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Speaker 1: Welcome, Welcome, Welcome back to Bob Leftstuffs podcast. My guest

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Speaker 1: today is Jed Weitzman, who's head of music at Logitics. Jed,

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Speaker 1: what is Logitics?

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Speaker 2: So, Logitics is a company that really optimizes ticket sales

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Speaker 2: for rights holders, you know, by offering a comprehensive set

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Speaker 2: of solutions and products to teams, musicians, artists, you know,

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Speaker 2: all different kinds of rights holders through dynamic pricing, distribution

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Speaker 2: and data. You know. It's it's really about maximizing ticket sales,

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Speaker 2: you know, putting money in the pockets of artists or

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Speaker 2: teams and tickets in the hands of fans.

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Speaker 1: Okay, very simply does Logitiics sell tickets?

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Speaker 2: Well, it depends on we are. We're the software that

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Speaker 2: distributes tickets, Bob. So we work with teams, we work

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Speaker 2: with artists primarily to try to figure out how to

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Speaker 2: price that inventory, and then we do distribute. We do

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Speaker 2: distribute tickets absolutely.

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Speaker 1: Okay, let's let's drill down. Let's say I'm gonna act,

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Speaker 1: I'm an arena tour, I have an overall deal with

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Speaker 1: ticket Master. Ticket Master is selling the tickets for my tour.

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Speaker 1: Does Logitics intersect with that?

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Speaker 2: No, not necessarily. Where we would come in with a

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Speaker 2: Ticketmaster act for example. Is the way it works for

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Speaker 2: me is I'll get a call from a promoter. We're

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Speaker 2: all get a call from an agent. We're a manager.

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Speaker 2: Here's what we're doing. We're going on the road. This

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Speaker 2: is what we're thinking of putting together. This is the package,

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Speaker 2: here's the routing. What do you guys think we can

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Speaker 2: you know, what do you guys think we can do?

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Speaker 2: What do you think we can charge? And really, Bob,

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Speaker 2: what I do is what we do is analyze the

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Speaker 2: secondary markets in order to help artists on the primary.

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Speaker 2: So look, I said secondary market. I know a lot

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Speaker 2: of people. Everybody don't turn off right yet. Okay, So

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Speaker 2: the idea is is that you're able to actually see

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Speaker 2: what's happening with inventory, what people are willing to pay,

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Speaker 2: what people are not willing to pay. It's you know,

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Speaker 2: how do I put this? At the end of the day,

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Speaker 2: we're really a company that you know on the music side,

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Speaker 2: I deal with data all the time, right, So it's

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Speaker 2: about me looking at the opportunity, talking with the agents,

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Speaker 2: looking at the routing, and figuring out the best way

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Speaker 2: to price that tour. So that fans get the tickets

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Speaker 2: and artists make that money. I mean, that's that's the

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Speaker 2: thing we're seeing it. That's the most difficult, Bob, is

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Speaker 2: pricing correctly.

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Speaker 1: Okay, just trying to get the system down. Let's say

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Speaker 1: I'm a manager or an agent and I call you

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Speaker 1: about pricing before the tickets go into the public market.

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Speaker 1: How do you charge me?

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Speaker 2: That's so funny. You know, that's an interesting situation.

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Speaker 1: Uh.

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Speaker 2: You know, usually what we're doing is we're working you know,

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Speaker 2: the people we're working with, we're working by selling our

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Speaker 2: data or we're licensing our data to help people.

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Speaker 1: But it just.

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Speaker 2: Depends, you know, it can be you know, if if

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Speaker 2: if the artist wants to openly distribute that those tickets,

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Speaker 2: if the if the if the team is trying to

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Speaker 2: openly distribute those tickets, you know, we're we're distributing them

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Speaker 2: and taking a fee that way. But it's very different.

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Speaker 2: The music side is very different than the sports size, Bob.

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Speaker 2: I mean, it's uh, you know, it's a very it's

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Speaker 2: a it's a it's a unique set of challenges. To

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Speaker 2: put it mildly and quite frankly, Uh, you know, the

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Speaker 2: music side where I where I exist is like kind

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Speaker 2: of pushing a rock up a hills sometimes. I mean,

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Speaker 2: it just depends. We charge many different ways, okay, but

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Speaker 2: we got to.

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Speaker 1: Get some specific so people can understand what you're doing.

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Speaker 1: Let's talk about people who call you for price before

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Speaker 1: the tickets are actually priced by the ticket distributor and

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Speaker 1: sold to the public. How often does someone call you

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Speaker 1: for that?

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Speaker 2: Every day, Bob, literally every day?

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Speaker 1: And what kind of people call you.

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Speaker 2: Well, it depends. Usually it's the agent, could be the manager,

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Speaker 2: could be the promoter. And what we try to do

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Speaker 2: is get ahead of it. I mean I got calls

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Speaker 2: this week from a promoter saying, Hey, my artist just

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Speaker 2: played a show in Florida. We had a fifty five

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Speaker 2: percent drop count on the show. I don't know where

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Speaker 2: my fans are. What are you guys seeing on secondary right,

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Speaker 2: So that's already too late. What we want to do

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Speaker 2: is be there before the tour goes up, while the

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Speaker 2: tour is in its planning stages, so that we're looking

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Speaker 2: at comparable artist in the marketplace, that we're looking at

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Speaker 2: the reality of what's really happening in the marketplace. I mean,

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Speaker 2: I don't know if you know how you know tours

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Speaker 2: are usually priced, but a lot of times people are

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Speaker 2: looking at historicals on the primary side or looking at

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Speaker 2: comp walls in the primary marketplace, which by the way,

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Speaker 2: is a great place to look. But we feel that

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Speaker 2: the secondary data is a really important data set in

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Speaker 2: order to complete the full picture.

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Speaker 1: Okay, As I said, I want to be specific so

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Speaker 1: people will know what you're doing and whether they are

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Speaker 1: positive or negative, or whether they want to hire you.

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Speaker 1: Would it be fair to say what you're selling is

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Speaker 1: an analysis of the secondary market what tickets are worth

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Speaker 1: in that arena. Absolutely, that'll be a fair assessment to say.

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Speaker 1: I mean the idea is, you.

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Speaker 2: Know that look, at the end of the day, a

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Speaker 2: fan doesn't necessarily understand sometimes if you primary and secondary,

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Speaker 2: they shop where they like to shop. We like to figure,

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Speaker 2: you know, we believe that the data we're looking at

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Speaker 2: is you know, it's just that it's the real you know,

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Speaker 2: it's the it's the real representation of what a fan

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Speaker 2: is willing to pay for the ticket. And you know,

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Speaker 2: quite honestly, every day I'm getting calls with people saying

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Speaker 2: I don't understand why are my tickets high, why are

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Speaker 2: my tickets low? And what we try to do is

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Speaker 2: when we work with our clients, which are agencies, you know,

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Speaker 2: management companies, promoters, what we do is try to help

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Speaker 2: them see the complete picture as they're starting the process

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Speaker 2: of trying to price those tours. You know. So that's

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Speaker 2: the example, I mean, that's the idea.

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Speaker 1: Okay, So let's say I've called you, we have a relationship,

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Speaker 1: but I am anxious about charging a certain price. Will

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Speaker 1: you then say, oh, okay, I'll take five percent of

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Speaker 1: your inventory or some percentage in sell on the secondary market.

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Speaker 2: Listen, It's not that simple, quite frankly, because first of all,

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Speaker 2: most of the ticketing platforms, some of the biggest in

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Speaker 2: the business, don't necessarily allow Because now we're starting to

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Speaker 2: talk about the idea of open distribution, right, so, you know,

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Speaker 2: what we talk about is that in what we believe,

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Speaker 2: even in the free market, you know, ticket business, is

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Speaker 2: that primary and secondary are going to eventually combine into

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Speaker 2: one marketplace. And you know, for the for the sake

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Speaker 2: of this discussion, we can use the term secondary. But

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Speaker 2: the way I'm looking at it is that is that

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Speaker 2: we believe that the open distribution of tickets and transparency

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Speaker 2: across those things is the way, you know, to solve

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Speaker 2: a lot of the secondary issues that people are having.

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Speaker 2: And so it doesn't really work like that because you know,

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Speaker 2: it's not about you know, yes, if we're if we're

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Speaker 2: given the opportunity to take the inventory. But the thing

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Speaker 2: is is that everybody gets paid. So that's that's where

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Speaker 2: this differs from any other type.

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Speaker 1: Okay, I'm not I'm not expressing a judgment here. I

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Speaker 1: understand interest, but there's so much stuff. Do you as

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Speaker 1: logitics and let's just keep it in music because that's

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Speaker 1: your focus. Do you ever sell tickets for talent.

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Speaker 2: If the talent wants us to do that? Absolutely? Openly correct,

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Speaker 2: so that the ticket is listed on primary and all

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Speaker 2: the different marketplaces at this way. Whoa, whoa, whoa.

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Speaker 1: Do you ever sell tickets for an entity when you

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Speaker 1: are not the primary ticket company? No?

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Speaker 2: Absolutely not, not on the music side. No, that's not

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Speaker 2: that's not what we do.

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Speaker 1: Okay, So let's go back to your original example. You

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Speaker 1: have an agent who calls you needs help. The people

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Speaker 1: who call you do they tend to have an ongoing

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Speaker 1: relationship with you where they call you said, I got

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Speaker 1: a big tour for stadium act. Thanks for this I'll

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Speaker 1: pay you, and I'm done well.

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Speaker 2: To be honest, I've been doing this for a long

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Speaker 2: time and I've been in the business almost thirty years.

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Speaker 2: Hopefully after this podcast, I'll be able to be in

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Speaker 2: another thirty years, so you know, So yeah, Bob, I mean,

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Speaker 2: most of it is my relationships with people over the years,

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Speaker 2: and they know what I do, and uh, you know,

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Speaker 2: I consistently go into meetings with agents, with artists, with

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Speaker 2: promoters and show them the reality of you know, of

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Speaker 2: what's happening in the marketplaces and they go, oh my god.

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Speaker 2: They their minds are blown. And I you know, we've

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Speaker 2: been doing this so long and giving examples of what

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Speaker 2: is really happening in the marketplaces out there. You know,

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Speaker 2: if we can just take a step back for a second.

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Speaker 2: You know, eight years ago when I started to understand

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Speaker 2: what the secondary market was right in terms of how

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Speaker 2: it could be utilized, to understand the primary and find

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Speaker 2: ways to to to to to to show artists sort

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Speaker 2: of in certain instances what they missed in certain cases, right,

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Speaker 2: what what resellers had gone out and done, but but

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Speaker 2: more importantly, how they can best figure out how to

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Speaker 2: understand that data in order to place it in order

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Speaker 2: to make better decisions on the primary So it just

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Speaker 2: depends Bob.

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Speaker 1: Oh, okay, we'll dig deeper into how you actually do it.

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Speaker 2: God, I thought you were gonna ask me what my

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Speaker 2: favorite led Zeppelin record is.

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Speaker 1: Bob.

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Speaker 2: We're just diving right in, aren't. Well.

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Speaker 1: Well, I think people, I want to get to your uh,

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Speaker 1: your business. We'll get to your life in a while.

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Speaker 1: You expressed in a previous conversation that ticket Master may

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Speaker 1: not think positively about logitics. Why would they not think positively?

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Speaker 2: But I really did I say that? I think? Did

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Speaker 2: I really say that? I don't know.

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Speaker 1: I think.

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Speaker 2: I mean I get along with those guys really well.

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Speaker 2: I mean, I look, I don't. We don't work with

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Speaker 2: them per se. But you know, if I get a

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Speaker 2: call from them asking me about how an on sale

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Speaker 2: did or you know, nothing makes me happier than sending

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Speaker 2: you know, numbers over there to show them that you know,

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Speaker 2: they were able to get tickets in the hands of fans.

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Speaker 2: There's not a ton of inventory on the secondary market

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Speaker 2: that verified can't work or whatever. Nothing makes me happier

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Speaker 2: about that. I mean, I love the ticket Master people.

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Speaker 2: I mean, they're.

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Speaker 1: Always let me. Let me let me phrase the question

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Speaker 1: a little bit differently. In the business, generally speaking, people

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Speaker 1: are negative about the secondary market. Yeah, when you do

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Speaker 1: your job, do people have open arms or are they

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Speaker 1: negative about logitary they're blown away?

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Speaker 2: First of all, let me take a step back or

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Speaker 2: a step forward. Logitics is a company with almost one

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Speaker 2: hundred employees, a little over one hundred employees. We are

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Speaker 2: you know, the sports business was how this business was founded.

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Speaker 2: I don't know if you're familiar with the way that

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Speaker 2: you know. Ticket companies like ours work in the sports

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Speaker 2: business where we work with teams and we help teams

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Speaker 2: distribute that inventory not only in the primary but also

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Speaker 2: on the secondary marketplaces. Right, So, I mean that's that's

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Speaker 2: how this company was founded. The music side of things,

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Speaker 2: I can't lie to you, is tough. It has been tough.

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Speaker 2: But I'm one of the only guys that's out there saying,

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Speaker 2: you know what, this ain't going anywhere. This is the

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Speaker 2: reality of the concert business. The secondary market, if you will,

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Speaker 2: is not going anywhere now, certainly not for the time being.

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Speaker 2: People don't want to hear. People want to keep their

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Speaker 2: heads in the sand. You know, I'm one of the

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Speaker 2: only guys out there, and there is so much information

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Speaker 2: we can glean from consumer behavior, you know, all of

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Speaker 2: that stuff. So I mean that's the reality.

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Speaker 1: Okay, okay, okay, let's go back twenty five years. There

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Speaker 1: was this company, Big Champagne, who had data on what

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Speaker 1: was traded in Napster. That's all they did.

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Speaker 2: Yeah.

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Speaker 1: So when your a particular case, your job with Logitics,

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Speaker 1: are you only selling data.

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Speaker 2: In certain cases?

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Speaker 1: Yeah?

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Speaker 2: Absolutely?

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Speaker 1: No, no, no, no, no no no. Does Logitics ever

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Speaker 1: sell tickets for musical acts?

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Speaker 2: Yes. And the way we do it, Bob is there

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Speaker 2: are a lot of primary ticketing companies that work with

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Speaker 2: artists that allow them to distribute their tickets everywhere, including

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Speaker 2: the primary So there are shows for example. I mean,

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Speaker 2: what's interesting about that, Bob is, for the most part,

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Speaker 2: it's distressed inventory. So we will get a call, for example,

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Speaker 2: when a tour is not doing well, more often when

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Speaker 2: a tour is doing well, so that we're able to

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Speaker 2: identify in the market via the secondary data which we

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Speaker 2: spoke about earlier, and then we will you know, we

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Speaker 2: will never buy, there's no buying of inventory. We always

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Speaker 2: work together with the client to figure out how to

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Speaker 2: distribute that everywhere, right, And so I know that might

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Speaker 2: be strange to some of your audience, but the idea

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Speaker 2: right of selling tickets or shall I say, distributing tickets

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Speaker 2: on the secondary because we're taking a very small piece,

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Speaker 2: we're bringing all that money back into the growth of

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Speaker 2: the tour is always to benefit the artist and you know,

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Speaker 2: the promoter and the ticket So I mean, at the

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Speaker 2: end of the day, that's that's the biggest difference between

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Speaker 2: what I think a lot of your audience think about

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Speaker 2: what we do.

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Speaker 1: Okay, so you don't do that with ticket Master? What

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Speaker 1: companies do you do that with?

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Speaker 2: Uh? You know what, I'm not gonna I'm not gonna say,

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Speaker 2: but there's just this but let's just say, let's just.

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Speaker 1: Use a company that does Okay, it's an exclusive ticket.

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Speaker 2: I can I say one thing, but do you see

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Speaker 2: how that makes it? By the way, I want nothing

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Speaker 2: more than to shout from the rooftops right what we do.

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Speaker 2: And we're still in a place on Friday, marchase twenty

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Speaker 2: twenty four where you know that side of things is

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Speaker 2: not necessarily you know, people don't want to talk about it,

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Speaker 2: and you know I can tell you numbers and we'll

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Speaker 2: get more into it later about you know, the stats

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Speaker 2: we're seeing in terms of when we open distribute something,

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Speaker 2: you know, bringing seventy to seventy five percent new people

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Speaker 2: back to the back to the primary. No, it's not commercial.

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Speaker 2: I'm just telling you no, no, no, no, no no.

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Speaker 1: I want to get to the nuts and bolts and

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Speaker 1: then I want to know how you do it. All right,

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Speaker 1: So okay, let's say you have a ticketing company and

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Speaker 1: are we talking and you say, the act has an

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Speaker 1: allocation most ticketing companies, the act has an allocation to

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Speaker 1: their fan club. Are we talking about those tickets? It

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Speaker 1: depends BOP to be honest. Again, especially when we're dealing

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Speaker 1: with distressed inventory. Do you sometimes help acts with the

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Speaker 1: tickets they get for the fan club?

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Speaker 2: Never? Never, there are no. I mean honestly, I don't

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Speaker 2: even know if the fan club tickets exist.

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Speaker 1: Oh okay, So if the show goes clean, they're not

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Speaker 1: going to call you, right never.

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Speaker 2: No, that's the best case scenario. Absolutely.

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Speaker 1: Okay. So generally speaking, they call you when they can't

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Speaker 1: sell tickets.

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Speaker 2: Yes, in certain cases. Yeah, but by the way.

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Speaker 1: This is after you know, this is after the on sale.

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Speaker 1: We were talking earlier, before exactly exactly.

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Speaker 2: By the way, Bob, where I was coming from before

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Speaker 2: is that I wish they would call me earlier, because

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Speaker 2: you know, then we wouldn't have these problems.

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Speaker 1: I totally understand it. Just trying to get the logistics. No,

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Speaker 1: got so on some level, you're kind of doing what

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Speaker 1: gold Star does. Would that be fair in a way?

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Speaker 2: Yeah, actually that would be fair. And we just brought

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Speaker 2: over a wonderful woman, Wendy Lebau from gold Star, who

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Speaker 2: I think you know, Bob, who's awesome. So she runs

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Speaker 2: open distribution for us, right, So well, I was saying, yeah,

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Speaker 2: I just thought, okay, you know there's some funkiness with

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Speaker 2: gold Star right in the way that people view putting

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Speaker 2: their inventory on gold Star.

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Speaker 1: Absolutely, but let's not make it about gold Star. It's different. Okay. Yeah, Oh,

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Speaker 1: let's assume you have it a ticketing company and an act.

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Speaker 1: Does the ticketing company ever call you without the acts participation?

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Speaker 2: No? Never, It's all about the artist always. And by

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Speaker 2: the way, just so you know, usually the way this

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Speaker 2: works is it's the call is usually from the artist,

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Speaker 2: or the call is from you know, it's usually from

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Speaker 2: the promoter. It just depends. But you know, it's not

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Speaker 2: the ticketing company ever calling The ticketing company, you know,

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Speaker 2: always has to be paid and make their fees, just

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Speaker 2: like you know, the promoter and the artist. Everybody has

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Speaker 2: to you know, make their cut and usually you know.

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Speaker 1: Okay, okay, let's use a hypothetical, you know, yeah, because

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Speaker 1: margins are thin. Let's say it's an arena date and

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Speaker 1: ten percent of the sellout is the promoter profit and

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Speaker 1: only fifty percent of the tickets are sold. Okay, then

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Speaker 1: the promoter in concert with the act. Let's say we'll

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Speaker 1: call you and say, Jed, we have a problem, and

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Speaker 1: you will say, I will.

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Speaker 2: Say, let's look at the market. Wow, you guys are

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Speaker 2: way below face on the market. Are you going to

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Speaker 2: be able to come down on the prime area or

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Speaker 2: are we going to have to figure out a way

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Speaker 2: to try to get people in the building. I mean,

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Speaker 2: every situation is different, Bob, in all honesty, you know,

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Speaker 2: every situation is different. If that's if that situation happens,

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Speaker 2: then yeah, it's about taking inventory, undercutting the markets in

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Speaker 2: order to you know, you know, stoke the market to

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Speaker 2: get fans to buy inventory and buy tickets and then

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Speaker 2: you know, help them, help people get in the buildings.

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Speaker 2: I mean, I cannot tell you how many calls I get.

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Speaker 2: If I see my phone ring at nine point thirty

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Speaker 2: at night, I'm like, okay, this has got to be

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Speaker 2: an agent or it's my daughter from downstairs wanting water. Right,

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Speaker 2: So I cannot tell you how many calls I get

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Speaker 2: from agents saying to me, I'm in the roxy. There's

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Speaker 2: nobody here. We were sold down out. What's happening, right,

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Speaker 2: And so that's an indication for me to then go

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Speaker 2: and check the markets and see what's going on with

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Speaker 2: the tickets.

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Speaker 1: Okay, we're going to get to all that. Oh okay,

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Speaker 1: but let's assume I'm that promoter in the act and

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Speaker 1: I've only sold fifty percent. Then your goal, as logitics jed,

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Speaker 1: would be to sell the other fifty percent at a

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Speaker 1: price that the public will buy.

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Speaker 2: Correct. It's always trying to figure out the markets.

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Speaker 1: Yeah, and that might that might be below how it

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Speaker 1: was scaled on the primary market.

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Speaker 2: Absolutely.

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Speaker 1: So let's just assume the date's going to play soon.

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Speaker 1: You get a call and they say, hey, okay, where

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Speaker 1: do you technically get the tickets from? And then how

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Speaker 1: and where do you put them on sale?

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Speaker 2: So usually you know, it depends on wherever the tickets

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Speaker 2: are coming from. It could come from the primary, especially

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Speaker 2: if there's ton the blue dots. You know, it's always

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Speaker 2: let me put let me put it this way. The

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Speaker 2: days where tickets fall off trucks, you know, and that

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Speaker 2: doesn't exist, not in my world. And we can talk

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Speaker 2: about when I started eight years ago that I made

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Speaker 2: that really clear, right, So you know, they might come

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Speaker 2: off primary. I mean, that's where they're coming from. They're

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Speaker 2: not coming from any side pocket or fan club or

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Speaker 2: stash or anything like that. They're always coming from a

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Speaker 2: legitimate place with full knowledge from the artist, the ticket

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Speaker 2: and the promoter. Okay, So then I've got a team

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Speaker 2: of guys that are going in there monitoring the marketplaces.

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Speaker 2: We're putting it up through our systems, so you know,

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Speaker 2: we're listing it on the primary and then on every

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Speaker 2: secondary site that we're that we're completely interact, you know

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Speaker 2: that we're integrated with the idea of bob is. Most

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Speaker 2: people buy tickets via Google, as you know, so they

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Speaker 2: google the bob lefsets experience five things come up and

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Speaker 2: then it's you know, TM and access and whatever and

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Speaker 2: whatever the primary might be and you know, quite frankly,

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Speaker 2: we want to be where the fans want to buy

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Speaker 2: their tickets, and so that's the idea. The idea is

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Speaker 2: managing the markets for the artists in order to get

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Speaker 2: people in the venue. In certain cases, I.

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Speaker 1: Think you've been very clear, but let's just drill down

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Speaker 1: on this one thing. The secondary market is organized such

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Speaker 1: that the same tickets a pair everywhere online. Are you

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Speaker 1: part of that world to make sure this inventory is

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Speaker 1: available everywhere?

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Speaker 2: Perhaps? Well, that's the you know, that's the idea. The

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Speaker 2: idea is to place the inventory everywhere and manage it individually.

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Speaker 1: Yes, okay, you know the ticket network. Would you be

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Speaker 1: part of that ticket net?

397
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Speaker 2: Now that that's a B to B, that's a broker

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Speaker 2: to broken marketplace?

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Speaker 1: So no, okay, So just because I'm interested, Let's say

400
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Speaker 1: you have ten thousand tickets and you want to make them.

401
00:22:05,280 --> 00:22:07,439
Speaker 1: But let's assume you got them, you talked with the

402
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Speaker 1: primary you got them. How do you make sure they're

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Speaker 1: available everywhere? Technically? How does that happen?

404
00:22:13,080 --> 00:22:15,359
Speaker 2: Well, we have a we have a software, we have

405
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Speaker 2: a system right that where that Jesus Bobby putting me

406
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Speaker 2: on the spot, not the tech guy here. You know,

407
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Speaker 2: we have a wonderful team of people that will you

408
00:22:25,880 --> 00:22:28,520
Speaker 2: upload that inventory, and they're not going to put it

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Speaker 2: all out at once. They're going to figure out a

410
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Speaker 2: strategy to find, you know, which marketplace is listing it

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Speaker 2: for for you know, for for this price or that price,

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Speaker 2: or which you know, the artist or the customer will

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Speaker 2: come to us with what they would like, what are

414
00:22:43,920 --> 00:22:46,439
Speaker 2: their floors, what are their ceilings, what they need to

415
00:22:46,480 --> 00:22:48,280
Speaker 2: make back on you know, all of that stuff, and

416
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Speaker 2: we will adjust accordingly. And then literally it is the

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Speaker 2: tickets going everywhere, and.

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Speaker 1: But that's all via your logitic software.

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Speaker 2: Correct does no?

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Speaker 1: Okay? And let's assume you do that for an act

421
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Speaker 1: and promoter. How does Logitics get paid. It's a percentage.

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00:23:09,200 --> 00:23:11,480
Speaker 1: It could be a you know, a split and split.

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Speaker 2: Yeah, okay.

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Speaker 1: Does anyone ever call you saying the tickets have gone

425
00:23:18,480 --> 00:23:24,240
Speaker 1: on sale, we underpriced them. Help us sell some of

426
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Speaker 1: these tickets at fear market value.

427
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Speaker 2: I haven't had that experience in quite a while, to

428
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Speaker 2: be honest. You know, there's so much inventory out there

429
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Speaker 2: right now that we have, you know, it could happen

430
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Speaker 2: and hasn't happened in quite some time. Okay, So and

431
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Speaker 2: by the way, if I can just step back for

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Speaker 2: a second, Bob, I mean all that stuff right, My business,

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Speaker 2: primarily after COVID became a data business, and I know

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Speaker 2: we've spoken about that, and and so when I'm out

435
00:23:54,720 --> 00:23:56,760
Speaker 2: there talking and when we saw each other in Aspen

436
00:23:56,840 --> 00:23:59,480
Speaker 2: and I spoke about you know, open distribution and the

437
00:23:59,520 --> 00:24:03,480
Speaker 2: second primary coming together, et cetera, ceter like. That's where

438
00:24:03,520 --> 00:24:06,919
Speaker 2: I hope this is going right. And I mean, I

439
00:24:07,000 --> 00:24:10,440
Speaker 2: know that's where this is going because I see it.

440
00:24:10,440 --> 00:24:12,600
Speaker 2: It's just, you know, a lot of the stuff we're

441
00:24:12,640 --> 00:24:16,320
Speaker 2: seeing on the music side is more difficult to Uh.

442
00:24:16,800 --> 00:24:18,320
Speaker 1: I want to get, I want to get, I want

443
00:24:18,320 --> 00:24:20,080
Speaker 1: to get all that, but I want to build from

444
00:24:20,119 --> 00:24:25,840
Speaker 1: the base. So you are saying jet and logitics today,

445
00:24:26,440 --> 00:24:30,560
Speaker 1: if we go to an annual basis, most of the

446
00:24:30,800 --> 00:24:34,520
Speaker 1: income is selling your expertise data advice.

447
00:24:35,880 --> 00:24:36,880
Speaker 2: On the music side.

448
00:24:36,920 --> 00:24:39,920
Speaker 1: Yes, yes, this is your expertise. And as you said,

449
00:24:39,960 --> 00:24:42,479
Speaker 1: you're not the expert on sports. Let's just leave that aside.

450
00:24:42,560 --> 00:24:43,879
Speaker 2: Yeah, yeah, that's correct.

451
00:24:44,280 --> 00:24:49,680
Speaker 1: Okay, So there are good shows, Jesus, Bob, but they're

452
00:24:49,760 --> 00:24:52,640
Speaker 1: like God, there are good shows and bad shows.

453
00:24:52,920 --> 00:24:54,960
Speaker 2: I'm the worst guest. You might have ever had, Bob.

454
00:24:55,000 --> 00:24:56,560
Speaker 1: I just want to say no, no, no, no, no, no,

455
00:24:56,640 --> 00:24:58,880
Speaker 1: You're good. It's just trying. Listen. I don't know what

456
00:24:59,240 --> 00:25:04,200
Speaker 1: was making you anxious, because the reality is everyone needs

457
00:25:04,240 --> 00:25:06,840
Speaker 1: help selling tickets they can't sell.

458
00:25:07,240 --> 00:25:09,680
Speaker 2: Well, that's what that's what I find, you know. I mean,

459
00:25:09,720 --> 00:25:14,000
Speaker 2: look and again, you know, I guess where I come from.

460
00:25:14,119 --> 00:25:15,960
Speaker 2: You know is that you know, we as a company

461
00:25:16,359 --> 00:25:19,840
Speaker 2: believe you know, in the open distribution of tickets, right

462
00:25:19,920 --> 00:25:21,840
Speaker 2: and transparency across all that stuff.

463
00:25:21,880 --> 00:25:24,320
Speaker 1: Oh okay, you know, I just most this is not

464
00:25:24,400 --> 00:25:29,560
Speaker 1: a sophisticated business. It's sophisticated. But we're talking a lot

465
00:25:29,560 --> 00:25:31,640
Speaker 1: of people are saying I go on tour, I sell

466
00:25:31,720 --> 00:25:35,480
Speaker 1: tickets whatever. Let's not We'll drill down to philosophy after

467
00:25:36,040 --> 00:25:42,199
Speaker 1: you are saying post COVID you're mostly selling JED interfacing

468
00:25:42,280 --> 00:25:45,359
Speaker 1: with people. This is data, This is information.

469
00:25:45,800 --> 00:25:47,919
Speaker 2: Let me help you out, Let me show you how

470
00:25:47,960 --> 00:25:50,760
Speaker 2: to read it, let me help you out. Okay, okay,

471
00:25:50,880 --> 00:25:53,880
Speaker 2: kind of stuff. Well, let's just go back to the landscape.

472
00:25:54,600 --> 00:25:59,680
Speaker 2: When someone uses you, whether it be an actor, promoter,

473
00:26:00,359 --> 00:26:04,840
Speaker 2: does it tend to be a one time event or

474
00:26:05,520 --> 00:26:09,679
Speaker 2: once they use you, they're always using you. It's it's

475
00:26:09,720 --> 00:26:13,040
Speaker 2: it's a consistent situation. It's usually it's usually a good

476
00:26:13,040 --> 00:26:14,320
Speaker 2: EXPERI I mean, come on, Bob, rightt you having a

477
00:26:14,320 --> 00:26:15,919
Speaker 2: good time with me? I mean, it's usually an amazing

478
00:26:16,720 --> 00:26:17,440
Speaker 2: a business.

479
00:26:17,800 --> 00:26:19,200
Speaker 1: You know, it's not so I.

480
00:26:19,200 --> 00:26:20,879
Speaker 2: Know, I know, okay.

481
00:26:21,040 --> 00:26:25,440
Speaker 1: So, so, how often in a month do you get

482
00:26:25,480 --> 00:26:29,440
Speaker 1: a call to potentially do business with someone you haven't

483
00:26:29,440 --> 00:26:30,560
Speaker 1: done business before.

484
00:26:30,960 --> 00:26:34,560
Speaker 2: Well, it's actually pretty interesting. It happens quite often, at

485
00:26:34,640 --> 00:26:38,119
Speaker 2: least once twice a week. It just depends. But you know, also,

486
00:26:38,600 --> 00:26:40,680
Speaker 2: you know, I'm a music iy like you, so I'm

487
00:26:40,680 --> 00:26:43,040
Speaker 2: not a you know, I try to be aggressive, but

488
00:26:43,440 --> 00:26:46,560
Speaker 2: I try to kind of sit back and observe the

489
00:26:46,600 --> 00:26:49,399
Speaker 2: markets and so to speak. And so yeah, there are

490
00:26:49,480 --> 00:26:52,600
Speaker 2: certain agencies that I speak to more than others. There

491
00:26:52,640 --> 00:26:55,840
Speaker 2: are certain promoters I speak to more than others. It

492
00:26:56,000 --> 00:26:59,439
Speaker 2: just depends. There are certain folks in our business that

493
00:26:59,600 --> 00:27:04,639
Speaker 2: get it more than others and understand the reality of

494
00:27:04,680 --> 00:27:08,160
Speaker 2: the situation. So there's new business all the time. I mean,

495
00:27:08,160 --> 00:27:10,639
Speaker 2: I was in New York yesterday for a couple of

496
00:27:10,720 --> 00:27:14,280
Speaker 2: meetings that will be really interesting, mostly about data, which

497
00:27:14,320 --> 00:27:16,280
Speaker 2: was actually very interesting. One with a client in the

498
00:27:16,280 --> 00:27:18,680
Speaker 2: morning and then with a potential client and then with

499
00:27:18,840 --> 00:27:20,679
Speaker 2: a label believe it or not, in the afternoon. That

500
00:27:20,760 --> 00:27:23,920
Speaker 2: was very interesting. You know that there's just so many

501
00:27:23,960 --> 00:27:27,200
Speaker 2: ways to dissect what we do and the information we have.

502
00:27:27,400 --> 00:27:31,639
Speaker 2: So you know, yeah, it's it's you know, you can never.

503
00:27:31,560 --> 00:27:35,399
Speaker 1: Tell, okay, leaving goldstor out, which is a different model.

504
00:27:35,880 --> 00:27:38,480
Speaker 1: Is anybody else doing what you're doing?

505
00:27:39,520 --> 00:27:43,400
Speaker 2: Oh? There we have competitors in the sports space. I'm

506
00:27:43,440 --> 00:27:45,800
Speaker 2: not sure about the music space at the moment. There

507
00:27:45,800 --> 00:27:50,439
Speaker 2: are a couple of bigger companies taken consolidators, but now not.

508
00:27:50,680 --> 00:27:53,639
Speaker 2: I don't really hear other people in my business at

509
00:27:53,640 --> 00:27:54,000
Speaker 2: the moment.

510
00:27:54,320 --> 00:28:00,840
Speaker 1: So why isn't everybody calling you, calling me, calling you

511
00:28:01,000 --> 00:28:02,040
Speaker 1: for logitics?

512
00:28:03,320 --> 00:28:07,120
Speaker 2: Well, I think the people that want to really dig

513
00:28:07,240 --> 00:28:10,560
Speaker 2: down deep and understand what's happening with their inventory call me.

514
00:28:11,920 --> 00:28:14,080
Speaker 2: You know, there are certain people, Bob, that I've been

515
00:28:14,520 --> 00:28:19,880
Speaker 2: you know, working with for years that I know it's

516
00:28:19,880 --> 00:28:23,840
Speaker 2: gonna sound shocking. Not everybody gets it, and that's you know,

517
00:28:23,880 --> 00:28:26,639
Speaker 2: there's a lot of people that are very comfortable with

518
00:28:26,720 --> 00:28:29,000
Speaker 2: the state of the business and how it works for them,

519
00:28:29,040 --> 00:28:32,040
Speaker 2: and that's absolutely fine. I have no problem with that.

520
00:28:32,480 --> 00:28:34,440
Speaker 2: But that I mean, that's the reality of the situation.

521
00:28:34,560 --> 00:28:38,760
Speaker 1: Okay, let's go back to the original example. Act calls

522
00:28:38,840 --> 00:28:43,640
Speaker 1: you before the tickets are on sale. How much of

523
00:28:43,680 --> 00:28:44,720
Speaker 1: your business is that?

524
00:28:45,880 --> 00:28:48,840
Speaker 2: I would say a good third two thirds of the

525
00:28:48,880 --> 00:28:51,360
Speaker 2: business is that. I wish it was more. I gotta

526
00:28:51,400 --> 00:28:53,320
Speaker 2: be honest with you, Bob, because you.

527
00:28:53,280 --> 00:28:57,800
Speaker 1: Know, a lot of the time we got the concept. Okay,

528
00:28:58,200 --> 00:29:02,640
Speaker 1: now let's walk through Jed, you're my good buddy. I'm

529
00:29:02,680 --> 00:29:07,000
Speaker 1: going on tour. I'm not exactly sure what I should

530
00:29:07,040 --> 00:29:10,720
Speaker 1: place the tickets at. And Jed then says, I'll get

531
00:29:10,760 --> 00:29:11,640
Speaker 1: back to you with.

532
00:29:11,760 --> 00:29:15,720
Speaker 2: What We have a team that will put together an

533
00:29:15,720 --> 00:29:20,720
Speaker 2: analysis of the historicals on that artist. We will put

534
00:29:20,760 --> 00:29:25,120
Speaker 2: together an analysis of current artists that are comparable pomps

535
00:29:25,160 --> 00:29:29,120
Speaker 2: to that artist, and we will come down to understanding

536
00:29:29,440 --> 00:29:31,880
Speaker 2: the markets on what people are, you know, the highs,

537
00:29:31,960 --> 00:29:34,480
Speaker 2: what people are listening, the medians and the lows, and

538
00:29:34,520 --> 00:29:36,360
Speaker 2: figure out a way to meet right in the middle,

539
00:29:36,760 --> 00:29:39,000
Speaker 2: the sweet spot, so to speak, by looking at the

540
00:29:39,040 --> 00:29:42,400
Speaker 2: actual information right of what people are willing to or

541
00:29:42,440 --> 00:29:44,840
Speaker 2: not willing to pay, and come to them with a recommendation.

542
00:29:45,080 --> 00:29:52,360
Speaker 1: And just understand, I'm going on the road I haven't

543
00:29:52,400 --> 00:29:55,680
Speaker 1: been on the road in three years, how do you

544
00:29:55,840 --> 00:29:58,880
Speaker 1: assess the value in the secondary market.

545
00:29:59,480 --> 00:30:01,959
Speaker 2: So that that's actually a very interesting question because we

546
00:30:02,040 --> 00:30:03,800
Speaker 2: just I just did this with a hip hop act

547
00:30:03,800 --> 00:30:08,440
Speaker 2: that actually hadn't been on the road ever. We looked

548
00:30:08,440 --> 00:30:11,880
Speaker 2: at what the scaling was on the primary We looked

549
00:30:11,880 --> 00:30:14,600
Speaker 2: at what they thought they were going to charge. And

550
00:30:14,800 --> 00:30:16,720
Speaker 2: this was this past summer. We went out and we

551
00:30:16,760 --> 00:30:20,360
Speaker 2: did an analysis of four acts or three acts that

552
00:30:20,440 --> 00:30:26,160
Speaker 2: were of similar, similar streams on Spotify, similar you know,

553
00:30:26,680 --> 00:30:29,880
Speaker 2: likes and you know, you know, on Instagram and all

554
00:30:29,880 --> 00:30:31,920
Speaker 2: that stuff, and we were able to come in with

555
00:30:32,040 --> 00:30:35,000
Speaker 2: the three comparable artists. We came to them with what

556
00:30:35,040 --> 00:30:36,720
Speaker 2: we thought would be the right thing to do in

557
00:30:36,800 --> 00:30:39,720
Speaker 2: terms of what they should price at. They didn't listen.

558
00:30:39,840 --> 00:30:42,160
Speaker 2: They went on sale. You know, they ended up canceling

559
00:30:42,160 --> 00:30:44,040
Speaker 2: a bunch of shows. And so I'm not saying we're

560
00:30:44,080 --> 00:30:47,680
Speaker 2: always right, but uh, you know that that's what our

561
00:30:47,720 --> 00:30:50,040
Speaker 2: guys do. We have really smart business intelligence.

562
00:30:50,040 --> 00:30:54,080
Speaker 1: I just want to go back to that story. So,

563
00:30:54,640 --> 00:30:58,160
Speaker 1: since they had a canceled date, it would seem that

564
00:30:58,240 --> 00:30:59,840
Speaker 1: they overpriced the inventor.

565
00:31:01,120 --> 00:31:03,640
Speaker 2: That's correct. We came in much lower than what they

566
00:31:03,680 --> 00:31:05,440
Speaker 2: should have done. Then what we thought they would do.

567
00:31:06,280 --> 00:31:08,680
Speaker 1: So that happens. It's not you know, because people talk

568
00:31:08,720 --> 00:31:11,880
Speaker 1: about the secondary market and they always say, well, there's

569
00:31:11,880 --> 00:31:14,640
Speaker 1: a value they're capturing this, it's not going back to

570
00:31:14,720 --> 00:31:19,280
Speaker 1: the act. But sometimes the tickets are inherently overpriced beyond

571
00:31:19,360 --> 00:31:20,520
Speaker 1: what people will want to pay.

572
00:31:21,400 --> 00:31:24,360
Speaker 2: And that's the concept what you just said about money

573
00:31:24,360 --> 00:31:27,440
Speaker 2: going back to the act. You know, that's what this

574
00:31:27,560 --> 00:31:28,200
Speaker 2: is all about.

575
00:31:28,440 --> 00:31:33,640
Speaker 1: For us and for me, I understand. So let's just

576
00:31:34,720 --> 00:31:37,760
Speaker 1: say that I call you, Jed, I want to know

577
00:31:37,840 --> 00:31:41,600
Speaker 1: the value. That's all I want. You'll send me a

578
00:31:41,640 --> 00:31:44,000
Speaker 1: bill for that information.

579
00:31:43,640 --> 00:31:45,960
Speaker 2: Correct, yeah, absolutely.

580
00:31:46,000 --> 00:31:49,680
Speaker 1: And that bill might be based on hourly or a

581
00:31:49,800 --> 00:31:52,720
Speaker 1: basic fee. How would you come up with a number?

582
00:31:57,080 --> 00:31:58,840
Speaker 2: I mean, Bob, I mean you know, we we know

583
00:31:59,000 --> 00:32:01,000
Speaker 2: what we charge. We have of rates for what we do.

584
00:32:01,120 --> 00:32:03,880
Speaker 1: Okay, so you have a rate, you have a rate. Yeah, okay,

585
00:32:03,920 --> 00:32:06,120
Speaker 1: that's it's fine. That's what I was looking for. Okay,

586
00:32:07,400 --> 00:32:13,840
Speaker 1: let's go to the secondary market. What do people acts

587
00:32:13,880 --> 00:32:19,200
Speaker 1: and ticketing companies not understand about the secondary market.

588
00:32:23,000 --> 00:32:27,320
Speaker 2: I mean, the secondary market is six to twelve months

589
00:32:27,320 --> 00:32:32,000
Speaker 2: ahead of the primaries in terms of technology. There are

590
00:32:32,080 --> 00:32:37,600
Speaker 2: certain things that acts do, uh, I mean, what do

591
00:32:37,640 --> 00:32:40,280
Speaker 2: they not understand about the secondary market? I mean, I

592
00:32:40,600 --> 00:32:42,880
Speaker 2: you know, it's it's hard to really you know, I

593
00:32:43,240 --> 00:32:44,440
Speaker 2: mean I think they understand.

594
00:32:44,520 --> 00:32:48,000
Speaker 1: Well, well, well let's let let me I wasn't clear enough. Sorry,

595
00:32:48,320 --> 00:32:52,479
Speaker 1: let's just assume they have the tickets in terms of

596
00:32:52,520 --> 00:32:57,000
Speaker 1: the valuation of the tickets, which is what on one level,

597
00:32:57,040 --> 00:33:00,840
Speaker 1: what you really do it logitics? Yeah, how do they

598
00:33:00,920 --> 00:33:04,000
Speaker 1: not understand the value of the tickets or do that

599
00:33:05,280 --> 00:33:08,120
Speaker 1: the artist or the representative?

600
00:33:08,480 --> 00:33:12,640
Speaker 2: Yeah, Bob, I couldn't tell you. They are you know

601
00:33:12,680 --> 00:33:14,880
Speaker 2: that they are told that this is where it should be.

602
00:33:15,520 --> 00:33:18,000
Speaker 2: You know, you have to understand right that there's like,

603
00:33:18,400 --> 00:33:22,440
Speaker 2: you know, you have platinum where things are dynamically priced.

604
00:33:22,520 --> 00:33:26,720
Speaker 2: You know, the primaries have secondaries built in red dots

605
00:33:26,800 --> 00:33:29,400
Speaker 2: versus blue dots and all that stuff, and so there's

606
00:33:29,440 --> 00:33:34,160
Speaker 2: a much bigger situation behind the pricing discussion. There's a

607
00:33:34,200 --> 00:33:37,000
Speaker 2: lot more people involved in the pricing discussion than just

608
00:33:37,200 --> 00:33:39,240
Speaker 2: the artist. You know, there's a lot more that goes

609
00:33:39,280 --> 00:33:42,400
Speaker 2: into that. So you may see high prices on a tour,

610
00:33:42,880 --> 00:33:46,680
Speaker 2: because I know a tour recently where they priced extremely

611
00:33:46,800 --> 00:33:49,080
Speaker 2: high because they assumed the brokers were going to get

612
00:33:49,120 --> 00:33:51,680
Speaker 2: the tickets and the artists wanted to make that money themselves.

613
00:33:51,920 --> 00:33:54,520
Speaker 2: Didn't work. There was a lot of tickets available when

614
00:33:54,520 --> 00:33:56,760
Speaker 2: the show got close to the tickets eventually sold, but

615
00:33:56,800 --> 00:33:59,920
Speaker 2: the on sale didn't go clean. You have certain instances

616
00:34:00,160 --> 00:34:03,280
Speaker 2: where you know, if if I mean, I know you

617
00:34:03,320 --> 00:34:05,760
Speaker 2: know this, but if like if there's a big guarantee

618
00:34:05,800 --> 00:34:08,160
Speaker 2: from a promoter, they have to price the tickets at

619
00:34:08,200 --> 00:34:10,600
Speaker 2: a certain level so that they're able to make that

620
00:34:10,680 --> 00:34:13,240
Speaker 2: money back. And you know, they do, you know, forty

621
00:34:13,480 --> 00:34:17,000
Speaker 2: six shows that you know, three rolls of shows that

622
00:34:17,080 --> 00:34:19,120
Speaker 2: aren't doing well the first show, but they have to

623
00:34:19,200 --> 00:34:21,400
Speaker 2: roll them too the second show in order to you know,

624
00:34:21,520 --> 00:34:24,000
Speaker 2: pay the artist, you know, the guarantee in order to

625
00:34:24,000 --> 00:34:26,719
Speaker 2: make you know, and so you know, it's it's a

626
00:34:26,800 --> 00:34:33,440
Speaker 2: really interesting, you know process. Everybody's involved, and so you know,

627
00:34:33,520 --> 00:34:36,919
Speaker 2: when we're speaking to a promoter trying to help them,

628
00:34:37,200 --> 00:34:41,319
Speaker 2: you know, maximize you know, sales so that they can

629
00:34:41,560 --> 00:34:44,960
Speaker 2: you know, make that money back. Obviously, I mean, it's

630
00:34:45,000 --> 00:34:47,400
Speaker 2: it's a it's a complicated system. That's all I can

631
00:34:47,440 --> 00:34:49,480
Speaker 2: really tell you, you know. So, and I got to

632
00:34:49,480 --> 00:34:51,120
Speaker 2: be honest with you, I wish everybody spoke to me

633
00:34:51,160 --> 00:34:53,440
Speaker 2: about pricing, but they don't. And that's you know, I

634
00:34:53,440 --> 00:34:54,600
Speaker 2: can't that's thing I could do about that.

635
00:34:54,920 --> 00:34:58,040
Speaker 1: Okay, let's flip the script a little bit. We're on

636
00:34:58,080 --> 00:35:03,200
Speaker 1: the secondary market. What is going on there. They're getting

637
00:35:03,239 --> 00:35:07,520
Speaker 1: their tickets, however, whether through bots or whether they have

638
00:35:07,680 --> 00:35:11,879
Speaker 1: access to the building and Senate seats, how do they

639
00:35:12,040 --> 00:35:13,520
Speaker 1: decide what to price them for?

640
00:35:14,880 --> 00:35:20,200
Speaker 2: You know, it's amazing. I uh, it's it's actually interesting.

641
00:35:20,320 --> 00:35:23,640
Speaker 2: I don't know because obviously I'm not in the world

642
00:35:23,680 --> 00:35:26,680
Speaker 2: with those folks. Sometimes some people are better, some you know,

643
00:35:26,719 --> 00:35:30,799
Speaker 2: better than others. The data sets, though, are insane, right,

644
00:35:30,840 --> 00:35:34,640
Speaker 2: So they are setting the market based on demand. And

645
00:35:34,680 --> 00:35:36,480
Speaker 2: the one thing you got to know about these folks

646
00:35:36,680 --> 00:35:39,480
Speaker 2: is that for the most part, when the market starts

647
00:35:39,520 --> 00:35:43,719
Speaker 2: to drop and that ticket starts to drop, they sell

648
00:35:43,760 --> 00:35:47,040
Speaker 2: their out, you know. So so it just they are

649
00:35:47,200 --> 00:35:49,879
Speaker 2: they are pricing, you know, to whatever they think they

650
00:35:49,880 --> 00:35:51,640
Speaker 2: can get. To be quite honest with you, you know,

651
00:35:51,680 --> 00:35:53,880
Speaker 2: there's a lot of folks that look at it that

652
00:35:53,960 --> 00:35:56,520
Speaker 2: if the market can bear it, they'll you know, they'll

653
00:35:56,560 --> 00:35:59,560
Speaker 2: price it and then you'll see uh tours, you know,

654
00:35:59,680 --> 00:36:02,319
Speaker 2: like there was one this summer that went out and

655
00:36:02,719 --> 00:36:04,720
Speaker 2: you know, a bunch of sneaker kids bought the tour.

656
00:36:04,800 --> 00:36:08,520
Speaker 2: You probably know about that one, and nobody bought the tickets, right,

657
00:36:08,640 --> 00:36:12,920
Speaker 2: So it's just it's it's always different. But these are

658
00:36:13,280 --> 00:36:16,520
Speaker 2: these are really smart guys, you know, really smart guys.

659
00:36:16,600 --> 00:36:19,680
Speaker 1: Okay, crazy, I want I want to clarify somebody you said,

660
00:36:19,880 --> 00:36:23,080
Speaker 1: you said when the price starts to drop, what happens?

661
00:36:23,360 --> 00:36:25,879
Speaker 2: Most of these guys get out of their position, right,

662
00:36:26,000 --> 00:36:28,640
Speaker 2: So a lot of these guys, it's like, you know, look,

663
00:36:29,440 --> 00:36:32,600
Speaker 2: it's like day trading, I suppose, or you know, flipping

664
00:36:32,880 --> 00:36:36,680
Speaker 2: stocks or whatever it is, or I mean that's you know,

665
00:36:36,719 --> 00:36:39,200
Speaker 2: that's what these guys are really doing. It's a quick hit.

666
00:36:39,560 --> 00:36:41,920
Speaker 2: And if they can get in, great, and if they

667
00:36:41,960 --> 00:36:44,480
Speaker 2: can get out by making you know, their investment back

668
00:36:44,520 --> 00:36:45,960
Speaker 2: and a little bit on top of that, and they

669
00:36:46,000 --> 00:36:48,120
Speaker 2: just apply that to the next one and they keep going.

670
00:36:48,719 --> 00:36:51,640
Speaker 2: The thing you have to realize is that they are

671
00:36:51,680 --> 00:36:55,439
Speaker 2: getting the inventory by hook or by crook, anyway they can.

672
00:36:55,560 --> 00:36:58,400
Speaker 2: If it's a if it's a credit card sale, they're

673
00:36:58,440 --> 00:37:01,640
Speaker 2: you know, registering for cards. If it's a you know,

674
00:37:02,160 --> 00:37:03,880
Speaker 2: a FAVERI fight fan, which I don't even know if

675
00:37:03,880 --> 00:37:05,960
Speaker 2: fair fight fan exists. Anymore. I'm not even sure they

676
00:37:05,960 --> 00:37:08,480
Speaker 2: call it that anymore. You know, they've got you know,

677
00:37:08,600 --> 00:37:11,600
Speaker 2: sixty people in another country that are sitting there slamming

678
00:37:11,600 --> 00:37:15,040
Speaker 2: the servers. Right, Like, you have to realize that what

679
00:37:15,600 --> 00:37:19,880
Speaker 2: Ticketmaster does is actually incredible, right because it's so giant,

680
00:37:19,920 --> 00:37:21,799
Speaker 2: and there's so many people trying to buy tickets all

681
00:37:21,840 --> 00:37:24,759
Speaker 2: the time, and most of the time it works, you know,

682
00:37:25,000 --> 00:37:27,000
Speaker 2: as a matter of all the time it works. It

683
00:37:27,160 --> 00:37:29,960
Speaker 2: just sometimes, uh, you know, these guys are a little

684
00:37:30,000 --> 00:37:31,920
Speaker 2: faster and they get in there and get it, you know,

685
00:37:32,000 --> 00:37:33,799
Speaker 2: And that's what's I mean. I had a woman call

686
00:37:33,880 --> 00:37:37,000
Speaker 2: me today, friend of my mother's bob, who didn't get

687
00:37:37,040 --> 00:37:39,759
Speaker 2: Billy Joel tickets. She was so upset. She waited in

688
00:37:39,800 --> 00:37:43,560
Speaker 2: the queue, she was, you know whatever, ten thousand people

689
00:37:43,640 --> 00:37:45,799
Speaker 2: in front of her into it. By the time she

690
00:37:45,880 --> 00:37:48,799
Speaker 2: got in the queue, she didn't get the tickets. There

691
00:37:48,800 --> 00:37:51,800
Speaker 2: were bad tickets left, and there were the resale tickets

692
00:37:51,840 --> 00:37:53,759
Speaker 2: were too expensive. Jed, what am I going to you know,

693
00:37:54,320 --> 00:37:56,120
Speaker 2: I'm gonna help her get the tickets, right, But like

694
00:37:56,200 --> 00:37:59,080
Speaker 2: the point is is that that's the that's the reality

695
00:37:59,120 --> 00:38:00,560
Speaker 2: of what happens every day.

696
00:38:00,719 --> 00:38:03,840
Speaker 1: Oh okay, okay, let's go to your mother's friend. What

697
00:38:04,000 --> 00:38:06,759
Speaker 1: advice would you give her? Would do? Actually? Is she

698
00:38:06,760 --> 00:38:09,359
Speaker 1: your mother's friend and we all know people, and you'll

699
00:38:09,360 --> 00:38:13,400
Speaker 1: get the tickets that way? Or is there a way

700
00:38:13,600 --> 00:38:17,200
Speaker 1: if you're the average customer to get the tickets that

701
00:38:17,280 --> 00:38:19,000
Speaker 1: are the best tickets of the best price.

702
00:38:19,400 --> 00:38:21,840
Speaker 2: I mean, to be honest, if it's not on the primary,

703
00:38:21,880 --> 00:38:24,520
Speaker 2: you have to go to a secondary. You have to wait. Now,

704
00:38:24,600 --> 00:38:26,520
Speaker 2: it's my mother's friend, so of course I'm gonna get

705
00:38:26,520 --> 00:38:27,880
Speaker 2: her the tickets and she's gonna have a good time

706
00:38:27,920 --> 00:38:30,240
Speaker 2: at the show. She'll probably sit next to you and Felice.

707
00:38:30,239 --> 00:38:33,600
Speaker 2: But that's another story. I mean, I you know those

708
00:38:33,600 --> 00:38:36,120
Speaker 2: are but those are the calls I get every day.

709
00:38:36,239 --> 00:38:38,839
Speaker 2: I mean, you have to realize most people don't know

710
00:38:40,280 --> 00:38:43,399
Speaker 2: how to put a code in a box on Ticketmaster, right.

711
00:38:43,600 --> 00:38:45,120
Speaker 2: And the other thing, you have to realize that most

712
00:38:45,160 --> 00:38:48,760
Speaker 2: people don't even know they're not on Ticketmaster right. They're

713
00:38:49,200 --> 00:38:51,799
Speaker 2: looking at whatever app they have in their phone with

714
00:38:51,840 --> 00:38:55,239
Speaker 2: their credit card save that they know that they're familiar with.

715
00:38:55,320 --> 00:38:57,839
Speaker 2: I mean, I still have people come to me after

716
00:38:57,880 --> 00:39:00,439
Speaker 2: being in this business for thirty years and the artist

717
00:39:00,440 --> 00:39:02,680
Speaker 2: doesn't make money on step up. It's like Jesus, are

718
00:39:02,680 --> 00:39:05,600
Speaker 2: you serious right now? I mean, I'm telling you every day,

719
00:39:05,640 --> 00:39:08,040
Speaker 2: and I have people in the business that say this

720
00:39:08,120 --> 00:39:10,680
Speaker 2: to me record business, not to take a business and

721
00:39:10,680 --> 00:39:13,400
Speaker 2: and look, I don't. I don't mean to be, you know,

722
00:39:14,480 --> 00:39:17,360
Speaker 2: uptight about it. But I do you carry I have

723
00:39:17,440 --> 00:39:19,399
Speaker 2: chip on my shoulder, Bob, one hundred percent. You saw

724
00:39:19,440 --> 00:39:23,040
Speaker 2: it an aspen, right, I I am so passionate.

725
00:39:23,160 --> 00:39:25,959
Speaker 1: Okay, but I don't. I don't, I don't. I don't

726
00:39:26,000 --> 00:39:28,719
Speaker 1: do what you do. I have a friend who's a

727
00:39:28,719 --> 00:39:33,759
Speaker 1: household musician name musician of a very successful act. And

728
00:39:33,800 --> 00:39:39,600
Speaker 1: this person is sensitive and has gotten negative feedback for

729
00:39:39,760 --> 00:39:45,480
Speaker 1: decades as a result, that person is very sensitive. From

730
00:39:45,560 --> 00:39:52,400
Speaker 1: my dispassionate position, I can't see, you know, forget that

731
00:39:52,520 --> 00:39:56,840
Speaker 1: I did with ignorant people with the agendas all day long. Okay,

732
00:39:57,160 --> 00:39:59,760
Speaker 1: but from what you've laid out now, I don't see

733
00:40:00,160 --> 00:40:04,239
Speaker 1: from your perspective, anything to hide anything that is untoward.

734
00:40:05,160 --> 00:40:07,680
Speaker 2: By the way, I agree with you. No, I agree that.

735
00:40:08,480 --> 00:40:11,880
Speaker 1: They're ignorant people. People believe I have stock in Spotify.

736
00:40:11,960 --> 00:40:17,480
Speaker 1: It's like I know those people I believe service. No,

737
00:40:17,680 --> 00:40:19,200
Speaker 1: of course I don't have stock.

738
00:40:19,320 --> 00:40:21,640
Speaker 2: That's what I mean. Bob. You know.

739
00:40:21,719 --> 00:40:26,520
Speaker 1: But I'm trying to say is you people will cannot

740
00:40:26,560 --> 00:40:28,640
Speaker 1: handle the truth like in the old movie. But I

741
00:40:28,680 --> 00:40:32,399
Speaker 1: want to go back to this story. What have we

742
00:40:32,600 --> 00:40:37,839
Speaker 1: learned about the value of tickets? Because, needless to say,

743
00:40:37,920 --> 00:40:42,879
Speaker 1: in many cases, the secondary market prices are different from

744
00:40:42,920 --> 00:40:43,640
Speaker 1: the primary.

745
00:40:45,200 --> 00:40:49,080
Speaker 2: Well, I think what we've learned about pricing of tickets

746
00:40:49,280 --> 00:40:52,520
Speaker 2: is that people are going to pay what they will

747
00:40:52,640 --> 00:40:56,360
Speaker 2: or won't for the tickets, and that the free market

748
00:40:56,520 --> 00:41:00,880
Speaker 2: of the secondary market is a much better indication of

749
00:41:00,920 --> 00:41:05,840
Speaker 2: what is of what people really want. And uh, you know,

750
00:41:07,040 --> 00:41:12,320
Speaker 2: the thing for me is everybody should make money, promoters, ticketers, artists, everybody.

751
00:41:13,520 --> 00:41:17,799
Speaker 2: But it shouldn't be you know. But so that's where

752
00:41:17,800 --> 00:41:21,399
Speaker 2: I come from, and that's the that's what I'm trying

753
00:41:21,400 --> 00:41:24,880
Speaker 2: to talk about, and that's the belief I have, is

754
00:41:24,920 --> 00:41:28,799
Speaker 2: that everybody should be working together. Right And so when

755
00:41:28,840 --> 00:41:31,560
Speaker 2: you made the comment about people not liking me from Ticketmaster,

756
00:41:31,719 --> 00:41:33,960
Speaker 2: maybe I made that comment someday. I have no idea.

757
00:41:34,440 --> 00:41:36,680
Speaker 2: I want Ticketmaster to make money. I want them to

758
00:41:36,719 --> 00:41:39,360
Speaker 2: make money if we were to openly distribute tickets together

759
00:41:39,440 --> 00:41:44,760
Speaker 2: a hundred percent. They also everybody should make money.

760
00:41:48,400 --> 00:41:53,319
Speaker 1: Okay, let's not speak to the uneducated and uninformed. You

761
00:41:53,400 --> 00:41:56,319
Speaker 1: and be both have a certain level of sophistication, and

762
00:41:56,360 --> 00:42:01,080
Speaker 1: I'd rather get inside information I'm unaware of. Then we

763
00:42:01,280 --> 00:42:07,040
Speaker 1: hash the ignorant people and their opinions. Okay, what do

764
00:42:07,160 --> 00:42:11,320
Speaker 1: you say to the acts who come to you and say,

765
00:42:11,360 --> 00:42:16,160
Speaker 1: based on my image, I can't charge more. What do

766
00:42:16,200 --> 00:42:19,000
Speaker 1: you say?

767
00:42:19,160 --> 00:42:22,560
Speaker 2: Tell them they're crazy, Tell them the cost of touring

768
00:42:23,120 --> 00:42:26,880
Speaker 2: it's expensive. Cost of living is expensive. And if people

769
00:42:27,000 --> 00:42:30,759
Speaker 2: are willing to pay for that ticket and there's a

770
00:42:30,800 --> 00:42:34,400
Speaker 2: market there, you should charge for it. You know the

771
00:42:34,719 --> 00:42:37,040
Speaker 2: thing with Bruce last year, right when he was charging

772
00:42:37,080 --> 00:42:39,040
Speaker 2: the platinum tickets on the floor or whatever, it was,

773
00:42:39,120 --> 00:42:42,040
Speaker 2: five thousand ticket and you know, people went crazy. First,

774
00:42:42,080 --> 00:42:44,000
Speaker 2: I don't know if that many people went crazy, but

775
00:42:44,120 --> 00:42:47,520
Speaker 2: quite frankly, those tickets sold. People bought those tickets, and

776
00:42:48,560 --> 00:42:51,160
Speaker 2: you know, that's the reality of the situation. I believe

777
00:42:51,480 --> 00:42:56,040
Speaker 2: artists should make money, However they can't. I do believe

778
00:42:56,160 --> 00:43:00,520
Speaker 2: that there are certain is where everybody he needs to

779
00:43:00,520 --> 00:43:03,560
Speaker 2: be on the same page, in the sense that the

780
00:43:03,680 --> 00:43:06,200
Speaker 2: artist needs to be aware of what people you know,

781
00:43:06,480 --> 00:43:08,880
Speaker 2: of what's happening on the primary so that there's no

782
00:43:09,280 --> 00:43:12,640
Speaker 2: so that everybody is on the same page, and that

783
00:43:12,880 --> 00:43:16,160
Speaker 2: you know, nobody's you know, charging more than the artist

784
00:43:16,239 --> 00:43:17,960
Speaker 2: has agreed and all that kind of stuff on the

785
00:43:17,960 --> 00:43:21,200
Speaker 2: primary right, But like it has to holistically work together.

786
00:43:22,560 --> 00:43:25,960
Speaker 2: You know what's interesting about the music business, Bob, is

787
00:43:26,000 --> 00:43:30,360
Speaker 2: that I feel like it's the only business where people

788
00:43:30,400 --> 00:43:32,560
Speaker 2: get you know, people get a lot of heat from

789
00:43:32,600 --> 00:43:38,200
Speaker 2: their fans for charging you know, fair market prices for

790
00:43:38,960 --> 00:43:41,760
Speaker 2: people to come and see them. You know, tickets are expensive.

791
00:43:41,800 --> 00:43:44,120
Speaker 2: I'm sorry, that's just the way it is, right, I mean.

792
00:43:44,080 --> 00:43:47,000
Speaker 1: Well, as I say, you know, the number of people

793
00:43:47,040 --> 00:43:51,239
Speaker 1: who complain is really relatively small. If you talk to

794
00:43:51,280 --> 00:43:53,520
Speaker 1: those people, they believe they should be able to sit

795
00:43:53,560 --> 00:43:56,719
Speaker 1: in the front row for fifty bucks. They're just delusional.

796
00:43:57,280 --> 00:44:00,880
Speaker 1: But let's just say, Bruce, you know, back on the road. Now,

797
00:44:01,000 --> 00:44:06,360
Speaker 1: let's say John Landau called you for unbooked dates. Obviously

798
00:44:06,440 --> 00:44:09,839
Speaker 1: you would go through all your data and find out

799
00:44:09,840 --> 00:44:14,279
Speaker 1: what you think is the fear market value. Let's just

800
00:44:15,000 --> 00:44:17,520
Speaker 1: say that he would say, well, I don't want to

801
00:44:17,600 --> 00:44:19,720
Speaker 1: charge more than a bucket a quarter for a ticket.

802
00:44:19,760 --> 00:44:20,879
Speaker 1: What would you say?

803
00:44:20,960 --> 00:44:23,160
Speaker 2: I would say, that's you know, so that's up to you.

804
00:44:23,360 --> 00:44:25,600
Speaker 2: That's you know, whatever you want to do. This is

805
00:44:25,600 --> 00:44:27,319
Speaker 2: what we think you could charge, and if you're not

806
00:44:27,400 --> 00:44:30,040
Speaker 2: comfortable with that, that's fine. By the way, I would

807
00:44:30,120 --> 00:44:33,320
Speaker 2: love John Lander to call me because Henry, my dad

808
00:44:33,400 --> 00:44:35,840
Speaker 2: is the biggest Bruce Spingstein fan. I'm taking them to

809
00:44:35,880 --> 00:44:39,200
Speaker 2: the show pop. But uh, I mean that's you know,

810
00:44:39,239 --> 00:44:41,280
Speaker 2: it's up to the artist, right, I mean, the artist

811
00:44:41,280 --> 00:44:42,319
Speaker 2: has the right to wait.

812
00:44:42,320 --> 00:44:44,279
Speaker 1: Wait, wait, the artist has.

813
00:44:44,200 --> 00:44:45,520
Speaker 2: The right to charge what they want.

814
00:44:45,320 --> 00:44:49,080
Speaker 1: To charge, right, right, But irrelevant of what you're doing.

815
00:44:49,239 --> 00:44:53,239
Speaker 1: Now we get into the philosophical point of how do

816
00:44:53,320 --> 00:44:56,839
Speaker 1: we solve this problem? One thing we all know which

817
00:44:57,000 --> 00:44:59,920
Speaker 1: no one can accept. Not everybody can get a ticket.

818
00:45:00,480 --> 00:45:01,520
Speaker 1: It's just that way.

819
00:45:02,480 --> 00:45:03,360
Speaker 2: That's reality.

820
00:45:03,480 --> 00:45:08,319
Speaker 1: Yeah, right, if I snapped my fingers, what is the

821
00:45:08,440 --> 00:45:13,160
Speaker 1: appropriate way to price tickets across the board or to

822
00:45:13,239 --> 00:45:13,960
Speaker 1: sell tickets?

823
00:45:14,480 --> 00:45:18,000
Speaker 2: I mean, look, those are two separate things. My belief,

824
00:45:18,120 --> 00:45:20,240
Speaker 2: the best way to price the ticket is by looking

825
00:45:20,800 --> 00:45:24,759
Speaker 2: at the actual the actual free market. You know what's

826
00:45:24,800 --> 00:45:26,920
Speaker 2: going on out there, what people are actually paying for

827
00:45:26,960 --> 00:45:29,120
Speaker 2: the ticket, because you can see that because I can

828
00:45:29,160 --> 00:45:31,040
Speaker 2: show it to you day after a ticket, you know,

829
00:45:31,080 --> 00:45:33,520
Speaker 2: an on sale. Every day, my numbers are freshed. I

830
00:45:33,560 --> 00:45:36,640
Speaker 2: can show you what your position is in the market, right,

831
00:45:36,840 --> 00:45:39,080
Speaker 2: or what other artists you know or what you know.

832
00:45:39,160 --> 00:45:41,520
Speaker 2: So it's like I got to call recently about a

833
00:45:41,520 --> 00:45:46,200
Speaker 2: young band, Bob Okay, and the agent was concerned about

834
00:45:46,560 --> 00:45:49,360
Speaker 2: the secondary and that nobody's going to be in their

835
00:45:49,480 --> 00:45:52,120
Speaker 2: venues and there's tons of inventory in the secondary. And

836
00:45:52,160 --> 00:45:53,719
Speaker 2: I said, hold on a second. I pulled it up

837
00:45:53,760 --> 00:45:57,440
Speaker 2: on the computer. There was very little inventory on the secondary,

838
00:45:57,480 --> 00:46:00,560
Speaker 2: but it was insane. The prices were crazy. And I'm

839
00:46:00,600 --> 00:46:03,759
Speaker 2: talking to troubadour shows, you know, tiny little shows. And

840
00:46:03,840 --> 00:46:08,879
Speaker 2: so that's a really good example to me of, you know,

841
00:46:09,400 --> 00:46:12,800
Speaker 2: of of the free market of what you could charge

842
00:46:12,800 --> 00:46:14,640
Speaker 2: for those tickets. They didn't want to do that, but

843
00:46:14,719 --> 00:46:18,120
Speaker 2: that's just an example of next time they're going out,

844
00:46:18,239 --> 00:46:19,719
Speaker 2: how they're going to you know, how you can look

845
00:46:19,760 --> 00:46:21,440
Speaker 2: at that and how you can charge for those tickets.

846
00:46:21,520 --> 00:46:26,719
Speaker 1: Right. So look, well let's be philosophical. You're in this business.

847
00:46:27,280 --> 00:46:32,000
Speaker 1: You know that no one complains about four figure prices

848
00:46:32,000 --> 00:46:35,360
Speaker 1: for sports. They almost brag about it. I went to

849
00:46:35,400 --> 00:46:37,799
Speaker 1: the Super Bowl. I paid six thousand dollars. I was

850
00:46:37,840 --> 00:46:38,640
Speaker 1: in the building.

851
00:46:39,360 --> 00:46:40,279
Speaker 2: Yeah, that's right.

852
00:46:40,640 --> 00:46:44,560
Speaker 1: Can we ever have that mentality in music?

853
00:46:45,160 --> 00:46:47,879
Speaker 2: You know, Bob, I hope so. And that's not from

854
00:46:48,120 --> 00:46:51,000
Speaker 2: a ticket seller's point of view or a data seller's

855
00:46:51,000 --> 00:46:53,319
Speaker 2: point of view. That's for from the point of view

856
00:46:53,320 --> 00:46:56,439
Speaker 2: of of what's good for artists. I mean, I mean,

857
00:46:56,880 --> 00:46:59,480
Speaker 2: you know, I'm sorry to say it, but I really

858
00:46:59,520 --> 00:47:03,040
Speaker 2: believe that artists should be making more money. I really

859
00:47:03,040 --> 00:47:06,279
Speaker 2: believe that. That being said, I do think they need

860
00:47:06,320 --> 00:47:11,520
Speaker 2: to Philosophically, I hope we get to that place. Philosophically,

861
00:47:11,560 --> 00:47:14,200
Speaker 2: I hope we get to a place where secondary and

862
00:47:14,280 --> 00:47:18,359
Speaker 2: primary or want you know, I really believe that's where

863
00:47:18,400 --> 00:47:20,719
Speaker 2: this is going. I really believe that, you know.

864
00:47:20,680 --> 00:47:26,840
Speaker 1: Okay, just to be clear, theoretically, if tickets were placed appropriately,

865
00:47:27,640 --> 00:47:30,480
Speaker 1: there wouldn't be a need for secondary, right.

866
00:47:31,080 --> 00:47:37,759
Speaker 2: Well theoretically, but the marketplaces still exist, and so you know,

867
00:47:38,480 --> 00:47:41,160
Speaker 2: you're I mean, so the the idea is, it's not

868
00:47:41,200 --> 00:47:45,560
Speaker 2: necessarily the fact that you know, the second you know,

869
00:47:45,600 --> 00:47:48,440
Speaker 2: the secondary is you know, increasing or decreasing the price,

870
00:47:48,600 --> 00:47:52,959
Speaker 2: it becomes a distribution model. So you know, fans again

871
00:47:53,000 --> 00:47:55,520
Speaker 2: should be able you can buy a ticket where they

872
00:47:55,600 --> 00:47:57,680
Speaker 2: want to buy that ticket, and the artists should be

873
00:47:57,719 --> 00:47:59,960
Speaker 2: able to make money that way. You know, that's the idea.

874
00:48:00,000 --> 00:48:02,960
Speaker 2: I mean, if you really think about it, if artists

875
00:48:03,000 --> 00:48:04,840
Speaker 2: were to come out and say we want our tickets

876
00:48:04,840 --> 00:48:07,960
Speaker 2: sold everywhere, it's like a win win for everybody because

877
00:48:08,080 --> 00:48:11,480
Speaker 2: everybody's getting paid. It's not just sitting on the primary.

878
00:48:11,960 --> 00:48:15,239
Speaker 2: I mean, you know, red dot is a ticket that's

879
00:48:15,280 --> 00:48:20,000
Speaker 2: being sold everywhere, right, So like that's a reseller ticket.

880
00:48:20,120 --> 00:48:22,680
Speaker 2: The red dot is still you know, sold, that's still

881
00:48:22,680 --> 00:48:24,960
Speaker 2: a ticket that's listed on stub ups. He geek givet

882
00:48:25,000 --> 00:48:28,279
Speaker 2: all those different places, right, so you know, I just

883
00:48:28,400 --> 00:48:30,880
Speaker 2: it's uh, you know, let's.

884
00:48:30,640 --> 00:48:33,640
Speaker 1: Go, let's go one step further, very specific. This is

885
00:48:33,640 --> 00:48:40,840
Speaker 1: all theoretical. Your model works that way, and the set this.

886
00:48:41,320 --> 00:48:44,000
Speaker 1: We'll call them scalpers, just because I don't want to,

887
00:48:44,040 --> 00:48:47,919
Speaker 1: you know, the theoretical bad guys. They say I bought

888
00:48:48,000 --> 00:48:51,239
Speaker 1: the ticket at one hundred dollars, I'm selling it for

889
00:48:51,360 --> 00:48:56,799
Speaker 1: five hundred dollars. That's four hundred dollars minus cost to me. Yeah,

890
00:48:58,120 --> 00:49:01,200
Speaker 1: then you're going to come along the act and you're

891
00:49:01,200 --> 00:49:05,319
Speaker 1: gonna say, I could have primary tickets, but if you

892
00:49:05,600 --> 00:49:08,840
Speaker 1: sell them, I get ninety percent of the money.

893
00:49:11,880 --> 00:49:14,040
Speaker 2: I mean that's yeah, that's that's Do you think.

894
00:49:13,960 --> 00:49:16,359
Speaker 1: We'll ever get to that point? Because it's breaking their

895
00:49:16,440 --> 00:49:17,280
Speaker 1: business model.

896
00:49:17,760 --> 00:49:21,440
Speaker 2: Listen, I'm not worried about them. I'm worried about the artists.

897
00:49:21,480 --> 00:49:23,600
Speaker 2: And what I do believe we're going to get to, Bob,

898
00:49:24,120 --> 00:49:26,279
Speaker 2: is that an artist is going to say, Hey, you

899
00:49:26,320 --> 00:49:29,480
Speaker 2: can buy my tickets on primary, you can buy my

900
00:49:29,520 --> 00:49:33,640
Speaker 2: tickets on the secondary. I've had conversations with some of

901
00:49:33,680 --> 00:49:39,040
Speaker 2: the exchanges about selling official tickets, you know. So I

902
00:49:39,080 --> 00:49:41,600
Speaker 2: mean we're going to get there. It's just a matter

903
00:49:41,680 --> 00:49:42,800
Speaker 2: of things open, okay.

904
00:49:42,800 --> 00:49:45,360
Speaker 1: But I just want to project, and it's all theory.

905
00:49:46,400 --> 00:49:49,040
Speaker 1: There are a lot of players in the secondary market.

906
00:49:49,360 --> 00:49:56,160
Speaker 1: If the secondary market sellers have access to primary tickets,

907
00:49:57,120 --> 00:50:00,960
Speaker 1: will that eliminate a number of people and leave the

908
00:50:00,960 --> 00:50:05,239
Speaker 1: professionals or will they kick in screen try to have legislation.

909
00:50:05,400 --> 00:50:06,480
Speaker 1: What do you think will happen?

910
00:50:07,040 --> 00:50:10,080
Speaker 2: I mean, look, they're already trying to have legislation, you know,

911
00:50:10,160 --> 00:50:12,560
Speaker 2: to deal with the situations that are out there. And

912
00:50:13,560 --> 00:50:16,520
Speaker 2: quite frankly, you know that's great. I don't I don't

913
00:50:16,520 --> 00:50:18,880
Speaker 2: think it'll ever go you know. I know you had

914
00:50:18,960 --> 00:50:21,200
Speaker 2: Dana on who's a very good friend of mine, recently,

915
00:50:21,320 --> 00:50:25,239
Speaker 2: and I think what NIVA's doing is completely fantastic and

916
00:50:25,360 --> 00:50:27,160
Speaker 2: we're friends, and I work with a lot of their

917
00:50:27,280 --> 00:50:31,160
Speaker 2: you know, a lot of their people. But yeah, I don't.

918
00:50:31,920 --> 00:50:34,600
Speaker 2: I think the I think the way to solve the

919
00:50:34,640 --> 00:50:37,200
Speaker 2: issue of the secondary market is to open everything up

920
00:50:37,760 --> 00:50:42,719
Speaker 2: and literally have tickets available everywhere. That's what I think.

921
00:50:42,719 --> 00:50:43,160
Speaker 2: You deal with that.

922
00:50:43,480 --> 00:50:47,560
Speaker 1: Okay, that is the end. Let's go back to the beginning.

923
00:50:48,160 --> 00:50:51,200
Speaker 1: I'm an act. I'm calling you about the pricing of

924
00:50:51,239 --> 00:50:57,520
Speaker 1: the tickets, calling an arena fifteen to twenty thousand. Would

925
00:50:57,560 --> 00:51:03,000
Speaker 1: you say the flex price certain tickets or would you say, no,

926
00:51:03,320 --> 00:51:04,640
Speaker 1: price them at this amount?

927
00:51:04,960 --> 00:51:07,040
Speaker 2: I would say, price them at this amount. And then

928
00:51:07,239 --> 00:51:10,520
Speaker 2: you know, again, yes, the answer is, I would say,

929
00:51:10,520 --> 00:51:12,960
Speaker 2: price them at this amount, and let's figure out how

930
00:51:13,000 --> 00:51:14,680
Speaker 2: we can move them because quite frankly, a lot of

931
00:51:14,760 --> 00:51:16,879
Speaker 2: the times with a lot of times when we're doing

932
00:51:16,920 --> 00:51:20,359
Speaker 2: that and there is no open distribution involved. So it's

933
00:51:20,400 --> 00:51:22,960
Speaker 2: a one time thing. This is what you're doing, you know,

934
00:51:23,000 --> 00:51:24,960
Speaker 2: this is how you do it. Go ahead, and then

935
00:51:25,000 --> 00:51:28,640
Speaker 2: we're watching it obviously going forward and we're looking at

936
00:51:28,719 --> 00:51:31,279
Speaker 2: you know, hopefully the map doesn't look like you know,

937
00:51:31,320 --> 00:51:34,239
Speaker 2: the Pacific Ocean. It's all blue, right, so you know,

938
00:51:34,280 --> 00:51:36,239
Speaker 2: you're figuring trying to you know, make things. You know,

939
00:51:36,280 --> 00:51:38,040
Speaker 2: hopefully things goes well and you get to move the

940
00:51:38,080 --> 00:51:39,839
Speaker 2: invent you need to move the inventory, and it's clean

941
00:51:40,600 --> 00:51:41,960
Speaker 2: and there's not a lot of red dots.

942
00:51:42,640 --> 00:51:46,200
Speaker 1: Forget what was used to be called platinum, which was

943
00:51:46,280 --> 00:51:50,640
Speaker 1: seats up close occasionally with a perk. Now they call

944
00:51:50,800 --> 00:51:54,719
Speaker 1: sections of the arena platinum because they're flex pricing. It

945
00:51:54,880 --> 00:51:58,880
Speaker 1: happened to no promoters who when on sale goes on

946
00:51:59,040 --> 00:52:02,480
Speaker 1: let's call it Saturday at ten am, they are changing

947
00:52:02,520 --> 00:52:05,000
Speaker 1: the prices based on demand.

948
00:52:05,320 --> 00:52:06,000
Speaker 2: I'm aware of that.

949
00:52:06,520 --> 00:52:10,560
Speaker 1: Are you saying, if you listen to me, you wouldn't

950
00:52:10,600 --> 00:52:11,160
Speaker 1: have to do that?

951
00:52:12,239 --> 00:52:16,759
Speaker 2: I no, I'm not. I mean because if it's platinum,

952
00:52:17,239 --> 00:52:19,640
Speaker 2: you know, the more money they pay for a tour,

953
00:52:19,800 --> 00:52:21,920
Speaker 2: the more platinum seats there are, right, and all that

954
00:52:21,960 --> 00:52:25,360
Speaker 2: money goes back into the pod. And you know, I

955
00:52:25,360 --> 00:52:28,840
Speaker 2: think that maybe the people you're talking about well flex

956
00:52:28,880 --> 00:52:32,560
Speaker 2: prices based on demand, and I think that's great for them.

957
00:52:32,800 --> 00:52:34,960
Speaker 2: You know, it's fantastic as long as they're able to

958
00:52:35,000 --> 00:52:38,040
Speaker 2: sell the inventory and the artist is happy, and you know,

959
00:52:38,239 --> 00:52:40,799
Speaker 2: artists doesn't feel like they're being you know, you know,

960
00:52:40,880 --> 00:52:41,520
Speaker 2: it's all good.

961
00:52:42,080 --> 00:52:45,759
Speaker 1: Okay, let's talk, as I say, forget the seats that

962
00:52:45,800 --> 00:52:50,359
Speaker 1: are sold up close for four hundred five dollars. In

963
00:52:50,400 --> 00:52:53,120
Speaker 1: the case of Bruce, there were seats in the first

964
00:52:53,160 --> 00:52:57,279
Speaker 1: balcony which they now called platinum, which was euphemism for

965
00:52:57,320 --> 00:53:02,640
Speaker 1: flex pricing. Needless, there's a lot of things. The prices

966
00:53:02,680 --> 00:53:06,480
Speaker 1: went beyond what anybody would pay to sit that far.

967
00:53:07,360 --> 00:53:10,359
Speaker 1: Do you think if you were advising an act, would

968
00:53:10,400 --> 00:53:13,080
Speaker 1: you say, oh, that section up there, I can price

969
00:53:13,120 --> 00:53:17,399
Speaker 1: it appropriately as opposed to you flex pricing it and

970
00:53:17,480 --> 00:53:19,880
Speaker 1: risking backlash and all this other stuff.

971
00:53:20,320 --> 00:53:22,920
Speaker 2: I might give my opinion, but you know, I'm not

972
00:53:22,960 --> 00:53:24,520
Speaker 2: going to get in the way of what the promoter

973
00:53:24,640 --> 00:53:25,959
Speaker 2: wants to do, you know, I mean.

974
00:53:26,600 --> 00:53:28,840
Speaker 1: Well, let me let me change.

975
00:53:29,160 --> 00:53:31,799
Speaker 2: Well, you know, I know we're theory I know we're

976
00:53:31,840 --> 00:53:32,799
Speaker 2: being theoretical. I know.

977
00:53:33,320 --> 00:53:36,560
Speaker 1: No, No, this is you as a person, not you

978
00:53:37,480 --> 00:53:42,160
Speaker 1: as at logitics. Would it be better if the price

979
00:53:42,480 --> 00:53:49,200
Speaker 1: was the price as opposed to the flex price the

980
00:53:49,239 --> 00:53:50,920
Speaker 1: secondary market, et cetera.

981
00:53:53,360 --> 00:53:56,959
Speaker 2: You know, Bob, that's a tough call for me. I

982
00:53:57,040 --> 00:54:01,520
Speaker 2: you know, I understand where the promoters coming from. I

983
00:54:01,640 --> 00:54:05,080
Speaker 2: understand that, you know, that's their decision. I'm not trying

984
00:54:05,080 --> 00:54:07,359
Speaker 2: to dodge the question I'm just trying to be honest here,

985
00:54:07,400 --> 00:54:10,000
Speaker 2: which is they have that right to you know, do

986
00:54:10,080 --> 00:54:12,400
Speaker 2: what they want for that inventory, for that show that

987
00:54:12,400 --> 00:54:14,680
Speaker 2: they're paying for all that stuff. I mean, but me

988
00:54:14,760 --> 00:54:17,799
Speaker 2: as a human being, I mean, yeah, sometimes it can

989
00:54:17,800 --> 00:54:19,840
Speaker 2: be a bummer if it's too expensive. You know, if

990
00:54:19,880 --> 00:54:22,080
Speaker 2: it's an eight hundred dollars ticket supposed to be three

991
00:54:22,160 --> 00:54:24,120
Speaker 2: hundred and fifty dollars and they're flexing him to eight

992
00:54:24,200 --> 00:54:26,719
Speaker 2: hundred on the floor of an arena, you know, and

993
00:54:26,760 --> 00:54:29,680
Speaker 2: it's you know, forty rows back or thirty rows back whatever,

994
00:54:29,800 --> 00:54:31,760
Speaker 2: but the mark you know, the shows, there's forty thousand

995
00:54:31,760 --> 00:54:33,839
Speaker 2: people in the queue and things are going crazy, and

996
00:54:34,520 --> 00:54:36,680
Speaker 2: you know, I mean, believe me, they're all aware. People

997
00:54:36,760 --> 00:54:39,279
Speaker 2: are all aware of everything that's going on, right so,

998
00:54:40,000 --> 00:54:46,440
Speaker 2: especially after Taylor. So yeah, I mean, you know, I

999
00:54:46,600 --> 00:54:49,160
Speaker 2: think I think finding the best way to get tickets

1000
00:54:49,160 --> 00:54:50,200
Speaker 2: in the hands of fans is the.

1001
00:54:50,200 --> 00:54:53,879
Speaker 1: Most important Okay, okay.

1002
00:54:52,760 --> 00:54:54,759
Speaker 2: And I'm sorry to dodge around it, but no, no, no,

1003
00:54:54,840 --> 00:54:57,279
Speaker 2: you're not dodging, and you're answer the question. Yeah, So.

1004
00:54:59,040 --> 00:55:03,320
Speaker 1: Is there a risk with weight tickets are sold now

1005
00:55:03,760 --> 00:55:08,680
Speaker 1: with flex pricing that ultimately there is a stink upon

1006
00:55:08,760 --> 00:55:12,880
Speaker 1: the artist. The artist concept that I'm afraid the fan

1007
00:55:13,080 --> 00:55:15,799
Speaker 1: won't like me anymore if I charge too much or

1008
00:55:15,840 --> 00:55:18,759
Speaker 1: I do that? Is that a fiction or is that reality?

1009
00:55:19,200 --> 00:55:22,920
Speaker 2: I mean, listen, I again, remember we talked about it.

1010
00:55:22,920 --> 00:55:25,200
Speaker 2: There's a very small group of people that are very

1011
00:55:25,239 --> 00:55:27,880
Speaker 2: upset about it. I mean, I think that's the reality

1012
00:55:27,920 --> 00:55:33,279
Speaker 2: of the situation. I you know, it's a it's a

1013
00:55:33,320 --> 00:55:35,920
Speaker 2: tough one. It's you know, as as things, you know,

1014
00:55:36,000 --> 00:55:38,680
Speaker 2: as we live in a world where things get more expensive.

1015
00:55:39,160 --> 00:55:42,320
Speaker 2: You know, my argument with people is it really expensive

1016
00:55:42,320 --> 00:55:45,160
Speaker 2: to two these days, it's really expensive to deliver a

1017
00:55:45,239 --> 00:55:49,240
Speaker 2: show that fans want to see. Fans expect a certain level,

1018
00:55:49,320 --> 00:55:52,120
Speaker 2: you know, so it is expensive to go to a show.

1019
00:55:52,239 --> 00:55:54,719
Speaker 2: By the way, it's expensive to go to My wife

1020
00:55:54,760 --> 00:55:56,239
Speaker 2: and I always look at each other when we go

1021
00:55:56,280 --> 00:55:58,200
Speaker 2: to Disneyland and take the kids. We're like, how are

1022
00:55:58,200 --> 00:55:59,640
Speaker 2: these people affording to come here?

1023
00:55:59,680 --> 00:56:03,799
Speaker 1: You know? So it is what bothers me most is

1024
00:56:03,840 --> 00:56:06,080
Speaker 1: the Springsteen fans who want to go for one hundred

1025
00:56:06,160 --> 00:56:08,640
Speaker 1: dollars will go for dinner for an hour and a

1026
00:56:08,680 --> 00:56:11,480
Speaker 1: half one hundred dollars per personop listen and not think

1027
00:56:11,560 --> 00:56:12,480
Speaker 1: twice about that.

1028
00:56:12,640 --> 00:56:16,760
Speaker 2: But my fourteen year old India Okay said to me recently,

1029
00:56:17,120 --> 00:56:20,800
Speaker 2: she's watching the Formula One show. Dad, I love Charles Leclerk.

1030
00:56:20,840 --> 00:56:22,600
Speaker 2: I said, that's great, because can we go. I want

1031
00:56:22,600 --> 00:56:24,560
Speaker 2: to go to the Formula one in Las Vegas. I said, well,

1032
00:56:24,640 --> 00:56:27,560
Speaker 2: that's not happening. No, Dad, you don't understand. I said, honey,

1033
00:56:27,760 --> 00:56:31,520
Speaker 2: that's so expensive. Not happening. You're fourteen, love you all

1034
00:56:31,560 --> 00:56:34,480
Speaker 2: watch it on TV. That's kind of a reality of

1035
00:56:34,520 --> 00:56:36,880
Speaker 2: the world we live in. Like it's okay to not

1036
00:56:37,080 --> 00:56:40,560
Speaker 2: do something. It's okay to not be able to do something.

1037
00:56:40,640 --> 00:56:43,400
Speaker 2: I mean, Jesus Christ, I would love to be able to,

1038
00:56:44,080 --> 00:56:46,560
Speaker 2: you know, go live in Paris. But I yeah, that's

1039
00:56:46,719 --> 00:56:49,560
Speaker 2: it's expensive. I mean, you know, it's these are difficult things.

1040
00:56:49,560 --> 00:56:51,759
Speaker 2: There are decisions you have to make in life. We

1041
00:56:51,800 --> 00:56:53,600
Speaker 2: live in a society. I mean, now you really want

1042
00:56:53,600 --> 00:56:56,920
Speaker 2: to get theoretical with you know, this phone I'm holding up.

1043
00:56:56,960 --> 00:57:00,400
Speaker 2: Where everything's instant. Everybody thinks they have access to every everything.

1044
00:57:00,440 --> 00:57:04,520
Speaker 2: Everybody thinks they're entitled have access to everything, and you know,

1045
00:57:04,560 --> 00:57:07,560
Speaker 2: it's just part of life. I guess where it's okay.

1046
00:57:07,920 --> 00:57:11,439
Speaker 1: You're dealing with the data every day. Needless to say,

1047
00:57:11,440 --> 00:57:15,279
Speaker 1: there was pent up demand subsequent to COVID. When the

1048
00:57:15,320 --> 00:57:19,920
Speaker 1: business went live again, Live Nation had incredible numbers. Recently,

1049
00:57:20,400 --> 00:57:22,960
Speaker 1: what do you see in the marketplace? Is there any

1050
00:57:23,000 --> 00:57:24,240
Speaker 1: softening of demand?

1051
00:57:24,920 --> 00:57:27,960
Speaker 2: I mean, it's it's gangbusters. I mean, the only thing

1052
00:57:28,000 --> 00:57:30,760
Speaker 2: I'm seeing is there are certain tours out there that

1053
00:57:30,840 --> 00:57:33,400
Speaker 2: may not have performed initially on on sale that I

1054
00:57:33,440 --> 00:57:37,160
Speaker 2: think people thought. But you know, it's a machine. You know,

1055
00:57:37,200 --> 00:57:39,120
Speaker 2: it just keeps going, you know, and you do a

1056
00:57:39,120 --> 00:57:41,560
Speaker 2: theater tour, then you come off, you do an arena tour,

1057
00:57:41,640 --> 00:57:46,440
Speaker 2: and look, I the numbers are astounding. They're amazing at

1058
00:57:46,480 --> 00:57:48,880
Speaker 2: what they do. You know, there's nothing I can say

1059
00:57:48,960 --> 00:57:56,000
Speaker 2: except amazing. Those guys are incredible, you know. And I

1060
00:57:56,000 --> 00:57:59,640
Speaker 2: don't see any softening. I mean, it's bigger than ever,

1061
00:57:59,760 --> 00:58:01,720
Speaker 2: you know, it really is. It's pretty wild.

1062
00:58:08,600 --> 00:58:10,520
Speaker 1: Okay, let's go back. How'd you get this job?

1063
00:58:11,960 --> 00:58:16,680
Speaker 2: So? I had been working at enough So about eight

1064
00:58:16,760 --> 00:58:19,600
Speaker 2: years ago, I was I, you know, was I just

1065
00:58:19,640 --> 00:58:21,800
Speaker 2: moved back to LA from New York and I was

1066
00:58:23,480 --> 00:58:25,480
Speaker 2: kind of had finished. I had a production company with

1067
00:58:25,520 --> 00:58:27,240
Speaker 2: a friend of mine, and I finished doing that and

1068
00:58:27,240 --> 00:58:29,240
Speaker 2: a buddy came to me and said, hey, I'm buying

1069
00:58:29,240 --> 00:58:31,680
Speaker 2: a ticketing company. And I said, okay, great, he goes,

1070
00:58:31,720 --> 00:58:33,800
Speaker 2: could you help me meet some people at the agencies

1071
00:58:33,880 --> 00:58:37,919
Speaker 2: and so, uh, it was a secondary ticketing platform, right,

1072
00:58:38,000 --> 00:58:40,640
Speaker 2: And so it was you know, a distribution company, right

1073
00:58:40,680 --> 00:58:44,000
Speaker 2: that would make deals, you know, take a consolidator making

1074
00:58:44,040 --> 00:58:46,520
Speaker 2: deals with you know, sports teams in order to manage

1075
00:58:46,560 --> 00:58:50,520
Speaker 2: that inventory and distribute it everywhere. Because as you know, Bob,

1076
00:58:50,560 --> 00:58:53,040
Speaker 2: you know, there's eighty one games a year, fifty thousand

1077
00:58:53,040 --> 00:58:55,240
Speaker 2: people in the stadium, and you know, you got to

1078
00:58:55,320 --> 00:58:56,720
Speaker 2: you've got to figure out a way to you know,

1079
00:58:56,760 --> 00:58:59,080
Speaker 2: sell all the tickets. And so I met with these

1080
00:58:59,120 --> 00:59:01,560
Speaker 2: people and they show me their information and I said, wait,

1081
00:59:01,560 --> 00:59:03,200
Speaker 2: there's data there. Let me see the dad. I took

1082
00:59:03,240 --> 00:59:07,520
Speaker 2: him around and I started in this business trying to

1083
00:59:07,680 --> 00:59:12,480
Speaker 2: understand the secondary and for the first few years it was, uh,

1084
00:59:12,760 --> 00:59:16,240
Speaker 2: you know, it was it was very interesting. You know,

1085
00:59:16,560 --> 00:59:20,000
Speaker 2: the markets were crazy, everybody was going nuts. There were

1086
00:59:20,000 --> 00:59:23,960
Speaker 2: big tours, and then COVID happened. After COVID, I turned

1087
00:59:24,000 --> 00:59:26,640
Speaker 2: this job into a data business more so than a

1088
00:59:26,680 --> 00:59:32,480
Speaker 2: distribution business on the music side. And about almost two

1089
00:59:32,520 --> 00:59:34,240
Speaker 2: and a half three years ago, I got a call

1090
00:59:34,360 --> 00:59:37,360
Speaker 2: from a friend of mine at Logitics, who said, we'd

1091
00:59:37,400 --> 00:59:39,160
Speaker 2: love you to come over here, and uh, you know,

1092
00:59:39,320 --> 00:59:40,120
Speaker 2: come work with us.

1093
00:59:40,160 --> 00:59:43,040
Speaker 1: And so wait, wait, just so wait, just so we

1094
00:59:43,160 --> 00:59:46,640
Speaker 1: understand when you started eight years ago, you were working

1095
00:59:46,680 --> 00:59:48,200
Speaker 1: for a different company.

1096
00:59:47,840 --> 00:59:50,280
Speaker 2: Not working for no I was not working for Logitics.

1097
00:59:50,320 --> 00:59:53,920
Speaker 2: I was working for a different company. But again it

1098
00:59:54,160 --> 00:59:58,480
Speaker 2: was you know, sort of both feed in in understanding

1099
00:59:58,720 --> 01:00:03,280
Speaker 2: secondary And as you know, I grew up in this business.

1100
01:00:03,400 --> 01:00:05,480
Speaker 2: I grew up around this business. And I've been in

1101
01:00:05,520 --> 01:00:08,400
Speaker 2: the music business. I've been a manager for almost thirty years,

1102
01:00:08,880 --> 01:00:12,480
Speaker 2: which just pretty crazy you think about it. And so

1103
01:00:12,560 --> 01:00:15,040
Speaker 2: I just knew everybody, and I knew a ton of

1104
01:00:15,080 --> 01:00:17,600
Speaker 2: people in the music business. And that began me going

1105
01:00:17,640 --> 01:00:19,960
Speaker 2: and knocking on doors and saying, look at this data,

1106
01:00:20,720 --> 01:00:23,439
Speaker 2: look at this information, and how can we figure out

1107
01:00:23,480 --> 01:00:29,680
Speaker 2: how to understand this and make you smarter and get

1108
01:00:29,760 --> 01:00:33,360
Speaker 2: you more money in your artist's pockets and you know,

1109
01:00:33,520 --> 01:00:35,320
Speaker 2: put tickets in the hands of your fans. And that

1110
01:00:35,480 --> 01:00:41,520
Speaker 2: was how it went. And yeah, so Logitics has been

1111
01:00:41,520 --> 01:00:45,360
Speaker 2: a really great experience. It's run by great people, Bob,

1112
01:00:45,400 --> 01:00:47,840
Speaker 2: And I think that's the other thing for me that

1113
01:00:48,000 --> 01:00:51,360
Speaker 2: sometimes people don't understand about what I do is I

1114
01:00:51,440 --> 01:00:54,760
Speaker 2: truly work with wonderful people who actually give a shit

1115
01:00:55,080 --> 01:01:00,000
Speaker 2: about what we do and about the idea of taking

1116
01:01:00,080 --> 01:01:01,040
Speaker 2: care of our clients.

1117
01:01:01,040 --> 01:01:03,320
Speaker 1: And Okay, so you're the you're the front person.

1118
01:01:03,920 --> 01:01:05,560
Speaker 2: Yeah, the people.

1119
01:01:05,360 --> 01:01:09,720
Speaker 1: Were scraping the data and analyzing the data. Is that

1120
01:01:09,960 --> 01:01:13,560
Speaker 1: one team that covers everything, sports, music, et cetera.

1121
01:01:13,720 --> 01:01:16,360
Speaker 2: I have. I have a team of guys that handle

1122
01:01:16,440 --> 01:01:19,800
Speaker 2: the music side of things. Gil Michael so much smarter

1123
01:01:19,920 --> 01:01:23,320
Speaker 2: than I am. You know that actually are out there,

1124
01:01:23,520 --> 01:01:25,400
Speaker 2: you know, and we you know. No, And by the way,

1125
01:01:25,760 --> 01:01:29,240
Speaker 2: it's you know, it's a it's a team of people.

1126
01:01:29,280 --> 01:01:32,080
Speaker 2: So I have a team on my music side. As

1127
01:01:32,120 --> 01:01:34,960
Speaker 2: I said, I work with Wendy on the open distribution side.

1128
01:01:35,040 --> 01:01:38,920
Speaker 2: And yeah, I mean it's uh, it's a lot of

1129
01:01:38,960 --> 01:01:40,800
Speaker 2: people in this company. It's gotten really big.

1130
01:01:42,600 --> 01:01:46,560
Speaker 1: Okay, let's go back to the beginning. Your father, who

1131
01:01:46,600 --> 01:01:51,680
Speaker 1: recently passed, was a legendary attorney, Howard Whitesman. When did

1132
01:01:51,720 --> 01:01:53,840
Speaker 1: you realize he was Howard Whitesman.

1133
01:01:55,880 --> 01:02:00,680
Speaker 2: Wow, that's a great question. Well, you know, you take me.

1134
01:02:02,240 --> 01:02:04,280
Speaker 2: He used to take me to his client's houses. Okay,

1135
01:02:04,320 --> 01:02:07,160
Speaker 2: my parents got divorced when it was four and my

1136
01:02:07,160 --> 01:02:09,560
Speaker 2: mother tells a story of when I came home at

1137
01:02:09,560 --> 01:02:12,959
Speaker 2: one point from being with him on the weekend, because

1138
01:02:12,960 --> 01:02:14,560
Speaker 2: I always went to him on the weekend. I told

1139
01:02:14,560 --> 01:02:16,560
Speaker 2: her a story about going to dinner at these nice

1140
01:02:16,560 --> 01:02:20,280
Speaker 2: people's house, probably Wittier for something like that. Pop and

1141
01:02:20,320 --> 01:02:23,320
Speaker 2: the mother, the wife was feeding meatballs to the doberman

1142
01:02:23,480 --> 01:02:25,080
Speaker 2: from the table. You know, it was like it was

1143
01:02:25,480 --> 01:02:28,320
Speaker 2: Louis Dragna. You know, i'd some mob guy. You know,

1144
01:02:28,440 --> 01:02:31,120
Speaker 2: When did I realize he was Howard Whitesman. You know,

1145
01:02:31,160 --> 01:02:32,640
Speaker 2: I guess my whole life, you know, and you have

1146
01:02:32,680 --> 01:02:34,880
Speaker 2: to realize, like you know, when my parents got divorced,

1147
01:02:35,400 --> 01:02:37,880
Speaker 2: you know, my dad was Howard Whitzman. My stepdad was

1148
01:02:37,880 --> 01:02:40,400
Speaker 2: the Fawns. It was nineteen seventy five. I mean, it

1149
01:02:40,480 --> 01:02:45,480
Speaker 2: was like insanity, you know. And so my dad was

1150
01:02:45,520 --> 01:02:47,360
Speaker 2: My dad was one of a kind. I mean, my

1151
01:02:47,480 --> 01:02:51,400
Speaker 2: dad always took care of business. There were never any issues.

1152
01:02:52,800 --> 01:02:55,480
Speaker 2: He was a larger than life guy. I don't know.

1153
01:02:55,520 --> 01:02:57,240
Speaker 2: I sent you something this morning. I don't know if

1154
01:02:57,240 --> 01:02:58,160
Speaker 2: you had a chance to read it.

1155
01:02:58,200 --> 01:02:58,680
Speaker 1: I did.

1156
01:02:59,320 --> 01:03:01,040
Speaker 2: My dad was the kind of guy that would say

1157
01:03:01,040 --> 01:03:03,240
Speaker 2: I love you, but if you cross me, you know,

1158
01:03:03,440 --> 01:03:04,680
Speaker 2: I'll see the shit out of you. You know, I

1159
01:03:04,720 --> 01:03:10,360
Speaker 2: mean that was him, you know, you know, he was

1160
01:03:11,160 --> 01:03:14,600
Speaker 2: the thing about my dad was that he knew everybody,

1161
01:03:15,120 --> 01:03:17,360
Speaker 2: and the most important people to him were the guys

1162
01:03:17,360 --> 01:03:19,560
Speaker 2: that took the car, were the guys that were the

1163
01:03:19,560 --> 01:03:22,440
Speaker 2: bus boys that think, you know, because he came from nothing,

1164
01:03:22,640 --> 01:03:26,120
Speaker 2: you know, and so you know, I realized he was

1165
01:03:26,160 --> 01:03:28,760
Speaker 2: Howard Whitesman, you know, quite early on. My dad was

1166
01:03:28,800 --> 01:03:31,240
Speaker 2: the coolest bob. I mean, to be honest, you know,

1167
01:03:32,120 --> 01:03:34,320
Speaker 2: growing up, you know, I always he told me that

1168
01:03:34,360 --> 01:03:37,000
Speaker 2: my first concert was Mata hoopelt like seventy five at

1169
01:03:37,040 --> 01:03:39,120
Speaker 2: Santa Monicacidic. I don't know if that's true, but I'd

1170
01:03:39,120 --> 01:03:41,200
Speaker 2: like to think it's true. But because I was with

1171
01:03:41,440 --> 01:03:43,840
Speaker 2: because I was with him on the weekends, you know,

1172
01:03:43,920 --> 01:03:45,760
Speaker 2: and I was with my mom and Henry all week

1173
01:03:46,160 --> 01:03:48,560
Speaker 2: you know. It was my dad and my stepmom. And

1174
01:03:48,600 --> 01:03:50,720
Speaker 2: so if there was a concert, if it was you know,

1175
01:03:50,800 --> 01:03:53,240
Speaker 2: the long run tour at the Santa Monica Civic, my

1176
01:03:53,320 --> 01:03:55,920
Speaker 2: dad was bringing me. Or if it was you know,

1177
01:03:56,040 --> 01:03:57,800
Speaker 2: if we were going to see you know, Russ never

1178
01:03:57,840 --> 01:04:00,240
Speaker 2: sleeps in the theater and the avco, it was my

1179
01:04:00,320 --> 01:04:03,080
Speaker 2: dad was bringing me. I was always this little kid,

1180
01:04:03,080 --> 01:04:07,200
Speaker 2: always in adult situations, you know, And yeah, it was

1181
01:04:07,240 --> 01:04:10,400
Speaker 2: a really interesting, unique way to grow up. Very special guy.

1182
01:04:11,080 --> 01:04:16,520
Speaker 1: Okay, he was a very high level guy on big cases.

1183
01:04:16,920 --> 01:04:20,200
Speaker 1: To what degree was he representing musical talent?

1184
01:04:20,800 --> 01:04:24,320
Speaker 2: So he always represented you know, guys that got in

1185
01:04:24,360 --> 01:04:28,520
Speaker 2: trouble in the olden so and I swear to God

1186
01:04:28,560 --> 01:04:32,040
Speaker 2: if I remember this right, you know, tonight's the night

1187
01:04:32,120 --> 01:04:35,160
Speaker 2: the Neil Young song and he talks about Bruce Barry was.

1188
01:04:35,240 --> 01:04:36,600
Speaker 1: Of course.

1189
01:04:37,920 --> 01:04:40,360
Speaker 2: That's right, And I think my dad represented Bruce and

1190
01:04:40,440 --> 01:04:42,480
Speaker 2: so you know, he always would tell me that, you know,

1191
01:04:42,480 --> 01:04:44,120
Speaker 2: I mean in the old days, in the four in

1192
01:04:44,160 --> 01:04:46,800
Speaker 2: the three ADSL or whatever that little car was, there

1193
01:04:46,840 --> 01:04:48,840
Speaker 2: was no seat in the back seat. I was in

1194
01:04:48,880 --> 01:04:51,360
Speaker 2: the back seat. He was in the front seat. You know,

1195
01:04:51,400 --> 01:04:54,000
Speaker 2: there was no seat, there were no seatbelts, and top

1196
01:04:54,120 --> 01:04:57,240
Speaker 2: was down driving wherever we were driving. Neil Young on

1197
01:04:57,320 --> 01:05:00,280
Speaker 2: the on the deck Steely Dan. I mean, that was

1198
01:05:00,280 --> 01:05:03,200
Speaker 2: my dad. We listened to music all day long, and

1199
01:05:03,240 --> 01:05:05,400
Speaker 2: so you know, one of the things that is so

1200
01:05:05,440 --> 01:05:07,680
Speaker 2: important for me to get across to you is that

1201
01:05:07,800 --> 01:05:10,560
Speaker 2: music's my life. You had my buddy Chris Robinson on

1202
01:05:10,640 --> 01:05:13,480
Speaker 2: and I was listening to it yesterday, like those like

1203
01:05:13,600 --> 01:05:17,200
Speaker 2: That's what I love. You know, music people to me

1204
01:05:17,960 --> 01:05:21,920
Speaker 2: are it actors schmacks. I don't care. Like if you're

1205
01:05:21,960 --> 01:05:23,760
Speaker 2: a rockstarant and you walk in a room, I'm gonna

1206
01:05:23,760 --> 01:05:26,400
Speaker 2: lose my mind, you know. So for me, like those

1207
01:05:26,400 --> 01:05:28,200
Speaker 2: are the those are the most memorable things. So with

1208
01:05:28,280 --> 01:05:30,760
Speaker 2: my dad, you know, he represented those guys when they

1209
01:05:30,760 --> 01:05:33,919
Speaker 2: got in trouble, and then after DeLorean and then when

1210
01:05:34,040 --> 01:05:39,360
Speaker 2: he you know, uh so you know, amazingly stepped away

1211
01:05:39,400 --> 01:05:42,880
Speaker 2: from the OJ case. You know, he just always you

1212
01:05:42,880 --> 01:05:45,400
Speaker 2: know that he eventually became this guy that was sort

1213
01:05:45,440 --> 01:05:48,560
Speaker 2: of a litigator, and then the Jackson estate happened. And

1214
01:05:49,000 --> 01:05:53,520
Speaker 2: but to this day, I will meet people who will

1215
01:05:53,520 --> 01:05:55,280
Speaker 2: tell me, you know, I knew your dad, you know.

1216
01:05:55,360 --> 01:05:58,040
Speaker 2: And I'm not talking about like, you know, the people

1217
01:05:58,040 --> 01:05:59,720
Speaker 2: I knew that knew him, that I grew up with,

1218
01:06:00,600 --> 01:06:03,600
Speaker 2: random people, or you know, I'll go into meetings in

1219
01:06:03,680 --> 01:06:06,200
Speaker 2: an agency, you know, with seventeen agents, and we'll finish

1220
01:06:06,280 --> 01:06:08,200
Speaker 2: the meeting and I'll be explaining dad to them, and

1221
01:06:08,240 --> 01:06:09,960
Speaker 2: one of them will come up and you go, you know,

1222
01:06:09,960 --> 01:06:11,560
Speaker 2: I knew your dad, and he took care of me,

1223
01:06:11,600 --> 01:06:14,520
Speaker 2: you know, and so he knew everybody, and so he

1224
01:06:14,640 --> 01:06:19,720
Speaker 2: was really really incredible guy, Bob, And so yeah, I

1225
01:06:19,720 --> 01:06:21,520
Speaker 2: mean that's I mean, that's why I do what I do.

1226
01:06:21,720 --> 01:06:23,200
Speaker 2: You know, Okay, let's go back.

1227
01:06:23,560 --> 01:06:27,200
Speaker 1: Your biological mother. How many times was she married or husband?

1228
01:06:27,560 --> 01:06:30,400
Speaker 2: She has been married to my father and then to Henry.

1229
01:06:30,560 --> 01:06:33,919
Speaker 1: So okay, your father, how many people has he been

1230
01:06:33,960 --> 01:06:34,360
Speaker 1: married to?

1231
01:06:34,720 --> 01:06:37,880
Speaker 2: Just to my mother and to my stepmother Margaret White? Okay,

1232
01:06:38,760 --> 01:06:40,680
Speaker 2: still in my life and all best friends.

1233
01:06:40,920 --> 01:06:46,080
Speaker 1: Okay of your biological mother, your biological father. Are there

1234
01:06:46,200 --> 01:06:48,840
Speaker 1: any other kids of the marriage other than you?

1235
01:06:48,840 --> 01:06:51,240
Speaker 2: No, they broke them all when I was when they

1236
01:06:51,240 --> 01:06:52,040
Speaker 2: had me, it was over.

1237
01:06:52,520 --> 01:06:56,040
Speaker 1: And when Henry married your mother, did he come with

1238
01:06:56,200 --> 01:06:57,160
Speaker 1: kids or did they have?

1239
01:06:57,440 --> 01:07:00,960
Speaker 2: Now we I have a sister Zoe and a brother Max,

1240
01:07:01,040 --> 01:07:02,360
Speaker 2: who are pretty.

1241
01:07:02,160 --> 01:07:05,240
Speaker 1: Hilarious, and they were born with.

1242
01:07:05,040 --> 01:07:07,880
Speaker 2: My mom and Henry. Yeah, and for us, Bob, it's

1243
01:07:09,600 --> 01:07:11,600
Speaker 2: you know, there are no steps. You know, when my

1244
01:07:11,640 --> 01:07:14,480
Speaker 2: father passed away, my sister Zoe spoke at the funeral.

1245
01:07:14,640 --> 01:07:17,720
Speaker 2: You know, my stepmother, Margaret comes on vacation with my

1246
01:07:17,800 --> 01:07:19,840
Speaker 2: mom and Henry. You know, it's a whole. It's a whole.

1247
01:07:20,080 --> 01:07:20,760
Speaker 2: You know, it's a whole.

1248
01:07:20,960 --> 01:07:24,560
Speaker 1: Okay, did your father ever have any more kids.

1249
01:07:24,760 --> 01:07:27,320
Speaker 2: He I have a brother, Arman, with my mom, with

1250
01:07:27,600 --> 01:07:28,440
Speaker 2: Margaret and my dad.

1251
01:07:28,560 --> 01:07:30,160
Speaker 1: Yeah, and what is he up to?

1252
01:07:30,600 --> 01:07:33,440
Speaker 2: He's a writer, actor, he was, you know, does a

1253
01:07:33,440 --> 01:07:36,040
Speaker 2: bunch of his comedian great guy. My brother Max is

1254
01:07:36,080 --> 01:07:40,040
Speaker 2: a director, works with Brian Murphy. My sister Zoe has

1255
01:07:40,080 --> 01:07:44,320
Speaker 2: three boys and has a nonprofit called This Is About

1256
01:07:44,360 --> 01:07:46,800
Speaker 2: Humanity and is married to a great guy Rob. And

1257
01:07:48,000 --> 01:07:50,400
Speaker 2: I'm the only okay you know that's in the music business.

1258
01:07:50,440 --> 01:07:52,840
Speaker 1: Okay, you're a guy. You mentioned you've been in the business.

1259
01:07:52,840 --> 01:07:53,880
Speaker 1: What year were you born?

1260
01:07:54,440 --> 01:07:55,960
Speaker 2: Nineteen seventy one. I'm fifty two.

1261
01:07:58,000 --> 01:08:01,320
Speaker 1: What the fuck is it like having your f the fawns?

1262
01:08:01,600 --> 01:08:08,120
Speaker 2: Okay? So it was get first hen on my fourth birthday,

1263
01:08:08,280 --> 01:08:11,520
Speaker 2: I mean my fifth birthday cake was spider Man, Batman

1264
01:08:11,760 --> 01:08:15,520
Speaker 2: and the Fawns. Okay. And then and then literally bob.

1265
01:08:15,640 --> 01:08:18,760
Speaker 2: This man walks into my grandparents' house to pick up

1266
01:08:18,760 --> 01:08:22,559
Speaker 2: my mother in Brentwood, and I opened the door and

1267
01:08:22,600 --> 01:08:25,799
Speaker 2: I said, oh, my god, Phonsie, and he said, uh,

1268
01:08:25,840 --> 01:08:27,479
Speaker 2: my name is Henry. How would you like it if

1269
01:08:27,520 --> 01:08:29,559
Speaker 2: I called you Ralph? And I was like, whoa, who

1270
01:08:29,600 --> 01:08:32,160
Speaker 2: the fuck is this guy? Right? And I think you know,

1271
01:08:32,560 --> 01:08:34,599
Speaker 2: Legends is I kicked him and then walked away. But like,

1272
01:08:35,040 --> 01:08:37,880
Speaker 2: it was unbelievable. It allowed me to live a life

1273
01:08:38,000 --> 01:08:42,400
Speaker 2: beyond my wildest dreams. It was, I'd be honest, it

1274
01:08:42,479 --> 01:08:45,000
Speaker 2: was not easy for me, and to be quite frank,

1275
01:08:45,040 --> 01:08:47,240
Speaker 2: I don't talk about it very often, so I'm happy

1276
01:08:47,280 --> 01:08:50,920
Speaker 2: to talk about it with you now. But he uh,

1277
01:08:51,479 --> 01:08:54,040
Speaker 2: you know it was it was major Fawn's time that

1278
01:08:54,120 --> 01:08:58,680
Speaker 2: I was also very guarded with how people kind of

1279
01:08:58,760 --> 01:09:01,760
Speaker 2: viewed me or how people came into my life, you know,

1280
01:09:01,840 --> 01:09:04,160
Speaker 2: But there was nothing bad about it. I mean, it

1281
01:09:04,200 --> 01:09:06,240
Speaker 2: was unbelievable. I mean if I went to a concert,

1282
01:09:06,560 --> 01:09:08,000
Speaker 2: you know, we met the band, you know, I mean,

1283
01:09:08,040 --> 01:09:09,880
Speaker 2: it was unbelievable, right, It was like, you know, I

1284
01:09:09,920 --> 01:09:12,040
Speaker 2: wanted us see David Bewie. There were O great here's

1285
01:09:12,080 --> 01:09:13,200
Speaker 2: you know, I have a great I'll send you this

1286
01:09:13,240 --> 01:09:15,840
Speaker 2: picture of me and Bok Fons.

1287
01:09:15,960 --> 01:09:19,400
Speaker 1: The Fonds is legendary to this time. Yeah, reading a story.

1288
01:09:19,439 --> 01:09:21,560
Speaker 1: I was watching a video on social media today with

1289
01:09:21,640 --> 01:09:27,599
Speaker 1: him and sliced alone. Okay, was this a burden? Could

1290
01:09:27,600 --> 01:09:29,880
Speaker 1: you not leave the house? Could he not show up

1291
01:09:29,920 --> 01:09:31,760
Speaker 1: with your ball game? Could you not go out to

1292
01:09:31,840 --> 01:09:34,200
Speaker 1: dinner because people were bothering him.

1293
01:09:34,280 --> 01:09:38,680
Speaker 2: He always came to my games, We always went out

1294
01:09:38,720 --> 01:09:41,799
Speaker 2: to dinner. It was a little crazy in the beginning,

1295
01:09:42,160 --> 01:09:45,160
Speaker 2: but we were in La right, so it wasn't so

1296
01:09:45,439 --> 01:09:48,880
Speaker 2: bad because we were here. You know, this man is

1297
01:09:49,040 --> 01:09:54,040
Speaker 2: seventy whatever he is, and he literally can go anywhere

1298
01:09:54,080 --> 01:09:57,200
Speaker 2: in the world and people will know who he is.

1299
01:09:57,439 --> 01:10:01,120
Speaker 2: And that is unreal. And it's funny because of my girls,

1300
01:10:01,600 --> 01:10:06,240
Speaker 2: Lulu and India, who are ten and fourteen. They went

1301
01:10:06,560 --> 01:10:09,120
Speaker 2: they went to Century City recently with Nana Papa to

1302
01:10:09,200 --> 01:10:11,600
Speaker 2: go shopping on a Saturday. They came home and I

1303
01:10:11,600 --> 01:10:12,680
Speaker 2: said to Lula, how was that?

1304
01:10:12,760 --> 01:10:13,080
Speaker 1: She goes?

1305
01:10:13,080 --> 01:10:15,880
Speaker 2: You know, Dad, that was really crazy. I've never really

1306
01:10:15,920 --> 01:10:18,320
Speaker 2: seen anything like that with Papa before, you know, like

1307
01:10:18,360 --> 01:10:21,599
Speaker 2: that's it still gets crazy. We went to a Chiefs

1308
01:10:21,600 --> 01:10:25,040
Speaker 2: game recently, a Chargers Chiefs game. It gets nuts. I mean,

1309
01:10:25,080 --> 01:10:27,559
Speaker 2: people go nuts. Everybody knows who he is. It's pretty

1310
01:10:27,960 --> 01:10:29,559
Speaker 2: pretty remarkable, to be honest.

1311
01:10:30,560 --> 01:10:35,439
Speaker 1: How does it feel having the public own your dad?

1312
01:10:38,439 --> 01:10:44,639
Speaker 2: You know? I was recently with him somewhere and we

1313
01:10:44,680 --> 01:10:47,080
Speaker 2: met somebody and he said, this is my son, and

1314
01:10:47,120 --> 01:10:48,760
Speaker 2: I said, nice to meet you. And the guys who well,

1315
01:10:48,800 --> 01:10:51,479
Speaker 2: I must have been really weird and I said, no,

1316
01:10:51,600 --> 01:10:56,439
Speaker 2: it's actually really great. You know, it's a pretty amazing thing.

1317
01:10:56,680 --> 01:11:00,000
Speaker 2: I mean, you know, was it frustrating when I was younger, Yeah,

1318
01:11:00,160 --> 01:11:03,840
Speaker 2: might have been. But I've always been very grateful for

1319
01:11:03,960 --> 01:11:07,120
Speaker 2: where I come from and and all that stuff. And

1320
01:11:08,400 --> 01:11:10,800
Speaker 2: you know, I think I'm able to do what I

1321
01:11:10,920 --> 01:11:13,920
Speaker 2: do now at the level I'm able to do it

1322
01:11:14,160 --> 01:11:16,880
Speaker 2: because I grew up in this way. You know, I

1323
01:11:16,920 --> 01:11:19,400
Speaker 2: grew up with all these folks, you know.

1324
01:11:20,000 --> 01:11:22,360
Speaker 1: Okay, So when you grew up in your formative years,

1325
01:11:22,400 --> 01:11:23,559
Speaker 1: what neighborhood were you in.

1326
01:11:24,000 --> 01:11:26,600
Speaker 2: I was in My dad lived in the Palaishads and

1327
01:11:26,680 --> 01:11:29,200
Speaker 2: Henry and my mom lived in Tuluca Lake, So I

1328
01:11:29,240 --> 01:11:30,160
Speaker 2: went back and forth.

1329
01:11:30,720 --> 01:11:34,000
Speaker 1: And when you were living with your mother and Henry,

1330
01:11:34,400 --> 01:11:35,479
Speaker 1: where'd you go to school?

1331
01:11:35,800 --> 01:11:38,559
Speaker 2: I went to school called Oakwood in North Hollywood. Sure,

1332
01:11:38,680 --> 01:11:42,519
Speaker 2: in the in the eighties. Eighties were really good to me, Bob.

1333
01:11:42,800 --> 01:11:45,439
Speaker 2: I thought I was in Rat most of the time

1334
01:11:45,600 --> 01:11:48,479
Speaker 2: in the eighties. That's funny. David Marcus will always make

1335
01:11:48,520 --> 01:11:50,840
Speaker 2: fun of me with the Rat jokes because he knows

1336
01:11:50,880 --> 01:11:53,400
Speaker 2: I love Rat so much. But yeah, I mean I was.

1337
01:11:53,680 --> 01:11:56,000
Speaker 2: I was a metal head. I was a Valley medal kid.

1338
01:11:56,680 --> 01:12:00,280
Speaker 2: But I listened to so much music growing up, and

1339
01:12:00,320 --> 01:12:03,080
Speaker 2: I was also a liner note weirdo. You know, So

1340
01:12:03,640 --> 01:12:06,240
Speaker 2: as I got more into the management side of things,

1341
01:12:06,280 --> 01:12:08,599
Speaker 2: you know, as I got older, or you know, when

1342
01:12:08,640 --> 01:12:10,400
Speaker 2: I worked with Morrissey for a while, or I'd be

1343
01:12:10,439 --> 01:12:13,080
Speaker 2: in London and I'd run into Nick Hayward and I'd

1344
01:12:13,080 --> 01:12:15,240
Speaker 2: be like that record you made with Jeff Emrick, can

1345
01:12:15,240 --> 01:12:17,040
Speaker 2: you tell me about that? Or when I started a

1346
01:12:17,120 --> 01:12:20,200
Speaker 2: sanctuary working for mrk Right, I worked with Peter Asher,

1347
01:12:20,240 --> 01:12:22,880
Speaker 2: and I mean I was just like, my god, you know, hey, Peter,

1348
01:12:23,280 --> 01:12:25,639
Speaker 2: I'm on site, slim in the blue Horizon on machine

1349
01:12:25,680 --> 01:12:28,160
Speaker 2: gun Kelly that conversation. Who is he talking to you?

1350
01:12:28,280 --> 01:12:33,040
Speaker 1: Oh yeah, yeah, yeah, right, okay, okay, but let's stay

1351
01:12:33,080 --> 01:12:36,880
Speaker 1: with the appearance. What lessons did you learn from your father?

1352
01:12:37,240 --> 01:12:43,320
Speaker 2: To be humble? To be extraordinarily humble and thankful from

1353
01:12:43,360 --> 01:12:48,120
Speaker 2: both of them. My father, Howard, he took care of everybody,

1354
01:12:49,040 --> 01:12:53,920
Speaker 2: and that was the greatest thing that I learned from him.

1355
01:12:54,240 --> 01:12:59,200
Speaker 2: You know, I talked to everybody. I always am acknowledging

1356
01:12:59,240 --> 01:13:03,719
Speaker 2: people I am, you know, in private or at home.

1357
01:13:03,960 --> 01:13:06,280
Speaker 2: I made not my wife might tell you I'm not

1358
01:13:06,320 --> 01:13:08,160
Speaker 2: the you know, the easiest guy to live with. But

1359
01:13:08,880 --> 01:13:10,400
Speaker 2: you know, when I get out of a car at

1360
01:13:10,400 --> 01:13:12,519
Speaker 2: a restaurant that I go to all the time, you know,

1361
01:13:12,600 --> 01:13:15,120
Speaker 2: I'm hugging the valet guy. That's my guy, you know.

1362
01:13:15,400 --> 01:13:18,360
Speaker 2: And uh, I when I go to a restaurant, I'm

1363
01:13:18,400 --> 01:13:20,440
Speaker 2: a weirdo like that, Bob. But go to the same places.

1364
01:13:20,560 --> 01:13:23,360
Speaker 2: I eat it the same places all the time. I

1365
01:13:23,520 --> 01:13:26,599
Speaker 2: like to go where I know people. And that's what

1366
01:13:26,640 --> 01:13:28,160
Speaker 2: my dad was. You know, my dad went to the

1367
01:13:28,200 --> 01:13:31,559
Speaker 2: same restaurant every Friday night. You know. You know, in

1368
01:13:31,600 --> 01:13:33,519
Speaker 2: the last ten years of his life. You said, at

1369
01:13:33,560 --> 01:13:37,080
Speaker 2: the same table what restaurant was. It was called it

1370
01:13:37,160 --> 01:13:43,160
Speaker 2: was called Vincenti And it's no longer in listening, Bob,

1371
01:13:43,200 --> 01:13:47,160
Speaker 2: I'm serious, Like it was literally like Jesus, okay, fine,

1372
01:13:47,280 --> 01:13:49,280
Speaker 2: you know, let's go. You know, that was his thing.

1373
01:13:49,400 --> 01:13:52,040
Speaker 2: And if somebody was in the table and he came early,

1374
01:13:52,240 --> 01:13:57,200
Speaker 2: they'd move them. I mean, you know, you know when

1375
01:13:57,360 --> 01:14:02,280
Speaker 2: when the thing about my dad is that everybody for me.

1376
01:14:02,600 --> 01:14:05,960
Speaker 2: People are always pretty good to me, and people always

1377
01:14:06,040 --> 01:14:11,519
Speaker 2: will take my call, they'll always listen. And you know,

1378
01:14:11,600 --> 01:14:16,719
Speaker 2: I was always very aware of other kids that were

1379
01:14:18,280 --> 01:14:21,400
Speaker 2: full of shit and other kids that were not respectful

1380
01:14:21,720 --> 01:14:27,040
Speaker 2: and not aware of their surroundings and aware of what

1381
01:14:27,080 --> 01:14:28,920
Speaker 2: they had and didn't have. I mean, sure I was

1382
01:14:29,040 --> 01:14:31,599
Speaker 2: dumb at one point in my life, but you know,

1383
01:14:32,680 --> 01:14:35,400
Speaker 2: I finally feel at fifty two like I kind of

1384
01:14:35,400 --> 01:14:39,120
Speaker 2: know what I'm doing a little bit and it's a

1385
01:14:39,160 --> 01:14:41,680
Speaker 2: good place to be. But all that, you know, craziness

1386
01:14:41,680 --> 01:14:43,120
Speaker 2: has certainly made me who I am.

1387
01:14:43,280 --> 01:14:45,880
Speaker 1: You know. Okay, so you graduated from high school, then what.

1388
01:14:46,320 --> 01:14:50,759
Speaker 2: I went to Georgetown for four years, had a great time.

1389
01:14:51,400 --> 01:14:54,799
Speaker 2: I majored in music history and English, which was amazing,

1390
01:14:54,880 --> 01:14:57,400
Speaker 2: and then I started working at Saturday Night Live in

1391
01:14:57,479 --> 01:14:58,000
Speaker 2: ninety three.

1392
01:14:58,120 --> 01:15:01,040
Speaker 1: Well, were a little bit slower. Yeah, yeah, so you

1393
01:15:01,200 --> 01:15:05,439
Speaker 1: graduated from Georgetown. Yeah, how did you get the job?

1394
01:15:05,840 --> 01:15:09,720
Speaker 2: So? No, So I grew up with Bernie Brostein and

1395
01:15:09,760 --> 01:15:13,880
Speaker 2: Brad Gray. I knew those guys for you knew them

1396
01:15:13,880 --> 01:15:18,439
Speaker 2: from which father, right, both, This is actually quite funny,

1397
01:15:19,640 --> 01:15:24,400
Speaker 2: and so we used to vacation. So in the old days, Bob,

1398
01:15:25,040 --> 01:15:27,599
Speaker 2: you know, Hawaii was It still is a fun place,

1399
01:15:27,600 --> 01:15:31,800
Speaker 2: but in those days it was like us, the dailies

1400
01:15:32,439 --> 01:15:34,559
Speaker 2: guy named Bob Daley and his kids. So I grew

1401
01:15:34,640 --> 01:15:38,280
Speaker 2: up my whole life the Rickles Warner Brothers. Yeah, the Rickles,

1402
01:15:38,479 --> 01:15:41,519
Speaker 2: the New Hearts, the Joneses, Quincy, and I mean it

1403
01:15:41,560 --> 01:15:44,200
Speaker 2: was you don't understand, like it's so funny. I never

1404
01:15:44,240 --> 01:15:46,559
Speaker 2: really think about it. And a buddy of mine asked

1405
01:15:46,600 --> 01:15:49,519
Speaker 2: me recently, Jimmy Ton Rickles, and I was like, actually,

1406
01:15:49,520 --> 01:15:51,439
Speaker 2: I spent quite a few of Christmases with him, you know,

1407
01:15:51,479 --> 01:15:53,519
Speaker 2: and then you'd have a dinner at the hotel and

1408
01:15:53,560 --> 01:15:56,680
Speaker 2: he'd be roasting everybody in the room, and yeah, it was.

1409
01:15:57,040 --> 01:15:59,479
Speaker 2: It was beyond right. So, and I knew Brad and

1410
01:15:59,520 --> 01:16:02,400
Speaker 2: Bernie I was very young, and I always wanted to

1411
01:16:02,400 --> 01:16:04,760
Speaker 2: work for those guys. The other thing was is that

1412
01:16:04,760 --> 01:16:07,599
Speaker 2: when I was fifteen, I started working at Warner Records,

1413
01:16:07,640 --> 01:16:11,600
Speaker 2: interning for Michael Austin, you know, Lenny and Moe and

1414
01:16:11,640 --> 01:16:13,640
Speaker 2: all those guys. And so I was around that my

1415
01:16:13,720 --> 01:16:17,320
Speaker 2: whole life too. Music was always what I loved more

1416
01:16:17,320 --> 01:16:22,680
Speaker 2: than anything. But somehow, as I when I graduated, I thought,

1417
01:16:22,720 --> 01:16:24,320
Speaker 2: you know, I'm just going to be a manager, you know,

1418
01:16:24,360 --> 01:16:28,639
Speaker 2: and I kind of went and did that. It was yeah, sorry,

1419
01:16:28,640 --> 01:16:29,559
Speaker 2: it slower.

1420
01:16:29,840 --> 01:16:32,720
Speaker 1: When you graduated, did you work for SNL or did

1421
01:16:32,760 --> 01:16:33,759
Speaker 1: you become a manager.

1422
01:16:33,840 --> 01:16:36,559
Speaker 2: I went to SNL and I worked for Lauren. I

1423
01:16:36,640 --> 01:16:40,360
Speaker 2: made Lauren's popcorn. He always wait, wait before you get there,

1424
01:16:40,560 --> 01:16:43,920
Speaker 2: before you get there. Was it as simple as Bernie

1425
01:16:43,920 --> 01:16:46,599
Speaker 2: calling Lauren. I got a guy and then you show

1426
01:16:46,680 --> 01:16:49,240
Speaker 2: up most likely. But also he was very close with

1427
01:16:49,280 --> 01:16:52,360
Speaker 2: the Austins too, so it was he always had a boy.

1428
01:16:52,520 --> 01:16:54,720
Speaker 2: I understandings. He always had a kid, a guy, a

1429
01:16:54,800 --> 01:16:57,640
Speaker 2: kid every year. That was kind of like the you know,

1430
01:16:57,720 --> 01:17:01,160
Speaker 2: the great right the pop corn maker. And so you know,

1431
01:17:01,200 --> 01:17:02,720
Speaker 2: I went and met them and it was me and

1432
01:17:02,840 --> 01:17:07,200
Speaker 2: three women, three girls. One of I mean, they just were.

1433
01:17:07,320 --> 01:17:10,280
Speaker 2: One of them was Ruthless. I remember that. And it

1434
01:17:10,360 --> 01:17:12,519
Speaker 2: was you know, I actually had dinner last night at

1435
01:17:12,560 --> 01:17:16,200
Speaker 2: Chunley in New York, and I was remembering in ninety three.

1436
01:17:16,640 --> 01:17:19,519
Speaker 2: You know, there was no door dash. It was Jed

1437
01:17:19,680 --> 01:17:22,360
Speaker 2: in the cab going to pick up dinner for thirty people,

1438
01:17:22,600 --> 01:17:25,760
Speaker 2: you know, on Friday nights in his office, and you know,

1439
01:17:26,000 --> 01:17:30,760
Speaker 2: it was that was an unbelievable experience, Bob, because I

1440
01:17:30,840 --> 01:17:34,479
Speaker 2: knew him, I'd met him Lauren, and he was really

1441
01:17:34,560 --> 01:17:38,519
Speaker 2: warm and nice to me, you know. And it was

1442
01:17:38,640 --> 01:17:43,320
Speaker 2: Chris Farley, Sandler, Spade, Hartman. You know, I'm still friendly

1443
01:17:43,360 --> 01:17:45,679
Speaker 2: with Sandler and you know, all those guys are still

1444
01:17:45,720 --> 01:17:49,000
Speaker 2: good dudes. Unfortunately, I had a front row seat to

1445
01:17:49,040 --> 01:17:53,679
Speaker 2: the whole Farley thing, and you know, it was uh

1446
01:17:53,760 --> 01:17:54,960
Speaker 2: but it was May. I was un believe. I was

1447
01:17:55,000 --> 01:17:57,280
Speaker 2: twenty two years old, living in New York City, working

1448
01:17:57,280 --> 01:18:00,960
Speaker 2: for Lauren and you know, being an s L. But

1449
01:18:01,040 --> 01:18:05,280
Speaker 2: every Thursday two o'clock was three o'clock was when the

1450
01:18:05,320 --> 01:18:08,280
Speaker 2: band loaded in, and I would go down there and

1451
01:18:08,320 --> 01:18:11,639
Speaker 2: I would just sit there for loading and dress rehearsal,

1452
01:18:11,680 --> 01:18:14,439
Speaker 2: and I just that was the greatest that Aerosmith Pearl

1453
01:18:14,520 --> 01:18:17,519
Speaker 2: jam Nirvana. That's actually where I met Mark Ketes for

1454
01:18:17,600 --> 01:18:21,320
Speaker 2: the first time, when Nirvana played SNL in ninety three. Right,

1455
01:18:21,400 --> 01:18:25,360
Speaker 2: I mean, just unbelievable experience because the music is always

1456
01:18:25,360 --> 01:18:27,320
Speaker 2: what killed me, was always a thing that made me

1457
01:18:27,400 --> 01:18:28,240
Speaker 2: the most excited.

1458
01:18:29,600 --> 01:18:33,960
Speaker 1: Okay, wait, wait, wait, let's stop here. I've only met

1459
01:18:33,960 --> 01:18:37,920
Speaker 1: you face to face within the last ninety days, and

1460
01:18:37,960 --> 01:18:43,000
Speaker 1: you've certainly been warm and friendly and approached me. Is

1461
01:18:43,080 --> 01:18:46,360
Speaker 1: that the secret of you being friends with all these

1462
01:18:46,400 --> 01:18:49,160
Speaker 1: people because you can work at SNL and panted when

1463
01:18:49,200 --> 01:18:51,080
Speaker 1: you have a lot of long hours at bonds people,

1464
01:18:51,520 --> 01:18:54,519
Speaker 1: but you can work somewhere where there's a line between it,

1465
01:18:54,640 --> 01:18:57,760
Speaker 1: or is your personality such wherever you go, you're going

1466
01:18:57,800 --> 01:18:59,040
Speaker 1: to make friends with everybody.

1467
01:18:59,560 --> 01:19:04,439
Speaker 2: I would say the latter. I mean, I it makes

1468
01:19:04,439 --> 01:19:05,360
Speaker 2: my kids crazy.

1469
01:19:05,560 --> 01:19:05,800
Speaker 1: You know.

1470
01:19:05,920 --> 01:19:09,920
Speaker 2: Sometimes when we're out, I talk to everybody. I actually

1471
01:19:09,960 --> 01:19:11,600
Speaker 2: look people in the eye and say, hey, nice to

1472
01:19:11,640 --> 01:19:13,640
Speaker 2: meet you, how are you, thank you, appreciate you, you know,

1473
01:19:13,680 --> 01:19:18,320
Speaker 2: because people, you know, most people don't do that. You know,

1474
01:19:18,360 --> 01:19:21,840
Speaker 2: most people are scared or they're nervous or whatever. But

1475
01:19:22,080 --> 01:19:25,000
Speaker 2: my secret sauce has always been to just be genuine

1476
01:19:25,080 --> 01:19:31,000
Speaker 2: and be myself, you know. And so yeah, that's that's

1477
01:19:31,000 --> 01:19:32,600
Speaker 2: what I do. You know, I talk to people. I

1478
01:19:32,600 --> 01:19:33,599
Speaker 2: talk to people for a living.

1479
01:19:34,560 --> 01:19:36,880
Speaker 1: Okay, I have my own theories, but I want to

1480
01:19:36,920 --> 01:19:40,679
Speaker 1: ask you, how do you interact with famous people?

1481
01:19:42,640 --> 01:19:46,200
Speaker 2: You just treat them like they're not famous. I mean,

1482
01:19:46,240 --> 01:19:48,680
Speaker 2: that's the easiest way to do it. You know. I

1483
01:19:48,720 --> 01:19:51,479
Speaker 2: agree that. I mean, I get Bob the only thing.

1484
01:19:51,560 --> 01:19:55,160
Speaker 2: I mean, there's only been a couple times where I truly,

1485
01:19:55,240 --> 01:19:57,880
Speaker 2: only a couple I can count on one hand where

1486
01:19:57,920 --> 01:20:01,400
Speaker 2: I was like, I just I kind of I tried

1487
01:20:01,479 --> 01:20:05,120
Speaker 2: to be cooler, and I'm not tried. But like you know,

1488
01:20:05,160 --> 01:20:08,080
Speaker 2: when I met Chris Robinson twenty years ago. Like that

1489
01:20:08,240 --> 01:20:10,679
Speaker 2: was just like, oh my god. And through a mutual

1490
01:20:10,720 --> 01:20:13,200
Speaker 2: friend of ours, we became close and you know, now

1491
01:20:13,240 --> 01:20:15,080
Speaker 2: he's you know, one of my best buddies. But like

1492
01:20:15,720 --> 01:20:18,600
Speaker 2: when I met Jimmy Page, I didn't know what to

1493
01:20:18,640 --> 01:20:20,920
Speaker 2: do with myself and it was very like it was

1494
01:20:20,960 --> 01:20:23,519
Speaker 2: like a passing thing on the sidewalk in front of

1495
01:20:23,520 --> 01:20:26,280
Speaker 2: the Marquis and I was with somebody that knew him,

1496
01:20:26,320 --> 01:20:28,160
Speaker 2: and it was I just you know, there were no

1497
01:20:28,240 --> 01:20:29,640
Speaker 2: high phones. I didn't get it. You know, it was

1498
01:20:29,680 --> 01:20:33,280
Speaker 2: like BlackBerry days. But like those were the coolest things. Man.

1499
01:20:33,479 --> 01:20:36,960
Speaker 2: You know, you just treat them like a normal human being. Honestly,

1500
01:20:37,000 --> 01:20:39,920
Speaker 2: that's the thing you have to do. And for the

1501
01:20:39,960 --> 01:20:42,559
Speaker 2: most part, they are normal human beings. You know, what

1502
01:20:42,640 --> 01:20:46,400
Speaker 2: makes me crazy is when people, you know, if you're

1503
01:20:47,439 --> 01:20:50,120
Speaker 2: if somebody treats you with respect, you're going to treat

1504
01:20:50,120 --> 01:20:52,519
Speaker 2: them with respect back. And that that's just you know,

1505
01:20:52,600 --> 01:20:55,120
Speaker 2: in life, right, I mean, that's how I treat how

1506
01:20:55,120 --> 01:20:57,479
Speaker 2: I teach my kids. Right, Like we went to the sphere.

1507
01:20:57,560 --> 01:20:59,960
Speaker 2: I told you that. On Friday night, we emailed, right,

1508
01:21:00,000 --> 01:21:02,240
Speaker 2: it was amazing. I took India, my fourteen year old

1509
01:21:02,840 --> 01:21:05,960
Speaker 2: walking in I'm like, listen to me. When you meet Josephine,

1510
01:21:06,040 --> 01:21:07,920
Speaker 2: I want you to make sure you give her a hug.

1511
01:21:08,160 --> 01:21:10,439
Speaker 2: You know, she knows. She's like, I know, it's work dad, right,

1512
01:21:10,520 --> 01:21:12,880
Speaker 2: So like, I get to go to shows with my kids,

1513
01:21:12,920 --> 01:21:14,760
Speaker 2: but it's worked for me. You know. When I go

1514
01:21:14,840 --> 01:21:16,759
Speaker 2: to the form, I know who I'm going to see.

1515
01:21:16,800 --> 01:21:19,680
Speaker 2: And one of the greatest things that happened to me

1516
01:21:19,880 --> 01:21:25,120
Speaker 2: recently was I do a lot of analysis for the

1517
01:21:25,200 --> 01:21:26,760
Speaker 2: eight and G guys, right, and so we go to

1518
01:21:26,760 --> 01:21:30,280
Speaker 2: Coachella every year and they're I love all those guys,

1519
01:21:30,280 --> 01:21:33,599
Speaker 2: Paul and the Golden Voys team. You know, they're amazing people,

1520
01:21:33,640 --> 01:21:36,840
Speaker 2: and so they know my kids, and to me, that's

1521
01:21:36,880 --> 01:21:39,600
Speaker 2: the coolest thing of the you know, and so they know.

1522
01:21:40,120 --> 01:21:42,880
Speaker 2: Or we were Coachella last year and Lulu was then nine,

1523
01:21:43,000 --> 01:21:47,160
Speaker 2: ran away from me, ran backstage because that's what she knows.

1524
01:21:47,680 --> 01:21:49,880
Speaker 2: And the guy who runs the forum walks by and goes,

1525
01:21:50,000 --> 01:21:53,400
Speaker 2: was that Lulu? And I'm like, yeah, you know, in

1526
01:21:53,439 --> 01:21:55,639
Speaker 2: my head, I'm like, how cool is that he knew?

1527
01:21:55,840 --> 01:21:58,880
Speaker 2: You know? So, yeah, it's all about just treating people

1528
01:21:58,880 --> 01:22:02,400
Speaker 2: with respect, Bob. The worst is when they're an asshole.

1529
01:22:02,960 --> 01:22:05,360
Speaker 2: That's the worst, you know, and usually means they're not

1530
01:22:05,360 --> 01:22:07,200
Speaker 2: a good people and not a good person. And when

1531
01:22:07,200 --> 01:22:10,120
Speaker 2: we were talking about like Bob Daily, right, he always

1532
01:22:10,200 --> 01:22:12,760
Speaker 2: taught me to live in the lines always because I

1533
01:22:12,800 --> 01:22:14,439
Speaker 2: was a little wild when I was younger. But he

1534
01:22:14,520 --> 01:22:17,799
Speaker 2: always used to sort of hold his hands together narrow

1535
01:22:17,880 --> 01:22:21,200
Speaker 2: and say bring it in jet. You know, all of

1536
01:22:21,240 --> 01:22:24,960
Speaker 2: those guys, the good ones, you know, are good people.

1537
01:22:25,240 --> 01:22:28,040
Speaker 2: You know, when something happened with my dad last summer

1538
01:22:28,080 --> 01:22:31,160
Speaker 2: in his firm, first person I called reserving said I

1539
01:22:31,200 --> 01:22:34,080
Speaker 2: got you call. He called Lenny and Dennis and he

1540
01:22:34,160 --> 01:22:36,599
Speaker 2: put out a great thing in hits. And you know,

1541
01:22:37,880 --> 01:22:39,840
Speaker 2: the people who are really good at what they do,

1542
01:22:40,160 --> 01:22:44,240
Speaker 2: they return calls, they return them that day. They answer texts,

1543
01:22:44,680 --> 01:22:48,000
Speaker 2: you know, they're mentions. That's the world we live it.

1544
01:22:48,120 --> 01:22:50,000
Speaker 2: You know, there are a lot of people who aren't anymore.

1545
01:22:50,600 --> 01:22:53,240
Speaker 2: Nothing makes me angrier than if I text somebody and

1546
01:22:53,280 --> 01:22:55,320
Speaker 2: they don't have the respect to text me back, or

1547
01:22:56,040 --> 01:22:58,200
Speaker 2: they don't answer an email, or they don't return a

1548
01:22:58,240 --> 01:23:00,840
Speaker 2: phone call. It's just people who were worth their salt

1549
01:23:00,880 --> 01:23:02,920
Speaker 2: don't treat people like that, I believe.

1550
01:23:10,040 --> 01:23:12,599
Speaker 1: Okay, so you were SNL for a year.

1551
01:23:13,000 --> 01:23:15,280
Speaker 2: Yep, I was at SNL for a year and then

1552
01:23:15,360 --> 01:23:19,160
Speaker 2: what then I moved back to LA and ninety four

1553
01:23:19,880 --> 01:23:23,479
Speaker 2: I moved back to LA the weekend of the White

1554
01:23:23,479 --> 01:23:27,120
Speaker 2: Bronco Chase, which was hilarious, and I went to work

1555
01:23:27,160 --> 01:23:32,000
Speaker 2: for Brad Gray as that company was coming together. At

1556
01:23:32,000 --> 01:23:35,320
Speaker 2: Brostein Gray was really hitting its stride in the TV space,

1557
01:23:35,560 --> 01:23:39,040
Speaker 2: you know, which was fantastic. And I did that until

1558
01:23:39,600 --> 01:23:43,519
Speaker 2: two thousand. Okay, slower, slower, Yeah, wait.

1559
01:23:43,320 --> 01:23:46,400
Speaker 1: Wait, wait slower. What was your job at Birlstein Green?

1560
01:23:46,439 --> 01:23:50,040
Speaker 2: When I first started, I was Brad's assistant, second assistant.

1561
01:23:50,479 --> 01:23:53,680
Speaker 2: So in those days it involved ordering big berth of

1562
01:23:53,720 --> 01:23:56,479
Speaker 2: golf clubs for Michael Ovitz. It was you know, it

1563
01:23:56,520 --> 01:23:59,839
Speaker 2: was anything like that. It was I'm driving to the studio,

1564
01:24:00,120 --> 01:24:01,960
Speaker 2: take my car, I'm going to drive with this. I mean,

1565
01:24:01,960 --> 01:24:03,880
Speaker 2: it was it was. It was all that shit. You know,

1566
01:24:03,920 --> 01:24:05,880
Speaker 2: those were the days you just did whatever you were

1567
01:24:05,880 --> 01:24:10,120
Speaker 2: told to do. And I did that for about a year.

1568
01:24:10,200 --> 01:24:12,880
Speaker 2: But like that was and I knew those guys, right,

1569
01:24:12,960 --> 01:24:15,360
Speaker 2: So I would sit outside his office. Bernie was in

1570
01:24:15,400 --> 01:24:17,240
Speaker 2: the office, you know, right in front of me. He'd

1571
01:24:17,280 --> 01:24:21,000
Speaker 2: sit outside his office, you know, on the phone, unbelieving,

1572
01:24:21,040 --> 01:24:24,320
Speaker 2: you know, I mean, that was my education in showbiz

1573
01:24:24,400 --> 01:24:27,400
Speaker 2: was those guys. You know, I knew most of the

1574
01:24:27,439 --> 01:24:29,759
Speaker 2: people they were on the phone with, and at that time,

1575
01:24:30,439 --> 01:24:33,880
Speaker 2: I would get phone calls from agents asking me if

1576
01:24:33,880 --> 01:24:36,120
Speaker 2: O J really did it, So that was always really

1577
01:24:36,640 --> 01:24:39,200
Speaker 2: exciting and fun. I'd be like, wait, what do you what? Like?

1578
01:24:39,960 --> 01:24:42,320
Speaker 2: That was what I did. I knew all the comedians

1579
01:24:43,640 --> 01:24:47,040
Speaker 2: and I would go to clubs and scout people, and

1580
01:24:47,080 --> 01:24:50,280
Speaker 2: then I eventually, you know, got promoted and became a manager.

1581
01:24:50,360 --> 01:24:52,960
Speaker 2: I had great clients. I was probably not a great

1582
01:24:53,000 --> 01:24:55,160
Speaker 2: manager at that time in my life, but I had

1583
01:24:55,200 --> 01:24:56,200
Speaker 2: really great clients.

1584
01:24:56,560 --> 01:24:57,599
Speaker 1: So who were the clients.

1585
01:24:58,760 --> 01:25:02,920
Speaker 2: Let's see Zach Gallifan Actus, Jill Soloway, I guess now,

1586
01:25:03,000 --> 01:25:09,000
Speaker 2: Joey Soloway. I had Stephen Colbert for a minute. I'll

1587
01:25:09,000 --> 01:25:11,879
Speaker 2: never forget. He sat me down at the then Century Plaza,

1588
01:25:11,960 --> 01:25:13,640
Speaker 2: looked at me and said, if my career is not

1589
01:25:13,800 --> 01:25:16,679
Speaker 2: better within you know, a month, you're fired. I was like, great,

1590
01:25:16,720 --> 01:25:19,639
Speaker 2: and so of course that happened. I had Steve Carrell

1591
01:25:19,720 --> 01:25:23,480
Speaker 2: for a while. I had a lot of young comedians.

1592
01:25:23,520 --> 01:25:25,559
Speaker 2: I mean it was it was great, But what I

1593
01:25:25,600 --> 01:25:30,880
Speaker 2: really wanted to do was be around musicians. So okay, yeah,

1594
01:25:30,920 --> 01:25:33,559
Speaker 2: what is the key to being a good manager for

1595
01:25:33,640 --> 01:25:37,640
Speaker 2: those people? Well, at the time, I don't think I

1596
01:25:37,680 --> 01:25:39,920
Speaker 2: could have told you. But now what I can tell

1597
01:25:39,960 --> 01:25:42,920
Speaker 2: you is you have to really be in tune for

1598
01:25:43,040 --> 01:25:46,439
Speaker 2: what they want. You have to be present, and you

1599
01:25:46,560 --> 01:25:51,759
Speaker 2: have to really be able to navigate this insane world

1600
01:25:52,640 --> 01:25:58,000
Speaker 2: and give great advice and in that. At that time, again,

1601
01:25:58,040 --> 01:26:00,880
Speaker 2: it was all about relationship. You know, It's always been

1602
01:26:00,880 --> 01:26:03,200
Speaker 2: our relationships with cast and directors and all that stuff.

1603
01:26:03,240 --> 01:26:05,840
Speaker 2: But you know, it's, uh, you know, that world is

1604
01:26:05,960 --> 01:26:08,400
Speaker 2: completely different now, but it was always about listening and

1605
01:26:08,439 --> 01:26:13,240
Speaker 2: being you know, being understanding and getting shit done. I

1606
01:26:13,280 --> 01:26:15,519
Speaker 2: don't think I was very good at it then. I

1607
01:26:15,520 --> 01:26:19,280
Speaker 2: think I got good at it later on in life.

1608
01:26:19,320 --> 01:26:20,880
Speaker 2: I still have a couple of people I work with,

1609
01:26:20,920 --> 01:26:24,040
Speaker 2: which is actually great because it helps me on the

1610
01:26:24,120 --> 01:26:27,000
Speaker 2: logitic side of things, because it sort of brings it

1611
01:26:27,040 --> 01:26:30,479
Speaker 2: all back full circle. Whenever I'm you know, at a

1612
01:26:30,560 --> 01:26:33,200
Speaker 2: label or I'm dealing with a promoter for somebody else.

1613
01:26:33,240 --> 01:26:35,760
Speaker 2: That always, you know, it's all it's all the same thing,

1614
01:26:35,880 --> 01:26:36,080
Speaker 2: you know.

1615
01:26:36,479 --> 01:26:38,439
Speaker 1: So what happens in the year two thousand.

1616
01:26:39,400 --> 01:26:43,559
Speaker 2: In the year two thousand, I left Bilson and Gray,

1617
01:26:44,160 --> 01:26:48,479
Speaker 2: and I went to go work in the music business.

1618
01:26:48,680 --> 01:26:51,240
Speaker 2: I went to go work for Pat Magnarella, which is

1619
01:26:51,520 --> 01:26:57,479
Speaker 2: a great learning experience. It's a wonderful guy, and I

1620
01:26:57,520 --> 01:27:00,360
Speaker 2: mean it was amazing. And then I ended up leaving

1621
01:27:00,400 --> 01:27:02,920
Speaker 2: there and going to work for a guy named Arthur Spiedak,

1622
01:27:03,280 --> 01:27:05,360
Speaker 2: who was another great manager at that I'm sure you know,

1623
01:27:05,439 --> 01:27:07,360
Speaker 2: and he taught me a lot because, by the way,

1624
01:27:07,479 --> 01:27:09,400
Speaker 2: being a music manager is a lot different than being

1625
01:27:09,400 --> 01:27:11,439
Speaker 2: a comedy manager. At least it was at that time,

1626
01:27:11,560 --> 01:27:13,080
Speaker 2: routing doing all that stuff.

1627
01:27:13,160 --> 01:27:16,839
Speaker 1: You know, Oh, okay, okay, tell us the difference.

1628
01:27:17,120 --> 01:27:19,400
Speaker 2: Well, the difference is is that you know, you are

1629
01:27:19,680 --> 01:27:22,080
Speaker 2: routing tours. You are you know, in those days it's

1630
01:27:22,120 --> 01:27:24,560
Speaker 2: Thomas guides and maps and whatnot, and there's no you know,

1631
01:27:24,600 --> 01:27:27,519
Speaker 2: the Internet is very young, and you know, it's a

1632
01:27:27,560 --> 01:27:30,439
Speaker 2: different set of people and you know, labels and all

1633
01:27:30,439 --> 01:27:32,160
Speaker 2: that stuff. But I had a front seat to all

1634
01:27:32,200 --> 01:27:36,080
Speaker 2: of that insanity of all the emo bands being signed

1635
01:27:36,120 --> 01:27:38,760
Speaker 2: and the Victory reference bands, you know, all that craziness

1636
01:27:38,760 --> 01:27:41,679
Speaker 2: of that time of the you know, so interesting, Bob,

1637
01:27:42,000 --> 01:27:45,960
Speaker 2: when you know just the way people were chasing bands

1638
01:27:46,000 --> 01:27:48,000
Speaker 2: and the way all that stuff was happening was just

1639
01:27:48,240 --> 01:27:51,120
Speaker 2: you know, it was just fascinating, right, and so I

1640
01:27:51,160 --> 01:27:54,559
Speaker 2: would in those days every week I Got the Enemy.

1641
01:27:54,600 --> 01:27:56,240
Speaker 2: And I was always an angliphile from when I was

1642
01:27:56,280 --> 01:27:58,400
Speaker 2: really young in terms of the music I liked, and

1643
01:27:58,439 --> 01:28:01,439
Speaker 2: in those days, it was Get the Enemy. You open

1644
01:28:01,520 --> 01:28:03,879
Speaker 2: up the last couple of pages, you read the clubs,

1645
01:28:04,160 --> 01:28:06,240
Speaker 2: and you figure out who's playing and what clubs, which

1646
01:28:06,280 --> 01:28:08,840
Speaker 2: clubs are featured more, who's got bigger ads, And then

1647
01:28:09,040 --> 01:28:11,200
Speaker 2: you go to the website. In two thousand and one,

1648
01:28:11,240 --> 01:28:14,400
Speaker 2: two thousand and two, you know, you'd bookmark that stuff

1649
01:28:14,600 --> 01:28:17,040
Speaker 2: and then you would figure out how you know who's

1650
01:28:17,080 --> 01:28:20,360
Speaker 2: playing what, who's doing this, who's doing that. And that's

1651
01:28:20,400 --> 01:28:22,559
Speaker 2: how I tracked bands back in those days, and that's

1652
01:28:22,600 --> 01:28:24,600
Speaker 2: how I met the people at The Enemy, which was

1653
01:28:24,880 --> 01:28:28,760
Speaker 2: fortuitous when I ended up going to work at Sanctuary

1654
01:28:29,640 --> 01:28:33,640
Speaker 2: and work for Perry, Perry, Farrell and James, which was

1655
01:28:33,920 --> 01:28:34,720
Speaker 2: two thousand and two.

1656
01:28:35,040 --> 01:28:38,479
Speaker 1: Okay, you were working with Arthur. How did you end

1657
01:28:38,560 --> 01:28:39,840
Speaker 1: up working for Sanctuary?

1658
01:28:40,040 --> 01:28:41,880
Speaker 2: I got a phone call from a friend of mine

1659
01:28:41,920 --> 01:28:44,920
Speaker 2: who was managing Jane's. I need help. I need somebody

1660
01:28:44,920 --> 01:28:47,360
Speaker 2: to work directly with Perry. You want to come over

1661
01:28:47,400 --> 01:28:49,719
Speaker 2: and do it. There's this guy Merk, I said, great,

1662
01:28:49,760 --> 01:28:52,559
Speaker 2: So I went over started working with my buddy Adam.

1663
01:28:53,160 --> 01:28:55,960
Speaker 2: I walked into the office that first day and Peter

1664
01:28:56,200 --> 01:28:58,679
Speaker 2: Asher's office was right in front of where I sat.

1665
01:28:59,160 --> 01:29:02,560
Speaker 2: There was three thousand gold records on the wall. Was unbelievable.

1666
01:29:04,439 --> 01:29:06,400
Speaker 2: And then I went to work with Perry every day.

1667
01:29:06,479 --> 01:29:09,240
Speaker 2: And so it was when they were putting Lola back

1668
01:29:09,320 --> 01:29:13,040
Speaker 2: together and Jane's was kind of relaunching again. I think

1669
01:29:13,040 --> 01:29:16,320
Speaker 2: it was the Strays album that they just finished they

1670
01:29:16,320 --> 01:29:18,120
Speaker 2: were putting out. If I could be wrong, but I

1671
01:29:18,120 --> 01:29:23,280
Speaker 2: believe that's what it was. And Uh, Perry was really

1672
01:29:23,280 --> 01:29:26,240
Speaker 2: into the flash mob thing, you know, with the Nokia

1673
01:29:26,280 --> 01:29:29,720
Speaker 2: phones and all that shit. And so I went to

1674
01:29:29,880 --> 01:29:33,640
Speaker 2: London to help him put a flash mob together. And

1675
01:29:33,720 --> 01:29:36,479
Speaker 2: because I had been so into the NME, I had

1676
01:29:36,520 --> 01:29:39,840
Speaker 2: read about this artist named Banksy, And when I got

1677
01:29:39,920 --> 01:29:44,200
Speaker 2: to London, I met with Banksy, whose name is Robin

1678
01:29:44,479 --> 01:29:45,559
Speaker 2: and Zach.

1679
01:29:46,920 --> 01:29:51,080
Speaker 1: He makes the career of flying under the radar. How

1680
01:29:51,080 --> 01:29:54,080
Speaker 1: did you connect with banks.

1681
01:29:53,320 --> 01:29:57,479
Speaker 2: I'm somehow I got in touch with I forget his name,

1682
01:29:57,560 --> 01:30:01,240
Speaker 2: the guy who was wrapped zetting him at the time,

1683
01:30:01,479 --> 01:30:04,040
Speaker 2: and that was the guy I got to him. But

1684
01:30:04,120 --> 01:30:06,280
Speaker 2: this was way but this is like two thousand and one,

1685
01:30:06,360 --> 01:30:08,839
Speaker 2: two thousand and two, This is like way way before.

1686
01:30:09,640 --> 01:30:13,360
Speaker 2: And we did a flash mob and I knew the

1687
01:30:13,400 --> 01:30:16,240
Speaker 2: guys at the anme just by emailing with them when

1688
01:30:16,280 --> 01:30:20,519
Speaker 2: I was at Arthur with Arthur and James did a

1689
01:30:20,520 --> 01:30:24,040
Speaker 2: flash mob in Coven Garden and Banksy did all the

1690
01:30:24,160 --> 01:30:27,680
Speaker 2: artwork and the way that we got people to the

1691
01:30:27,760 --> 01:30:32,120
Speaker 2: flash mob was different Banksy art through the city we did.

1692
01:30:32,400 --> 01:30:35,280
Speaker 2: There was a girl holding a balloon in the middle

1693
01:30:35,320 --> 01:30:38,200
Speaker 2: of trafout Piccadilly Square. I mean it was. It was

1694
01:30:38,240 --> 01:30:43,400
Speaker 2: insane and I'll never forget it because nmmy covered it

1695
01:30:43,920 --> 01:30:46,639
Speaker 2: and it was the opening when you opened the magazine.

1696
01:30:46,640 --> 01:30:49,559
Speaker 2: It was the first picture was the Banksy stuff and

1697
01:30:49,600 --> 01:30:52,559
Speaker 2: then the crowd of the flash mob. And I'll never

1698
01:30:52,600 --> 01:30:56,160
Speaker 2: forget it because that came out that night. I went

1699
01:30:56,200 --> 01:31:00,320
Speaker 2: to the show at Hammersmith and I was walking up

1700
01:31:00,400 --> 01:31:05,400
Speaker 2: the stairs backstage and Rod Smallwood, who you may know,

1701
01:31:05,800 --> 01:31:06,320
Speaker 2: Bob who.

1702
01:31:08,960 --> 01:31:10,439
Speaker 1: That's a whole nother story.

1703
01:31:10,560 --> 01:31:13,479
Speaker 2: I can't wait to talk about these walking up behind

1704
01:31:13,560 --> 01:31:17,720
Speaker 2: Merk and Rod okay, and Rod turns around. I'll never

1705
01:31:17,760 --> 01:31:20,759
Speaker 2: forget it, turns around, looks at me and goes nice work. Mate,

1706
01:31:21,200 --> 01:31:23,000
Speaker 2: you know, and I was like okay, and then Mark

1707
01:31:23,120 --> 01:31:25,800
Speaker 2: was like yeah, wait to go nice one. And that

1708
01:31:25,920 --> 01:31:28,000
Speaker 2: was it and I went, well, they know who I

1709
01:31:28,040 --> 01:31:32,040
Speaker 2: am and you know, and so show happens. I fly

1710
01:31:32,160 --> 01:31:37,120
Speaker 2: back to LA sitting in the office, still working with Perry,

1711
01:31:37,600 --> 01:31:41,920
Speaker 2: and I get copied on an email from Merk to

1712
01:31:42,120 --> 01:31:45,719
Speaker 2: Morrissey and it says, jed in my Los Angeles office

1713
01:31:45,720 --> 01:31:47,320
Speaker 2: will come pick you up and take you to the

1714
01:31:47,360 --> 01:31:51,559
Speaker 2: studio today, And I thought, what the hell is called?

1715
01:31:51,720 --> 01:31:53,640
Speaker 2: What is this like? You know, I wasn't even a

1716
01:31:53,680 --> 01:31:56,519
Speaker 2: Morsey fan. And Mark called me and said, I need

1717
01:31:56,560 --> 01:31:57,920
Speaker 2: you to go and meet this guy today. And then

1718
01:31:57,920 --> 01:32:02,320
Speaker 2: that started, you know, crazy times with that guy for

1719
01:32:02,720 --> 01:32:06,920
Speaker 2: three or four years working with him with Murk, which

1720
01:32:07,040 --> 01:32:10,200
Speaker 2: was pretty wild crazy. You know.

1721
01:32:11,439 --> 01:32:15,000
Speaker 1: See, he does not have a reputation for being wild

1722
01:32:15,080 --> 01:32:20,360
Speaker 1: and crazy. He has a reputation for being mercurial, doing

1723
01:32:20,400 --> 01:32:23,120
Speaker 1: what he wants. So dig a little bit deeper. What

1724
01:32:23,240 --> 01:32:24,439
Speaker 1: was it like working for him?

1725
01:32:24,479 --> 01:32:28,280
Speaker 2: I mean, he's actually a very funny guy, but it's

1726
01:32:28,320 --> 01:32:30,960
Speaker 2: also he's very I guess idiosyocratic is the way I

1727
01:32:31,000 --> 01:32:34,040
Speaker 2: would describe him. I mean it's a very uh, you know,

1728
01:32:34,439 --> 01:32:36,720
Speaker 2: I talked you know he was you know, didn't talk

1729
01:32:36,760 --> 01:32:39,280
Speaker 2: to waiters. I would do that. It was if something,

1730
01:32:39,360 --> 01:32:41,000
Speaker 2: you know, if he changed his mind or didn't want

1731
01:32:41,000 --> 01:32:42,800
Speaker 2: to do something, that was it. You'd move on to

1732
01:32:42,880 --> 01:32:47,479
Speaker 2: the next thing. It was I made two records with him.

1733
01:32:47,880 --> 01:32:51,479
Speaker 2: It was an amazing experience. He is a very strange guy,

1734
01:32:51,680 --> 01:32:56,559
Speaker 2: but also very funny. We got along very well, you know,

1735
01:32:56,760 --> 01:32:58,800
Speaker 2: but it was I was flying by the seat of

1736
01:32:58,800 --> 01:33:01,600
Speaker 2: my pants, you know, it was making records, he was

1737
01:33:01,640 --> 01:33:03,920
Speaker 2: canceling shows. I'd have to figure out how to bob

1738
01:33:03,960 --> 01:33:06,880
Speaker 2: and weave and do kind of crazy stuff. And you know,

1739
01:33:06,920 --> 01:33:09,920
Speaker 2: one great story, I'll just give you one great story

1740
01:33:10,080 --> 01:33:14,920
Speaker 2: was the U Are the Quarry tour. This is two

1741
01:33:14,960 --> 01:33:18,120
Speaker 2: thousand and three, and uh, He's supposed to play a

1742
01:33:18,120 --> 01:33:21,360
Speaker 2: weenie roast or some k rok event on a Saturday.

1743
01:33:22,160 --> 01:33:25,800
Speaker 2: I'm with Merk the Marquis and I call him and

1744
01:33:25,800 --> 01:33:28,160
Speaker 2: I said, we're coming to pick you up. He says,

1745
01:33:28,400 --> 01:33:30,599
Speaker 2: I don't feel well. I'm not okay, I can't do

1746
01:33:30,640 --> 01:33:35,639
Speaker 2: the show. And I'm like, what I said, No, I'm

1747
01:33:35,680 --> 01:33:37,120
Speaker 2: gonna come get you. He goes, I can't, I'm not

1748
01:33:37,160 --> 01:33:39,719
Speaker 2: doing the show. I said, okay, I said, I'm calling

1749
01:33:39,800 --> 01:33:42,720
Speaker 2: Joe Sugarman. We're on our it's a Saturday. We're coming up.

1750
01:33:42,720 --> 01:33:44,960
Speaker 2: We're coming to the house. Let us in and we're

1751
01:33:44,960 --> 01:33:47,080
Speaker 2: gonna see what's wrong. We got called Joe. He's like,

1752
01:33:47,120 --> 01:33:48,600
Speaker 2: what I said, get in the car. I'll eat you

1753
01:33:48,680 --> 01:33:51,639
Speaker 2: up at the house. Joe comes, we go, he's sick.

1754
01:33:51,880 --> 01:33:54,320
Speaker 2: We cancel the show. The next day we have to

1755
01:33:54,360 --> 01:33:59,920
Speaker 2: fly to DC to start pearsals for the tour. We

1756
01:34:00,120 --> 01:34:03,880
Speaker 2: land in DC that Sunday and my BlackBerry is blowing up.

1757
01:34:04,080 --> 01:34:07,599
Speaker 2: Ally McGregor, Rick Roskin. This one. That one. I call

1758
01:34:07,680 --> 01:34:10,040
Speaker 2: Ali back, who's a dear friend still to this day,

1759
01:34:10,080 --> 01:34:12,280
Speaker 2: and she says he's got to go on k Rock

1760
01:34:12,320 --> 01:34:16,800
Speaker 2: tomorrow morning and apologize for missing the show or else

1761
01:34:16,840 --> 01:34:20,040
Speaker 2: they're not going to add the record. I see, no problem,

1762
01:34:20,080 --> 01:34:22,240
Speaker 2: I'll take care of it. Get to the hotel. I

1763
01:34:22,280 --> 01:34:24,840
Speaker 2: walk into his room. Great, comfortable, Great. I said, by

1764
01:34:24,840 --> 01:34:26,479
Speaker 2: the way, I need you to go on the radio

1765
01:34:26,520 --> 01:34:29,040
Speaker 2: tomorrow morning to just, you know, say I'm sorry I

1766
01:34:29,080 --> 01:34:31,080
Speaker 2: missed the show and we're going announce a reschedule work,

1767
01:34:31,120 --> 01:34:33,920
Speaker 2: so I'm not gonna add the record. He goes, I'm

1768
01:34:33,960 --> 01:34:36,240
Speaker 2: not doing that. I said, no, you don't understand they're

1769
01:34:36,240 --> 01:34:39,479
Speaker 2: not going to add the record. It's k Rock. I

1770
01:34:39,560 --> 01:34:42,160
Speaker 2: need you to do this for me. Please, just you know,

1771
01:34:42,240 --> 01:34:44,920
Speaker 2: to be nine o'clock or ten o'clock in the morning

1772
01:34:44,920 --> 01:34:46,439
Speaker 2: and be five minutes. I need you to do it.

1773
01:34:46,439 --> 01:34:49,240
Speaker 2: He goes, no, I will do no such thing. I said,

1774
01:34:49,240 --> 01:34:50,639
Speaker 2: you're going to go on the radio, and he goes,

1775
01:34:50,680 --> 01:34:52,640
Speaker 2: I dare you. I said, okay. I went back to

1776
01:34:52,680 --> 01:34:55,559
Speaker 2: my room ross the hall. I called the tour manager.

1777
01:34:55,640 --> 01:34:58,439
Speaker 2: I said, find out who does the best Morris imitation

1778
01:34:58,840 --> 01:35:01,280
Speaker 2: on the crew. Have to meet me in my room

1779
01:35:01,439 --> 01:35:04,680
Speaker 2: tomorrow morning, nine forty five. He's like what I'm like,

1780
01:35:04,800 --> 01:35:08,320
Speaker 2: just do it. And Ali, if you're listening, I think

1781
01:35:08,360 --> 01:35:10,559
Speaker 2: I told you the story, but don't kill me. It was,

1782
01:35:10,720 --> 01:35:13,679
Speaker 2: you know, twenty five years ago. Guy goes on the radio.

1783
01:35:15,560 --> 01:35:18,000
Speaker 2: I'm so sorry. You know this guy, Charlie Brown. I

1784
01:35:18,040 --> 01:35:20,479
Speaker 2: remember he did it. I went into his room. I said,

1785
01:35:20,520 --> 01:35:23,120
Speaker 2: you were great on the radio. We were laughing so hard.

1786
01:35:24,040 --> 01:35:26,000
Speaker 2: Merk called me and goes, a great job made or

1787
01:35:26,160 --> 01:35:27,400
Speaker 2: I mean, it was one of those. It was like,

1788
01:35:27,439 --> 01:35:29,080
Speaker 2: you gotta do it, you gotta get it done. We

1789
01:35:29,120 --> 01:35:31,640
Speaker 2: did it. The record got added, and of first there

1790
01:35:31,720 --> 01:35:34,280
Speaker 2: was some conspiracy theories about it because his fans are

1791
01:35:34,280 --> 01:35:36,360
Speaker 2: so crazy. But there was a lot of shit like that, Bob.

1792
01:35:36,400 --> 01:35:39,000
Speaker 2: I mean, you know, it was just it's just, you know,

1793
01:35:39,040 --> 01:35:40,639
Speaker 2: it was. It was a good time. We lived in Rome.

1794
01:35:40,680 --> 01:35:43,479
Speaker 2: We made a record together in Rome. One good story

1795
01:35:43,520 --> 01:35:47,320
Speaker 2: from that was we recorded at a studio that Maricone

1796
01:35:47,560 --> 01:35:52,800
Speaker 2: had recorded all those records with or there, and there

1797
01:35:52,840 --> 01:35:54,880
Speaker 2: was a young kid that ran the studio. His dad

1798
01:35:55,040 --> 01:35:57,240
Speaker 2: had run the studio. I'm not gonna remember his name.

1799
01:35:57,400 --> 01:36:01,719
Speaker 2: And during Tony wiscons he was using the record and

1800
01:36:02,120 --> 01:36:03,840
Speaker 2: you know, like two months in three months. It was

1801
01:36:03,960 --> 01:36:07,320
Speaker 2: unbelievable experience living in Rome. I was probably thirty three whatever,

1802
01:36:07,840 --> 01:36:11,400
Speaker 2: just great. He and I would drive Vespas to the studio.

1803
01:36:11,720 --> 01:36:13,320
Speaker 2: We did that once and I said, you know, we're

1804
01:36:13,360 --> 01:36:15,160
Speaker 2: not going to die. It's wrong. We're getting a car

1805
01:36:15,200 --> 01:36:16,800
Speaker 2: and we would drive back and forth and God, and

1806
01:36:16,880 --> 01:36:20,200
Speaker 2: it was great. And I said to them, I said,

1807
01:36:20,200 --> 01:36:21,720
Speaker 2: you know what you do not get more kone to

1808
01:36:21,720 --> 01:36:24,080
Speaker 2: do strings on a song. And he said, how are

1809
01:36:24,080 --> 01:36:25,200
Speaker 2: you going to do that? I said, I think I

1810
01:36:25,240 --> 01:36:26,640
Speaker 2: know how to do it. I said, I think what

1811
01:36:26,680 --> 01:36:29,639
Speaker 2: I'm going to do is I'm going to ask this

1812
01:36:29,760 --> 01:36:32,559
Speaker 2: gentleman who wants to be a producer and not running

1813
01:36:32,560 --> 01:36:34,559
Speaker 2: a studio. I sai, let's get him to produce the strings.

1814
01:36:34,600 --> 01:36:36,760
Speaker 2: If he can get more Coney to do it, then

1815
01:36:37,080 --> 01:36:38,479
Speaker 2: this would be perfect. We'll do it.

1816
01:36:38,520 --> 01:36:38,840
Speaker 1: Great.

1817
01:36:39,240 --> 01:36:44,320
Speaker 2: So, uh we get more conne and it is I need.

1818
01:36:44,439 --> 01:36:48,200
Speaker 2: I want thirty thousand euros cash the morning of the

1819
01:36:48,280 --> 01:36:51,920
Speaker 2: session or I'm not doing it, no problem. I'm like,

1820
01:36:52,240 --> 01:36:54,479
Speaker 2: what have I done? I call Mark. I'm like, listen

1821
01:36:54,560 --> 01:36:56,720
Speaker 2: to what I did. He's like great. Mirk was, by

1822
01:36:56,760 --> 01:37:00,759
Speaker 2: the way, and is an unbelievable advocate of artists always.

1823
01:37:00,840 --> 01:37:04,120
Speaker 2: Mirke was the guy. Mirk was the guy. Bob if

1824
01:37:04,160 --> 01:37:08,320
Speaker 2: mor Morrise, he's assistant, called me on a Wednesday. He

1825
01:37:08,400 --> 01:37:11,160
Speaker 2: needs to see you. I'm like, okay, you're in Dublin.

1826
01:37:11,640 --> 01:37:14,559
Speaker 2: I'm in West Hollywood. I was like what. I'm like, okay,

1827
01:37:15,080 --> 01:37:17,720
Speaker 2: a call tomorrow. This is crazy Burk. He wants to

1828
01:37:17,720 --> 01:37:19,519
Speaker 2: see me. He goes, great, go to the airport, get

1829
01:37:19,560 --> 01:37:21,240
Speaker 2: on a plane. I'm like, what e goos, Just go

1830
01:37:21,280 --> 01:37:23,080
Speaker 2: to the airport, get on a plane. See what he wants.

1831
01:37:23,400 --> 01:37:27,200
Speaker 2: So that was that was those days, right. So anyway, uh,

1832
01:37:27,640 --> 01:37:30,840
Speaker 2: week so morning comes or the sessions on a Monday,

1833
01:37:30,840 --> 01:37:34,439
Speaker 2: it's now Thursday, I don't have the cash. I called

1834
01:37:34,439 --> 01:37:38,599
Speaker 2: the label. I'm like, hey, I need thirty grand. They're like, uh, yeah,

1835
01:37:38,640 --> 01:37:41,000
Speaker 2: it's a bank holiday. You're you know, we're not getting

1836
01:37:41,000 --> 01:37:42,280
Speaker 2: it to you. I said, well, you don't understand. I

1837
01:37:42,360 --> 01:37:44,280
Speaker 2: found to get thirty grand on Monday is not doing

1838
01:37:44,280 --> 01:37:48,040
Speaker 2: the strings, and it's Morcone and it's amazing opportunity and

1839
01:37:48,200 --> 01:37:52,080
Speaker 2: so I'll never forget it. I didn't get the cash

1840
01:37:52,600 --> 01:37:57,480
Speaker 2: that Sunday. That's Saturday. I went down to the concierge

1841
01:37:57,479 --> 01:38:00,639
Speaker 2: to the hotel, took out my AMX and I said,

1842
01:38:01,000 --> 01:38:03,639
Speaker 2: here's my MX. I want you to charge me thirty

1843
01:38:03,680 --> 01:38:06,160
Speaker 2: thousand euros on the MX. I want you to go

1844
01:38:06,240 --> 01:38:08,599
Speaker 2: to your CFO. I want you to go to the bank.

1845
01:38:08,640 --> 01:38:11,160
Speaker 2: I need to get me thirty thousand euros from Monday morning.

1846
01:38:11,200 --> 01:38:13,439
Speaker 2: And we got it done. I walk in, give him

1847
01:38:13,479 --> 01:38:21,200
Speaker 2: the cash. Great session, amazing four minute intro to the song. Unbelievable, fantastic, great,

1848
01:38:21,400 --> 01:38:23,280
Speaker 2: knocked out of the part. Everybod's freaking out. It's more

1849
01:38:23,320 --> 01:38:26,080
Speaker 2: to Connie, it's unbelievable. And of course Morris he's like,

1850
01:38:26,120 --> 01:38:29,320
Speaker 2: I thought, I can hate it. Yeah, I've cut to

1851
01:38:29,360 --> 01:38:32,040
Speaker 2: cut the three minute intro down to like thirty seconds

1852
01:38:32,120 --> 01:38:35,200
Speaker 2: or whatever, and and me being the Putts, actually had

1853
01:38:35,240 --> 01:38:37,400
Speaker 2: to go to the man's apartment and play him the

1854
01:38:37,479 --> 01:38:41,640
Speaker 2: final version with the cutdown intro. I mean it was

1855
01:38:42,160 --> 01:38:44,080
Speaker 2: he just looked me out and speak a lot of Italian,

1856
01:38:44,880 --> 01:38:47,160
Speaker 2: but he just looked at me and he said, Marred,

1857
01:38:47,840 --> 01:38:51,080
Speaker 2: I think means shit. So yeah, that's my Mortcone story.

1858
01:38:51,760 --> 01:38:52,799
Speaker 2: It was pretty crazy.

1859
01:38:54,640 --> 01:38:57,599
Speaker 1: Okay, what's the next step in your career?

1860
01:38:58,760 --> 01:39:01,599
Speaker 2: You know, I love what I do, Bob, and I

1861
01:39:01,680 --> 01:39:03,160
Speaker 2: love advocating.

1862
01:39:03,360 --> 01:39:05,240
Speaker 1: No, no, no, no, what's the next No? No? Oh?

1863
01:39:05,640 --> 01:39:10,320
Speaker 2: Then then oh Jesus Christ, yeah, more seed happens. And

1864
01:39:10,360 --> 01:39:17,800
Speaker 2: then I leave Sanctuary I and I went to New

1865
01:39:17,880 --> 01:39:23,080
Speaker 2: York for business meeting over somebody with a new project

1866
01:39:23,120 --> 01:39:24,839
Speaker 2: I was going to get involved in. I'm at dinner

1867
01:39:25,520 --> 01:39:28,320
Speaker 2: with this guy that wants me to work with him

1868
01:39:28,600 --> 01:39:30,960
Speaker 2: and his wife and another and I just met these

1869
01:39:31,040 --> 01:39:33,000
Speaker 2: dudes and they're lovely and I'm going to work with them.

1870
01:39:33,439 --> 01:39:36,720
Speaker 2: And one of the ladies tables is twenty sixteenth December

1871
01:39:36,760 --> 01:39:42,439
Speaker 2: where those communos on third and one of the ladies says, yeah,

1872
01:39:42,800 --> 01:39:45,120
Speaker 2: you know you're dating anybody, And I'm like, no, not really,

1873
01:39:45,520 --> 01:39:47,200
Speaker 2: you want to meet this girl. I'm like, listen, I

1874
01:39:47,200 --> 01:39:48,559
Speaker 2: live in LA. I don't need to meet this girl.

1875
01:39:48,640 --> 01:39:51,160
Speaker 2: She pulls out a BlackBerry shows me a picture of

1876
01:39:51,200 --> 01:39:52,760
Speaker 2: this woman. I'm like, you know, yeah, I'd love to

1877
01:39:52,760 --> 01:39:55,960
Speaker 2: meet this I mean, it was like that. And next

1878
01:39:55,960 --> 01:39:58,800
Speaker 2: thing I know, I go to I go back to LA.

1879
01:39:58,880 --> 01:40:03,120
Speaker 2: I'm texting with this woman. I came to New York

1880
01:40:03,200 --> 01:40:05,840
Speaker 2: in January of two thousand and seven, went on a

1881
01:40:05,840 --> 01:40:09,519
Speaker 2: blind date with my wife, Amanda, and I never left.

1882
01:40:09,720 --> 01:40:12,240
Speaker 2: And so the next step of my career was being

1883
01:40:12,280 --> 01:40:14,639
Speaker 2: in New York for about seven seven and a half years,

1884
01:40:15,240 --> 01:40:19,360
Speaker 2: primarily working in the startup business, and I worked at

1885
01:40:19,400 --> 01:40:22,920
Speaker 2: IAC for Barry Diller for a while. It was the worst,

1886
01:40:23,080 --> 01:40:26,000
Speaker 2: you know, I was the music guy in the startup space,

1887
01:40:26,200 --> 01:40:28,040
Speaker 2: and you know, it just it was. It was a

1888
01:40:28,120 --> 01:40:33,680
Speaker 2: complete and total bummer. And then I so, you know,

1889
01:40:33,720 --> 01:40:35,280
Speaker 2: there's just not a lot to talk about there. I

1890
01:40:35,280 --> 01:40:37,280
Speaker 2: had two kids in New York City, which was great,

1891
01:40:37,360 --> 01:40:39,519
Speaker 2: and all I wanted to do was move back to

1892
01:40:39,680 --> 01:40:42,320
Speaker 2: LA And that's what I did in twenty fourteen, and

1893
01:40:42,680 --> 01:40:44,320
Speaker 2: I kind of done a lot of different things.

1894
01:40:44,520 --> 01:40:47,479
Speaker 1: You know, how'd you convince your wife to move to LA.

1895
01:40:47,920 --> 01:40:50,280
Speaker 2: Well, my wife looked at me. It was after the win.

1896
01:40:51,000 --> 01:40:53,639
Speaker 2: It was the I think it was like a twenty

1897
01:40:53,680 --> 01:40:56,640
Speaker 2: thirteen was a horrible blizzard in New York. I remember that,

1898
01:40:57,520 --> 01:40:59,320
Speaker 2: and it was she looked at me and saying, Okay,

1899
01:40:59,320 --> 01:41:01,760
Speaker 2: we can either moved to New Jersey or to Westchester.

1900
01:41:01,840 --> 01:41:03,160
Speaker 2: And I said, we're going to move to the Pacific

1901
01:41:03,200 --> 01:41:04,920
Speaker 2: House state and she was like, let's go. I mean,

1902
01:41:04,960 --> 01:41:07,400
Speaker 2: it was just that easy. She's from Englewood, New Jersey

1903
01:41:07,479 --> 01:41:10,519
Speaker 2: and her parents are great. But yeah, it was it

1904
01:41:10,560 --> 01:41:13,080
Speaker 2: was just that easy. It was like winter, No, we're done.

1905
01:41:13,160 --> 01:41:15,880
Speaker 2: And we had two kids and the girls have had

1906
01:41:16,080 --> 01:41:18,320
Speaker 2: a great life here. And then, like I told you before,

1907
01:41:18,320 --> 01:41:19,960
Speaker 2: I fell into this ticketing space.

1908
01:41:20,680 --> 01:41:24,120
Speaker 1: Okay, and this parapatetic career. How did the money work?

1909
01:41:25,560 --> 01:41:27,880
Speaker 2: Meaning how did I make money?

1910
01:41:27,960 --> 01:41:30,320
Speaker 1: Did you make enough money to pay your bills? Or

1911
01:41:30,360 --> 01:41:32,479
Speaker 1: did you have to get money from your parents? Were

1912
01:41:32,479 --> 01:41:32,720
Speaker 1: there not?

1913
01:41:33,080 --> 01:41:37,559
Speaker 2: Always? No? I always made enough money, you know, it

1914
01:41:37,600 --> 01:41:41,000
Speaker 2: was never you know, yeah, if there was an issue,

1915
01:41:41,040 --> 01:41:42,559
Speaker 2: but it was it was never like that.

1916
01:41:42,640 --> 01:41:43,000
Speaker 1: It was.

1917
01:41:44,600 --> 01:41:47,040
Speaker 2: I always, uh, you know, I was able to make

1918
01:41:47,120 --> 01:41:51,440
Speaker 2: enough money. You know, definitely not a parental money situation.

1919
01:41:51,920 --> 01:41:54,519
Speaker 2: You know, if God forbid, you know, would have been

1920
01:41:54,560 --> 01:41:56,439
Speaker 2: a situation, but it was never like, you know, you're

1921
01:41:56,479 --> 01:41:58,400
Speaker 2: a trust fund guy. It was just that was never

1922
01:41:58,520 --> 01:41:59,240
Speaker 2: my life. Ever.

1923
01:42:01,200 --> 01:42:05,760
Speaker 1: So you've met a lot of famous people. Tell me

1924
01:42:05,800 --> 01:42:09,439
Speaker 1: one person who really lived up to the Rep Frank Sinatra.

1925
01:42:12,600 --> 01:42:13,200
Speaker 1: Tell me more.

1926
01:42:14,400 --> 01:42:20,600
Speaker 2: I in nineteen. I'm gonna say eighty six, but I

1927
01:42:20,680 --> 01:42:23,280
Speaker 2: might be wrong. It might have been earlier. There was

1928
01:42:23,720 --> 01:42:28,160
Speaker 2: an event for the Statue of Liberty or Ellis Island,

1929
01:42:28,280 --> 01:42:30,680
Speaker 2: one of those things. There was a big thing in

1930
01:42:30,720 --> 01:42:33,200
Speaker 2: New York City. I'm not gonna remember the exact date, Bob,

1931
01:42:33,200 --> 01:42:38,519
Speaker 2: but it was and Henry was on the special or whatever,

1932
01:42:39,040 --> 01:42:41,120
Speaker 2: and so we were in New York and I will

1933
01:42:41,120 --> 01:42:45,519
Speaker 2: not forget this because I remember. I feel like it

1934
01:42:45,560 --> 01:42:48,120
Speaker 2: was Sarah Jessica Parker. I don't know. There was a

1935
01:42:48,160 --> 01:42:50,040
Speaker 2: lot of funny and interesting people there. And I was

1936
01:42:50,080 --> 01:42:54,840
Speaker 2: probably fifteen, and there he was, and he came over

1937
01:42:54,920 --> 01:42:57,760
Speaker 2: to speak to Henry and it's my son. And he

1938
01:42:57,800 --> 01:42:59,519
Speaker 2: looked at me and he touched my head and said

1939
01:42:59,560 --> 01:43:02,000
Speaker 2: your aunt, and boy, aren't you I was like, really shit.

1940
01:43:02,120 --> 01:43:05,800
Speaker 2: That was Frank Sinatra. Yeah, that was pretty cool. You know,

1941
01:43:06,560 --> 01:43:09,599
Speaker 2: all these guys I met, I met a lot of them.

1942
01:43:09,680 --> 01:43:10,599
Speaker 2: You know pretty cool.

1943
01:43:10,720 --> 01:43:13,000
Speaker 1: Oh, okay, since you're such a music fan, tell me

1944
01:43:13,040 --> 01:43:15,439
Speaker 1: about one or two rockers you met who lived up

1945
01:43:15,479 --> 01:43:16,280
Speaker 1: to the rep.

1946
01:43:16,479 --> 01:43:20,519
Speaker 2: Cause most of them don't. So I know a lot

1947
01:43:20,560 --> 01:43:25,240
Speaker 2: of them, don't. I mean, I, you know, the guys

1948
01:43:25,240 --> 01:43:28,120
Speaker 2: that I really get off on pop or like a

1949
01:43:28,120 --> 01:43:30,479
Speaker 2: lot of the session guys that I met, or you know,

1950
01:43:30,520 --> 01:43:33,240
Speaker 2: I you know what you know those guys are you know,

1951
01:43:33,600 --> 01:43:36,120
Speaker 2: you know, you know the guys that I love. Is

1952
01:43:36,160 --> 01:43:38,479
Speaker 2: like sitting down with Lenny Warniker and being like, hey,

1953
01:43:38,479 --> 01:43:41,439
Speaker 2: tell me about Rest Titlemen and Lowell George. What was

1954
01:43:41,439 --> 01:43:43,280
Speaker 2: that like when they made those records? Like, to me,

1955
01:43:43,520 --> 01:43:46,519
Speaker 2: that's that's the coolest thing in the world, you know,

1956
01:43:46,600 --> 01:43:49,519
Speaker 2: to be able to have those discussions where, you know,

1957
01:43:49,600 --> 01:43:53,000
Speaker 2: I listened to so much music all the time, and

1958
01:43:53,040 --> 01:43:54,720
Speaker 2: when I used to know and I listened to it

1959
01:43:54,760 --> 01:43:57,040
Speaker 2: like I'm always thinking about the production and how this

1960
01:43:57,200 --> 01:43:59,439
Speaker 2: is working, and how that's working, and how did this

1961
01:43:59,520 --> 01:44:01,800
Speaker 2: work and how do they put this together? And and

1962
01:44:01,840 --> 01:44:05,000
Speaker 2: so for me to have those discussions, that's that's the

1963
01:44:05,000 --> 01:44:07,040
Speaker 2: coolest thing in the world, to be quite honest with you.

1964
01:44:08,320 --> 01:44:12,840
Speaker 1: Okay, you have two parents, two fathers who have quite

1965
01:44:12,840 --> 01:44:17,840
Speaker 1: a distinct legacy. Yeah, how do you feel about your

1966
01:44:17,920 --> 01:44:22,080
Speaker 1: career where you are not as problem as they are?

1967
01:44:22,560 --> 01:44:24,600
Speaker 2: Well, let's hope I have a career after being so

1968
01:44:24,720 --> 01:44:30,439
Speaker 2: terrible on this podcast, Bob. But uh kidding, this is

1969
01:44:30,439 --> 01:44:33,479
Speaker 2: when you say you weren't terrible, but that's fine. I uh,

1970
01:44:34,120 --> 01:44:40,880
Speaker 2: I said that too much already, Bob. I am. I'll

1971
01:44:40,920 --> 01:44:43,080
Speaker 2: be honest with this. Something I thought about I but

1972
01:44:43,160 --> 01:44:45,600
Speaker 2: I knew very early on I was never going to

1973
01:44:45,640 --> 01:44:49,679
Speaker 2: be able to give them that. I knew very early

1974
01:44:49,760 --> 01:44:53,680
Speaker 2: on that the level of success that I grew up

1975
01:44:53,680 --> 01:44:55,760
Speaker 2: with was probably not something I was going to be

1976
01:44:55,760 --> 01:45:00,400
Speaker 2: able to offer my kids. But I the thing for

1977
01:45:00,479 --> 01:45:04,160
Speaker 2: me that I'm able to offer them is experiences that

1978
01:45:04,200 --> 01:45:07,600
Speaker 2: we love together. And music is that experience. You know,

1979
01:45:07,680 --> 01:45:10,559
Speaker 2: my kids are lucky. They get to go to every

1980
01:45:11,240 --> 01:45:14,800
Speaker 2: concert they want to go to with me, right which

1981
01:45:14,840 --> 01:45:17,760
Speaker 2: they probably are over at this point going with me.

1982
01:45:17,880 --> 01:45:21,640
Speaker 2: But you know, I enjoyed that, so I uh, it

1983
01:45:21,760 --> 01:45:27,559
Speaker 2: really never bothered me that much. I mean for me

1984
01:45:28,880 --> 01:45:32,720
Speaker 2: to know these people to know that that I'm I'm

1985
01:45:32,800 --> 01:45:34,280
Speaker 2: kind of at a place in my life where I'm

1986
01:45:34,280 --> 01:45:36,760
Speaker 2: really one call away from anybody I need to get to,

1987
01:45:37,000 --> 01:45:40,839
Speaker 2: and you know, I feel really good about my career

1988
01:45:40,880 --> 01:45:43,080
Speaker 2: and what I do. You know, I don't want to

1989
01:45:43,120 --> 01:45:45,439
Speaker 2: be judged by that. I don't think about that very often.

1990
01:45:45,520 --> 01:45:47,479
Speaker 2: I used to think about that, that I would never

1991
01:45:47,520 --> 01:45:50,080
Speaker 2: be able to provide for them like that, but I don't.

1992
01:45:50,080 --> 01:45:52,120
Speaker 2: I don't think of that as much anymore, you know,

1993
01:45:52,240 --> 01:45:55,800
Speaker 2: I just I just love that I got to experience that.

1994
01:45:55,960 --> 01:45:59,240
Speaker 2: I love that they get to experience that with Henry especially,

1995
01:45:59,320 --> 01:46:01,040
Speaker 2: you know, out of my day. That's not around anymore,

1996
01:46:02,880 --> 01:46:06,639
Speaker 2: you know, you know my kids, you know, my kids,

1997
01:46:06,760 --> 01:46:08,320
Speaker 2: I think they finally get it. I don't know if

1998
01:46:08,400 --> 01:46:10,599
Speaker 2: I think they've ever watched Happy Days, but they get it.

1999
01:46:10,680 --> 01:46:11,880
Speaker 2: You know. It's pretty funny.

2000
01:46:12,280 --> 01:46:13,639
Speaker 1: How did hend we meet your mother?

2001
01:46:15,080 --> 01:46:18,919
Speaker 2: I think the story is that my mother was working

2002
01:46:20,080 --> 01:46:24,320
Speaker 2: at a or was a pr person for clothing stour Fields,

2003
01:46:24,360 --> 01:46:27,160
Speaker 2: same Jerry Magnan that was in Beverly Hills a million

2004
01:46:27,240 --> 01:46:29,840
Speaker 2: years ago. You probably remember that, and I think she

2005
01:46:30,080 --> 01:46:32,439
Speaker 2: was she was there working. He came in to buy

2006
01:46:32,479 --> 01:46:36,719
Speaker 2: clothes and he pasked her out and she said yes,

2007
01:46:36,840 --> 01:46:41,519
Speaker 2: And those were seventies were great, man, that was really fun.

2008
01:46:41,600 --> 01:46:44,599
Speaker 2: I mean that was wild, you know, very fun.

2009
01:46:44,640 --> 01:46:49,040
Speaker 1: Well, certainly pre internet, pre cell phone camera. Okay, you

2010
01:46:49,160 --> 01:46:52,320
Speaker 1: talk about all these shows you went to, two best

2011
01:46:52,320 --> 01:46:53,360
Speaker 1: shows you ever saw.

2012
01:46:54,320 --> 01:47:00,880
Speaker 2: Taylor Hawkins tribute at the Forum was unbelievable. I mean,

2013
01:47:00,920 --> 01:47:03,920
Speaker 2: it was everybody that I loved in one place, you know.

2014
01:47:04,479 --> 01:47:06,320
Speaker 2: And by the way, I was hoping, you're gonna ask

2015
01:47:06,360 --> 01:47:08,240
Speaker 2: me who I've not met that I wanted to meet,

2016
01:47:08,280 --> 01:47:13,160
Speaker 2: and that would be Getty Lee and Alex Lifson. But

2017
01:47:13,320 --> 01:47:16,559
Speaker 2: you talk about they're not that hard to me, Well,

2018
01:47:16,680 --> 01:47:18,280
Speaker 2: no one's I've never been able to do it. So

2019
01:47:18,360 --> 01:47:20,479
Speaker 2: Bob helped me out. I mean, those guys like you

2020
01:47:20,520 --> 01:47:27,400
Speaker 2: see for me like I anyway, I that was unbelievable

2021
01:47:27,400 --> 01:47:30,639
Speaker 2: that that that Taylor Hawkins concert was unbelievable. Was everybody there.

2022
01:47:31,320 --> 01:47:33,560
Speaker 2: And then I've got to say, you know, it's probably

2023
01:47:34,200 --> 01:47:36,280
Speaker 2: you know, I don't know. I go to so many shows.

2024
01:47:36,320 --> 01:47:38,679
Speaker 2: I just I can't really I was thinking, I knew

2025
01:47:38,680 --> 01:47:41,360
Speaker 2: you were gonna ask me this. You know, it's probably

2026
01:47:42,080 --> 01:47:44,240
Speaker 2: probably something from a million years ago. Might have been

2027
01:47:44,240 --> 01:47:46,200
Speaker 2: the first time I saw Kiss, you know, might have

2028
01:47:46,240 --> 01:47:48,400
Speaker 2: been the first time I saw Cheap Trip. I mean,

2029
01:47:48,520 --> 01:47:49,960
Speaker 2: I can tell you there's a lot of concerts that

2030
01:47:50,000 --> 01:47:52,760
Speaker 2: were really bad. You know. I still go to a

2031
01:47:52,800 --> 01:47:55,320
Speaker 2: lot of I go to a lot of old heavy

2032
01:47:55,360 --> 01:47:58,360
Speaker 2: metal concerts with people that's pretty funny, you know, with

2033
01:47:58,479 --> 01:48:01,880
Speaker 2: some of my best buddies from high school. But I

2034
01:48:01,960 --> 01:48:06,640
Speaker 2: just love the concert experience after I left, you know,

2035
01:48:06,720 --> 01:48:08,680
Speaker 2: being on manager, being on the road, you know, going

2036
01:48:08,720 --> 01:48:10,680
Speaker 2: to a concert is like, you know, I'm looking at

2037
01:48:10,720 --> 01:48:12,479
Speaker 2: the production. You know, I'm not looking at the I'm

2038
01:48:12,479 --> 01:48:14,320
Speaker 2: not watching the show. I'm wondering how they got all

2039
01:48:14,360 --> 01:48:16,280
Speaker 2: that in there, what's the trust? You know, all that.

2040
01:48:16,280 --> 01:48:18,120
Speaker 2: That's kind of what I look at these days, you know.

2041
01:48:18,439 --> 01:48:20,360
Speaker 2: And but and now I'm looking at how many people

2042
01:48:20,400 --> 01:48:22,439
Speaker 2: are in their seats, and what do I think this

2043
01:48:22,479 --> 01:48:24,680
Speaker 2: person paid next to me versus what I paid? And

2044
01:48:24,760 --> 01:48:26,840
Speaker 2: dynamically pricing and all that stuff, you know.

2045
01:48:26,960 --> 01:48:34,559
Speaker 1: So okay, so let's just assume your wife is out

2046
01:48:34,600 --> 01:48:38,960
Speaker 1: of the picture. You were having a searching of the

2047
01:48:39,000 --> 01:48:41,880
Speaker 1: soul moment at three in the morning. Let's not make

2048
01:48:41,880 --> 01:48:43,720
Speaker 1: it three in the morning. You're having a searching in

2049
01:48:43,760 --> 01:48:45,280
Speaker 1: the soul moment. Who do you call?

2050
01:48:50,800 --> 01:48:59,080
Speaker 2: Hm? That's an interesting question. You know, I'm not sure

2051
01:48:59,200 --> 01:49:03,160
Speaker 2: it's my mom, Henry or Margaret anymore. It's uh, it's

2052
01:49:03,200 --> 01:49:05,960
Speaker 2: probably my family. It could be my friend Benjamin. But

2053
01:49:05,960 --> 01:49:07,840
Speaker 2: but most likely it's probably you know, at the end

2054
01:49:07,880 --> 01:49:10,439
Speaker 2: of the days, it's a tough one, Bob, It's a

2055
01:49:10,479 --> 01:49:13,840
Speaker 2: tough one, you know. I don't uh, you know, I

2056
01:49:13,840 --> 01:49:15,960
Speaker 2: don't share a lot of that stuff, you know. And

2057
01:49:16,000 --> 01:49:18,360
Speaker 2: I don't have a lot of soul searching moments anymore

2058
01:49:18,400 --> 01:49:24,280
Speaker 2: like that, or I don't share that very often. But uh, yeah,

2059
01:49:24,360 --> 01:49:26,519
Speaker 2: it's it's I guess it could be Margaret. I don't know.

2060
01:49:26,880 --> 01:49:27,920
Speaker 2: It might be my step mother.

2061
01:49:28,160 --> 01:49:31,400
Speaker 1: Oh, so are you still buddies? Is Benjamin from the

2062
01:49:31,439 --> 01:49:32,080
Speaker 1: old days?

2063
01:49:32,080 --> 01:49:34,360
Speaker 2: Like growing Benjamin's buddy of mine from New York. You know,

2064
01:49:34,400 --> 01:49:35,960
Speaker 2: he's one of my best buddies. I mean, you know,

2065
01:49:36,000 --> 01:49:39,080
Speaker 2: I just you know, I I don't share a lot

2066
01:49:39,080 --> 01:49:40,920
Speaker 2: of that stuff. Let me put you to that way,

2067
01:49:41,080 --> 01:49:42,599
Speaker 2: you know. And I don't have a lot of those

2068
01:49:42,640 --> 01:49:46,640
Speaker 2: soul soul searching moments. It probably should, you know, but

2069
01:49:46,720 --> 01:49:47,160
Speaker 2: I don't.

2070
01:49:47,560 --> 01:49:50,840
Speaker 1: Do you not share that because you've seen been around

2071
01:49:51,040 --> 01:49:52,959
Speaker 1: public figures so much.

2072
01:49:53,120 --> 01:49:56,240
Speaker 2: It might be it might be that, you know, Look, this,

2073
01:49:56,560 --> 01:49:59,360
Speaker 2: what we've done today is the most I've ever spoken

2074
01:49:59,400 --> 01:50:01,760
Speaker 2: about this, and asmen, was the first time I ever

2075
01:50:01,840 --> 01:50:04,439
Speaker 2: spoke about any of this with anybody publicly. You know,

2076
01:50:04,520 --> 01:50:08,080
Speaker 2: I always kept it very people knew maybe, but don't

2077
01:50:08,080 --> 01:50:09,800
Speaker 2: really talk to me about it. You know, it just

2078
01:50:09,960 --> 01:50:13,160
Speaker 2: was just was it just was, you know, just was

2079
01:50:13,280 --> 01:50:13,839
Speaker 2: my life.

2080
01:50:14,320 --> 01:50:18,880
Speaker 1: Okay, when you're vacationing in Hawaii, et cetera, with these

2081
01:50:18,880 --> 01:50:24,000
Speaker 1: household names, was there a clique a group of their

2082
01:50:24,120 --> 01:50:26,720
Speaker 1: children who you all ran together with.

2083
01:50:27,280 --> 01:50:30,320
Speaker 2: Yeah, I'm still friends with all of them. Some are here.

2084
01:50:30,720 --> 01:50:33,840
Speaker 2: There's some that aren't here anymore, but you know, which

2085
01:50:33,880 --> 01:50:36,960
Speaker 2: is unfortunate, But most of them I'm still very close with.

2086
01:50:37,080 --> 01:50:40,720
Speaker 1: You absolutely, And what insight can you give us? Not

2087
01:50:40,760 --> 01:50:43,960
Speaker 1: only you given us from yourself and you're here and

2088
01:50:44,000 --> 01:50:47,360
Speaker 1: you say some of these people are not What insight

2089
01:50:47,439 --> 01:50:50,439
Speaker 1: can you give about being the son or daughter of

2090
01:50:50,680 --> 01:50:53,000
Speaker 1: public figures.

2091
01:50:52,080 --> 01:50:59,000
Speaker 2: Being responsible, not being an idiot? You just got to

2092
01:50:59,080 --> 01:51:02,200
Speaker 2: know that. You just got to know that there there

2093
01:51:02,200 --> 01:51:04,360
Speaker 2: could be a lot of judgment out there. You know,

2094
01:51:04,720 --> 01:51:08,000
Speaker 2: just be humble, do your thing, work your ass off.

2095
01:51:08,080 --> 01:51:10,479
Speaker 2: You know, By the way, now, I never you know,

2096
01:51:10,479 --> 01:51:13,320
Speaker 2: when I said to my parents, like when I was fourteen,

2097
01:51:13,680 --> 01:51:16,120
Speaker 2: I don't want to go to camp anymore. Henry was like, great,

2098
01:51:16,160 --> 01:51:19,200
Speaker 2: you're gonna get a job. You know, my first job

2099
01:51:19,240 --> 01:51:22,840
Speaker 2: at fourteen was at National Compact disc came next to

2100
01:51:22,960 --> 01:51:25,680
Speaker 2: Fat Jacks the corner of Tahunga and Ventura.

2101
01:51:26,280 --> 01:51:30,040
Speaker 1: Remember that store. How often did you did Fat Jacks.

2102
01:51:30,080 --> 01:51:32,200
Speaker 2: All the time? Or I'd go down the street to

2103
01:51:32,240 --> 01:51:34,840
Speaker 2: Henry's Tacos. But Bob, that was one of the first

2104
01:51:35,600 --> 01:51:39,360
Speaker 2: CD only stores in Los Angeles, right, And so I'm fourteen,

2105
01:51:40,000 --> 01:51:43,479
Speaker 2: I'm working with all these rockers, you know, who were

2106
01:51:43,479 --> 01:51:48,120
Speaker 2: playing all these amazing like you know, Genesis records, like

2107
01:51:48,200 --> 01:51:49,880
Speaker 2: I knew three sides like, but all of a sudden,

2108
01:51:49,880 --> 01:51:52,200
Speaker 2: they're playing seconds out and lamps line's down a Broadway

2109
01:51:52,200 --> 01:51:55,200
Speaker 2: and my mind's exploding and somebody's telling me, you gotta

2110
01:51:55,240 --> 01:51:56,760
Speaker 2: listen to this Dark Side of the Moon. I mean,

2111
01:51:56,800 --> 01:51:59,960
Speaker 2: like that was. That was unbelievable. That was That was incredible,

2112
01:52:00,120 --> 01:52:02,240
Speaker 2: And I got, you know, discounts on CDs.

2113
01:52:02,880 --> 01:52:04,840
Speaker 1: Let's go back to the medals. So who were your

2114
01:52:04,880 --> 01:52:05,920
Speaker 1: favorite metal locks?

2115
01:52:06,120 --> 01:52:08,960
Speaker 2: Oh? My god, Ozzy. My dad worked with Ozzie, by

2116
01:52:08,960 --> 01:52:10,680
Speaker 2: the way, and I always loved Ozzy. I mean that

2117
01:52:10,760 --> 01:52:14,479
Speaker 2: nineteen eighty six Ultimate Sintour. I saw Metallica Mustard Master

2118
01:52:14,560 --> 01:52:17,360
Speaker 2: Puppets open for Ozzie two nights in a row, Long

2119
01:52:17,400 --> 01:52:21,679
Speaker 2: Beach arena mind blowing. I was always into rock. Okay,

2120
01:52:21,760 --> 01:52:24,559
Speaker 2: Zeppelin's my favorite. But in the eighties metal it was,

2121
01:52:24,600 --> 01:52:27,000
Speaker 2: you know, it was Rat Motley Crue, it was all

2122
01:52:27,040 --> 01:52:31,040
Speaker 2: that stuff. But I also listened to Stanley Jordan or

2123
01:52:31,080 --> 01:52:32,559
Speaker 2: I listened to Hiram Bullock, right.

2124
01:52:32,439 --> 01:52:32,560
Speaker 1: You know.

2125
01:52:32,560 --> 01:52:34,800
Speaker 2: I listened to all kinds of music. I've always been

2126
01:52:34,800 --> 01:52:39,160
Speaker 2: into that, the guitars, you know, all the old AC

2127
01:52:39,360 --> 01:52:43,840
Speaker 2: DC stuff in Lizzie all that stuff, you know. And

2128
01:52:43,880 --> 01:52:46,639
Speaker 2: then uh, and then I heard Pretenders Won, and then

2129
01:52:46,640 --> 01:52:49,240
Speaker 2: I went that way, you know, and then I you know,

2130
01:52:49,360 --> 01:52:52,519
Speaker 2: so it's I just love it. I listened to everything.

2131
01:52:52,560 --> 01:52:55,920
Speaker 2: There's very little that I don't like. But if I

2132
01:52:55,920 --> 01:52:57,240
Speaker 2: don't like it, I don't like it.

2133
01:52:57,960 --> 01:53:00,960
Speaker 1: You know, I work for Sanctuary Law before it, when

2134
01:53:01,080 --> 01:53:04,800
Speaker 1: public et cetera. It ultimately imploded. Why do you think

2135
01:53:04,800 --> 01:53:05,480
Speaker 1: it imploded?

2136
01:53:07,720 --> 01:53:10,040
Speaker 2: That's a tough one. I mean, I think there was

2137
01:53:10,120 --> 01:53:16,519
Speaker 2: a there's you know, I think there are a lot of

2138
01:53:16,520 --> 01:53:19,639
Speaker 2: money spent, and I think saying no sometimes is important,

2139
01:53:19,840 --> 01:53:21,680
Speaker 2: you know. So I mean, I don't really know. I

2140
01:53:21,720 --> 01:53:23,679
Speaker 2: don't know the inside the ins and outs of that.

2141
01:53:23,680 --> 01:53:27,280
Speaker 2: It's just I think they I think I think things

2142
01:53:27,280 --> 01:53:29,559
Speaker 2: got a little crazy. That's all I know.

2143
01:53:30,600 --> 01:53:36,120
Speaker 1: Okay, as we speak, hypnosis was the assets were discounted

2144
01:53:36,120 --> 01:53:41,839
Speaker 1: by twenty five percent. Merk was the face of buying

2145
01:53:42,040 --> 01:53:45,559
Speaker 1: catalogs and paying for them. What insight can you give

2146
01:53:45,600 --> 01:53:46,120
Speaker 1: us into that?

2147
01:53:47,720 --> 01:53:49,840
Speaker 2: I don't know anything about that. I just know Mark's

2148
01:53:49,880 --> 01:53:53,200
Speaker 2: a music guy, always has been a music guy. He's

2149
01:53:53,240 --> 01:53:56,519
Speaker 2: an artist guy. He's always been an artist guy. He's

2150
01:53:56,560 --> 01:53:59,840
Speaker 2: always been good to me. To this day. We still

2151
01:54:00,680 --> 01:54:03,639
Speaker 2: you know, we both support the same football team, Arsenal,

2152
01:54:03,800 --> 01:54:10,120
Speaker 2: so we text often. I've known as kids forever. Yeah,

2153
01:54:10,120 --> 01:54:11,600
Speaker 2: I don't know. I don't know too much about that.

2154
01:54:11,680 --> 01:54:14,679
Speaker 2: I just know Mark's always been a big artist guy.

2155
01:54:14,720 --> 01:54:17,080
Speaker 2: That's all I can tell you, Bob Okay.

2156
01:54:17,120 --> 01:54:20,240
Speaker 1: And if you have a music business issue, who do

2157
01:54:20,280 --> 01:54:22,000
Speaker 1: you call for insight and advice?

2158
01:54:25,800 --> 01:54:28,360
Speaker 2: Eric Greenspand probably one of the first calls I make

2159
01:54:31,360 --> 01:54:36,200
Speaker 2: Michelle Bernstein. Probably the second call I make smartest tour

2160
01:54:36,280 --> 01:54:40,560
Speaker 2: Marketer slash live person who understands the live business better

2161
01:54:40,560 --> 01:54:45,120
Speaker 2: than anybody I've ever met. Helped me understand the necessary

2162
01:54:46,120 --> 01:54:49,040
Speaker 2: opportunity here on understanding the second dairy market and the

2163
01:54:49,120 --> 01:54:51,720
Speaker 2: data it beholds, and how to apply that to the

2164
01:54:51,720 --> 01:54:57,840
Speaker 2: primary she's a genius and a very close friend. There

2165
01:54:57,840 --> 01:55:02,959
Speaker 2: are a couple other people out there too. Gean Solomon,

2166
01:55:03,280 --> 01:55:05,560
Speaker 2: good guy, good friend of mine.

2167
01:55:06,560 --> 01:55:09,440
Speaker 1: And do you think a major act can go out

2168
01:55:09,480 --> 01:55:10,320
Speaker 1: without production?

2169
01:55:11,960 --> 01:55:16,200
Speaker 2: Sure? He got'd be amazing. Nothing would be cooler. I mean,

2170
01:55:16,200 --> 01:55:19,080
Speaker 2: I mean, I just saw you two at the sphere.

2171
01:55:19,120 --> 01:55:21,080
Speaker 2: If they didn't have the graphics, there was no production,

2172
01:55:21,160 --> 01:55:24,400
Speaker 2: I mean you know, I mean I it was Yeah,

2173
01:55:24,440 --> 01:55:26,600
Speaker 2: I think that would be amazing. I think that would

2174
01:55:26,600 --> 01:55:30,120
Speaker 2: be absolutely amazing. Then it's just all about the music.

2175
01:55:30,160 --> 01:55:33,280
Speaker 2: But it depends on the act, right, So my girls

2176
01:55:33,320 --> 01:55:35,480
Speaker 2: they don't want to see that. They want to see

2177
01:55:35,480 --> 01:55:41,360
Speaker 2: the whole thing. But like me, if it was Crows, right, Chris,

2178
01:55:41,480 --> 01:55:45,600
Speaker 2: they can go out without production and fucking heal it right.

2179
01:55:46,160 --> 01:55:48,960
Speaker 2: So that's a guy by the way. For me, now

2180
01:55:49,000 --> 01:55:52,640
Speaker 2: that we're close friends, like I get excited when we

2181
01:55:52,680 --> 01:55:56,840
Speaker 2: share music together. I live to send him music that

2182
01:55:56,920 --> 01:56:00,160
Speaker 2: he doesn't know but doesn't happen very often, and I'm like,

2183
01:56:00,200 --> 01:56:02,160
Speaker 2: send me music, send me you know, that's all I want,

2184
01:56:02,160 --> 01:56:04,960
Speaker 2: are his playlists, right, It's like that's the coolest thing

2185
01:56:04,960 --> 01:56:06,240
Speaker 2: in the world to me, you know, it is to

2186
01:56:06,280 --> 01:56:09,120
Speaker 2: be able to share my musical taste with other people

2187
01:56:09,200 --> 01:56:12,919
Speaker 2: that have similar musical taste as me. That can rocket.

2188
01:56:13,040 --> 01:56:15,280
Speaker 2: I don't know if you saw them when they played

2189
01:56:15,360 --> 01:56:17,360
Speaker 2: last night. I saw that. I went to the first

2190
01:56:17,480 --> 01:56:19,840
Speaker 2: Aerosmith Gross show. They're unbelievable.

2191
01:56:19,920 --> 01:56:21,840
Speaker 1: This tour is going to be amazing, by the way,

2192
01:56:22,320 --> 01:56:26,480
Speaker 1: So can you name two acts that are new acts

2193
01:56:26,600 --> 01:56:28,760
Speaker 1: that you're busy sharing with other people.

2194
01:56:29,520 --> 01:56:32,400
Speaker 2: There's a young guy named Billy Tibbles who I'm crazy for,

2195
01:56:33,080 --> 01:56:36,000
Speaker 2: who Chris produced the record and it's on Chris's label.

2196
01:56:37,560 --> 01:56:40,960
Speaker 2: He's got a great record out right now that Apple

2197
01:56:41,080 --> 01:56:43,680
Speaker 2: Music is all over, so that's cool, which I'll send you.

2198
01:56:45,160 --> 01:56:47,720
Speaker 2: And there's a there's a band out there called Eggy

2199
01:56:48,320 --> 01:56:53,040
Speaker 2: egg Y that our jam band. There's the guitar players,

2200
01:56:53,040 --> 01:56:56,960
Speaker 2: a guy named Jacob Brownstein and Jake Brownstein. He's unbelievable.

2201
01:56:57,240 --> 01:57:01,600
Speaker 2: And those guys are are the next They're the next dudes.

2202
01:57:01,760 --> 01:57:04,000
Speaker 2: They're the next part of that scene you know, to

2203
01:57:04,080 --> 01:57:06,080
Speaker 2: kind of to kind of go there right, like I

2204
01:57:06,160 --> 01:57:08,560
Speaker 2: missed Goose, I don't get it, but like they're huge,

2205
01:57:09,000 --> 01:57:10,840
Speaker 2: Eggy is they're the next ones, you know.

2206
01:57:11,720 --> 01:57:14,080
Speaker 1: Okay, your name is Jed. What is the name on

2207
01:57:14,160 --> 01:57:15,240
Speaker 1: your birth certificate?

2208
01:57:15,560 --> 01:57:23,240
Speaker 2: Jed. My great grandfather from Odessa was named Jeddy. I

2209
01:57:23,280 --> 01:57:28,040
Speaker 2: think that was his name, and so my mother named

2210
01:57:28,080 --> 01:57:32,280
Speaker 2: me Jed. It's just Jed. Bruce Weizman and an incredible guy.

2211
01:57:33,280 --> 01:57:37,320
Speaker 1: And you know, most people hear Jed and they think

2212
01:57:37,360 --> 01:57:40,640
Speaker 1: of the Beverly Hillbillies and the cleupits. Was it tough

2213
01:57:40,720 --> 01:57:42,040
Speaker 1: growing up with that name?

2214
01:57:42,760 --> 01:57:46,280
Speaker 2: I mean no, I mean it happened, but I didn't

2215
01:57:46,320 --> 01:57:48,520
Speaker 2: give a shit. I just didn't even pay attention, you know.

2216
01:57:48,520 --> 01:57:50,720
Speaker 2: And then after Star Wars I was Jedi, so it

2217
01:57:50,760 --> 01:57:52,480
Speaker 2: all worked out the end, Bob, you know.

2218
01:57:53,200 --> 01:57:56,560
Speaker 1: And on that note, with your lightsaber, I think we've

2219
01:57:56,560 --> 01:57:58,560
Speaker 1: come to the end of the feeling we've known. I

2220
01:57:58,600 --> 01:58:01,680
Speaker 1: want to thank you so much for sharing your insight

2221
01:58:01,920 --> 01:58:03,600
Speaker 1: and story with my audience.

2222
01:58:04,640 --> 01:58:06,000
Speaker 2: Thanks, Bob, It's a pleasure.

2223
01:58:06,120 --> 01:58:10,040
Speaker 1: Pleasure is mine. Until next time. This is Bob left

2224
01:58:10,080 --> 01:58:10,440
Speaker 1: Stacks

2225
01:58:32,320 --> 01:58:32,360
Speaker 2: H