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Stephen Posen, Sole Executor of the Estate of Glenn Gould, on the Hot Seat with Larry LeBlanc

Jan 24, 2013

Originally published on CelebrityAccess the ultimate resource for Entertainment Industry Professionals

Toronto lawyer Stephen Posen is jetting off to the Grammy Awards in Los Angeles next month to collect a Lifetime Achievement Award for the late Canadian pianist Glenn Gould.

The Recording Academy’s Lifetime Achievement Award honors performers who have made contributions of outstanding artistic significance to the field of recording. This year’s recipients also include Charlie Haden, Lightnin' Hopkins, Carole King, Patti Page, Ravi Shankar, and the Temptations.

Posen has been the Sole Executor of the Estate of Glenn Gould following the Canadian pianist’s untimely death in 1982 at the age of 50.

Gould, whose statue sits outside the CBC's Toronto headquarters, is one of the most acclaimed classical musicians of the 20th-century; his life and recordings chronicled in more than 50 books, a dozen films, three plays, and endless musical tributes.

Over the past year, Sony Classical has issued a wonderful parade of Glenn Gould Anniversary releases, celebrating what would have been his 80th birthday year, and the 30th anniversary of his death. Among the releases are: “This is Glenn Gould: Story of a Genius,” “Best of Glenn Gould’s Bach,” and “The Great Legacy: The Glenn Gould Collection.”

Also released on DVD were three films Gould made with Bruno Monsaingeon between 1979 and 1981 as “Glenn Gould Plays Bach.”

The genius pianist, while prolific as a recording artist, was also a writer, composer, conductor, and a television and radio broadcaster. Additionally, he was a steady contributor to musical journals in which he discussed music theory, and his musical philosophy.

Gould performed fewer than 200 concerts over the course of his career. On April 10th 1964, he gave his last public performance, playing the Wilshire Ebell Theater in Los Angeles.

Posen was Gould's lawyer from 1971 until his death. He is a senior partner at the prominent Toronto law firm Minden Gross LLP having been managing partner for a number of years.

Posen’s legal world lies primarily outside entertainment with extensive experience in all aspects of commercial leasing involving office, retail, industrial, and other commercial properties.

Posen joined Minden Gross in 1967 and two year later, being a junior lawyer, was assigned Gould as a client. Although he initially viewed the Gould account as a relatively minor task—handling mostly commercial work— his work with the pianist evolved over time

On Sept. 27, 1982, after experiencing a severe headache, Gould suffered a stroke that paralyzed the left side of his body. He was admitted to Toronto General Hospital, and his condition rapidly deteriorated. On Oct. 4th Gould died. About 3,000 people attended his funeral. He is buried in Toronto's Mount Pleasant Cemetery.

In the decades following Gould’s death, Posen has, with considerable expertise, fully protected Gould’s image, his property rights, and his artistic reputation.

So you will be attending the upcoming Grammy Awards to collect a lifetime achievement award for Glenn Gould?

So they tell me. I am kind of excited. It’s not really my world, but I think that it’s interesting. To be perfectly honest with you, I am thrilled for Glenn. And I feel that I am the appropriate person to go, and receive the award for him. So I am looking very forward to that.

If he was alive, Glenn wouldn’t likely attend the event, but he’d get a big laugh out of being honored.

That’s exactly right. In the statement I was asked to write for the (Grammy) press release for the announcement of Glenn’s award, I said that he would have been pleased and secretly amused. You said it better. He would have really chortled over this.

While it’s wonderful for him to be recognized, there’s also been considerable hard work involved behind having him recognized more than three decades following his death.

That’s right. (When I was informed) I got a little bit teary-eyed; I was so moved by the award being given to Glenn. I said to Neil Portnow (president, the Recording Academy) “You, yourself, probably don’t know how appropriate it is that Glenn to receive this award.” He said, “How so?” So I told him about three things. “Number one, Glenn gave up live concert giving in order to pursue his entire music career on recordings which was pretty much unheard of at the time.”

Then and now, really.

“Secondly, he taught your (recording) industry how to make a perfect recording by editing. He developed the editing process, and he did some (studio) experiments of which I was a part.”

He really taught the recording industry how to use edits to make the best possible recording.

“Thirdly, it turns out to be the award is being given out at the Wilshire Ebell Theater which is the site where Glenn gave his last live concert (on April 10, 1964).”

Isn’t that ironic?

Glenn died in Toronto on October 4th, 1982. What were some of your thoughts that week about how his legacy would evolve?

I made a list literally on the back of an envelope of things that I felt had to be dealt with, and objectives to be achieved. Things along the lines of (having) a collection of his writings; and a biography. I remember 5 or 6 different items on that list. I felt that it was my obligation to try to achieve that list over some period of time. That was my first thought. My second thought was, “What am I doing in this role?”

You became the Sole Executor of the Estate of Glenn Gould.

That’s right.

How has the catalog fared?

Glenn gave up an awful lot of money by deciding to forgo his concert career in favor of a recording career. He could have been a very wealthy man by the time he was 50. He could have made a lot of money. He didn’t because he pursued his life and his career the way that he wanted to. It was sufficient for him to maintain the lifestyle that he wanted to live. When he passed away, I received advice from a number of people to what one could forecast in terms of his future career, if you like.

What was that assessment?

We assumed, based on that advice that his sales would atrophy over a period of 10 years, and then just stop. So what is rather interesting about Gould is that hasn’t happened, and honestly I feel indirectly that I can take some credit for this. Not for what I have personally done, but for what I obtained in the assistance from others to do, which was to push forward.

But also because Glenn Gould was so unique.

I feel that I have indirectly contributed to (the Gould legacy) but the fact is that because he was so unique in terms of his performances, and so excellent (as a musician) that his sales have maintained a fairly steady performance level over the years. The beneficiaries have received many, many times the estimated total value over 30 years than they would have received otherwise.

Is Glenn making more money today than he did in his lifetime?

Well, he’s not making more (every year). He may have made more last year (2012) because last year was a very robust year with his 80th birthday. There will be recurrences on significant anniversary years. But, on the whole, his sales have held up fairly steadily. Is it more than he earned during his lifetime? Ah, yes it is. It has been. Not every year, but on the whole.

Obviously, Glenn Gould isn’t Adele in terms of sales today. So it must be an ongoing lobbying process in getting Sony to release new Gould sets.

It is. That has been occupying the Estate’s time over all of the years from time to time. I have continuously pressed on the idea that Glenn Gould can and should be a perpetual best-selling artist within the narrow world of classical music because of his unique style of playing; and because there are always new generations, and that there are new territories.

Of course, instrumental music goes across international boundaries as well.


Do people tend to download his music or buy CDs?

I think that there’s a lot of downloading. A lot of it is digital, and it’s growing.

I take it despite the changes in formats from vinyl to cassette to CD that the royalty rate for his Sony catalog hasn’t changed.

That’s kind of a thorny question. The answer is that as of now the royalty rate is the same. But it’s an area of discussion between us and the recording company (Sony Music Entertainment). I am concerned. On one hand, they are good partners; but, on the other hand, if they insist on staying with the same rate, I think that they are taking unfair advantage.

For the most part, Glenn Gould’s recordings are timeless, in particular his classic 1982 release, “Bach: The Goldberg Variations.”

I am not knowledgeable enough about classical music to be able to comment (on the overall musicality of the Gould catalog) but I agree with you about the ’82 Goldbergs. It’s astonishing to admit that the executive of The Glenn Gould Estate isn’t a huge fan of Bach. My desert island recordings are the Brahms’ recordings. Those are the ones that I love the best.

[In 1981, Gould re-recorded the “Goldberg Variations” digitally and in stereo in the Columbia 30th Street Studio in New York City. He somewhat abandoned the showmanship of his 1955 recording and replaced it with a more introspective interpretation. In 2002, Sony issued a three-CD collection, titled “A State of Wonder: The Complete Goldberg Variations 1955 & 1981.” It includes the 1955 and 1981 Goldberg recordings, and a disc with 1955 studio outtakes as well as a lengthy interview with music critic Tim Page.]

This has certainly been a banner year for Glenn Gould reissues.

Yes it has. I think that Sony has been a good partner in that context. The initiative honestly came from the Estate through Faye Perkins (an advisor to the Estate of Glenn Gould who heads Real World Artist Management). Faye and I talked about it (Gould’s anniversary), and talked about trying to get some activity but Sony was very responsive, and they have done a good job.

Has the Canadian Broadcasting Corporation (Canada's national public radio and television broadcaster) been a good partner as well?

Yes. The same thing. I think that it has taken some initiative from the Estate to nudge them along but, at the end of the day, they have been a very good partner as well. I think that there’s more to be done in terms of some still unreleased material, and some different ways of using existing material. (Utilizing) some different channels of getting the music out to the public. But for the whole, I think that CBC and Sony have done a really good job to date.

Is the unreleased material largely audio or video?


Is there a lot of stuff that wasn’t released by the label?

Not a lot. But there was a wealth of recorded taped music in his (personal tape) collection as a whole.

Good quality?

I can’t say that it’s all good quality, but there’s a lot that is of good quality. Some people have said that he has released what it is that he wanted to release; and released what he felt was appropriate to release. One can argue that what he hadn’t released shouldn’t be released. But I think that it would be depriving the world of the benefit of some of his work. Some will be available in different channels over time.

There’s little Glenn Gould merchandise available. I’d kill for Glenn Gould T-shirt.

That’s a very interesting thing. Our family goes down to Florida over the Christmas holidays each year. I have family that meets there from Chicago, Minneapolis and so on. We always go to the same place. I’m walking the beach this year, and I see a guy wearing a (Johann Sebastian) Bach T-shirt. So I stopped to talk with him. I wheedled the discussion around to Glenn Gould, and ended up telling him that I was his Estate Executor. This guy almost exploded with ecstasy. He couldn’t believe what a fabulous thing that is. So the value of T-shirts does have a lot of appeal to me. From time to time, we have talked about it (merchandising). All I want to say now is, “Stay tuned” because among Faye Perkins, Jodie Ferneyhough of CCS Rights Management, and the Estate we are talking about exactly that. About the question of whether or not if there is any value to the merchandising of Glenn Gould’s name and likeness.

One of the factors that may have led to Glenn’s enduring popularity is that he recognized that recordings would enable him to reach a wider audience. The narrow classical touring route might have restricted the audience for his recordings.

I don’t know the answer to that. I know one thing. He disliked giving live concerts. He didn’t like the sort of competitive nature of people looking for mistakes and that kind of thing.

Performing live also became more difficult for him physically as well.


The end result of his retiring from the stage is he has so many recordings and so many TV shows available in his catalog. More than most classical musicians.

I think that’s right.

[In an era of considerable new advances in audio recording technology, Glenn Gould abandoned live performances for the recording studio where he could control every aspect of his musical performance by the use of repeated takes and splicing in order to assemble the perfect record.]

Glenn brought you into the recording studio at one point because he wanted to know if a non-musician could spot his edits.

He tried (the experiment) with a number of people, female and male, technicians, musicians and lay people, which I was one, to see what the correlation was between the detection of edits, and the actual edits. The only ones that had any correlation he told me afterwards were the technicians. Neither the musicians nor lay people had a meaningful correlation to the actual edits, which I found very interesting.

The Beatles’ first single, "Love Me Do," has entered into the public domain for copyright in Europe due to current copyright law in the European Union. There’s the possibility of some of Glenn’s recordings going into public domain there as well.

Yes there is, but that’s an area that I don’t really want to get into discussing because of the fact that I think that there’s an immorality about the position that it becomes public domain. So the idea from my perspective is to get the law and the morality lined up so that the artist gets the benefit of his work product rather than not.

That is tricky when copyright reversion differs around the world.

It is.

[As the European Union copyright law currently stands, copyright for recorded music is set to expire after 50 years. Since "Love Me Do" released in 1962, protection for the track expired on Dec. 31st, 2012. Although there is a move underway to extend recording copyrights to 70 years there, the revised law won't come into effect this year.]

You were a young lawyer when you became involved with Glenn Gould. Was it Morris Gross, head of your law firm Minden Gross, who brought him to you?

Yes it was. (Glenn’s manager) Walter Homburger and Morris were friends or colleagues going way back. Walter referred Glenn to Morris at some juncture before I joined the firm. That’s the origination of his association with our firm.

What did your early work for Glenn consist of?

There were contracts for various items. For example, there was the contract for the making of the (1976) “Cities” series for the movie “Toronto” with John McGreevy. Then there were contracts with a couple of Bruno Monsaingeon’s (television) series. There was a contract once for that acquisition of some audio equipment. That was a rather distasteful moment because we were talking about how the financing and the securing of that acquisition was going to go. The audio company supplying the equipment to him was from Hamilton (Ontario). It was then common folk lore that organized crime had some foothold in that activity. Glenn asked, “How are they going to enforce that (the terms)?” I said, “Glenn, the people from Hamilton have a way of enforcing things.” He clearly did not understand me, and he asked me to explain. When I explained it, he was very irritated with me because it was (about something) violent.

[“Cities” was a 13-part series by John McGreevy Productions featuring Peter Ustinov in Leningrad, Elie Wiesel in Jerusalem, George Plimpton in New York, R.D. Laing in Glasgow, Glenn Gould in Toronto, Jonathan Miller in London, Hildegard Knef in Berlin, Germaine Greer in Sydney, Studs Terkel in Chicago, Mai Zetterling in Stockholm, John Huston in Dublin, Anthony Burgess in Rome, and Melina Mercouri in Athens.]

His perfectionism with his music is well documented. Was he a good legal client?

From a commercial perspective, he was a small client. Was he a good client? Well….

After all, this was someone not used to listening to other people.

No. And he didn’t listen to his lawyer that much. He did all of his own commercial deal-making himself. When I said to him that I thought that certain things should be done, he listened. He was attentive. He wasn’t disrespectful. But he’d just say, “I think we will do it the way that I had said” or something along those lines. Even when it came to the writing of contracts, he didn’t like the rhythm of what I was suggesting….literally.

What was his objection?

He didn’t like the cadence of the way that I had expressed it (the writing). He wanted it expressed a different way. He was, as you already know, a complete perfectionist. He just wanted it the way that he wanted it. And he would work it (a contract) over and over to get it the way that he wanted it.

You once had to get his piano back from….

The States. It wasn’t that it was hard. It was just that they (Canada Customs) wanted to charge him duty on his own piano, which I thought was absolutely crazy. I had forgotten about that. I remember having discussions with the tax or foreign affairs people or whoever it was. “You guys are out of your minds. You have a Canadian treasure here, and you are trying to penalize him for sending his piano to the States to get fixed, and then bringing it back. Are you crazy?” Anyway, according to them, they had to pass a special Order in Council to exempt Glenn Gould’s piano from the effect of the customs’ legislation.

I read that Montreal virtuoso pianist Marika Bournaki was recently given a chance to perform on one of Glenn Gould’s prized Steinway pianos. Did Glenn have a number of pianos scattered around?

He did. There were none in New York that I was aware of. There were five that I was aware of I think. The old childhood Chickering (Chickering & Sons piano) that he had and a practice Steinway (a CD 318 model) were both in his apartment. He had the Steinway that he made many of his recordings, a CD 352 I think, and then he had two Yamaha pianos. One he owned that, according to Ray Roberts, who worked directly with Glenn as his assistant, was the piano that Glenn wanted to make his piano going through to the future. He owned it, but never recorded with it.

Where are the pianos today?

The childhood Chickering piano is at the CBC Broadcast Centre (in Toronto) as an artifact in the lobby of the Glenn Gould Studio. The practice Steinway was sold to the (Canadian) government, and it’s in the Governor-General’s residence right now. The Yamaha that he made his last few recordings on is owned by Roy Thompson Hall (in Toronto), and it is usually on display in the lobby. The other Yamaha was sold to a church out west, and it has been sold again. I forget where that is. The Steinway that he made most of his recordings on was with the National Library and Archives Canada, and was transferred (in 2011) to the National Arts Centre in Ottawa. It is apparently in use there now. So those are the five.

Was his use of the Yamaha pianos a result of his stormy association with Steinway & Sons?

He had an intriguing relationship from what I can gather.

Well, how do you build a piano to perfection and keep it that way for someone like Glenn Gould?

For sure.

How about the famed customized chair?

The chair is in Ottawa (at the National Arts Centre).

[In 1953, Gould's father customized a lightweight wooden folding chair for him to use at the piano. He took the adapted seat with him as he traveled the world to perform, and also used it during recording sessions.]

Glenn played the stock market quite heavily.

He sure did.

And he bought considerable property. Did you handle those transactions?


His death came only 9 days following his 50th birthday. It’s remarkable that he was so young when he passed away.

I agree.

You pushed him to do a will in 1979, and then he died three years afterwards

I went to visit him in the hospital after he suffered the stroke, and I thought to myself, “Glenn, I hope that’s it’s not my fault. I hope that it wasn’t true. That it wasn’t bad karma. I hope it wasn’t. But, anyway, it was what it was.

You drew the will up with the Toronto Humane Society and the Salvation Army as beneficiaries. Was this to be his final will?

What he said was that he didn’t want to make a will because it was bad karma or bad luck. When I suggested certain things to him by response to the instructions that he was giving, he said, “Sir, we will make a perfect will when we are in our 80s. Right now, these are your instructions.”

[The issue of drawing up a will was something that Stephen Posen proposed to Gould on numerous occasions. it wasn’t until 1979, just three years before his premature death that Gould agreed to make a will. The idea of having Salvation Army and the Toronto Humane Society as the two main beneficiaries of his Estate apparently was a spur-of-the-moment decision. Gould thought his will would be revised at a later date. In addition to the two beneficiaries, Gould left a trust fund for his father in the amount of $50,000.]

After his death, did anyone else come forth to contest the will? His father?

His father got a life interest in a trust fund of $50,000. If it was invested, he’d receive the income.

Glenn broke off contact with his father when he remarried 5 years after his mother Florence died in 1975.

Something had happened which I don’t want to discuss. The comment that Burt Gould, Glenn’s father, made was that if he was younger he would have taken a shot at overturning the will.

Did Cornelia Foss contest the will?


Did you know about her?

Interestingly, I didn’t. I knew that there was a “her” but I didn’t know who the “her” was until later.

[Glenn Gould carried on an affair with married painter Cornelia Foss for five years, beginning in 1967. She left her husband Lukas, himself a prominent pianist and conductor, and moved her two children to Toronto at the height of the affair. ]

You didn’t have a background in entertainment law before become sole executor of the Estate of Glenn Gould.

Part of what I was concerned about was that I would have to operate in areas that I wasn’t familiar with representing the Gould Estate’s interests. He derided that saying “Even you sir can buy a Guaranteed Investment Certificate (GIC).” Well what happened, and this is a characteristic of mine, I really like a variety of different kinds of legal work. But I approach (contracts and negotiations) from basic principles in that I don’t know background in certain areas. I once did a mortgage transaction—one of the first mortgage transactions that I ever did—and the lawyer on the other side was a very senior lawyer from another law firm that I had been a junior at. I actually read the mortgage. We’re sitting there talking about negotiating the mortgage, and he said, “Steve, people don’t read this stuff.” Anyway we revised it. He was very courteous. It was amusing to him. “He said, “You’re right (about the revisions) but this is the way it goes.”

All boilerplate stuff.

Right, exactly. We made a lot of changes. And the few times we did mortgages after that, he pulled out the same mortgage form. Why that is relevant is because several years ago I was doing an agreement for Glenn for the licensing of video materials for re-editing, repackaging and remastering. I was dealing with an entertainment lawyer on the other side. I was told by people in the entertainment industry that the proper royalty rate for the artist for this is always 15%. We ended up doing a royalty rate that was around 37.5% by reworking of the whole contract. I didn’t know anything. I just did (the revisions) with what I felt was the right resolution of the business and the legal points. That is a little bit about the way that I like to practice law.

The subject of over 50 books, there’s practically a small media industry around Glenn Gould trying to explain his mystique. Meanwhile, so many myths about him have developed over the years.

I can’t comment on where these myths have come from, Larry. You are the expert on social media. I don’t know where they have come from.

What’s the most outrageous story you have heard about Glenn Gould that isn’t true?

That he was gay. That’s the most outrageous thing I’ve heard. Apparently, not to my observation personally, but many, many women have said how good looking and sexy he was.

The enduring myth that Glenn Gould was a recluse also isn’t true. I worked in the studio next to him at the old CBC-Radio building in Toronto and found him very sociable.

Within a week or 10 days after he passed away, I was out with an aunt for dinner in a restaurant where the tables were jammed in too close together. There was a fellow with his mother at the next table, and he was telling her about this pianist—he didn’t remember his name—who had died. He said that they (the media) had talked about the pianist as being a recluse or a hermit. He said, “He was the most gregarious guy I had ever known. I used to see him in the park all of the time, and he was very talkative and very chatty.”

Like you said, he was very sociable. It was sort of his individual way of socializing that he wouldn’t do with people who idolized him. He would shun that. If it was just with people (on a one on one basis) then, it seems that he was very gregarious. He was not social in a group of people as one would imagine a gregarious person. But that’s the way he was.

Over the years, Glenn has been likened to both James Dean and Marlon Brando. I briefly worked for Leonard Cohen, and I see comparisons in their personalities.

I think that’s right. I met Leonard Cohen when he won the Glenn Gould Prize last spring. He showed up which Glenn probably would not have done, but he was withholding even in the group of people he was with. He was very patient with people with people who wanted to rub shoulders with him. But you could see that he was kind of looking inward. I would imagine that Glenn would have been like that too, if he would have exposed himself to the public which he very rarely did.

The usual take on Glenn is that he was as hypochondriac. True?

Self-interested in his own well-being; I don’t think hypochondriac. He’d call and say, “How are you?” I’d say, “How are you Glenn?” It wasn’t a social, “How are you?” It actually led to an answer. I don’ think he was a hypochondriac at all. I think that he had real (illness) things wrong.

Glenn certainly had mental and emotional difficulties, but you have also said he might have had Asperger’s syndrome as well as focal dystonia, which is a repetitive motion injury.

I think that it’s almost a certainty. There’s a doctor (neurologist) from California Frank Wilson who has written about focal dystonia who I met. He told me the story of how one night that he was watching Glenn Gould on television and he quickly called a friend Peter Ostwald, who was a psychiatrist that had met Glenn in the ‘50s (and author of the 199 book, “Glenn Gould: The Ecstasy and Tragedy of Genius.”] He said, “Turn on the television quick. What do you see?” They both diagnosed him watching his hand as having focal dystonia.

Focal dystonia can be devastating to a musician.

I think that one of the great stories about Glenn is his overall heroism of overcoming a number of physical and probably emotional and mental obstacles to achieve the success that he did. One was that. Frank Wilson wrote about Glenn Gould’s hand, having researched it. He said that he’s the only musician to ever overcome it (focal dystonia) to some degree. And he also said that he thinks it dictated part of his repertoire.

The Glenn Gould Prize is 10 years old?

No. Maybe 10 cycles old. The cycles were three years. Now they are two years. I think the first one was awarded sometime in the mid or late ‘80s.

The Glenn Gould Prize was launched with the birth of the Glenn Gould Foundation?

Correct. A number of people came, and said “You have to start a foundation” which I didn’t want to do. Not that I felt it shouldn’t be done but that it wasn’t my milieu to do it.

And it was only within a year of Glenn’s death.

It was very early on. But I turned to John Roberts (Gould’s friend who had served as the head of radio music at CBC) and I said, “John, there are people looking to have a foundation. What do you think we need to start it? He is the one who put me and (Canadian philanthropist and supporter of the arts) Joan Chalmers together. Joan liked John’s idea which was the Glenn Gould Prize to start the foundations, and she took us off to see her father Floyd (the Canadian editor, publisher and philanthropist) who was then living in the Manulife Center (in downtown Toronto). I was astonished of how quickly he was prepared to support this initiative.

Floyd Chalmers committed $150,000 just like that.

Yes. Just like that. To me today, it’s a lot of money. In those days, it was a whole lot of money. It was a world that I wasn’t used to. I thought that was just great. I’m on the board of the foundation in my capacity of representing the Gould Estate. But even the board doesn’t influence the selection, the nominating process or the selection process.

[In 1983, The Glenn Gould Foundation was established to honor Gould and preserve his memory. Among its activities, the foundation awards The Glenn Gould Prize every three years. The prize consists of $50,000 to a living individual for a lifetime contribution to the arts. Past laureates include Leonard Cohen, Yo-Yo Ma, and Oscar Peterson.

This year’s winner will be announced at a news conference on Feb. 21, 2013 at Toronto’s Sony Centre for the Performing Arts.]

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.”

The recipient of the 2013 Walt Grealis Special Achievement Award, recognizing individuals who have made an impact on the Canadian music industry, Larry will be honored at the 2013 Juno Gala Dinner & Awards on April 20th in Regina, Saskatchewan.