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Speaker 1: Our Way with yours truly Paul Anka and my buddy

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Speaker 1: Skip Bronson, is a production of iHeartRadio. Hi, folks, this

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Speaker 1: is Paul.

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Speaker 2: Anka and my name is Skip Bronson. We've been friends

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Speaker 2: for decades and we've decided to let you in on

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Speaker 2: our late night phone calls by starting a new podcast.

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Speaker 1: And welcome to Our Way. We'd like you to meet

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Speaker 1: some real good friends of us.

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Speaker 2: Your leaders in entertainment and.

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Speaker 1: Sports, innovators in business and technology, and even a sitting

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Speaker 1: president or two.

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Speaker 2: Join us as we ask the questions they've not been

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Speaker 2: asked before, tell it like it is, and even sing

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Speaker 2: a song or two.

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Speaker 1: This is our podcast and we'll be doing it our way.

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Speaker 2: Hey, Skip, Hey, what's happening?

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Speaker 1: Not much, really don't have much to say, but I

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Speaker 1: just wanted to keep us continuity. You know, I talk

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Speaker 1: to you all the time. I thought I'm not calling you, frankly,

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Speaker 1: but I don't know what I would have done going

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Speaker 1: to bed without hearing your voice.

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Speaker 2: It's superstition.

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Speaker 1: Absolutely. I'm very strange that way, man, very strange. Hey, tomorrow,

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Speaker 1: guess who we've got, buddy.

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Speaker 2: It's not Tony Orlando.

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Speaker 1: You got it on the first try.

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Speaker 2: I'm proud you have to hear one note. I didn't

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Speaker 2: have one note.

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Speaker 1: I'm glad I called you early tonight. You gonna love

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Speaker 1: this guy. He is he's always retiring and we'll hit

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Speaker 1: on that form. That song yellow Ribbon. You and I

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Speaker 1: talked about it yesterday. I mean, it's not just a song, man,

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Speaker 1: it has so much meaning to this country and did.

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Speaker 2: It's an anthem. But you know, you think about it.

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Speaker 2: You can go up to people young and old and

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Speaker 2: you say tie a yellow ribbon, and they're going to say,

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Speaker 2: around the old oak. Grade doesn't matter. I mean, I

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Speaker 2: could say it to one of the caddies on the

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Speaker 2: golf course. Everybody knows that line. And he's the guy.

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Speaker 2: And back in the day when it was, you know,

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Speaker 2: the Vietnam War, and there was all this hatred, you know,

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Speaker 2: neighbor versus neighbor, but you could drive down a residential

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Speaker 2: street and see yellow ribbons around the tied around the

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Speaker 2: tree and you knew what that meant.

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Speaker 1: And he's got a great story, right, I mean, his

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Speaker 1: background is amazing, how he got in the business, how

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Speaker 1: he's had such a long, great career, and he's a

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Speaker 1: he's a good human being. And every time I see

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Speaker 1: somebody retiring from this business and I've seen them, it's

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Speaker 1: kind of a warm empathetic vibe that I have for

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Speaker 1: them because I say, really, will they might be back?

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Speaker 1: Because you know Sinatra came and went. A few of them.

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Speaker 1: You and I know they came and went. Just can't

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Speaker 1: get it out of your system. But we're going to

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Speaker 1: wish him well tomorrow. He's a great storyteller. I'm just saying,

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Speaker 1: cut a drink, put it next to you, lean back,

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Speaker 1: throw it at him, and then you can rest for

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Speaker 1: ten to fifteen minutes because he's got stories with a

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Speaker 1: lot of content, a lot of comment.

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Speaker 2: I'm looking forward to it, and we should ask him

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Speaker 2: about his time working with Clive Davis.

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Speaker 3: You know.

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Speaker 2: I mean, there's so many pieces to this guy that

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Speaker 2: we can hit on. So yeah, I'm looking forward to

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Speaker 2: so much.

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Speaker 1: So I guess we're going to hit the sheets.

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Speaker 3: Huh.

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Speaker 2: Yeah, it's time I go.

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Speaker 1: Do you sleep warm, sill, little Mama. We'll do the

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Speaker 1: same on your end you Hey, love you too.

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Speaker 3: By bye, Tony.

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Speaker 1: There you are, Tony, say hello to Skip my friend,

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Speaker 1: my partner in crime.

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Speaker 3: Here.

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Speaker 2: Hi, I'm good, my friend in the small World Department.

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Speaker 2: My son Scott is a friend of your son John.

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Speaker 2: What you have a son John, Yes, who's in the

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Speaker 2: podcast business. But I know and he and my son

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Speaker 2: Scott brons and are friends. Because he knew that we

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Speaker 2: were going to do this today. And he goes, Dad,

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Speaker 2: Tony Orlando, you got to be kidding me. His son,

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Speaker 2: He said, I've known his son John for the longest time.

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Speaker 2: We've been texting today. So I said, no way, Oh.

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Speaker 3: How nice. Well we got something very in common. Then

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Speaker 3: I would say, I would say, how many years?

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Speaker 1: How many years married? Tony thirty three? Thirty three? He's

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Speaker 1: from your.

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Speaker 3: First marriage, John's first marriage.

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Speaker 1: How many kids do you have? Tony two?

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Speaker 3: My daughter Jenny U thirty three and my son John's

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Speaker 3: fifty four. And I'm blessed with two incredible, really incredible

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Speaker 3: people as children.

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Speaker 1: That's good.

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Speaker 3: They're growing up to be great human beings and that's

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Speaker 3: the most most proud you can be as a parent.

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Speaker 3: For sure.

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Speaker 1: Absolutely, that's where it's at today, isn't it. They have grandchildren,

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Speaker 1: You have grandchildren.

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Speaker 3: No, I'm hoping you're hoping. I want grandchildren so bad.

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Speaker 3: Oh I want to be able to go here. Here's

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Speaker 3: an extra technology. Don't tell your mother and father here

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Speaker 3: it is listens something. Can I share something with everybody? Sure?

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Speaker 3: I see the guy who's hosting this whole thing, that

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Speaker 3: Paul Anchor guy right there, and.

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Speaker 1: My buddy Skip. Yeah.

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Speaker 3: I met Paul Anchor. I'm seventy nine. When I was

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Speaker 3: sixteen years old. We did a show in London together

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Speaker 3: called juke Box Jury, which was probably the first American idol.

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Speaker 3: And there really is a picture of Paul and I

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Speaker 3: together as teenagers. Okay, here's the thing about Paul Anchor.

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Speaker 3: Here is a forever legend. My brother David, who's in

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Speaker 3: his fifties, says, you know something, I have known Paul

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Speaker 3: Ankor my entire life as being that Frank Sinatra, that superstar,

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Speaker 3: that megastar all my life. I said to him, David,

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Speaker 3: I've known Paul Anka since I dreamed about being in

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Speaker 3: show business and had the absolute privilege of calling him

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Speaker 3: my friend for over sixty four years. When I tell

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Speaker 3: you that I love that boss man right there more

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Speaker 3: than you could ever even imagine. I'm so proud to

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Speaker 3: know him. He's never changed. He's been the same Paul

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Speaker 3: since I know him, since I'm sixteen and here I

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Speaker 3: am on your podcast all these years later, and Skip

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Speaker 3: is my son. His son is my son's friend in

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Speaker 3: this world.

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Speaker 1: Not great, Hey, Tony, thank you, that's well embraced. I

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Speaker 1: can say the same about you. You know, your loved

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Speaker 1: and speaking of let's get down to you, man, because

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Speaker 1: it's an incredible, incredible story. When you talk about when

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Speaker 1: we were sixteen, you know, it always fascinated me about

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Speaker 1: you because we all came from that small little tribe

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Speaker 1: in the beginning. How the hell did you go from

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Speaker 1: being a general manager with Clive Davis at a record

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Speaker 1: company and roll it into a hit record and know

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Speaker 1: what you are doing at a record company. I know

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Speaker 1: the story, but I want you to tell everybody listening

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Speaker 1: out there. It's fascinating.

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Speaker 3: It is crazy, but it's unbelievable because I don't know

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Speaker 3: anyone that's morphed out of being with a record company

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Speaker 3: winding up on a record.

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Speaker 1: I know that you wrote part of Candida.

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Speaker 3: The first hit, right, well, no, but what is crazy?

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Speaker 1: Tell us the story? Tell me the story, Paul is.

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Speaker 3: Referring to it, and it really is a back end

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Speaker 3: too everything story And the only one I can give

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Speaker 3: credit to is my manager him upstairs. He guided me

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Speaker 3: through all of this because when I met Paul, I

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Speaker 3: had just had a hit record called Halfway to Paradise, which,

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Speaker 3: by the way, Paul was Carol King's first hit with

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Speaker 3: Jerry Goffin. That was her first she was eighteen years old.

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Speaker 3: I was signed by Donnie Kirshner. I was brought to

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Speaker 3: Donnie Kirshner by Bobby Darren, who, of course Paul knew

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Speaker 3: and was like a brother's relationship with I was with Donnie.

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Speaker 3: The second record was called Bless You. That's what brought

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Speaker 3: me to England to meet Paul. That was Barryman and

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Speaker 3: Cynthia Wiles great verse. So those four writers ended up

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Speaker 3: in the Rock and Roll Hall of Fame, ended up

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Speaker 3: with Academy Award nominations and wins, by the way, for

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Speaker 3: Barrys were out there and Cynthia while and then the

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Speaker 3: British came. The British coming to this country affected everybody

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Speaker 3: but Paul Anka. Everybody else was out of work. The

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Speaker 3: only one still working was Paul Anka. The rest of

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Speaker 3: us had to go what are we going to do?

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Speaker 3: So I get a call from a lawyer named Clive Davis,

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Speaker 3: who's now president of Columbia Records. Out did I meet live?

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Speaker 3: He was the lawyer when I was sixteen signing with

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Speaker 3: Columbia Records, fifth on the totem pole of lawyers. Signed

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Speaker 3: me because my mother had a sign for me because

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Speaker 3: I was underaged. These years later, he becomes president of

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Speaker 3: the company. He says, hey, yeah, out of work? Huh?

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Speaker 3: I said yeah, He said, come work for me. I said, well,

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Speaker 3: I don't. Whatever you want me to do, he said,

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Speaker 3: I want you to become general manager of CBS Music.

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Speaker 3: I said, Fife, I don't even know how to open

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Speaker 3: a file cabinet. Are you crazy? You want me to

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Speaker 3: come work for me? What are your nuts? He goes, no,

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Speaker 3: you don't have to worry about opening file cabinets when

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Speaker 3: you have a great year. So I want you to

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Speaker 3: work with writers. I want you to sign young artists,

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Speaker 3: and I did so. The first act that I'm responsible

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Speaker 3: for is Blood, Sweat and Tears from Canada Wow. The

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Speaker 3: second I'm representing as a guy we signed named James Taylor.

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Speaker 3: And the third act that I am now signed and

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Speaker 3: produced as First Records was a kid named Barry Manilow.

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Speaker 3: So now in that four year period, I go from

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Speaker 3: general manager to vice president of CBS Music. Thinking my

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Speaker 3: record career where I met Paul back in the early

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Speaker 3: sixties was over. I'm going to be behind the desk.

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Speaker 3: So a guy walks into my office, Paul, you know

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Speaker 3: Heck Christ from the Tokens. Sure absolutely, Lion sleeps Tonight?

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Speaker 3: Was it in my office? And he goes told me,

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Speaker 3: I'm broke, do be a staby. I need three thousand

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Speaker 3: dollars to pay my rent? Could you buy this master?

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Speaker 3: The song is called Candida? Could you buy this master

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Speaker 3: for me? I broke really helped me out. I said, Hey,

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Speaker 3: I'm not a record company, I'm a music publisher. I said,

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Speaker 3: but I'll put you with Bell Records. That's our singles

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Speaker 3: oriented company. They have the Patrick's family that if dimension

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Speaker 3: you know, you'd be perfect for it. So I go

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Speaker 3: over and I filled the record with three thousand dollars

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Speaker 3: from my buddy as a favor. The record company says,

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Speaker 3: we'll give you the three thousand dollars as long as

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Speaker 3: you take off that terrible singer on this record. So

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Speaker 3: I go, okay. I go back to hang bless me.

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Speaker 1: Here's the good news in a good.

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Speaker 3: Singer on here, and he goes, you do it. I said,

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Speaker 3: I can't. I can't do this. I worked for five Davis.

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Speaker 3: I can't do this. He said, Tony, please, you know

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Speaker 3: understand I'm broke. And you used to do the Carol

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Speaker 3: King demos for the drifts like up on the Roof.

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Speaker 3: That was your right. I said, yeah, And is this

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Speaker 3: song not that same style? I said, yes it is.

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Speaker 3: He said, I said, okay, under one condition. We got

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Speaker 3: one hour to do it. Paul, listen to this. This

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Speaker 3: is how we cut Candida. I swear to God, what's

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Speaker 3: the first line? Stars will come out if they know

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Speaker 3: the jore about Okay, I got an act play the tape.

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Speaker 3: Stars won't come out and they know the jar about star.

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Speaker 3: What's the next line? That's the glow of one line

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Speaker 3: at a time. Finish the record in an hour. I

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Speaker 3: go back to my office. Three months later, it comes

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Speaker 3: on the billboard charge and the cash box charge with

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Speaker 3: a big bat red bullet. It's a smash.

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Speaker 1: Whose name, whose name's on it?

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Speaker 3: It was under the name Dawn, not under my name,

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Speaker 3: because I said the hank, don't shoot there put my

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Speaker 3: name on this record. I don't want helps my job.

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Speaker 3: Forget it. Call it Joe Sloane the knife leevirus, but

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Speaker 3: don't on Orlando. So he comes up with this name.

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Speaker 3: You know where Dawn came from, Paul Larry. You told

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Speaker 3: the president of Bell Records his daughter's name was Dawn,

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Speaker 3: and he figured he'd gets special fatement if he named

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Speaker 3: his studio group after the president. Now the record goes

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Speaker 3: to number one, sells two million records. It's back to

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Speaker 3: me and says, cut this next song for me. Please

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Speaker 3: don't he please? Just to follow up, I said, please,

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Speaker 3: I'm gonna lose my job. Nobody knows that's me. He said, please,

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Speaker 3: It's called not three times. This was the worst song

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Speaker 3: I ever heard in my life. Record, I said, I said,

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Speaker 3: the pipes. They only have pipes in New York. There'll

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Speaker 3: be a hit in Brooklyn. I get it. So I

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Speaker 3: go in and do it for him. Four million records,

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Speaker 3: six million records in two tries. So I think to myself, hmm,

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Speaker 3: I better go tell Clive. I'm going to Clive. Listen,

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Speaker 3: I said, Clive. I said, listen, I said, you know

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Speaker 3: this group Dawn. He said, yeah, I know that's you.

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Speaker 3: I said, wait a minute, you've known all this time

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Speaker 3: that I'm done. He said, it's the worst kept secret

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Speaker 3: in shell business. Well you crazy, He said, go after

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Speaker 3: your dream. If it doesn't happen, you could always come home.

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Speaker 3: I swear to god that's cool. And after that, it

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Speaker 3: was one thing after the next. We cut Yellow Ribbon

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Speaker 3: TV show and then they got back into Vegas. And

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Speaker 3: who do I see Paul Anka? Where is he backstage?

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Speaker 3: I don't think he remembers this backstage sitting in Sammy's

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Speaker 3: dressing room and Frank before they went on, right, you

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Speaker 3: remember that. I remember that Valley's Hotel and we reacquainted

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Speaker 3: ourselves together. And that man right there to me is

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Speaker 3: the current chairman of the board.

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Speaker 1: Tony. What was your first time in Vegas? And was who?

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Speaker 3: First time in Vegas? Was nineteen seventy three? I opened

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Speaker 3: for Don.

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Speaker 1: Rickles in seventy three, yep, I remember that three.

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Speaker 3: And then we stayed and stayed with Checky Green, who just.

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Speaker 1: Bet the way, yeah, may rest.

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Speaker 3: It's such a big business. We ended up going to

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Speaker 3: the Hilton where Elvis was working. We were there for

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Speaker 3: twelve years, but we did the Hilton and the Riviera

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Speaker 3: Engelbert would do ten weeks at the riv I would

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Speaker 3: do ten weeks at the Hilton. He would then switch over.

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Speaker 3: I would switch over. But you know you were already

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Speaker 3: in Vegas since Lincoln was president. Man, I mean very close.

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Speaker 1: At least Wilson, Yeah.

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Speaker 3: I mean here where you going?

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Speaker 1: In the early sixes, I started fifty eight with Sophie Tucker,

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Speaker 1: scared to death because Elvis didn't like it. There were

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Speaker 1: none of us in Vegas, of our elk. And they

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Speaker 1: talked me into opening for Sophie Tucker because you know, Bobby,

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Speaker 1: all of us, you know what it was like. We

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Speaker 1: wanted to evolve into what those guys were doing because

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Speaker 1: there was nothing else that was happening. So they talked

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Speaker 1: me in to working with Sophie. After opening night for

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Speaker 1: the first time, they'd had all kinds of kids that

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Speaker 1: showed up, which they'd never had, and they were screaming

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Speaker 1: and yelling and carrying on. And she was very, very

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Speaker 1: smart woman, and she was a gracious woman. She said,

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Speaker 1: my boy, you know I can't follow that. So you're

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Speaker 1: going to close the show and you can be with

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Speaker 1: those kids at the end. You'll close, and I close

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Speaker 1: for two weeks. And that started it from fifty eight on,

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Speaker 1: and then I wound up at the sands.

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Speaker 3: Well, fifty eight, you were still a kid.

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Speaker 1: I was still a kid at sixty. I was always

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Speaker 1: a kid til my voice change? Remember the thing then, Tony,

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Speaker 1: it was all about squeaky high voices. My dilemma was,

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Speaker 1: when's my voice gonna change? You know, all the guys,

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Speaker 1: you know, everybody was making hits, they had the falsetto

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Speaker 1: you're right, and mine didn't change till the sixties. And

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Speaker 1: you know, I said, well, I still am being business.

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Speaker 1: When's it gonna change? I was squeaking away. I think

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Speaker 1: your guy Kirshner found a kid called Nil Sadaka and said,

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Speaker 1: how Hi can you sing do ancha? And he his

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Speaker 1: was Carol. I had Diana and we kind of mirrored

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Speaker 1: each other. It was all those high voices that really

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Speaker 1: were selling the hits.

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Speaker 3: It was very much, very much influenced by you, very

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Speaker 3: much influenced by you.

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Speaker 1: Well, I won't argue that we all did well. He's

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Speaker 1: very talented. You know, we had some talented, good people.

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Speaker 1: We were that pack that nobody believed in us. Tony,

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Speaker 1: You remember that it was just us, you know, until

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Speaker 1: the Beatles, it nobody embraced this the way they did.

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Speaker 3: I just got inducted into the New Jersey Hall of Fame,

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Speaker 3: sipinatras in there in Houston and Frankie Valley and Bruce Springsteen.

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Speaker 3: Bruce starts walking towards me because his wife got inducted

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Speaker 3: the same day I did. And guess who inducted me.

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Speaker 3: Clive Davis all right in his nineties. He was inducting

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Speaker 3: me Eon Warwick. You talk about full circle, right, But

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Speaker 3: he comes walking towards me based on what you're just saying,

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Speaker 3: and he starts singing the Tarrell King song, Yeah for

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Speaker 3: the Paradise, and I go, Bruce, you you know this song? Man?

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Speaker 3: He goes, Tony come on. Before there was the Beatles,

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Speaker 3: before there was the Rolling Stones, before there was a Temptations,

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Speaker 3: before there was a Motown, there was you and Paul Anka.

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Speaker 1: You know, listen, Clive is the best. There's nobody like him.

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Speaker 1: He's done an amazing job with his lifeless career. But

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Speaker 1: you mentioned Carol King a few times. I remember when

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Speaker 1: she came over to ABC Paramount, but I remember how

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Speaker 1: close you were to her because she was a talented

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Speaker 1: woman and through the years I've just admired how she's

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Speaker 1: just given of herself. Did you ever see the play

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Speaker 1: on Broadway? Hers, Carol King, did you ever see her

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Speaker 1: play on Broadway.

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Speaker 2: Called Beautiful Beautiful?

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Speaker 3: Sure?

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Speaker 1: How did that move you? Tell me how you felt

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Speaker 1: emotionally about that, Tony.

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Speaker 3: Well, I be honest with you, Paul. When I saw

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Speaker 3: that play on Broadway, and I saw it four times,

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Speaker 3: it was my childhood, I went. It took me to tears.

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Speaker 3: I'll tell you why. When I signed with Donnie, I

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Speaker 3: played La Bamba for him. That was my auditioning song.

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Speaker 3: And he said, I'm going to make the next Trinny Lopez.

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Speaker 1: On God Forbid. Okay, I love, I love, but no

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Speaker 1: no no.

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Speaker 3: Oh, I go well, I said, and Richie Valance, Richie

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Speaker 3: val Yah. I said, well, thank you, Tony, he said.

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Speaker 3: He said, hang on, I'm going to get my new

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Speaker 3: writers in here. And he says, Carol, would you come

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Speaker 3: in the office. I want you to play something for

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Speaker 3: this young kid. She comes in. He was a writer.

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Speaker 3: You're gonna love this. Ball comes in, hadn't not a

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Speaker 3: hit yet with her husband Jerry and skips. She comes

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Speaker 3: in and she plays me a song that Donnie says,

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Speaker 3: it's going to be my first hit, and the song

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Speaker 3: was will you still love Me Tomorrow. And in the

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Speaker 3: play when I'm About to Tell You, they excluded me

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Speaker 3: as being part of that scene. But that was the

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Speaker 3: scene that was the first day of my dream, right.

359
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Speaker 3: So I cried when I seen that saw that in

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Speaker 3: the play, and the reason I it was because his

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00:20:01,280 --> 00:20:05,480
Speaker 3: art went. She plays the song and I say to Donnie,

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Speaker 3: it's gonna be my first record. That's so long because

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Speaker 3: I loved it, and he goes absolutely and Jack Keller,

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Speaker 3: who you know is a writer, he says, Tony, you

365
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Speaker 3: can't fuck that song. I said why. He said, it's

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Speaker 3: a girl's song. I said, how is it a girl's song?

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Speaker 3: He says to night with words unspoken, You say that

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Speaker 3: I'm the only one. But will my heart be broken

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Speaker 3: when the night meets the morning sun? Is this the

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Speaker 3: lasting treasure or just a moment's pleasure? Can I believe

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Speaker 3: the magic of your size? Really used to Love Me Tomorrow?

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Speaker 3: No sixteen year old boy says that to a girl.

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Speaker 3: Only a sixteen year old girl says that to a boy.

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Speaker 3: I still didn't get it. I thought they were taking

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Speaker 3: the song away from me. So we cut half of

376
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Speaker 3: the Paradise, which was her second song she wrote years later,

377
00:21:01,520 --> 00:21:05,679
Speaker 3: Barry Gibb records Will You Still Love Me Tomorrow? And

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Speaker 3: it's a fantastic record of it, and he says, he says,

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Speaker 3: we can't put it out as a single. It's a

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Speaker 3: girl song. So if you analyze that record, that song,

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Speaker 3: all sixty four years ago was written, not one male

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Speaker 3: singer has ever had.

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Speaker 1: A Yeah, it makes sense absolutely.

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Speaker 2: You know, while we're talking, we're reminiscing. I have to

385
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Speaker 2: tell you I'm a big fan. I said to Paul,

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Speaker 2: you know, we're talking about people we've been lining up

387
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Speaker 2: for this podcast, and your name popped right into my

388
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Speaker 2: head and I said, Tony Orlando the second has said it.

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Speaker 2: Paul said, oh my god, Bingo got to get Bunny.

390
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Speaker 3: Thanks.

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Speaker 2: Tony's got great stories, is a great human being. So

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Speaker 2: this is a real treat for me to meet you.

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Speaker 2: But my one of my memories of you is when

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Speaker 2: you were on the Dean Martin celebrity roasts. So I

395
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Speaker 2: was going to ask what Dean Martin actually belonged to

396
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Speaker 2: my country club? Who's an avid golfer and I'm just curious,

397
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Speaker 2: what memories do you have of Dean Martin.

398
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Speaker 3: Well, first of all, he got me on the show

399
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Speaker 3: to to roast Muhammad Ali and then he made me stay.

400
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Speaker 3: As you know, they did two or three shows that day.

401
00:22:12,280 --> 00:22:12,560
Speaker 2: You know.

402
00:22:13,520 --> 00:22:17,040
Speaker 3: And although I was very close to Jerry, I always

403
00:22:17,040 --> 00:22:19,960
Speaker 3: wanted to get to know Dean. I always wanted to

404
00:22:19,960 --> 00:22:22,960
Speaker 3: be friends with Dean, and that opened up that friendship

405
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Speaker 3: with him was being on the on the roasts. He

406
00:22:26,320 --> 00:22:29,119
Speaker 3: was very kind to me. In fact, when we roast

407
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Speaker 3: to Dean, I did something that Dean said on the

408
00:22:32,760 --> 00:22:36,119
Speaker 3: air that no one had ever complimented him before. On

409
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Speaker 3: the roast, I couldn't say anything bad about him. When

410
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Speaker 3: I got up on the daists to put him down,

411
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Speaker 3: I had lines to do it. I just couldn't do it.

412
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Speaker 3: So I just said, fuck it, I'm just gonna I'm

413
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Speaker 3: just gonna say what I feel from my heart. They

414
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Speaker 3: cut it, they cut it. I just can't put them down.

415
00:22:55,640 --> 00:22:57,640
Speaker 3: I couldn't do it. Even though it was in a joke.

416
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Speaker 3: After the show, he said, I'm keeping that. I said, Gan,

417
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Speaker 3: I'm so sorry. I said I couldn't. I couldn't roast you.

418
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Speaker 3: He said, you know what, I'm going to keep that.

419
00:23:08,000 --> 00:23:11,600
Speaker 3: And every time I watched a repeat of that particular

420
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Speaker 3: show he kept it in And now that he's gone,

421
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Speaker 3: and then that I have a memory of him, and

422
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Speaker 3: I remember the kind of relationship I had with Dean.

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Speaker 3: I used to see him at La Familia and have

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Speaker 3: dinner with him all the time. That was sad, you too, Paul.

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Speaker 4: Oh.

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Speaker 1: And he'd walk in. He's just sitting there. How you doing, Dean,

427
00:23:32,240 --> 00:23:34,879
Speaker 1: And he's saying, I'm waiting to die, Pally, I'm just

428
00:23:35,160 --> 00:23:36,040
Speaker 1: waiting to die.

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Speaker 3: And by the way, that is exactly the right word, Paul,

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Speaker 3: You're the only other person I know that ever heard that.

431
00:23:43,920 --> 00:23:46,400
Speaker 3: I heard him say that to people when I would

432
00:23:46,440 --> 00:23:49,240
Speaker 3: sit with him, just waiting to die, and he looked

433
00:23:49,280 --> 00:23:50,280
Speaker 3: like he was going to die.

434
00:23:50,400 --> 00:23:52,640
Speaker 1: He should. He had the teeth out, Yeah, had him

435
00:23:52,640 --> 00:23:53,560
Speaker 1: in the glass.

436
00:23:53,440 --> 00:23:57,560
Speaker 3: Slurping soup yeap and teeth out and looked just when

437
00:23:57,560 --> 00:23:59,320
Speaker 3: he lost his son, he lost everything.

438
00:23:59,400 --> 00:24:01,720
Speaker 1: That was it. It was it and I get it.

439
00:24:01,760 --> 00:24:04,000
Speaker 2: But in his better in his better days, when you

440
00:24:04,040 --> 00:24:06,840
Speaker 2: think of him in his better days, was he a drunk?

441
00:24:07,000 --> 00:24:09,240
Speaker 2: Was he an alcoholic? Or was that just an act?

442
00:24:09,320 --> 00:24:12,000
Speaker 3: Or saw it? I did you, Paul?

443
00:24:12,080 --> 00:24:15,160
Speaker 1: I never saw drunk, No, no, no. Frank and Sammy

444
00:24:15,680 --> 00:24:19,360
Speaker 1: drank more and got drunk more. I've never seen Dean.

445
00:24:19,320 --> 00:24:21,280
Speaker 2: But Dean was the one that always, you know, was

446
00:24:21,480 --> 00:24:23,560
Speaker 2: looked a little gipsy and that was but that was

447
00:24:23,960 --> 00:24:26,280
Speaker 2: an act. That was a shit real. My other question

448
00:24:26,600 --> 00:24:29,040
Speaker 2: one of you know, to segue from there, Tony. Another

449
00:24:29,080 --> 00:24:32,639
Speaker 2: guy who you were active with courds Jerry Lewis. You

450
00:24:32,720 --> 00:24:36,240
Speaker 2: wound up doing his telethon more than thirty times. How

451
00:24:36,240 --> 00:24:37,840
Speaker 2: did you first How did that happen? How did you

452
00:24:37,920 --> 00:24:39,040
Speaker 2: first meet Jerry Lewis?

453
00:24:39,080 --> 00:24:41,760
Speaker 3: You know, it's crazy. I met Jerry Lewis when I

454
00:24:41,800 --> 00:24:45,600
Speaker 3: was ten years old, and it was in nineteen fifty four,

455
00:24:46,160 --> 00:24:48,000
Speaker 3: and it was the first year or second year he

456
00:24:48,040 --> 00:24:50,119
Speaker 3: was doing the tele thought on the local channel in

457
00:24:50,200 --> 00:24:52,520
Speaker 3: New York. I loved him as a kid, right, he

458
00:24:52,640 --> 00:24:55,199
Speaker 3: was my idol? Yeah, what was Gary? I we tal

459
00:24:55,280 --> 00:24:57,440
Speaker 3: up around be like Jerry. So I went and got

460
00:24:57,440 --> 00:25:00,879
Speaker 3: a bottle and I got fifty nine dollars Paul Skipp,

461
00:25:01,200 --> 00:25:04,160
Speaker 3: fifty nine dollars in quarters and nickels and dimes, et cetera.

462
00:25:04,920 --> 00:25:10,400
Speaker 3: And I bring him to the Sheriffon Hotel on line. Here,

463
00:25:10,440 --> 00:25:14,119
Speaker 3: mister Lewis, this is the fifty nine dollars for your kids.

464
00:25:14,400 --> 00:25:17,120
Speaker 3: Little did I know that nineteen eighty three year lls

465
00:25:17,119 --> 00:25:22,600
Speaker 3: around I'm adlining at the Riviera Hotel and he comes

466
00:25:22,640 --> 00:25:25,240
Speaker 3: in and he says, Tony, I want you to be

467
00:25:25,320 --> 00:25:28,200
Speaker 3: the host to my telethon in New York, our hometown

468
00:25:28,720 --> 00:25:30,959
Speaker 3: where we started. Would you do that? I said, are

469
00:25:30,960 --> 00:25:33,440
Speaker 3: you crazy? If I got an Academy award, I would

470
00:25:33,600 --> 00:25:37,159
Speaker 3: have been more honored than to host the telethon with you.

471
00:25:37,840 --> 00:25:42,760
Speaker 3: So with Sammy and Jerry and Ed McMahon and myself,

472
00:25:43,280 --> 00:25:45,520
Speaker 3: who was part of that team for thirty three years.

473
00:25:45,520 --> 00:25:49,200
Speaker 3: There's thirty three years, three streets with Jerry, and then

474
00:25:49,240 --> 00:25:51,440
Speaker 3: I ended up that ten year old kid. Not only

475
00:25:51,520 --> 00:25:54,040
Speaker 3: ended up doing those ten years, but I ended up

476
00:25:54,359 --> 00:26:01,200
Speaker 3: being asked the host is the celebration of life funeral? Jerry,

477
00:26:01,640 --> 00:26:05,199
Speaker 3: Goodbye to the world. That ten year old kid with

478
00:26:05,320 --> 00:26:08,639
Speaker 3: the little jar was now doing his funeral.

479
00:26:10,000 --> 00:26:14,560
Speaker 1: Great story, great memories with guys that you love, that

480
00:26:14,600 --> 00:26:29,320
Speaker 1: you idolized as part of an amazing career, Tony, You've had.

481
00:26:30,280 --> 00:26:32,480
Speaker 1: You know, I'm just curious because I know we've been

482
00:26:32,520 --> 00:26:36,280
Speaker 1: reading about it recently, and you know, I can identify

483
00:26:36,359 --> 00:26:39,240
Speaker 1: with it in a certain fashion. What's it like now

484
00:26:39,320 --> 00:26:41,280
Speaker 1: knowing that you're going to be off the boards, You've

485
00:26:41,320 --> 00:26:44,000
Speaker 1: made the decision, and you're going to go on to

486
00:26:44,160 --> 00:26:46,760
Speaker 1: hopefully with something that's going to be as meaningful with

487
00:26:46,840 --> 00:26:49,600
Speaker 1: your time. But what's the feeling like, Tony. I know

488
00:26:49,640 --> 00:26:53,400
Speaker 1: you just did your last gig in Vegas, and I've

489
00:26:53,440 --> 00:26:56,400
Speaker 1: heard that you're going to finish up in Mohican Son

490
00:26:56,480 --> 00:26:59,479
Speaker 1: in Connecticut. Share with me, Share with me the feeling

491
00:26:59,480 --> 00:27:02,159
Speaker 1: with our buddy Tom Cantone, one of the great people

492
00:27:02,200 --> 00:27:06,000
Speaker 1: in our business. Tell me about the emotion you went through.

493
00:27:06,240 --> 00:27:08,639
Speaker 3: I know you'll never retire, and I know, well not

494
00:27:08,680 --> 00:27:11,480
Speaker 3: if I can help it, not if I know. I

495
00:27:11,520 --> 00:27:13,359
Speaker 3: know you long enough to know you will never retire.

496
00:27:13,440 --> 00:27:15,920
Speaker 3: But here's what happened with me. I just felt it

497
00:27:15,960 --> 00:27:21,520
Speaker 3: was time. It's hard to describe. It's bittersweet, man, It's bittersweet.

498
00:27:21,600 --> 00:27:24,359
Speaker 3: I walked on stage last night at the casino at

499
00:27:24,359 --> 00:27:26,960
Speaker 3: the Niaga Falls that you've worked many times, you know,

500
00:27:28,080 --> 00:27:32,199
Speaker 3: Falls View Casino, and people were just the and they

501
00:27:32,280 --> 00:27:35,719
Speaker 3: knew I was retiring. I talked about it. I just

502
00:27:35,800 --> 00:27:38,400
Speaker 3: it's like I told my wife, I can still hit

503
00:27:38,440 --> 00:27:42,280
Speaker 3: the ball, I just can't run the bases. And what

504
00:27:42,320 --> 00:27:45,240
Speaker 3: I mean by that is I don't have a private shit.

505
00:27:45,880 --> 00:27:49,960
Speaker 3: I can't I can't handle the traveling anymore. I'm seventy

506
00:27:50,040 --> 00:27:53,920
Speaker 3: nine years old. I go through an airport, they cancelations,

507
00:27:54,040 --> 00:27:59,159
Speaker 3: delays for five hours. It's just ridiculous. The work. The

508
00:27:59,240 --> 00:28:04,520
Speaker 3: audiences are changing. The older they get, the less they get.

509
00:28:05,320 --> 00:28:08,160
Speaker 3: The people who are buying the shows are twenty five

510
00:28:08,240 --> 00:28:10,520
Speaker 3: years old. They don't know from a yellow ribbon and

511
00:28:10,600 --> 00:28:13,840
Speaker 3: not three times. And Tonio Lando, they don't know. Antonio.

512
00:28:14,200 --> 00:28:18,200
Speaker 3: I got to the point to fly my band anywhere

513
00:28:18,640 --> 00:28:21,679
Speaker 3: is an automatic nine ten thousand dollars. So if I

514
00:28:21,760 --> 00:28:24,960
Speaker 3: was a candy store and I look at my overhead

515
00:28:25,560 --> 00:28:28,439
Speaker 3: and I say, my overhead is such in order for

516
00:28:28,480 --> 00:28:32,240
Speaker 3: me to survive this candy store, I'm going to have

517
00:28:32,280 --> 00:28:35,320
Speaker 3: to make some cuts. To make some cuts means I'm

518
00:28:35,359 --> 00:28:40,360
Speaker 3: cutting my show. I can't cut my show, Paul. I

519
00:28:40,400 --> 00:28:43,960
Speaker 3: can't go and stand up and tell stories with a

520
00:28:44,080 --> 00:28:47,200
Speaker 3: video behind me, and I can't do it. I feel

521
00:28:47,240 --> 00:28:50,520
Speaker 3: like it's the Raging Bull scene at the end, you

522
00:28:50,560 --> 00:28:53,000
Speaker 3: know where I couldn't contend And he goes out to

523
00:28:53,080 --> 00:28:56,840
Speaker 3: fourteen people. I go there, So I said, what do

524
00:28:56,920 --> 00:29:01,000
Speaker 3: I do? So I noticed Elton John retired, Henny Loggin's

525
00:29:01,080 --> 00:29:07,520
Speaker 3: retired barigner retired I'm seeing all these guys. Bill Medley's retired,

526
00:29:07,760 --> 00:29:11,000
Speaker 3: Frankie Valley's retiring, and I thought to myself, you know,

527
00:29:12,600 --> 00:29:14,800
Speaker 3: it sounds like it's the right time for me. Also,

528
00:29:15,360 --> 00:29:19,160
Speaker 3: then I asked myself this question, what passion do I

529
00:29:19,240 --> 00:29:22,360
Speaker 3: have now? And you know, my passion is Paul. Whether

530
00:29:22,440 --> 00:29:25,680
Speaker 3: I succeed at it or not. I've always had a

531
00:29:25,720 --> 00:29:30,600
Speaker 3: writer's muscle to flet meaning I've always wanted to write

532
00:29:30,600 --> 00:29:33,720
Speaker 3: a Broadway show. I've written one. I've always wanted the

533
00:29:33,760 --> 00:29:37,320
Speaker 3: right screenplays. I've written two. I've always wanted to write

534
00:29:37,360 --> 00:29:39,840
Speaker 3: a novel. I'm in the middle of one. So my

535
00:29:40,000 --> 00:29:44,959
Speaker 3: writing juices, that creative part of me is more alive

536
00:29:45,000 --> 00:29:48,320
Speaker 3: and more exciting now than ever. The only thing I'm

537
00:29:48,320 --> 00:29:51,520
Speaker 3: going to miss, Paul, I swear to you, is those

538
00:29:51,560 --> 00:29:54,640
Speaker 3: people out there that look up at you with that

539
00:29:54,840 --> 00:29:58,440
Speaker 3: joy on their faces. You know, every place I work,

540
00:29:59,120 --> 00:30:03,920
Speaker 3: and this is no bullshit, every casino I work, this

541
00:30:04,000 --> 00:30:06,480
Speaker 3: is what I hear. Hey, man, when was the last

542
00:30:06,520 --> 00:30:09,520
Speaker 3: time you saw a fall angle. That's the greatest act,

543
00:30:09,800 --> 00:30:13,560
Speaker 3: that's the greatest performer. You should hear this. Have you

544
00:30:13,640 --> 00:30:16,120
Speaker 3: seen what he does up there? Do you see when

545
00:30:16,160 --> 00:30:17,920
Speaker 3: he comes out of the orange. What happens? Did you

546
00:30:17,920 --> 00:30:21,080
Speaker 3: ever see his clothes? Do you hear those horns? Oh?

547
00:30:21,200 --> 00:30:22,760
Speaker 1: Thank you for that.

548
00:30:22,280 --> 00:30:25,400
Speaker 3: That is what I hear everywhere though. So I just

549
00:30:25,440 --> 00:30:27,680
Speaker 3: want you to know that I know you and you

550
00:30:27,800 --> 00:30:31,760
Speaker 3: love your audiences. I know you sixty four years. I

551
00:30:31,800 --> 00:30:35,640
Speaker 3: know how cool you are. I know how strong you are.

552
00:30:36,280 --> 00:30:41,200
Speaker 3: I know how intelligent you are. I know how articulate

553
00:30:41,320 --> 00:30:45,840
Speaker 3: you are. But I also know your heart. I have

554
00:30:45,960 --> 00:30:48,680
Speaker 3: known your heart because I look for your heart as

555
00:30:48,720 --> 00:30:50,680
Speaker 3: a friend for a long time. And I want to

556
00:30:50,720 --> 00:30:53,080
Speaker 3: share with Skip what I mean by that. I went

557
00:30:53,080 --> 00:30:55,000
Speaker 3: through a period of time Skip, where I went through

558
00:30:55,040 --> 00:30:59,720
Speaker 3: a breakdown. Freddy Prince, twenty two year old kid dies

559
00:30:59,720 --> 00:31:05,880
Speaker 3: in mind my arms, Okay, it broke me. I couldn't work.

560
00:31:07,240 --> 00:31:10,000
Speaker 3: I mean in my thirties, I had to leave the business.

561
00:31:10,800 --> 00:31:14,520
Speaker 3: I had to the last pair of lips that kissed

562
00:31:14,520 --> 00:31:16,600
Speaker 3: his lips with these right here. And we had this

563
00:31:16,600 --> 00:31:19,080
Speaker 3: one thing in common. He was a hung Arican, I

564
00:31:19,160 --> 00:31:21,240
Speaker 3: was a Greek Aurecan. So we had that thing in

565
00:31:21,320 --> 00:31:24,200
Speaker 3: New York City, thing happening together. So he was like

566
00:31:24,240 --> 00:31:27,160
Speaker 3: a young brother to me. So I go through a breakdown,

567
00:31:27,360 --> 00:31:33,040
Speaker 3: a literal terrible breakdown, and I kind of leave the

568
00:31:33,080 --> 00:31:37,600
Speaker 3: business for a year, but unlike now, I yearned to

569
00:31:37,680 --> 00:31:40,160
Speaker 3: be back on that stage. So I made the decision

570
00:31:40,160 --> 00:31:43,000
Speaker 3: to come back. I come back to the Riviera Hotel.

571
00:31:44,040 --> 00:31:47,960
Speaker 3: I'm on stage, Skip, and the middle of the show,

572
00:31:48,120 --> 00:31:51,480
Speaker 3: I'm by myself, no Dawn. I don't know what to expect,

573
00:31:52,240 --> 00:31:54,520
Speaker 3: what life is going to give me. I'm back in

574
00:31:54,680 --> 00:32:00,880
Speaker 3: Las Vegas. And who walks on the stage. Paul Anchor.

575
00:32:01,360 --> 00:32:04,720
Speaker 3: And what does he do? He greets me with a

576
00:32:04,800 --> 00:32:10,600
Speaker 3: special lyric that he writes to my way, both with

577
00:32:10,720 --> 00:32:14,360
Speaker 3: a heart and both with a comedic point of view,

578
00:32:15,160 --> 00:32:20,600
Speaker 3: and he uplifted me in one song. He took my fear,

579
00:32:21,160 --> 00:32:27,560
Speaker 3: my worries, my pain, everything in one four minute moment,

580
00:32:28,960 --> 00:32:31,400
Speaker 3: gave me a hug and a kiss and walked off

581
00:32:31,480 --> 00:32:35,320
Speaker 3: that stage. That's what Paul incle is about. I am

582
00:32:35,360 --> 00:32:39,000
Speaker 3: telling you I've met them all. So it's Paul, but

583
00:32:39,040 --> 00:32:42,840
Speaker 3: I've met them all. There's no more Paul Anchors. They're

584
00:32:42,880 --> 00:32:46,120
Speaker 3: not there. And here's why I say.

585
00:32:45,920 --> 00:32:51,360
Speaker 5: That, I lose the lyric. Skip, I lose the lyric.

586
00:32:51,480 --> 00:32:54,560
Speaker 5: Look he's laughing. I lose the lyric, and I'm embarrassed

587
00:32:54,600 --> 00:32:57,000
Speaker 5: to tell him. He comes on my radio show and

588
00:32:57,200 --> 00:32:59,080
Speaker 5: embarrassed to tell him, Paul.

589
00:33:00,120 --> 00:33:05,560
Speaker 4: It's the lyric this gift, right, So finally I say,

590
00:33:05,600 --> 00:33:07,680
Speaker 4: I got to tell the truth, and I tell him

591
00:33:08,040 --> 00:33:10,520
Speaker 4: so Paul very quietly, you know Paul as he slips

592
00:33:10,520 --> 00:33:12,360
Speaker 4: his wine he's drinking it, or he's coffee.

593
00:33:12,360 --> 00:33:14,320
Speaker 3: You know, it's very cool. You know how Paul is.

594
00:33:14,480 --> 00:33:16,920
Speaker 3: He just keeps it to himself. He has a plan.

595
00:33:17,200 --> 00:33:21,320
Speaker 3: He knows it's taking the next thing. I know, it's

596
00:33:21,600 --> 00:33:27,360
Speaker 3: Christmas and I get a Christmas gift from Paul anchor

597
00:33:28,040 --> 00:33:31,440
Speaker 3: what is it? Maybe someday you played on the podcast.

598
00:33:31,960 --> 00:33:37,800
Speaker 3: It's a tape of Paul finding listen to me finding

599
00:33:37,880 --> 00:33:41,320
Speaker 3: the lyrics somewhere in his fault because you know, one

600
00:33:41,360 --> 00:33:44,239
Speaker 3: of those people that keeps everything he's ever done, and

601
00:33:44,280 --> 00:33:46,880
Speaker 3: he's meticulous, you know how he is. And he goes

602
00:33:46,920 --> 00:33:50,520
Speaker 3: and he finds the very lyric that he sings for me,

603
00:33:50,880 --> 00:33:54,240
Speaker 3: and he does it on a video as a Christmas

604
00:33:54,280 --> 00:33:58,960
Speaker 3: gift to me. Now, let me ask you a question. Seriously.

605
00:33:59,640 --> 00:34:04,120
Speaker 3: All right, business always gets wrapped for people having egos

606
00:34:04,160 --> 00:34:06,800
Speaker 3: and this and that, and they're not. You know, Kanye

607
00:34:06,840 --> 00:34:09,759
Speaker 3: puts down Taylor Swift and what he did was the

608
00:34:09,800 --> 00:34:12,560
Speaker 3: business we grew up in. We cared about each other,

609
00:34:13,160 --> 00:34:17,160
Speaker 3: and he showed it to me. Now, that's over fifty

610
00:34:17,320 --> 00:34:21,320
Speaker 3: years of friendship with a guide who could just simply

611
00:34:21,360 --> 00:34:24,960
Speaker 3: say I forget him. He blew it, Let him livers. No,

612
00:34:25,680 --> 00:34:29,479
Speaker 3: he shows up once, what comes back with the same

613
00:34:30,320 --> 00:34:35,160
Speaker 3: heart felt piece of material Again. I treasure that tape.

614
00:34:36,000 --> 00:34:38,839
Speaker 3: I show that tape to my family. I showed that

615
00:34:38,920 --> 00:34:42,319
Speaker 3: tape to other performers. I am so proud of my

616
00:34:42,480 --> 00:34:46,680
Speaker 3: friendship with you, young man, who you had, not your

617
00:34:46,680 --> 00:34:47,720
Speaker 3: age that you say.

618
00:34:47,600 --> 00:34:50,360
Speaker 1: You respect your elders two years older, but.

619
00:34:51,800 --> 00:34:58,239
Speaker 3: Get you have been an unbelievable talent artist friend and

620
00:34:58,320 --> 00:35:02,520
Speaker 3: I mean it, Paul, Thank you to You're really an

621
00:35:02,760 --> 00:35:06,400
Speaker 3: iconic legend, but still remained a heartfelt guy. I knew

622
00:35:06,560 --> 00:35:08,720
Speaker 3: when I met you when I was sixteen years old,

623
00:35:08,920 --> 00:35:09,720
Speaker 3: and that's the truth.

624
00:35:10,000 --> 00:35:13,520
Speaker 2: Well, I'll tell you I'm sitting here glowing because I

625
00:35:13,560 --> 00:35:15,879
Speaker 2: have two best friends, and Paul is both of them.

626
00:35:16,440 --> 00:35:17,840
Speaker 3: OPU.

627
00:35:19,320 --> 00:35:22,640
Speaker 2: He's a special guy. He really is. He is well,

628
00:35:22,719 --> 00:35:26,680
Speaker 2: his head comes down to almost normal size after those accolades.

629
00:35:26,760 --> 00:35:29,400
Speaker 2: Let me just ask you, the very first guest that

630
00:35:29,440 --> 00:35:31,680
Speaker 2: you had on your on your variety show was the

631
00:35:31,719 --> 00:35:35,240
Speaker 2: great One, Jackie Gleason, and the two of you became friends.

632
00:35:35,280 --> 00:35:38,320
Speaker 2: But I was told that that wasn't the case right away.

633
00:35:38,400 --> 00:35:40,399
Speaker 2: So what was that meeting? Like? What was that?

634
00:35:40,920 --> 00:35:42,480
Speaker 3: I don't know. Is that a pretty long story? You

635
00:35:42,480 --> 00:35:43,320
Speaker 3: want to hear that story?

636
00:35:43,440 --> 00:35:45,120
Speaker 1: Yeah, we want to hear the most Tony.

637
00:35:45,239 --> 00:35:46,520
Speaker 3: Yeah, definitely, Okay.

638
00:35:46,320 --> 00:35:47,880
Speaker 1: As long as there's more, As long as there's more

639
00:35:47,920 --> 00:35:48,640
Speaker 1: about me after?

640
00:35:51,520 --> 00:35:54,799
Speaker 3: Would you say, Jackie skip? Jackie was the great one

641
00:35:54,840 --> 00:35:55,120
Speaker 3: in his.

642
00:35:55,160 --> 00:35:57,160
Speaker 2: Day, without a doubt, without a doubt.

643
00:35:57,239 --> 00:36:00,520
Speaker 3: Right, everybody referred to him as the great One. Yes, right.

644
00:36:00,920 --> 00:36:05,200
Speaker 3: So Freddy Silverman, who was then president of CBS Television,

645
00:36:05,440 --> 00:36:07,320
Speaker 3: so the Tonio Land and Dawn Show, he named it

646
00:36:07,400 --> 00:36:10,839
Speaker 3: Tonio Land and Dawn. That was his baby. He took

647
00:36:11,719 --> 00:36:15,239
Speaker 3: responsibility for whatever happened. So the first guest that he

648
00:36:15,320 --> 00:36:19,640
Speaker 3: books on the show is Jack Deek Gleeson. Agin, I'm

649
00:36:19,680 --> 00:36:25,000
Speaker 3: about to work me little Toniolando with the great sketches,

650
00:36:25,360 --> 00:36:29,959
Speaker 3: singing with him, et cetera. So I come into rehearsals,

651
00:36:30,440 --> 00:36:33,319
Speaker 3: dress rehearsal day. You know, Jackie wouldn't rehearse, he just

652
00:36:33,840 --> 00:36:38,160
Speaker 3: I'm coming in, pal get ready, So Tellima and Joyce up,

653
00:36:38,239 --> 00:36:42,000
Speaker 3: Dawn are singing their duet on stage, and I'm sitting

654
00:36:42,080 --> 00:36:44,440
Speaker 3: right behind Jackie and he doesn't know it's me, And

655
00:36:44,480 --> 00:36:49,000
Speaker 3: he says, who the two and the amateur Knight and

656
00:36:49,040 --> 00:36:53,040
Speaker 3: Dixie I'm working with today? WHOA No, we have to

657
00:36:53,080 --> 00:36:56,879
Speaker 3: tell you. I wouldn't handle it today like I did then.

658
00:36:56,960 --> 00:37:00,520
Speaker 3: But remember I was twenty nine years old, full of

659
00:37:00,520 --> 00:37:04,400
Speaker 3: pisson vinegar right, and already in the business since I'm sixteen.

660
00:37:04,600 --> 00:37:07,960
Speaker 3: So I finally walk up to him and I say,

661
00:37:08,480 --> 00:37:11,080
Speaker 3: mister Gleeson, I'm a Paul. You just said. If you

662
00:37:11,160 --> 00:37:15,279
Speaker 3: think those girls don't know what means it's the N

663
00:37:15,280 --> 00:37:19,120
Speaker 3: word in Yiddish. They know what it means, you owe

664
00:37:19,160 --> 00:37:22,239
Speaker 3: them an apology. It shocks me that you would say

665
00:37:22,239 --> 00:37:25,319
Speaker 3: something like that. By the way, I haven't met me.

666
00:37:25,400 --> 00:37:28,040
Speaker 3: I'm your amateur knight in Dickie. My name's Tony Orlando.

667
00:37:28,320 --> 00:37:32,160
Speaker 3: So he goes just like this ball skip, I'm out

668
00:37:32,160 --> 00:37:35,520
Speaker 3: of here, pal, and he gets somebody walks out. Freddy

669
00:37:35,560 --> 00:37:38,919
Speaker 3: Simliman comes down. He goes, Tony, what are you doing?

670
00:37:39,360 --> 00:37:43,080
Speaker 3: Tragic cleon? I said, okay, what is I said? We

671
00:37:43,160 --> 00:37:46,440
Speaker 3: asked you something? Ready? If he said, who's the amateur

672
00:37:46,520 --> 00:37:49,759
Speaker 3: Knight and Dixie and the two on stage. Would that

673
00:37:49,800 --> 00:37:52,960
Speaker 3: be acceptable to you? Would you not ask him for

674
00:37:52,960 --> 00:37:55,560
Speaker 3: an apology? Are you? Are you going to kiss his

675
00:37:55,680 --> 00:38:02,160
Speaker 3: ass right to the end, Tony, You're right, but this

676
00:38:02,239 --> 00:38:04,920
Speaker 3: is your first show. And all I concerned it about

677
00:38:05,160 --> 00:38:08,520
Speaker 3: is that it say, hey, you're right, but let's placate him.

678
00:38:08,640 --> 00:38:11,080
Speaker 3: I'm going to get him back. I'm paying him twenty

679
00:38:11,120 --> 00:38:13,359
Speaker 3: five thousand dollars in those No one got twenty five

680
00:38:13,360 --> 00:38:16,880
Speaker 3: thousand dollars for a variety show appearance like Jackie. So

681
00:38:17,280 --> 00:38:21,200
Speaker 3: he comes back. Now, Jackie had an associate with him

682
00:38:21,480 --> 00:38:24,759
Speaker 3: that had the ascot and the plaid jacket, right, you know.

683
00:38:25,120 --> 00:38:27,160
Speaker 3: And all he would do. I swear to God this

684
00:38:27,320 --> 00:38:30,799
Speaker 3: is truth is open up a pack of parliaments, push

685
00:38:30,880 --> 00:38:33,439
Speaker 3: the bottom up. The cigarettes would come up, and he'd

686
00:38:33,440 --> 00:38:35,640
Speaker 3: take the cigarette and put it in Jackie's mouth and

687
00:38:35,760 --> 00:38:39,560
Speaker 3: light Jackie's cigarette. I swear to God that was his job.

688
00:38:39,640 --> 00:38:40,080
Speaker 2: I was there.

689
00:38:40,120 --> 00:38:42,000
Speaker 3: I sat it on my dressing room door. It's time

690
00:38:42,040 --> 00:38:44,440
Speaker 3: for me to do my sketch with mister Gleeson. And

691
00:38:44,440 --> 00:38:47,640
Speaker 3: the knock on the door is his gopher guy. Mister

692
00:38:47,680 --> 00:38:50,600
Speaker 3: Gleeson would like to go over the cue cards with you?

693
00:38:51,200 --> 00:38:54,520
Speaker 3: I said yes, Sir, I walk in and there's Jackie

694
00:38:54,719 --> 00:38:57,200
Speaker 3: and I got the que card guy there, and Jackie says,

695
00:38:57,960 --> 00:39:01,560
Speaker 3: now listen to me, no live in pal you got

696
00:39:01,560 --> 00:39:05,359
Speaker 3: that only the great one ad lips. I go, yes,

697
00:39:05,400 --> 00:39:08,520
Speaker 3: sirvice to Gleason. We go over the two cards and

698
00:39:08,520 --> 00:39:12,080
Speaker 3: we go on the stage. The song is called I'll

699
00:39:12,120 --> 00:39:15,720
Speaker 3: teach you everything I know. So it's all the gleasonisms.

700
00:39:15,960 --> 00:39:19,480
Speaker 3: So he'll go, I'll teach everything I know, and I go,

701
00:39:20,440 --> 00:39:23,920
Speaker 3: even how sweet it is, I'll teach you everything I

702
00:39:23,960 --> 00:39:27,240
Speaker 3: know right one of these days to the moon, Alice.

703
00:39:28,200 --> 00:39:32,520
Speaker 3: Take one, stop tape. He says, camera two, I want

704
00:39:32,520 --> 00:39:35,520
Speaker 3: to close up. The rector says camera two. Listen to

705
00:39:35,560 --> 00:39:39,799
Speaker 3: that's to Gleason. Please, I'll teach you everything I know,

706
00:39:40,320 --> 00:39:45,080
Speaker 3: even else sweet it is the teacher. Camera three, I said,

707
00:39:45,160 --> 00:39:48,120
Speaker 3: camera two has to close up. Back off, Yes, sir,

708
00:39:48,239 --> 00:39:52,960
Speaker 3: mister Gleason. It's the third time. I'll everything I know.

709
00:39:53,200 --> 00:39:55,799
Speaker 3: Heven own sweet it is. I'll tell you that. He

710
00:39:55,920 --> 00:40:01,400
Speaker 3: goes stop tape. I said, Ted is rolling. I say that.

711
00:40:01,400 --> 00:40:04,200
Speaker 3: I could see his eyes. He looked at me and

712
00:40:04,280 --> 00:40:07,439
Speaker 3: I said, come on, great one, you're the great ad liver.

713
00:40:08,080 --> 00:40:11,360
Speaker 3: Come on an ad lib now we have three hundred

714
00:40:11,360 --> 00:40:16,520
Speaker 3: people in the audience, and the audience goes, oh, go down.

715
00:40:16,920 --> 00:40:18,680
Speaker 1: I can't believe this hour.

716
00:40:19,280 --> 00:40:20,399
Speaker 3: I go and I knew him.

717
00:40:20,440 --> 00:40:22,440
Speaker 1: Go ahead, go ahead, finish in the street.

718
00:40:23,200 --> 00:40:28,919
Speaker 3: Go back to my dressing room. Ready. So I'm saying,

719
00:40:29,280 --> 00:40:32,399
Speaker 3: I said, I can't take this guy. I said, I

720
00:40:32,440 --> 00:40:35,520
Speaker 3: love him, I idolize him. He's brilliant, but I can't

721
00:40:35,600 --> 00:40:38,879
Speaker 3: take stop tape, stop tape stuff. It's ridiculous. We got

722
00:40:38,880 --> 00:40:43,880
Speaker 3: a director in here. He's pony shut. But it's the

723
00:40:44,040 --> 00:40:48,160
Speaker 3: first chocolt. You're right. I'm sorry, so sorry, sorry, mister Souliman.

724
00:40:48,800 --> 00:40:52,040
Speaker 3: Nancy Walker do you remember that name, Nancy Walker? Yes,

725
00:40:52,320 --> 00:40:55,880
Speaker 3: absolutely big on sitcoms and comedian. She walks into my

726
00:40:55,960 --> 00:40:59,200
Speaker 3: dress room and she goes, now you listen to me, Tony. Oh,

727
00:41:00,400 --> 00:41:05,000
Speaker 3: this son of a bitch he fired me in nineteen

728
00:41:05,280 --> 00:41:08,919
Speaker 3: forty nine in my first play. And I'm gonna get

729
00:41:09,040 --> 00:41:11,840
Speaker 3: him in this next sketch. And what is the next sketch?

730
00:41:12,400 --> 00:41:15,799
Speaker 3: Do you remember Oh Great Grasshopper? Remember that show, Oh

731
00:41:15,960 --> 00:41:20,200
Speaker 3: Great Gresshopper? It was any thing. So we did a

732
00:41:20,239 --> 00:41:24,799
Speaker 3: comedy sketch about ohs Gresshopper, And what's to happen is

733
00:41:24,840 --> 00:41:28,520
Speaker 3: that Nancy pulls her hands over like the hits him

734
00:41:28,560 --> 00:41:31,080
Speaker 3: over the head. He hits me over the head. So

735
00:41:31,280 --> 00:41:34,960
Speaker 3: playing a karate scene, but a funny karate scene. So

736
00:41:35,120 --> 00:41:41,560
Speaker 3: I see Nancy wind up. She's winding up, blly, oh great,

737
00:41:41,920 --> 00:41:47,239
Speaker 3: debrew leg and she comes up over her head and

738
00:41:47,960 --> 00:41:50,960
Speaker 3: she comes on Gleeson's head and I could see him,

739
00:41:51,120 --> 00:41:56,120
Speaker 3: but I know that I'm next, and I'm thinking I'm

740
00:41:56,120 --> 00:41:59,879
Speaker 3: gonna get it and showing up everybody both hands over

741
00:42:00,120 --> 00:42:03,120
Speaker 3: his head like this, and it comes down on my

742
00:42:03,239 --> 00:42:07,600
Speaker 3: head and waw, And I mean, where hit me? And

743
00:42:08,880 --> 00:42:12,000
Speaker 3: struck right? So I go back to my dressing room.

744
00:42:12,239 --> 00:42:15,480
Speaker 3: Show is over. Nancy comes in smiling, how spig out

745
00:42:15,520 --> 00:42:19,160
Speaker 3: of again? Said Nancy, I'm in trouble. CBS is going

746
00:42:19,200 --> 00:42:21,040
Speaker 3: to be so piston. Well, I just this is my

747
00:42:21,120 --> 00:42:23,239
Speaker 3: first show. She goes, hey, had it come in that

748
00:42:23,360 --> 00:42:26,520
Speaker 3: side of a X? Anyway, you get to knock on

749
00:42:26,600 --> 00:42:30,400
Speaker 3: the door. Who is it? The guy with Department cigarettes

750
00:42:31,400 --> 00:42:35,399
Speaker 3: dignation would like to see you in the dressing room.

751
00:42:35,840 --> 00:42:40,680
Speaker 3: Immediately I said, yes, sir. I go in and there's

752
00:42:40,760 --> 00:42:43,320
Speaker 3: Jackie with his back to the door, back to here

753
00:42:43,600 --> 00:42:46,400
Speaker 3: to this day, him stirring his drink. I hear the

754
00:42:46,440 --> 00:42:49,840
Speaker 3: ice clink clink, clink, clink clink, and I walk in.

755
00:42:50,000 --> 00:42:53,720
Speaker 3: He goes sit down. Pal said yes, sir, mister listen.

756
00:42:54,040 --> 00:42:57,359
Speaker 3: He says, uh, that script book on the table is

757
00:42:57,400 --> 00:43:00,160
Speaker 3: that for me? I said, yes, sir, you can have

758
00:43:00,280 --> 00:43:02,920
Speaker 3: that if you want it. He said, yeah, I want

759
00:43:02,920 --> 00:43:04,839
Speaker 3: to tell you what to do with that script book

760
00:43:04,880 --> 00:43:07,120
Speaker 3: of yours. Put it up and read to me what

761
00:43:07,200 --> 00:43:10,440
Speaker 3: I wrote on the first page. Yes, sir, mister Gleason,

762
00:43:10,520 --> 00:43:13,440
Speaker 3: and I opened it up. I look, this is dear Tony.

763
00:43:13,880 --> 00:43:16,880
Speaker 3: I apologize. Wow, I was wrong. Wow.

764
00:43:17,239 --> 00:43:18,840
Speaker 1: Jackie had the ending huh.

765
00:43:18,880 --> 00:43:22,040
Speaker 3: And then he says, where are the girls? They're the

766
00:43:22,080 --> 00:43:25,719
Speaker 3: ones I apology to, and he apologizes to them. So

767
00:43:25,840 --> 00:43:28,840
Speaker 3: this is the truth. I'm on that show for four

768
00:43:28,960 --> 00:43:34,680
Speaker 3: straight seasons, every single tape night, every night, every Friday,

769
00:43:35,120 --> 00:43:39,120
Speaker 3: I'm in makeup. The phone would ring. It's me Jackie.

770
00:43:39,560 --> 00:43:42,359
Speaker 3: I watched the show last week. I want to tell

771
00:43:42,400 --> 00:43:45,000
Speaker 3: you something. What the hell are you wearing? A silver

772
00:43:45,080 --> 00:43:48,279
Speaker 3: sent before and a black tuxedo. He would watch the

773
00:43:48,360 --> 00:43:51,279
Speaker 3: show and till every little thing that he saw that

774
00:43:51,600 --> 00:43:54,719
Speaker 3: help me. He would call four.

775
00:43:54,800 --> 00:43:57,920
Speaker 2: Straight years, that's amazing.

776
00:43:57,760 --> 00:44:00,880
Speaker 1: Great stuff. And in Tony. He was a plate you

777
00:44:00,920 --> 00:44:03,080
Speaker 1: know that. Yes, he used to go to He used

778
00:44:03,120 --> 00:44:07,719
Speaker 1: to go to Bill Fearravante in New York, who absolutely

779
00:44:07,840 --> 00:44:11,440
Speaker 1: from head to toe clothed that man right down to

780
00:44:11,480 --> 00:44:14,320
Speaker 1: the flower. Bill Fairvante, impeccable.

781
00:44:14,480 --> 00:44:16,720
Speaker 3: You know where my love for him was. My dad

782
00:44:17,239 --> 00:44:20,680
Speaker 3: looked like Jackie Gleason and he sounded like Jackie. So

783
00:44:20,840 --> 00:44:24,920
Speaker 3: to me, he was very much my dad's figure. So

784
00:44:25,000 --> 00:44:27,160
Speaker 3: it was a tough one. I'm so happy it ended

785
00:44:27,200 --> 00:44:28,279
Speaker 3: up happy. You know.

786
00:44:28,480 --> 00:44:32,360
Speaker 2: Paul told me, he said, skip, Tony's got great stories

787
00:44:32,600 --> 00:44:35,239
Speaker 2: and he's a great storyteller. But what he didn't tell

788
00:44:35,239 --> 00:44:38,479
Speaker 2: me is you got balls to do that. What you did,

789
00:44:38,800 --> 00:44:39,600
Speaker 2: you got balls.

790
00:44:41,120 --> 00:44:43,040
Speaker 3: But you heard what I said. I started it out

791
00:44:43,040 --> 00:44:45,560
Speaker 3: by saying I wouldn't have handled it that way today.

792
00:44:46,040 --> 00:44:46,920
Speaker 3: I really wouldn't have.

793
00:44:47,080 --> 00:44:49,399
Speaker 1: He wouldn't have said it either. He would have been

794
00:44:49,480 --> 00:44:52,080
Speaker 1: absolutely aware of what's politically correct.

795
00:44:52,239 --> 00:44:55,439
Speaker 3: I don't know what made him say that. I never

796
00:44:55,480 --> 00:44:58,000
Speaker 3: saw it happened with him again, you know, Paul, I

797
00:44:58,000 --> 00:45:01,880
Speaker 3: don't think you even know this. My uncle Carmine, My

798
00:45:02,040 --> 00:45:06,160
Speaker 3: uncle Carmen's name is Carmine Faba, the ma to d

799
00:45:06,480 --> 00:45:10,280
Speaker 3: of the Kopa Cabana.

800
00:45:08,960 --> 00:45:15,120
Speaker 1: Carmine, that love Carmine, that's my uncle loved them. Do

801
00:45:15,120 --> 00:45:17,959
Speaker 1: you know the great thing about he had balls. I'll

802
00:45:18,000 --> 00:45:20,799
Speaker 1: never forget Tony because you know, I was a kid

803
00:45:20,800 --> 00:45:22,640
Speaker 1: working there. I wrote all the music for the shows.

804
00:45:22,640 --> 00:45:25,360
Speaker 1: But I'm still a kid, and I'm saying, oh, where's

805
00:45:25,360 --> 00:45:27,560
Speaker 1: there going? Where am I going from here? I was

806
00:45:27,600 --> 00:45:31,040
Speaker 1: sitting ringside watching the man. You and I loved Sammy

807
00:45:31,120 --> 00:45:34,000
Speaker 1: Davis Junior. That was the talent and Frank knew it.

808
00:45:34,120 --> 00:45:39,120
Speaker 1: We all know it. I am sitting ringside watching Sammy

809
00:45:39,239 --> 00:45:42,600
Speaker 1: and he was in a song. He was saying, sometimes

810
00:45:42,640 --> 00:45:47,960
Speaker 1: I feel like a motherless child. Now, two tables over.

811
00:45:48,800 --> 00:45:52,960
Speaker 1: A couple of the boys were there, right noses sitting ringside.

812
00:45:53,000 --> 00:45:53,320
Speaker 3: Also.

813
00:45:53,880 --> 00:45:57,319
Speaker 1: One of them said, and you look like one. The

814
00:45:57,440 --> 00:46:02,000
Speaker 1: lights went out like this, Carmina said, get them three

815
00:46:02,080 --> 00:46:05,600
Speaker 1: guys go down, picked them up and the table took

816
00:46:05,640 --> 00:46:08,320
Speaker 1: them out. Put in another table and lightsman back up again.

817
00:46:09,400 --> 00:46:11,160
Speaker 3: Carry him out, table and all.

818
00:46:11,160 --> 00:46:18,239
Speaker 1: Gone, see table everything boom, beg your heart look back

819
00:46:18,239 --> 00:46:20,320
Speaker 1: to Sammy. I mean all within a minute. That's the

820
00:46:20,400 --> 00:46:20,920
Speaker 1: kind of story.

821
00:46:21,360 --> 00:46:26,800
Speaker 3: Everybody who's on this podcast right now, imagine this. Paul

822
00:46:26,840 --> 00:46:30,640
Speaker 3: and I know each other sixty four years, I knew

823
00:46:30,719 --> 00:46:33,960
Speaker 3: that Paul, at a young age, was already a megastar

824
00:46:34,080 --> 00:46:36,719
Speaker 3: at the famous Copa Cabana. This is going to blow

825
00:46:36,760 --> 00:46:42,040
Speaker 3: his mind, now what I you With three straight shows.

826
00:46:42,080 --> 00:46:43,200
Speaker 3: They snuck me in.

827
00:46:45,239 --> 00:46:48,760
Speaker 1: Wow Wow, me and Jackie Mason and every other comic

828
00:46:48,840 --> 00:46:51,680
Speaker 1: I brought in. It wasn't that some kind of place.

829
00:46:51,719 --> 00:46:54,839
Speaker 1: It was a basement. It was with pillars everywhere. I mean,

830
00:46:54,840 --> 00:46:56,000
Speaker 1: they made so much money.

831
00:46:56,000 --> 00:46:56,920
Speaker 3: It was sick.

832
00:47:07,160 --> 00:47:09,279
Speaker 2: Just to bring this up to real time, Tony. So

833
00:47:09,440 --> 00:47:12,920
Speaker 2: Paul performs, you know, constantly, and one of the places

834
00:47:12,960 --> 00:47:15,840
Speaker 2: he likes to perform is the mohegan Son and I

835
00:47:15,920 --> 00:47:18,839
Speaker 2: know that you're about to go there. It's interesting. I'm

836
00:47:18,840 --> 00:47:22,960
Speaker 2: originally from Connecticut and very close to them. Chuck Bonell,

837
00:47:23,040 --> 00:47:25,560
Speaker 2: the chief of staff's been there over twenty five years.

838
00:47:25,960 --> 00:47:29,720
Speaker 2: Great friend. James Gestner, the Chairman of the Tribe, Chairman

839
00:47:29,760 --> 00:47:31,600
Speaker 2: of the Tribal Council, as a friend. He's been a

840
00:47:31,680 --> 00:47:33,960
Speaker 2: chairman of the Tribal Council three years, but he's been

841
00:47:34,440 --> 00:47:38,799
Speaker 2: twenty seven years on the Tribal Council. The mohegan Son

842
00:47:38,880 --> 00:47:40,880
Speaker 2: is one of the places that clearly knows how to

843
00:47:40,920 --> 00:47:43,560
Speaker 2: do it. So I'm glad that that's going to be

844
00:47:43,640 --> 00:47:47,200
Speaker 2: one of your stops on this I don't call it

845
00:47:47,239 --> 00:47:49,160
Speaker 2: a farewell tour, but a farewell tour.

846
00:47:49,280 --> 00:47:50,000
Speaker 1: It's this stuff.

847
00:47:50,040 --> 00:47:52,400
Speaker 3: Well, the reason I'm posing it out there is because

848
00:47:52,400 --> 00:47:56,520
Speaker 3: of Tom Canton great. Of course, Tom loves Paul and

849
00:47:56,560 --> 00:47:59,919
Speaker 3: he's loved me the days in Atlantic City, I work

850
00:48:00,080 --> 00:48:03,520
Speaker 3: mohican Son when there was no arena, no hotel. I

851
00:48:03,600 --> 00:48:06,000
Speaker 3: worked mohegan Son when it was a tent, I remember,

852
00:48:06,320 --> 00:48:10,680
Speaker 3: and then it became ook Den and then Tony Bennett

853
00:48:11,160 --> 00:48:13,960
Speaker 3: h and myself we opened up the cabaret. Hit him

854
00:48:13,960 --> 00:48:16,600
Speaker 3: on a Friday night, me on a Saturday night, and

855
00:48:16,640 --> 00:48:20,160
Speaker 3: then they built the arena. So really it's it's almost

856
00:48:20,320 --> 00:48:24,640
Speaker 3: like it's home to me, mohican Son. It's a home.

857
00:48:24,760 --> 00:48:28,719
Speaker 3: If there's any one casino that I call home and

858
00:48:29,239 --> 00:48:33,920
Speaker 3: think of it as as a home base, its mohegan Son.

859
00:48:33,960 --> 00:48:36,239
Speaker 3: So when it came down to the last show I

860
00:48:36,280 --> 00:48:39,640
Speaker 3: was going to do after sixty four years performing, I

861
00:48:39,719 --> 00:48:41,279
Speaker 3: wanted it to be at mohegan Son.

862
00:48:41,800 --> 00:48:43,799
Speaker 1: Well, Tom cantel and they love you there, and you're

863
00:48:43,800 --> 00:48:46,799
Speaker 1: in good hands with Tom. He's a great guy. Yeah great,

864
00:48:46,920 --> 00:48:49,239
Speaker 1: and he'll do it. He'll do it right. He'll do

865
00:48:49,320 --> 00:48:49,680
Speaker 1: it right.

866
00:48:49,960 --> 00:48:52,479
Speaker 3: You know what. I remember we put Tom Cantone and Paul.

867
00:48:53,080 --> 00:48:56,120
Speaker 3: You did for him, which did for me. You actually

868
00:48:56,160 --> 00:48:59,000
Speaker 3: wrote a birthday song for his daughter and sent them

869
00:48:59,040 --> 00:48:59,520
Speaker 3: the video.

870
00:49:00,080 --> 00:49:01,279
Speaker 1: Good family. He's a good man.

871
00:49:01,360 --> 00:49:02,560
Speaker 3: I know more about you than you.

872
00:49:02,840 --> 00:49:05,480
Speaker 1: I'm hearing all of that. You're telling me more than

873
00:49:05,560 --> 00:49:08,280
Speaker 1: I wanted to hear. I gotta get down to earthier

874
00:49:08,320 --> 00:49:11,000
Speaker 1: with all that. Listen, I gotta recheck Christen.

875
00:49:11,440 --> 00:49:14,040
Speaker 3: Listen. I know you here. We've all heard show business

876
00:49:14,040 --> 00:49:18,240
Speaker 3: bullshit in our lives before. But I'm retiring now. There's

877
00:49:18,239 --> 00:49:21,160
Speaker 3: no bullshit left in Tony. Okay, that's one of the

878
00:49:21,160 --> 00:49:25,520
Speaker 3: great suporters. Nobody but him can do it his way. Nobody.

879
00:49:25,719 --> 00:49:28,000
Speaker 1: Thank you, Tony. In keeping with that my friend you

880
00:49:28,080 --> 00:49:33,640
Speaker 1: mentioned earlier the night I showed up at the Riviera, So,

881
00:49:34,040 --> 00:49:37,399
Speaker 1: knowing me as you say you do, I went back

882
00:49:37,440 --> 00:49:41,680
Speaker 1: in the files and I dug this out. And if

883
00:49:41,680 --> 00:49:46,120
Speaker 1: there's anything there isn't anything more apropos as this. I'm

884
00:49:46,120 --> 00:49:50,080
Speaker 1: gonna start the piano with a seacord and this is

885
00:49:50,160 --> 00:49:53,960
Speaker 1: for you, buddy, This is for you. In fact, you

886
00:49:54,000 --> 00:49:55,960
Speaker 1: know what I'm gonna put my glasses on. So I

887
00:49:56,000 --> 00:50:07,600
Speaker 1: don't fuck it up tonight. It's my delight to say,

888
00:50:07,600 --> 00:50:12,200
Speaker 1: how right I think all this is now? This is

889
00:50:12,239 --> 00:50:16,560
Speaker 1: what I did at the River Folks years ago. Again

890
00:50:16,960 --> 00:50:23,279
Speaker 1: for him to state, I think it's great to celebrate

891
00:50:24,320 --> 00:50:31,040
Speaker 1: with love and kisses. It's with real joy. I greet

892
00:50:31,080 --> 00:50:36,399
Speaker 1: our boy, and I would shout it on the highway.

893
00:50:37,400 --> 00:50:43,399
Speaker 1: You know I'm straight, but I still state I did

894
00:50:43,600 --> 00:50:55,160
Speaker 1: Tony my way. It's joy to greet our boy. I

895
00:50:55,200 --> 00:51:02,719
Speaker 1: won't be coy. I've stated clearly. This hall is wall

896
00:51:02,800 --> 00:51:10,279
Speaker 1: to wall and he's as tall, well almost nearly, but

897
00:51:10,480 --> 00:51:15,640
Speaker 1: tall or small, I'm sure you all no. He comes

898
00:51:15,680 --> 00:51:22,680
Speaker 1: on and in a whiz way. By any tests, he's

899
00:51:22,840 --> 00:51:28,799
Speaker 1: just the best. He does it his way. For what

900
00:51:28,960 --> 00:51:34,920
Speaker 1: is a man? What has he got If not real guts,

901
00:51:36,200 --> 00:51:41,799
Speaker 1: then not a lot and chums. Tonight here on the.

902
00:51:41,880 --> 00:51:50,000
Speaker 6: Stage Orlando, he sure came of age. He came on

903
00:51:50,200 --> 00:51:57,040
Speaker 6: strong with every song, but he didn't sing.

904
00:51:57,520 --> 00:52:05,520
Speaker 1: My way, And so I have to go and do

905
00:52:05,680 --> 00:52:12,920
Speaker 1: my show. I can't win awards here. I'd stay, but

906
00:52:13,000 --> 00:52:18,080
Speaker 1: there's no pay. And by the way, I miss those

907
00:52:18,120 --> 00:52:26,600
Speaker 1: two broads here. Tony's a joy, he's my boy. He

908
00:52:26,800 --> 00:52:34,040
Speaker 1: entertained and in a rare way, but even he he

909
00:52:34,239 --> 00:52:40,080
Speaker 1: sure must agree. Don did it? And I wiggle my

910
00:52:40,120 --> 00:52:45,160
Speaker 1: ass on stage and say their way. I'm sure you

911
00:52:45,360 --> 00:52:48,480
Speaker 1: all can more than tell.

912
00:52:50,040 --> 00:52:55,640
Speaker 7: I wish him love, I wish him well, wish him

913
00:52:55,760 --> 00:53:04,560
Speaker 7: success beyond compare, I wish him everything, but hair.

914
00:53:04,800 --> 00:53:07,000
Speaker 1: I look at him and go, son of a bitch.

915
00:53:08,040 --> 00:53:14,840
Speaker 1: The Vegas Pact are glad he's back. They love Tony,

916
00:53:16,360 --> 00:53:29,839
Speaker 1: they love him. My way relived, My boy relived. That's

917
00:53:29,840 --> 00:53:31,040
Speaker 1: for you, my honey, Bunny.

918
00:53:31,120 --> 00:53:35,000
Speaker 2: Quite a tribute to you, Tony. Quite a tribute and

919
00:53:35,080 --> 00:53:37,920
Speaker 2: deservedly said everything right, Paul. He played his hand the

920
00:53:38,000 --> 00:53:40,120
Speaker 2: right way. He only made one mistake from what I've

921
00:53:40,200 --> 00:53:42,839
Speaker 2: learned today, and that is he didn't use the name

922
00:53:43,440 --> 00:53:48,000
Speaker 2: Joe Schmoe and the nail Biters. Such a great name,

923
00:53:49,680 --> 00:53:51,360
Speaker 2: Joe Schmoe and the nail Biters.

924
00:53:52,600 --> 00:53:55,840
Speaker 1: Listen, I'm being tempted here because I know Tony and

925
00:53:55,880 --> 00:53:57,880
Speaker 1: I've seen it with Frank and everybody else. Once you

926
00:53:57,920 --> 00:54:01,160
Speaker 1: get that needle up your arm and you know, you

927
00:54:01,200 --> 00:54:05,839
Speaker 1: say you're retiring, and everything, big percentage come back, a

928
00:54:05,840 --> 00:54:10,680
Speaker 1: big percentage. No, No, I'm going to finish this thought,

929
00:54:11,400 --> 00:54:14,040
Speaker 1: but I find the right moment you won't have to

930
00:54:14,080 --> 00:54:18,279
Speaker 1: worry about your overhead, your commercial. I'm going to put

931
00:54:18,280 --> 00:54:21,360
Speaker 1: your ass on stage with me, maybe once, maybe twice,

932
00:54:21,440 --> 00:54:23,920
Speaker 1: maybe three, and I'll give you a taste of it

933
00:54:23,960 --> 00:54:27,359
Speaker 1: for about fifteen twenty. You can do your hits and

934
00:54:27,520 --> 00:54:33,880
Speaker 1: go home to your family because I know you. Listen,

935
00:54:34,000 --> 00:54:37,759
Speaker 1: if your health God willing, we all have that important dynamic.

936
00:54:38,160 --> 00:54:39,960
Speaker 1: You're going to be on stage with me and you

937
00:54:40,000 --> 00:54:42,399
Speaker 1: can have some fun and go do what you want

938
00:54:42,440 --> 00:54:44,239
Speaker 1: to do, write your scripts and on and on.

939
00:54:44,480 --> 00:54:46,319
Speaker 3: Well, if I ever did that, I have a name

940
00:54:46,360 --> 00:54:46,879
Speaker 3: for the tour.

941
00:54:47,200 --> 00:54:47,880
Speaker 1: What's it called?

942
00:54:48,000 --> 00:54:49,319
Speaker 3: I changed my mind tour?

943
00:54:51,640 --> 00:54:55,160
Speaker 1: No, it's going to be called he changed his mind tour,

944
00:54:55,880 --> 00:54:56,239
Speaker 1: not me?

945
00:54:58,239 --> 00:55:01,279
Speaker 3: You know what? As you see what I'm talking about.

946
00:55:01,440 --> 00:55:07,040
Speaker 3: You see he wrote that to me. You ready, nineteen

947
00:55:07,200 --> 00:55:11,479
Speaker 3: seventy seven. We're in twenty twenty four. He wrote that

948
00:55:11,480 --> 00:55:14,600
Speaker 3: that many years ago. It still has it on a

949
00:55:14,640 --> 00:55:18,240
Speaker 3: piece of paper. Who the fuck does that in this business?

950
00:55:18,960 --> 00:55:22,960
Speaker 1: Listen, somebody who can't open a computer and doesn't want one.

951
00:55:22,880 --> 00:55:27,320
Speaker 2: He's a He's a hoarder. He's a hoarder the order.

952
00:55:27,239 --> 00:55:27,840
Speaker 1: Of the best.

953
00:55:28,239 --> 00:55:32,319
Speaker 3: This has been not only moving to me, but it's

954
00:55:32,320 --> 00:55:34,080
Speaker 3: one of the reasons why it's so hard to quit

955
00:55:34,120 --> 00:55:37,080
Speaker 3: this game because of people like you.

956
00:55:37,120 --> 00:55:37,400
Speaker 2: Paul.

957
00:55:38,080 --> 00:55:40,800
Speaker 3: You inspired me when I saw you at the Brooklyn

958
00:55:40,840 --> 00:55:44,680
Speaker 3: Paramount Theater. You inspired me when you heard those performances

959
00:55:44,719 --> 00:55:47,959
Speaker 3: like put your head on my shoulder, A young kid

960
00:55:48,000 --> 00:55:51,160
Speaker 3: being able to sing like that and right like that.

961
00:55:52,080 --> 00:55:54,560
Speaker 3: It was I wanted to sing like you and have

962
00:55:54,680 --> 00:55:59,760
Speaker 3: Frankie Avalanche. Well, that's what I wanted more than anything

963
00:55:59,800 --> 00:56:02,480
Speaker 3: in the world, was to have Frankie Avalanche's hair, which,

964
00:56:02,520 --> 00:56:04,600
Speaker 3: by the way, that sort of a big still has

965
00:56:04,640 --> 00:56:06,880
Speaker 3: the same hairy had when he was sixteen years old.

966
00:56:07,320 --> 00:56:08,160
Speaker 1: And then I go to dinner.

967
00:56:08,400 --> 00:56:10,560
Speaker 3: I never had his hand and I never had you. Yes,

968
00:56:10,640 --> 00:56:11,000
Speaker 3: you did.

969
00:56:11,040 --> 00:56:12,440
Speaker 1: You had a lot of hair, Tony.

970
00:56:12,960 --> 00:56:15,839
Speaker 3: What I have had is your friend.

971
00:56:15,880 --> 00:56:18,800
Speaker 2: And always will and we appreciate you, and we appreciate

972
00:56:18,840 --> 00:56:21,239
Speaker 2: your doing this my professors.

973
00:56:21,239 --> 00:56:23,480
Speaker 3: Old man, you're two years older than me, and you

974
00:56:23,600 --> 00:56:24,239
Speaker 3: always will.

975
00:56:25,320 --> 00:56:27,520
Speaker 1: I'll keep giving you the best advice I can.

976
00:56:27,640 --> 00:56:30,960
Speaker 2: Buddy, thanks for doing this serious say Tony, thank thank you,

977
00:56:31,120 --> 00:56:32,319
Speaker 2: very very very much.

978
00:56:32,400 --> 00:56:33,040
Speaker 3: This was just.

979
00:56:35,000 --> 00:56:38,440
Speaker 2: What a great what a great treat for me and

980
00:56:38,600 --> 00:56:39,920
Speaker 2: everyone who's going to listen.

981
00:56:40,040 --> 00:56:44,040
Speaker 3: It's just taking the time to do this and thank

982
00:56:44,080 --> 00:56:46,120
Speaker 3: you for taking the time to look in to my

983
00:56:46,200 --> 00:56:49,239
Speaker 3: background and come up with all the right moments, and

984
00:56:49,480 --> 00:56:53,160
Speaker 3: you did all that homework for me. I'm humbled by that.

985
00:56:54,120 --> 00:56:56,680
Speaker 3: Thank the two of you also for watching and listening

986
00:56:56,680 --> 00:57:00,640
Speaker 3: to these long stories and Paul there, Thanks for you.

987
00:57:00,880 --> 00:57:02,440
Speaker 3: They just aren't enough. Thanks for you.

988
00:57:02,760 --> 00:57:06,800
Speaker 1: Thank you, buddy, Thank you, Tony. Don't throw away the tuxedo, Tony,

989
00:57:07,080 --> 00:57:10,160
Speaker 1: don't throw away the tuxedo, and don't put don't put

990
00:57:10,200 --> 00:57:12,520
Speaker 1: on any weight or lose it. We can fix it.

991
00:57:13,000 --> 00:57:16,520
Speaker 3: I'm on those look on. I might just a little bit.

992
00:57:17,440 --> 00:57:19,960
Speaker 1: Hey, I might scare you with the phone call. Believe me,

993
00:57:20,520 --> 00:57:24,240
Speaker 1: be prepared, baby. This is worse than the Marines. When

994
00:57:24,280 --> 00:57:27,760
Speaker 1: I call you up, your show up. There's no training involved.

995
00:57:29,520 --> 00:57:32,760
Speaker 1: Love you, Tony. Thank you so much. God. Let's stay healthy, man,

996
00:57:33,760 --> 00:57:34,880
Speaker 1: stay healthy.

997
00:57:35,000 --> 00:57:35,360
Speaker 3: Thank you.

998
00:57:42,880 --> 00:57:46,160
Speaker 1: Our Way with Paul Anka skip Ronson is a production

999
00:57:46,480 --> 00:57:47,560
Speaker 1: of iHeart Reading.

1000
00:57:48,120 --> 00:57:51,640
Speaker 2: The show's the executive producer is Jordan run Todd, with

1001
00:57:51,760 --> 00:57:54,880
Speaker 2: supervising producer and editor Marcy Depino.

1002
00:57:55,240 --> 00:57:58,960
Speaker 1: It was engineered by Todd, Carlum and Graham Gibson, and

1003
00:57:59,080 --> 00:58:01,320
Speaker 1: mixed and mastered by Doug Boum.

1004
00:58:01,720 --> 00:58:04,160
Speaker 2: If you like what you heard, please subscribe, and leave

1005
00:58:04,240 --> 00:58:04,840
Speaker 2: us a review.

1006
00:58:05,200 --> 00:58:12,160
Speaker 1: For more podcasts on iHeartRadio, visit the iHeartRadio app, Apple podcasts,

1007
00:58:12,320 --> 00:58:15,720
Speaker 1: or wherever you listen to your favorite Chip