WEBVTT - Ron Stone

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<v Speaker 1>Welcome, Welcome, Welcome back to the Bob Left Sets podcast.

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<v Speaker 1>My guest today is Ron Stone. I've been there at

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<v Speaker 1>the birth of rock and roll. Still a manager today, Ron,

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<v Speaker 1>Great to have you hi. How are you okay? How

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<v Speaker 1>did you meet David geffin? How did I meet David Geffen? Okay?

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<v Speaker 1>So well. The precursor to that is that I grew

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<v Speaker 1>up in the Bronx with Elliott Roberts. Wait, wait, you

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<v Speaker 1>knew Elliott Roberts. I've known him since I was eleven

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<v Speaker 1>years old. How did you meet you know, the dearly

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<v Speaker 1>departed Elliott when he was Elliot Rabinowitz, that's right, and

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<v Speaker 1>when I was somebody else also, I don't think so

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<v Speaker 1>oh I was really Won't were you? I thought you

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<v Speaker 1>were lived Stone? Jewish name. No, No, I made up Okay,

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<v Speaker 1>there there's a lot of things here. I made up

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<v Speaker 1>the name Stone because I was when I was in

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<v Speaker 1>law school, I was modeling to pay for to pay

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<v Speaker 1>for law schools. So they changed my name to Stone.

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<v Speaker 1>And you're not going to tell us what your original

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<v Speaker 1>name was. No, the police will get me. Okay, this

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<v Speaker 1>protection program like about that one time? I didn't really

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<v Speaker 1>know that anyway. So Elliot and I, um, we used

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<v Speaker 1>to hang out on Fordham Road in the Bronx in

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<v Speaker 1>a in an ice cream parlor called Jaan's. Okay cream

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<v Speaker 1>any good? I don't know. We never went an uh

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<v Speaker 1>so uh And you know we would stand on the

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<v Speaker 1>corner and sing old rock and roll songs. And let's

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<v Speaker 1>start there. What'd your father do for a living? Your mother?

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<v Speaker 1>My father was a shoe salesman and a Russian immigrant,

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<v Speaker 1>and my mother worked at some place in the garment district.

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<v Speaker 1>And how many kids in the so called Stone family?

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<v Speaker 1>I think I have an older brother. Is he still

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<v Speaker 1>with us? I have no idea. Well, I haven't spoken

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<v Speaker 1>to him for twenty five years. Did you have an argument?

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<v Speaker 1>He kind of dropped you get me into trouble? He

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<v Speaker 1>kind of dropped my there on me. You know, she

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<v Speaker 1>was living in New York and they got into a

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<v Speaker 1>big bruhaha, and he shipped her out to California and

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<v Speaker 1>she was in her eighties and I took care of

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<v Speaker 1>her until she was ninety four when she passed away. Okay,

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<v Speaker 1>So you also haven't spoken to him since then? Okay,

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<v Speaker 1>that's by your choice or his choice mine. Okay, So

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<v Speaker 1>you meet Elliott Rabinowitch. You're hanging out at the ice

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<v Speaker 1>cream parlor. Yes, and then you know I I went

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<v Speaker 1>to law school and Elliot and I went. I thought

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<v Speaker 1>you dropped out of law school. I didn't say I finished.

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<v Speaker 1>Did finished? Where did you go to college? I went

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<v Speaker 1>to in New Jersey, to Fairly Dickinson University, or they

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<v Speaker 1>called it fairly ridiculous. I was not going to say

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<v Speaker 1>that I lived in the Bronx. They made fun of

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<v Speaker 1>me for going to college in the first place. Okay,

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<v Speaker 1>but I don't really know where it is in New Jersey,

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<v Speaker 1>New Jersey, Okay, So you lived at home. I lived

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<v Speaker 1>in the city and I went by motorcycle across the

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<v Speaker 1>Brooklyn Bridge for three years in fucking winter. Like what

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<v Speaker 1>kind of motorcycle Honda for fifty was? And did you

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<v Speaker 1>ever dump it? You ever had an accident twice and

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<v Speaker 1>any injury? No? I broke the motorcycle. Okay, well, at

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<v Speaker 1>least not you. Okay, So you're going to, uh, what's

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<v Speaker 1>your Josie to Fairly Dickinson and then you're gonna go

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<v Speaker 1>to law school. Yes, continue, So I went to Brooklyn

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<v Speaker 1>Law School for about a year and they objected to

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<v Speaker 1>the fact that the one I didn't I didn't wear

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<v Speaker 1>the attire that was required. Well, what year are we in?

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<v Speaker 1>Sixty five? Okay? So way to college? Okay, so the

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<v Speaker 1>revolution has already happened. So yes, And I've discovered psychedelic

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<v Speaker 1>drugs at exactly the wrong time in my life. So

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<v Speaker 1>I was my wife was working and putting me through.

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<v Speaker 1>I was married at that point. For well, I know

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<v Speaker 1>you've been married how many? How long? Fifty four years?

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<v Speaker 1>And how old were you when you got married? Twenty one?

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<v Speaker 1>And how old was she? Nineteen? How long did you

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<v Speaker 1>know each other before you got married? Three years? So

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<v Speaker 1>you met her when she was in high school and

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<v Speaker 1>you just started college? Yes, And and she lived in

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<v Speaker 1>Los Angeles and I lived in New York, and I

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<v Speaker 1>fell in love with her the first time I saw

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<v Speaker 1>her drive up in her nine powder blue Chevy convertible

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<v Speaker 1>with the white top and white leather. Okay, Since she

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<v Speaker 1>lived in l A. And we know each other, how

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<v Speaker 1>did you intersect with her? How did you actually meet her?

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<v Speaker 1>She was the first girl I ever met in California? Okay,

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<v Speaker 1>what were you doing in California? I came out to

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<v Speaker 1>buy drugs to pay for my way in college, okay,

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<v Speaker 1>and you mess in those days. In those days, this

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<v Speaker 1>is the truth. We we'd drive out, we'd fill up

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<v Speaker 1>our trunk for you know, to two point two uh

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<v Speaker 1>uh pounds of pounds of Mexican marijuana. We'd fill up

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<v Speaker 1>the trunk. And by the way, I never got high

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<v Speaker 1>in high school or college because I was an athlete.

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<v Speaker 1>I was a pole vaulter. But my neighborhood, what is

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<v Speaker 1>your highest height? Actually I was four inches below the

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<v Speaker 1>the world record at one point, I was fifteen six.

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<v Speaker 1>Fifteen six, that's pretty good. In high school, that was

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<v Speaker 1>that with fiberglass poles. No see, I had. I had

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<v Speaker 1>such an incredible coach that he thought it was a

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<v Speaker 1>fad that was not gonna last. So when I was

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<v Speaker 1>doing fifteen six, there was a guy and I was

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<v Speaker 1>just in school of my freshman year at Fairley Dickinson. Way.

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<v Speaker 1>That's how I got into Fairley Dickinson because I got

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<v Speaker 1>in on a scholarship because paul vaulters are really rare,

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<v Speaker 1>you know. And did you continue to pull vault at

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<v Speaker 1>Fairley Dickinson. Yeah, until I broke a wrist in an ankle,

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<v Speaker 1>and then they got rid of my scholarship. Then I

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<v Speaker 1>actually had to work. That's how I ended up going

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<v Speaker 1>to California. Okay, let's just stop there for a second.

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<v Speaker 1>Fifth and confusing, isn't it not at all? Fifteen six?

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<v Speaker 1>That's really fucking high for a metal poll. Yes, and

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<v Speaker 1>it was, you know, in those days, it was like

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<v Speaker 1>a gymnastic event. And it was an upper body event

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<v Speaker 1>more than it was speed and and and agility, because

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<v Speaker 1>when you bend that fiberglass pole, you kind of shoot

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<v Speaker 1>yourself over the pole sixt ft. So you're not getting

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<v Speaker 1>much higher than that no matter what you do, unless

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<v Speaker 1>you put your hands at the very edge and then

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<v Speaker 1>you okay, what were you falling into? The God? This

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<v Speaker 1>is why I hurt myself. Sawdust three ft of sawdust.

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<v Speaker 1>But by the end of the meat, after twenty people

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<v Speaker 1>had done, it was packed like a concrete Okay. It

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<v Speaker 1>was dangerous, Okay, so you would drive out. You didn't

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<v Speaker 1>smoke marijuana, didn't do drugs in high school? Did you

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<v Speaker 1>not drugs in California before you did them? Yes? So

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<v Speaker 1>who is the guy who said, hey, let's go do this? Okay?

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<v Speaker 1>I had a friend in the Bronx is his name was?

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<v Speaker 1>He called him read he was. He and his brother

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<v Speaker 1>were called the Venero Brothers, and we lived in the Bronx,

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<v Speaker 1>which you know was of a middle class. Half the

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<v Speaker 1>people in our name we were Italian, Irish and Jewish,

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<v Speaker 1>and the Italians were all mobbed up like they were

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<v Speaker 1>they were lower echelon. There was a middle like Johnny

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<v Speaker 1>what was that name? God, there was that mafia movie

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<v Speaker 1>about the low level people. Wasn't keep going on anyway,

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<v Speaker 1>So this was this was like the mafia middle class.

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<v Speaker 1>You know they were not anyway. So um Red and

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<v Speaker 1>I went out to California the first time and intentionally

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<v Speaker 1>to buy drugs. Weren't you a little anxious about the law? No?

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<v Speaker 1>I was too stupid. And whose car was it? My

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<v Speaker 1>favorite car I ever owned? Nine Mercury black convertible. And

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<v Speaker 1>now the classic thing with dope runners is the car

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<v Speaker 1>breaks down or there's a tail light out. Did you

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<v Speaker 1>check all that stuff to make sure you wouldn't get

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<v Speaker 1>stopped at the car? For seventy five I didn't want

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<v Speaker 1>to look too closely. Okay, wait wait, wait, so okay,

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<v Speaker 1>but after the first couple of trips, we realized we

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<v Speaker 1>could fly back and forth. Fill up the suitcase put

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<v Speaker 1>it on the plane because there was no security in

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<v Speaker 1>the nineteen sixty to sixty three whatever it was, anyway,

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<v Speaker 1>and the whole theory was if it didn't come down

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<v Speaker 1>with everybody else's luggage home, never happened. How many runs

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<v Speaker 1>did you make? That's six? Okay? And who was the connection?

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<v Speaker 1>My pal read so he knew somebody here his family, okay.

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<v Speaker 1>And did you have any anxiety or it was always good?

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<v Speaker 1>I was too stupid to have anxiety just to go back.

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<v Speaker 1>How long did it take you to drive back and forth?

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<v Speaker 1>Three days? Three days in each direction? Exactly? Okay, your

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<v Speaker 1>quasi going to law school? You're dressing? No, no, no.

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<v Speaker 1>This is when I was in college, and that's when

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<v Speaker 1>I met my wife, which is what this story is

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<v Speaker 1>supposed to be about. We went it was hot, and

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<v Speaker 1>we went to the four star movie theater on Wilshire Boulevard,

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<v Speaker 1>which at that time was a first run movie theater.

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<v Speaker 1>Remind me that the one that La Siennaca it was

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<v Speaker 1>near La Siennaca's on Wilshire. Yeah, yeah, okay, because there

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<v Speaker 1>were a couple of she was she was the girl

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<v Speaker 1>in the little uniform in the booth. Well really, and

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<v Speaker 1>she was fucking adorable. I thought you said you saw

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<v Speaker 1>her in a Chevy. Well that's when I knew where

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<v Speaker 1>I was in love with her. Okay, I met her

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<v Speaker 1>in the book. So she's taken the tickets. She's from

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<v Speaker 1>l A. Yes, she's actually from Detroit. She's been out

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<v Speaker 1>there since she was a teenager. Okay. So you see

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<v Speaker 1>her and you we have the gifted gap. And I

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<v Speaker 1>asked her out and she says, yes, I was cute, Okay,

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<v Speaker 1>she was adorable. Okay. And so we had a long

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<v Speaker 1>distance romance for about four years, and how I'd go

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<v Speaker 1>back and forth, and then one time she came to

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<v Speaker 1>New York and I just wouldn't let her go home.

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<v Speaker 1>We got married. How hard did you have to convince her?

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<v Speaker 1>She was very too hard. She was wondering when I

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<v Speaker 1>would get around to it. Okay. And then as a

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<v Speaker 1>solid success story. But going back, you're going to law school.

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<v Speaker 1>What did they expect you to dress like? Well, they

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<v Speaker 1>dress code at Brooklyn Law School. There was a dress code. Absolutely,

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<v Speaker 1>you had to dress like a lawyer if you wanted

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<v Speaker 1>to be a lawyer. That you're a dressed like one

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<v Speaker 1>jacket and tie, white shirt and everything I wore a

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<v Speaker 1>fur vest and I drove my motorcycle and I tied

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<v Speaker 1>my motorcycle. I chained my motorcycle up to the to

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<v Speaker 1>the railing, the to the building. So I didn't really

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<v Speaker 1>last that long. I made it through the first year.

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<v Speaker 1>And so how did it literally end? They said please

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<v Speaker 1>go away? And were you cool with that? I didn't

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<v Speaker 1>know what the funk was going on. I was I

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<v Speaker 1>was getting high, and you know, I was really unprepared

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<v Speaker 1>to be a lawyer. Okay at the time, because it's

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<v Speaker 1>starting to burge in. Were you into the music? And

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<v Speaker 1>when I when I was like twelve fourteen, you know,

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<v Speaker 1>we were listening to like the the O J's and

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<v Speaker 1>you know, very R and B and very you know,

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<v Speaker 1>we thought we were really hip when we would go

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<v Speaker 1>down to street to the to the record store they

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<v Speaker 1>sold forty five and we'd buy all these you know,

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<v Speaker 1>R and B bands and R and B singers and

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<v Speaker 1>stuff and Elliott and I, you know, and Okay, so

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<v Speaker 1>it was you and Eli. Eli was still in New York.

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<v Speaker 1>What was he doing it? Was he a trapped talent agent? Yet? No,

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<v Speaker 1>well he he ended up at William Morrison. That's where Okay,

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<v Speaker 1>the essence of the story. That's where he met David Geffen. Okay,

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<v Speaker 1>but before we get there, you were what was he doing,

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<v Speaker 1>since he can't tell you're the vehicle for a story today,

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<v Speaker 1>what was he doing before he got the job at

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<v Speaker 1>w O M A uh, failing out of three different colleges, okay,

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<v Speaker 1>and then he landed at the mail room at William

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<v Speaker 1>Morrison some active absolute desperation. Okay. Who got him the gig?

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<v Speaker 1>Do you remember? No? I don't actually, but somebody must

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<v Speaker 1>have because he couldn't get that job. But it was

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<v Speaker 1>you know that in those days, William Morris was the

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<v Speaker 1>Tiffany Agency and your entree was the mail room. And

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<v Speaker 1>if you survived that six months in the mail room,

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<v Speaker 1>then they sent you on a journey for the next

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<v Speaker 1>two years, working for all the different people in all

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<v Speaker 1>the different disciplines you know, TV, film music. In the

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<v Speaker 1>same era w William Morris and New York Uh liber

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<v Speaker 1>and Crebs were both of the William wore did you

0:12:17.240 --> 0:12:22.000
<v Speaker 1>know them at that era? But but the third the

0:12:22.080 --> 0:12:25.679
<v Speaker 1>third party to this triumphant was it was Elliott and

0:12:25.800 --> 0:12:31.160
<v Speaker 1>me and jeff Wald, Jeff Wald, the Helen Ready Jeff Wald,

0:12:31.200 --> 0:12:34.199
<v Speaker 1>that's right, and By the way, I always thought Jeff

0:12:34.240 --> 0:12:36.520
<v Speaker 1>was the greatest manager in the history of the music

0:12:36.559 --> 0:12:40.560
<v Speaker 1>business because he made Helen Ready a huge success, and

0:12:40.600 --> 0:12:43.320
<v Speaker 1>if you think about it for a minute, that's the

0:12:43.360 --> 0:12:47.640
<v Speaker 1>fucking hardest job in the world. He was notorious for

0:12:47.760 --> 0:12:52.800
<v Speaker 1>having an explosive personality. Yes, he was out of his

0:12:52.920 --> 0:12:55.320
<v Speaker 1>fucking mind. He still is, by the way, right. But

0:12:55.360 --> 0:12:59.080
<v Speaker 1>he did some stuff after he left Helen Ready and

0:12:59.120 --> 0:13:00.920
<v Speaker 1>they got to war. He was working on a couple

0:13:00.960 --> 0:13:02.080
<v Speaker 1>of things. He had a couple of he was in

0:13:02.120 --> 0:13:03.760
<v Speaker 1>the news. I can't remember. It's like he might he

0:13:03.840 --> 0:13:07.199
<v Speaker 1>managed Mike Tyson for a while. Okay, so it was

0:13:07.240 --> 0:13:09.960
<v Speaker 1>the triumphrate. You're now out of law school. What happens

0:13:10.000 --> 0:13:13.160
<v Speaker 1>to you? So my wife doesn't want to be since

0:13:13.200 --> 0:13:14.800
<v Speaker 1>I flunked out of law school, she didn't want to

0:13:14.800 --> 0:13:17.160
<v Speaker 1>work to keep me in law school. So and she

0:13:17.200 --> 0:13:19.480
<v Speaker 1>wanted to go back to California. She did not like

0:13:19.640 --> 0:13:22.280
<v Speaker 1>living in New York. So we went back to California

0:13:22.400 --> 0:13:26.800
<v Speaker 1>and I rented. I rented a storefront next to the Troubador,

0:13:26.840 --> 0:13:31.000
<v Speaker 1>about four or five doors down from the Troubador um

0:13:31.120 --> 0:13:35.600
<v Speaker 1>on on Santa Monica, Bulevard. Just to be clear, towards

0:13:35.679 --> 0:13:39.640
<v Speaker 1>the Beverly hillside of the Hollywood side. Here's DOHENI, here's

0:13:39.640 --> 0:13:43.079
<v Speaker 1>the Santa Monica, the Troubadors in the middle of the block,

0:13:43.640 --> 0:13:49.559
<v Speaker 1>three four doors down, and I'm opening a clothing store.

0:13:49.640 --> 0:13:53.120
<v Speaker 1>We're you going to get the inventory. Well part of

0:13:53.120 --> 0:13:56.560
<v Speaker 1>the story, okay. So in the East Village there was

0:13:56.640 --> 0:14:00.680
<v Speaker 1>a clothing store called Limbo, where it was like the

0:14:00.760 --> 0:14:03.559
<v Speaker 1>hit the hip place to be and this they saw,

0:14:04.080 --> 0:14:08.880
<v Speaker 1>you know, re recycled leather jackets and you know, jeans

0:14:08.920 --> 0:14:11.480
<v Speaker 1>and T shirts and you know, the uniform of the day.

0:14:12.200 --> 0:14:16.080
<v Speaker 1>And I befriended them, and I went to California and

0:14:16.120 --> 0:14:18.880
<v Speaker 1>I found the storefront and they filled the store up

0:14:18.920 --> 0:14:22.360
<v Speaker 1>for me. But there was four doors down from the Troubador.

0:14:23.040 --> 0:14:26.240
<v Speaker 1>There's no foot traffic, so the only time we did

0:14:26.320 --> 0:14:30.440
<v Speaker 1>business was when the Troubadoor was open. So we would

0:14:30.440 --> 0:14:32.400
<v Speaker 1>be opened during the day, but you know, we would

0:14:32.440 --> 0:14:38.160
<v Speaker 1>get rich ladies from Beverly Hills slumming, but the Troubador

0:14:38.680 --> 0:14:42.080
<v Speaker 1>crowd was marked crowd. And I met David Crosby there

0:14:42.640 --> 0:14:45.760
<v Speaker 1>and we would sit and play chess and smoke pot

0:14:45.800 --> 0:14:48.080
<v Speaker 1>while the shows were going on, and we became really

0:14:48.080 --> 0:14:52.400
<v Speaker 1>good friends and um, and then Elliott was working for

0:14:52.440 --> 0:14:57.160
<v Speaker 1>a company called chart Off Winkler. They a big movie company. Well,

0:14:57.160 --> 0:14:59.480
<v Speaker 1>they became a big movie company. The first movie they

0:14:59.520 --> 0:15:02.840
<v Speaker 1>did was, Uh, they shoot horses, don't they? But before

0:15:02.880 --> 0:15:05.640
<v Speaker 1>that they managed comedians. Oh really, I didn't know that.

0:15:05.640 --> 0:15:10.440
<v Speaker 1>And Elliott was an apprentice and the sorcerer's apprentice in

0:15:10.800 --> 0:15:14.160
<v Speaker 1>so many ways and anyway, but he came, you know,

0:15:14.200 --> 0:15:20.760
<v Speaker 1>he saw Joanie Mitchell in Toronto, and um, what year

0:15:20.840 --> 0:15:24.200
<v Speaker 1>we do I remember? No? No, No, it's interesting because

0:15:24.880 --> 0:15:28.280
<v Speaker 1>this would have to be sixty six, sixty seven, sixty

0:15:28.360 --> 0:15:31.440
<v Speaker 1>eight around that time. Carecause David Crosby still in the Birds. No,

0:15:31.600 --> 0:15:34.240
<v Speaker 1>he had just been thrown out and he was living

0:15:34.280 --> 0:15:38.160
<v Speaker 1>in a van and in my store, okay, and you

0:15:38.240 --> 0:15:41.440
<v Speaker 1>met him literally how he came in the store. You know,

0:15:41.680 --> 0:15:47.400
<v Speaker 1>the store was designed to attract him, you know. And

0:15:48.760 --> 0:15:52.600
<v Speaker 1>the counterculture that was burgeoning at that Okay, they had

0:15:52.600 --> 0:15:56.280
<v Speaker 1>we had the recent movie, the Cameron Chrome movie directed

0:15:56.280 --> 0:15:58.800
<v Speaker 1>by another guy named eludes me right at this point.

0:15:59.080 --> 0:16:02.840
<v Speaker 1>Have you seen that about Laurel Canyon. No, No, that's

0:16:02.880 --> 0:16:05.880
<v Speaker 1>one movie, the David Crosby movie. No, I haven't yet.

0:16:05.960 --> 0:16:09.840
<v Speaker 1>You should see it. It's really good. But the funny

0:16:10.000 --> 0:16:13.800
<v Speaker 1>thing about it is at the very end, Cameron Crow

0:16:13.960 --> 0:16:16.720
<v Speaker 1>plays an interview from like the sixties says, uh, it's

0:16:16.720 --> 0:16:20.520
<v Speaker 1>not about fame, It's about your friends. And then Cameron says,

0:16:21.120 --> 0:16:24.640
<v Speaker 1>you have any friends now? And he goes no, So

0:16:24.720 --> 0:16:26.920
<v Speaker 1>how difficult was he a guy? Was he back then?

0:16:27.120 --> 0:16:29.320
<v Speaker 1>I loved him. We hit it off right away. He

0:16:29.320 --> 0:16:32.680
<v Speaker 1>had the best part I'd ever smoked in my life. Okay,

0:16:32.800 --> 0:16:35.680
<v Speaker 1>but but but did he have any other friends other

0:16:35.720 --> 0:16:39.560
<v Speaker 1>than you? Yeah? He did, actually, Mama Cass and a

0:16:39.560 --> 0:16:41.800
<v Speaker 1>few other pole you know, yes he did. He was

0:16:41.880 --> 0:16:44.720
<v Speaker 1>not he was not the raving lunatic he turned into

0:16:44.760 --> 0:16:47.920
<v Speaker 1>the Kuran. He was very charming and very sweet and

0:16:47.920 --> 0:16:50.640
<v Speaker 1>and he still is to this day, except he's managed

0:16:50.720 --> 0:16:53.640
<v Speaker 1>to destroy every relationship he's ever had. Was the last

0:16:53.680 --> 0:16:56.360
<v Speaker 1>time you ever connected with him? When they were doing

0:16:56.440 --> 0:17:02.280
<v Speaker 1>this film? Actually he played in Steamboats Steamboat Springs. You

0:17:02.320 --> 0:17:04.840
<v Speaker 1>now live in Colorado? Yeah, And I drove over and

0:17:04.880 --> 0:17:07.440
<v Speaker 1>we hung out for the day, and I saw a

0:17:07.560 --> 0:17:09.480
<v Speaker 1>show and I listened to the new music, and I thought,

0:17:09.520 --> 0:17:11.879
<v Speaker 1>you know, he's making great music. You know, well, as

0:17:11.880 --> 0:17:13.840
<v Speaker 1>I say, he's continuing to make it when everybody else

0:17:13.880 --> 0:17:16.639
<v Speaker 1>gave up, but you have the store. Become friendly with

0:17:16.720 --> 0:17:19.720
<v Speaker 1>Crosby right playing chess? Is he a good jazz player?

0:17:19.840 --> 0:17:25.320
<v Speaker 1>Not particularly? Would you beat him? I didn't try really hard.

0:17:25.720 --> 0:17:27.320
<v Speaker 1>He won a couple of times. I had to keep

0:17:27.400 --> 0:17:30.440
<v Speaker 1>him engaged because if I kicked his ass every time,

0:17:31.280 --> 0:17:33.080
<v Speaker 1>we wouldn't have ended up friends. And I knew who

0:17:33.080 --> 0:17:35.800
<v Speaker 1>he was, and I was very impressed by the fact

0:17:35.760 --> 0:17:37.399
<v Speaker 1>that I was a big Birds fan, and you know,

0:17:38.000 --> 0:17:42.320
<v Speaker 1>so I was just in heaven and Jimmy Fadden, Jimmy Fadden,

0:17:42.720 --> 0:17:47.000
<v Speaker 1>Jimmy from the Nitty Gritty mc fadden was it Fatten?

0:17:47.280 --> 0:17:50.840
<v Speaker 1>I think it's Fadden anyway, So he was. He was

0:17:50.880 --> 0:17:53.399
<v Speaker 1>actually the first connection that I made to the music

0:17:53.440 --> 0:17:57.359
<v Speaker 1>business because, um, the store was called the Great Linoleum

0:17:57.400 --> 0:18:01.640
<v Speaker 1>Clothing Experiment. I think it was a hippie extravaganza anyway.

0:18:01.680 --> 0:18:05.560
<v Speaker 1>So he helped me tear up the linoleum that was

0:18:05.600 --> 0:18:08.720
<v Speaker 1>on the floor because I wanted to lay a wood floor. Yeah,

0:18:08.720 --> 0:18:11.600
<v Speaker 1>of course, because it's called sixty So so we called

0:18:11.600 --> 0:18:14.479
<v Speaker 1>it the Great Linoleum Clothing Experiment, which was kind of

0:18:14.480 --> 0:18:17.560
<v Speaker 1>what was going on. So, by the way, if he

0:18:17.560 --> 0:18:20.639
<v Speaker 1>helped you, how did you meet him? He wandered, he

0:18:21.480 --> 0:18:24.280
<v Speaker 1>I had a storefront. I think I had my motorcycle

0:18:24.320 --> 0:18:26.720
<v Speaker 1>in the window, you know, and I would have clothes

0:18:26.760 --> 0:18:28.440
<v Speaker 1>thrown over it. Every once in a while people will

0:18:28.480 --> 0:18:31.080
<v Speaker 1>come and ask me to buy the motorcycle. No, the

0:18:31.080 --> 0:18:33.120
<v Speaker 1>clothes that were hanging on the motorcycle and they were

0:18:33.240 --> 0:18:36.440
<v Speaker 1>just dirty laundry, you know. So I thought, I'm onto something.

0:18:36.600 --> 0:18:39.879
<v Speaker 1>Where are you living at the time? Um on Lookout Mountain?

0:18:40.680 --> 0:18:42.840
<v Speaker 1>How did you get that place? It was a rental

0:18:42.880 --> 0:18:48.040
<v Speaker 1>for thirty three Lookout? Would you pay to remember? Two

0:18:48.119 --> 0:18:52.280
<v Speaker 1>hundred sixty? So he got the store. You know, Jimmy

0:18:52.480 --> 0:18:55.760
<v Speaker 1>helped Jimmy. If it's in fattened, yeah, I know. But

0:18:55.760 --> 0:18:57.439
<v Speaker 1>there are different people who grow up trying to which

0:18:57.440 --> 0:19:00.639
<v Speaker 1>one it is. Okay, Well continue, so let's go what goes? Okay?

0:19:00.640 --> 0:19:05.719
<v Speaker 1>So Elliott kind of gets into the music business. The

0:19:05.800 --> 0:19:08.800
<v Speaker 1>Elliott is now in Los Angeles. Oh no, No, he's

0:19:08.800 --> 0:19:12.159
<v Speaker 1>in New York and he's and he's discovered Joanie and

0:19:12.240 --> 0:19:15.639
<v Speaker 1>now he's coming out to California a lot, okay, And

0:19:15.680 --> 0:19:18.600
<v Speaker 1>he's staying in my house and eating my food and

0:19:18.720 --> 0:19:26.080
<v Speaker 1>rowing my car and you know, and um he he

0:19:26.160 --> 0:19:29.120
<v Speaker 1>signs Neil Young and Joni Mitchell. Those are his two clients.

0:19:29.440 --> 0:19:32.880
<v Speaker 1>And how did he get uh Neil Young. I think

0:19:33.920 --> 0:19:36.919
<v Speaker 1>because of Joanie or vice versa. Not exactly sure. I

0:19:36.960 --> 0:19:40.280
<v Speaker 1>wasn't privy to the intimacies there, but he ends up

0:19:40.320 --> 0:19:42.439
<v Speaker 1>with both of them. And keep in mind that the

0:19:42.480 --> 0:19:45.840
<v Speaker 1>Buffalo Springfield had just broken up, and the prospect of

0:19:45.920 --> 0:19:49.320
<v Speaker 1>Neil as a solo artist doesn't mean much, didn't didn't

0:19:49.320 --> 0:19:54.840
<v Speaker 1>impress anybody. And Joanie was, however, brilliant um nowhere. Yeah,

0:19:54.920 --> 0:19:57.919
<v Speaker 1>but my contribution to this thing was I got to

0:19:58.040 --> 0:20:02.040
<v Speaker 1>Elliott to hire David Crosby to produce Joanie's first half. Really,

0:20:02.160 --> 0:20:05.480
<v Speaker 1>that's how it happened. Well that and and then they

0:20:05.520 --> 0:20:09.520
<v Speaker 1>became boy boyfriends. Okay, well a little bit slower. Elliott comes,

0:20:09.520 --> 0:20:12.359
<v Speaker 1>he's living at your house. He signs these people. I

0:20:12.359 --> 0:20:15.560
<v Speaker 1>think he already had had them both, but he was

0:20:15.600 --> 0:20:18.159
<v Speaker 1>coming out and staying in my house, okay. And and

0:20:18.200 --> 0:20:20.399
<v Speaker 1>there's no money involved. Keep in mind, neither one of

0:20:20.440 --> 0:20:22.680
<v Speaker 1>them and we're making any money. And he was still

0:20:22.680 --> 0:20:25.840
<v Speaker 1>working for Chartiff Winkler until they realized he wasn't doing

0:20:25.880 --> 0:20:29.359
<v Speaker 1>anything except these two clients. And they said, you know, okay,

0:20:29.760 --> 0:20:34.040
<v Speaker 1>see you later. Punk anyway, so um we started. He

0:20:34.080 --> 0:20:36.600
<v Speaker 1>asked me to get involved because I was friends with

0:20:36.680 --> 0:20:40.080
<v Speaker 1>David and and Joanie, and these were our friends more

0:20:40.160 --> 0:20:44.200
<v Speaker 1>than how are you friends with Joanie because of Elliott? Okay?

0:20:44.280 --> 0:20:47.240
<v Speaker 1>So she would come to town too, yeah, okay, yeah,

0:20:47.280 --> 0:20:49.960
<v Speaker 1>and and she was making a record with David and

0:20:50.440 --> 0:20:53.240
<v Speaker 1>so he asked you to get involved, like in the

0:20:53.280 --> 0:20:56.240
<v Speaker 1>management business. Okay, like give up your story, get involved

0:20:56.359 --> 0:20:58.600
<v Speaker 1>or do a couple of things. Well, there was an overlap,

0:20:59.280 --> 0:21:01.479
<v Speaker 1>and I didn't leave the store. I had four at

0:21:01.520 --> 0:21:04.600
<v Speaker 1>that time. I had one in Berkeley, one in Galita,

0:21:04.760 --> 0:21:08.840
<v Speaker 1>in Santa Barbara, one in uh San Diego, and one

0:21:08.880 --> 0:21:12.919
<v Speaker 1>in l A. I was a hippie entrepreneur. So you

0:21:12.960 --> 0:21:16.480
<v Speaker 1>were making money. Obviously, I was paying my bills. Keep

0:21:16.480 --> 0:21:21.960
<v Speaker 1>in mind, you know a brand new BMW entry level

0:21:22.040 --> 0:21:26.600
<v Speaker 1>six hundred, which I bought thirty ducks brand new. You

0:21:26.640 --> 0:21:30.920
<v Speaker 1>know what's happened is we've lost the decimal point over

0:21:30.960 --> 0:21:33.720
<v Speaker 1>the years. That's absolutely true. More than a decimal void. Well, no,

0:21:33.840 --> 0:21:36.000
<v Speaker 1>that's about it. The entry level being now it is

0:21:36.000 --> 0:21:40.160
<v Speaker 1>about thirty three, right, So yeah, decimal point. But by

0:21:40.200 --> 0:21:42.520
<v Speaker 1>the way, in all things, we lost the decimal point.

0:21:42.720 --> 0:21:44.840
<v Speaker 1>I had a two thousand two. I'd still be driving

0:21:44.920 --> 0:21:47.480
<v Speaker 1>that car if I had it today. My favorite car ever,

0:21:47.600 --> 0:21:49.919
<v Speaker 1>I would say to you my sixteen hundred. Even though

0:21:49.960 --> 0:21:53.239
<v Speaker 1>it was underpowered and it was a box, right, I

0:21:53.280 --> 0:21:55.560
<v Speaker 1>loved it. You could see out of every side that

0:21:56.920 --> 0:22:00.600
<v Speaker 1>it was like the broad coffee Maker of cars exactly

0:22:00.760 --> 0:22:04.480
<v Speaker 1>never nothing ever went wrong. So actually had a lot

0:22:04.520 --> 0:22:05.840
<v Speaker 1>of trouble with mine, but I drove it for two

0:22:05.880 --> 0:22:09.720
<v Speaker 1>almost two hundred thousand miles. Okay, So Elliott convinces you

0:22:10.040 --> 0:22:13.399
<v Speaker 1>to come and help him because it's starting to be

0:22:13.440 --> 0:22:17.480
<v Speaker 1>a business. He signs Joani to Warner Brothers, and he

0:22:17.520 --> 0:22:21.000
<v Speaker 1>signs Neil to Warner Brothers, and they're making their first albums.

0:22:21.280 --> 0:22:23.879
<v Speaker 1>Just let me ask you based on my interactions with

0:22:23.960 --> 0:22:27.000
<v Speaker 1>Joni Mitchell, and I know you continue to have interactions

0:22:27.000 --> 0:22:32.800
<v Speaker 1>with her. She is very difficult interpersonally, and I would

0:22:32.800 --> 0:22:35.080
<v Speaker 1>find like if I said, oh, I was driving here

0:22:35.119 --> 0:22:37.919
<v Speaker 1>to eat for a Hamburger, she would say, well, you

0:22:37.920 --> 0:22:40.520
<v Speaker 1>know you left, what road did you take? And then

0:22:40.520 --> 0:22:42.480
<v Speaker 1>I said, I want to talk about the hamburger? Says no,

0:22:42.600 --> 0:22:44.879
<v Speaker 1>why do you not want to talk now? Isn't that her? No,

0:22:45.600 --> 0:22:47.800
<v Speaker 1>She's just one of the sweetest people. I've ever known,

0:22:48.080 --> 0:22:52.320
<v Speaker 1>and and she and I've been since then till now.

0:22:52.680 --> 0:22:55.520
<v Speaker 1>I mean, I you know, she's had a terrible illness

0:22:55.560 --> 0:22:58.240
<v Speaker 1>and my son and I, how can I tell you

0:22:58.240 --> 0:23:01.280
<v Speaker 1>a story? Okay, here's a good story. My son who

0:23:01.600 --> 0:23:06.040
<v Speaker 1>Joanie loves, which sons you have, Yeah, because he plays guitar,

0:23:06.600 --> 0:23:08.520
<v Speaker 1>and she taught him how to play guitar when he

0:23:08.560 --> 0:23:11.160
<v Speaker 1>was eight years old. And of course she taught him

0:23:11.160 --> 0:23:16.159
<v Speaker 1>open tuning, which she's famous for, yes, which you know

0:23:16.359 --> 0:23:19.320
<v Speaker 1>doesn't translate to anybody else's course, so he had to

0:23:19.320 --> 0:23:22.520
<v Speaker 1>actually learn the guitar later on. But she loved him,

0:23:22.520 --> 0:23:25.600
<v Speaker 1>and you know he still loves him. So we go

0:23:25.720 --> 0:23:28.480
<v Speaker 1>to visit her recently, I would say, within the past

0:23:28.520 --> 0:23:31.080
<v Speaker 1>six or seven months, and she's doing great. I mean, okay,

0:23:31.080 --> 0:23:36.359
<v Speaker 1>so she back now, she's still doing physical therapy, and

0:23:36.400 --> 0:23:39.360
<v Speaker 1>she still has a caretaker looking after her. But she's

0:23:39.400 --> 0:23:42.960
<v Speaker 1>up and about. Mind is fine, her mind, it's fine.

0:23:43.000 --> 0:23:45.200
<v Speaker 1>Because I just got email from Cameron crow today. He's

0:23:45.200 --> 0:23:49.840
<v Speaker 1>got his almost famous musical. Yeah, he said, Joanie went

0:23:49.880 --> 0:23:54.240
<v Speaker 1>for Opening Night. I haven't. Can I make a left

0:23:54.280 --> 0:23:57.439
<v Speaker 1>turn here? Of course I met Cameron Crowe when he

0:23:57.440 --> 0:23:59.480
<v Speaker 1>was fifteen years old and he was a stringer for

0:23:59.600 --> 0:24:02.800
<v Speaker 1>Rollings Don't and I set up an interview with him

0:24:02.800 --> 0:24:07.640
<v Speaker 1>with David Crosby David's boat in the marina. Cameron calls

0:24:07.680 --> 0:24:10.159
<v Speaker 1>me he can't get Dick because he doesn't have a

0:24:10.200 --> 0:24:13.479
<v Speaker 1>car and he doesn't have a license. Okay, and I'm

0:24:13.560 --> 0:24:16.280
<v Speaker 1>thinking to myself, I think I've made a terrible era here.

0:24:17.119 --> 0:24:18.920
<v Speaker 1>I drive him out to the interview and that's the

0:24:18.960 --> 0:24:22.000
<v Speaker 1>first time they meet. Okay, let's go back to Joanie.

0:24:23.600 --> 0:24:27.560
<v Speaker 1>So I had told my wife a story. You know,

0:24:27.600 --> 0:24:32.000
<v Speaker 1>I early on before Joanie became up, got up on

0:24:32.040 --> 0:24:34.199
<v Speaker 1>the radar, and she may not have even made the

0:24:34.200 --> 0:24:37.240
<v Speaker 1>first record yet. We did a tour of colleges in

0:24:37.320 --> 0:24:41.400
<v Speaker 1>the Northeast, you know, Swathmore and you know, all the

0:24:41.640 --> 0:24:44.760
<v Speaker 1>Ivy League schools, and she was she had a reputation

0:24:44.800 --> 0:24:48.200
<v Speaker 1>and you know, a hundred two hundred people in college campus.

0:24:48.240 --> 0:24:49.720
<v Speaker 1>So it was her and I in a rental car

0:24:50.400 --> 0:24:52.520
<v Speaker 1>and we would drive around. So you really spend time

0:24:52.560 --> 0:24:56.520
<v Speaker 1>with her. Yeah, we listen, I'm telling you. She okay,

0:24:56.600 --> 0:24:59.439
<v Speaker 1>I believe you. You know, like we grew up together, right, Okay,

0:24:59.520 --> 0:25:01.879
<v Speaker 1>I mean seriously, she was in her early twenties. I

0:25:01.960 --> 0:25:04.840
<v Speaker 1>was probably twenty three you were married. Did you fall

0:25:04.880 --> 0:25:08.119
<v Speaker 1>in love with her too? Well, she was exquisite, you know.

0:25:08.200 --> 0:25:10.280
<v Speaker 1>But I've actually been in love with the same woman

0:25:10.320 --> 0:25:12.480
<v Speaker 1>for fifty four years. And I love Joanie, and I

0:25:12.520 --> 0:25:15.080
<v Speaker 1>love Ricky, and I love Bonnie and all the women

0:25:15.119 --> 0:25:17.439
<v Speaker 1>that have been in my life. And I think the

0:25:17.440 --> 0:25:20.439
<v Speaker 1>best credit I bring to all of those relationships is

0:25:20.480 --> 0:25:23.360
<v Speaker 1>that I've been married for this with this really special

0:25:23.400 --> 0:25:26.840
<v Speaker 1>person my whole life. Okay, let's go back and telling

0:25:26.840 --> 0:25:29.280
<v Speaker 1>a story about recently. I'm in the car I'm in

0:25:29.560 --> 0:25:32.280
<v Speaker 1>so I'm in the well, there's the precursor story. You're

0:25:32.280 --> 0:25:34.080
<v Speaker 1>in the car in the Northeast tour, right, and I

0:25:34.080 --> 0:25:37.760
<v Speaker 1>get pulled over by a Massachusetts State Police on on

0:25:37.840 --> 0:25:41.640
<v Speaker 1>the mass Turnpike and he says get out of the car,

0:25:41.680 --> 0:25:45.280
<v Speaker 1>and I said, can't. And it's mid of midwinter. He

0:25:45.320 --> 0:25:47.520
<v Speaker 1>says get out of the car. And I get out,

0:25:47.560 --> 0:25:51.639
<v Speaker 1>and I have no pants on because Jone Jonie is

0:25:51.640 --> 0:25:56.879
<v Speaker 1>sewing up the sea the seam of my pants right split.

0:25:57.160 --> 0:25:59.159
<v Speaker 1>So she's in the car sewing up my pants and

0:25:59.200 --> 0:26:02.320
<v Speaker 1>he's making me get out and it's freezing out. So

0:26:02.400 --> 0:26:05.480
<v Speaker 1>I get out of car and he cracks up okay,

0:26:06.040 --> 0:26:07.440
<v Speaker 1>and I know I'm not going to get a ticket.

0:26:08.119 --> 0:26:10.280
<v Speaker 1>And he looks in and he sees Joanie, who is

0:26:10.400 --> 0:26:14.440
<v Speaker 1>really kind of stunning in her twenties. She was, I mean,

0:26:14.480 --> 0:26:19.080
<v Speaker 1>she glowed, you know, So he wants her number. Okay, well,

0:26:19.160 --> 0:26:21.920
<v Speaker 1>let's my eyes are bugged out, keep going, all right.

0:26:21.960 --> 0:26:24.160
<v Speaker 1>So so I say to him, well, you know, I'm

0:26:24.160 --> 0:26:26.960
<v Speaker 1>trying to find this college down the road, and he

0:26:27.080 --> 0:26:30.600
<v Speaker 1>gives me a police escort to the college in exchange

0:26:30.640 --> 0:26:33.640
<v Speaker 1>for meeting Joanie and talking to her and everything, which

0:26:33.720 --> 0:26:36.240
<v Speaker 1>is how it worked out. And she did that. Yeah,

0:26:36.520 --> 0:26:38.960
<v Speaker 1>of course she didn't. She didn't want me to get

0:26:38.960 --> 0:26:45.240
<v Speaker 1>a ticket, right anyway, So skip ahead forty some years. Um,

0:26:45.280 --> 0:26:47.760
<v Speaker 1>my son Noah and I my son is in his

0:26:48.600 --> 0:26:56.200
<v Speaker 1>late forties. Anyway, So we're at Joonie's house. We're making

0:26:56.240 --> 0:27:01.159
<v Speaker 1>a call, you know, just tell her, right we you know,

0:27:01.240 --> 0:27:03.600
<v Speaker 1>we still love her, and we're happy to see how

0:27:03.920 --> 0:27:06.680
<v Speaker 1>much progress she's made. And she's just charming and wonderful.

0:27:06.840 --> 0:27:09.280
<v Speaker 1>So I go to the bathroom and Noah tells her

0:27:09.320 --> 0:27:11.600
<v Speaker 1>he wants he wants to write a story about me

0:27:11.760 --> 0:27:14.760
<v Speaker 1>or do a biography about me. She says, oh oh,

0:27:14.840 --> 0:27:18.399
<v Speaker 1>and also my wife never believed this story. Okay, this

0:27:18.440 --> 0:27:20.399
<v Speaker 1>is that's the punch, right, all right. My wife always

0:27:20.400 --> 0:27:23.760
<v Speaker 1>thought this story was bullshit. Okay. So I go to

0:27:23.800 --> 0:27:27.480
<v Speaker 1>the bathroom and Joanie Noah's my son is talking to

0:27:27.560 --> 0:27:30.000
<v Speaker 1>Joanie and Joanie says to him, you know, he's telling

0:27:30.000 --> 0:27:32.440
<v Speaker 1>her he wants to do this story about me. She says, oh,

0:27:32.480 --> 0:27:34.359
<v Speaker 1>that's great. Then I can tell the story about him

0:27:34.359 --> 0:27:39.000
<v Speaker 1>and there's no passion. So let's listen. It's always true, right.

0:27:39.119 --> 0:27:42.480
<v Speaker 1>So so forty five years later I expected an apology

0:27:42.520 --> 0:27:45.800
<v Speaker 1>from my wife, which I got. Okay, let's go back.

0:27:46.160 --> 0:27:50.400
<v Speaker 1>So you have four stores, and when Elliott says how

0:27:50.440 --> 0:27:52.639
<v Speaker 1>long did your overlap doing both before he gave up

0:27:52.680 --> 0:27:54.640
<v Speaker 1>the stores, well, I had a fifth story. I had

0:27:54.640 --> 0:27:57.520
<v Speaker 1>one called Maxfield Blue, which was next door to the

0:27:57.800 --> 0:28:01.680
<v Speaker 1>Great Linoleum, which became max Field, which was very spectaculum.

0:28:01.720 --> 0:28:07.959
<v Speaker 1>The guy who did it as James his purse James

0:28:08.040 --> 0:28:13.680
<v Speaker 1>is his son, not his name anyway, So he went

0:28:13.760 --> 0:28:18.520
<v Speaker 1>on with, uh, continue the business. But I got out

0:28:18.520 --> 0:28:21.840
<v Speaker 1>of it because the store in Berkeley got bombed, fire

0:28:21.840 --> 0:28:25.240
<v Speaker 1>bombed or a tear gas bomb. Because during the riot

0:28:25.760 --> 0:28:29.119
<v Speaker 1>at the Berkeley, the whole bunch of kids ended up

0:28:29.119 --> 0:28:33.000
<v Speaker 1>in my store. So they shot um tear guests into

0:28:33.040 --> 0:28:36.159
<v Speaker 1>the store, and you really can't sell clothes that smelled

0:28:36.200 --> 0:28:38.960
<v Speaker 1>in the tear guests, you know, So that one crushed

0:28:39.000 --> 0:28:42.640
<v Speaker 1>and then um one of my partners in. There was

0:28:42.640 --> 0:28:44.880
<v Speaker 1>a lot of drugs going on in the taste, and

0:28:44.920 --> 0:28:49.400
<v Speaker 1>I kind of saw maybe I should consider Elliott's a

0:28:49.560 --> 0:28:52.760
<v Speaker 1>real alternative to what I'm doing. Right, So I ended

0:28:52.840 --> 0:28:55.320
<v Speaker 1>up well, we we went into an office across the

0:28:55.320 --> 0:28:58.200
<v Speaker 1>street from Electra Records on Lasiana cu Okay, right before

0:28:58.200 --> 0:29:02.520
<v Speaker 1>you get there, did you sell the stores or walk away? Um?

0:29:02.560 --> 0:29:12.360
<v Speaker 1>I gave them away? Okay? Where was Electric Records? Then

0:29:12.680 --> 0:29:15.640
<v Speaker 1>on Las Annica? Where on Las Annica south of Santa

0:29:15.680 --> 0:29:18.480
<v Speaker 1>Monica Boulevard by a half a block on the on

0:29:18.520 --> 0:29:22.440
<v Speaker 1>the east side of right, Okay, okay, and okay, So

0:29:22.880 --> 0:29:25.720
<v Speaker 1>then what was it called that that Electra? No, No,

0:29:25.840 --> 0:29:28.880
<v Speaker 1>you're the management company. Lookout. There was a lookout right

0:29:28.920 --> 0:29:32.760
<v Speaker 1>to begin with, because Jonie lived on lookout right, Elliott

0:29:32.800 --> 0:29:36.080
<v Speaker 1>lived on Lookout David Blue do you remember day? Of

0:29:36.160 --> 0:29:39.600
<v Speaker 1>course he lived on lookout and I lived on Lookout. So,

0:29:39.920 --> 0:29:43.600
<v Speaker 1>being the imaginative, clever people that we were, we thought

0:29:43.760 --> 0:29:48.160
<v Speaker 1>lookout anyway, So we took a one room office opposite

0:29:48.200 --> 0:29:51.840
<v Speaker 1>Electra Records and UM in a building called the Clear

0:29:51.880 --> 0:29:56.440
<v Speaker 1>Thoughts Building. Okay, And underneath our office, which was one

0:29:56.520 --> 0:30:00.800
<v Speaker 1>room underneath us, was a woman who made leather goods

0:30:01.520 --> 0:30:06.720
<v Speaker 1>and she was um, Jim Morrison's girlfriend, beautiful girl with

0:30:06.840 --> 0:30:10.320
<v Speaker 1>red hair, and so he would hang out there and

0:30:10.320 --> 0:30:14.320
<v Speaker 1>and then um, this is another story. Gary Burden who

0:30:14.400 --> 0:30:18.120
<v Speaker 1>just passed away, and Henry Dilts and I would have

0:30:18.200 --> 0:30:22.400
<v Speaker 1>breakfast at the There was a motel on the corner

0:30:22.440 --> 0:30:26.880
<v Speaker 1>of La ciannaka the northwest corner. It was part of

0:30:26.920 --> 0:30:31.840
<v Speaker 1>a chabby motel. He's about Dukes. Dukes. Of course I

0:30:31.920 --> 0:30:36.320
<v Speaker 1>was stalling until I figured out. So so we would

0:30:36.320 --> 0:30:41.040
<v Speaker 1>have breakfast at Duke's and Jim would he lived in

0:30:41.080 --> 0:30:45.360
<v Speaker 1>that hotel, so he would come down with a six

0:30:45.400 --> 0:30:47.400
<v Speaker 1>pack of beer while we had breakfast, and by the

0:30:47.440 --> 0:30:49.480
<v Speaker 1>time we were done with breakfast, he would be done

0:30:49.520 --> 0:30:52.080
<v Speaker 1>with his six cans of beer. And across the street,

0:30:52.880 --> 0:30:56.760
<v Speaker 1>Bill Siddons had the recording studio called the Upside Down Studio.

0:30:57.240 --> 0:31:00.480
<v Speaker 1>So within the space of these three blocks was the

0:31:00.520 --> 0:31:05.000
<v Speaker 1>doors and eventually Crosby Stills and Nash and Joni Mitchell

0:31:05.040 --> 0:31:09.959
<v Speaker 1>and Neil Young all within that corner. Wow. Okay, so

0:31:10.000 --> 0:31:14.880
<v Speaker 1>you opened the management company. What it's Neil Young and

0:31:15.120 --> 0:31:19.160
<v Speaker 1>Joni Mitchell? Okay, and what's the next step. The next

0:31:19.160 --> 0:31:26.960
<v Speaker 1>step is um David Crosby and Steven Stills and and

0:31:27.200 --> 0:31:30.680
<v Speaker 1>Graham Nash get together, I think at Mama Cass's house

0:31:31.520 --> 0:31:33.880
<v Speaker 1>and they meet each other for the first time. And

0:31:34.280 --> 0:31:38.040
<v Speaker 1>this is happening serendipitously as management involved. No not but

0:31:38.280 --> 0:31:41.920
<v Speaker 1>but they Jonie was living in the house that I

0:31:42.040 --> 0:31:44.160
<v Speaker 1>ended up living in for twenty seven years. She was

0:31:44.200 --> 0:31:48.760
<v Speaker 1>my landlord for years. Seriously, I would give you the address,

0:31:48.800 --> 0:31:53.000
<v Speaker 1>but forget it. Yeah. But so I moved from up

0:31:53.040 --> 0:31:55.320
<v Speaker 1>the street to Jonie's house, which was a very cool

0:31:55.360 --> 0:31:57.800
<v Speaker 1>little cottage. I think she bought for like thirty five

0:31:57.840 --> 0:32:00.600
<v Speaker 1>thou dollars in cash, and then with her first big

0:32:00.680 --> 0:32:03.040
<v Speaker 1>check from Warner Brothers, she bought a house in bel

0:32:03.120 --> 0:32:06.400
<v Speaker 1>Air where she still lives. And I lived in that

0:32:06.520 --> 0:32:11.320
<v Speaker 1>house for seven Is that the legendary our house? Yes see?

0:32:11.360 --> 0:32:13.800
<v Speaker 1>And I objected to that because Graham and her lived

0:32:13.800 --> 0:32:16.640
<v Speaker 1>there for two years and I lived there for twenty seven.

0:32:17.200 --> 0:32:22.240
<v Speaker 1>So here's whose house wasn't Okay? So they get together

0:32:22.280 --> 0:32:25.160
<v Speaker 1>at Mama Casses. They sing and and then they end

0:32:25.240 --> 0:32:29.240
<v Speaker 1>up in Joni's living room. When when it really when

0:32:29.280 --> 0:32:33.440
<v Speaker 1>they realized they got something okay, And obviously because of

0:32:33.520 --> 0:32:38.440
<v Speaker 1>Joanie and Graham and David, there's a lot going on there,

0:32:38.480 --> 0:32:41.680
<v Speaker 1>you know, a lot of sexual energy, you know, because

0:32:41.880 --> 0:32:44.880
<v Speaker 1>David was her boyfriend for a while. Now Graham's her boyfriend,

0:32:45.160 --> 0:32:50.080
<v Speaker 1>you know. Anyway, so Elliot and I became like the

0:32:50.080 --> 0:32:55.240
<v Speaker 1>the default position, so we got involved. And then after

0:32:55.280 --> 0:32:59.560
<v Speaker 1>they made the first record, you know, m Amad wanted

0:32:59.840 --> 0:33:01.920
<v Speaker 1>the you know, well, this is I was gonna ask you.

0:33:01.920 --> 0:33:05.680
<v Speaker 1>Everybody's on a different label. This is where David Geffen.

0:33:07.360 --> 0:33:10.479
<v Speaker 1>So this is where David. David was the agent for

0:33:11.200 --> 0:33:15.200
<v Speaker 1>at a place called Ashley Famous, the precursor to all

0:33:15.240 --> 0:33:18.200
<v Speaker 1>the rock and roll agencies. So the way, so he left,

0:33:19.240 --> 0:33:23.400
<v Speaker 1>Uh when did you live leave? William Morris? Somewhere in

0:33:23.400 --> 0:33:26.320
<v Speaker 1>the midst of all of this, you know, my wife

0:33:26.400 --> 0:33:28.440
<v Speaker 1>said to me, I really have to get the chronological

0:33:28.560 --> 0:33:31.320
<v Speaker 1>order to this, but I don't really remember, you know

0:33:31.360 --> 0:33:34.560
<v Speaker 1>what I mean? And if I wrote my memoir it

0:33:34.600 --> 0:33:39.840
<v Speaker 1>would probably be a mess. Because it's a mess. It's okay,

0:33:39.840 --> 0:33:42.320
<v Speaker 1>So David is the agent for now, David is the

0:33:42.360 --> 0:33:47.280
<v Speaker 1>agent for Janie Neil and now for Crosby Stills and Nash. Okay,

0:33:47.360 --> 0:33:50.440
<v Speaker 1>what about but he's still working with Laura Nero. Well, yeah,

0:33:50.480 --> 0:33:53.120
<v Speaker 1>that's that was his things had nothing to do with us.

0:33:53.840 --> 0:33:56.520
<v Speaker 1>And by the way, Laura grew up in and Elliott

0:33:56.640 --> 0:34:00.360
<v Speaker 1>and and Jeff Walls neighborhood. She was in the house.

0:34:00.720 --> 0:34:03.320
<v Speaker 1>They were on the street with about four different, five

0:34:03.360 --> 0:34:08.319
<v Speaker 1>different you know, five story, six story apartment houses. And

0:34:08.400 --> 0:34:10.600
<v Speaker 1>she was the crazy one who never left her house

0:34:10.600 --> 0:34:13.280
<v Speaker 1>and played piano all day, you know. But you didn't

0:34:13.280 --> 0:34:15.760
<v Speaker 1>know her back then, I admit her. But she was weird,

0:34:15.880 --> 0:34:19.120
<v Speaker 1>you know. Okay, Okay, so you get David is the

0:34:19.719 --> 0:34:23.080
<v Speaker 1>manager for all these individual acts. How do you work? No,

0:34:23.280 --> 0:34:27.160
<v Speaker 1>the agent? He was the agent. But as the Crosby

0:34:27.200 --> 0:34:30.600
<v Speaker 1>Stills in Nash thing kind of congealed. He realized that

0:34:30.640 --> 0:34:34.520
<v Speaker 1>we were making and he was only making ten, but

0:34:34.600 --> 0:34:37.279
<v Speaker 1>you were splitting into seven and a half. I was

0:34:37.320 --> 0:34:41.200
<v Speaker 1>a junior partner. I didn't I was the Bob Cratchett

0:34:41.200 --> 0:34:43.680
<v Speaker 1>at the end of the table. Okay, we did you

0:34:43.719 --> 0:34:47.800
<v Speaker 1>have a piece or just salary? I'm not sure which,

0:34:47.840 --> 0:34:50.320
<v Speaker 1>but I think I got a piece but it wasn't

0:34:50.400 --> 0:34:52.800
<v Speaker 1>much because you gotta keep in mind, we weren't making

0:34:52.840 --> 0:34:55.920
<v Speaker 1>any money, right, I mean, you know, Jony, you know,

0:34:56.000 --> 0:34:57.839
<v Speaker 1>didn't make a whole lot of money. Neal didn't make

0:34:57.840 --> 0:34:59.680
<v Speaker 1>a whole lot of money. They were going, they were

0:34:59.719 --> 0:35:03.799
<v Speaker 1>making first record solo records. I mean, we were you know,

0:35:04.280 --> 0:35:07.200
<v Speaker 1>I made more money with the clothing business that the

0:35:07.239 --> 0:35:10.520
<v Speaker 1>first two years of our management company. Did you ever think, Hey,

0:35:10.520 --> 0:35:12.799
<v Speaker 1>I'm gonna stop doing this? No? I was having so

0:35:12.880 --> 0:35:16.000
<v Speaker 1>much fun, really, I you know, the clothing business was

0:35:16.120 --> 0:35:20.279
<v Speaker 1>like a business. This was like playtime, you know, and

0:35:20.360 --> 0:35:22.600
<v Speaker 1>we would you know, we'd smoke, all right, and we

0:35:22.920 --> 0:35:26.480
<v Speaker 1>were just having such a good time. Plus these are

0:35:26.520 --> 0:35:29.000
<v Speaker 1>the people that were in our lives, you know. Of

0:35:29.040 --> 0:35:31.360
<v Speaker 1>course they were not just clients, they were our friends.

0:35:31.360 --> 0:35:35.080
<v Speaker 1>And it was just magic. I mean magic. Okay. So

0:35:35.160 --> 0:35:38.279
<v Speaker 1>David's the agent and you're talking about am okay. So

0:35:38.280 --> 0:35:41.359
<v Speaker 1>so I'm not sure which came first, but but at

0:35:41.400 --> 0:35:47.800
<v Speaker 1>one point David basically negotiated a deal with Columbia with

0:35:47.800 --> 0:35:51.680
<v Speaker 1>with Columbia with what's his fucking name was before Clive,

0:35:51.880 --> 0:35:56.879
<v Speaker 1>No way, before Clive um funk I forgot it. Anyway,

0:35:57.280 --> 0:35:59.000
<v Speaker 1>this is why I can't write my memoir. I can't

0:35:59.000 --> 0:36:01.400
<v Speaker 1>remember any Golden Soon was no, no, no, it was

0:36:01.520 --> 0:36:05.760
<v Speaker 1>it was a a rabbinical name. But we were okay,

0:36:05.840 --> 0:36:07.960
<v Speaker 1>and then okay, and with Mo you get you get

0:36:08.000 --> 0:36:11.560
<v Speaker 1>Neil Young involved. Okay. But but but Ahmed and and

0:36:11.600 --> 0:36:14.239
<v Speaker 1>Mo were good, good enough friends that that part of

0:36:14.239 --> 0:36:16.319
<v Speaker 1>the equation was not a problem. And by the way,

0:36:16.400 --> 0:36:18.759
<v Speaker 1>Neil wanted to be on reprise because at that time

0:36:18.800 --> 0:36:21.640
<v Speaker 1>the only other artists that was on reprise was Frank Sinatra.

0:36:22.320 --> 0:36:25.840
<v Speaker 1>So when he made a solo deal at Warners, that's

0:36:25.840 --> 0:36:30.560
<v Speaker 1>he was on reprise. So but Stephen was in Ahmed's

0:36:30.600 --> 0:36:34.279
<v Speaker 1>mind the star he you know, he thought he was

0:36:34.400 --> 0:36:39.960
<v Speaker 1>the creative force around Buffalo. Of course, yes, but he

0:36:40.040 --> 0:36:43.440
<v Speaker 1>was the creative force around um Buffalo Springfield and and

0:36:43.520 --> 0:36:46.080
<v Speaker 1>he probably was. I mean he wrote the you know

0:36:47.120 --> 0:36:49.960
<v Speaker 1>Something's happening here, which for what it's worth, for what

0:36:50.040 --> 0:36:55.839
<v Speaker 1>it's worth. Yeah, anyway, so David basically worked out at deal.

0:36:55.920 --> 0:36:59.560
<v Speaker 1>Why can't I remember this guy's name? Anyway, at the

0:36:59.640 --> 0:37:01.960
<v Speaker 1>end of the day, they all ended up on Atlantic. Okay,

0:37:02.239 --> 0:37:04.560
<v Speaker 1>we did not know how Okay, did you have to

0:37:04.640 --> 0:37:09.000
<v Speaker 1>pay Columbia Record? I have no idea, but David did that.

0:37:09.239 --> 0:37:11.960
<v Speaker 1>David did that, okay, which when we knew we were

0:37:12.000 --> 0:37:16.360
<v Speaker 1>in the presence of somebody's special because he was dealing

0:37:16.360 --> 0:37:19.600
<v Speaker 1>with these record company presidents and he was pushing them around.

0:37:20.040 --> 0:37:22.640
<v Speaker 1>And he's this little guy and at that time he's

0:37:22.640 --> 0:37:25.720
<v Speaker 1>got to be in his same age as me, mid twenties.

0:37:26.080 --> 0:37:28.560
<v Speaker 1>But he was a monster, you know what I mean,

0:37:28.719 --> 0:37:32.920
<v Speaker 1>not a bad monster, our monster, you know. And he

0:37:33.000 --> 0:37:35.719
<v Speaker 1>was fucking great. Next thing, we knew Crosby Stills Nash

0:37:35.800 --> 0:37:38.799
<v Speaker 1>and made this record. It came out to have a

0:37:38.800 --> 0:37:41.640
<v Speaker 1>great story about the cover. Henry Dilts remember from our

0:37:41.680 --> 0:37:45.160
<v Speaker 1>previous conversation. He goes to take the picture for the

0:37:45.160 --> 0:37:49.000
<v Speaker 1>Crosby Stills Nash first album, and he finds this couch

0:37:49.400 --> 0:37:54.799
<v Speaker 1>by this abandoned building next to the to the car

0:37:54.880 --> 0:37:58.800
<v Speaker 1>wash on Santa Monica Boulevard. Okay, so he takes this picture.

0:38:00.320 --> 0:38:02.960
<v Speaker 1>Next day we see all the pictures this is. So

0:38:03.000 --> 0:38:04.799
<v Speaker 1>the couch was in front of the house. This is

0:38:04.840 --> 0:38:07.440
<v Speaker 1>the cover of the album, right, It's an abandoned building

0:38:07.480 --> 0:38:10.719
<v Speaker 1>with an abandoned couch, and and Henry deals with his

0:38:11.600 --> 0:38:15.400
<v Speaker 1>kind of insightful thing. Anyway, it takes this picture and

0:38:15.480 --> 0:38:20.520
<v Speaker 1>he brings it back and it's not Crosby, Stills and Nash. Right,

0:38:20.719 --> 0:38:22.680
<v Speaker 1>they're not in that order. They're not in that order.

0:38:22.680 --> 0:38:25.319
<v Speaker 1>I noticed that when I bought the record. Okay, so

0:38:27.040 --> 0:38:29.560
<v Speaker 1>we send them back the next day, you know, put

0:38:29.600 --> 0:38:32.480
<v Speaker 1>them in the right orders. Great cover, but maybe it

0:38:32.480 --> 0:38:35.479
<v Speaker 1>should be Crosby Stills on Nash and he goes back.

0:38:35.560 --> 0:38:41.000
<v Speaker 1>The building's gone. The day after we took these pictures,

0:38:41.000 --> 0:38:44.479
<v Speaker 1>they demolished the building. So we said, okay, fuck, let's

0:38:44.520 --> 0:38:47.160
<v Speaker 1>just now another thing, which you may or may not remember.

0:38:47.480 --> 0:38:51.000
<v Speaker 1>That cover had a special texture. Remember the story of that.

0:38:51.120 --> 0:38:54.080
<v Speaker 1>It just wasn't uh okay, but that was that was

0:38:54.120 --> 0:38:57.960
<v Speaker 1>Gary Burden. He managed to make every package that he

0:38:58.040 --> 0:39:03.200
<v Speaker 1>did more expensive of and more interesting. Okay, that'll get

0:39:03.239 --> 0:39:07.800
<v Speaker 1>us ultimately to deja vu. But do you know that

0:39:07.920 --> 0:39:13.160
<v Speaker 1>the record is gonna be an absolute monster? No, we

0:39:13.200 --> 0:39:16.040
<v Speaker 1>know it's going to be successful, but we have no idea.

0:39:16.239 --> 0:39:19.640
<v Speaker 1>It was earth chattering. I mean, we we knew we

0:39:19.719 --> 0:39:23.560
<v Speaker 1>had something, that the fucking record was great, and even

0:39:23.640 --> 0:39:26.840
<v Speaker 1>before it got to the to the end, we knew

0:39:27.360 --> 0:39:30.759
<v Speaker 1>something really special was happening, you know, but we had

0:39:30.840 --> 0:39:33.240
<v Speaker 1>no idea. But the record comes out and it doesn't

0:39:33.320 --> 0:39:36.640
<v Speaker 1>make a splash at first takes about six or eight months. Now,

0:39:36.680 --> 0:39:40.600
<v Speaker 1>you also told me that the key was television. Yes,

0:39:41.440 --> 0:39:45.680
<v Speaker 1>David Geffen, Okay, rock and roll bands are not on television.

0:39:47.040 --> 0:39:50.040
<v Speaker 1>He has this idea that we're gonna call him a

0:39:50.080 --> 0:39:54.160
<v Speaker 1>supergroup and they're gonna do all these television shows. So

0:39:54.200 --> 0:40:00.600
<v Speaker 1>they did all these television shows, even Tom Tom Slider,

0:40:00.719 --> 0:40:04.160
<v Speaker 1>No no, no, no no, the singer from England, Tom Jones,

0:40:04.200 --> 0:40:07.200
<v Speaker 1>Tom Jones. Tom Jones has a show and they do

0:40:07.320 --> 0:40:09.160
<v Speaker 1>They get to do two songs, and one of the

0:40:09.200 --> 0:40:13.000
<v Speaker 1>songs they get to do is I'm gonna almost cut

0:40:13.040 --> 0:40:16.319
<v Speaker 1>my hair to Crosby and Tom Jones sings lead on

0:40:16.360 --> 0:40:19.400
<v Speaker 1>the song. Wow, that's where it's something today. Well you

0:40:19.440 --> 0:40:21.960
<v Speaker 1>gotta find it on it, but there it is. So

0:40:22.200 --> 0:40:27.960
<v Speaker 1>you know, five shows later, you know they're they're huge.

0:40:29.400 --> 0:40:32.279
<v Speaker 1>I mean, you know everybody's going in this direction. And

0:40:32.360 --> 0:40:40.839
<v Speaker 1>David took us in that direction against all logic. Television. Okay,

0:40:40.840 --> 0:40:44.480
<v Speaker 1>when did David stop being an agent and get involved?

0:40:45.680 --> 0:40:48.200
<v Speaker 1>Somewhere in the midst of this story, more to the

0:40:48.239 --> 0:40:50.200
<v Speaker 1>beginning than the end of this story, we were talking

0:40:50.200 --> 0:40:53.480
<v Speaker 1>about the ten versus the fifteen. Yeah, it occurred to him.

0:40:53.520 --> 0:40:56.799
<v Speaker 1>We were making more, and um, we were going to

0:40:56.840 --> 0:40:59.200
<v Speaker 1>make more, and so he wanted to be part of

0:40:59.200 --> 0:41:03.640
<v Speaker 1>the management. Plus, to be honest, he understood what we

0:41:03.719 --> 0:41:09.320
<v Speaker 1>had probably a beat before us. Okay, and once he comes,

0:41:09.560 --> 0:41:12.560
<v Speaker 1>he moves to California. Now he's already in in California.

0:41:12.560 --> 0:41:17.840
<v Speaker 1>Actually famous was based on in your Office, No no, no.

0:41:18.160 --> 0:41:20.719
<v Speaker 1>Then we had Then we got a real office which

0:41:20.800 --> 0:41:25.279
<v Speaker 1>was where on Sunset Boulevard, and it was owned by

0:41:25.480 --> 0:41:31.560
<v Speaker 1>Hoagy Carmichael. You're talking about, No, no, the cluster of

0:41:32.239 --> 0:41:37.200
<v Speaker 1>right building, the ones that that were ultimately Geffen Records,

0:41:38.800 --> 0:41:42.239
<v Speaker 1>right by the Jaguar dealership Rex Block East East. But

0:41:42.560 --> 0:41:46.080
<v Speaker 1>we started out with the upstairs of that first building,

0:41:46.200 --> 0:41:49.000
<v Speaker 1>right okay, which had like four or five officers, and

0:41:49.080 --> 0:41:53.560
<v Speaker 1>above us Hogy Carmichael, who owned the building, was living

0:41:54.480 --> 0:41:57.360
<v Speaker 1>and he would we would see him come down to

0:41:57.440 --> 0:42:01.000
<v Speaker 1>go to the mailbox in his pajamas and his and

0:42:01.200 --> 0:42:06.160
<v Speaker 1>his uh bathrobe, and he would say things like I

0:42:06.280 --> 0:42:11.759
<v Speaker 1>love the fucking the publishing business. So okay, Now that

0:42:11.920 --> 0:42:15.560
<v Speaker 1>does at that point Hoagi owns the building? Yes, once

0:42:15.680 --> 0:42:18.440
<v Speaker 1>David comes, does that change the dynamic of the business.

0:42:18.480 --> 0:42:21.120
<v Speaker 1>We started to grow very quickly. We started to sign

0:42:21.200 --> 0:42:24.640
<v Speaker 1>lots of clients. He um, he works out a deal

0:42:24.680 --> 0:42:28.319
<v Speaker 1>with Ahmed to start Asylum Records. We managed all the

0:42:28.320 --> 0:42:32.240
<v Speaker 1>acts on Asylum and he was playing he was playing

0:42:32.239 --> 0:42:35.960
<v Speaker 1>three dimensional uh Monopoly, and Elliot and I were in

0:42:36.000 --> 0:42:41.560
<v Speaker 1>the music business. Okay. Now in that era, let's slow

0:42:41.600 --> 0:42:44.319
<v Speaker 1>down from it. At some point, Irving Asoff comes to

0:42:44.360 --> 0:42:49.080
<v Speaker 1>work for the company. Okay. Irving is living in Champlain, Illinois,

0:42:49.560 --> 0:42:56.279
<v Speaker 1>and he's booking um Ario speed James Gang. Okay, so

0:42:56.920 --> 0:43:01.719
<v Speaker 1>David sees some real potential. So he comes into the

0:43:01.760 --> 0:43:04.920
<v Speaker 1>office and he and I share in office. He's like

0:43:05.320 --> 0:43:08.880
<v Speaker 1>on the other end of the thing, and um they

0:43:08.920 --> 0:43:12.520
<v Speaker 1>didn't want the James Gang, and they didn't want Rio Speedwagon.

0:43:12.800 --> 0:43:17.280
<v Speaker 1>They wanted him to book Joanie and Neil and Crosby Stills,

0:43:17.360 --> 0:43:20.360
<v Speaker 1>Nation and Young. Oh there's another part to this, Crosby

0:43:20.360 --> 0:43:24.400
<v Speaker 1>Stills Young part. How that got connected. Well, let's finish

0:43:24.440 --> 0:43:27.720
<v Speaker 1>the Irving set back to Irving was in my office

0:43:27.760 --> 0:43:31.319
<v Speaker 1>at the other end, and you know, he was um

0:43:31.400 --> 0:43:33.480
<v Speaker 1>and and and during this period of time, we kind

0:43:33.480 --> 0:43:36.440
<v Speaker 1>of put the Eagles together as we're trying to create

0:43:36.480 --> 0:43:41.880
<v Speaker 1>another supergroup, you know. And we did these rehearsals in

0:43:41.960 --> 0:43:45.359
<v Speaker 1>the in the Troubadour. And at one time we had

0:43:45.920 --> 0:43:51.400
<v Speaker 1>four acoustic guitar players. We had j D Souther, Jackson Brown,

0:43:52.680 --> 0:43:59.040
<v Speaker 1>Um Bernie Letton was a genuine musician guitar player, and

0:43:59.040 --> 0:44:03.600
<v Speaker 1>then Um and and Glenn, so that wasn't gonna work,

0:44:04.280 --> 0:44:07.160
<v Speaker 1>and and and and we got we got involved with

0:44:07.200 --> 0:44:10.040
<v Speaker 1>Glenn and Don because they were the backup band for

0:44:10.120 --> 0:44:13.600
<v Speaker 1>Linda and j D was dating Linda, so and we

0:44:13.600 --> 0:44:17.120
<v Speaker 1>would all end up with Lucy Zell Adobe. You know,

0:44:17.120 --> 0:44:20.520
<v Speaker 1>it just it was so fucking organic, it was amazing.

0:44:21.160 --> 0:44:26.200
<v Speaker 1>So the when the Eagles actually get down to four players, um,

0:44:26.239 --> 0:44:31.640
<v Speaker 1>I take them up to um to um Aspen and

0:44:32.040 --> 0:44:34.080
<v Speaker 1>there was a club at the base of the mountain.

0:44:35.000 --> 0:44:37.000
<v Speaker 1>In fact, I had this conversation with Don not so

0:44:37.080 --> 0:44:39.879
<v Speaker 1>long ago, because I thought it was the bell the

0:44:39.920 --> 0:44:42.040
<v Speaker 1>belly up yea, but it was called the double Diamond.

0:44:42.080 --> 0:44:44.239
<v Speaker 1>That knows the different name before that but in the

0:44:44.280 --> 0:44:47.480
<v Speaker 1>same rule. Yes, okay. So so I had this conversation

0:44:47.520 --> 0:44:52.759
<v Speaker 1>and Don Don corrected me because Don likes to correct me. No,

0:44:53.120 --> 0:44:55.080
<v Speaker 1>I love him too, by the way, you know, only

0:44:55.520 --> 0:44:57.880
<v Speaker 1>you know, here's here's the problem with the Jonis and

0:44:57.920 --> 0:45:00.200
<v Speaker 1>the Neils and all of these people you meet them

0:45:00.239 --> 0:45:02.680
<v Speaker 1>for ten minutes, you see a slice of who they are.

0:45:02.920 --> 0:45:06.719
<v Speaker 1>You have no idea who they are, so whatever emotional

0:45:07.040 --> 0:45:09.120
<v Speaker 1>connection you made in that ten minutes, you make this

0:45:09.200 --> 0:45:12.920
<v Speaker 1>judgment about who they are. But you know, okay, but

0:45:12.960 --> 0:45:15.080
<v Speaker 1>you really knew them, but okay, so okay. I go

0:45:15.160 --> 0:45:17.360
<v Speaker 1>to ask them because I needed to put them in

0:45:17.360 --> 0:45:20.880
<v Speaker 1>a place for like two weeks, two or three or

0:45:20.920 --> 0:45:23.319
<v Speaker 1>four shows a night, and I took them to ask

0:45:23.360 --> 0:45:27.919
<v Speaker 1>me so I could go skiing. There was the only

0:45:27.960 --> 0:45:30.520
<v Speaker 1>reason we picked this club and askment. They would do

0:45:30.560 --> 0:45:32.920
<v Speaker 1>four shows a night, for seven days a week for

0:45:32.960 --> 0:45:35.040
<v Speaker 1>two weeks. It was like the theory I had in

0:45:35.080 --> 0:45:39.560
<v Speaker 1>my brain was that they this was gonna be their Hamburg, Germany.

0:45:39.800 --> 0:45:42.880
<v Speaker 1>And I like the Beatles, yes, so so I you know,

0:45:42.920 --> 0:45:44.960
<v Speaker 1>I would ski most of the day and then I

0:45:44.960 --> 0:45:48.120
<v Speaker 1>would sit there and about the second show, which was

0:45:48.160 --> 0:45:51.360
<v Speaker 1>about nine o'clock, I would fall over and fall asleep,

0:45:51.360 --> 0:45:54.120
<v Speaker 1>and I would miss the last two shows every night.

0:45:55.200 --> 0:45:57.360
<v Speaker 1>But I had a great time, and did the audience

0:45:57.440 --> 0:46:00.200
<v Speaker 1>like them? Well, you know, they started out nobody who

0:46:00.560 --> 0:46:04.640
<v Speaker 1>exactly so so they'd be you know, twenty people, third night,

0:46:04.920 --> 0:46:08.600
<v Speaker 1>forty people. End of the first week packed By the

0:46:08.680 --> 0:46:11.160
<v Speaker 1>next week, people were waiting in line to get in

0:46:12.040 --> 0:46:14.319
<v Speaker 1>and they didn't know who they were. I didn't care.

0:46:14.560 --> 0:46:17.920
<v Speaker 1>Did they call themselves Eagles at that point? No, No,

0:46:18.239 --> 0:46:22.400
<v Speaker 1>they They may have by the end of this. But

0:46:22.520 --> 0:46:24.920
<v Speaker 1>what happened during that two weeks since they became a band,

0:46:25.800 --> 0:46:30.320
<v Speaker 1>They really became a band that Hamburg formula worked. And

0:46:30.400 --> 0:46:32.799
<v Speaker 1>did they get along back then? Yeah, well they were

0:46:32.800 --> 0:46:35.279
<v Speaker 1>in heaven. You gotta remember, when you start out on

0:46:35.320 --> 0:46:39.200
<v Speaker 1>this journey, you're so happy that you're playing music and

0:46:39.239 --> 0:46:42.440
<v Speaker 1>people like it, and you've got this thing going. The

0:46:42.480 --> 0:46:46.960
<v Speaker 1>personalities don't matter as you start to become more successful.

0:46:47.040 --> 0:46:52.719
<v Speaker 1>Personalities are what you're left with when when the program

0:46:52.760 --> 0:46:55.320
<v Speaker 1>is in place, now you start to say, wait a minute,

0:46:55.400 --> 0:46:59.040
<v Speaker 1>who is that fucking guy? Okay, so how does Irving

0:46:59.080 --> 0:47:01.560
<v Speaker 1>figure into this? Okay? So Irving is working in the

0:47:01.640 --> 0:47:05.719
<v Speaker 1>office and he's booking Joanie and Neil and you know,

0:47:05.800 --> 0:47:10.080
<v Speaker 1>and and and he takes Um, his accountant, Um John

0:47:10.080 --> 0:47:13.760
<v Speaker 1>Barrack sets him up down the street to manage Ario

0:47:13.840 --> 0:47:20.320
<v Speaker 1>Speedwagon and James Gang and Dan Fogelberg because he doesn't

0:47:20.320 --> 0:47:22.680
<v Speaker 1>want to let go of them, and David and Elliott

0:47:22.719 --> 0:47:26.479
<v Speaker 1>didn't want him and didn't want those clients. So down

0:47:26.520 --> 0:47:30.360
<v Speaker 1>the street from us was you know John who really

0:47:31.000 --> 0:47:34.680
<v Speaker 1>sweet guy an today, Yeah, working with Journey and other people.

0:47:34.719 --> 0:47:40.239
<v Speaker 1>Lives up north, Okay, so continue there. So like less

0:47:40.239 --> 0:47:44.919
<v Speaker 1>than a year, right, and the first Eagles record comes

0:47:44.960 --> 0:47:50.399
<v Speaker 1>out and there there well, I went on tour with Neil.

0:47:50.520 --> 0:47:53.320
<v Speaker 1>We did a Canadian tour and the and the Eagles

0:47:53.320 --> 0:47:57.279
<v Speaker 1>were the opening act and they were fucking great. They

0:47:57.320 --> 0:48:02.839
<v Speaker 1>were just great. And hell was in the throngs of

0:48:02.840 --> 0:48:07.440
<v Speaker 1>of Danny Witten from Crazy Horse and Bruce Barry o'deine

0:48:07.960 --> 0:48:10.640
<v Speaker 1>and he wrote this tonight, Tonight's the night. Then they

0:48:10.640 --> 0:48:13.560
<v Speaker 1>went into the s I R And recorded this whole

0:48:13.560 --> 0:48:17.000
<v Speaker 1>thing and he kind of purged his demons. So he

0:48:17.040 --> 0:48:20.080
<v Speaker 1>came out of there feeling really good. But the record

0:48:21.040 --> 0:48:23.759
<v Speaker 1>was what he was, a big success. No, but there's

0:48:23.800 --> 0:48:25.879
<v Speaker 1>a there are a couple of songs on that record,

0:48:25.760 --> 0:48:28.239
<v Speaker 1>the Needle and the Damage Done is Wanted, the belt Needle,

0:48:28.280 --> 0:48:30.040
<v Speaker 1>the Damage Done is on is on the Heart of

0:48:30.480 --> 0:48:33.520
<v Speaker 1>is on Harvest next the next record after that. But

0:48:33.560 --> 0:48:38.040
<v Speaker 1>he wrote it in there anyway, so you know, they

0:48:38.080 --> 0:48:41.280
<v Speaker 1>were you know, they were out of tune and there

0:48:41.320 --> 0:48:44.440
<v Speaker 1>were lots of imperfections. But he didn't care. But but

0:48:44.680 --> 0:48:47.840
<v Speaker 1>Harvest came out before that. Yes, but it might have

0:48:47.840 --> 0:48:50.960
<v Speaker 1>been recorded. But continue, Okay, wait wait, So Harvest was

0:48:51.000 --> 0:48:56.000
<v Speaker 1>this huge hit after which these two tragic events happened.

0:48:56.320 --> 0:48:58.680
<v Speaker 1>He went in and recorded this, right. He also went

0:48:58.680 --> 0:49:01.080
<v Speaker 1>on tour and played all origin little material. What no,

0:49:01.160 --> 0:49:05.640
<v Speaker 1>I'm telling you a story. So so we went out

0:49:05.680 --> 0:49:08.920
<v Speaker 1>on tour in Canada was the precursor to the American tour,

0:49:08.960 --> 0:49:12.000
<v Speaker 1>which was supposed to be the Harvest tour. Okay, So

0:49:12.040 --> 0:49:16.839
<v Speaker 1>in Canada he plays Tonight's Tonight from beginning to end,

0:49:17.960 --> 0:49:22.000
<v Speaker 1>and people getting antsie, you know, and he says to them,

0:49:22.000 --> 0:49:24.879
<v Speaker 1>if you just hang in there with me, I'll play

0:49:24.920 --> 0:49:27.759
<v Speaker 1>stuff you've heard before. So we get to the end

0:49:27.800 --> 0:49:32.520
<v Speaker 1>of the album and he would start it over again. Yes,

0:49:32.719 --> 0:49:38.920
<v Speaker 1>legendary story. And people left. They left because they were

0:49:38.960 --> 0:49:41.719
<v Speaker 1>buying tickets to hear the Harvest. By the time we

0:49:41.760 --> 0:49:45.120
<v Speaker 1>got to America, Elliott and David put their foot down

0:49:45.200 --> 0:49:48.480
<v Speaker 1>and said this is not going to work. So then

0:49:48.480 --> 0:49:52.759
<v Speaker 1>he did the Harvest. Okay did he was? He consciously

0:49:52.840 --> 0:49:57.000
<v Speaker 1>aware of the fact that this would be negative for

0:49:57.120 --> 0:50:01.640
<v Speaker 1>his career. Neil has never cared about his career. Do

0:50:01.680 --> 0:50:06.440
<v Speaker 1>you care about money. He was doing fine. Okay, so anyway,

0:50:06.480 --> 0:50:09.600
<v Speaker 1>but but yes he did care. Okay, So Barrick is

0:50:09.640 --> 0:50:12.439
<v Speaker 1>down the street. The Eagles open in Canada. You're telling

0:50:12.440 --> 0:50:14.799
<v Speaker 1>me that's the Irving story. Okay, So the Eagles are

0:50:14.840 --> 0:50:19.280
<v Speaker 1>still within uh what's now called Geff and Roberts management.

0:50:19.320 --> 0:50:22.480
<v Speaker 1>You knows, my name was not on Okay, So I was,

0:50:22.680 --> 0:50:25.080
<v Speaker 1>like I said, I was down the end of the hall.

0:50:25.320 --> 0:50:31.960
<v Speaker 1>That was the Bob Cratchett you know. Anyway, Um, but

0:50:32.040 --> 0:50:34.000
<v Speaker 1>I was on that tour in Canada, and the Eagles

0:50:34.040 --> 0:50:36.439
<v Speaker 1>opened up and they kicked ass, and then Neil did

0:50:36.480 --> 0:50:40.200
<v Speaker 1>this challenge to his audience, how much can you take?

0:50:40.920 --> 0:50:44.600
<v Speaker 1>You know? He found out. So by the time they

0:50:44.640 --> 0:50:50.640
<v Speaker 1>got to America. So somewhere by the end of that tour, Um,

0:50:50.760 --> 0:50:53.880
<v Speaker 1>Irving calls up and and he's on the road with

0:50:53.960 --> 0:50:57.600
<v Speaker 1>the Eagles and the road manager. No, no, just on

0:50:57.760 --> 0:51:01.080
<v Speaker 1>as a management saying. I was not the manager either. Okay,

0:51:01.200 --> 0:51:03.480
<v Speaker 1>we had actual road manager because we didn't know what

0:51:03.520 --> 0:51:06.879
<v Speaker 1>the funk we would do, you know, you know, we

0:51:06.880 --> 0:51:09.000
<v Speaker 1>were there to collect the money and make sure that

0:51:09.440 --> 0:51:12.440
<v Speaker 1>the band didn't call Elliott and David. You know that

0:51:12.520 --> 0:51:18.560
<v Speaker 1>there was somebody right anyway, So, um, so Elliot gets

0:51:18.600 --> 0:51:21.359
<v Speaker 1>this call from Irving, and to this day, I don't

0:51:21.400 --> 0:51:23.359
<v Speaker 1>know if he was serious or it was a joke.

0:51:24.719 --> 0:51:26.879
<v Speaker 1>He's on the phone and Irving is telling him he's

0:51:26.920 --> 0:51:30.000
<v Speaker 1>leaving and he's taking the Eagles, and Elliott goes, who

0:51:30.080 --> 0:51:34.919
<v Speaker 1>are the Eagles? Really? I think he was joking. I'd

0:51:35.000 --> 0:51:37.480
<v Speaker 1>like to think he was joking when Elliott was strown

0:51:37.560 --> 0:51:40.080
<v Speaker 1>a lot, so it could have been. Okay, And did

0:51:40.080 --> 0:51:43.239
<v Speaker 1>it go down that smoothly? Did Elliot didn't give a ship? Look,

0:51:43.719 --> 0:51:45.759
<v Speaker 1>you have to understand, the Eagles were making five or

0:51:45.800 --> 0:51:48.560
<v Speaker 1>six thousand dollars a night, and that summer we had

0:51:48.600 --> 0:51:51.360
<v Speaker 1>Crosby Stills, Nash and Young Ad on tour, you know,

0:51:51.400 --> 0:51:54.839
<v Speaker 1>playing stadiums okay, and we had Joni Mitchell out on tour,

0:51:54.920 --> 0:51:57.960
<v Speaker 1>and we we were just flying so high and and

0:51:58.000 --> 0:52:01.520
<v Speaker 1>the Eagles were basically a baby band. Okay. Anybody else

0:52:01.520 --> 0:52:06.520
<v Speaker 1>in the stable at that point, oh fuck yeah, there's

0:52:06.560 --> 0:52:10.640
<v Speaker 1>lots of people, you know, okay, but my my my

0:52:12.120 --> 0:52:16.360
<v Speaker 1>range of vision was okay. So at some point Asylum

0:52:16.440 --> 0:52:20.520
<v Speaker 1>record starts up and there's the Jackson Brown album, that

0:52:20.600 --> 0:52:23.920
<v Speaker 1>the Doheny album, the j D saw the album, but

0:52:24.040 --> 0:52:29.960
<v Speaker 1>the three big albums on Asylum Records was Joe Joe Gunn,

0:52:32.040 --> 0:52:35.360
<v Speaker 1>Jackson Brown, and Joni Mitchell. And there was this moment

0:52:35.560 --> 0:52:38.680
<v Speaker 1>in the first nine months of that enterprise where we

0:52:38.719 --> 0:52:42.560
<v Speaker 1>had three top five records at the same time. Okay,

0:52:42.600 --> 0:52:45.000
<v Speaker 1>at what point does David say, I'm out of here?

0:52:45.840 --> 0:52:53.160
<v Speaker 1>He says to to Ahmed, he said, um, I want

0:52:53.200 --> 0:52:57.840
<v Speaker 1>this as my label, and Ahmed comes up with this

0:52:57.960 --> 0:53:02.839
<v Speaker 1>idea about marrying a side them to Electra okay, and

0:53:02.880 --> 0:53:05.880
<v Speaker 1>having David run both of them. So David goes over

0:53:06.000 --> 0:53:08.440
<v Speaker 1>and Elliott and I had the management company, although I

0:53:08.480 --> 0:53:10.640
<v Speaker 1>did work over at a lecture for about six months

0:53:10.880 --> 0:53:13.400
<v Speaker 1>because David wanted to find out everything that was to

0:53:13.440 --> 0:53:16.320
<v Speaker 1>find out about everybody. So I went over. There is

0:53:16.440 --> 0:53:20.319
<v Speaker 1>like a plant, you know, Okay, you're making any money now.

0:53:21.239 --> 0:53:23.640
<v Speaker 1>I was making good money all the way through. Once

0:53:23.640 --> 0:53:25.640
<v Speaker 1>it started hit. They took care of you know, well

0:53:25.640 --> 0:53:29.120
<v Speaker 1>that I didn't. You know, David has I don't know

0:53:29.840 --> 0:53:34.239
<v Speaker 1>ten billion dollars, certainly billions. I don't have that right,

0:53:34.360 --> 0:53:36.359
<v Speaker 1>so maybe I didn't get taken care of as well

0:53:36.400 --> 0:53:39.160
<v Speaker 1>as I should have. Okay, So David moves on and

0:53:39.160 --> 0:53:42.680
<v Speaker 1>you're there with Elliott yeah. Well, first I go over

0:53:42.719 --> 0:53:45.320
<v Speaker 1>to Electure. For about six months, I was in the

0:53:45.440 --> 0:53:49.279
<v Speaker 1>artist development and basically I came to the conclusion that

0:53:49.320 --> 0:53:52.839
<v Speaker 1>they didn't really understand that you're supposed to actually work

0:53:52.920 --> 0:53:55.719
<v Speaker 1>for the artist and not the artists work for you.

0:53:56.239 --> 0:53:58.680
<v Speaker 1>I was very unhappy. I went back to the management company.

0:53:58.840 --> 0:54:00.920
<v Speaker 1>So now it's just me and l IT and now

0:54:00.960 --> 0:54:05.440
<v Speaker 1>it's Lookout Management. It goes back to Lookout Management. Okay.

0:54:05.480 --> 0:54:09.320
<v Speaker 1>At what point do you move on from Lookout Management? Um?

0:54:09.360 --> 0:54:12.279
<v Speaker 1>I don't know. Maybe I did twelve years total, and

0:54:12.640 --> 0:54:15.960
<v Speaker 1>I just thought, you know, I could do this by myself.

0:54:16.520 --> 0:54:18.520
<v Speaker 1>It took me about three years to figure out. I

0:54:18.600 --> 0:54:23.040
<v Speaker 1>really I didn't know what the funk I was doing, Okay,

0:54:23.040 --> 0:54:25.520
<v Speaker 1>but what was the incentive? Was Danny Goldberg say hey,

0:54:25.600 --> 0:54:27.920
<v Speaker 1>let's do this. Danny came a few years later. Okay,

0:54:27.920 --> 0:54:30.840
<v Speaker 1>So you leave and you call it what? Um, what

0:54:30.920 --> 0:54:37.040
<v Speaker 1>do I call it? Lookout? Okay? And Elliott Elliot Roberts, No, no, Elliott,

0:54:37.040 --> 0:54:39.000
<v Speaker 1>it was Lookout. I don't remember what I called it. Okay,

0:54:39.080 --> 0:54:43.200
<v Speaker 1>who are your acts? Um? I had mostly publishing and

0:54:43.560 --> 0:54:47.640
<v Speaker 1>you know, and um I had Lonnie Hall, her Malfort's wife.

0:54:48.400 --> 0:54:51.880
<v Speaker 1>Some really weird ship, you know. But then I, you know,

0:54:52.320 --> 0:54:56.640
<v Speaker 1>Danny and I both were pursuing Bonnie Raid, and instead

0:54:56.640 --> 0:54:59.880
<v Speaker 1>of banging our heads together, we decided, okay, let's do

0:54:59.920 --> 0:55:02.160
<v Speaker 1>the US together. He had an office at A at

0:55:02.160 --> 0:55:05.080
<v Speaker 1>A and M Records, and I was working with Lonnie

0:55:05.080 --> 0:55:07.760
<v Speaker 1>and Herb. I did a tour with Herb in South America.

0:55:08.360 --> 0:55:11.080
<v Speaker 1>You know, I I was doing fine, okay, But so

0:55:11.120 --> 0:55:14.000
<v Speaker 1>there was no thought I shouldn't have left Elliott. I

0:55:14.040 --> 0:55:19.240
<v Speaker 1>shouldn't have left Elliott, but I, you know, of course

0:55:19.400 --> 0:55:22.560
<v Speaker 1>I didn't. I didn't have a plan. You know, It's

0:55:22.600 --> 0:55:27.480
<v Speaker 1>not like I was I was scoping out my ascension,

0:55:28.040 --> 0:55:31.279
<v Speaker 1>you know. I just was going with the flow. Okay.

0:55:31.440 --> 0:55:34.840
<v Speaker 1>So you hook up with Danny and it's Bonnie before

0:55:34.920 --> 0:55:38.200
<v Speaker 1>he and Belinda Carlisle okay. And he's he's already done

0:55:38.200 --> 0:55:42.640
<v Speaker 1>with twentieth Century Fox okay. And and he's got a

0:55:42.680 --> 0:55:46.600
<v Speaker 1>record company at AT A and M, and his act

0:55:46.760 --> 0:55:52.560
<v Speaker 1>is Um Cochrane. What I wish I had a rocket launcher,

0:55:53.040 --> 0:55:56.760
<v Speaker 1>Bruce Coobert, Bruce Comber. Anyway, so okay, he's got Bruce

0:55:56.840 --> 0:55:59.400
<v Speaker 1>Cockburn and and he's also put out a record with

0:55:59.400 --> 0:56:03.800
<v Speaker 1>Stevin Nick. Right. That was with what's his name from Woodstock,

0:56:03.880 --> 0:56:09.400
<v Speaker 1>Paul Fish. Okay, but that labels there they separate. Yeah,

0:56:09.480 --> 0:56:12.040
<v Speaker 1>and at this point Danny's out of that label, right, Okay,

0:56:12.040 --> 0:56:15.200
<v Speaker 1>how does he get? Blinda Carlisle, I get? How do

0:56:15.239 --> 0:56:18.320
<v Speaker 1>you get? So? When I worked with David and Elliott,

0:56:18.760 --> 0:56:21.520
<v Speaker 1>the Go Gos came to see me and they wanted

0:56:21.600 --> 0:56:24.400
<v Speaker 1>us to manage them. And they were sucked up. I

0:56:24.440 --> 0:56:28.480
<v Speaker 1>mean they were just sucked up, drunk, disorderly high, whatever

0:56:28.520 --> 0:56:33.239
<v Speaker 1>it was. I wanted nothing to do with them. Two

0:56:33.320 --> 0:56:37.040
<v Speaker 1>years later, Belinda and Charlotte come and visit me and

0:56:37.080 --> 0:56:39.880
<v Speaker 1>say they want me because I turned them down because

0:56:39.920 --> 0:56:43.840
<v Speaker 1>they were sucked up. They got sober and they sought

0:56:43.920 --> 0:56:47.239
<v Speaker 1>me out. So I ended up managing this was This

0:56:47.280 --> 0:56:49.359
<v Speaker 1>is when the Go Goes are essentially finished. They put

0:56:49.400 --> 0:56:53.840
<v Speaker 1>out their two albums. Okay, Belinda as a solo artist. Again.

0:56:54.480 --> 0:56:56.800
<v Speaker 1>I thought one of my best jobs as a manager

0:56:57.320 --> 0:57:02.080
<v Speaker 1>because Belinda was not a great singer. And I'm being kind, okay,

0:57:02.280 --> 0:57:06.759
<v Speaker 1>and um we made huge success for her. Now you

0:57:06.840 --> 0:57:10.000
<v Speaker 1>got sued on Heaven is a Place on Earth? Remember

0:57:10.040 --> 0:57:12.080
<v Speaker 1>that one of the songs. There was a big lawsuit.

0:57:12.320 --> 0:57:14.279
<v Speaker 1>But she didn't write that song. I know, I know

0:57:14.400 --> 0:57:18.040
<v Speaker 1>the people who did write it. So the producer, um

0:57:18.080 --> 0:57:21.960
<v Speaker 1>I forgot his name. God, he's a great producer. Anyway,

0:57:21.960 --> 0:57:24.840
<v Speaker 1>he wrote the song and so he had some trouble

0:57:24.880 --> 0:57:26.920
<v Speaker 1>with that, but it didn't affect us. Okay. So she

0:57:27.080 --> 0:57:30.280
<v Speaker 1>was very happy with the situation she had. She was thrilled.

0:57:30.280 --> 0:57:33.120
<v Speaker 1>Are you kidding? We had two or three huge hits.

0:57:33.840 --> 0:57:37.480
<v Speaker 1>Um I got, um, I got what's the actress's name

0:57:37.720 --> 0:57:40.920
<v Speaker 1>that was in Woody Allen's movie? Uh, Diane Keat. I

0:57:40.960 --> 0:57:44.080
<v Speaker 1>got Dane Keaton to direct her first video. How did

0:57:44.080 --> 0:57:46.640
<v Speaker 1>you get make that happen? I asked? How did you

0:57:46.680 --> 0:57:48.880
<v Speaker 1>know her? Yeah? I had met her. How did you

0:57:48.920 --> 0:57:51.800
<v Speaker 1>know Diane Keaton? I don't remember. How did I know

0:57:51.920 --> 0:57:54.520
<v Speaker 1>Kevin Pollock? I don't okay who we were hanging with

0:57:54.640 --> 0:57:58.760
<v Speaker 1>earlier before the podcast began. But okay, so now it's

0:57:58.800 --> 0:58:02.840
<v Speaker 1>Bonnie Ray. What year are we in? But it's years

0:58:02.880 --> 0:58:06.280
<v Speaker 1>before she has her breakthrough? Okay, I take her on.

0:58:06.920 --> 0:58:11.040
<v Speaker 1>Um she's on Warner Brothers. They want to dump her. Okay.

0:58:11.280 --> 0:58:14.320
<v Speaker 1>She's made nine records for them, right, none of them

0:58:14.480 --> 0:58:18.360
<v Speaker 1>commercially successful. One of them she had a song that

0:58:18.440 --> 0:58:22.080
<v Speaker 1>run Runaway that did well and then they wanted more

0:58:22.120 --> 0:58:25.600
<v Speaker 1>of that, and she really she didn't get the program,

0:58:25.640 --> 0:58:27.520
<v Speaker 1>you know, it wasn't she funked up at the time too.

0:58:27.600 --> 0:58:30.720
<v Speaker 1>She was drinking, you know, she thought of herself as

0:58:30.720 --> 0:58:33.520
<v Speaker 1>a blue singer, and she thought, you know that that

0:58:34.400 --> 0:58:40.640
<v Speaker 1>bottle of m what's the the bourbon or something that

0:58:42.000 --> 0:58:44.040
<v Speaker 1>Jack Dan she thought that was part of the program,

0:58:44.520 --> 0:58:47.400
<v Speaker 1>you know. And she was a bit overweight and um,

0:58:47.440 --> 0:58:50.840
<v Speaker 1>and she was kind of miserable, you know, her situation

0:58:50.840 --> 0:58:54.000
<v Speaker 1>at Warner Brothers. She had we delivered a record to

0:58:54.160 --> 0:58:57.200
<v Speaker 1>extricate her, and then I took her over to I

0:58:57.200 --> 0:58:59.120
<v Speaker 1>don't think they put that they even put that record

0:58:59.160 --> 0:59:01.720
<v Speaker 1>out at that time, not so as you notice, but

0:59:01.840 --> 0:59:05.040
<v Speaker 1>they did because they had a contractual obligation. Nine Lives

0:59:05.120 --> 0:59:08.080
<v Speaker 1>was the name of that record. Yeah, with total stiff,

0:59:08.440 --> 0:59:11.480
<v Speaker 1>yes without When she left Warner Brothers, did you already

0:59:11.480 --> 0:59:15.480
<v Speaker 1>have the Deally capital? So I had her playing clubs,

0:59:16.080 --> 0:59:20.440
<v Speaker 1>in fact, the night of the Grammys. Um, she I

0:59:20.520 --> 0:59:23.480
<v Speaker 1>had her playing little clubs to clubs because that's all

0:59:23.520 --> 0:59:26.720
<v Speaker 1>she could sell her redeveloping her No, that's where she was,

0:59:26.880 --> 0:59:29.200
<v Speaker 1>you know. And she sent me a picture of the

0:59:29.240 --> 0:59:33.720
<v Speaker 1>bathroom at this club in Buffalo, which was the literal

0:59:34.400 --> 0:59:38.600
<v Speaker 1>interpretation of a ship hole. Okay. She sends me this

0:59:38.640 --> 0:59:41.520
<v Speaker 1>picture and she says, how could you do this to me? Okay?

0:59:41.720 --> 0:59:43.960
<v Speaker 1>And it crushed me because I didn't want to do

0:59:44.000 --> 0:59:47.360
<v Speaker 1>that to her. So I kind of redoubled my efforts.

0:59:47.440 --> 0:59:51.080
<v Speaker 1>And um, when she got the four Grammys. The night

0:59:51.120 --> 0:59:53.360
<v Speaker 1>of the four Grams and we're standing backstage, she's got

0:59:53.360 --> 0:59:55.400
<v Speaker 1>her shoes off and we're waiting for the limousine. I

0:59:55.440 --> 0:59:57.800
<v Speaker 1>said to her, you know what pushed us over the top,

0:59:58.200 --> 1:00:05.160
<v Speaker 1>that club in Buffalo. Okay, So now she's off off

1:00:05.200 --> 1:00:08.480
<v Speaker 1>Warner Brothers. Okay, so we do We do the Milwaukee

1:00:08.560 --> 1:00:11.400
<v Speaker 1>Blues Fest. I have Bonnie on one end of the

1:00:11.440 --> 1:00:14.680
<v Speaker 1>park and the Summer Fest. Summer Fest, so Bonnie at

1:00:14.680 --> 1:00:16.360
<v Speaker 1>one end of the park and they have Blinda at

1:00:16.360 --> 1:00:18.400
<v Speaker 1>the other end of the park and we all hang

1:00:18.400 --> 1:00:23.360
<v Speaker 1>out and Charlotte and Belinda get on Bonnie's case about,

1:00:24.400 --> 1:00:28.200
<v Speaker 1>you know, getting sober, and they fucking drag her to

1:00:28.280 --> 1:00:32.080
<v Speaker 1>an AA meeting and they get her fucking paying attention,

1:00:32.800 --> 1:00:37.080
<v Speaker 1>and then she starts to kind of realized that she's

1:00:37.080 --> 1:00:39.880
<v Speaker 1>got to if she wants to survive, she has to

1:00:40.000 --> 1:00:43.640
<v Speaker 1>kind of reorient her vision of the world, and she

1:00:43.680 --> 1:00:47.160
<v Speaker 1>gets sober, and she loses weight and she gets healthy

1:00:47.240 --> 1:00:50.520
<v Speaker 1>and then we make nick of time. Okay. In the interim,

1:00:50.600 --> 1:00:53.320
<v Speaker 1>during that period of time, Joe Smith moves from Warner

1:00:53.360 --> 1:00:56.200
<v Speaker 1>Brothers to Capitol, Right, that's my question. Was him or

1:00:56.200 --> 1:00:58.760
<v Speaker 1>Bourbon because he brings Burman there too. Yeah, but it

1:00:58.800 --> 1:01:04.320
<v Speaker 1>was Joe Smith and and Tim Divine and um and

1:01:04.760 --> 1:01:06.840
<v Speaker 1>who was the head of A and R who's now

1:01:06.880 --> 1:01:10.439
<v Speaker 1>at Concord. Oh God, I'm so bad with name. What's

1:01:10.480 --> 1:01:14.720
<v Speaker 1>his name? Okay? So I take him Divine out to

1:01:15.120 --> 1:01:21.000
<v Speaker 1>the to the club and Trincus right to see Bonnie. Right,

1:01:21.120 --> 1:01:23.920
<v Speaker 1>you know, Bonnie there was never any doubt of her talent.

1:01:24.960 --> 1:01:28.640
<v Speaker 1>It was her lifestyle that interfered with her career. She

1:01:28.840 --> 1:01:33.040
<v Speaker 1>oh she could. I mean, she has perfect pitch. I'm

1:01:33.200 --> 1:01:35.200
<v Speaker 1>part of my sales pitch was I would say to

1:01:35.320 --> 1:01:40.480
<v Speaker 1>people that she was the number one female slide guitar

1:01:40.520 --> 1:01:43.720
<v Speaker 1>player in the world, not that there's a big club there.

1:01:43.760 --> 1:01:47.960
<v Speaker 1>There wasn't. It was a legitimate position, right, Okay, it

1:01:48.040 --> 1:01:51.000
<v Speaker 1>was part of my sales pitch. So you know, I

1:01:51.040 --> 1:01:55.360
<v Speaker 1>convinced Joe Smith to give us basically an entry level

1:01:55.400 --> 1:01:57.400
<v Speaker 1>deal for like a hundred and twenty five thou dollars

1:01:57.400 --> 1:02:00.480
<v Speaker 1>when other people are getting half a million, okay, And

1:02:00.520 --> 1:02:03.320
<v Speaker 1>I get Don was. Don Was did one song with

1:02:03.400 --> 1:02:08.000
<v Speaker 1>Bonnie for a Disney album for UM called stay Awake,

1:02:08.520 --> 1:02:12.760
<v Speaker 1>where she sings the lullaby that Dumbo's mom sings the

1:02:12.840 --> 1:02:19.480
<v Speaker 1>Dumbo and she sounds breathtaking. And Don Was never produced

1:02:19.480 --> 1:02:23.360
<v Speaker 1>anything except was not was, And I asked Don if

1:02:23.360 --> 1:02:26.200
<v Speaker 1>he would produce Bonnie, and I said, here's the budget,

1:02:27.160 --> 1:02:32.080
<v Speaker 1>not one fucking pennymore, all in your fee, everything, And

1:02:32.120 --> 1:02:34.080
<v Speaker 1>he makes nick of Time for like a hundred and

1:02:34.080 --> 1:02:37.880
<v Speaker 1>twenty six thou dollars. Okay. Now, Bonnie wrote Nick of

1:02:38.040 --> 1:02:41.560
<v Speaker 1>Time two songs on that right, What was the other

1:02:41.600 --> 1:02:47.160
<v Speaker 1>one she wrote? Uh? I forgot okay. But but Nick

1:02:47.200 --> 1:02:49.480
<v Speaker 1>of Time was not the big hit I know it was.

1:02:49.840 --> 1:02:55.200
<v Speaker 1>It was a John uh John Hyatt song. Um fuck

1:02:55.960 --> 1:02:58.480
<v Speaker 1>they I know. There are so many hits after that. Okay.

1:02:58.560 --> 1:03:01.000
<v Speaker 1>So we had three hits off that record, right, and

1:03:01.040 --> 1:03:04.000
<v Speaker 1>the record sold eight million copies. And here's my moment

1:03:04.080 --> 1:03:07.120
<v Speaker 1>of clarity and my genius. I had one moment of

1:03:07.160 --> 1:03:11.720
<v Speaker 1>genius in my entire fucking career. Okay. I convinced Joe

1:03:11.720 --> 1:03:16.120
<v Speaker 1>Smith we put out the record in like October. They

1:03:16.160 --> 1:03:21.640
<v Speaker 1>have thirteen releases in that quarter. Her priority was number thirteen. Okay,

1:03:22.040 --> 1:03:24.720
<v Speaker 1>fourth quarter, that's when record companies make all their money, right,

1:03:24.880 --> 1:03:28.600
<v Speaker 1>But she was not getting in. But I got um.

1:03:28.640 --> 1:03:33.720
<v Speaker 1>I got Dennis Quaid to be in her video. Dennis

1:03:33.800 --> 1:03:40.600
<v Speaker 1>was dating a friend of my wife's and uh and

1:03:40.600 --> 1:03:43.000
<v Speaker 1>and so I convinced. And also he's a big bondy

1:03:43.080 --> 1:03:47.040
<v Speaker 1>rate anyway, So Dennis is in the video and it

1:03:47.200 --> 1:03:50.360
<v Speaker 1>blows up on v H one. At that time, that's

1:03:50.360 --> 1:03:53.760
<v Speaker 1>that was your path. So all of a sudden nick

1:03:53.800 --> 1:03:56.920
<v Speaker 1>of time is starting to go up the priorities for

1:03:57.000 --> 1:04:01.320
<v Speaker 1>capital do you want me to wait for? Okay? So

1:04:01.360 --> 1:04:04.840
<v Speaker 1>the by the end of the year, we sold about

1:04:05.040 --> 1:04:08.160
<v Speaker 1>three hundred maybe four, somewhere between three hundred and four

1:04:08.200 --> 1:04:11.120
<v Speaker 1>hundred thousand, and and Danny and I thought we won

1:04:11.160 --> 1:04:16.640
<v Speaker 1>the fucking lottery. Okay, it was huge success. And then

1:04:16.680 --> 1:04:20.800
<v Speaker 1>she gets all these nominations. So in January I go

1:04:20.840 --> 1:04:24.280
<v Speaker 1>into Joe Smith and I say it to Joe, there's

1:04:24.280 --> 1:04:29.160
<v Speaker 1>no chance she's going to Yeah, okay, so you're going

1:04:29.160 --> 1:04:31.600
<v Speaker 1>to Joe Smith and I convince him that she's not

1:04:31.640 --> 1:04:35.200
<v Speaker 1>going to win any Grammys. But our marketing strategy should

1:04:35.240 --> 1:04:40.320
<v Speaker 1>be four time nominated because she got all those nominations.

1:04:40.360 --> 1:04:42.760
<v Speaker 1>So we did end caps in the stores, and we

1:04:42.800 --> 1:04:45.400
<v Speaker 1>did these displays, and we did this whole campaign. Did

1:04:45.480 --> 1:04:50.080
<v Speaker 1>those cell records. Let me don't get ahead of me, okay.

1:04:50.400 --> 1:04:53.520
<v Speaker 1>So this was all in the anticipation of the Grammys,

1:04:53.640 --> 1:04:57.360
<v Speaker 1>and I convinced them to spend like a hundred thousand,

1:04:57.600 --> 1:05:01.400
<v Speaker 1>which was an enormous amount of on Annie rate. Basically,

1:05:01.440 --> 1:05:03.120
<v Speaker 1>what I was asking him to do was take the

1:05:03.120 --> 1:05:05.960
<v Speaker 1>profit on the three or four hundred thousand records we

1:05:06.040 --> 1:05:09.520
<v Speaker 1>sold and reinvested in this scheme I had, you know,

1:05:10.080 --> 1:05:13.040
<v Speaker 1>so if I was wrong, you made no money. If

1:05:13.040 --> 1:05:16.920
<v Speaker 1>I was right, we'd make more money. So she wins

1:05:16.960 --> 1:05:19.560
<v Speaker 1>the four Grammys. It's one of the best nights I

1:05:19.640 --> 1:05:22.320
<v Speaker 1>ever had. Danny and I were fucking crying in the

1:05:22.320 --> 1:05:26.280
<v Speaker 1>theater and um and before the last one, which was

1:05:26.360 --> 1:05:29.400
<v Speaker 1>Record of the Year, the big one, Bonnie's halfway out

1:05:29.440 --> 1:05:31.840
<v Speaker 1>the door because she's convinced. She's got her shoes in

1:05:31.840 --> 1:05:33.880
<v Speaker 1>her hand, and she's got the other three Grammys, and

1:05:34.680 --> 1:05:36.640
<v Speaker 1>this is as good as life is ever going to get.

1:05:36.720 --> 1:05:39.720
<v Speaker 1>And then she wins the other one. She's on the

1:05:39.800 --> 1:05:43.040
<v Speaker 1>front page or at least on the entertainment section in

1:05:43.160 --> 1:05:47.600
<v Speaker 1>every newspaper in America, holding four Grammys. She was the

1:05:47.640 --> 1:05:50.720
<v Speaker 1>star of the Grammys. Now all those end caps that

1:05:50.760 --> 1:05:55.160
<v Speaker 1>have been sitting there for two weeks, we're out selling Madonna. Okay.

1:05:55.360 --> 1:05:57.200
<v Speaker 1>We sold two and a half million records in the

1:05:57.240 --> 1:06:05.880
<v Speaker 1>next five weeks. Getting the product in the stores that

1:06:05.960 --> 1:06:09.000
<v Speaker 1>was also probably a problem. Well, there were there were

1:06:09.040 --> 1:06:12.200
<v Speaker 1>lots of times where the shipments were behind the orders.

1:06:12.600 --> 1:06:17.320
<v Speaker 1>But give Capital credit, they hustled their ass off. They

1:06:18.520 --> 1:06:20.680
<v Speaker 1>but you keep in mind, for the marketing program that

1:06:20.720 --> 1:06:23.640
<v Speaker 1>we had set up for the nominations, we had stocked

1:06:23.640 --> 1:06:27.360
<v Speaker 1>those stores, so we had about a two week delay,

1:06:27.520 --> 1:06:30.000
<v Speaker 1>so they had about five six days to keep the

1:06:30.040 --> 1:06:35.640
<v Speaker 1>place stocked. But we were fucking kicking s anyway, Okay,

1:06:35.920 --> 1:06:40.400
<v Speaker 1>at what point does Danny then jump to Atlantic Records. Well,

1:06:40.400 --> 1:06:42.720
<v Speaker 1>we're down the line some you know. You know, Dan

1:06:42.800 --> 1:06:44.920
<v Speaker 1>and I were together for eleven or twelve years. We

1:06:44.960 --> 1:06:47.120
<v Speaker 1>had John Silver come into the company, We got the

1:06:47.160 --> 1:06:50.080
<v Speaker 1>Beastie Boys, and we had Nirvana, and we had all

1:06:50.120 --> 1:06:53.640
<v Speaker 1>of this great stuff. We had clients that were and

1:06:53.960 --> 1:06:56.120
<v Speaker 1>who were you in charge over? How did it work there?

1:06:56.160 --> 1:06:59.120
<v Speaker 1>When I was in charge of John and John was

1:06:59.160 --> 1:07:01.400
<v Speaker 1>in charge of the day Today on the Beastie Boys

1:07:01.520 --> 1:07:03.880
<v Speaker 1>and and Nirvana. But you know when they went to

1:07:03.920 --> 1:07:05.960
<v Speaker 1>South America and they went to Europe, I went along,

1:07:06.360 --> 1:07:11.120
<v Speaker 1>you know, so you were there when Nirvana blew up? Yeah?

1:07:11.240 --> 1:07:13.520
<v Speaker 1>What was that? Like? That was the most fun I've

1:07:13.520 --> 1:07:15.680
<v Speaker 1>ever had in the music business. First of all, I

1:07:15.760 --> 1:07:18.880
<v Speaker 1>loved them. I thought this was the most exciting band

1:07:18.960 --> 1:07:23.240
<v Speaker 1>I had ever seen. I mean every time he performed.

1:07:23.520 --> 1:07:26.160
<v Speaker 1>So here's how here's how it happened. Before the record

1:07:26.200 --> 1:07:30.240
<v Speaker 1>came out, Sonic Youth took them on tour for like,

1:07:30.280 --> 1:07:33.120
<v Speaker 1>I don't know, fifty or a hundred shows, and they

1:07:33.200 --> 1:07:36.200
<v Speaker 1>fucking kicked Ask the first record they made on sub Pop,

1:07:36.680 --> 1:07:40.560
<v Speaker 1>this bleach really sucked. Okay did they make that record?

1:07:40.560 --> 1:07:42.920
<v Speaker 1>When they made that record, were you managing them already? No? No,

1:07:43.000 --> 1:07:45.080
<v Speaker 1>I didn't think so. But um, what was the bass

1:07:45.080 --> 1:07:50.880
<v Speaker 1>player current, Chris nova Stella? No, no, no. In Sonic Youth, Um,

1:07:50.920 --> 1:07:55.680
<v Speaker 1>Mary took Keim Gordon and here the tall guy. Yeah,

1:07:55.880 --> 1:07:58.080
<v Speaker 1>like I said, this is this is why I'm never

1:07:58.120 --> 1:08:02.560
<v Speaker 1>going to get this on paper anyway. He said, this

1:08:02.600 --> 1:08:05.720
<v Speaker 1>is going to be the next big thing. And he

1:08:05.800 --> 1:08:08.040
<v Speaker 1>was right. He was right about Dinosaur Jr. He was

1:08:08.160 --> 1:08:11.040
<v Speaker 1>right about the Breeders. He was he was kind of

1:08:11.080 --> 1:08:13.080
<v Speaker 1>our in house and our guys. Okay, so did you

1:08:13.120 --> 1:08:16.760
<v Speaker 1>have Dinosaur Jr. And the Breeders too? Okay, so as

1:08:16.800 --> 1:08:21.120
<v Speaker 1>well as like four or five other kind of punky bands. Okay.

1:08:21.320 --> 1:08:26.320
<v Speaker 1>And then Nirvana just blows up literally overnight. No, it was,

1:08:26.680 --> 1:08:29.080
<v Speaker 1>you know, everyone's an overnight sensation. It just takes a

1:08:29.080 --> 1:08:32.000
<v Speaker 1>couple of years. They opened for Sonic Youth for a

1:08:32.120 --> 1:08:37.120
<v Speaker 1>year before they made never Mind. Okay, then they made

1:08:37.160 --> 1:08:42.439
<v Speaker 1>never Mind, and we're working, you know, the precursor to that.

1:08:42.680 --> 1:08:46.000
<v Speaker 1>And this is John Silver's moment of fucking clarity. The

1:08:46.040 --> 1:08:48.879
<v Speaker 1>record comes out and he gets all the independent stores

1:08:49.200 --> 1:08:53.080
<v Speaker 1>in America to only sell Nirvana record one night, like

1:08:53.160 --> 1:08:56.200
<v Speaker 1>Saturday night, put out speakers, you know, all the mom

1:08:56.200 --> 1:08:58.320
<v Speaker 1>and pop stores and at that time they were five

1:08:58.360 --> 1:09:02.960
<v Speaker 1>thousands of okay, y, and we sell I don't know,

1:09:03.080 --> 1:09:05.800
<v Speaker 1>a hundred thousand records in like the weekend that the

1:09:05.880 --> 1:09:09.400
<v Speaker 1>record comes out Monday morning, then the number one selling

1:09:09.400 --> 1:09:12.719
<v Speaker 1>record in America and radio has never heard the record.

1:09:13.960 --> 1:09:18.599
<v Speaker 1>This was John Silver's moment of genius. Okay, but every

1:09:18.680 --> 1:09:21.559
<v Speaker 1>kid in America had become aware of them because they

1:09:21.560 --> 1:09:24.000
<v Speaker 1>were out on tour with Sonic Youth and they were

1:09:24.080 --> 1:09:28.120
<v Speaker 1>like this underground conversation that was going on. So there

1:09:28.160 --> 1:09:31.600
<v Speaker 1>was an anticipation for this record and then it delivered,

1:09:32.360 --> 1:09:36.080
<v Speaker 1>you know. Okay, So now now radio is catching up.

1:09:36.720 --> 1:09:38.800
<v Speaker 1>So I would I would be on the phone kind

1:09:38.800 --> 1:09:42.240
<v Speaker 1>of working my my promotion people and everything. And there

1:09:42.240 --> 1:09:44.840
<v Speaker 1>were radio stations that say, why am I playing this record?

1:09:44.840 --> 1:09:46.719
<v Speaker 1>And I would say, well, check the sales in your city.

1:09:46.720 --> 1:09:49.360
<v Speaker 1>It's the number one selling record and use in your city,

1:09:49.960 --> 1:09:52.519
<v Speaker 1>maybe you should consider it. And then they would listen

1:09:52.560 --> 1:09:55.120
<v Speaker 1>to teen Spirit and say, I can't play this fucking record.

1:09:55.360 --> 1:09:58.519
<v Speaker 1>I said, if you don't, everyone else will. And you

1:09:58.520 --> 1:10:02.280
<v Speaker 1>you know. So with in three weeks, the record blew

1:10:02.360 --> 1:10:05.040
<v Speaker 1>up so big the record company could not keep up.

1:10:05.680 --> 1:10:07.960
<v Speaker 1>They sold out every copy. There was a two to

1:10:08.120 --> 1:10:11.040
<v Speaker 1>three week delay on this record, and instead of crushing

1:10:11.040 --> 1:10:15.240
<v Speaker 1>the record, it created a demand for the record that

1:10:15.280 --> 1:10:20.040
<v Speaker 1>I've never seen. Okay. Also, the video had a big,

1:10:20.080 --> 1:10:23.960
<v Speaker 1>guess part in that success. But the video came like

1:10:24.040 --> 1:10:26.280
<v Speaker 1>when we went to radio. You got to remember that

1:10:26.439 --> 1:10:31.879
<v Speaker 1>success actually already happened. The the the beat between the success,

1:10:32.240 --> 1:10:36.920
<v Speaker 1>the Monday morning sales numbers from John's Midnight Madness Scheme

1:10:38.120 --> 1:10:41.479
<v Speaker 1>already hit the marketplace. The kids knew it was a hit.

1:10:42.360 --> 1:10:44.880
<v Speaker 1>Radio was just catching up, and then the video came

1:10:45.439 --> 1:10:51.200
<v Speaker 1>and that's when things went okay. And then Danny decides

1:10:51.280 --> 1:10:56.080
<v Speaker 1>to leave what kind of emotional spaces I leave you in? Well,

1:10:56.640 --> 1:11:00.720
<v Speaker 1>you know, you interviewed, you interviewed Danny. Danny didn't know

1:11:00.800 --> 1:11:04.000
<v Speaker 1>I existed, or apparently in his book or in anything,

1:11:04.439 --> 1:11:08.679
<v Speaker 1>there's a there's this space between him and reality. And

1:11:08.720 --> 1:11:10.479
<v Speaker 1>I guess the only way I'm ever going to get

1:11:10.520 --> 1:11:13.000
<v Speaker 1>the credit in that situation I deserve is to write

1:11:13.000 --> 1:11:18.759
<v Speaker 1>my book and leave his name out, which maybe I will. Okay, Um,

1:11:18.800 --> 1:11:22.000
<v Speaker 1>it's called Gold Mountain at this point, right, tell us

1:11:22.080 --> 1:11:24.680
<v Speaker 1>how that name comes together. He had a company in

1:11:24.800 --> 1:11:30.559
<v Speaker 1>New York, um called Gold Something, you know. And I

1:11:30.560 --> 1:11:33.200
<v Speaker 1>didn't give a shot at okay, you know, And and

1:11:33.439 --> 1:11:36.519
<v Speaker 1>I lived on Lookout Mountain, so it's close enough for me,

1:11:37.320 --> 1:11:39.840
<v Speaker 1>you know. Anyway, So you know, there was a moment

1:11:39.880 --> 1:11:41.799
<v Speaker 1>in time where we ended up with thirty or forty

1:11:41.800 --> 1:11:44.960
<v Speaker 1>clients and we were doing amazing, And there was a

1:11:45.080 --> 1:11:49.400
<v Speaker 1>moment where we had three top five albums. We had

1:11:49.760 --> 1:11:55.800
<v Speaker 1>Bonnie rate a lot of miles with that blue Velbot velvet. Yeah,

1:11:56.000 --> 1:11:59.360
<v Speaker 1>she was a piece of work anyway, Um and I

1:11:59.400 --> 1:12:03.320
<v Speaker 1>forgot the one might have been Vanovana was like number

1:12:03.320 --> 1:12:05.880
<v Speaker 1>four or five. Bonnie was like number two and a

1:12:05.920 --> 1:12:08.880
<v Speaker 1>lot of minds. Actually, just to stop on Bonnie. I

1:12:08.960 --> 1:12:11.160
<v Speaker 1>prefer the album after that as good as Nick and

1:12:11.200 --> 1:12:15.320
<v Speaker 1>time as luck of the drawing better better, because what

1:12:15.439 --> 1:12:19.720
<v Speaker 1>happened is she and Don kind of connected in a

1:12:19.920 --> 1:12:23.080
<v Speaker 1>very amazing creative way. Don was one of the best

1:12:23.080 --> 1:12:28.120
<v Speaker 1>producers money can buy, just great. Most producers would argue

1:12:28.120 --> 1:12:31.000
<v Speaker 1>with the client or say it has to be this way,

1:12:32.640 --> 1:12:35.840
<v Speaker 1>and Bonnie was very for both and very energetic and

1:12:36.120 --> 1:12:40.879
<v Speaker 1>you know, a strong woman and he would say something softly,

1:12:41.760 --> 1:12:46.000
<v Speaker 1>so she had to be quiet to hear. And that's

1:12:46.200 --> 1:12:50.320
<v Speaker 1>how it all worked. And okay, so how does Danny leave? Well,

1:12:50.360 --> 1:12:53.240
<v Speaker 1>I think, um, uh, you know, Danny was always a

1:12:53.240 --> 1:12:56.720
<v Speaker 1>record company guy, and he had a h He was

1:12:56.960 --> 1:12:59.760
<v Speaker 1>a press agent to me for LEDs up Planets at

1:12:59.800 --> 1:13:04.400
<v Speaker 1>a White Swan Swans and then um and I think

1:13:04.400 --> 1:13:07.160
<v Speaker 1>he worked at Atlantic for a period of time. Or

1:13:07.840 --> 1:13:12.080
<v Speaker 1>Um was the guy who ended up running everything. Doug Barris,

1:13:12.240 --> 1:13:17.000
<v Speaker 1>Doug Marris. Okay, So Doug saw him as great potential.

1:13:17.439 --> 1:13:19.840
<v Speaker 1>So Doug offered him a job at Atlantic Records, which

1:13:19.840 --> 1:13:22.320
<v Speaker 1>he took with the understanding that at some point he

1:13:22.360 --> 1:13:26.680
<v Speaker 1>would become head of Atlantic. But then the job at

1:13:26.720 --> 1:13:30.000
<v Speaker 1>Warner Brothers opened up and he went over to Warner

1:13:30.000 --> 1:13:32.439
<v Speaker 1>Brothers to run Warner Brothers. Well forgetting Danny, because we

1:13:32.479 --> 1:13:35.960
<v Speaker 1>know Danny's story. When he walks to Atlantic, he's a

1:13:36.600 --> 1:13:39.920
<v Speaker 1>out on the management thing, and he sells his share

1:13:40.360 --> 1:13:44.400
<v Speaker 1>to Michael Cole. Okay, So now I'm okay, wait, wait,

1:13:44.400 --> 1:13:47.519
<v Speaker 1>just to be clear, since we're going this deep, how

1:13:47.560 --> 1:13:53.439
<v Speaker 1>who has how much? Why does he sell his fifty

1:13:53.479 --> 1:13:55.640
<v Speaker 1>to Michael Cole? Because Michael Cole was going to give it,

1:13:55.720 --> 1:13:58.000
<v Speaker 1>gave him a lot of money, I would assume. Yes,

1:13:58.439 --> 1:14:00.400
<v Speaker 1>So now in partners with Michael Cole, which is not

1:14:00.439 --> 1:14:04.200
<v Speaker 1>a tragedy because, to be honest, you know, as much

1:14:04.200 --> 1:14:07.000
<v Speaker 1>as I love Dandy, not the greatest manager in the world,

1:14:07.360 --> 1:14:10.640
<v Speaker 1>a great pr person and also kind of a visionary.

1:14:10.720 --> 1:14:15.240
<v Speaker 1>He could see further ahead on what's going on than

1:14:15.320 --> 1:14:18.120
<v Speaker 1>I could because I was my head was down, you

1:14:18.160 --> 1:14:20.559
<v Speaker 1>know what I mean. Let me ask you if Cole

1:14:20.680 --> 1:14:23.240
<v Speaker 1>paid that much for fifty Did you think of selling

1:14:23.240 --> 1:14:25.800
<v Speaker 1>they're fifty to now? It never occurred to me, and

1:14:25.840 --> 1:14:29.080
<v Speaker 1>I wouldn't have done it anyway. What would I do right, Okay,

1:14:29.160 --> 1:14:31.599
<v Speaker 1>just to get one paiday, continue to do the job, okay,

1:14:31.600 --> 1:14:34.640
<v Speaker 1>but as coal and an active partner. No, that's what

1:14:34.800 --> 1:14:39.360
<v Speaker 1>was appealing. You know. He had Molson beer money, and

1:14:39.600 --> 1:14:42.959
<v Speaker 1>he had a merchandising company, and we signed this contract

1:14:43.000 --> 1:14:47.680
<v Speaker 1>and basically this, you know, I would have to go

1:14:47.720 --> 1:14:50.960
<v Speaker 1>to Toronto and project what we were going to earn

1:14:51.000 --> 1:14:53.280
<v Speaker 1>over the next six months. And I would go there

1:14:53.280 --> 1:14:55.320
<v Speaker 1>and say, I don't know what the funk we're going

1:14:55.360 --> 1:14:57.120
<v Speaker 1>to do in the next six months. Maybe we could

1:14:57.160 --> 1:15:00.439
<v Speaker 1>do this, maybe we could do that, Maybe you know,

1:15:00.520 --> 1:15:03.240
<v Speaker 1>make this much, or maybe we won't make anything. It's

1:15:03.280 --> 1:15:06.160
<v Speaker 1>the fucking management business. The client says, I don't feel

1:15:06.160 --> 1:15:08.320
<v Speaker 1>like going on on tour. You know, what are you

1:15:08.360 --> 1:15:11.240
<v Speaker 1>gonna do? Right? It's not the fucking beer business, you know.

1:15:12.000 --> 1:15:15.160
<v Speaker 1>So there was some conflict there. So and and also

1:15:15.240 --> 1:15:17.840
<v Speaker 1>the truxt of it was I think Michael made the

1:15:17.840 --> 1:15:22.320
<v Speaker 1>investment in the management business to to enhance the merchandising business.

1:15:23.040 --> 1:15:26.320
<v Speaker 1>But part of my deal with him was that if

1:15:26.360 --> 1:15:28.920
<v Speaker 1>we were going to use. I forgot the name of

1:15:29.000 --> 1:15:34.120
<v Speaker 1>that company that he had, the merchantman with Norman. Yeah, anyway, anyway,

1:15:34.280 --> 1:15:38.559
<v Speaker 1>whatever the name it, the merchant you see what's brain damage?

1:15:38.880 --> 1:15:41.360
<v Speaker 1>And we got the story. Okay. So so there was

1:15:41.400 --> 1:15:44.040
<v Speaker 1>a clause in the contract that said that if we

1:15:44.160 --> 1:15:48.479
<v Speaker 1>signed any of our clients to the Norman Perry's company.

1:15:49.040 --> 1:15:52.719
<v Speaker 1>No something like that, I know. But anyway, so if

1:15:52.960 --> 1:15:56.559
<v Speaker 1>if we signed the client to the merch company, they

1:15:56.560 --> 1:15:59.639
<v Speaker 1>would have to give us a blow market deal because

1:15:59.640 --> 1:16:03.200
<v Speaker 1>we can't a double dip. Okay. So within six months

1:16:03.560 --> 1:16:06.080
<v Speaker 1>they're putting pressure on us to sign the accent at

1:16:06.080 --> 1:16:09.680
<v Speaker 1>a full rate today. And I said, well, you've got

1:16:09.680 --> 1:16:12.040
<v Speaker 1>a choice. You could either take the commission or you

1:16:12.040 --> 1:16:13.960
<v Speaker 1>could make the money on the merge. But you can't

1:16:13.960 --> 1:16:17.000
<v Speaker 1>do both. And that was the kiss of death for them,

1:16:17.040 --> 1:16:20.080
<v Speaker 1>because he had to answer to this board of directors

1:16:20.160 --> 1:16:23.400
<v Speaker 1>with guys with suits and ties. I had never experienced

1:16:23.400 --> 1:16:28.519
<v Speaker 1>this in my life. Goodbye, Oh. Irving brought his half.

1:16:28.960 --> 1:16:32.200
<v Speaker 1>So I was partners with Irving for a blink. Irving,

1:16:32.760 --> 1:16:35.759
<v Speaker 1>John silv and I the best name for any management

1:16:35.800 --> 1:16:41.479
<v Speaker 1>company ever, A's off Stone and silver right. I got that,

1:16:41.880 --> 1:16:46.439
<v Speaker 1>asked partners. How long did that last? Six months? Okay?

1:16:46.439 --> 1:16:49.040
<v Speaker 1>But if Irving paid for it, and he was and

1:16:49.080 --> 1:16:50.920
<v Speaker 1>he was a passive partner, what did he end up

1:16:50.960 --> 1:16:54.040
<v Speaker 1>with when it blew up? He's probably still mad at

1:16:54.080 --> 1:16:59.360
<v Speaker 1>me for this. We bought him out and it had

1:16:59.400 --> 1:17:02.040
<v Speaker 1>to do with the axes before taxes dollars or after

1:17:02.120 --> 1:17:05.160
<v Speaker 1>taxes dollars. And he thought I screwed him. I said,

1:17:05.200 --> 1:17:07.280
<v Speaker 1>you know, you're you're supposed to be a big macha.

1:17:07.760 --> 1:17:11.519
<v Speaker 1>You're supposed to have accountants and lawyers. Didn't they take

1:17:11.560 --> 1:17:13.800
<v Speaker 1>care of you? This is not my fault, you know.

1:17:14.560 --> 1:17:16.360
<v Speaker 1>So did he end up losing money or just not?

1:17:16.720 --> 1:17:19.400
<v Speaker 1>He just didn't didn't make the thought he was gonna make. Okay,

1:17:19.400 --> 1:17:22.559
<v Speaker 1>So it breaks up and goes three ways, right, So

1:17:22.800 --> 1:17:25.040
<v Speaker 1>and and John took the occasion to go off on

1:17:25.080 --> 1:17:28.080
<v Speaker 1>his own. And I had Bonnie Rate and Tracy Chapman

1:17:28.120 --> 1:17:32.160
<v Speaker 1>and the kind of the older, more established artists. Tom

1:17:32.200 --> 1:17:34.960
<v Speaker 1>Cochrane from Canada was huge success. I had a bunch

1:17:35.000 --> 1:17:38.639
<v Speaker 1>of artists, but they were my generation, or at least

1:17:38.960 --> 1:17:44.000
<v Speaker 1>within shouting distance of my generation. And John took Nirvana

1:17:44.080 --> 1:17:47.120
<v Speaker 1>was gone at that point, and we had no idea

1:17:47.240 --> 1:17:51.599
<v Speaker 1>that that um food fighters would end up being Dave

1:17:51.640 --> 1:17:54.120
<v Speaker 1>Grohl would be such a big We knew Dave Grohl

1:17:54.160 --> 1:17:57.520
<v Speaker 1>could sing. We had no idea he had that star quality,

1:17:58.000 --> 1:18:00.920
<v Speaker 1>and he does, by the way, right. Also one of

1:18:00.920 --> 1:18:03.960
<v Speaker 1>the nicest people in the business. Just a doll. Okay,

1:18:04.000 --> 1:18:06.160
<v Speaker 1>I'll tell you. I'll tell you. The first thing he

1:18:06.240 --> 1:18:09.960
<v Speaker 1>did with the big, first, big Nirvana check. Everybody else

1:18:10.040 --> 1:18:12.240
<v Speaker 1>was buying houses and cars and doing all this things.

1:18:12.240 --> 1:18:17.960
<v Speaker 1>He bought his mom the house Hamish a kid. Well,

1:18:18.000 --> 1:18:19.559
<v Speaker 1>I don't have anything to say. I've seen him in

1:18:19.640 --> 1:18:21.920
<v Speaker 1>Canada with his mother's mother wrote a book about the

1:18:21.960 --> 1:18:27.280
<v Speaker 1>mothers of rockers. Okay, so you have your acts. At

1:18:27.320 --> 1:18:30.679
<v Speaker 1>what point do you have an operation in Nashville? Well,

1:18:30.840 --> 1:18:34.759
<v Speaker 1>Bert Stein was Bert Stein who runs the Nashville office.

1:18:35.360 --> 1:18:39.160
<v Speaker 1>Danny Burton and I started the company early on. Bert

1:18:39.200 --> 1:18:44.160
<v Speaker 1>went to Nashville. I don't know why. And he has

1:18:44.160 --> 1:18:47.360
<v Speaker 1>a whole cadre of clients and we're still kind of

1:18:47.360 --> 1:18:52.880
<v Speaker 1>in business in a quasi partnership. Okay. So ultimately Oaks

1:18:52.920 --> 1:18:55.519
<v Speaker 1>Silva goes his own way. You're left with these acts.

1:18:55.560 --> 1:18:57.680
<v Speaker 1>So then what happens for you? I worked my a

1:18:57.920 --> 1:19:01.439
<v Speaker 1>off for the next ten twenty years you know, and

1:19:01.439 --> 1:19:04.559
<v Speaker 1>then how does it end with these acts? Some of them? Well,

1:19:04.600 --> 1:19:08.160
<v Speaker 1>I mean I managed Bonnie Rate for seventeen years. Okay,

1:19:08.520 --> 1:19:10.880
<v Speaker 1>there was a moment in time when she understood she

1:19:10.960 --> 1:19:12.800
<v Speaker 1>was never going to make any more money per night

1:19:13.000 --> 1:19:17.760
<v Speaker 1>or per year above what she was making. So if

1:19:17.800 --> 1:19:21.639
<v Speaker 1>she wanted to make her net money, then everybody had

1:19:21.680 --> 1:19:24.680
<v Speaker 1>to get less. So she gave me a list, and

1:19:24.720 --> 1:19:27.520
<v Speaker 1>I went to the accountant, to the agency, to everybody.

1:19:28.040 --> 1:19:31.880
<v Speaker 1>I didn't realize I was on that list. And at

1:19:31.880 --> 1:19:35.559
<v Speaker 1>the end of that I said, no, I couldn't. I couldn't. Well,

1:19:35.600 --> 1:19:38.160
<v Speaker 1>we'll work for reduced rate. Well, I wouldn't because I

1:19:38.200 --> 1:19:40.040
<v Speaker 1>have all these other clients and if I do it

1:19:40.120 --> 1:19:43.040
<v Speaker 1>for you, then my business is fucked. But she was

1:19:43.200 --> 1:19:47.120
<v Speaker 1>such a We had a sunset arrangement, so she paid me,

1:19:47.840 --> 1:19:50.400
<v Speaker 1>you know, reduced right over a period of time, which

1:19:50.479 --> 1:19:53.479
<v Speaker 1>was the best three years of my relationship with her,

1:19:53.520 --> 1:19:55.760
<v Speaker 1>because I started to love her because I would get

1:19:55.800 --> 1:19:58.240
<v Speaker 1>checks and never have to work. And who else were

1:19:58.240 --> 1:20:01.800
<v Speaker 1>you working with at that point, Tracy Chapman, I mean,

1:20:01.840 --> 1:20:04.240
<v Speaker 1>I don't know did you? Were you? When Chapman had

1:20:04.240 --> 1:20:07.519
<v Speaker 1>her comeback hit? That was me? That's I'm the comeback,

1:20:07.600 --> 1:20:10.200
<v Speaker 1>kid man. You know she had the first hit, Fast Card.

1:20:10.280 --> 1:20:12.040
<v Speaker 1>She did out a hit for a long time, wait

1:20:12.240 --> 1:20:16.400
<v Speaker 1>fast Car. Elliott was her manager, okay, and we were

1:20:16.439 --> 1:20:19.880
<v Speaker 1>not together. She sold five million copies, then the second

1:20:19.880 --> 1:20:22.280
<v Speaker 1>record did about half that, and then I think there

1:20:22.320 --> 1:20:24.599
<v Speaker 1>was a third record, I believe so, which sold less

1:20:24.600 --> 1:20:28.479
<v Speaker 1>than five and my I wooed her for a very

1:20:28.520 --> 1:20:31.640
<v Speaker 1>long period of time because I had to overcome the

1:20:31.680 --> 1:20:34.600
<v Speaker 1>fact that Elliott was my best friend and she was

1:20:34.680 --> 1:20:38.080
<v Speaker 1>angry at him. But within a year I kind of

1:20:38.240 --> 1:20:40.960
<v Speaker 1>got her around, and the first record we put out

1:20:41.160 --> 1:20:45.480
<v Speaker 1>was a New Beginning, which did actually better than Fast Car.

1:20:45.400 --> 1:20:48.240
<v Speaker 1>Right that that song was other than she didn't write it,

1:20:48.240 --> 1:20:50.760
<v Speaker 1>but it was she did. She did, Yes, she did.

1:20:51.880 --> 1:20:57.000
<v Speaker 1>So it was an old blues shuffle exactly, um um um.

1:20:57.040 --> 1:20:59.280
<v Speaker 1>I forgot the name of the song, okay, okay. So

1:20:59.280 --> 1:21:02.599
<v Speaker 1>so she had done that song when she was a

1:21:02.640 --> 1:21:06.680
<v Speaker 1>busker in Harvard Square and she would do it in

1:21:06.720 --> 1:21:09.880
<v Speaker 1>her show every night. It was just just throwaway, little

1:21:09.880 --> 1:21:15.960
<v Speaker 1>blue shuffle, give me one reason, okay. And David Kirshenbaum

1:21:16.080 --> 1:21:18.240
<v Speaker 1>was the producer, of course, and I convinced the two

1:21:18.280 --> 1:21:22.120
<v Speaker 1>of them that they had to record that song okay,

1:21:22.400 --> 1:21:26.400
<v Speaker 1>because in her show it was a show stealer, because

1:21:26.960 --> 1:21:30.080
<v Speaker 1>because it was different than all the other songs, it

1:21:30.160 --> 1:21:33.720
<v Speaker 1>was a little blue shuffle. Everyone assumed I forgot the

1:21:33.720 --> 1:21:38.240
<v Speaker 1>blues guy who recorded the song after her. Everybody like,

1:21:38.360 --> 1:21:42.960
<v Speaker 1>within two years, I forgot his Chicago blues guy, old

1:21:43.000 --> 1:21:47.559
<v Speaker 1>buddy guy he recorded the song. Everybody assumed he wrote

1:21:47.600 --> 1:21:54.160
<v Speaker 1>the song. But she wrote the song and he covered it. Okay, Uh,

1:21:54.520 --> 1:21:57.280
<v Speaker 1>did you did you go on Wikipedia? Because if you,

1:21:57.640 --> 1:21:59.360
<v Speaker 1>if you went through the list of all the clients,

1:21:59.360 --> 1:22:01.280
<v Speaker 1>I could actually remember who I meant it. No, No,

1:22:01.360 --> 1:22:04.839
<v Speaker 1>I didn't go through because I know you, uh whatever.

1:22:05.000 --> 1:22:09.360
<v Speaker 1>So then you know, one would from the outside would

1:22:09.400 --> 1:22:12.200
<v Speaker 1>think that you made a lot of money in that era.

1:22:13.240 --> 1:22:16.799
<v Speaker 1>I may have. Do you still have that money? No,

1:22:16.840 --> 1:22:20.120
<v Speaker 1>that's not a chance. Where did that money go? You know?

1:22:20.320 --> 1:22:22.400
<v Speaker 1>I there was a time where I had I was

1:22:22.400 --> 1:22:26.320
<v Speaker 1>supporting five households. I had my wife's mother who was

1:22:26.360 --> 1:22:28.400
<v Speaker 1>in her eighties and nineties, and I had my mother

1:22:28.439 --> 1:22:30.559
<v Speaker 1>who's in the eighties and nineties, and I had my

1:22:30.600 --> 1:22:34.639
<v Speaker 1>two sons and me. And it doesn't last as long.

1:22:35.120 --> 1:22:46.559
<v Speaker 1>And also somewhere when when when um the the napster

1:22:46.800 --> 1:22:50.479
<v Speaker 1>rat Napster. So let I tell you a great Napster story.

1:22:50.479 --> 1:22:52.080
<v Speaker 1>If you want to hear it, well, finish your thought

1:22:52.120 --> 1:22:56.320
<v Speaker 1>then we'll get to the great Okay. So, you know, slowly,

1:22:56.400 --> 1:23:03.000
<v Speaker 1>over a twenty twenty year period, the income from record

1:23:03.080 --> 1:23:07.679
<v Speaker 1>royalties and publishing is steadily going down, and the touring business,

1:23:07.760 --> 1:23:10.599
<v Speaker 1>because my clients are a little bit older, is not

1:23:10.920 --> 1:23:13.360
<v Speaker 1>going up. It's if I'm doing a good job. I'm

1:23:13.400 --> 1:23:17.240
<v Speaker 1>maintaining you know so, and and you know and I

1:23:17.280 --> 1:23:22.639
<v Speaker 1>had Also I went from Bonnie to Tracy to Ricky

1:23:22.720 --> 1:23:30.240
<v Speaker 1>Lee Jones and I The interesting thing is Bonnie Joni Mitchell,

1:23:30.600 --> 1:23:33.719
<v Speaker 1>Ricky Lee Jones, and my mom we're all born November

1:23:33.760 --> 1:23:37.880
<v Speaker 1>eight or nine. That's pretty amazing. But tell your Napster story. Okay.

1:23:37.920 --> 1:23:42.000
<v Speaker 1>So I'm the keynote speaker at Music BIG's two thousand

1:23:42.000 --> 1:23:45.360
<v Speaker 1>in Berkeley, California. Because I'm I'm kicking ass, you know.

1:23:46.120 --> 1:23:49.559
<v Speaker 1>So I'm the keynote speaker. I do my whole spiel.

1:23:49.640 --> 1:23:55.920
<v Speaker 1>And this attorney, um god, he was killed driving his

1:23:56.360 --> 1:24:02.880
<v Speaker 1>riding his bicycle on Milton Owen milt Owen O l

1:24:03.040 --> 1:24:07.080
<v Speaker 1>I n um he was. He was the attorney for

1:24:07.280 --> 1:24:11.559
<v Speaker 1>the kid that started napstin Okay. See takes me and

1:24:11.600 --> 1:24:13.280
<v Speaker 1>sits me down in front of the computer and he

1:24:13.320 --> 1:24:16.320
<v Speaker 1>shows me this. He said, this is gonna fucking just

1:24:16.400 --> 1:24:18.920
<v Speaker 1>be the greatest thing that ever happened. And I got

1:24:19.000 --> 1:24:22.800
<v Speaker 1>up from that seat thinking, we are so fucked. We

1:24:22.880 --> 1:24:28.360
<v Speaker 1>are just fucked if this happens. So, Um, Hillary Rosen

1:24:28.760 --> 1:24:31.400
<v Speaker 1>is head of the r I A A. So I

1:24:31.439 --> 1:24:35.000
<v Speaker 1>call her up and I say, listen, I gotta explain

1:24:35.040 --> 1:24:37.880
<v Speaker 1>what's about to happen to everyone here. At that time

1:24:37.880 --> 1:24:43.120
<v Speaker 1>there were twelve record companies, and you know I either

1:24:43.200 --> 1:24:47.679
<v Speaker 1>met with all of them individually or in some cases

1:24:47.720 --> 1:24:50.559
<v Speaker 1>three or four at a time. Um, what's his name

1:24:50.600 --> 1:24:53.880
<v Speaker 1>from Elektra was now No, no, no, no, the guy

1:24:53.920 --> 1:24:59.320
<v Speaker 1>who originated the Elector come back to me exactly, and

1:24:59.360 --> 1:25:02.599
<v Speaker 1>he became the technical advisor for the Warner Brothers groups,

1:25:02.680 --> 1:25:06.600
<v Speaker 1>much at that point was one of the three biggest. Anyway,

1:25:06.640 --> 1:25:11.519
<v Speaker 1>he got it and no one else got it. And

1:25:12.080 --> 1:25:16.840
<v Speaker 1>Milt was prepared to sell the format and the thing

1:25:16.960 --> 1:25:22.120
<v Speaker 1>for five million dollars. And I said this twelve record companies,

1:25:22.160 --> 1:25:24.920
<v Speaker 1>I said, you know, we're talking four thousand dollars apiece.

1:25:25.520 --> 1:25:29.559
<v Speaker 1>We should buy this because it is in fact gonna

1:25:29.760 --> 1:25:32.680
<v Speaker 1>funk your business in a way that you have no

1:25:32.760 --> 1:25:37.160
<v Speaker 1>idea what's coming. Okay. So they had all these excuses.

1:25:37.160 --> 1:25:39.240
<v Speaker 1>First of all, they didn't believe me. Second of all,

1:25:39.320 --> 1:25:41.400
<v Speaker 1>no matter how much I showed them what this was

1:25:41.800 --> 1:25:44.840
<v Speaker 1>and what the future looked like, like, I said, what

1:25:44.840 --> 1:25:48.160
<v Speaker 1>what was his name? Anyway? He used to have a

1:25:48.200 --> 1:25:51.320
<v Speaker 1>private airline thing in Hawaii. When he retired, he had

1:25:51.360 --> 1:25:55.840
<v Speaker 1>a um fuck and his brother and his brother ran

1:25:55.960 --> 1:26:01.559
<v Speaker 1>Jackals Jackals who was technologically the exactly the only one

1:26:01.600 --> 1:26:04.960
<v Speaker 1>who understood what was coming, okay, And they didn't listen

1:26:04.960 --> 1:26:07.960
<v Speaker 1>to him either. There were all these reasons that they

1:26:07.960 --> 1:26:12.360
<v Speaker 1>couldn't buy it, collectively, anti trust whatever I said, So, okay,

1:26:12.360 --> 1:26:14.960
<v Speaker 1>one of you buy it. You know, we're talking five

1:26:15.000 --> 1:26:17.840
<v Speaker 1>million dollars here. No, it's too much money. This is

1:26:18.040 --> 1:26:20.280
<v Speaker 1>just the waste of sucking money. You know, at that time,

1:26:20.280 --> 1:26:24.160
<v Speaker 1>records were like four or five thousand dollars apiece, and

1:26:24.200 --> 1:26:26.400
<v Speaker 1>you make ten or fifteen or twenty hoping that two

1:26:26.520 --> 1:26:29.000
<v Speaker 1>or three of them would be Okay, I said this,

1:26:29.479 --> 1:26:33.599
<v Speaker 1>if you invest in this format nothing but money. If

1:26:33.600 --> 1:26:35.880
<v Speaker 1>you don't figure out how to monetize it, it will

1:26:36.000 --> 1:26:40.719
<v Speaker 1>bury you. Okay. So I went back to Milton. He said,

1:26:40.840 --> 1:26:44.840
<v Speaker 1>how about three we could have bought it. We could

1:26:44.840 --> 1:26:47.920
<v Speaker 1>have bought Napster for less than three three million. That's

1:26:47.920 --> 1:26:51.679
<v Speaker 1>how much they spent in legal fees to kill it. Yeah,

1:26:51.800 --> 1:26:54.599
<v Speaker 1>and then they hired me as a consultant. And I

1:26:54.640 --> 1:27:02.120
<v Speaker 1>did this whole campaign of about um um um respecting copyrights.

1:27:02.720 --> 1:27:04.920
<v Speaker 1>And it happened at a time where I couldn't hire

1:27:05.479 --> 1:27:08.479
<v Speaker 1>um actors because there was a strike. So I had

1:27:08.479 --> 1:27:12.320
<v Speaker 1>to create this thing that didn't work. No, that's for sure,

1:27:12.560 --> 1:27:14.840
<v Speaker 1>because there was you know, I wanted when it worked

1:27:14.840 --> 1:27:16.599
<v Speaker 1>no matter what. Oh no, it would have worked if

1:27:16.680 --> 1:27:18.880
<v Speaker 1>if I had all the artists that were going to

1:27:18.960 --> 1:27:21.360
<v Speaker 1>be impact. Well that's you know, we can debate past

1:27:21.439 --> 1:27:24.960
<v Speaker 1>history for whatever. So why not you moved to Colorado,

1:27:25.360 --> 1:27:27.599
<v Speaker 1>That's where I see you most nothing, You don't come

1:27:27.640 --> 1:27:30.519
<v Speaker 1>back to l A. Why not call it a day, relax,

1:27:30.720 --> 1:27:33.640
<v Speaker 1>enjoy your aging rand children, because I don't want to

1:27:33.680 --> 1:27:39.040
<v Speaker 1>modify my lifestyle and I would have to if I retired. Okay,

1:27:39.080 --> 1:27:41.800
<v Speaker 1>So what so how much do you travel with the

1:27:41.840 --> 1:27:46.280
<v Speaker 1>acts at this point? Almost never? Okay. I mean I

1:27:46.600 --> 1:27:49.479
<v Speaker 1>came into l A for a meeting with one of

1:27:49.520 --> 1:27:52.519
<v Speaker 1>my clients, but I don't go on the road. Maybe

1:27:52.560 --> 1:27:55.000
<v Speaker 1>I'll show up in London if I have other business,

1:27:55.080 --> 1:27:57.960
<v Speaker 1>other reasons. Okay, So who you know? Is there anybody

1:27:57.960 --> 1:28:01.040
<v Speaker 1>who's actually working for you or you hire to have?

1:28:01.240 --> 1:28:06.000
<v Speaker 1>I have, uh, Peter Wark who's kind of my partner,

1:28:06.400 --> 1:28:08.720
<v Speaker 1>and he works out of Montreal and I work out

1:28:08.720 --> 1:28:11.960
<v Speaker 1>of Vail, and we make believe that he's a New

1:28:12.040 --> 1:28:15.360
<v Speaker 1>York and nom in l A. Now you call my office,

1:28:15.479 --> 1:28:18.040
<v Speaker 1>you call my office number. It's an l A number. Right.

1:28:18.120 --> 1:28:20.320
<v Speaker 1>Did you say you also have an operation in the valley.

1:28:21.840 --> 1:28:25.559
<v Speaker 1>That's yeah, but no one's in there. There's an answering

1:28:25.600 --> 1:28:28.600
<v Speaker 1>machine that forwards the calls. I'm in the I'm in

1:28:28.640 --> 1:28:32.640
<v Speaker 1>the Witness Protective Okay. So it's not a it's not

1:28:32.680 --> 1:28:35.799
<v Speaker 1>an answering machine in the old fashioned sense. I understand.

1:28:35.880 --> 1:28:38.800
<v Speaker 1>It's a service that fowards the So you think you're

1:28:38.800 --> 1:28:41.439
<v Speaker 1>calling an office in Los Angeles and they put you

1:28:41.520 --> 1:28:44.280
<v Speaker 1>through to my office and I'm sitting with my feet

1:28:44.360 --> 1:28:47.240
<v Speaker 1>up and looking out at the mountains in Colorado. Okay,

1:28:47.360 --> 1:28:50.559
<v Speaker 1>So Ricky Lee Jones is taking up a lot of

1:28:50.600 --> 1:28:52.880
<v Speaker 1>your time. What else is your time spent on toime? Well,

1:28:52.920 --> 1:28:56.599
<v Speaker 1>I have disband in Austin called Fastball, who I Love

1:28:57.240 --> 1:29:02.000
<v Speaker 1>had a big hit about twenty years ago. Nineties. Yeah, Um,

1:29:02.200 --> 1:29:06.400
<v Speaker 1>don't ask me. What kind of business can they do today? Well,

1:29:06.439 --> 1:29:09.040
<v Speaker 1>you know they do reasonably good business. The nineties has

1:29:09.320 --> 1:29:12.240
<v Speaker 1>kind of Um. They went out on tour with Ever

1:29:12.320 --> 1:29:15.400
<v Speaker 1>Clear and you know they do package tour. Yeah, they

1:29:15.400 --> 1:29:17.240
<v Speaker 1>do great. And they're just putting out a new record

1:29:17.360 --> 1:29:20.840
<v Speaker 1>right now as we speak. And um, and then you

1:29:20.880 --> 1:29:26.240
<v Speaker 1>know I did. I worked with um with Ray Davies

1:29:26.320 --> 1:29:29.840
<v Speaker 1>for a number of years, but he's kind of kind

1:29:29.880 --> 1:29:34.479
<v Speaker 1>of gotten quiet the past two years. Okay, so is he?

1:29:34.800 --> 1:29:36.920
<v Speaker 1>Is he? Play? Ever gonna be the musical that was

1:29:37.000 --> 1:29:39.799
<v Speaker 1>successful in London? Ever going to open in New York? Well,

1:29:39.840 --> 1:29:43.160
<v Speaker 1>you know they were planning on opening it when Hamilton

1:29:43.400 --> 1:29:46.120
<v Speaker 1>When Hamilton's came out, that sucked all the oxygen out

1:29:46.160 --> 1:29:50.160
<v Speaker 1>of the room. So the answer is, I don't know. Okay,

1:29:50.600 --> 1:29:55.120
<v Speaker 1>Kinks Ever get back together? Got? I been involved with

1:29:55.240 --> 1:29:58.040
<v Speaker 1>Ray for almost eight years hoping this would be the case.

1:29:58.560 --> 1:30:01.200
<v Speaker 1>And I don't think so. And not because Ray wouldn't

1:30:01.200 --> 1:30:04.600
<v Speaker 1>do it, because Dave won't do it. They have any money. No,

1:30:06.560 --> 1:30:09.240
<v Speaker 1>when we ever see would you ever see? Will you

1:30:09.240 --> 1:30:12.960
<v Speaker 1>ever see Ray on stage again. Um, yeah, probably, but

1:30:13.000 --> 1:30:14.559
<v Speaker 1>he doesn't want to get on a plane. He doesn't

1:30:14.560 --> 1:30:17.080
<v Speaker 1>want to go on tour. My only chance for the

1:30:17.160 --> 1:30:19.080
<v Speaker 1>Kings to get back together is if I could have

1:30:19.120 --> 1:30:21.800
<v Speaker 1>a show in London where they do one show and

1:30:21.880 --> 1:30:27.040
<v Speaker 1>I broadcast it to a thousand venues as a hologram. Okay,

1:30:27.080 --> 1:30:30.479
<v Speaker 1>having been in the business for all these decades and

1:30:30.560 --> 1:30:34.240
<v Speaker 1>having seen the transition to digital, what do you foresee

1:30:34.280 --> 1:30:37.320
<v Speaker 1>for the business coming down the pike. Well, there's going

1:30:37.360 --> 1:30:40.960
<v Speaker 1>to be another wave of technology. Really, what do you predict? No,

1:30:41.120 --> 1:30:44.920
<v Speaker 1>I didn't you know. I didn't think Spotify was gonna

1:30:45.200 --> 1:30:48.720
<v Speaker 1>suck the world over. I mean, you know, it's so

1:30:48.800 --> 1:30:52.840
<v Speaker 1>interesting that the record companies have managed to monetize every

1:30:52.840 --> 1:30:57.280
<v Speaker 1>technological change to the detriment of the artist. If you

1:30:57.320 --> 1:31:00.439
<v Speaker 1>think about it, the major companies who have all the

1:31:00.520 --> 1:31:04.240
<v Speaker 1>content makes deals with Spotify, and they get these huge

1:31:04.240 --> 1:31:07.439
<v Speaker 1>advances to give them blanket licenses. They don't share that

1:31:07.520 --> 1:31:10.519
<v Speaker 1>with the artist. The artists gets they said, well Warner

1:31:10.600 --> 1:31:13.599
<v Speaker 1>said they were, But who the hell knows? Really, I

1:31:13.680 --> 1:31:16.760
<v Speaker 1>must have missed that her statement because I have never

1:31:16.800 --> 1:31:20.680
<v Speaker 1>seen one. Okay, but but Spotify pays some absurd like

1:31:20.800 --> 1:31:24.280
<v Speaker 1>point zero zero zero. It depends whatever. It's not literally

1:31:24.280 --> 1:31:26.160
<v Speaker 1>a penny rate, but it's a division. It ends up

1:31:26.160 --> 1:31:28.559
<v Speaker 1>being that. Yeah, well it comes free. That's for a

1:31:28.600 --> 1:31:31.240
<v Speaker 1>free stream of paid streams a little bit more. But okay,

1:31:31.479 --> 1:31:34.640
<v Speaker 1>just as a ballpark figure, a million streams makes the

1:31:34.760 --> 1:31:37.800
<v Speaker 1>artist about six thousand dollars. That's if they own their

1:31:37.840 --> 1:31:40.720
<v Speaker 1>own publishing and they have a good record deal. Well,

1:31:40.720 --> 1:31:43.200
<v Speaker 1>it's a little bit higher than that, but forgetting that.

1:31:43.320 --> 1:31:46.400
<v Speaker 1>You know, certainly, if you have what we call a

1:31:46.439 --> 1:31:51.599
<v Speaker 1>heritage artist, it's it's limited on streaming. But okay, so

1:31:51.640 --> 1:31:53.680
<v Speaker 1>in any of them. But they're trying, they're trying to

1:31:53.720 --> 1:31:57.200
<v Speaker 1>open up other avenues exactly. But keep in mind that

1:31:58.080 --> 1:32:01.479
<v Speaker 1>the one thing I the only solace there is is

1:32:01.600 --> 1:32:06.000
<v Speaker 1>that the life expectancy of a stream on on Spotify

1:32:06.080 --> 1:32:09.600
<v Speaker 1>or or Apple wherever, it basically lasts forever and you

1:32:09.680 --> 1:32:13.080
<v Speaker 1>get paid. So by the time you're ninety you might

1:32:13.120 --> 1:32:19.040
<v Speaker 1>actually make some money. Absolutely, Rod, this has been so great,

1:32:19.360 --> 1:32:22.479
<v Speaker 1>and we never got past the fucking seventies. Man, No,

1:32:22.800 --> 1:32:24.640
<v Speaker 1>we did a little bit, a little bit, you know,

1:32:24.800 --> 1:32:27.840
<v Speaker 1>on some level, the people this the definitive story has

1:32:27.880 --> 1:32:31.040
<v Speaker 1>never been written. Okay, you've had their story from maybe

1:32:31.040 --> 1:32:34.080
<v Speaker 1>ten thousand feet. But what I like you, what you're

1:32:34.080 --> 1:32:36.439
<v Speaker 1>saying is we didn't know what the funk were hanging.

1:32:36.520 --> 1:32:39.640
<v Speaker 1>We were friends. Listen. I said this to Elliott. Unfortunately

1:32:39.680 --> 1:32:44.680
<v Speaker 1>Elliott pasted it was you know, I've known Elliott sixties

1:32:44.800 --> 1:32:48.960
<v Speaker 1>and odd years. We were in business, and inspite of that,

1:32:49.000 --> 1:32:51.320
<v Speaker 1>I still loved him, you know, because I would have

1:32:51.400 --> 1:32:53.960
<v Speaker 1>arguments with him where he would say, I can't do that,

1:32:53.960 --> 1:32:55.960
<v Speaker 1>that's business, and then he would ask me to do

1:32:56.040 --> 1:32:59.560
<v Speaker 1>something as a friend. So when he wanted something, we

1:32:59.600 --> 1:33:01.320
<v Speaker 1>would have as the friends, and when he didn't want

1:33:01.360 --> 1:33:04.400
<v Speaker 1>to do something, he couldn't you know that the economics

1:33:04.439 --> 1:33:07.599
<v Speaker 1>don't work? And where does this leave you with Geffen? Well,

1:33:07.640 --> 1:33:10.160
<v Speaker 1>you know, I speak to him and see him occasionally,

1:33:10.360 --> 1:33:13.200
<v Speaker 1>and I'm always amazed that he actually knows what's going

1:33:13.240 --> 1:33:16.040
<v Speaker 1>on in my life. And um, I think he actually

1:33:16.040 --> 1:33:18.360
<v Speaker 1>cares and there are very few people in his life

1:33:18.880 --> 1:33:22.240
<v Speaker 1>that are not trying to get anything from him. So

1:33:22.640 --> 1:33:25.639
<v Speaker 1>I think our relationship is unique. And is he ever

1:33:25.640 --> 1:33:29.280
<v Speaker 1>give you any advice? Uh? So we had a client

1:33:29.640 --> 1:33:38.120
<v Speaker 1>um when this kid um god o Jared Wilkins so manages. Uh.

1:33:39.439 --> 1:33:44.000
<v Speaker 1>There was a Broadway show called um Um Spring Awakening,

1:33:44.120 --> 1:33:47.280
<v Speaker 1>of course, yes, and the guy wrote the music, Duncan Cheek.

1:33:47.360 --> 1:33:52.960
<v Speaker 1>Duncan Cheek was Jared's client and um so the play

1:33:53.080 --> 1:33:56.400
<v Speaker 1>played in Los Angeles and I put I brought David

1:33:56.439 --> 1:34:00.280
<v Speaker 1>down because I wanted him to help me make a movie. Okay, son,

1:34:00.360 --> 1:34:02.960
<v Speaker 1>David took Duncan the side and told him, don't ever

1:34:03.040 --> 1:34:06.200
<v Speaker 1>make a fucking movie, you know, just keep it as

1:34:06.200 --> 1:34:09.599
<v Speaker 1>a play. Just they'll suck it up. And he liked

1:34:09.760 --> 1:34:13.120
<v Speaker 1>stuck a pin in my balloon because I want the

1:34:13.120 --> 1:34:15.639
<v Speaker 1>big payoff for us was going to be the movie.

1:34:16.000 --> 1:34:18.479
<v Speaker 1>And do you think he was right? Who the funk knows?

1:34:18.560 --> 1:34:24.000
<v Speaker 1>I don't know. Okay, one more thing. When we started

1:34:24.040 --> 1:34:28.320
<v Speaker 1>out in the business, we thought we were fucking geniuses. Okay,

1:34:28.479 --> 1:34:31.599
<v Speaker 1>about five or six years into the process, we realized

1:34:31.600 --> 1:34:34.160
<v Speaker 1>that we were the luckiest fucking people who have ever

1:34:34.200 --> 1:34:38.160
<v Speaker 1>met in your life. Five more years I actually figured

1:34:38.200 --> 1:34:41.320
<v Speaker 1>out and I feel like I'm a real professional. But

1:34:41.400 --> 1:34:45.440
<v Speaker 1>it took me ten years. Well that's something to contemplate,

1:34:45.560 --> 1:34:47.639
<v Speaker 1>is I'm sitting here, Rob, thanks so much for being

1:34:47.640 --> 1:34:50.880
<v Speaker 1>on the podcast. Thank you once again. That's ron A

1:34:51.120 --> 1:34:56.160
<v Speaker 1>k a Stone straight from the Bronx, Here to Hollywood.

1:34:56.560 --> 1:34:59.640
<v Speaker 1>He made it and he's still in the game. Thank you.