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Speaker 1: Hey, everybody, welcome back to Table for two. Today.

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Speaker 2: I'm back at one of my favorite joints, the Sunset

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Speaker 2: Tower Hotel in Hollywood.

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Speaker 3: This is so cute, right.

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Speaker 2: And in this episode we are going to be turning

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Speaker 2: up the music loud. That's because we're having lunch with

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Speaker 2: someone who has been the manager for the Eagles since

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Speaker 2: nineteen seventy four, who also counts Jon bon Jovi, John Mayer,

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Speaker 2: Steely Dan, and Gwen Stefani among his clients. I could

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Speaker 2: go on and on, but he's more than just a

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Speaker 2: music manager. His influence in the industry has definitively changed

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Speaker 2: the way we listen to music.

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Speaker 3: Can I have a Cobb salad?

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Speaker 4: I have to do Beverly Hills ordering that you have

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Speaker 4: to change something right, I mean, you know, promoting, you know,

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Speaker 4: promoting restaurants in Beverly Hills. Yeah.

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Speaker 2: If there's a popular song that you've loved over the years,

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Speaker 2: chances are that today's guest has his fingerprints on it.

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Speaker 2: So sit back, go grab a glass rose, and enjoy

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Speaker 2: our lunch with mister irving A's off. I'm Bruce Bosi

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Speaker 2: and this is my podcast Table for two. If you

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Speaker 2: pulled up at your.

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Speaker 5: Today we're having lunch with Irving as off. Irving, thank

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Speaker 5: you for joining me today.

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Speaker 3: This is a big deal. Sure, it's not a big deal.

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Speaker 3: I'm thrilled to be here. Irving. We know each other

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Speaker 3: like I associate you seeing you.

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Speaker 5: We just talked about the Palm, having lunch at the

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Speaker 5: Bomb through people like Geffen, Alan Grudman, Sandy Gallen.

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Speaker 4: We just sort of it just means we're all really old.

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Speaker 4: Maybe not you, but the rest of us.

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Speaker 3: No, I'm really old. Irving.

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Speaker 5: Yeah, we're here at the Tower Bar. Have you Is

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Speaker 5: this some place that's in your DNA here in La Yeah?

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Speaker 1: Yeah, you like him come.

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Speaker 4: Here a lot, but it's it's a fun place. I'll

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Speaker 4: meet with John Mayor here, my friend. And yeah when

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Speaker 4: you come here, do you have something like what you love?

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Speaker 4: Do you have something that you love to eat at

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Speaker 4: the I'm one of those people that tries to eat

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Speaker 4: healthy and half the time doesn't. I'll come in with

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Speaker 4: good intentions, like I just went going, yeah, what do

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Speaker 4: I want to have the cop salad? And then I

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Speaker 4: go down and go real cheese and to me, I

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Speaker 4: really should have chicken playard.

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Speaker 3: Well, I mean it happens to be kind of a

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Speaker 3: cool day here in La. I think I'm in a

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Speaker 3: Cops salad. You go do a cobbt.

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Speaker 4: Okay, So you probably know that my wife, Shelley, who's

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Speaker 4: your good friend, saved Nate new And I use the

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Speaker 4: word saved because there's no economic reality to why anybody

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Speaker 4: would own a deli and right. We also own the

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Speaker 4: Apple Pan because the family was wanted another family owner,

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Speaker 4: but it was time for them to move on the

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Speaker 4: illness and the family and so I understand the rest

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Speaker 4: of business. Yeah, although it's certainly more downscale from what

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Speaker 4: you ever did at the Palm.

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Speaker 3: It is, I mean it is the Apple Pan.

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Speaker 5: If you I's listening and you don't know what it is,

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Speaker 5: it serves maybe the best burger around.

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Speaker 3: Like it's a really old school joint that is on Peaco.

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Speaker 5: It's like you got if you're in La, you got

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Speaker 5: to check out. It's one of those places.

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Speaker 3: It's seventy five years old.

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Speaker 4: The history of it is with the family to sell

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Speaker 4: moms pies basically open the Sandwich Sharp, but it was

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Speaker 4: really really to sell the pies. We have a really

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Speaker 4: it's a really small building and you can't we can't

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Speaker 4: really took a house. Yeah, it's historic. Can't enlarge it,

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Speaker 4: so we're limited. We have the little pie room, and

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Speaker 4: we really don't want to cook the pies. Everybody gets

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Speaker 4: mad if you're changing anythings, So we don't want to

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Speaker 4: cook the pies off off campus round. So but you know,

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Speaker 4: but the tradition is you have to order the pies

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Speaker 4: in advance for Thanksgiving and then yeah we have a

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Speaker 4: big thing. Go down the alley and pick them up.

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Speaker 4: But we've gotten you know, like Thanksgiving Day we sell

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Speaker 4: twelve hundred pies.

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Speaker 5: It's an amazing way. Yeah, I don't know why, but

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Speaker 5: I had to. I mean I think of it as

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Speaker 5: a burger because I had the best burger there.

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Speaker 4: Burger is amazing. But there's also tune us out and

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Speaker 4: the fries are great. Yeah, there's other stuff and anyway,

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Speaker 4: just it was just relative to us talking about restaurants

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Speaker 4: in general and what it's.

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Speaker 3: Really about the vibe.

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Speaker 4: Yeah, so whether it's an eight nails vibe and food's

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Speaker 4: got to be great too. Writ but you know, Tower

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Speaker 4: Bar has always had a grade vibe. Yeah, Jeff knows

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Speaker 4: how to give it a great vibe, great vibe, and

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Speaker 4: it's about the vibe and then the vibe draws the

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Speaker 4: right crowd and then you got to take care of them. Yeah,

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Speaker 4: it's funny when you go to a restaurant, you lock

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Speaker 4: into one or two things. You rarely go to a restaurant,

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Speaker 4: you regularly go to and order eight different things eight

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Speaker 4: different times, and when you start to go, I'm gonna

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Speaker 4: be a venturesome, right, and my friend eat that's.

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Speaker 6: All that time.

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Speaker 4: But you just kind of go back, like, I know,

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Speaker 4: I really like to I'm going to that. I really

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Speaker 4: like the chicken py r here.

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Speaker 5: It's right, it's anything that's consistent, I'll do that. I'll

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Speaker 5: do like a steak freaks at night.

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Speaker 3: See I feel guilty about that, I can.

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Speaker 6: Yeah, yeah, because of.

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Speaker 4: The freaks, not the steak, right, right, But then.

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Speaker 3: Makes sense.

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Speaker 4: I love two fries, but who talks with two fries?

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Speaker 3: So Irving?

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Speaker 5: You sitting with Irving, You know Irving for a multitude

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Speaker 5: of reasons, and we're going to talk about I'm glad

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Speaker 5: we're talking about the restaurants because I knew that, Like, yeah.

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Speaker 3: Just an intro when you asked me about this.

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Speaker 5: Yeah, I know, but and I love that, like one

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Speaker 5: of the things that I what I feel about, like

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Speaker 5: your whole life and the career you have and are

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Speaker 5: having is like you, you're open, like you.

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Speaker 6: You know.

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Speaker 3: So, yeah, I got a big mouth. You gotta usually

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Speaker 3: put my foot in it.

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Speaker 4: Everybody goes, why don't you work at a public company? Why

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Speaker 4: do you know you did it twice?

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Speaker 1: What?

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Speaker 3: What's wrong with you in public companies? Said? I drive

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Speaker 3: the lawyers crazy.

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Speaker 4: So I've had the fortunate good luck of having worked

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Speaker 4: for and with some of the great icons of the

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Speaker 4: media business.

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Speaker 3: So we're sure, okay.

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Speaker 4: So Stop one was with David Gevin, who I haven't

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Speaker 4: seen for forty eight hours.

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Speaker 3: But it was a time in the business.

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Speaker 4: So when you're when you're a major executive at like

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Speaker 4: one of the whether it's a public company or not.

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Speaker 4: But in those days, some of them are public, some

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Speaker 4: of them weren't. We're in Hollywood, so when you're going

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Speaker 4: to be in that job, it's an acting job, right,

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Speaker 4: So and you know, and and here are the characters

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Speaker 4: like when we when I started in the music business,

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Speaker 4: there was David and there was Amed Urtigan who was

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Speaker 4: a character, and there was Walter yet Nikoff, and there

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Speaker 4: was most so everybody had to be you know, one

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Speaker 4: guy is Tom Hanks and one guy's Johnny Depp, right,

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Speaker 4: So you know, so Walter was the craziest of all

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Speaker 4: of them, right right, and was the sweetest of all, right, and.

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Speaker 3: Then everybody else's kind of characters in the middle.

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Speaker 4: So you know, you know, And but you couldn't be

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Speaker 4: a shrinking Violet in those days and get anything done,

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Speaker 4: And especially if you represent talent, which is everything I've

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Speaker 4: ever done, or any companies I've started or bought or

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Speaker 4: sold and run talent representing talents men at the center, right,

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Speaker 4: you know, what I kind of learned, you know, And

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Speaker 4: and and what I kind of did was take what

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Speaker 4: David did, which is I will kill for my talent. Okay,

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Speaker 4: I kept that, but I also added every decision I make,

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Speaker 4: if it's right for the talent, it will eventually be

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Speaker 4: right for my career and my business.

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Speaker 3: So that's kind of what I But David taught me

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Speaker 3: how to kill for talent.

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Speaker 4: And you know, and and if you a someone you know,

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Speaker 4: and whether it's Brian or me, or if youre's somebody

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Speaker 4: in this town today or then that everybody says that

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Speaker 4: is the nicest guy I've ever dealt with. You've somehow

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Speaker 4: misrepresented your talent, because it's impossible a deal in this jungle, right,

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Speaker 4: whether it be TV, movies, music streamers whatever. Uh, and

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Speaker 4: and not have a difference of opinion at some point.

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Speaker 5: Yeah, and then that makes complete sense.

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Speaker 3: And somebody asked me.

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Speaker 4: Yeah and again, and sometimes for me it's an active job, right,

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Speaker 4: Like I'm not really mad, but right, you got to

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Speaker 4: go in with the zest with zest to get it done.

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Speaker 5: So you okay, So David taught you that. So we

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Speaker 5: go back now to the early seventies. You're working for David.

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Speaker 1: You leave with the.

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Speaker 3: Eagles, right, So yeah, well the Eagles leave with me.

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Speaker 3: The Eagles, Well, no, dragged me out, they dragged you out.

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Speaker 6: What happens.

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Speaker 4: First of all, David left left before that, David sold

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Speaker 4: Asylum Records. I sold Asylum Records and merged it with

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Speaker 4: Electra and he went cross town over on Los Ennaica

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Speaker 4: to run Electric Asylum Records, and his old management partner,

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Speaker 4: Elliott Roberts. I came in to help Elliott run what

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Speaker 4: was then Jeff and Roberts Management minus David. But David

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Speaker 4: was still our mentor and we had him available to us.

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Speaker 4: But you know, so, and and I was a kid

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Speaker 4: that moved out here from Illinois. I had three clients

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Speaker 4: I had. I was moonlighting as an agent so I

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Speaker 4: could try and get record deals and get started. And

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Speaker 4: the three were Dan Fogelberg, Ario Speedwagon, and Joe Walls.

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Speaker 3: I mean just well we broke all three but but yeah,

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Speaker 3: but that was it.

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Speaker 5: So when we were all got here, that was when

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Speaker 5: you were coming out from Illinois and moved from discover

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Speaker 5: those guys in Chicago.

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Speaker 4: That it was from all from Illinois. Wow. And so

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Speaker 4: we come out we all kind of move out here

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Speaker 4: and then one thing, one thing leads another. But you know,

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Speaker 4: but so I had my my chapter with with with Elliott,

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Speaker 4: and therefore with David, learned a lot, met a lot

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Speaker 4: of people.

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Speaker 6: And then and after that went on my own.

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Speaker 3: Okay.

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Speaker 5: And and when you go on your own, are you

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Speaker 5: now going out to music venues to sort of say who.

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Speaker 3: Like is are you an A and R? Doing that?

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Speaker 6: Now?

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Speaker 3: I'm a manager, manager, straight manager, right, you know.

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Speaker 4: And I started a little record company and some other

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Speaker 4: stuff from but you know, but from.

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Speaker 6: There, you know, I go on my own and then

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Speaker 6: you know, at about age I must have been.

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Speaker 4: Thirty four thirty five Lou Osserman and Sid Scheimberg come

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Speaker 4: to me.

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Speaker 6: Wow, and I had been one of the yah.

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Speaker 4: Yeah, so one. So I daved David first and then

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Speaker 4: I'd lose said yeah, okay, and uh you know, and

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Speaker 4: I had, you know, many many breakfasts with Low and

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Speaker 4: Casey at eight thirty at every Saturday or Sunday morning

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Speaker 4: at Nate.

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Speaker 3: Now, so that's that's kind of how far back I

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Speaker 3: went with Nate.

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Speaker 4: Well, yeah, but and and what happens, uh there is

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Speaker 4: you know, I had a client, Steely Dan, that had

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Speaker 4: gotten into a beef with m c A.

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Speaker 6: And and so I sued, uh, m c A.

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Speaker 4: They had this guy running it and decided that Steely

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Speaker 4: Dan was worth more than any other artists. So like

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Speaker 4: the records in those days where I think seven ninety

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Speaker 4: eight and he made Steely Dan the first record ever

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Speaker 4: eight ninety eight or nine ninety eight, I can't remember.

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Speaker 4: So this publicity stunt, I got Mickey Rudin, who was

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Speaker 4: for those were so who was the big the big

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Speaker 4: concho lawyer in town represented Steve Ross and Warner Communications

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Speaker 4: and Frank Sinatra and E Liza Minelli and all this,

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Speaker 4: and we sued MCA under the grounds that they're they're

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Speaker 4: not a record company because no record company would charge

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Speaker 4: that much for records. As basically the publicity stunt for

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Speaker 4: Steely Dan to show that that that it wasn't their

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Speaker 4: idea to raise the tell their fund raiser prices.

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Speaker 3: And I took sid Scheiberg's deposition Mickey and I took

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Speaker 3: said Scheimberg's deposition.

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Speaker 4: And he thought this was hysterical, so you know, and

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Speaker 4: then I did an interview about because we were in

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Speaker 4: the fight with MC I just want him lower the prices,

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Speaker 4: right and we're in the fight and the guy that

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Speaker 4: wouldn't do it and said, you know, can get real

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Speaker 4: coet it about stuff. And so I did an interview

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Speaker 4: where I called MCA Records that joke of a record

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Speaker 4: cut me in the valley that nobody wants to side

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Speaker 4: with them.

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Speaker 6: So then I get this call come have lunch, so LEU.

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Speaker 3: And said, and they go, why don't you come run

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Speaker 3: universal They saw the genius but you know, but that

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Speaker 3: really was how we met.

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Speaker 6: And then uh and I produced a movie there.

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Speaker 4: I'd done a movie with well I take my name

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Speaker 4: off a movie that I produced FM. I negotiated the

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Speaker 4: right in the beginning, I said they came into we

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Speaker 4: want you to produce this movie because you'll bring all

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Speaker 4: this great music. And the soundtrack did great, and I said, yeah,

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Speaker 4: but I don't like the script and I don't like this,

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Speaker 4: so if the movie comes out bad, I don't know.

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Speaker 3: They said, Okay, if you don't like the movie, just

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Speaker 3: do the soundtrack. You take your name off.

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Speaker 1: So I took my name off. And they couldn't believe

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Speaker 1: that anybody.

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Speaker 4: Everybody's fighting for credits, I take my name, you know,

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Speaker 4: it's just, you know, probably something David would have done.

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Speaker 3: I think. But I think that's a that's a that's

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Speaker 3: a that's a power movie. It really is. There's a move.

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Speaker 3: I thought it was a credibility move.

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Speaker 4: I didn't want my name on it.

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Speaker 5: Because you know, and you also have fast times at

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Speaker 5: Richmond High, which also goes down as like an iconic

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Speaker 5: and the music as well, like the whole thing.

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Speaker 1: Yeah, welcome back to Table for two.

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Speaker 2: Today, we're having lunch with Irving as Off, a music

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Speaker 2: industry veteran with five decades of experience. At any given time,

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Speaker 2: he's been a manager, an agent, a promoter, a record

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Speaker 2: label owner, who a music publisher, and the CEO of

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Speaker 2: a record company. I mean, honestly, when you've done that

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Speaker 2: many jobs in the business, the question is where did

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Speaker 2: his love of music start?

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Speaker 5: Has that always been who you've been since you were young?

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Speaker 5: Sort of like I mean, it seems like a fan of.

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Speaker 4: Media, a fan of media, you know, and a lot

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Speaker 4: of people that represent talent basically go oh, this is

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Speaker 4: really a shitty job.

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Speaker 6: I really like it, you know.

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Speaker 3: I like these people.

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Speaker 4: I like what makes them tick. I understand the trials

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Speaker 4: and tribulations they go through, and I just see positive

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Speaker 4: in all of them, you know, so very few of them.

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Speaker 4: It's kind of it's a much more lonely thing to

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Speaker 4: be a rock star that you might see.

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Speaker 1: Yeah, you know, and you go.

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Speaker 3: From getting out on that stage.

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Speaker 4: The most powerful thing any I think anybody entertainment can

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Speaker 4: do is be an entertainer standing on that stage with

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Speaker 4: tens of thousands of people, calmbs your hand, and then

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Speaker 4: thirty minutes later you're alone and you're a loan and energy.

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Speaker 4: You're alone in a hotel room with complete adrenaline. How

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Speaker 4: am I ever going to sleep tonight?

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Speaker 5: There's a quote that you said at one point the

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Speaker 5: moment music got ahold of me and never let go.

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Speaker 3: Could you talk to what was that moment?

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Speaker 4: You know, the first moment there was a kid. The

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Speaker 4: first shows I ever saw, and I grew up in Danville, Illinois.

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Speaker 4: I know, right after I got my driver's license, we

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Speaker 4: drove like ninety miles to a little place called Schaeffer Lake,

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Speaker 4: Indiana and saw the Beach Boys, the original Beach Boys

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Speaker 4: with Brian. That was like, wow, the first non local

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Speaker 4: act show I ever saw. Right, Okay, to see the

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Speaker 4: Beach Boys.

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Speaker 3: Second one I ever go. I go back there a

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Speaker 3: couple of weeks later and I see the Yardbirds with

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Speaker 3: Jimmy Page.

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Speaker 1: Okay.

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Speaker 4: And then the next thing I remember is my dad

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Speaker 4: takes me to Komiskey Park in Chicago to see the Beatles.

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Speaker 6: Wow.

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Speaker 4: So high bar, high bar, really high bar. So I

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Speaker 4: don't know how you see that. And look, we were

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Speaker 4: all impacted. You know, you're obviously much younger, mean, but

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Speaker 4: all of us my age, you know, when we were

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Speaker 4: fourteen years old, thirteen years old and the Beatles come

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Speaker 4: on in Sullivan.

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Speaker 3: Right, it's over, it's done, it's done.

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Speaker 6: Right.

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Speaker 3: Every one of us.

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Speaker 4: Everybody's dream was I want to be in that business.

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Speaker 3: Yeah, either as an inn. You know, he's an entertainer.

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Speaker 3: I was a shitty drummer, so I wasn't gonna be right, right.

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Speaker 3: I tried.

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Speaker 4: I tried to learn saxophone and tried, but I wasn't

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Speaker 4: good enough.

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Speaker 3: You were at a moment when it all changed.

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Speaker 5: So like seeing the Beatles at Sullivan, that was like

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Speaker 5: a moment where music change, you know, like with Elvis Presley,

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Speaker 5: like the whole it went from one thing to another.

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Speaker 3: So to be of that generation, to have that experience,

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Speaker 3: I think, is you know, luckiest thing a lot.

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Speaker 4: Right, And then or in school when here comes the

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Speaker 4: Vietnam and right all that men and you know, riots

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Speaker 4: on campus, I mean, then Kennedy and the fascination and

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Speaker 4: Martin Luther. I mean, if you really look at America

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Speaker 4: over the last century, I was in those formative years,

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Speaker 4: late teens, early twenties when all that was going on.

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Speaker 4: You know, it just it sets a bass for the

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Speaker 4: rest of your life.

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Speaker 6: You know.

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Speaker 3: It's a romanticized moment as much as it is, you know,

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Speaker 3: was so filled with such conflict and age. I find

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Speaker 3: music movies. People gonna have an opinion.

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Speaker 4: I like it. I don't like it. Hard to not

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Speaker 4: like music if you listen to something, regardless of it's

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Speaker 4: your style of music or not, if you listen to

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Speaker 4: it several times, huh grows on you and it's an emotion.

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Speaker 3: I mean to me, it's you know a lot of

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Speaker 3: people go, I need I need a therapist. I just

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Speaker 3: need to sit in a room listen to listen to music.

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Speaker 4: I agree, you know, and you pick the music based

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Speaker 4: on what you need, right And the great thing since

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Speaker 4: streaming and everything started is that like in the old

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Speaker 4: days when I grew up, it was like, you know,

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Speaker 4: the radio station had the best of every genre of music.

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Speaker 4: Right now, with streaming and everything, you pick what you like,

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Speaker 4: what you have, and so there are more things can

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Speaker 4: be important to you.

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Speaker 1: And I do think.

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Speaker 3: I mean, you know, when people you ask that question,

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Speaker 3: like what could you like live without? You know, music, books, movies, TV.

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Speaker 5: Music is always the one that really hard with them,

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Speaker 5: no one can live without. They'd give up everything else.

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Speaker 5: Because music also cements like these chapters in your life.

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Speaker 5: So you hear a song, it's like when you smell

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Speaker 5: a smell, you go right back into like, oh this was.

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Speaker 4: Where I was, what I was thinking, who I was with,

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Speaker 4: you know, good or bad? And it just stays with you,

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Speaker 4: it really does. What are the songs that have stayed

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Speaker 4: with you? If you had to just like free form, like.

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Speaker 5: Songs that when irving a's office is okay when you

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Speaker 5: hear like, you know, it's kind of a blur.

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Speaker 4: But I would say from the early days, you know,

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Speaker 4: definitely some of those early Beatle hits.

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Speaker 1: Did you meet all the Beatles?

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Speaker 4: Yeah?

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Speaker 1: You did.

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Speaker 3: You know, you're the coolest guy, you.

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Speaker 6: Know, Yeah, you really are, you know.

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Speaker 4: And I knew John the least, but I did hate him,

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Speaker 4: but he's been gone the longest.

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Speaker 3: I mean, that's a moment where I remember exactly where

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Speaker 3: I was, you know, that moment.

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Speaker 4: I remember when I started the new record company in

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Speaker 4: the you know, in the early nineties. Kenny Austin, my

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Speaker 4: Alostin's son, was an ein R guy for me, and

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Speaker 4: it was friendly and George Harrison came by to play

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Speaker 4: some stuff and hang out, and wow, I was in

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Speaker 4: a meeting listening to new music to see if because

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Speaker 4: he was looking for a new label with David Bowie

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Speaker 4: at h So I'm.

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Speaker 3: Suddenly sitting there and I'm going, here's George Harrison.

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Speaker 4: Sitting here listening with me to be critical of new

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Speaker 4: David Bowie, right, And I said, I'm done.

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Speaker 1: Where do you go from here?

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Speaker 3: But I love that with the career. And then only

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Speaker 3: there was another And take that for granted, you're like, wow,

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Speaker 3: and there there was another millment goes back.

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Speaker 4: Joe Walsh's great wife, Marjorie is sisters to Catherine Back.

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Speaker 4: Who's Ringos and Ringo's birthday party out It is out

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Speaker 4: in the country in England and the Eagles. We were

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Speaker 4: all there because you know so. And there's this little

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Speaker 4: bandstand and kind of a guest house at Ringos and

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Speaker 4: they're celebrating the birthday. And suddenly there's David Gilmour, Eric Clapton,

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Speaker 4: Don Henley, Glen Fry, Joe Walsh, Paul McCartney, Uh and

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Speaker 4: Ringo all up on the stage play and Paul McCartney

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Speaker 4: grabs the mic and says, we're naming this band the Beagles, right,

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Speaker 4: And and I had my wife and some of the

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Speaker 4: kids with me, and my and my two sons were like,

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Speaker 4: I said, guys, you don't realize.

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Speaker 3: Yeah, what what what what this is?

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Speaker 1: What this moment is? Yeah?

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Speaker 3: Yeah, it was just incredible.

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Speaker 5: Each decade Irving seems to sort of define itself and

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Speaker 5: you don't know it till later.

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Speaker 3: Yeah, when you're looking back, you're like, wow.

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Speaker 4: Look, I'm I'm a product. And I also think it's

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Speaker 4: when you grew up and you're in your former years. Yeah,

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Speaker 4: if you I find myself if I'm like sitting around

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Speaker 4: and I'm just like, I'm in my closet and I'm sorry,

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Speaker 4: and I'm going, hey, Siri play whatever. If I don't

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Speaker 4: really want something specific, I'm going, hey, Siri play seventies

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Speaker 4: he plaxies, right.

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Speaker 3: Okay, hey Siri play.

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Speaker 4: You know.

437
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Speaker 3: But but I'm you know, if I'm not going to

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Speaker 3: a specific thing. And now I'm sort of just recently

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Speaker 3: h series on it. But anyway, I I've just.

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Speaker 4: Recently and I was running Universal Records in those days.

441
00:22:07,440 --> 00:22:10,240
Speaker 4: I'm starting to really appreciate the eighties. Yeah, I didn't

442
00:22:10,240 --> 00:22:11,000
Speaker 4: appreciate them then.

443
00:22:11,119 --> 00:22:12,320
Speaker 3: Those were my formative views.

444
00:22:12,400 --> 00:22:13,880
Speaker 6: So I didn't appreciate them.

445
00:22:13,920 --> 00:22:16,359
Speaker 3: Then why what what did you appreciate it?

446
00:22:16,560 --> 00:22:18,000
Speaker 4: I don't know. I think it's because I was just

447
00:22:18,119 --> 00:22:19,760
Speaker 4: in the snake pit trying to sign it all and

448
00:22:19,840 --> 00:22:21,840
Speaker 4: I was like, I didn't get that one.

449
00:22:21,920 --> 00:22:23,879
Speaker 3: So I can't like it because, you know, because I

450
00:22:23,920 --> 00:22:25,160
Speaker 3: was running my record company.

451
00:22:25,200 --> 00:22:27,639
Speaker 5: Then well, that's an interesting question because you bring it

452
00:22:27,720 --> 00:22:31,080
Speaker 5: up because you know, I think like you have arguably

453
00:22:31,240 --> 00:22:33,760
Speaker 5: had your thumb print on everything in.

454
00:22:33,800 --> 00:22:35,760
Speaker 3: The music business, and when you do it for fifty years,

455
00:22:35,800 --> 00:22:36,639
Speaker 3: that's what happens, right.

456
00:22:36,840 --> 00:22:39,479
Speaker 5: So who in those who in that time period when

457
00:22:39,520 --> 00:22:43,200
Speaker 5: you were like, oh, elicited that feeling like you didn't

458
00:22:43,280 --> 00:22:45,720
Speaker 5: have you didn't get or you were like, oh.

459
00:22:46,800 --> 00:22:50,240
Speaker 3: I always tell my people are various companies. You know,

460
00:22:50,520 --> 00:22:53,359
Speaker 3: don't count other people's money. You just worry about what

461
00:22:53,440 --> 00:22:55,320
Speaker 3: you have, don't you don't have, So I don't really

462
00:22:55,359 --> 00:22:57,840
Speaker 3: go through and go, oh shit, I wish I could

463
00:22:57,880 --> 00:22:59,760
Speaker 3: have managed that, or I wish we could have signed that.

464
00:23:00,520 --> 00:23:03,520
Speaker 4: I just go, hey, look, how fortunately was that. I mean,

465
00:23:04,080 --> 00:23:07,679
Speaker 4: I've worked with some of the greatest musicians and bands,

466
00:23:07,840 --> 00:23:10,240
Speaker 4: you know, to sit and said, you know I had

467
00:23:10,960 --> 00:23:13,480
Speaker 4: you know, well, you know I've had, you know, obviously

468
00:23:13,720 --> 00:23:18,080
Speaker 4: a continuing relationship with Don Henley and the Eagles, Steve

469
00:23:18,200 --> 00:23:21,400
Speaker 4: Donald Fagan and Steely Dane, you know, and we work

470
00:23:21,480 --> 00:23:23,280
Speaker 4: with Earth Wind and Fire, and we work with John

471
00:23:23,359 --> 00:23:25,240
Speaker 4: bon Jovi and we were you know.

472
00:23:25,280 --> 00:23:26,920
Speaker 3: You just you go through that. Then we work with

473
00:23:27,000 --> 00:23:31,080
Speaker 3: the Doobie brothers still okay, so again the loyalty piece,

474
00:23:31,119 --> 00:23:33,600
Speaker 3: the old the family. Yeah, and then you cross that

475
00:23:33,760 --> 00:23:36,080
Speaker 3: into where, you know, when we start talking eighties some

476
00:23:36,119 --> 00:23:36,280
Speaker 3: of that.

477
00:23:36,359 --> 00:23:39,640
Speaker 4: You know, we've represented Gwen Stefani for many, many, many years,

478
00:23:40,200 --> 00:23:41,919
Speaker 4: and you know, and it's just I don't know if

479
00:23:41,920 --> 00:23:43,800
Speaker 4: it's where you get to know them so well as people,

480
00:23:44,200 --> 00:23:47,399
Speaker 4: but you also get pulled into the music well and

481
00:23:47,520 --> 00:23:49,040
Speaker 4: all that, and then and then you know, and currently

482
00:23:49,119 --> 00:23:53,080
Speaker 4: you know, I mean, I find myself still playing Harry

483
00:23:53,119 --> 00:23:54,600
Speaker 4: styles over and over again.

484
00:23:54,680 --> 00:23:57,320
Speaker 3: It's for everybody. Are you able, like let's say, going

485
00:23:57,400 --> 00:23:59,320
Speaker 3: from like the seventies to the eighties.

486
00:23:59,040 --> 00:24:01,560
Speaker 5: Were you able to all did you just perk up

487
00:24:01,600 --> 00:24:05,480
Speaker 5: and say, oh, music's changing, the beat is changing, the

488
00:24:06,440 --> 00:24:09,160
Speaker 5: culture is changing. And like from the eighties that went

489
00:24:09,240 --> 00:24:11,560
Speaker 5: to rap, how are those times for you when you

490
00:24:11,640 --> 00:24:16,040
Speaker 5: start to like go oh and how did you change from.

491
00:24:15,920 --> 00:24:19,520
Speaker 4: The early days I grew up and for me, it

492
00:24:19,600 --> 00:24:25,600
Speaker 4: was always about a distinctive vocal melody and a lyric.

493
00:24:26,119 --> 00:24:29,800
Speaker 4: So when I would represent people certainly back then and

494
00:24:29,840 --> 00:24:32,399
Speaker 4: you know, it changed through the years. But but somebody

495
00:24:32,440 --> 00:24:34,960
Speaker 4: that didn't know I was in this into the singer

496
00:24:35,080 --> 00:24:39,760
Speaker 4: songwriter band movement, but for me, it always started with

497
00:24:39,880 --> 00:24:40,680
Speaker 4: distinctive vocal.

498
00:24:40,880 --> 00:24:46,520
Speaker 3: Okay, so give me that example. When you hear Ray Charles,

499
00:24:46,560 --> 00:24:48,760
Speaker 3: you know it's Ray Charles. When you hear Stevie Wonder,

500
00:24:48,760 --> 00:24:51,119
Speaker 3: you know it's Stevie Weber. When you hear Don Henley,

501
00:24:51,160 --> 00:24:52,159
Speaker 3: you know it's Don Hamley.

502
00:24:52,920 --> 00:24:55,359
Speaker 4: Right. When you hear Steely Dan, you know it's bigger.

503
00:24:55,480 --> 00:24:58,040
Speaker 4: You know it's Bruce. You know it's Tom Petty, you

504
00:24:58,119 --> 00:25:01,399
Speaker 4: know it's bon Jovi. I mean, right now, somebody may

505
00:25:01,440 --> 00:25:02,560
Speaker 4: come you say, oh, he didn't sing.

506
00:25:02,520 --> 00:25:04,680
Speaker 3: In pitch or he didn't hit the no. But it's

507
00:25:04,800 --> 00:25:08,520
Speaker 3: a distinctive low and then melody and lyric.

508
00:25:09,320 --> 00:25:11,200
Speaker 4: A lot of people know how to put a record together,

509
00:25:11,720 --> 00:25:13,480
Speaker 4: but if you don't have distinctive ooke in the melody,

510
00:25:13,520 --> 00:25:15,199
Speaker 4: and then of course you have to tell everybody it's

511
00:25:15,240 --> 00:25:17,479
Speaker 4: the music. It's not just the music, it's the music business,

512
00:25:17,800 --> 00:25:19,919
Speaker 4: which goes back to the beginning of time. The guy

513
00:25:20,000 --> 00:25:22,240
Speaker 4: can make great music that he doesn't somewhat get his

514
00:25:22,359 --> 00:25:26,280
Speaker 4: business together, he may not happen. It isn't like you know,

515
00:25:26,560 --> 00:25:27,200
Speaker 4: water seeking.

516
00:25:27,240 --> 00:25:27,840
Speaker 1: It's on the level.

517
00:25:28,200 --> 00:25:31,159
Speaker 3: You just don't throw it out and go. You know

518
00:25:31,240 --> 00:25:33,320
Speaker 3: it's going to happen because it's in the grooves.

519
00:25:34,560 --> 00:25:35,120
Speaker 6: You gotta work.

520
00:25:35,359 --> 00:25:36,959
Speaker 5: Now, you got to put it together, did you use

521
00:25:37,000 --> 00:25:39,000
Speaker 5: so when all of a sudden we hit the eighties

522
00:25:39,080 --> 00:25:41,520
Speaker 5: and we were now in like the MTV generation, and

523
00:25:41,640 --> 00:25:44,680
Speaker 5: now it became important to sort of like package the visual,

524
00:25:45,280 --> 00:25:46,840
Speaker 5: will you like, how did that affect?

525
00:25:47,320 --> 00:25:50,840
Speaker 4: So if you really look back at the beginning of

526
00:25:50,920 --> 00:25:56,080
Speaker 4: the time of MTV, yeah, acts didn't break for a while.

527
00:25:56,480 --> 00:25:59,920
Speaker 4: It took a while before MTV broke as it broke

528
00:26:00,240 --> 00:26:02,600
Speaker 4: x through to the level of what we'd experienced before

529
00:26:02,680 --> 00:26:04,639
Speaker 4: with the Stones or or somebody like that.

530
00:26:05,280 --> 00:26:10,240
Speaker 3: True, I didn't think about that right, And my contention

531
00:26:10,560 --> 00:26:11,880
Speaker 3: was why is because.

532
00:26:13,440 --> 00:26:16,480
Speaker 4: Prior to MTV, you would sit and you would listen

533
00:26:16,520 --> 00:26:21,480
Speaker 4: to a record and you would go, I think this

534
00:26:21,680 --> 00:26:23,879
Speaker 4: is what so and so men that it was personal

535
00:26:23,920 --> 00:26:26,680
Speaker 4: to you because you could interpret the lyric and interpret

536
00:26:26,720 --> 00:26:29,439
Speaker 4: the song. So now suddenly people are making little movies

537
00:26:29,480 --> 00:26:32,880
Speaker 4: around their song. So they're telling you, so, now you're

538
00:26:32,880 --> 00:26:36,600
Speaker 4: gonna see the video and you're gonna go that really

539
00:26:36,760 --> 00:26:39,000
Speaker 4: wasn't what I thought when I first heard the song.

540
00:26:40,160 --> 00:26:44,080
Speaker 4: And I can turn on MTV and see them for free,

541
00:26:44,200 --> 00:26:47,159
Speaker 4: So why do I have to buy a ticket because

542
00:26:47,320 --> 00:26:48,800
Speaker 4: when MTV started tick.

543
00:26:48,760 --> 00:26:51,639
Speaker 3: Sales drop, I did not know that. So people were

544
00:26:51,680 --> 00:26:54,400
Speaker 3: just getting satiated with I can see my own little

545
00:26:54,440 --> 00:26:58,480
Speaker 3: mini concert. Yeah, all day long, with different artists, really

546
00:26:58,800 --> 00:27:01,080
Speaker 3: and have them tell me what they were thinking about.

547
00:27:01,200 --> 00:27:03,840
Speaker 3: Not I don't think. And you know, in most situations,

548
00:27:03,920 --> 00:27:07,280
Speaker 3: the label would say here, here's five treatments from five

549
00:27:07,320 --> 00:27:08,440
Speaker 3: different video directors.

550
00:27:08,480 --> 00:27:08,840
Speaker 1: Pick one.

551
00:27:09,200 --> 00:27:11,560
Speaker 4: But it wasn't the act sitting down saying John Bunjob

552
00:27:11,640 --> 00:27:14,480
Speaker 4: saying down when I wrote that lyric, you know, this

553
00:27:14,720 --> 00:27:15,800
Speaker 4: was the story I was telling.

554
00:27:16,320 --> 00:27:19,080
Speaker 3: And you know, and and Don Henley glen Fry.

555
00:27:20,400 --> 00:27:24,320
Speaker 4: All this time we're saying, look when people are trying

556
00:27:24,359 --> 00:27:27,240
Speaker 4: to say this is what Hotel California, which is arguably

557
00:27:27,880 --> 00:27:31,000
Speaker 4: one of the most important songs ever written, right, and

558
00:27:31,359 --> 00:27:35,000
Speaker 4: they go, this is what we meant by it, right,

559
00:27:35,359 --> 00:27:38,560
Speaker 4: because it was symbolism for because I was sitting there

560
00:27:38,600 --> 00:27:39,200
Speaker 4: while they wrote it.

561
00:27:39,320 --> 00:27:43,480
Speaker 5: You know, wow, there wasn't one meaning, which then makes

562
00:27:43,520 --> 00:27:46,879
Speaker 5: sense as a listener to put your meaning into it because.

563
00:27:47,480 --> 00:27:50,439
Speaker 4: They wanted to leave room for the imagination. So MTV

564
00:27:50,600 --> 00:27:53,320
Speaker 4: and music video comes along and suddenly you're only telling

565
00:27:53,400 --> 00:27:58,280
Speaker 4: one story, So you're stealing Bruce's ability to to for

566
00:27:58,359 --> 00:28:01,720
Speaker 4: what it means to him exactly, and it has ended up.

567
00:28:02,520 --> 00:28:05,520
Speaker 4: If you said to me, do you think MTV helped

568
00:28:05,560 --> 00:28:09,919
Speaker 4: her hurt the business? I think it's a wash, really

569
00:28:10,640 --> 00:28:13,440
Speaker 4: a wash, because if it hadn't existed, we wouldn't have

570
00:28:13,480 --> 00:28:16,720
Speaker 4: had the drop off. And you know, but obviously we

571
00:28:16,920 --> 00:28:21,360
Speaker 4: entered the audio visual digital age, so you know, music video.

572
00:28:21,200 --> 00:28:22,000
Speaker 3: Was coming no matter what.

573
00:28:22,680 --> 00:28:25,440
Speaker 5: How important is that now for an artist to be successful,

574
00:28:25,520 --> 00:28:33,520
Speaker 5: to sort of have the whole package of look, face, voice, fashion, look.

575
00:28:33,560 --> 00:28:36,800
Speaker 4: The good news now is I call it narrow casting.

576
00:28:37,320 --> 00:28:39,320
Speaker 4: If you're really good at what you do, will you

577
00:28:39,360 --> 00:28:43,320
Speaker 4: will attract your audience. So there's very few that break

578
00:28:43,400 --> 00:28:46,360
Speaker 4: through to b Taylor Swift that get everybody like she

579
00:28:46,520 --> 00:28:49,480
Speaker 4: does pretty much everybody. She's got a country fan, she's

580
00:28:49,520 --> 00:28:52,520
Speaker 4: got me, she's got an eight year old, she's got everybody.

581
00:28:52,600 --> 00:28:53,160
Speaker 3: She really does.

582
00:28:53,800 --> 00:28:56,160
Speaker 4: But then again, I would say without streaming and everything,

583
00:28:56,200 --> 00:28:59,040
Speaker 4: you know, one of the biggest events of the year

584
00:28:59,560 --> 00:29:02,840
Speaker 4: was Willie Nelson's ninetieth birthday at the Bowl this past

585
00:29:02,880 --> 00:29:05,440
Speaker 4: week and all those artists that showed up to honor

586
00:29:05,560 --> 00:29:07,400
Speaker 4: him and do all that, you know, and we did

587
00:29:07,440 --> 00:29:11,320
Speaker 4: a Beach Boys special recently the Grammy Beach Boys special

588
00:29:11,600 --> 00:29:15,120
Speaker 4: where all these young and upcoming and established artists showed

589
00:29:15,160 --> 00:29:17,000
Speaker 4: up to sing their songs and guys were there, you know,

590
00:29:17,080 --> 00:29:19,800
Speaker 4: and got a huge rating on CBS, and you know,

591
00:29:20,200 --> 00:29:24,480
Speaker 4: so you know, so it's just a it's just more

592
00:29:24,560 --> 00:29:28,000
Speaker 4: event driven. But but those are like you don't have

593
00:29:28,120 --> 00:29:31,720
Speaker 4: to win everybody like the seventies, right, That's why there's

594
00:29:31,760 --> 00:29:33,640
Speaker 4: so when I said to you, you know, i'd have

595
00:29:33,720 --> 00:29:35,960
Speaker 4: to name twenty five acts that are doing huge concert

596
00:29:36,040 --> 00:29:38,200
Speaker 4: business when in the old days there'd be three tours.

597
00:29:37,960 --> 00:29:38,320
Speaker 3: On the road.

598
00:29:38,400 --> 00:29:42,000
Speaker 4: Right exactly, it is it is, you know, if there

599
00:29:42,200 --> 00:29:44,840
Speaker 4: ever was such a thing as the gold rush in

600
00:29:44,920 --> 00:29:46,200
Speaker 4: the music businesses.

601
00:29:45,880 --> 00:29:49,720
Speaker 3: Right now really the gold rush is now. Is it

602
00:29:49,760 --> 00:29:50,440
Speaker 3: going to continue?

603
00:29:50,480 --> 00:29:51,200
Speaker 4: I certainly hope.

604
00:29:51,240 --> 00:30:12,960
Speaker 1: So, yeah, thanks for joining us on Table for two.

605
00:30:13,360 --> 00:30:15,680
Speaker 2: Because Irving's time in the music industry, which is back

606
00:30:15,720 --> 00:30:19,000
Speaker 2: to the nineteen seventies, he has obviously seen many changes

607
00:30:19,040 --> 00:30:19,560
Speaker 2: take place.

608
00:30:20,360 --> 00:30:23,280
Speaker 1: How has it changed? What's an artist career look like now?

609
00:30:25,400 --> 00:30:27,959
Speaker 5: Our careers, I mean, the careers have changed, like when

610
00:30:28,000 --> 00:30:30,080
Speaker 5: you were like I think for some reason, I'm just

611
00:30:30,320 --> 00:30:32,880
Speaker 5: a barber. Streison popped into my head right now of

612
00:30:33,040 --> 00:30:36,400
Speaker 5: like what a career how it began. Are those doable now?

613
00:30:36,880 --> 00:30:37,880
Speaker 3: You know? Absolutely?

614
00:30:38,040 --> 00:30:38,240
Speaker 1: Yeah?

615
00:30:38,440 --> 00:30:40,440
Speaker 4: Yeah, I mean and the great thing that what streaming

616
00:30:40,440 --> 00:30:43,080
Speaker 4: and everything did people could happen quicker. I mean, how

617
00:30:43,200 --> 00:30:45,800
Speaker 4: quick did a Lady Gaga appear on the I mean

618
00:30:45,960 --> 00:30:48,120
Speaker 4: Lady Gaga was running around New York begging for a

619
00:30:48,200 --> 00:30:50,840
Speaker 4: record deal one day and maybe twelve months later was

620
00:30:50,880 --> 00:30:51,920
Speaker 4: the biggest act in the world.

621
00:30:52,000 --> 00:30:56,280
Speaker 3: Yeah, so yeah, I mean, you're much luckier to start

622
00:30:56,400 --> 00:30:59,000
Speaker 3: now than in the seventies because you were going to work.

623
00:30:58,880 --> 00:31:01,280
Speaker 4: Five, six, eight, ten years to happen back really you

624
00:31:01,400 --> 00:31:03,520
Speaker 4: had to go play everywhere and tour the world.

625
00:31:03,920 --> 00:31:07,480
Speaker 3: John Bonjoby grounded out in the entire world, right exactly,

626
00:31:07,760 --> 00:31:09,240
Speaker 3: You're so dry. I didn't even think about that.

627
00:31:09,360 --> 00:31:11,440
Speaker 5: And Gaga to me is just like, you know, I

628
00:31:11,480 --> 00:31:13,880
Speaker 5: could name ten of those twenty of those, right if

629
00:31:13,960 --> 00:31:16,959
Speaker 5: you get, if you have it and you get, I mean,

630
00:31:17,040 --> 00:31:18,160
Speaker 5: how many how many of these?

631
00:31:18,400 --> 00:31:20,600
Speaker 4: Was what happened on basically your first real album? Right?

632
00:31:20,760 --> 00:31:23,920
Speaker 3: She really did one direction their first album. Yeah, I mean,

633
00:31:24,280 --> 00:31:28,400
Speaker 3: these massive stadium sized tours are launched in a minute.

634
00:31:28,960 --> 00:31:31,360
Speaker 3: When do you know, like I think it's kind of

635
00:31:31,640 --> 00:31:34,440
Speaker 3: wrapped up. You had your time when when it's over.

636
00:31:34,640 --> 00:31:39,400
Speaker 4: Yeah, like when someone I always say, once a star

637
00:31:39,480 --> 00:31:40,360
Speaker 4: are always a threat.

638
00:31:41,240 --> 00:31:43,560
Speaker 3: Ah, it's never it's never over.

639
00:31:43,680 --> 00:31:43,800
Speaker 4: Now.

640
00:31:43,840 --> 00:31:45,760
Speaker 3: I can't tell you what goes on in the DNA.

641
00:31:46,640 --> 00:31:49,920
Speaker 4: It seems like as writers and acts get older, they

642
00:31:50,040 --> 00:31:54,520
Speaker 4: hit where be goes. Oh the songs you're writing, the

643
00:31:54,600 --> 00:31:56,520
Speaker 4: melodies that aren't as good as the ones you wrote

644
00:31:56,560 --> 00:31:58,040
Speaker 4: when you were in your twenties and your thirties.

645
00:31:58,280 --> 00:32:02,600
Speaker 3: Yeah, I think that's musical taste changing more than it is.

646
00:32:03,000 --> 00:32:05,880
Speaker 3: They're not writing as good as songs. Right, well said it,

647
00:32:05,920 --> 00:32:07,640
Speaker 3: He goes, Look, I don't want to living on a

648
00:32:07,680 --> 00:32:10,360
Speaker 3: prayer anymore. I'm writing this. But John has written some.

649
00:32:10,480 --> 00:32:13,640
Speaker 4: Songs that beautiful songs that know that we're just as

650
00:32:13,760 --> 00:32:16,360
Speaker 4: much deserving as as some of his big hits.

651
00:32:16,400 --> 00:32:17,800
Speaker 3: They just came out at a different time.

652
00:32:18,400 --> 00:32:21,120
Speaker 4: If you listen to Long the other night, I don't

653
00:32:21,160 --> 00:32:23,200
Speaker 4: know why I pulled out Long Road out.

654
00:32:22,840 --> 00:32:23,920
Speaker 3: Of Eating the Eagles album.

655
00:32:24,040 --> 00:32:24,240
Speaker 1: Huh.

656
00:32:26,120 --> 00:32:27,960
Speaker 3: And if that album would have come out in the

657
00:32:28,040 --> 00:32:31,960
Speaker 3: seventies or ten hits on it? Right? Is that funny? Yeah?

658
00:32:32,080 --> 00:32:34,240
Speaker 5: It's And you know you talk about age too, like

659
00:32:34,320 --> 00:32:36,120
Speaker 5: you know we're living at a time where the stones

660
00:32:36,160 --> 00:32:37,200
Speaker 5: are rocking it.

661
00:32:37,280 --> 00:32:40,120
Speaker 4: Out where you know people are and by the way

662
00:32:40,360 --> 00:32:42,680
Speaker 4: the Stones are in making a record right for their

663
00:32:42,720 --> 00:32:45,360
Speaker 4: core fan it is a hit exactly. You don't have

664
00:32:45,440 --> 00:32:47,440
Speaker 4: to play the shark game anymore, right, you don't have

665
00:32:47,520 --> 00:32:49,960
Speaker 4: to play the shark right exactly, which is so great

666
00:32:50,160 --> 00:32:52,680
Speaker 4: and refreshing. You know. I was listening to John can

667
00:32:52,760 --> 00:32:56,560
Speaker 4: build a big audience for a song without without ever

668
00:32:56,640 --> 00:32:57,720
Speaker 4: playing the chart gaming.

669
00:32:57,680 --> 00:32:59,880
Speaker 5: Right, And I think as an artist, as he was

670
00:33:00,080 --> 00:33:02,600
Speaker 5: expressing like he doesn't you know the songs he wrote then,

671
00:33:02,760 --> 00:33:04,600
Speaker 5: were who even examined it?

672
00:33:04,960 --> 00:33:07,240
Speaker 4: The song the Eagles closed with every Night is Desperado.

673
00:33:09,680 --> 00:33:12,400
Speaker 4: You think that was one of their five biggest hits,

674
00:33:12,480 --> 00:33:13,760
Speaker 4: ten biggest hits as a single?

675
00:33:13,840 --> 00:33:14,360
Speaker 3: What do you think?

676
00:33:14,680 --> 00:33:14,960
Speaker 6: Wow?

677
00:33:15,120 --> 00:33:17,120
Speaker 3: I mean, I love it. It's always part of my thing.

678
00:33:17,800 --> 00:33:20,440
Speaker 3: I'm gonna say ten. How about it wasn't a hit

679
00:33:21,200 --> 00:33:23,520
Speaker 3: at all? Now it's a hit.

680
00:33:23,680 --> 00:33:27,760
Speaker 4: It's a hit, but it wasn't there Just do the

681
00:33:27,880 --> 00:33:32,400
Speaker 4: nature of culture New Light by John Mayer. This his

682
00:33:32,560 --> 00:33:37,600
Speaker 4: most stream track, right, wasn't a hit? Okay, But you

683
00:33:37,800 --> 00:33:40,680
Speaker 4: tell that to the hundreds of thousands of people showing

684
00:33:40,760 --> 00:33:43,440
Speaker 4: up at his concerts, right, they don't know, they don't know.

685
00:33:43,480 --> 00:33:45,080
Speaker 4: They didn't hear it on iHeartRadio.

686
00:33:53,960 --> 00:33:57,280
Speaker 3: You know, you've had so much greatness and you have

687
00:33:57,400 --> 00:34:00,200
Speaker 3: and you've built such a It's not my greatness, it's

688
00:34:00,240 --> 00:34:03,040
Speaker 3: their greatness. Yes, you put my name on a ticket,

689
00:34:03,120 --> 00:34:06,120
Speaker 3: nobody's showing up. Totally understood, Right, I get it.

690
00:34:06,200 --> 00:34:07,960
Speaker 4: But the greatness I'm talking to some of the people

691
00:34:07,960 --> 00:34:10,520
Speaker 4: in my business forget that, right, that is true.

692
00:34:10,800 --> 00:34:13,279
Speaker 3: People start to believe something that is.

693
00:34:13,680 --> 00:34:17,520
Speaker 5: But the greatness I refer to is which I was

694
00:34:17,600 --> 00:34:20,439
Speaker 5: so respect of, It is your you know, your sense

695
00:34:20,480 --> 00:34:21,040
Speaker 5: of family.

696
00:34:21,360 --> 00:34:23,279
Speaker 3: You know, you and Shelley been married a long time,

697
00:34:23,360 --> 00:34:26,080
Speaker 3: you have four kids, like forty five years, forty five years.

698
00:34:26,160 --> 00:34:31,200
Speaker 3: She's amazing. The the ensemble of artists that you protect.

699
00:34:31,520 --> 00:34:36,040
Speaker 5: Stability, stability, do you has there ever been like the

700
00:34:36,200 --> 00:34:40,879
Speaker 5: time of like you're walking on glass and like what's

701
00:34:40,920 --> 00:34:43,120
Speaker 5: been like the hardest part of the journey to get

702
00:34:43,200 --> 00:34:45,760
Speaker 5: you here to this table?

703
00:34:45,960 --> 00:34:49,360
Speaker 3: COVID was no fun. Yeah, And trying to.

704
00:34:49,440 --> 00:34:51,759
Speaker 4: Keep all these people in their and their crews and

705
00:34:51,840 --> 00:34:54,520
Speaker 4: their bands and you know, nobody knew if music was

706
00:34:54,600 --> 00:34:59,080
Speaker 4: going to qualify for government help or anything. You know,

707
00:34:59,360 --> 00:35:01,759
Speaker 4: people got now for me, you know, it would have

708
00:35:01,760 --> 00:35:03,799
Speaker 4: been easy for me to my age and stuff to say,

709
00:35:03,800 --> 00:35:05,839
Speaker 4: you know what, I'm not going to do this anymore, right,

710
00:35:06,080 --> 00:35:08,200
Speaker 4: but it just made us want to hang in there more,

711
00:35:08,680 --> 00:35:11,160
Speaker 4: right because these people are friends and our family to

712
00:35:11,280 --> 00:35:12,000
Speaker 4: try and get it, you know.

713
00:35:12,280 --> 00:35:14,400
Speaker 3: I guess because the COVID thing is the most recent.

714
00:35:16,440 --> 00:35:18,160
Speaker 3: You know, look when the Napster's.

715
00:35:17,719 --> 00:35:20,000
Speaker 4: Thing hurt and it hit and it destroyed the economics

716
00:35:20,600 --> 00:35:25,440
Speaker 4: of recorded music, that didn't you know, that was you know,

717
00:35:25,800 --> 00:35:28,960
Speaker 4: that didn't really So every time there's been a change

718
00:35:29,080 --> 00:35:32,800
Speaker 4: in technology, it usually you know, we went from glass

719
00:35:32,920 --> 00:35:36,960
Speaker 4: records to vinyl records, to cassettes to eight tracks, which

720
00:35:37,040 --> 00:35:40,200
Speaker 4: of course you don't know what it is, but it

721
00:35:40,280 --> 00:35:45,399
Speaker 4: didn't have eight tracks. To CDs, okay, you know, then

722
00:35:45,520 --> 00:35:49,640
Speaker 4: to iTunes and then to streaming, and now the AI

723
00:35:49,760 --> 00:35:50,560
Speaker 4: thing is scary.

724
00:35:51,640 --> 00:35:53,040
Speaker 3: The AI thing should be scary.

725
00:35:53,040 --> 00:35:54,640
Speaker 5: I think a lot of people are scared of being

726
00:35:55,440 --> 00:35:58,560
Speaker 5: It's like even in politics or you know, all of

727
00:35:58,600 --> 00:36:00,480
Speaker 5: a sudden, I fail to.

728
00:36:00,480 --> 00:36:02,799
Speaker 4: Believe that the laws aren't going to protect somebody. If

729
00:36:02,840 --> 00:36:07,160
Speaker 4: somebody basically wants to say, hey, this is a this

730
00:36:07,360 --> 00:36:12,440
Speaker 4: is a we made this song as if it were Drake. Well,

731
00:36:12,480 --> 00:36:15,960
Speaker 4: that word drake belongs to Drake. So I'm hoping the

732
00:36:16,040 --> 00:36:18,840
Speaker 4: courts would give Drake some release, right, I mean, there

733
00:36:18,840 --> 00:36:20,880
Speaker 4: will be a lot of lawsuits going on, and I

734
00:36:21,000 --> 00:36:24,560
Speaker 4: think it's inevitable. Yeah, it's just do you but you know,

735
00:36:24,640 --> 00:36:27,680
Speaker 4: I don't have great confidence. And it starts with the politician.

736
00:36:27,760 --> 00:36:29,759
Speaker 5: Yeah, it seems like that. I was going to ask you, like,

737
00:36:29,840 --> 00:36:31,960
Speaker 5: what pisses you off? Because you're also known to have it.

738
00:36:32,080 --> 00:36:35,680
Speaker 3: You're really pisses me off. Two things pissed me off.

739
00:36:35,760 --> 00:36:41,480
Speaker 3: The politicians think they're protecting fans, but they're not. They

740
00:36:41,520 --> 00:36:42,040
Speaker 3: don't get it.

741
00:36:43,040 --> 00:36:48,000
Speaker 4: And too, the major record labels are showing a major

742
00:36:48,320 --> 00:36:51,680
Speaker 4: lack of respect for the for for you know, for

743
00:36:51,840 --> 00:36:55,120
Speaker 4: what you know, this was, this was this art belongs

744
00:36:55,200 --> 00:36:58,400
Speaker 4: to me, belongs to the creator, you know, and and

745
00:36:58,920 --> 00:37:02,239
Speaker 4: yeah there's a balance, you know, the balance has shifted too.

746
00:37:02,200 --> 00:37:03,080
Speaker 3: Far to the labels.

747
00:37:03,880 --> 00:37:07,600
Speaker 5: Yeah, it's astounding to me that people and that this

748
00:37:07,800 --> 00:37:10,560
Speaker 5: is actually an argument like that people don't understand the creator.

749
00:37:10,960 --> 00:37:11,719
Speaker 3: It's just what's going on.

750
00:37:12,000 --> 00:37:12,680
Speaker 6: Doesn't know shit.

751
00:37:12,800 --> 00:37:14,719
Speaker 4: It's right, it's and by the way, that's the reason

752
00:37:14,760 --> 00:37:16,960
Speaker 4: we got to strike in Hollywood now with the writers exactly,

753
00:37:17,560 --> 00:37:19,920
Speaker 4: they're saying we created this stuff, like let's you know,

754
00:37:20,520 --> 00:37:21,560
Speaker 4: so it's a really it is.

755
00:37:21,760 --> 00:37:24,719
Speaker 3: It is a fascinating time. Would you say this is well?

756
00:37:24,760 --> 00:37:25,120
Speaker 1: You did?

757
00:37:25,200 --> 00:37:26,920
Speaker 5: I mean, this is the gold rush, this is so,

758
00:37:27,040 --> 00:37:29,520
Speaker 5: this is sort of kind of one of the most

759
00:37:29,680 --> 00:37:32,759
Speaker 5: sounds like, according to Irving, is off one of the

760
00:37:32,840 --> 00:37:34,960
Speaker 5: most wonderful times in music.

761
00:37:35,160 --> 00:37:36,680
Speaker 4: Yeah, you got to be a dummy not to do

762
00:37:36,760 --> 00:37:40,800
Speaker 4: well in music right now? I mean, merch is selling

763
00:37:40,840 --> 00:37:43,279
Speaker 4: at record rates, tickets are selling at record rates.

764
00:37:43,320 --> 00:37:46,600
Speaker 3: Right streaming is it record record rates.

765
00:37:54,520 --> 00:37:56,959
Speaker 2: I've really enjoyed hearing about Irving's time in the music

766
00:37:57,000 --> 00:38:00,440
Speaker 2: industry today. He has so many great stories about artist

767
00:38:00,520 --> 00:38:04,480
Speaker 2: he represents and where everything is headed. I've heard is

768
00:38:04,480 --> 00:38:07,120
Speaker 2: another big passion though, and I want to know a

769
00:38:07,239 --> 00:38:08,320
Speaker 2: little bit more about it.

770
00:38:10,120 --> 00:38:14,400
Speaker 5: Well, I have another quessure because I've offered Brian Lords say.

771
00:38:14,239 --> 00:38:16,120
Speaker 3: You need to talk to everything about golf. He's a

772
00:38:16,440 --> 00:38:17,960
Speaker 3: huge golf Are you golfing?

773
00:38:18,200 --> 00:38:24,000
Speaker 5: I am not golfing, my appears Brian, Brian is not golfs.

774
00:38:23,320 --> 00:38:25,400
Speaker 3: Why does he want us to talk to know what

775
00:38:25,600 --> 00:38:28,680
Speaker 3: golf meant to you? Is it about the game itself?

776
00:38:28,840 --> 00:38:30,400
Speaker 3: Is it about bringing people together?

777
00:38:30,840 --> 00:38:31,080
Speaker 4: Is like?

778
00:38:31,320 --> 00:38:34,400
Speaker 3: What is the drive with your passion for golf?

779
00:38:35,160 --> 00:38:39,120
Speaker 4: Well, first of all, I didn't start playing golf until

780
00:38:39,120 --> 00:38:43,279
Speaker 4: my fifties, and my son's got me into him. So one,

781
00:38:44,200 --> 00:38:48,480
Speaker 4: it's safer than killing yourself skiing or carrying an achilles

782
00:38:48,520 --> 00:38:52,320
Speaker 4: playing tennis as you get older. But here's an addicting

783
00:38:52,400 --> 00:38:55,640
Speaker 4: thing about it. Yeah, then for people of all walks

784
00:38:55,680 --> 00:38:58,920
Speaker 4: of life, at all ages. Yeah, I mean, you're out there,

785
00:38:58,960 --> 00:39:04,120
Speaker 4: it's like it's it's a quiet moment. I mean, it's serene,

786
00:39:04,360 --> 00:39:07,759
Speaker 4: it's a quiet moment, it's green. You know, my wife

787
00:39:07,880 --> 00:39:13,000
Speaker 4: is an avid, incredible art collector, but you know, my

788
00:39:13,280 --> 00:39:18,000
Speaker 4: art collecting is studying our golf course architecture and landscaping

789
00:39:18,560 --> 00:39:22,480
Speaker 4: on golf courses and stuff like that. Uh. And my

790
00:39:22,600 --> 00:39:24,919
Speaker 4: best friend Eddie Q and I built our own golf course.

791
00:39:25,200 --> 00:39:27,360
Speaker 4: You did, Yeah, we're about to open in October. We

792
00:39:27,400 --> 00:39:31,960
Speaker 4: built it down and down near Lakinta, Thermal and Thermal California.

793
00:39:32,480 --> 00:39:36,759
Speaker 4: You are, But look, it's comraderie. I can't tell you

794
00:39:36,760 --> 00:39:38,759
Speaker 4: a number of deals that get down on a golf course.

795
00:39:39,000 --> 00:39:44,000
Speaker 4: And I'm a business deal junkie right too. And and

796
00:39:44,120 --> 00:39:45,800
Speaker 4: you know, and as we travel the world, you know,

797
00:39:46,040 --> 00:39:49,040
Speaker 4: it's you learn a lot about whether you're in Carolina

798
00:39:49,120 --> 00:39:50,239
Speaker 4: or you're in France or whatever.

799
00:39:50,560 --> 00:39:53,360
Speaker 3: You learn a lot about the culture by by what

800
00:39:53,440 --> 00:39:55,880
Speaker 3: their golf course is. And I gotta say thank you

801
00:39:56,080 --> 00:39:59,000
Speaker 3: for a life of giving me incredible music.

802
00:39:59,360 --> 00:40:02,400
Speaker 4: And I didn't record a note of it, no, right,

803
00:40:02,480 --> 00:40:04,399
Speaker 4: And I think that is music.

804
00:40:04,719 --> 00:40:06,759
Speaker 3: It is the music business if we help him get

805
00:40:06,760 --> 00:40:07,440
Speaker 3: the business right.

806
00:40:08,080 --> 00:40:08,719
Speaker 6: And I like that.

807
00:40:09,840 --> 00:40:12,160
Speaker 3: There are some managers that you know, might be involved

808
00:40:12,200 --> 00:40:13,919
Speaker 3: in the Some managers are.

809
00:40:13,880 --> 00:40:16,480
Speaker 4: Kind of producers too, you know. We're business people, you know,

810
00:40:16,560 --> 00:40:19,120
Speaker 4: and we choose to work with artists that are mostly

811
00:40:19,200 --> 00:40:23,480
Speaker 4: writers and help them, you know, paint, They paint the

812
00:40:23,520 --> 00:40:24,440
Speaker 4: picture and we help.

813
00:40:24,360 --> 00:40:24,879
Speaker 6: Get it sold.

814
00:40:24,960 --> 00:40:26,920
Speaker 3: Yeah, but you know, so I think, but we're supposed

815
00:40:26,920 --> 00:40:30,640
Speaker 3: to be their eyes and ears to get some sound

816
00:40:30,719 --> 00:40:31,120
Speaker 3: back to him.

817
00:40:31,120 --> 00:40:32,600
Speaker 4: But you know, but look, you're around it, and you

818
00:40:32,719 --> 00:40:34,399
Speaker 4: look at it and you're just an awe and yeah,

819
00:40:34,480 --> 00:40:37,640
Speaker 4: there's just true genius here. So we're just fortunate to

820
00:40:37,719 --> 00:40:40,160
Speaker 4: be able to be part of it. I don't really

821
00:40:40,320 --> 00:40:43,239
Speaker 4: feel like working in the music businesses. It's not really

822
00:40:43,320 --> 00:40:44,160
Speaker 4: a job and it's.

823
00:40:44,040 --> 00:40:44,680
Speaker 3: Not a grind.

824
00:40:45,160 --> 00:40:47,360
Speaker 4: You have to travel, you have to go to great places.

825
00:40:47,680 --> 00:40:49,680
Speaker 4: You get to you know, when you ask about golf,

826
00:40:49,880 --> 00:40:54,040
Speaker 4: you know, Glenn Fry who passed away like almost feels

827
00:40:54,080 --> 00:40:56,840
Speaker 4: like seven years. You know, Don Henley would call and

828
00:40:56,960 --> 00:40:59,440
Speaker 4: say to me, I don't understand something. He says, why

829
00:40:59,480 --> 00:41:03,239
Speaker 4: are we staying at a hotel in Kiowa Island and

830
00:41:03,400 --> 00:41:06,640
Speaker 4: opening the tour with six shows in the Carolinas. He says,

831
00:41:06,880 --> 00:41:08,799
Speaker 4: that wouldn't be so you and Glenn could play all

832
00:41:08,840 --> 00:41:10,680
Speaker 4: these great golf courses there, would it?

833
00:41:11,280 --> 00:41:15,120
Speaker 3: Of course it is well, that is a perfect way

834
00:41:15,200 --> 00:41:17,319
Speaker 3: to end up, say Ermie, thank you so much.

835
00:41:17,440 --> 00:41:18,960
Speaker 6: Pleasure too.

836
00:41:19,120 --> 00:41:21,880
Speaker 5: It was great and the company was great and absolutely

837
00:41:22,040 --> 00:41:24,560
Speaker 5: long time overdue, long time thanks Bruce.

838
00:41:24,400 --> 00:41:26,600
Speaker 3: Thanks and thanks for everyone pulling up with your today.

839
00:41:35,280 --> 00:41:37,960
Speaker 2: Table for two with Bruce Bosi is produced by iHeart

840
00:41:38,040 --> 00:41:42,280
Speaker 2: Radio seven three seven Park and Airmail. Our executive producers

841
00:41:42,320 --> 00:41:45,040
Speaker 2: are Bruce Bosi and Nathan King. Table for two is

842
00:41:45,080 --> 00:41:49,279
Speaker 2: researched and written by Bridget arsenalt. Our sound engineers are

843
00:41:49,360 --> 00:41:53,040
Speaker 2: Paul Bowman and Alyssa Midcalff. Table for two's la production

844
00:41:53,160 --> 00:41:57,839
Speaker 2: team is Danielle Romo and Lorraine Verrez. Our music supervisor

845
00:41:57,960 --> 00:42:01,640
Speaker 2: is Randall Poster Our talent booking by James Harkin. Special

846
00:42:01,760 --> 00:42:05,960
Speaker 2: thanks to Amy Sugarman, Uni Cher Kevin Euvane, Bobby Bauer,

847
00:42:06,120 --> 00:42:09,600
Speaker 2: Alison Kanter Graber, barbur and Jen and Jeff Klein, and

848
00:42:09,680 --> 00:42:11,920
Speaker 2: the staff at the Tower Bar in the world famous

849
00:42:11,960 --> 00:42:16,000
Speaker 2: Sunset Tower Hotel. For more podcasts from iHeartRadio, visit the

850
00:42:16,080 --> 00:42:19,960
Speaker 2: iHeartRadio app, Apple Podcasts, or wherever you listen to your

851
00:42:20,000 --> 00:42:20,760
Speaker 2: favorite shows.