall of Solid Gold was? Too much cocaine.” It was the wild west with you two.

Yeah but it was also the era. It was the era. In the States, you couldn’t get anywhere without dealing with the indies (independent music promotion reps) which was like the Mafia that is sort of portrayed that way in “Vinyl.” So that was the era. I don’t think that we were doing anything that the majors weren’t doing or the successful indies weren’t doing. In fact, we were trying to play catch-up.

Before Solid Gold imploded you two licensed the company’s catalog to CBS Records of Canada--renamed later Sony Music Entertainment (Canada)--and used that advance to pay off your previous distributor A&M Records of Canada, and others.

Ahh, yes. That’s how it happened.

Then Solid Gold abruptly folded.

It didn’t go bankrupt. It went into insolvency, and it worked its way out of insolvency with Sony because they had those catalog items for years. Once that advance was paid off that stuff reverted back to Solid Gold. Steve still had that company (before his death in 2011). I’ll tell you where the money went. It went to paying those indie (record promoters) in the States. Back in those days it was five grand for a P1 station and there were tons of those. You could run up a hefty bill in a short period of time.

From Solid Gold, you must have had a learned a lesson of, “I’m not going down this path again.”

I did. It was a major....

You learn from your failures?

Well, I have had a bunch of those. So yes, it’s the school of hard knocks.

You had to ask, “Okay what now?”

Yes. Those were tough days.

In 1985, you opened Chart Toppers with your now ex-wife Deanna to handle record promotion, concert event production, television production, and sponsorships.

We did.

[Chart Toppers handled promotions for the Juno Awards, Molson Breweries, Pepsi-Cola, and Ontario Lottery Corporation. It also organized such national homegrown talent searches as the Great Canadian Homegrown Talent Search, and Rock Showdown.]

Sir George Martin passed away this week at the age of 90. He was one of your favorite speakers at Canadian Music Week in the late ‘80s.

Absolutely. Besides me being a huge Beatles’ fan, he is iconic. Not many people knew who the producers were back in those days (the ‘60s). Everybody knew the bands, but not so much the producers. They weren’t as famous as they have become. He is one producer that is famous. I wouldn’t say equal to the Beatles, but they did call him the Fifth Beatle. He certainly was a huge part of their career, and a ground-breaking producer.

Any other moments stick out?

Of course, the 2009 debate between Bob Lefsetz (publisher of The Lefsetz Letter) and (Kiss member) Gene Simmons. That was probably the most publicity that we’ve ever had on anything, ever.

Larry LeBlanc is widely recognized as one of the leading music industry journalists in the world. Before joining CelebrityAccess in 2008 as senior editor, he was the Canadian bureau chief of Billboard from 1991-2007 and Canadian editor of Record World from 1970-89. He was also a co-founder of the late Canadian music trade, The Record.

He has been quoted on music industry issues in hundreds of publications including Time, Forbes, and the London Times. He is co-author of the book “Music From Far And Wide.”

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

.

Industry Profile Archives:
Mick The DJ, DJ/Enterpeneur 04/30/15
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
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
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
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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