ole, one of the world's largest independent music publishers, has a new "entourage' - its gang of four - who they believe will take the company to a new level in the Los Angeles market.

Call it ole L.A. 2.0 and say hello to the team of John Anderson, (Senior Director, Film, Television & Media); David Weitzman, (Director of Business Development); Julie "Mo Money" Moe, (Creative Manager) and Allie Burbacher, (Creative Assistant/Office Coordinator).

The six year old company first set up shop in Los Angeles about a year after its initial start up in the fall of 2004. Initially conceived primarily as a "sales" office to promote the ole brand and catalog in the pop and urban markets, the L.A. operation created a series of successful marketing events such as the ole Pop + Urban Song Camp, and the Hotel Cafe showcases for Music Supervisors.

In the last couple of years, ole has concentrated on building upon the Nashville platform in part created by the acquisition of the Jody Williams catalog, which yielded the Liz Rose/Taylor Swift copyrights. At the same time, ole solidified its place as one of the world's largest publishers of TV music. Today, the company is poised to take its growth act to the U.S. pop and urban markets.  

"For the first nine months of the year, we worked very hard to take our Nashville operation to the next level as we became a real player on the Row," says ole President Michael McCarty. "We think the addition of several A list writers and Creative staff has put us well on the road to accomplishing this goal. Now, we're ready for the same move in L.A. We've kicked off the process by bringing in what we think is an 'A' team of people that has a great mix of experience and skill, and, like all great teams, real organic  chemistry."

And like an episode of a vaguely familiar TV series, that team has come together in true Hollywood fashion, complete with larger than life characters and, hopefully, a happy ending. There's John Anderson, the skilled veteran - the widely known film and television placement expert and one of the best known publishers in music supervisor circles - who's still on top of his game; David Weitzman, the go-get-'em pit bull business development specialist; Julie "Mo Money" Moe, the highly touted "first round draft" rookie; and Allie Burbacher, the mid west college grad, newly arrived in town and eager for a toe-hold in her dream job.

In truth, the team almost brought itself together as one connection led to another, almost organically, during the process of ole's execs looking for the right people to reboot the company's operation in L.A.

 David Weitzman, the lone ole L.A. veteran, has been with ole on the west coast since the summer of 2009. While interviewing him for the position of Creative Director, ole Chairman and CEO Robert Ott, suddenly realized he had a person in front of him far more suited for a bigger role with the company. He had been impressed with Weitzman's salesmanship, his can-do, gung-ho attitude and knowledge of the business and subsequently created the Director of Business Development position for him. As part of this new role, Weitzman now sells ole's world class admin and co-pub service to TV and Film production companies. It has been a perfect fit given his more than 15 years in the music business, and, in particular, his time in music supervision for a wide variety of projects including Jackass: The Movie for Paramount Pictures and High School Reunion for WB Burbank, which has brought him tremendous contacts in the film and TV business.

When McCarty and Chief Creative Officer Gilles Godard described to Weitzman their ideal Film & TV synch person - someone prominent, effective and well-respected - Weitzman's suggestion was simple: "I've got four or five names," he said. "The first three of them are 'John Anderson.'"

Anderson's stellar reputation has been earned, in part, through his 20 years at Windswept Publishing contributing to the sync and licensing careers of talents like Pete Townshend, John Mellencamp, The Allman Brothers and Willie Nelson. He was responsible for such key placements as Eric Clapton's "Before You Accuse Me"; Vanessa Williams' "Save the Best for Last," and he played a key role in the licensing of the songs by The Who in the entire CSI franchise. More recently, Anderson was also the co-founder of Hunnypot Unlimited, a multifaceted Music Publishing, Artist Representation, Marketing and Film & Television Placement organization famous for their ability to connect artists with the Film and TV music supervisor community.

At ole, Anderson oversees the company's sync business across film, TV, advertising, videogame and other media markets. He also advises ole's Creative team on the sync potential of proposed acquisitions, recommends new signings and catalog acquisition opportunities.

Julie Moe had already started to make her mark in the Los Angeles music business following her move to the city from her hometown of San Diego. It was perfect serendipity that ultimately brought her to ole. Michael McCarty was staying at the Sunset Marquis Hotel in West Hollywood, working on the reboot of the office and wondering where he was going to find the right people to staff it. Robert Ott suggested that he should check out the Nightbird Recording Studio that's under the hotel and reputed to be one of the finest in L.A.  Moe was the studio manager at the time and try as he might, McCarty could not coordinate a time to take the studio tour because it was fully (over) booked. As Moe's story began to reveal itself, McCarty began making a mental checklist: she's a really persuasive salesperson; she runs a studio, which is so booked I can't get in to see it; she's an audio engineer; she once had a job where she had to cold-call every studio chief in Hollywood and, on top of that, because of the high profile clients using the studio, she knows half the people on the Billboard Hot 100. He added her to the interview list and, after the formal interview, CCO Gilles Godard turned to McCarty and declared: "This is our new Creative Manager; I think she represents a new wave in publishing Creative!" Moe is responsible for managing an impressive roster of ole writers, as well as overseeing the securing of cuts, covers, media placements and collaborations for ole songs and songwriters. She also works closely with the ole Creative and Business Development teams to effectively deliver brand-building events, as well as identify profitable new writer and catalog acquisitions.

It was John Anderson who brought Allie Burbacher to ole. Hailing from Toledo, Ohio and having set a life goal of working in music publishing, Burbacher prepped herself for success by obtaining degrees in both Communications and Recording Engineering. Through sheer determination and skilled long-distance networking, she landed a coveted internship with John Anderson's contacts - two of the biggest music supervisors in the world. They were raving about her but were disappointed they had to lose her because she was an intern and they didn't have room for her any longer. Anderson immediately scooped her up for ole.

The ole office is in the "9000 Building" on Sunset Boulevard in West Hollywood, one of the most prestigious addresses in L.A. and the past and present business quarters of some of the iconic names in music: Sammy Cahn, and other august songwriting veterans of the Tin Pan Alley age, rock era songwriters Leiber & Stoller and '60s groups like The Doors and The Byrds. The office interior has floor-to-ceiling windows with a million dollar vista of the Hollywood Hills. For Julie Moe, that marvellous view has been somewhat of an inspiration, as perhaps it has for the others.

"I would like the L.A. office to be a force to be reckoned with; the people that everyone calls when they are looking for new songs and songwriters. That's my plan; that's my overall goal, connecting great songs to great opportunities."

A highly-motivated, West Hollywood-based, talented team of characters that feels like a family - Ari Gold would be proud.