WEBVTT - Ken Kragen

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<v Speaker 1>Welcome, Welcome, brocome back to the Bob Left Sets Podcast.

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<v Speaker 1>My guest today is truly legendary artist manager Ken Craigan.

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<v Speaker 1>We have the Smothers Brothers, Lionel Richie the First Edition,

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<v Speaker 1>Travis Tritt, Tricia Yearwood, the comedian Gallagher. Is there anybody

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<v Speaker 1>who haven't represented Ken? It's amazing. It's sort of that

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<v Speaker 1>six degrees of separation. I'm connected to everybody one way

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<v Speaker 1>or another. So why did you decide to become an

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<v Speaker 1>artist manager? You know, it's funny. I didn't exactly decide that.

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<v Speaker 1>I went to Harvard Business School. Let's go back, where'd

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<v Speaker 1>you go to undergraduate? I went to undergraduated Berkeley. Okay.

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<v Speaker 1>My dad was vice chancer and teaching in the law school,

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<v Speaker 1>and uh, and we were living in Berkeley, and I

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<v Speaker 1>ended up going there thinking I was gonna be a microbiologist.

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<v Speaker 1>Why a microbiologist? I have no idea. Well, six for

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<v Speaker 1>we have to be started here. How many kids in

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<v Speaker 1>your family? Uh? Just myself and my sister and your

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<v Speaker 1>sister older or younger. She's younger by six years and

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<v Speaker 1>she's still with us. Oh, what's she up to? She's

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<v Speaker 1>got four kids and thirteen grandchildren's boyfriend. Her husband passed

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<v Speaker 1>away a few years ago, and you got a wonderful

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<v Speaker 1>boyfriend that's and which I love at her age and

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<v Speaker 1>they travel all over the world together. It's fabulous. Okay.

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<v Speaker 1>So you're growing up in Berkeley. This is the fifties

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<v Speaker 1>and fifth well we went. He was he was ahead

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<v Speaker 1>of Loeban Lobe here in l A. And that's a

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<v Speaker 1>legendary also entertainment. Yeah, he represented eleven studios. He was

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<v Speaker 1>a chief lobbyist and Sacramento for them. And he had

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<v Speaker 1>the funny thing is this is a good story. He

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<v Speaker 1>he had clients. His clients were Deborah Carr, William Holden,

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<v Speaker 1>Alan lad Mickey Rooney. And they used to come over

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<v Speaker 1>the house and I was like six years old or something,

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<v Speaker 1>and I would sit at their feet in the on

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<v Speaker 1>the rug in the living room and here the taught

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<v Speaker 1>my dad and them tell stories about all these entertainment stories, right,

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<v Speaker 1>And I remember, I do remember this perfectly that I

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<v Speaker 1>thought to myself, I'll never have any stories like that. Now,

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<v Speaker 1>you bring up any subject, I can tell you a story.

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<v Speaker 1>Something in my fifty or sixty years in this business. Okay.

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<v Speaker 1>So you're living where in l A. At that time,

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<v Speaker 1>we were living over near Fairfax in Beverly, where I

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<v Speaker 1>ended up much later, basically having an office at CBS. Okay,

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<v Speaker 1>you never left, but uh, in terms of were you

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<v Speaker 1>aware that your father was that successful? We we Uh,

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<v Speaker 1>we moved when my dad was really at Loeban Loeban

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<v Speaker 1>doing Grady ended up being the managing partner. Uh. We

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<v Speaker 1>lived on Irving in Los Angeles, right off of right

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<v Speaker 1>off of third Street. Uh, in that kind of area

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<v Speaker 1>where they shot movies a lot, and there were all

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<v Speaker 1>these big homes at the time. And I would go

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<v Speaker 1>down on the weekend and get to help run the

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<v Speaker 1>switchboard at Loeban Lobe. Yeah, that was like a little kid.

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<v Speaker 1>Where was their office that their office was Grant Union

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<v Speaker 1>and Grant Okick or something like that or Grand I'm sorry,

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<v Speaker 1>grand And and Union, I think. Okay, so you met

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<v Speaker 1>a lot of powerful, famous people when you were growing up.

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<v Speaker 1>Did that have an impact upon you? You know, I

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<v Speaker 1>don't think so. But what changed my life in a

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<v Speaker 1>funny way was uh that I we moved when I

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<v Speaker 1>was fifteen to Berkeley. And when we moved when my

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<v Speaker 1>dad took what happened, and it's a big lesson. My

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<v Speaker 1>dad was making I don't know, over a hundred thousand

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<v Speaker 1>a year, because that was a lot of money back then, ton,

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<v Speaker 1>I mean the fifties, fifty two. This was you See,

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<v Speaker 1>Berkeley comes to him and they offer him twelve five

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<v Speaker 1>to come pel five a year to come teach us

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<v Speaker 1>like ten percent of his salary right to come teach

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<v Speaker 1>at Berkeley in the law school. And he takes it,

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<v Speaker 1>and we leave Los Angeles and we moved to Berkeley.

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<v Speaker 1>I've used it in my classes at U c l

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<v Speaker 1>A when I've teaching there. I used it as a

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<v Speaker 1>great example of do what you love, what you really believe.

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<v Speaker 1>He stayed there forty two years. He taught till he

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<v Speaker 1>was eighty seven. He chaired committees till he was ninety five.

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<v Speaker 1>He died in his sleep at night. I mean he did.

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<v Speaker 1>He lived it so he never had any regrets none,

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<v Speaker 1>And somehow or other he ended up living, leaving my

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<v Speaker 1>kids and and uh and my sister's bunch of kids.

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<v Speaker 1>Uh A lot of money. I who knows it from where?

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<v Speaker 1>You know? So you moved You were born in l A.

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<v Speaker 1>You moved to fifteen What about your mother? My mother

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<v Speaker 1>was basically a housekeeper and homekeeper. But she had been

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<v Speaker 1>a violinists with the Oakland Symphony. And but after she

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<v Speaker 1>met my dad, slowly she wound that. Now she still

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<v Speaker 1>played even when we moved down here in groups there.

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<v Speaker 1>So music was in our life, but I was a

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<v Speaker 1>terrible musician. I played a lousy trombone. Okay, So your

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<v Speaker 1>parents born in the US and their parents born in

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<v Speaker 1>the Old Country as her family, this is kind of neat.

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<v Speaker 1>Our family came, at least one side of it, came

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<v Speaker 1>to San Francisco for the gold Rush. The great great

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<v Speaker 1>grandfather came across the Isthmus of Panama on a donkey

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<v Speaker 1>because there was no canal. Then he rode across. He

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<v Speaker 1>got on a steamer. He came up to San Francisco.

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<v Speaker 1>But he got there in eighteen fifty two and the

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<v Speaker 1>gold Rush was essentially over. And he then formed or

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<v Speaker 1>opened the first furniture store on Market Street in San Francisco.

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<v Speaker 1>And he had come from where he had come. Well,

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<v Speaker 1>we always thought it was Austria, but I think what

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<v Speaker 1>we're finding out is it may be part of Austria now,

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<v Speaker 1>but it was hungry, I think in that. And what

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<v Speaker 1>about Poland, and what about the other side of your family,

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<v Speaker 1>the other side of the family also from that kind

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<v Speaker 1>of area. My mom trade. This is kind of interesting,

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<v Speaker 1>My mom trace back to the fact that in the

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<v Speaker 1>seventeen hundreds a Jewish, a regular general in the German army,

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<v Speaker 1>married a Jewish woman and was kicked out of the

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<v Speaker 1>army in the seventeen hundreds. Right. I don't know how

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<v Speaker 1>she found that out, but she did, and so they

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<v Speaker 1>moved away from Germany. And so I think both sides

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<v Speaker 1>of the family came from that, you know, that Hungary, Austria,

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<v Speaker 1>Poland kind of one came in eighteen fifty. When did

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<v Speaker 1>the other one come? You know, the other one came

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<v Speaker 1>when there was a railroad that I don't know the

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<v Speaker 1>year now, I probably should, but the wild part of

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<v Speaker 1>it was, and this is the first She was with

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<v Speaker 1>the firstborn child, who was like four or five, and

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<v Speaker 1>the new and a new baby in her arms, and

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<v Speaker 1>she came across on a train and they changed trains

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<v Speaker 1>in Chicago, and the four or five year old ran

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<v Speaker 1>under a train and was killed. And she had to

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<v Speaker 1>arrive in San Francisco with the firstborn boy in the

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<v Speaker 1>family in a coffin wild you know, I don't know.

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<v Speaker 1>My mother was phenomenal at tracing all that stuff back. Okay,

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<v Speaker 1>So let's be like you were born in l Aye

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<v Speaker 1>and he didn't move to Berkeley. I was born in Berkeley, Okay,

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<v Speaker 1>and moved to l A. I remember. I think I

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<v Speaker 1>started Third Street School in Los Angeles and probably the

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<v Speaker 1>third grade. So you were here for like six or

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<v Speaker 1>eight years before you went back to Berkeley a little more,

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<v Speaker 1>and you were in Berkeley you went to regular public school. Yeah, yeah,

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<v Speaker 1>I went to Berkeley High. I'm an alumnus of Berkeley High.

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<v Speaker 1>So what was that experience? Like? Very interesting? Uh? You know?

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<v Speaker 1>For the interesting most interesting thing is Berkeley High had

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<v Speaker 1>a theater attached to it, a regular community theater, and

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<v Speaker 1>the first show I ever produced was for a group

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<v Speaker 1>of the Kingston Trio or no, it was sort of

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<v Speaker 1>the lot. It was for the Gateway Singers. I think

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<v Speaker 1>I don't even know they well, they predated they were

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<v Speaker 1>sort of the West Coast weavers, you know, in that

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<v Speaker 1>old folk era, you know, I know it was one

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<v Speaker 1>of those, and it probably was the king Centrio and

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<v Speaker 1>it was in the Berkeley Community Theater. And the reason

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<v Speaker 1>I remember it so well is the group made three

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<v Speaker 1>sixty dollars, which was more money than they had ever made.

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<v Speaker 1>That that night, I made eighty two dollars until my dad,

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<v Speaker 1>who was a tax expert, explained to me that there

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<v Speaker 1>were admission taxes and they were eighty dollars. So so

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<v Speaker 1>my first show in the Berkeley Community Theater, right where

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<v Speaker 1>I went to high school, I ain't two dollars. And

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<v Speaker 1>so you're in high school, You're a popular kid. Were

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<v Speaker 1>you a nerd? What kind of kid were you know?

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<v Speaker 1>I joined a club there, club called the Annoias and

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<v Speaker 1>we called what they were called the Unoias EU. And

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<v Speaker 1>I have no clue. I don't know. But what I

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<v Speaker 1>know is because this was the seeds of my career

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<v Speaker 1>is in l A. We had always had these big

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<v Speaker 1>dances with Nay. We had Frank Sinatra come and sing

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<v Speaker 1>it at a high school dance, you know, I mean,

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<v Speaker 1>it was unbelievable. Got to Berkeley and I felt like

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<v Speaker 1>they were ten years behind the time. So I started

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<v Speaker 1>through my dad, I made some connections and I started

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<v Speaker 1>bringing acts from l A to come up to perform

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<v Speaker 1>at dances or not concerts. At that point, we're talking

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<v Speaker 1>the fifties, uh and and I'll never forget because I

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<v Speaker 1>bought this. I bought the stand Kenton band. Except you

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<v Speaker 1>didn't get the band. You got a group that he

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<v Speaker 1>formed of musicians in San Francisco, and they sent the

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<v Speaker 1>drums that said Stan Kenton on it, right, you know,

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<v Speaker 1>but at least Stan Kenton was there, right. No, No,

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<v Speaker 1>Stan wasn't there either. Stan couldn't be there, and I

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<v Speaker 1>had booked his I think his wife was Julie Christie maybe,

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<v Speaker 1>and I booked her and she couldn't come either, So

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<v Speaker 1>they sent a lady named Terry Southern. These are all

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<v Speaker 1>acts no one would know now, you know, but the bad.

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<v Speaker 1>But we made money, you know. My mother sent me

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<v Speaker 1>a picture one time of me giving six four dollars

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<v Speaker 1>to the Red Cross from one of these shows that

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<v Speaker 1>I did, you know. Okay, so you're in high school,

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<v Speaker 1>are you you know, certainly looking at your career? Are

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<v Speaker 1>you that entrepreneurial? From day one? You have a paper

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<v Speaker 1>route that kind of I sold Time Life Sports illustrated subscriptions,

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<v Speaker 1>and I would go up to the Berkeley campus and

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<v Speaker 1>I would hand out discount cards in what was then

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<v Speaker 1>the Red Line. Now you wouldn't have stand in line

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<v Speaker 1>to register then you had to stand in a long,

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<v Speaker 1>long line for hours to go and actually register, and

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<v Speaker 1>I would have to. So I would go down the

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<v Speaker 1>line and hand everybody a students a student discount card

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<v Speaker 1>for Time Life for Sports Illustrated. But it had my address,

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<v Speaker 1>my home address on it. I would get. I remember

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<v Speaker 1>I made eighteen hundred dollars one week in commissions in

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<v Speaker 1>high school. It's like today doing My mother looked at

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<v Speaker 1>me like I was. She thought, oh, no thing is

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<v Speaker 1>going to come from this. So I did that. I

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<v Speaker 1>got over the years. Even after I got into college.

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<v Speaker 1>I had I called at the cal Subscription Service, but

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<v Speaker 1>because my first initials ken K in my last k,

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<v Speaker 1>it was called k L Subscription Service. I ended up

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<v Speaker 1>with fifty sales people around California on campuses. I so

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<v Speaker 1>I was totally entrepreneurial from the early stages there. Okay,

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<v Speaker 1>and how did you get you know, was it a

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<v Speaker 1>super discount price? Why did everybody say that it was

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<v Speaker 1>like half the normal price? And how did you get

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<v Speaker 1>hooked up? Well, somehow or other, I agreed to do it,

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<v Speaker 1>and they gave us. I would get like six they wanted.

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<v Speaker 1>They wanted the subscription, so that would give me like

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<v Speaker 1>sixty or seventy of the cause of the subscription. So

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<v Speaker 1>even though the subscription was less than five dollars for

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<v Speaker 1>for the year, I would get, you know, three sixty

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<v Speaker 1>five or something from every subscription. You know that our

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<v Speaker 1>mailbox would be stuffed with these cards and fifty salesman.

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<v Speaker 1>How much did you take from them? You know? I

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<v Speaker 1>don't remember that. I don't remember, but I might have

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<v Speaker 1>split with them or maybe I don't know. I gave

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<v Speaker 1>them enough as incentive, and even I let when I

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<v Speaker 1>went to Berkeley. I was in Berkeley four years and

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<v Speaker 1>then the King cent Trio I was doing their shows

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<v Speaker 1>and they wanted me to become their concert promoter on

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<v Speaker 1>the road. And the meantime, I got accepted to Harvard

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<v Speaker 1>Business School, and my father, I think that's the only

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<v Speaker 1>time in my whole life, he said, you've got to

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<v Speaker 1>do something. He said, if you don't go to Harvard

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<v Speaker 1>Business School now, you will never go Okay, let's go back.

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<v Speaker 1>You're in Berkeley studying, what I'm saying. From getting out

0:12:41.559 --> 0:12:44.520
<v Speaker 1>of high school, I thought I'd be a microbiologist. Uh.

0:12:44.679 --> 0:12:47.320
<v Speaker 1>Then I ended up in engineering and I did terrible

0:12:47.360 --> 0:12:49.880
<v Speaker 1>there because I was awful at math. I used to

0:12:49.880 --> 0:12:54.640
<v Speaker 1>skip math in high school for basketball practice and and

0:12:54.800 --> 0:12:57.720
<v Speaker 1>so I dropped out of that for after a year.

0:12:57.920 --> 0:13:00.480
<v Speaker 1>And they had a special deal for basketball players at Berkeley,

0:13:00.480 --> 0:13:03.520
<v Speaker 1>although I wasn't a big time player there, and it

0:13:03.559 --> 0:13:05.959
<v Speaker 1>was where you could make up. Of course, the schools

0:13:06.000 --> 0:13:09.400
<v Speaker 1>all have it now. This they created for the athletes,

0:13:09.760 --> 0:13:12.520
<v Speaker 1>and you could take subjects from You had to have

0:13:12.559 --> 0:13:17.200
<v Speaker 1>a total of twelve units and you could go up

0:13:17.240 --> 0:13:22.800
<v Speaker 1>to three different areas. So I picked anthropology, sociology, and journalism.

0:13:23.120 --> 0:13:24.920
<v Speaker 1>Don't ask me, I don't know why, but there were

0:13:24.960 --> 0:13:27.280
<v Speaker 1>all things I was interested in. So I did very

0:13:27.320 --> 0:13:31.319
<v Speaker 1>well because I now was taking things that were fascinating

0:13:31.360 --> 0:13:34.480
<v Speaker 1>to me and interesting to me. And I got all

0:13:34.480 --> 0:13:36.840
<v Speaker 1>ready to graduate from Berkeley, and I turned out I

0:13:36.920 --> 0:13:41.120
<v Speaker 1>was three units short. So my journalism for me who

0:13:41.160 --> 0:13:44.840
<v Speaker 1>was my sort of my mentor too, she gave me, uh,

0:13:45.360 --> 0:13:47.720
<v Speaker 1>she let me work on a study with her, and

0:13:47.920 --> 0:13:51.280
<v Speaker 1>she gave me three credits so I could graduate. Okay,

0:13:51.400 --> 0:13:54.560
<v Speaker 1>did you promote shows in college? Yes, we're at the

0:13:54.640 --> 0:13:57.720
<v Speaker 1>college or the idea. The first show I ever did

0:13:57.920 --> 0:14:03.240
<v Speaker 1>at the college was the group the Limelighters, and it

0:14:03.320 --> 0:14:06.040
<v Speaker 1>was in a sevenfty hall seed Hall. I've got the

0:14:06.080 --> 0:14:08.880
<v Speaker 1>poster on my wall at home. I know. The tickets

0:14:08.880 --> 0:14:13.520
<v Speaker 1>were seventy cents, okay, and I and it was first come,

0:14:13.559 --> 0:14:17.880
<v Speaker 1>first served, no pre sale. And I remember sitting in

0:14:17.920 --> 0:14:22.160
<v Speaker 1>the office of the editor of the of the school paper,

0:14:22.640 --> 0:14:25.360
<v Speaker 1>the Daily Cow, and saying to him, Oh, God, is

0:14:25.400 --> 0:14:27.640
<v Speaker 1>anybody going to show up? And we walked out of

0:14:27.720 --> 0:14:30.440
<v Speaker 1>his office, which was right across from the hall, and

0:14:30.560 --> 0:14:33.800
<v Speaker 1>there was a line around the building. We sold out.

0:14:34.400 --> 0:14:37.360
<v Speaker 1>It was my my first show on the Berkeley campus.

0:14:37.560 --> 0:14:41.120
<v Speaker 1>And and by the way, it led to my managing

0:14:41.120 --> 0:14:43.600
<v Speaker 1>that group after I got out of Harvard Business School,

0:14:44.000 --> 0:14:46.960
<v Speaker 1>because they thought of me as some kind of genius.

0:14:47.000 --> 0:14:49.480
<v Speaker 1>They had never done that, They've never made that much money.

0:14:49.720 --> 0:14:51.920
<v Speaker 1>They were appearing at the Hungry Eye, a little club

0:14:51.960 --> 0:14:55.240
<v Speaker 1>over in the Bay Area, and uh. And I was

0:14:55.280 --> 0:14:57.800
<v Speaker 1>like a hero as a kid, you know, from doing it.

0:14:58.000 --> 0:15:00.520
<v Speaker 1>And I actually ended up by the way U after

0:15:00.760 --> 0:15:03.840
<v Speaker 1>once I got professional, after Harvard, I wrote a book

0:15:03.880 --> 0:15:08.040
<v Speaker 1>on promoting college concerts. Okay, so the line lighters hadn't

0:15:08.040 --> 0:15:10.480
<v Speaker 1>broken yet if they're playing at the Hungry No, they

0:15:10.560 --> 0:15:14.760
<v Speaker 1>hadn't broken back. Okay. Now today it's a track people

0:15:14.840 --> 0:15:18.040
<v Speaker 1>become part of the concert committee, etcetera. Were you operating

0:15:18.080 --> 0:15:20.880
<v Speaker 1>totally independently or were you part of a club? No,

0:15:21.160 --> 0:15:24.200
<v Speaker 1>I was. I was operating pretty much independently, but I

0:15:24.240 --> 0:15:27.600
<v Speaker 1>was doing everything. In fact, once I took on the

0:15:27.640 --> 0:15:31.080
<v Speaker 1>management of that group after after the business school, I

0:15:31.160 --> 0:15:34.320
<v Speaker 1>would do everything from sending the laundry out to booking

0:15:34.360 --> 0:15:38.760
<v Speaker 1>the airfares to uh, you know, I'd be a shill

0:15:38.800 --> 0:15:40.760
<v Speaker 1>at the concert and have to throw out a line

0:15:40.800 --> 0:15:44.600
<v Speaker 1>that got a very funny reaction from the their response

0:15:44.640 --> 0:15:47.000
<v Speaker 1>to it, and stuff like that. I mean I was

0:15:48.000 --> 0:15:52.680
<v Speaker 1>a run spotlights. I sold souvenir programs, whatever was necessary

0:15:52.720 --> 0:15:55.640
<v Speaker 1>at that moment in time that had to be done

0:15:55.800 --> 0:15:58.280
<v Speaker 1>that would help the group I did. It was a

0:15:58.360 --> 0:16:00.880
<v Speaker 1>great education. They were older and me. They knew what

0:16:00.920 --> 0:16:05.160
<v Speaker 1>they were doing. I learned management. Okay, so you're still

0:16:05.200 --> 0:16:07.880
<v Speaker 1>in Berkeley. When you book a bandon Berkeley, you know,

0:16:07.960 --> 0:16:11.040
<v Speaker 1>today there's a huge guarantee and the promoter can lose money.

0:16:11.080 --> 0:16:13.960
<v Speaker 1>What was the deal back then? Well, I just you

0:16:14.080 --> 0:16:16.760
<v Speaker 1>reminded me of one grace whore. I booked Ray Charles,

0:16:17.680 --> 0:16:21.080
<v Speaker 1>and it's Saturday night in Berkeley and they get there

0:16:21.160 --> 0:16:25.320
<v Speaker 1>for rehearsal at four in the afternoon and Joe Adams,

0:16:25.400 --> 0:16:30.600
<v Speaker 1>his manager, says to me, you owe him ten thousand dollars,

0:16:30.640 --> 0:16:32.200
<v Speaker 1>which is what I had to pay for him then.

0:16:33.000 --> 0:16:37.680
<v Speaker 1>And he says, and we want it in cash. Where

0:16:37.680 --> 0:16:41.240
<v Speaker 1>do you get Where does a college kid get ten

0:16:41.360 --> 0:16:44.840
<v Speaker 1>thousand dollars? And I have no idea where I got it.

0:16:44.920 --> 0:16:49.920
<v Speaker 1>I did, and I watched them count every dollar. Okay,

0:16:49.960 --> 0:16:53.640
<v Speaker 1>you graduate from college, you go to Harvard Business School

0:16:53.680 --> 0:16:56.640
<v Speaker 1>the following fall. Do you take time off? Yeah, here's

0:16:56.680 --> 0:16:59.720
<v Speaker 1>the crazy thing. The king Centrio asked me to be

0:16:59.760 --> 0:17:04.439
<v Speaker 1>there answer promoter. My dad had ah. I think I

0:17:04.440 --> 0:17:07.400
<v Speaker 1>had grant some kind of a grant to go to

0:17:07.480 --> 0:17:10.800
<v Speaker 1>Europe and do some lectures there. So we went to

0:17:10.840 --> 0:17:14.560
<v Speaker 1>Europe for the summer, and I flew directly from Copenhagen

0:17:14.600 --> 0:17:17.800
<v Speaker 1>back to Boston to start Harvard Business School. And I

0:17:17.880 --> 0:17:20.800
<v Speaker 1>walked into my dorm room and a guy said to me,

0:17:21.400 --> 0:17:23.800
<v Speaker 1>my god, have you heard this song by the Kingston

0:17:23.880 --> 0:17:26.600
<v Speaker 1>Trio Hanging out your Head Tom Dooley. It's the number

0:17:26.600 --> 0:17:30.600
<v Speaker 1>one song in the country. I was sure, absolutely certain,

0:17:31.000 --> 0:17:34.800
<v Speaker 1>I had blown it, and my career was in the

0:17:35.000 --> 0:17:37.359
<v Speaker 1>in the entertainment business. I had lost, I had lost

0:17:37.359 --> 0:17:40.359
<v Speaker 1>any opportunity there. I was sure of it. I thought,

0:17:40.640 --> 0:17:42.439
<v Speaker 1>you know, you should have taken that job. Look at

0:17:42.440 --> 0:17:44.880
<v Speaker 1>their the number one and I had predicted a year

0:17:44.920 --> 0:17:47.320
<v Speaker 1>before when I first heard him. I walked up to

0:17:47.400 --> 0:17:49.520
<v Speaker 1>him after the show at a little club called the U.

0:17:49.760 --> 0:17:53.320
<v Speaker 1>The UH was the Blue Onion or something in San Francisco,

0:17:53.760 --> 0:17:57.000
<v Speaker 1>and I I said to them, you know, a year

0:17:57.040 --> 0:17:58.560
<v Speaker 1>from now, you're going to be the hottest thing in

0:17:58.560 --> 0:18:02.200
<v Speaker 1>the US. And almost a year to the day they

0:18:02.240 --> 0:18:05.680
<v Speaker 1>had the number one record. Okay, so at that time

0:18:05.720 --> 0:18:09.720
<v Speaker 1>you ended up managing the Kingston Trio. No never, No, okay.

0:18:09.720 --> 0:18:12.320
<v Speaker 1>So you go to Harvard Business School. When you were

0:18:12.359 --> 0:18:14.200
<v Speaker 1>in college, did you live at home or on campus?

0:18:14.280 --> 0:18:16.639
<v Speaker 1>And lived at home? Okay, so this is the first

0:18:16.680 --> 0:18:22.080
<v Speaker 1>time you're living alone. Yeah, and your Harvard Business School dorm.

0:18:22.320 --> 0:18:27.520
<v Speaker 1>Any idea what you're trying to achieve by going survive?

0:18:28.240 --> 0:18:30.720
<v Speaker 1>I flew home the first year until my parents. I

0:18:30.720 --> 0:18:32.600
<v Speaker 1>had flunked out. I was sure of it, and I

0:18:32.720 --> 0:18:37.479
<v Speaker 1>ended up twenty seven in the class, and I I

0:18:37.600 --> 0:18:40.600
<v Speaker 1>was absolutely certain I had to fake some of the exams,

0:18:40.640 --> 0:18:42.679
<v Speaker 1>you know, I mean it was it was so hard,

0:18:43.119 --> 0:18:46.480
<v Speaker 1>it was unbelievable. And they told us that the dean.

0:18:46.920 --> 0:18:49.159
<v Speaker 1>I think the reason I got into Harvard School is

0:18:49.200 --> 0:18:52.440
<v Speaker 1>the dean of of the school had been the dean

0:18:52.520 --> 0:18:54.960
<v Speaker 1>of men at Berkeley when my dad was vice Chances

0:18:54.960 --> 0:18:57.560
<v Speaker 1>that they were all friends. Somehow I got in, you know,

0:18:57.640 --> 0:19:01.679
<v Speaker 1>those that wouldn't happen nowadays. But and and uh, and

0:19:01.840 --> 0:19:04.840
<v Speaker 1>I was sure that I had was flunked out, and

0:19:05.280 --> 0:19:07.840
<v Speaker 1>I just couldn't believe it. But the second year was

0:19:07.880 --> 0:19:10.800
<v Speaker 1>a little easier than the first, but never it was easy.

0:19:10.920 --> 0:19:14.080
<v Speaker 1>And and I, by the way, I started a subscription service.

0:19:14.119 --> 0:19:17.120
<v Speaker 1>I called it New England Subscription or something like that

0:19:17.320 --> 0:19:20.800
<v Speaker 1>in England. You know I had but I you know,

0:19:20.920 --> 0:19:24.440
<v Speaker 1>I got an offer from this group, from the Lime Letders.

0:19:24.880 --> 0:19:28.160
<v Speaker 1>They I was home at Christmas between I still had

0:19:28.160 --> 0:19:31.240
<v Speaker 1>four or five months ago, and they called me just

0:19:31.320 --> 0:19:34.439
<v Speaker 1>as I'm getting ready to leave to go back, and

0:19:34.440 --> 0:19:39.320
<v Speaker 1>they said, we need an executive secretary. Would you be

0:19:39.400 --> 0:19:42.919
<v Speaker 1>our executive secretary? And I think this is probably the

0:19:43.040 --> 0:19:46.040
<v Speaker 1>single guttiest thing I've ever done in my life, because

0:19:46.080 --> 0:19:48.639
<v Speaker 1>I said to them, look, I didn't go to Harvard

0:19:48.640 --> 0:19:50.959
<v Speaker 1>Business School to be an executive secretary. If you need

0:19:51.000 --> 0:19:55.320
<v Speaker 1>a manager, you know, call me. And when I got

0:19:55.359 --> 0:19:57.600
<v Speaker 1>back to school. The leader of the Lime Letters was

0:19:57.640 --> 0:20:00.800
<v Speaker 1>a very funny guy named Leuke Got Ladies. Rik was funny,

0:20:00.840 --> 0:20:03.920
<v Speaker 1>and there was this wonderful letter that I can't find anywhere.

0:20:04.280 --> 0:20:06.560
<v Speaker 1>And he said, we want you to be our manager.

0:20:07.320 --> 0:20:09.560
<v Speaker 1>So now I accept the management and he want and

0:20:09.600 --> 0:20:10.840
<v Speaker 1>they want me to come out of school. And I

0:20:10.840 --> 0:20:12.840
<v Speaker 1>said no, no no, no, no, no. Four months from now,

0:20:12.880 --> 0:20:17.200
<v Speaker 1>I'm you know, in May or whatever it is, I'm graduating. Uh,

0:20:17.359 --> 0:20:19.560
<v Speaker 1>you have to wait. But I started working for them

0:20:19.640 --> 0:20:23.160
<v Speaker 1>right away, and I took their album and I walked

0:20:23.200 --> 0:20:25.720
<v Speaker 1>into the biggest station in Boston at the time, w

0:20:25.880 --> 0:20:29.240
<v Speaker 1>b Z, and who was the program director but Joe

0:20:29.320 --> 0:20:33.200
<v Speaker 1>Smith not He was the librarian. Joe Smith for those

0:20:33.240 --> 0:20:35.480
<v Speaker 1>of no, Joe Smith had a legendary career in the

0:20:35.520 --> 0:20:39.920
<v Speaker 1>record business, working at Warner Brothers Records running Electra. Yeah,

0:20:40.320 --> 0:20:43.600
<v Speaker 1>he was co president of Warners with Mo Austin. You know,

0:20:43.680 --> 0:20:46.000
<v Speaker 1>the gold Dust Twins, that's what they were called. So

0:20:46.080 --> 0:20:48.520
<v Speaker 1>he he was the first guy. He sat me down

0:20:48.960 --> 0:20:51.480
<v Speaker 1>and gave me clues to the business. And I took

0:20:51.520 --> 0:20:54.440
<v Speaker 1>that record all over Boston and promoted it and everything.

0:20:54.880 --> 0:20:58.320
<v Speaker 1>Had some unbelievable experiences. You know, this was the days

0:20:58.359 --> 0:21:02.239
<v Speaker 1>of Paola and other stuff like that, and there were

0:21:02.280 --> 0:21:05.200
<v Speaker 1>some amazing things happening in those days. I don't know

0:21:05.240 --> 0:21:07.200
<v Speaker 1>if we have time for it, but I okay, if

0:21:07.200 --> 0:21:10.160
<v Speaker 1>there's Paola, you're a graduate student. How did you get

0:21:10.160 --> 0:21:13.080
<v Speaker 1>the money to pay them? I didn't. I didn't pay anybody.

0:21:13.119 --> 0:21:15.320
<v Speaker 1>But it led, it led, and I wish I could

0:21:15.320 --> 0:21:18.280
<v Speaker 1>remember the guy's name. He was like the hottest DJ

0:21:18.400 --> 0:21:20.560
<v Speaker 1>in the country at the time. What if he played

0:21:20.560 --> 0:21:23.000
<v Speaker 1>your record, you were made right? And he was at

0:21:23.000 --> 0:21:27.200
<v Speaker 1>a competing station, not busy, and I made an appointment

0:21:27.240 --> 0:21:30.240
<v Speaker 1>to take one of the members of the group kind

0:21:30.280 --> 0:21:33.280
<v Speaker 1>of a hot blooded he's still around and still I think,

0:21:33.280 --> 0:21:36.520
<v Speaker 1>occasionally performs with the group as he's constituted. A guy

0:21:36.600 --> 0:21:40.399
<v Speaker 1>named Alex Hasslev and he was from a Russian background,

0:21:40.960 --> 0:21:44.240
<v Speaker 1>and UM and I took him with me to meet

0:21:44.320 --> 0:21:47.080
<v Speaker 1>this DJ with our record, with our single, whatever it was,

0:21:47.880 --> 0:21:52.080
<v Speaker 1>and we and UM he kept us waiting over an hour,

0:21:52.720 --> 0:21:56.199
<v Speaker 1>which was getting Alex kind of upset anyway. Then he

0:21:56.280 --> 0:21:58.919
<v Speaker 1>walked into the studio, walked right by us, went to

0:21:59.000 --> 0:22:01.680
<v Speaker 1>his office and we were sat there for another half

0:22:01.720 --> 0:22:06.000
<v Speaker 1>hour or more. Finally we go into his office and

0:22:06.240 --> 0:22:08.879
<v Speaker 1>he is he's got a stack of In those days,

0:22:08.920 --> 0:22:11.360
<v Speaker 1>they were those little forty five with a big hole, right,

0:22:11.800 --> 0:22:14.520
<v Speaker 1>and he's taking them and he's throwing them one after

0:22:14.560 --> 0:22:17.920
<v Speaker 1>the other into the waste basket. Uh. And every every

0:22:17.920 --> 0:22:20.280
<v Speaker 1>so often he puts one down on the desk, but

0:22:20.520 --> 0:22:23.520
<v Speaker 1>the rest just get tossed. And we're standing there in

0:22:23.560 --> 0:22:26.320
<v Speaker 1>front of me. Doesn't offer any place to sit, and

0:22:26.400 --> 0:22:30.639
<v Speaker 1>he doesn't look up, and he says, come back when

0:22:30.720 --> 0:22:36.479
<v Speaker 1>you get a hit. That's it, Alex. I have to

0:22:36.520 --> 0:22:40.360
<v Speaker 1>restrain Alex from jumping over the desk and strangling him

0:22:40.400 --> 0:22:44.080
<v Speaker 1>from the dead. This is my first month in the job, right,

0:22:44.760 --> 0:22:47.400
<v Speaker 1>and the bigger thing than happened. I go to Chicago.

0:22:47.400 --> 0:22:51.280
<v Speaker 1>The group is in Chicago that went at the Easter break.

0:22:51.760 --> 0:22:54.199
<v Speaker 1>So I go to Chicago. They're peering at a at

0:22:54.200 --> 0:22:58.880
<v Speaker 1>a club in Chicago, and I go to their hotel room.

0:22:59.560 --> 0:23:02.040
<v Speaker 1>And as I walk in their hotel room, and I've

0:23:02.040 --> 0:23:06.040
<v Speaker 1>turned down bb D, N O, Procter and Gamble Time magazine,

0:23:06.320 --> 0:23:09.520
<v Speaker 1>all these people that are hiring the Harvard grats, the

0:23:09.560 --> 0:23:14.520
<v Speaker 1>Harvard Business School grads and and uh. As I walk

0:23:14.560 --> 0:23:17.600
<v Speaker 1>in the room, Alan, I hear Alex say, Okay, that's it.

0:23:17.680 --> 0:23:21.640
<v Speaker 1>We're breaking up. And what I didn't know was they

0:23:21.640 --> 0:23:26.720
<v Speaker 1>break up every day from there on concerant. You know, okay, God,

0:23:26.760 --> 0:23:30.240
<v Speaker 1>just finishing Harvard Business School before you got that call

0:23:30.400 --> 0:23:34.000
<v Speaker 1>slash letter from the Lime Lighters. Would you have gone

0:23:34.000 --> 0:23:36.080
<v Speaker 1>into music management or would you have gone to work

0:23:36.080 --> 0:23:37.840
<v Speaker 1>for Procter and Gamble or one of those? I think

0:23:37.840 --> 0:23:40.040
<v Speaker 1>I might have gone to work for Time magazine because

0:23:40.400 --> 0:23:43.600
<v Speaker 1>of all my history with Time, and the department that

0:23:43.680 --> 0:23:48.080
<v Speaker 1>wanted me a time was called New Developments or innovation,

0:23:48.280 --> 0:23:52.840
<v Speaker 1>or nowadays it'll be called innovation. When there was a

0:23:52.880 --> 0:23:55.800
<v Speaker 1>recession a year later, I guarantee you it was the

0:23:55.840 --> 0:23:59.560
<v Speaker 1>first department to go. So I made one good decision.

0:23:59.600 --> 0:24:01.639
<v Speaker 1>And what are your parents say about you going to

0:24:01.680 --> 0:24:04.040
<v Speaker 1>Harvard Business School? Now you're a manager? You know? The

0:24:04.200 --> 0:24:06.800
<v Speaker 1>great thing about my parents is whatever I was doing

0:24:06.840 --> 0:24:10.400
<v Speaker 1>they were thrilled with. They were here. So many stories

0:24:10.440 --> 0:24:13.800
<v Speaker 1>now of kids whose parents, you know, fight what they

0:24:13.800 --> 0:24:16.119
<v Speaker 1>want to do. You read books about it all the

0:24:16.200 --> 0:24:19.119
<v Speaker 1>time here, and the kids do it anyway. But you know,

0:24:19.320 --> 0:24:21.560
<v Speaker 1>we all want to make our parents proud. I think

0:24:21.600 --> 0:24:24.800
<v Speaker 1>even even abusive parents, people still want to They're they're

0:24:24.880 --> 0:24:29.040
<v Speaker 1>driven to make them proud and um and in my case,

0:24:29.080 --> 0:24:32.159
<v Speaker 1>I felt the same way. But they never pushed me

0:24:32.200 --> 0:24:33.919
<v Speaker 1>one way or another, and they were just proud of

0:24:34.000 --> 0:24:37.600
<v Speaker 1>everything I did. And I and I got lucky. Listen,

0:24:37.840 --> 0:24:40.800
<v Speaker 1>I took this group on. We were I moved him

0:24:40.840 --> 0:24:46.600
<v Speaker 1>from Electra Records. I moved with Jack Holtsman, dear Jack Holdsman,

0:24:46.720 --> 0:24:49.760
<v Speaker 1>of course the recent scene. I moved him from there

0:24:49.800 --> 0:24:52.080
<v Speaker 1>to our c A for a much bigger deal. At

0:24:52.080 --> 0:24:54.199
<v Speaker 1>the time, Elector was an independent. Yeah, it was a

0:24:54.240 --> 0:24:57.560
<v Speaker 1>smaller independent. They didn't have the money to promote them.

0:24:57.600 --> 0:25:01.320
<v Speaker 1>I made a rather revolutionary d at the time. I

0:25:01.680 --> 0:25:04.639
<v Speaker 1>made a deal which gave us a fifty thousand dollar

0:25:04.760 --> 0:25:08.520
<v Speaker 1>promotion fund would be five thousand maybe now or more.

0:25:09.760 --> 0:25:13.520
<v Speaker 1>A fifty thousand dollar promotion fund that that we controlled.

0:25:14.400 --> 0:25:17.359
<v Speaker 1>They had to if they objected anything that had to

0:25:17.359 --> 0:25:20.959
<v Speaker 1>be coordinated with them, but we could control it. And

0:25:21.200 --> 0:25:24.399
<v Speaker 1>um and so I had that fund to work with

0:25:24.480 --> 0:25:27.600
<v Speaker 1>to promote the group, and we became the number two

0:25:27.640 --> 0:25:30.560
<v Speaker 1>selling artist at our c A. But you know, it

0:25:30.640 --> 0:25:33.160
<v Speaker 1>was just kind of amazing. I mean, I learned by

0:25:33.200 --> 0:25:36.520
<v Speaker 1>making mistakes through that whole period. But these guys, they

0:25:36.560 --> 0:25:39.840
<v Speaker 1>couldn't agree on anything together. So what they would do

0:25:40.000 --> 0:25:43.760
<v Speaker 1>is each one would take me aside and try to

0:25:43.840 --> 0:25:46.840
<v Speaker 1>get me to agree with their point of view about

0:25:46.880 --> 0:25:49.840
<v Speaker 1>which booking agency we should go with, whether she we

0:25:49.880 --> 0:25:52.840
<v Speaker 1>should take this tour or not, and so on, you know,

0:25:53.359 --> 0:25:56.960
<v Speaker 1>and um, and then what would happen is we'd get

0:25:57.000 --> 0:25:59.200
<v Speaker 1>together they each want to do at a different time,

0:25:59.280 --> 0:26:01.840
<v Speaker 1>in different place. Then we all get together to meet

0:26:01.880 --> 0:26:05.560
<v Speaker 1>and make a decision booking agencies. One I particularly remember

0:26:06.040 --> 0:26:09.560
<v Speaker 1>they each wanted a different agency. They finally throw up

0:26:09.600 --> 0:26:13.560
<v Speaker 1>their hands and say, well, let's let Ken decide. Like what, Ken,

0:26:13.560 --> 0:26:17.119
<v Speaker 1>what do you think? Now? I've heard all the arguments,

0:26:17.480 --> 0:26:20.000
<v Speaker 1>ad infinitum. I mean, I've heard them over and over

0:26:20.040 --> 0:26:22.520
<v Speaker 1>and over, and I make a decision, you know, and

0:26:22.600 --> 0:26:25.440
<v Speaker 1>hopefully I make the right decision. In fact, one of

0:26:25.480 --> 0:26:28.439
<v Speaker 1>the wrong decisions I made that was perfectly right for them,

0:26:28.440 --> 0:26:30.879
<v Speaker 1>as I pulled them off some booking to put them

0:26:30.880 --> 0:26:33.560
<v Speaker 1>on the mort Salt tour all over the country, thirty

0:26:33.560 --> 0:26:36.400
<v Speaker 1>four cities and thirty five year we have like sixty two,

0:26:36.600 --> 0:26:42.119
<v Speaker 1>sixty probably sixty and sixty one. Yeah, in six you

0:26:42.200 --> 0:26:45.200
<v Speaker 1>go to negotiate a record deal. Everything is very sophisticated,

0:26:45.320 --> 0:26:47.520
<v Speaker 1>these tapes. Did you have a lawyer. Do you do

0:26:47.560 --> 0:26:50.080
<v Speaker 1>it yourself? How did it work? We had lawyers usually

0:26:50.240 --> 0:26:52.840
<v Speaker 1>I don't remember who was there. Oh, they did have

0:26:52.880 --> 0:26:55.200
<v Speaker 1>a lawyer that I wasn't too crazy about, but they

0:26:55.240 --> 0:26:59.640
<v Speaker 1>But the record deals, I still got very much involved.

0:26:59.680 --> 0:27:02.680
<v Speaker 1>I didn't know better, you know, I mean and and

0:27:02.680 --> 0:27:06.359
<v Speaker 1>and it wasn't anything like it is today. Really talking

0:27:06.400 --> 0:27:09.280
<v Speaker 1>to So you're dealing with the record company, then to

0:27:09.440 --> 0:27:12.320
<v Speaker 1>what degree are you telling the record company what to do?

0:27:13.240 --> 0:27:16.120
<v Speaker 1>I can't. It's not my style. So what is your?

0:27:17.400 --> 0:27:21.000
<v Speaker 1>My style is finding a way that together we make

0:27:21.040 --> 0:27:24.520
<v Speaker 1>decisions and that that I but I'm willing to go

0:27:24.600 --> 0:27:28.879
<v Speaker 1>with them the extra mile to support everything. To that

0:27:29.000 --> 0:27:32.359
<v Speaker 1>I'm not. I'm not saying to them, you go promote this,

0:27:32.520 --> 0:27:36.159
<v Speaker 1>you go. I mean, even we're talking, if you if

0:27:36.200 --> 0:27:40.520
<v Speaker 1>you skip ahead thirty years on, Kenny Rodgers or Tricia

0:27:40.600 --> 0:27:44.720
<v Speaker 1>Earwood or I would make four hundred radio calls to

0:27:44.840 --> 0:27:48.080
<v Speaker 1>promote a record. Now the record company's still doing the

0:27:48.119 --> 0:27:51.520
<v Speaker 1>same thing. But my calls. They don't get calls from

0:27:51.560 --> 0:27:56.159
<v Speaker 1>managers on you know, the program directors Like I became

0:27:56.400 --> 0:28:00.199
<v Speaker 1>close friends with program directors all over the country, and

0:28:00.359 --> 0:28:03.520
<v Speaker 1>I would call, call and call to get my records

0:28:03.520 --> 0:28:12.720
<v Speaker 1>on the end. What if you felt the record wasn't

0:28:12.760 --> 0:28:17.360
<v Speaker 1>an a level record, would you still call That's an

0:28:17.400 --> 0:28:23.760
<v Speaker 1>interesting question. I you know, hopefully most times, you know.

0:28:23.800 --> 0:28:27.159
<v Speaker 1>I'm trying to remember one of those incidents. I'm pretty

0:28:27.200 --> 0:28:31.399
<v Speaker 1>sure that I was involved enough that whatever came out

0:28:31.520 --> 0:28:35.040
<v Speaker 1>with something. Now, when Kenny Rogers first recorded Lucile, he's

0:28:35.040 --> 0:28:39.520
<v Speaker 1>into seventeen songs. I thought it was hysterically funny. It

0:28:39.560 --> 0:28:41.200
<v Speaker 1>was going to be either a big flop or a

0:28:41.200 --> 0:28:44.480
<v Speaker 1>big or a big success. And I tried to get

0:28:44.480 --> 0:28:46.240
<v Speaker 1>the record and you put it out, and they wouldn't.

0:28:46.240 --> 0:28:49.360
<v Speaker 1>They put out one or two records before it. But boy,

0:28:49.400 --> 0:28:51.520
<v Speaker 1>when we got to it, I worked that record like

0:28:51.600 --> 0:28:55.160
<v Speaker 1>crazy because I believed in it. I don't know what

0:28:55.240 --> 0:28:57.320
<v Speaker 1>I did with the previous two. I probably didn't work

0:28:57.360 --> 0:29:00.680
<v Speaker 1>anywheres as hard. Okay, so you're managing the law lights.

0:29:00.720 --> 0:29:03.680
<v Speaker 1>Their career gets better when you're the manager, much better,

0:29:03.840 --> 0:29:06.840
<v Speaker 1>and you're making any money A lot a lot of

0:29:06.920 --> 0:29:10.760
<v Speaker 1>my when when I graduated from Harvard Business School, and

0:29:10.840 --> 0:29:14.560
<v Speaker 1>anybody who knows what they get nowadays from that school

0:29:14.560 --> 0:29:18.520
<v Speaker 1>when you're grad will just be before it the the

0:29:18.560 --> 0:29:21.240
<v Speaker 1>top price that the guys coming out of Harvard Business

0:29:21.240 --> 0:29:23.960
<v Speaker 1>School got on the average a lot of them got

0:29:23.960 --> 0:29:27.800
<v Speaker 1>it was twelve five a year. Okay, that was considered

0:29:27.880 --> 0:29:31.680
<v Speaker 1>a lot of money for them. H I earned by

0:29:31.760 --> 0:29:36.600
<v Speaker 1>my second year, I earned thirty five. And at this point,

0:29:36.800 --> 0:29:38.440
<v Speaker 1>how many people do you have working for you? If

0:29:38.440 --> 0:29:46.040
<v Speaker 1>any maybe no, I probably nobody. Probably, So the Limelighters

0:29:46.040 --> 0:29:48.880
<v Speaker 1>are big, big and successful. What's the next step? The

0:29:48.960 --> 0:29:52.720
<v Speaker 1>next step is the Limelighters finally reach a point where

0:29:52.720 --> 0:29:55.880
<v Speaker 1>they decided to break up. And by that time, by

0:29:55.920 --> 0:29:58.960
<v Speaker 1>the way, by that time, for the last year, they

0:29:59.000 --> 0:30:01.479
<v Speaker 1>have replaced me with a woman they met in New

0:30:01.560 --> 0:30:05.320
<v Speaker 1>York who because they've decided they can save the timber cent,

0:30:05.400 --> 0:30:08.880
<v Speaker 1>they're paying me, right, and you charge ten? Then ten

0:30:09.120 --> 0:30:11.480
<v Speaker 1>was all? Then yeah, it went up to five. I

0:30:11.520 --> 0:30:14.680
<v Speaker 1>never charged more than fifteen. The managers get hey, Colonel

0:30:14.720 --> 0:30:18.240
<v Speaker 1>Tom Parker got you know that story, it's the great story,

0:30:18.720 --> 0:30:22.400
<v Speaker 1>some news guy says to him. So I understand that

0:30:23.120 --> 0:30:27.520
<v Speaker 1>you know that you take you take half of Pressley's earnings.

0:30:27.720 --> 0:30:29.960
<v Speaker 1>He said, no, no, no, no, Elvis Presley takes half

0:30:29.960 --> 0:30:35.880
<v Speaker 1>of months, right, you know, but anyway, uh, in those days,

0:30:36.640 --> 0:30:38.840
<v Speaker 1>I'm trying to think now, I got a little off trail. Okay,

0:30:38.880 --> 0:30:41.080
<v Speaker 1>So the point is they were the limelighters, replace you

0:30:41.160 --> 0:30:43.680
<v Speaker 1>to save money. Where does that leave They replace me

0:30:43.760 --> 0:30:45.479
<v Speaker 1>with a woman. They send her out to give her

0:30:45.480 --> 0:30:48.680
<v Speaker 1>two weeks to learn everything I'm doing. She calls him

0:30:48.760 --> 0:30:52.440
<v Speaker 1>up in the second week and says, this is crazy.

0:30:52.480 --> 0:30:55.040
<v Speaker 1>It's gonna take me a year out here. She stays

0:30:55.120 --> 0:30:58.400
<v Speaker 1>like four or five months. She finally goes back. She's

0:30:58.400 --> 0:31:00.680
<v Speaker 1>mannaging him for six months, and now she asked them

0:31:00.680 --> 0:31:04.000
<v Speaker 1>for tier and he saved anything. In the meantime, they

0:31:04.040 --> 0:31:07.200
<v Speaker 1>make me the concert promoter. I'm making two or three

0:31:07.240 --> 0:31:10.840
<v Speaker 1>times what I made as their manage. At that time,

0:31:10.880 --> 0:31:13.680
<v Speaker 1>there wasn't percentage, right, you paid a flat fee. Uh

0:31:14.360 --> 0:31:16.560
<v Speaker 1>you may for for the if you're a promoter to

0:31:16.600 --> 0:31:19.160
<v Speaker 1>the act, to the act, you paid them, Yeah, some

0:31:19.240 --> 0:31:22.680
<v Speaker 1>kind of percentage usually though even then, Yeah, a lot

0:31:22.680 --> 0:31:25.560
<v Speaker 1>of times was flat feet. And earnings in those days,

0:31:25.640 --> 0:31:28.440
<v Speaker 1>my god, I mean we were getting ten thousand a night.

0:31:28.520 --> 0:31:31.640
<v Speaker 1>Streisan came along and charged twenty five thousand, and we

0:31:31.720 --> 0:31:34.760
<v Speaker 1>all talked about how uh you know that she was

0:31:34.800 --> 0:31:38.720
<v Speaker 1>going to ruin the business at Okay, so you know

0:31:38.800 --> 0:31:41.200
<v Speaker 1>you're being the promoter, but the band breaks up, what

0:31:41.320 --> 0:31:45.040
<v Speaker 1>do you do next day. Here's the crazy part of it.

0:31:45.360 --> 0:31:49.240
<v Speaker 1>The band breaks up. Well, I'm holding a ten thousand

0:31:49.280 --> 0:31:56.200
<v Speaker 1>dollar commercial for Chrysler Cars in my hand that for them,

0:31:56.280 --> 0:31:59.520
<v Speaker 1>and they can't do it because they've broken up. And

0:31:59.760 --> 0:32:03.240
<v Speaker 1>I approached the Smothers brothers and say I'd like to

0:32:03.280 --> 0:32:05.680
<v Speaker 1>manage I knew them, I knew them from San Francisco.

0:32:05.800 --> 0:32:09.400
<v Speaker 1>We were friendly and said I wanted to manage him.

0:32:09.440 --> 0:32:13.600
<v Speaker 1>And here's a ten thousand dollar deal. I've convinced the

0:32:14.240 --> 0:32:16.960
<v Speaker 1>buyer that they that the Smothers are the right group.

0:32:17.040 --> 0:32:19.120
<v Speaker 1>At that point, they're on a lot of of the

0:32:19.240 --> 0:32:22.440
<v Speaker 1>late night shows jacqu Parr and shows like that, and

0:32:22.760 --> 0:32:25.960
<v Speaker 1>I say, I say, I'm gonna always make more money

0:32:25.960 --> 0:32:29.000
<v Speaker 1>than I cost you for you and they signed with me.

0:32:29.360 --> 0:32:32.120
<v Speaker 1>So the day the Lime Letters break up, I signed

0:32:32.120 --> 0:32:38.000
<v Speaker 1>the Smothers brothers and that within a month, they appear

0:32:38.280 --> 0:32:42.320
<v Speaker 1>on three major network shows in the same week. That

0:32:42.520 --> 0:32:46.040
<v Speaker 1>never happened then, but they prefer a prayer performing on

0:32:46.160 --> 0:32:50.160
<v Speaker 1>three shows. Uh, Judy Garland, I can't remember the shows,

0:32:50.160 --> 0:32:54.040
<v Speaker 1>but the Sullivan Show was one I can't I don't

0:32:54.040 --> 0:32:57.080
<v Speaker 1>remember what the third one was anyway, that never happened

0:32:57.080 --> 0:33:00.440
<v Speaker 1>because they all had exclusivity causes clauses. But the smothers

0:33:00.440 --> 0:33:04.640
<v Speaker 1>weren't big enough than anybody cared because Striison was on

0:33:04.640 --> 0:33:07.280
<v Speaker 1>one of the shows, and so you know the show.

0:33:07.880 --> 0:33:10.200
<v Speaker 1>The shows each wanted to put whoever they had on

0:33:10.280 --> 0:33:13.440
<v Speaker 1>that week, and the smothers were secondary, but they got

0:33:13.480 --> 0:33:17.640
<v Speaker 1>all the and the commercial breaks. So the Christi commercials

0:33:17.640 --> 0:33:19.640
<v Speaker 1>are playing on the on the Today Show, and the

0:33:19.680 --> 0:33:23.680
<v Speaker 1>Tonight Show, the the they're on a bunch of shows

0:33:24.080 --> 0:33:26.640
<v Speaker 1>one week, we get so much exposure. The next forty

0:33:26.720 --> 0:33:29.920
<v Speaker 1>nine shows selled out. Okay, just to be clear, was

0:33:29.960 --> 0:33:32.280
<v Speaker 1>it your plan to get them on all those shows

0:33:32.280 --> 0:33:34.920
<v Speaker 1>in a week or was that I think it was.

0:33:35.400 --> 0:33:37.960
<v Speaker 1>I think it sort of happened. I mean, I don't

0:33:38.000 --> 0:33:40.600
<v Speaker 1>think I had any idea. I looked back at it.

0:33:40.800 --> 0:33:43.960
<v Speaker 1>I teach now something called the magic of threes. How

0:33:44.000 --> 0:33:46.960
<v Speaker 1>it takes three impressions in a concentrated period of time

0:33:47.280 --> 0:33:50.200
<v Speaker 1>for anybody to take any real action. That if you

0:33:50.320 --> 0:33:52.400
<v Speaker 1>just have one, so you try and combine, you try

0:33:52.480 --> 0:33:54.840
<v Speaker 1>and bring things together. So they all happened in a

0:33:54.920 --> 0:33:59.160
<v Speaker 1>very tight period that I learned that it now shown

0:33:59.160 --> 0:34:02.120
<v Speaker 1>as a real law, I mean, a real scientific principle.

0:34:02.520 --> 0:34:05.560
<v Speaker 1>But in those I learned it when I started teaching

0:34:05.560 --> 0:34:08.800
<v Speaker 1>at u c l A. By looking back and specifically

0:34:08.920 --> 0:34:13.960
<v Speaker 1>that week taught me that everybody got excited when they

0:34:14.000 --> 0:34:17.640
<v Speaker 1>saw the Smothers in those multiple appearances all happening in

0:34:17.719 --> 0:34:22.360
<v Speaker 1>one week. It was all in one week. So anyway, uh,

0:34:22.520 --> 0:34:26.840
<v Speaker 1>the Smothers very quickly are red hot and a blast vocal.

0:34:26.880 --> 0:34:31.400
<v Speaker 1>Who's running. William Morris at that time talks to CBS

0:34:31.480 --> 0:34:35.400
<v Speaker 1>and says, all of your stars on the network are aging.

0:34:35.480 --> 0:34:38.280
<v Speaker 1>You've got Ed Sullivan and you've got all these old

0:34:39.239 --> 0:34:42.520
<v Speaker 1>you know, all these other stars that are older. Red

0:34:42.560 --> 0:34:45.560
<v Speaker 1>Skelton had a show. They're they're all older stars. You

0:34:45.640 --> 0:34:48.480
<v Speaker 1>need some youth, and he convinces them to put the

0:34:48.480 --> 0:34:51.759
<v Speaker 1>Smothers on the air. So it's just sixty six. That

0:34:51.840 --> 0:34:54.560
<v Speaker 1>was about that. What we've started out with was was

0:34:54.600 --> 0:34:56.919
<v Speaker 1>a show in which Tommy played in Angel. Oh yes, yes,

0:34:57.560 --> 0:35:00.799
<v Speaker 1>that exactly just to be there before we get to

0:35:00.920 --> 0:35:04.799
<v Speaker 1>my brother the Angel. Had you kept regular contact up

0:35:04.840 --> 0:35:07.560
<v Speaker 1>with theos because I was living in the Bay Area

0:35:07.760 --> 0:35:11.000
<v Speaker 1>right right a block two blocks from the Hungry Eye,

0:35:11.560 --> 0:35:13.560
<v Speaker 1>and it was the Purple Onion. I said, it was

0:35:13.600 --> 0:35:16.240
<v Speaker 1>the blue it's the Purple Onion. And they were appearing,

0:35:16.280 --> 0:35:18.680
<v Speaker 1>and then they do a live album from the Purple Onion.

0:35:18.800 --> 0:35:21.359
<v Speaker 1>I think they did absolutely one of the first step

0:35:21.440 --> 0:35:26.120
<v Speaker 1>maybe the first album. Okay, And didn't they have a manager? No,

0:35:26.400 --> 0:35:28.239
<v Speaker 1>they didn't at that point. I don't know if they

0:35:28.239 --> 0:35:31.520
<v Speaker 1>had had it or not prior I can't remember. Okay,

0:35:31.560 --> 0:35:34.320
<v Speaker 1>So they do that show, I remember, and what network

0:35:34.360 --> 0:35:38.640
<v Speaker 1>does it? The first show the My Brother the Angel

0:35:39.360 --> 0:35:43.080
<v Speaker 1>was on. I think it was a sho That's what

0:35:43.160 --> 0:35:45.640
<v Speaker 1>I was going to say. Okay, so I know it was.

0:35:45.920 --> 0:35:47.799
<v Speaker 1>It was a company called screen gim So it was

0:35:48.280 --> 0:35:50.719
<v Speaker 1>now I remember because I had a friend who had

0:35:50.760 --> 0:35:54.799
<v Speaker 1>the record, and so therefore I tuned in. But from

0:35:54.800 --> 0:35:58.520
<v Speaker 1>the perspective of viewer, the show wasn't really successful. But

0:35:58.840 --> 0:36:02.680
<v Speaker 1>in those days they bought twenty six shows. Nowadays you

0:36:02.760 --> 0:36:06.680
<v Speaker 1>get six maybe, And in those days they bought you

0:36:06.760 --> 0:36:08.880
<v Speaker 1>for a season, and they lived with you for a season.

0:36:08.880 --> 0:36:12.640
<v Speaker 1>There were only three networks, and and if you got

0:36:12.680 --> 0:36:15.640
<v Speaker 1>on the air, you still got a year's worth of exposure.

0:36:16.200 --> 0:36:18.359
<v Speaker 1>You know, they didn't they didn't take you off mid year.

0:36:18.480 --> 0:36:21.400
<v Speaker 1>They didn't have any other shows to put on. Uh.

0:36:21.480 --> 0:36:23.359
<v Speaker 1>So we did get through a year and then we

0:36:23.800 --> 0:36:28.279
<v Speaker 1>kind of things were it still gave them weekly exposure,

0:36:28.480 --> 0:36:32.200
<v Speaker 1>which was good, so fed the concert business and everything,

0:36:32.200 --> 0:36:34.680
<v Speaker 1>and they were touring a lot. And then we then,

0:36:34.719 --> 0:36:37.759
<v Speaker 1>of course in six okay, let's go back. Did they

0:36:37.800 --> 0:36:42.040
<v Speaker 1>like each other or not? If they were threatened from

0:36:42.040 --> 0:36:48.880
<v Speaker 1>the outside, they would respond as brothers, as a pair. Uh.

0:36:48.960 --> 0:36:53.959
<v Speaker 1>If they were just arguing among themselves, uh, they would

0:36:53.960 --> 0:36:57.160
<v Speaker 1>really argue. And the funny part of it was one

0:36:57.280 --> 0:37:01.080
<v Speaker 1>night they had a they had a concert in Aspen,

0:37:01.200 --> 0:37:03.960
<v Speaker 1>or or very close to Aspen somewhere. They're in a

0:37:04.040 --> 0:37:07.279
<v Speaker 1>club and it was snow on the ground everywhere, and

0:37:07.360 --> 0:37:10.560
<v Speaker 1>everybody was lined outside the club waiting to get in.

0:37:11.160 --> 0:37:14.040
<v Speaker 1>And Tom and Dick come along and they're arguing and

0:37:14.120 --> 0:37:18.759
<v Speaker 1>they start throwing punches and they now are wrestling in

0:37:18.800 --> 0:37:22.280
<v Speaker 1>the snow in front of the crowd that's going into

0:37:22.719 --> 0:37:29.080
<v Speaker 1>Tommy says, best show we ever did. People believed everything. Okay,

0:37:29.080 --> 0:37:31.440
<v Speaker 1>so they see you can drive off the concert business.

0:37:31.560 --> 0:37:36.560
<v Speaker 1>The show ends, and then what, uh the I don't

0:37:36.640 --> 0:37:39.399
<v Speaker 1>quite understand the SMS Brothers. They do their network show

0:37:39.800 --> 0:37:42.680
<v Speaker 1>runs a season half a year, twenty six episodes, and

0:37:42.719 --> 0:37:45.279
<v Speaker 1>then they just continue touring and stuff like and doing

0:37:45.320 --> 0:37:48.279
<v Speaker 1>some records and stuff. We were on Mercury Record and

0:37:48.320 --> 0:37:52.040
<v Speaker 1>then um and then this is when last Vogo convinces

0:37:52.080 --> 0:37:55.120
<v Speaker 1>the network that they should put the Smothers brothers on

0:37:55.600 --> 0:37:58.759
<v Speaker 1>and they and they put them on nine in a

0:37:58.840 --> 0:38:02.040
<v Speaker 1>slot which see me, us has failed over and over

0:38:02.200 --> 0:38:04.920
<v Speaker 1>and over there in fact, for eight years, nobody can

0:38:05.000 --> 0:38:08.759
<v Speaker 1>knock bananas out and number one. But Sunday nights at

0:38:08.800 --> 0:38:14.040
<v Speaker 1>eight o'clock and it's Bonanza and it's America's show, right,

0:38:14.800 --> 0:38:17.320
<v Speaker 1>nobody's gonna do anything, and we knock them out of

0:38:17.440 --> 0:38:22.360
<v Speaker 1>number one. All Smothers goes on in sixty seven becomes

0:38:22.400 --> 0:38:25.239
<v Speaker 1>an instant hit. Not instant, but within a week or

0:38:25.239 --> 0:38:28.759
<v Speaker 1>a few weeks. We were not a lot of the show.

0:38:28.800 --> 0:38:31.000
<v Speaker 1>A lot of the show was kind of traditional old,

0:38:31.480 --> 0:38:35.400
<v Speaker 1>you know, variety show. But certain number five ten minutes

0:38:35.400 --> 0:38:40.960
<v Speaker 1>of the show was outrageous and and we had young riders.

0:38:41.440 --> 0:38:45.920
<v Speaker 1>We were protesting the Vietnam War, we were protesting racism.

0:38:46.040 --> 0:38:48.920
<v Speaker 1>We were but in a satirical way, in a in

0:38:49.000 --> 0:38:52.280
<v Speaker 1>a you know, really really funny way. There's a great

0:38:52.400 --> 0:38:55.880
<v Speaker 1>there's a great documentary on it called Smothers Smothered, and

0:38:55.920 --> 0:38:58.759
<v Speaker 1>it has the highlights of all the show and what

0:38:58.880 --> 0:39:01.799
<v Speaker 1>happened because after two and a half three years, the

0:39:01.800 --> 0:39:05.439
<v Speaker 1>CBS threw them off the air. UH new president Bob

0:39:05.440 --> 0:39:08.279
<v Speaker 1>Wood who came in and Tommy went head to head.

0:39:08.320 --> 0:39:11.759
<v Speaker 1>Tommy got rid of after about in nineteen sixty nine,

0:39:11.800 --> 0:39:13.360
<v Speaker 1>he got rid of me, and he got rid of

0:39:14.120 --> 0:39:16.600
<v Speaker 1>UH my partner at the time, and he had nobody

0:39:16.640 --> 0:39:19.440
<v Speaker 1>beat no buffer, and he went one on one of

0:39:19.440 --> 0:39:21.600
<v Speaker 1>the network president. Next thing you know, they were off

0:39:21.640 --> 0:39:24.360
<v Speaker 1>the air. He you know, he's looked back on that

0:39:24.440 --> 0:39:26.200
<v Speaker 1>and said it was the wrong thing to do. Okay,

0:39:26.239 --> 0:39:29.440
<v Speaker 1>But just in that era, you're the manager you have,

0:39:29.719 --> 0:39:32.600
<v Speaker 1>you know that they're testing the limits on a regular basis,

0:39:33.520 --> 0:39:36.759
<v Speaker 1>and how did you manage that with the uh that

0:39:36.880 --> 0:39:39.360
<v Speaker 1>work before they had a change. I always loved to

0:39:39.400 --> 0:39:42.640
<v Speaker 1>tell this. We would be in the dressing room. There

0:39:42.680 --> 0:39:46.680
<v Speaker 1>was a wonderful man from the CBS network who was

0:39:46.960 --> 0:39:49.560
<v Speaker 1>sort of the guy that dealt with us day in

0:39:49.560 --> 0:39:53.960
<v Speaker 1>and day out, and and we'd be in the dressing

0:39:54.040 --> 0:39:57.880
<v Speaker 1>room and Tom and Dick would be swearing, you know,

0:39:58.200 --> 0:40:03.880
<v Speaker 1>like like say, I mean sailors um about, you know,

0:40:04.120 --> 0:40:06.920
<v Speaker 1>tell CBS to take this show and shove it, you know,

0:40:07.120 --> 0:40:10.279
<v Speaker 1>and all that stuff, and swearing left and right, and

0:40:10.280 --> 0:40:12.960
<v Speaker 1>then kN Frets, my partner at the time, and I

0:40:12.960 --> 0:40:15.719
<v Speaker 1>would walk out of there and we'd go up to

0:40:15.760 --> 0:40:17.360
<v Speaker 1>the CBS guy and we say, you know, we have

0:40:17.400 --> 0:40:20.400
<v Speaker 1>a small problem here. You know, we would have we

0:40:20.440 --> 0:40:23.000
<v Speaker 1>would bring it all down and we would talk with

0:40:23.120 --> 0:40:26.239
<v Speaker 1>them and so on and everything. And we were a hit,

0:40:26.880 --> 0:40:29.200
<v Speaker 1>which helps. I mean, we're the number one show on

0:40:29.239 --> 0:40:33.359
<v Speaker 1>television for a while, and you know, they put up

0:40:33.360 --> 0:40:35.200
<v Speaker 1>with a lot when you are By the time the

0:40:35.239 --> 0:40:38.560
<v Speaker 1>Smothers got thrown off, a lot of things that happened,

0:40:38.600 --> 0:40:42.080
<v Speaker 1>and they were maybe seventeen. Today, they wouldn't consider throwing

0:40:42.080 --> 0:40:45.080
<v Speaker 1>the seventeen show up, but in those days that was considered.

0:40:45.280 --> 0:40:47.080
<v Speaker 1>You know, we had been number one, We'd set a

0:40:47.080 --> 0:40:51.279
<v Speaker 1>pretty high gund bar um. So we would always kind

0:40:51.280 --> 0:40:53.200
<v Speaker 1>of modify it and keep it down. And there was

0:40:53.239 --> 0:40:55.880
<v Speaker 1>a William Morris agent named Stamp came in and he

0:40:55.960 --> 0:41:00.239
<v Speaker 1>kept everything. We all kind of controlled the volatility. And

0:41:00.280 --> 0:41:03.839
<v Speaker 1>the other thing about the Smothers is Dick was super conservative.

0:41:03.880 --> 0:41:06.719
<v Speaker 1>Tommy was the liberal one. Tommy was hanging out with

0:41:06.760 --> 0:41:11.120
<v Speaker 1>Timothy Leary and doing LSD and and hanging out with

0:41:11.440 --> 0:41:15.000
<v Speaker 1>there was I can't remember his first his first name now,

0:41:15.400 --> 0:41:22.160
<v Speaker 1>but there was a h Federal Communications remember who was

0:41:22.200 --> 0:41:25.759
<v Speaker 1>a rebel and Tommy would hang out with him, and

0:41:25.840 --> 0:41:29.400
<v Speaker 1>he would urge Tommy to you know, to be as

0:41:29.400 --> 0:41:32.759
<v Speaker 1>controversial as possible. And Tommy would think, wow, this is

0:41:32.800 --> 0:41:36.960
<v Speaker 1>the FCC, so telling me this, you know, but but

0:41:37.200 --> 0:41:40.040
<v Speaker 1>it was it was pretty crazy and okay, a couple

0:41:40.040 --> 0:41:41.720
<v Speaker 1>of things. How did you end up getting the partner?

0:41:41.800 --> 0:41:46.360
<v Speaker 1>Ken Fritz hired him as a road manager for the Smothers.

0:41:47.520 --> 0:41:52.680
<v Speaker 1>And then, uh, uh, Tommy, you know when when I

0:41:52.800 --> 0:41:55.480
<v Speaker 1>found this a lot when an act is on the

0:41:55.560 --> 0:41:57.880
<v Speaker 1>road with a guy who's there every night. I mean

0:41:57.920 --> 0:42:00.600
<v Speaker 1>the early days, it was me, you know, always with

0:42:00.640 --> 0:42:03.360
<v Speaker 1>the act. But once I got more successful, I was

0:42:03.760 --> 0:42:05.600
<v Speaker 1>not going as much because I had too many other

0:42:05.640 --> 0:42:08.560
<v Speaker 1>responsibilities and also felt staying in l A I could

0:42:08.600 --> 0:42:10.640
<v Speaker 1>do a better job for my group. I go out

0:42:10.680 --> 0:42:13.759
<v Speaker 1>on all the big things. But if ken Fritz was

0:42:13.800 --> 0:42:15.960
<v Speaker 1>traveling as a road manager for a couple of years,

0:42:16.600 --> 0:42:20.160
<v Speaker 1>and uh, finally Tommy said, you gotta make him a partner,

0:42:20.600 --> 0:42:22.680
<v Speaker 1>and I already had a partner at that a guy

0:42:22.719 --> 0:42:25.040
<v Speaker 1>out of Boston. So for a short while we were

0:42:25.080 --> 0:42:27.920
<v Speaker 1>three ways was the guy out of Boston? Oh God,

0:42:28.040 --> 0:42:32.760
<v Speaker 1>I'm tom Oh well, what was how did he get involved?

0:42:33.640 --> 0:42:35.799
<v Speaker 1>I can't remember how he got involved, but I know

0:42:35.960 --> 0:42:39.319
<v Speaker 1>I originally he may have been I may have been

0:42:39.360 --> 0:42:42.600
<v Speaker 1>involved with him when I was doing concerts or something. Yeah,

0:42:42.680 --> 0:42:44.359
<v Speaker 1>but by the way, he did a very key thing

0:42:45.000 --> 0:42:47.240
<v Speaker 1>when I moved. I was I first started out working

0:42:47.239 --> 0:42:50.319
<v Speaker 1>out of San Francisco. When I decided to move to

0:42:50.360 --> 0:42:52.960
<v Speaker 1>Los Angeles, or we decided to put our offices in

0:42:53.120 --> 0:42:56.239
<v Speaker 1>l A, Tom Carroll said to me, we're going to

0:42:56.320 --> 0:42:59.359
<v Speaker 1>go to l A. We're gonna have We're gonna be

0:42:59.440 --> 0:43:03.440
<v Speaker 1>the most honest guys with the best reputation and business

0:43:03.480 --> 0:43:05.759
<v Speaker 1>is going to be the path to our door. That

0:43:06.040 --> 0:43:11.080
<v Speaker 1>I mean Tom Carol unfortunately died early young, but Tom

0:43:11.120 --> 0:43:15.440
<v Speaker 1>I felt he was so right. That's what I did,

0:43:15.719 --> 0:43:18.360
<v Speaker 1>And literally I never had to run after an act.

0:43:18.600 --> 0:43:21.040
<v Speaker 1>I think in all the years, the only act other

0:43:21.080 --> 0:43:23.600
<v Speaker 1>than maybe the Smothers, which really wasn't running after him.

0:43:24.680 --> 0:43:29.680
<v Speaker 1>But but other than that, um, you know, Bill Medley

0:43:29.719 --> 0:43:33.000
<v Speaker 1>and Righteous Brothers were the one act I ever heard

0:43:33.120 --> 0:43:35.200
<v Speaker 1>ran after and we didn't get him. I got I

0:43:35.239 --> 0:43:38.239
<v Speaker 1>got Medley years later as a solo artist, but I

0:43:38.280 --> 0:43:42.400
<v Speaker 1>never managed him. Okay, So during this period you also

0:43:42.440 --> 0:43:46.480
<v Speaker 1>have first edition, the Kenny Riding the first station comes along.

0:43:46.520 --> 0:43:48.640
<v Speaker 1>After the Smothers are on the air for a year

0:43:48.680 --> 0:43:52.120
<v Speaker 1>and and very hot, and a lawyer keeps calling me

0:43:52.200 --> 0:43:53.960
<v Speaker 1>and bugging me to go see this group at a

0:43:53.960 --> 0:43:57.800
<v Speaker 1>little club called Leadbetters. Leadbetters was owned by the leader

0:43:57.840 --> 0:44:00.400
<v Speaker 1>of the New Christie Mistrels. The group him out of

0:44:00.400 --> 0:44:03.279
<v Speaker 1>the New CHRISTI instruls. Kenny Rogers was a member of

0:44:03.280 --> 0:44:06.200
<v Speaker 1>the group, and I went down finally and saw them

0:44:06.239 --> 0:44:09.600
<v Speaker 1>after six weeks of this lawyer in l A. It's

0:44:09.600 --> 0:44:12.759
<v Speaker 1>in l A on Westwood Boulevard, or it was no

0:44:12.840 --> 0:44:15.480
<v Speaker 1>longer there, And I went down there and flipped and

0:44:15.520 --> 0:44:18.759
<v Speaker 1>I brought Mason Williams and Tommy Smothers the next night

0:44:19.160 --> 0:44:22.400
<v Speaker 1>or the next week or whenever, and they flipped for him,

0:44:22.440 --> 0:44:25.400
<v Speaker 1>and we put him on the show and started managing

0:44:25.560 --> 0:44:29.160
<v Speaker 1>right away. And Kenny Rodgers was part of the group,

0:44:29.160 --> 0:44:32.000
<v Speaker 1>but he wasn't. He was singing lead on some of

0:44:32.000 --> 0:44:34.359
<v Speaker 1>the songs, but he wasn't the key member in it.

0:44:34.800 --> 0:44:37.600
<v Speaker 1>He didn't didn't become Kenny Rogers in the first edition

0:44:38.600 --> 0:44:41.360
<v Speaker 1>until a couple of years or a year at least

0:44:41.360 --> 0:44:44.960
<v Speaker 1>a year later. So how does just dropped in to

0:44:45.000 --> 0:44:47.640
<v Speaker 1>see what condition my condition was in. That was the

0:44:47.640 --> 0:44:50.200
<v Speaker 1>initial big hit. How did that come together? You know,

0:44:50.320 --> 0:44:52.600
<v Speaker 1>I don't remember how the song got in there. I

0:44:52.640 --> 0:44:54.920
<v Speaker 1>do know that was a song that kind of changed

0:44:54.960 --> 0:44:57.440
<v Speaker 1>things for us. That and Ruby Don't Take Your Love

0:44:57.560 --> 0:45:00.560
<v Speaker 1>to Town and Lucy Well Lucy a for Kenny as

0:45:00.600 --> 0:45:06.640
<v Speaker 1>a solors um. But but the thing was that Kenny

0:45:06.719 --> 0:45:09.640
<v Speaker 1>became the lead voice on a lot of those and

0:45:09.840 --> 0:45:12.799
<v Speaker 1>we had a hit going up the charts. And I

0:45:12.840 --> 0:45:15.760
<v Speaker 1>remember meeting with Mo Austin and Joe Smith at Warners

0:45:16.239 --> 0:45:19.520
<v Speaker 1>and them saying, we've got to do something because this

0:45:19.600 --> 0:45:22.000
<v Speaker 1>record is starting to get play and we've got another

0:45:22.040 --> 0:45:24.160
<v Speaker 1>record that's way up the charts. What do we do?

0:45:24.800 --> 0:45:27.239
<v Speaker 1>And we sat there and somehow in the group we

0:45:27.280 --> 0:45:30.719
<v Speaker 1>made a decision that since Kenny was the lead on

0:45:31.600 --> 0:45:35.439
<v Speaker 1>I think it was Ruby Um, that it would be

0:45:35.520 --> 0:45:37.960
<v Speaker 1>Kenny Rogers and the first edition for one of them,

0:45:37.960 --> 0:45:40.680
<v Speaker 1>in the first edition for the other. It was a

0:45:40.719 --> 0:45:46.600
<v Speaker 1>group happy with this. No, okay, during this area, you're

0:45:46.640 --> 0:45:50.440
<v Speaker 1>managing the Smothers, you manage the first edition managing anybody else. Yeah,

0:45:50.480 --> 0:45:53.440
<v Speaker 1>I had three or four let's see, from the Smothers

0:45:53.440 --> 0:45:57.280
<v Speaker 1>Brothers show. I had a fabulous, probably the best banjo

0:45:57.320 --> 0:46:01.640
<v Speaker 1>player in America, John Hartford, uh uh, who became kind

0:46:01.680 --> 0:46:04.520
<v Speaker 1>of a sidekick on the on the Glenn Campbell Show.

0:46:05.440 --> 0:46:08.600
<v Speaker 1>By the way, I I literally found Glenn Campbell for

0:46:08.719 --> 0:46:12.120
<v Speaker 1>that show to be the summer replacement for the Smothers

0:46:12.120 --> 0:46:15.440
<v Speaker 1>when I was tasked with that job by watching. In

0:46:15.480 --> 0:46:20.040
<v Speaker 1>those days, the tapes that you viewed were these heavy, huge,

0:46:20.160 --> 0:46:24.120
<v Speaker 1>heavy video tapes. There were two inches wide. They I

0:46:24.160 --> 0:46:26.000
<v Speaker 1>don't know how much they weighed, but I could barely

0:46:26.040 --> 0:46:29.120
<v Speaker 1>carry one. And I had to watch fifty of those.

0:46:29.480 --> 0:46:33.040
<v Speaker 1>I had a hundred hundred acts to watch, hundred artists

0:46:33.200 --> 0:46:35.400
<v Speaker 1>to see who would host the show. And when it

0:46:35.440 --> 0:46:39.040
<v Speaker 1>got to number fifty, actually number fifty, exactly halfway through,

0:46:39.440 --> 0:46:44.399
<v Speaker 1>Glenn Campbell was there. Uh, And I ran upstairs, got

0:46:44.400 --> 0:46:47.200
<v Speaker 1>Tommy Smithers, brought him down to the screening room, said

0:46:47.239 --> 0:46:51.000
<v Speaker 1>here's our guy. And we never looked at the other fifty. Okay,

0:46:51.040 --> 0:46:55.920
<v Speaker 1>so uh, Now it ends with the Smothers brothers. What's

0:46:55.960 --> 0:46:59.759
<v Speaker 1>keeping the door open? That the first edition and they're

0:47:00.200 --> 0:47:02.719
<v Speaker 1>they're hot in the US, and then we also as

0:47:02.760 --> 0:47:05.680
<v Speaker 1>they start to cool here, we get an offer to

0:47:05.560 --> 0:47:08.640
<v Speaker 1>tour in New Zealand and believe it or not, We

0:47:08.719 --> 0:47:11.919
<v Speaker 1>go to New Zealand were treated like the Beatles. It's

0:47:12.000 --> 0:47:14.279
<v Speaker 1>unreal how hot we get in New Zealand. We make

0:47:14.320 --> 0:47:19.919
<v Speaker 1>three tours there and I literally spent probably six months

0:47:19.960 --> 0:47:22.520
<v Speaker 1>of my life in New Zealand, which is an incredible

0:47:22.560 --> 0:47:26.279
<v Speaker 1>country visually, and everything else conservative is all get out.

0:47:26.320 --> 0:47:30.920
<v Speaker 1>I mean everything Saturday afternoon until Monday morning, everything closed closed.

0:47:30.920 --> 0:47:34.360
<v Speaker 1>In those days. It was, you know, quite a different experience,

0:47:34.640 --> 0:47:38.799
<v Speaker 1>but it was the most fabulous country visually. Uh you know.

0:47:38.920 --> 0:47:41.600
<v Speaker 1>So anyway, so first edition is driving, But I have

0:47:41.680 --> 0:47:44.600
<v Speaker 1>other clients during that period of time. I've been handling

0:47:44.640 --> 0:47:50.160
<v Speaker 1>Mason Williams out of the I had Bob Einstein, who

0:47:50.200 --> 0:47:53.200
<v Speaker 1>went on ended up being Super Day Super Dave. Yeah.

0:47:53.280 --> 0:47:55.440
<v Speaker 1>By the way, I just recently went to the memorial

0:47:55.520 --> 0:47:58.880
<v Speaker 1>service for Bob Einstein and he had to his two brothers,

0:47:58.920 --> 0:48:02.880
<v Speaker 1>one of whom his head of a big advertising agency, Cliff,

0:48:03.520 --> 0:48:07.279
<v Speaker 1>and the other one is Albert Brooks, the comedian. So

0:48:07.360 --> 0:48:12.040
<v Speaker 1>Cliffs gets up to and and does a whole thing

0:48:12.120 --> 0:48:16.040
<v Speaker 1>on Bob from beginning to end. It's like thirty minutes.

0:48:16.080 --> 0:48:19.680
<v Speaker 1>Everybody else is talking five just Seinfeld was there, All

0:48:19.760 --> 0:48:22.240
<v Speaker 1>kinds of people Tommy smothers were there. They all talked

0:48:22.239 --> 0:48:25.480
<v Speaker 1>five or ten minutes. Cliff does this whole big long thing,

0:48:25.880 --> 0:48:29.800
<v Speaker 1>and he's followed by Albert Brooks. If anybody knows wonderful

0:48:29.840 --> 0:48:34.359
<v Speaker 1>comedian movie maker move, you know. Albert Brooks gets up there.

0:48:34.760 --> 0:48:37.839
<v Speaker 1>He has this sheaf of papers in his hand and

0:48:37.880 --> 0:48:39.839
<v Speaker 1>he throws him up in the air and he says, well,

0:48:39.880 --> 0:48:42.279
<v Speaker 1>the heck with that. They told me Cliff had died.

0:48:46.640 --> 0:48:49.840
<v Speaker 1>That's good, great, And then he says, but now I

0:48:49.880 --> 0:48:52.239
<v Speaker 1>hear Cliff speak. Jeez, I went out to move my

0:48:52.280 --> 0:48:55.920
<v Speaker 1>car twice while Cliff speak. He brought the house that.

0:48:56.040 --> 0:48:58.279
<v Speaker 1>It was the best two lines of the night. It

0:48:58.440 --> 0:49:01.200
<v Speaker 1>was hysterical. I just that. I mean, that family was

0:49:01.239 --> 0:49:04.000
<v Speaker 1>so funny, and their father was a guy name of

0:49:04.040 --> 0:49:07.400
<v Speaker 1>all things, whoever remembers this father was a comedian named

0:49:07.400 --> 0:49:11.759
<v Speaker 1>Parker Carcass. That was his name, I mean his stage name,

0:49:11.840 --> 0:49:15.880
<v Speaker 1>you know. Anyway, But I had Einstein, I had Mason Williams,

0:49:15.920 --> 0:49:21.240
<v Speaker 1>I had John Hartford. Oh, I had Jennifer Warren, uh

0:49:21.280 --> 0:49:24.479
<v Speaker 1>you know. And and somewhere in that period of time,

0:49:24.520 --> 0:49:27.200
<v Speaker 1>I think maybe it was a little later, Jennifer and

0:49:27.239 --> 0:49:32.440
<v Speaker 1>Bill Medley did fabulous songs for the movie. Uh. So

0:49:32.480 --> 0:49:35.759
<v Speaker 1>I had a lot going on during that period. Uh.

0:49:35.800 --> 0:49:38.920
<v Speaker 1>But then I went to work for Jerry Wander. How

0:49:38.920 --> 0:49:43.400
<v Speaker 1>did that come about? I used to collect old cars,

0:49:43.480 --> 0:49:50.280
<v Speaker 1>antique cars, and Kenny gave me an old nineteen uh

0:49:51.120 --> 0:49:54.960
<v Speaker 1>Ford with a little Ford coupe with a with a

0:49:55.040 --> 0:49:58.040
<v Speaker 1>rumble seat, and I had a park somewhere I was.

0:49:58.200 --> 0:50:00.600
<v Speaker 1>I drove it around town and a note came on

0:50:00.719 --> 0:50:04.520
<v Speaker 1>my window and said, we're doing this thing in Vegas,

0:50:04.520 --> 0:50:08.360
<v Speaker 1>the show in Vegas, and we're using antique cars and stuff.

0:50:08.600 --> 0:50:11.279
<v Speaker 1>Could we use your car? Actually, first around l A,

0:50:11.320 --> 0:50:13.040
<v Speaker 1>it was a group called the Do Dog Gang. I

0:50:13.080 --> 0:50:14.960
<v Speaker 1>don't know if you remember it. You're talking about the

0:50:14.960 --> 0:50:17.839
<v Speaker 1>people did the parade and they did all kinds of

0:50:17.880 --> 0:50:21.839
<v Speaker 1>things that they that they they were They played as

0:50:21.880 --> 0:50:26.560
<v Speaker 1>if they were nine. So there was Big Jim and

0:50:26.600 --> 0:50:29.920
<v Speaker 1>he was a gangster, and they were all hoodlums and

0:50:29.960 --> 0:50:32.319
<v Speaker 1>there were a rival gang and they'd have shootouts in

0:50:32.480 --> 0:50:36.080
<v Speaker 1>l A. In fact, he gets married to this lady

0:50:36.120 --> 0:50:39.680
<v Speaker 1>that's supposed to be she's a dancer from a chorus

0:50:39.760 --> 0:50:43.080
<v Speaker 1>line in Chicago, because he's from Chicago. And they get

0:50:43.080 --> 0:50:46.000
<v Speaker 1>married at the Beverly Hills hotel and as they're walking

0:50:46.040 --> 0:50:49.160
<v Speaker 1>out of the hotel, the rival gang kidnaps. Her name

0:50:49.239 --> 0:50:52.920
<v Speaker 1>was I can't remember what her name was, but Bob

0:50:52.960 --> 0:50:55.759
<v Speaker 1>Boop see something or something like that, you know, and

0:50:55.800 --> 0:50:57.880
<v Speaker 1>then they go in to shootout around town. So we

0:50:58.000 --> 0:51:01.200
<v Speaker 1>opened in Vegas. They talked me into coming up and

0:51:01.239 --> 0:51:04.880
<v Speaker 1>helping produce a show in Vegas at the at the

0:51:04.920 --> 0:51:10.719
<v Speaker 1>Flamingo and it failed, and um but it failed. The

0:51:10.760 --> 0:51:13.799
<v Speaker 1>week that Time magazine did a fabulous review of it.

0:51:13.880 --> 0:51:16.919
<v Speaker 1>We just couldn't We couldn't get a second show going.

0:51:17.000 --> 0:51:20.080
<v Speaker 1>We were in a side room. Didn't work anyway. I

0:51:20.560 --> 0:51:23.160
<v Speaker 1>limped back to l A. And I had loaned the

0:51:23.200 --> 0:51:26.120
<v Speaker 1>show what amounted to my life savings to pay the

0:51:26.239 --> 0:51:29.520
<v Speaker 1>very last week's salary, thinking we were getting money. But

0:51:29.640 --> 0:51:32.720
<v Speaker 1>we didn't. So I lost my money. So I'm now broke.

0:51:33.160 --> 0:51:36.040
<v Speaker 1>I've got my house in my car and an antique

0:51:36.040 --> 0:51:41.240
<v Speaker 1>piano from the show and that's it. And and somehow

0:51:41.320 --> 0:51:43.360
<v Speaker 1>or other, I found Jerry Weintrop and he hired me.

0:51:43.440 --> 0:51:46.120
<v Speaker 1>Hired me for nothing. I mean, it wasn't much, but

0:51:46.160 --> 0:51:47.920
<v Speaker 1>it was enough to keep me alive at the at

0:51:47.960 --> 0:51:50.120
<v Speaker 1>that point in time. And I worked for him for

0:51:50.160 --> 0:51:53.000
<v Speaker 1>two years. And I learned an enormous I learned an

0:51:53.120 --> 0:51:56.640
<v Speaker 1>enormous amount from it. Uh good and bad. I have

0:51:56.719 --> 0:51:58.520
<v Speaker 1>to be a couple of things. What was good what

0:51:58.560 --> 0:52:02.880
<v Speaker 1>was bad. The good things were things like you play

0:52:03.000 --> 0:52:08.680
<v Speaker 1>uh l A and New York for the career, and

0:52:08.719 --> 0:52:11.640
<v Speaker 1>you play the rest of the country for the money. Okay,

0:52:11.880 --> 0:52:14.239
<v Speaker 1>I mean for him by the way I handled the carpenters.

0:52:14.280 --> 0:52:18.840
<v Speaker 1>I worked with John uh John Davidson, I worked with

0:52:18.840 --> 0:52:22.280
<v Speaker 1>with John Denver. We had all we had all the d's.

0:52:22.400 --> 0:52:25.960
<v Speaker 1>We had Davis and Denver was unbelievable. We even had

0:52:26.040 --> 0:52:29.239
<v Speaker 1>Dylan for a while. I remember walking down the hall

0:52:29.280 --> 0:52:32.080
<v Speaker 1>and Bob Dylan's walking towards me. The Colonel used to

0:52:32.120 --> 0:52:34.360
<v Speaker 1>come and hang out in my office. Colonel Tom Parker

0:52:34.400 --> 0:52:37.400
<v Speaker 1>would hang out in my office anyway. In that, you know,

0:52:37.480 --> 0:52:40.359
<v Speaker 1>That's what I learned that what I the problem was

0:52:40.520 --> 0:52:44.000
<v Speaker 1>Jerry was driven by power and money. You know, I'm

0:52:44.160 --> 0:52:48.520
<v Speaker 1>very driven by those things, and that's just not my style.

0:52:48.640 --> 0:52:52.160
<v Speaker 1>It's not what I you know. So those were like

0:52:52.280 --> 0:52:55.560
<v Speaker 1>the Kings, and and so I learned things not to do.

0:52:55.640 --> 0:52:57.440
<v Speaker 1>But I really learned a lot from him. On a

0:52:57.480 --> 0:53:00.880
<v Speaker 1>positive side, he was incredibly sick Cessil and he had

0:53:00.920 --> 0:53:03.520
<v Speaker 1>a thing called Concerts West, which is still around now.

0:53:04.200 --> 0:53:07.400
<v Speaker 1>Uh that was part of the company and they produced everybody,

0:53:07.400 --> 0:53:09.840
<v Speaker 1>and they did all the Sinatra tours. I got to

0:53:09.880 --> 0:53:13.520
<v Speaker 1>work with Sinatra and stuff. It was pretty fun. I mean, now,

0:53:13.520 --> 0:53:16.480
<v Speaker 1>at the time, you're still managing Kenny Rogers. No, Kenny

0:53:16.520 --> 0:53:19.440
<v Speaker 1>had left, the group had broken up. That was the

0:53:19.480 --> 0:53:22.080
<v Speaker 1>other thing that had happened before. Right around that time,

0:53:22.120 --> 0:53:24.640
<v Speaker 1>the first edition broke up. But I wasn't making much

0:53:24.680 --> 0:53:27.319
<v Speaker 1>from them anyway. They were in the very, very downside

0:53:27.320 --> 0:53:31.600
<v Speaker 1>of their career. Uh So I at that point in time,

0:53:32.239 --> 0:53:36.040
<v Speaker 1>I went, you know, I'm going to work for Jerry.

0:53:36.120 --> 0:53:38.800
<v Speaker 1>Was kind of salvation for me at that moment in time,

0:53:39.480 --> 0:53:43.480
<v Speaker 1>and um, I kind of lost my trend. Thought, I'm sorry, no, okay,

0:53:43.480 --> 0:53:48.319
<v Speaker 1>So how do you decide to leave Jerry? Oh yeah,

0:53:48.719 --> 0:53:51.439
<v Speaker 1>that's exactly. Let me right back into the Kenny Rogers thing.

0:53:51.800 --> 0:53:56.480
<v Speaker 1>So Kenny goes to Nashville, meets up with Larry Butler,

0:53:56.960 --> 0:54:00.560
<v Speaker 1>starts to record song since a seventeen song. I sit

0:54:00.640 --> 0:54:04.200
<v Speaker 1>in Jerry had his own promotion department. The three guys

0:54:04.239 --> 0:54:06.680
<v Speaker 1>from the promotion department and I sit in the little

0:54:06.760 --> 0:54:09.319
<v Speaker 1>room we had with the great speakers and stuff, and

0:54:09.360 --> 0:54:12.400
<v Speaker 1>we listened to these seventeen songs and we hear Lucy

0:54:12.400 --> 0:54:14.800
<v Speaker 1>Elle and a couple of other songs that became big hits,

0:54:15.320 --> 0:54:19.480
<v Speaker 1>and we're pretty mesrized with it. And so I want

0:54:19.480 --> 0:54:22.080
<v Speaker 1>to and I want to sign Kenny, and Jerry says, oh,

0:54:22.160 --> 0:54:24.800
<v Speaker 1>he's washed up and so over. It's not going to happen.

0:54:26.040 --> 0:54:28.359
<v Speaker 1>Don't do that now, you know that'd be straight and so.

0:54:28.400 --> 0:54:32.120
<v Speaker 1>But over his objection, I signed Kenny, which, by the way,

0:54:32.239 --> 0:54:37.440
<v Speaker 1>ultimately made Jerry several millions, and after I had left him,

0:54:37.480 --> 0:54:41.400
<v Speaker 1>by the way, um so, anyway, Kenny knows that Jerry

0:54:41.400 --> 0:54:43.840
<v Speaker 1>didn't want him as a client. I don't remember. I

0:54:44.200 --> 0:54:48.040
<v Speaker 1>doubt if I said that directly, but he knew. Uh.

0:54:48.520 --> 0:54:52.120
<v Speaker 1>As Kenny starts to become successful, he says to me,

0:54:53.000 --> 0:54:55.640
<v Speaker 1>I'm leaving. You can either go with me or not,

0:54:56.120 --> 0:54:59.840
<v Speaker 1>but it's up to you. Well, you know, now Kenny's

0:54:59.880 --> 0:55:03.640
<v Speaker 1>my hot client. I've got others. I've got Dottie West

0:55:03.719 --> 0:55:06.880
<v Speaker 1>the singer, and I've got I'm working with Harry Chapin

0:55:07.000 --> 0:55:10.880
<v Speaker 1>and and who Jerry had signed, and a few others.

0:55:11.600 --> 0:55:15.600
<v Speaker 1>So I decided to leave Jerry very contentious decision. It

0:55:17.520 --> 0:55:21.560
<v Speaker 1>wasn't pleasant. But so what did Jerry? Sorry, yeah, give

0:55:21.600 --> 0:55:24.600
<v Speaker 1>me a few million dollars and you can go. And

0:55:24.640 --> 0:55:27.719
<v Speaker 1>he was paying me next to nothing. Um No, but

0:55:27.840 --> 0:55:29.600
<v Speaker 1>he did keep a piece of Kenny for a couple

0:55:29.680 --> 0:55:31.520
<v Speaker 1>of years, which turned out to be a couple of

0:55:31.560 --> 0:55:36.239
<v Speaker 1>big years. Um So in any event, um, and he

0:55:36.280 --> 0:55:37.920
<v Speaker 1>became very fair. Used to come over and visit me

0:55:37.960 --> 0:55:40.400
<v Speaker 1>at my other once. I became very successful with the

0:55:40.440 --> 0:55:43.279
<v Speaker 1>new new acts. I mean, I've been there before during

0:55:43.280 --> 0:55:46.759
<v Speaker 1>the mother's days being real hot, but I got very

0:55:46.760 --> 0:55:50.120
<v Speaker 1>hot in the eighties, as you know. And uh, and

0:55:50.200 --> 0:55:53.560
<v Speaker 1>Jerry would just drop by and his in his sweat clothes,

0:55:54.120 --> 0:55:57.000
<v Speaker 1>come over and sit in my office. You know. It's funny. Uh,

0:55:57.080 --> 0:55:59.920
<v Speaker 1>sort of like Colonel Tom Parker did. It was interesting.

0:56:00.080 --> 0:56:05.320
<v Speaker 1>But but when I left Kenny, I bought a little

0:56:05.400 --> 0:56:08.959
<v Speaker 1>house on Shaborne Drive here in Los Angeles that would

0:56:09.000 --> 0:56:14.319
<v Speaker 1>have been Casablanca Records and Neil Bogart's place, and but

0:56:14.400 --> 0:56:18.080
<v Speaker 1>it was the record company. Uh, and you know, set

0:56:18.160 --> 0:56:22.040
<v Speaker 1>up an office there and started managing acts and had

0:56:22.680 --> 0:56:25.560
<v Speaker 1>almost huge success from the very beginning because Kenny was

0:56:25.640 --> 0:56:27.239
<v Speaker 1>read hot and he was getting out of all the

0:56:27.320 --> 0:56:30.520
<v Speaker 1>time and I was really able then I was able

0:56:30.600 --> 0:56:34.080
<v Speaker 1>to probably use whatever skills I had as a manager

0:56:34.200 --> 0:56:42.680
<v Speaker 1>really came into play in that period. Who's the next

0:56:42.680 --> 0:56:46.200
<v Speaker 1>big act? Dr? Kenny? Uh, Lionel Ritchie and how did

0:56:46.200 --> 0:56:48.239
<v Speaker 1>you get Lionel Richie been with the Commodores? How did

0:56:48.239 --> 0:56:52.319
<v Speaker 1>he come to you? He came to me because Kenny

0:56:52.360 --> 0:56:55.480
<v Speaker 1>had been very hot on the country charts and was

0:56:55.560 --> 0:56:59.640
<v Speaker 1>now doing extremely well popped. People don't kind of realize,

0:56:59.680 --> 0:57:02.600
<v Speaker 1>but the first act to really cross from country to

0:57:02.719 --> 0:57:06.320
<v Speaker 1>pop and keep his foot in both was Kenny Rogers,

0:57:07.040 --> 0:57:10.080
<v Speaker 1>and he decided there was one other chart at the time.

0:57:10.160 --> 0:57:12.719
<v Speaker 1>He decided he wanted to be number one on the

0:57:12.840 --> 0:57:17.600
<v Speaker 1>R and B charts, so he Uh. He went to

0:57:17.680 --> 0:57:20.160
<v Speaker 1>Jim as It, who was running the record company, and said,

0:57:20.720 --> 0:57:22.480
<v Speaker 1>I want to have an R and B head And

0:57:22.600 --> 0:57:24.760
<v Speaker 1>Jim said, well, there's only one guy around to write

0:57:24.800 --> 0:57:28.480
<v Speaker 1>it for you. It's Lionel Richie. And I think Lionel

0:57:28.600 --> 0:57:31.080
<v Speaker 1>was in Vegas. Al the Linel remembers is the opposite.

0:57:31.120 --> 0:57:33.880
<v Speaker 1>He remembers that he went to Vegas to visit Kenny.

0:57:33.960 --> 0:57:36.400
<v Speaker 1>But the story I've always known was Kenny went to

0:57:36.480 --> 0:57:39.920
<v Speaker 1>Vegas to visit Lionel and Lionel played him what he

0:57:40.000 --> 0:57:44.040
<v Speaker 1>had of this song and then wrote it for Kenny,

0:57:44.080 --> 0:57:47.640
<v Speaker 1>which was Lady, which became one of Kenny's very biggest hits,

0:57:48.040 --> 0:57:50.320
<v Speaker 1>and produced it for him and everything. So it was

0:57:50.400 --> 0:57:54.280
<v Speaker 1>quite something and and he Uh So, all of a sudden,

0:57:54.320 --> 0:57:57.720
<v Speaker 1>I had two huge acts. One of the things I'm

0:57:57.720 --> 0:58:04.920
<v Speaker 1>extremely proud of his one through into two. For eighteen months,

0:58:05.520 --> 0:58:09.280
<v Speaker 1>I had forty eight percent of the top ten records

0:58:09.280 --> 0:58:12.800
<v Speaker 1>in America were my clients over an eighteen minute period

0:58:12.840 --> 0:58:16.280
<v Speaker 1>month period for eighteen months. Okay, so who was it?

0:58:16.400 --> 0:58:19.400
<v Speaker 1>It was Kenny, it was Lionel, it was Kim Carnes

0:58:19.480 --> 0:58:23.320
<v Speaker 1>with Betty Davis eyes and a lot don't fall in

0:58:23.320 --> 0:58:25.880
<v Speaker 1>Love with a Dreamer, which she did with Kenny. Uh.

0:58:25.920 --> 0:58:29.000
<v Speaker 1>You know, she had a whole series of hits. Uh

0:58:29.160 --> 0:58:32.080
<v Speaker 1>had we had the Jay Giles band at that time

0:58:32.600 --> 0:58:35.280
<v Speaker 1>with freeze Frame and you know a lot of the

0:58:35.280 --> 0:58:40.320
<v Speaker 1>other songs. Um, I hadn't taken on Olivia yet, and

0:58:40.360 --> 0:58:42.760
<v Speaker 1>I didn't have big hits with Olivia. Later on. I

0:58:42.760 --> 0:58:45.520
<v Speaker 1>had Olivia, John and the Bigs for short periods of time,

0:58:45.800 --> 0:58:49.640
<v Speaker 1>and Burt Reynolds for a very short less than a year. Uh.

0:58:49.680 --> 0:58:51.840
<v Speaker 1>But I'm trying to think who all the others were

0:58:51.960 --> 0:58:56.040
<v Speaker 1>right in that period. But you know, Lionel and Kenny

0:58:56.200 --> 0:58:58.240
<v Speaker 1>would have more than one hit in the top ten

0:58:58.280 --> 0:59:00.920
<v Speaker 1>at times. Okay, So lionle to manager and he just

0:59:00.960 --> 0:59:02.600
<v Speaker 1>called you up and said, I want to go with you. No,

0:59:02.880 --> 0:59:06.959
<v Speaker 1>we were doing after we did, lady. We flew down

0:59:06.960 --> 0:59:10.200
<v Speaker 1>to Tuskegee for a TV special and for and had

0:59:10.200 --> 0:59:13.240
<v Speaker 1>the Commodores as a guest. I have a great picture

0:59:13.320 --> 0:59:18.040
<v Speaker 1>with all of them. And they were managed by Benny Ashburne.

0:59:18.080 --> 0:59:20.920
<v Speaker 1>I think, boy picking names out of my head that

0:59:21.040 --> 0:59:24.760
<v Speaker 1>I don't know how I'm doing it. Uh, And and

0:59:24.840 --> 0:59:27.440
<v Speaker 1>they were, and he was he had really done a

0:59:27.440 --> 0:59:31.160
<v Speaker 1>lot for the group. But Lionel came to me and

0:59:31.240 --> 0:59:33.880
<v Speaker 1>said he and his wife at the time, Brenda, and said,

0:59:34.760 --> 0:59:37.040
<v Speaker 1>you know, we want to we want Lina wants to

0:59:37.040 --> 0:59:40.800
<v Speaker 1>go solo and he wants to do this. And I said, look,

0:59:40.840 --> 0:59:44.120
<v Speaker 1>I'm not gonna. I've never stolen an act from another manager,

0:59:45.000 --> 0:59:47.640
<v Speaker 1>you know, so you gotta if you leave Benny, come

0:59:47.720 --> 0:59:50.720
<v Speaker 1>to me when you're free, which he did very quickly,

0:59:50.800 --> 0:59:54.160
<v Speaker 1>and he always felt very bad about it because Benny

0:59:54.360 --> 0:59:58.720
<v Speaker 1>probably in another year or maybe less, Benny died yeah. So,

0:59:59.000 --> 1:00:01.000
<v Speaker 1>and Lionel took that hard of it. I mean, you

1:00:01.000 --> 1:00:04.480
<v Speaker 1>think these were the tracks were really hot because he

1:00:04.600 --> 1:00:08.800
<v Speaker 1>had all night long. Yeah, yeah, he had. He had

1:00:09.040 --> 1:00:11.640
<v Speaker 1>so many hits in in a period of time. But

1:00:11.760 --> 1:00:14.720
<v Speaker 1>remember Kenny was having hits then two Kenny's got like

1:00:14.800 --> 1:00:18.320
<v Speaker 1>fifty number one records. Lionel was having one hit after another.

1:00:18.800 --> 1:00:21.160
<v Speaker 1>Lena was taking more time. Kenny would get a record.

1:00:21.640 --> 1:00:24.880
<v Speaker 1>Kenny could record a record in Nashville, and he could

1:00:24.920 --> 1:00:29.360
<v Speaker 1>do it in three days, okay, three days, you know.

1:00:29.680 --> 1:00:32.720
<v Speaker 1>Lino would take a year and a half, you know,

1:00:33.160 --> 1:00:35.360
<v Speaker 1>and the record company would be calling for the last

1:00:35.400 --> 1:00:38.320
<v Speaker 1>six months, calling me every day, is it ready yet?

1:00:38.400 --> 1:00:40.280
<v Speaker 1>Is it ready yet? They were trying to schedule it

1:00:40.280 --> 1:00:41.600
<v Speaker 1>as it ready in line, it will be going I

1:00:41.640 --> 1:00:43.800
<v Speaker 1>need one more song, I need one I've got to

1:00:43.800 --> 1:00:48.120
<v Speaker 1>tweak this or whatever. So that the style was so different,

1:00:48.200 --> 1:00:50.560
<v Speaker 1>you know. Okay. The question, of course is would they

1:00:50.560 --> 1:00:55.200
<v Speaker 1>have been as successful if they had not been with you. Well,

1:00:55.240 --> 1:00:57.920
<v Speaker 1>that's a trick question. I'll tell you why, because if

1:00:57.960 --> 1:01:00.800
<v Speaker 1>I didn't believe that was true, wouldn't be any good

1:01:00.800 --> 1:01:03.040
<v Speaker 1>at what I do or what I did. I don't

1:01:03.080 --> 1:01:06.720
<v Speaker 1>do that much anymore now, but I believed that was

1:01:06.760 --> 1:01:09.800
<v Speaker 1>the best manager in the business, not the only good

1:01:09.800 --> 1:01:13.640
<v Speaker 1>one and not but I and not doing it the

1:01:13.680 --> 1:01:16.680
<v Speaker 1>same way others did you know if he went to

1:01:16.720 --> 1:01:20.520
<v Speaker 1>Peter Asher who ended up managing Linda Runstad and James

1:01:20.520 --> 1:01:23.400
<v Speaker 1>Taylor and others. You know, he was a record producer,

1:01:23.400 --> 1:01:27.040
<v Speaker 1>He's been an act He've been part of Peter and Gordon,

1:01:27.160 --> 1:01:30.360
<v Speaker 1>isn't yeah, um, you know, but he was a wonderful

1:01:30.400 --> 1:01:34.600
<v Speaker 1>record producer and would produce incredible music with him. What

1:01:34.640 --> 1:01:36.080
<v Speaker 1>he did in the rest of the areas, I'm not

1:01:36.120 --> 1:01:38.200
<v Speaker 1>sure because I never followed that part of it, but

1:01:38.240 --> 1:01:41.360
<v Speaker 1>he had great success with his act. Um. You know,

1:01:42.000 --> 1:01:44.880
<v Speaker 1>Sandy Gallen and and Jim Morey and some of the

1:01:44.880 --> 1:01:49.040
<v Speaker 1>other managers in the business that were successful worked different ways.

1:01:49.160 --> 1:01:53.200
<v Speaker 1>They were they were tougher, They were probably better negotiators

1:01:53.200 --> 1:01:58.480
<v Speaker 1>than me. I always felt my strength was twofold one

1:01:59.120 --> 1:02:04.200
<v Speaker 1>picking the right artist, some gut feel for who has talent?

1:02:04.560 --> 1:02:08.400
<v Speaker 1>Where is that X factor? Where what's totally different about

1:02:08.400 --> 1:02:11.040
<v Speaker 1>this person in some way? It doesn't have to be everything.

1:02:11.440 --> 1:02:13.320
<v Speaker 1>In fact, a lot of things may not. It may

1:02:13.320 --> 1:02:15.360
<v Speaker 1>not be good to be different in every way, but

1:02:15.480 --> 1:02:20.600
<v Speaker 1>what's unusual what's special, what's the wow factor, what's why? Why?

1:02:20.760 --> 1:02:23.760
<v Speaker 1>You know? Where's the I could feel the charisma of

1:02:23.800 --> 1:02:26.160
<v Speaker 1>certain artists when they walk in the room. They didn't

1:02:26.160 --> 1:02:30.520
<v Speaker 1>have to do anything. Give me a couple of examples. Um,

1:02:30.600 --> 1:02:33.600
<v Speaker 1>that's interesting, that's a good, good question. I'd have to

1:02:33.640 --> 1:02:37.800
<v Speaker 1>think about it for a minute. Um, you know, I mean,

1:02:37.840 --> 1:02:43.160
<v Speaker 1>certainly Lionel had it and Kenny had it. Um, great, great,

1:02:43.240 --> 1:02:49.880
<v Speaker 1>Kenny illustration Slightly different than that answer. I felt what

1:02:49.960 --> 1:02:53.320
<v Speaker 1>Kenny Rogers could do was like what Michael Jordan did

1:02:53.360 --> 1:02:57.120
<v Speaker 1>on the basketball court. If the chips were down, if

1:02:57.160 --> 1:02:59.600
<v Speaker 1>if he had to hit the shot to win the game,

1:03:00.240 --> 1:03:02.560
<v Speaker 1>he would take his game up and hit the shot.

1:03:03.400 --> 1:03:06.520
<v Speaker 1>I found Kenny every time there was a challenge there,

1:03:07.000 --> 1:03:09.560
<v Speaker 1>he dialed it up. Yeah. I know, this is like

1:03:09.600 --> 1:03:11.840
<v Speaker 1>sports starters. You can hang with him every day and

1:03:11.880 --> 1:03:14.520
<v Speaker 1>he could be better than them. But when competition comes

1:03:14.720 --> 1:03:18.560
<v Speaker 1>there just there's one thing, you know, they just and

1:03:18.600 --> 1:03:20.240
<v Speaker 1>a part of it is they don't want to fail.

1:03:21.320 --> 1:03:25.680
<v Speaker 1>Part of it is they're absolutely determined not to be embarrassed,

1:03:25.760 --> 1:03:29.160
<v Speaker 1>not to fail. I listened. I gave a fiftieth birthday

1:03:29.160 --> 1:03:32.120
<v Speaker 1>party for Kenny Rogers at the Mountain Gate, which the

1:03:32.200 --> 1:03:36.520
<v Speaker 1>golf course here in l a And and I live

1:03:36.560 --> 1:03:40.040
<v Speaker 1>across the street from it. But I gave a party

1:03:40.080 --> 1:03:43.080
<v Speaker 1>there as a surprise for Kenny. And he was out

1:03:43.120 --> 1:03:46.080
<v Speaker 1>on the golf of course, playing in a foursome that day.

1:03:46.440 --> 1:03:48.520
<v Speaker 1>He didn't know there was any party coming. And flew

1:03:48.560 --> 1:03:52.760
<v Speaker 1>Dolly Parton in flew his original jazz group, the Bobby

1:03:52.760 --> 1:03:57.120
<v Speaker 1>Doyle Tree in trio in. We had all things scheduled,

1:03:57.360 --> 1:04:00.600
<v Speaker 1>and Kenny's playing the course and I got the fifty

1:04:00.640 --> 1:04:04.560
<v Speaker 1>people are so attending to hide behind trees and rocks

1:04:04.600 --> 1:04:08.560
<v Speaker 1>around the ninth hole. And what I had told him

1:04:08.680 --> 1:04:11.320
<v Speaker 1>was when he find when he hits the final punt,

1:04:11.440 --> 1:04:16.320
<v Speaker 1>you jump out, yell surprise, happy birthday or whatever. Well

1:04:16.480 --> 1:04:20.640
<v Speaker 1>he's off the green, and somehow or other, the minute

1:04:20.680 --> 1:04:23.480
<v Speaker 1>they see him, they all jump out from behind the rocks,

1:04:23.920 --> 1:04:26.640
<v Speaker 1>and you know, and they and they yell surprise, and

1:04:26.720 --> 1:04:30.120
<v Speaker 1>he's he's, you know, twenty ft off the green. He

1:04:30.320 --> 1:04:35.360
<v Speaker 1>chips to nine feet and he sinks the putt. I

1:04:35.400 --> 1:04:38.680
<v Speaker 1>went to I said, all you need is a little pressure.

1:04:39.080 --> 1:04:40.960
<v Speaker 1>All you need, I said, you could go on the

1:04:41.000 --> 1:04:43.640
<v Speaker 1>pro tour. You know, I mean, he he was He

1:04:43.680 --> 1:04:45.800
<v Speaker 1>was a good golfer, but he wasn't that level or

1:04:45.840 --> 1:04:47.720
<v Speaker 1>you're gonna do that with a hundred and fifty people

1:04:47.800 --> 1:04:51.880
<v Speaker 1>standing around at yelling surprise. But but that was typical

1:04:51.920 --> 1:04:55.320
<v Speaker 1>of me, of that Michael Jordan's quality that you see,

1:04:55.400 --> 1:05:01.680
<v Speaker 1>or the Kobe Bryant quality, that competitiveness. Uh uh So. Anyway,

1:05:01.680 --> 1:05:03.880
<v Speaker 1>what I started to say is I have some kind

1:05:03.920 --> 1:05:09.000
<v Speaker 1>of a gut feel for who has that extra dimension

1:05:09.120 --> 1:05:11.040
<v Speaker 1>and it's got to excite me. It's got to be

1:05:11.120 --> 1:05:14.120
<v Speaker 1>something that I feel like, oh boy, there really is

1:05:14.160 --> 1:05:17.200
<v Speaker 1>something cool happening here, even if it isn't my genre

1:05:17.640 --> 1:05:21.160
<v Speaker 1>music I would listen to normally, If it's quality, if

1:05:21.200 --> 1:05:25.360
<v Speaker 1>it's different, if it's unique, then that's that's the biggest

1:05:25.400 --> 1:05:29.840
<v Speaker 1>that's the number one. Number two. I think I take

1:05:30.040 --> 1:05:32.360
<v Speaker 1>everything I'm working on and try and take it up

1:05:32.400 --> 1:05:35.040
<v Speaker 1>to another level, almost like what I'm talking about with

1:05:35.080 --> 1:05:38.320
<v Speaker 1>the artist. I always try to find the piece of it,

1:05:39.200 --> 1:05:42.040
<v Speaker 1>what how can we make this something bigger than it

1:05:42.160 --> 1:05:46.520
<v Speaker 1>might otherwise be? So and I feel extremely creative. I

1:05:46.520 --> 1:05:50.760
<v Speaker 1>think my strengths are creative vision of stuff. How do

1:05:50.800 --> 1:05:53.520
<v Speaker 1>you how do you take stuff? Whatever I'm working on,

1:05:53.840 --> 1:05:57.080
<v Speaker 1>I mean, whether it was you know, the great charity

1:05:57.080 --> 1:06:01.600
<v Speaker 1>projects have done that are very historical. It's always finding

1:06:01.640 --> 1:06:04.680
<v Speaker 1>that way to have a wow factor, to have something

1:06:05.120 --> 1:06:07.880
<v Speaker 1>that takes it to another level. And those are those

1:06:07.920 --> 1:06:11.040
<v Speaker 1>are my areas of strength. I'm not the strongest negotiator

1:06:11.040 --> 1:06:13.920
<v Speaker 1>in the world. I negotiate differently than some of the

1:06:13.920 --> 1:06:16.840
<v Speaker 1>tougher guys I know in the business. I still get

1:06:16.880 --> 1:06:20.000
<v Speaker 1>it good stuff, but I start with acts that can

1:06:20.120 --> 1:06:23.440
<v Speaker 1>demand that that that are going to get that anyway. Okay,

1:06:23.440 --> 1:06:25.800
<v Speaker 1>but didn't you you develop some of these acts like

1:06:25.840 --> 1:06:29.720
<v Speaker 1>Travis Tritt and Trishanyrwood from the beginning the same way,

1:06:30.160 --> 1:06:34.000
<v Speaker 1>same way, figure out, you know, bottom line, figure out

1:06:34.040 --> 1:06:37.760
<v Speaker 1>what's needed at that moment in time for that day,

1:06:37.960 --> 1:06:41.320
<v Speaker 1>even what what's the most important thing you can accomplish

1:06:41.400 --> 1:06:46.240
<v Speaker 1>today and go after that and make it happen, and

1:06:46.640 --> 1:06:49.920
<v Speaker 1>um so on each of those acts. I mean Travis Tritt,

1:06:49.960 --> 1:06:52.280
<v Speaker 1>when I first saw him, it was because of Warner

1:06:52.280 --> 1:06:56.120
<v Speaker 1>Brothers promotion. Guy called me and said, you've got to

1:06:55.000 --> 1:06:58.080
<v Speaker 1>come to Atlanta and see this act. And he just

1:06:58.760 --> 1:07:01.520
<v Speaker 1>and and I trust did him enough that I really

1:07:01.640 --> 1:07:05.200
<v Speaker 1>had to go do it. And he blew my mind

1:07:05.400 --> 1:07:09.080
<v Speaker 1>in his live performance. And Jim Ed Norman, who was

1:07:09.160 --> 1:07:12.720
<v Speaker 1>running the Warner Brothers in Nashville, was there, and he

1:07:13.080 --> 1:07:17.880
<v Speaker 1>Travis had a singles deal, and uh. And I turned

1:07:17.880 --> 1:07:21.520
<v Speaker 1>to Jim in and I said, Jim had um, he's

1:07:21.520 --> 1:07:24.360
<v Speaker 1>not going to record anymore for you unless he has

1:07:24.400 --> 1:07:27.440
<v Speaker 1>an album deal. You've got to agree to put make

1:07:27.520 --> 1:07:30.840
<v Speaker 1>turn this into an album deal, which he did. But

1:07:31.240 --> 1:07:33.840
<v Speaker 1>I looked at Travis Tritt and I went, this is

1:07:33.880 --> 1:07:36.760
<v Speaker 1>a great live performer, this guy. This is a guy

1:07:37.240 --> 1:07:40.680
<v Speaker 1>who's sensational on stage. So the first thing I went

1:07:40.840 --> 1:07:44.000
<v Speaker 1>did is I went out and bought an old I

1:07:44.040 --> 1:07:48.280
<v Speaker 1>think it was Randy Travis or somebody's tour concession bus,

1:07:48.800 --> 1:07:51.360
<v Speaker 1>so he had a bus so he could tour. Because

1:07:51.840 --> 1:07:54.040
<v Speaker 1>we couldn't afford to fly him from day to day.

1:07:54.760 --> 1:07:57.920
<v Speaker 1>We just started taking him everywhere across the country, playing

1:07:57.920 --> 1:08:01.720
<v Speaker 1>in clubs and anything else, but creating excitement because in

1:08:01.800 --> 1:08:04.400
<v Speaker 1>every city he went into, it wasn't so the important

1:08:04.400 --> 1:08:06.640
<v Speaker 1>thing wasn't so much the audience. We didn't need to

1:08:06.640 --> 1:08:09.320
<v Speaker 1>get an audience to react, but it was the record

1:08:09.320 --> 1:08:11.720
<v Speaker 1>people that we brought in, the DJs and the program

1:08:11.760 --> 1:08:15.200
<v Speaker 1>directors and song in every city so that we created

1:08:15.280 --> 1:08:19.120
<v Speaker 1>excitement out there. Because he could do that in person, phenomenal,

1:08:19.320 --> 1:08:23.400
<v Speaker 1>great songs, terrific songwriter, and he might have hit even

1:08:23.439 --> 1:08:27.040
<v Speaker 1>if he didn't to her, but touring was his biggest strength.

1:08:27.160 --> 1:08:34.759
<v Speaker 1>And what about Tricia Herewood. It's interesting Tricia Herewood. Again,

1:08:35.000 --> 1:08:37.160
<v Speaker 1>by the way, in those days, I rarely, if ever,

1:08:37.240 --> 1:08:39.040
<v Speaker 1>I ran after an act. I mean I didn't, and

1:08:39.080 --> 1:08:42.840
<v Speaker 1>I certainly didn't after Tricia. Somebody brought me Tricia, maybe

1:08:42.840 --> 1:08:46.280
<v Speaker 1>the record company, and it might have been um the

1:08:46.320 --> 1:08:48.080
<v Speaker 1>president record company. I think it was an m C

1:08:48.240 --> 1:08:52.880
<v Speaker 1>A um uh and I but I wasn't sure she

1:08:52.960 --> 1:08:55.040
<v Speaker 1>was going to take me as a manager. And she

1:08:55.200 --> 1:08:57.280
<v Speaker 1>flew out here to meet with the people out here,

1:08:57.920 --> 1:09:01.040
<v Speaker 1>and we were walking up to the off this and

1:09:01.120 --> 1:09:03.960
<v Speaker 1>I turned to her and I said, am I going

1:09:04.040 --> 1:09:08.080
<v Speaker 1>in as your friend or your manager? And she said,

1:09:08.840 --> 1:09:12.240
<v Speaker 1>you're my manager? Right there? It was that was the question,

1:09:12.360 --> 1:09:15.240
<v Speaker 1>you know. And and then that's the funny part of

1:09:15.280 --> 1:09:17.920
<v Speaker 1>this was that night we went to Spago here you

1:09:17.920 --> 1:09:21.280
<v Speaker 1>know when it was used to be yeah, was my

1:09:21.360 --> 1:09:24.840
<v Speaker 1>office was the next block. And uh so we we

1:09:24.960 --> 1:09:27.160
<v Speaker 1>go to Spago and we're sitting there just she and

1:09:27.560 --> 1:09:31.120
<v Speaker 1>me at a table, and a little lady comes up

1:09:31.520 --> 1:09:33.839
<v Speaker 1>and with a pad and a pin and a pencil,

1:09:34.520 --> 1:09:36.720
<v Speaker 1>and Tricia and I were both thinking, she's coming to

1:09:36.760 --> 1:09:39.000
<v Speaker 1>get Tricia. Tricia had number one record, She's in love

1:09:39.080 --> 1:09:43.000
<v Speaker 1>with a boy. The lady says Mr Craig, and Mr Craig,

1:09:43.000 --> 1:09:46.439
<v Speaker 1>and will you sign one thing? So I'm thinking on

1:09:46.520 --> 1:09:49.439
<v Speaker 1>my feet fast. And when she leaves, I turned to

1:09:49.479 --> 1:09:53.160
<v Speaker 1>Creatricia and I said, Tricia, you realize our job now

1:09:53.439 --> 1:09:58.040
<v Speaker 1>is to see that you're big enough that that never happened, okay.

1:09:58.479 --> 1:10:01.040
<v Speaker 1>And I just had a leisure with one of my

1:10:01.120 --> 1:10:05.000
<v Speaker 1>tricks in those days I learned from Jerry wein trump Um.

1:10:05.040 --> 1:10:08.040
<v Speaker 1>It was a guy named Joe Layton who was the

1:10:08.080 --> 1:10:10.800
<v Speaker 1>most brilliant stage or. He'd come from Broadway and won

1:10:10.880 --> 1:10:14.040
<v Speaker 1>the Tony a few times, and he was staging people

1:10:14.040 --> 1:10:17.280
<v Speaker 1>like Bet Midler and Share and people like that, and

1:10:17.320 --> 1:10:20.599
<v Speaker 1>he was brilliant at staging. And I had gotten him

1:10:20.600 --> 1:10:24.120
<v Speaker 1>to stage line Ritchie and then Kenny and Dolly went

1:10:24.200 --> 1:10:26.280
<v Speaker 1>they went on to her and others. And he always

1:10:26.320 --> 1:10:30.479
<v Speaker 1>did amazing things. He did Diana Russ's tours, did everything,

1:10:30.640 --> 1:10:35.559
<v Speaker 1>and he was incredibly good at surprising the audience. He

1:10:35.600 --> 1:10:39.440
<v Speaker 1>would create amazing stuff the way he did it. And

1:10:39.439 --> 1:10:42.160
<v Speaker 1>and so I brought him in to do Tricia Herwood,

1:10:42.840 --> 1:10:45.320
<v Speaker 1>and she had been very stiff on stage and hard

1:10:45.360 --> 1:10:49.880
<v Speaker 1>to move around and everything, and she just blossomed. She

1:10:50.040 --> 1:10:54.160
<v Speaker 1>had an inner they all did, really but that wasn't

1:10:54.160 --> 1:10:57.680
<v Speaker 1>her thing. And he gave her confidence on stage and

1:10:57.720 --> 1:11:00.479
<v Speaker 1>gave her a show that she could do really well

1:11:00.960 --> 1:11:04.040
<v Speaker 1>and it and it helped to move things along in

1:11:04.080 --> 1:11:06.720
<v Speaker 1>a wonderful way. And then you have to know, when

1:11:06.800 --> 1:11:09.640
<v Speaker 1>I was managing triciaan Travis's is the end of the

1:11:09.640 --> 1:11:14.080
<v Speaker 1>eighties beginning of the nineties, I was so established, you know.

1:11:14.160 --> 1:11:18.040
<v Speaker 1>I could pick up I remember Regis and Cathy. They

1:11:18.040 --> 1:11:21.280
<v Speaker 1>had that Gelman as their producer and they used to

1:11:21.280 --> 1:11:24.840
<v Speaker 1>refer to them all. I can't remember his first name now, anyway,

1:11:25.200 --> 1:11:28.800
<v Speaker 1>I could pick up the phone, call him and say

1:11:29.040 --> 1:11:32.200
<v Speaker 1>I've just signed this act Travis Tritt, and he'd say,

1:11:32.439 --> 1:11:35.320
<v Speaker 1>send him back, We'll put him on. Because they knew

1:11:35.520 --> 1:11:39.400
<v Speaker 1>the quality of the artists I represented, and they wanted

1:11:39.640 --> 1:11:42.840
<v Speaker 1>they needed me when they wanted Kenny Rodgers or Line

1:11:43.040 --> 1:11:48.720
<v Speaker 1>or my other superstars. So I had leverage and I

1:11:48.800 --> 1:11:53.840
<v Speaker 1>had credibility, you know, and those things worked. So how

1:11:53.880 --> 1:11:56.680
<v Speaker 1>about Gallagher tell me the story of God? You love

1:11:56.760 --> 1:12:00.320
<v Speaker 1>this so I go to a TV show I don't

1:12:00.320 --> 1:12:05.200
<v Speaker 1>remember which one, but with Bill Medley. Bill's performing and

1:12:05.320 --> 1:12:08.920
<v Speaker 1>this comedian is on the show and he blows again.

1:12:09.040 --> 1:12:14.160
<v Speaker 1>I'm just seeing star power. There's something so unique, so special.

1:12:14.280 --> 1:12:18.160
<v Speaker 1>So you know, he's prior to any of these prop comics,

1:12:18.560 --> 1:12:21.800
<v Speaker 1>and he's got props and he's smashing watermelons and he's

1:12:21.840 --> 1:12:24.080
<v Speaker 1>doing all kind of crazy though, And so I give

1:12:24.160 --> 1:12:26.160
<v Speaker 1>him my card. He didn't even want to take my car.

1:12:26.280 --> 1:12:30.000
<v Speaker 1>Now I don't need a manager, so I start inviting

1:12:30.040 --> 1:12:32.280
<v Speaker 1>him to things we're doing. Like I would stage a

1:12:33.640 --> 1:12:38.240
<v Speaker 1>big baseball game, softball game up in Vegas with Kenny

1:12:38.320 --> 1:12:41.960
<v Speaker 1>Rodgers and doing it playing the local media with a

1:12:42.040 --> 1:12:45.000
<v Speaker 1>team he and his band and stuff. And Kenny was

1:12:45.040 --> 1:12:48.240
<v Speaker 1>a really first class softball pitcher, so he could really

1:12:48.240 --> 1:12:51.080
<v Speaker 1>pitch underhand, fast and good. And we would do that

1:12:51.080 --> 1:12:52.880
<v Speaker 1>all the time. So if id gallery to fly up

1:12:52.920 --> 1:12:54.679
<v Speaker 1>with us and be part of all of a sudden,

1:12:54.680 --> 1:12:58.800
<v Speaker 1>he's running after me for management and so and I

1:12:58.840 --> 1:13:00.960
<v Speaker 1>put him on. So I I put him on tour

1:13:01.080 --> 1:13:05.080
<v Speaker 1>with Kenny. Actually I think I signed him first. And

1:13:05.080 --> 1:13:07.559
<v Speaker 1>and I went to a luncheon, my wife and I

1:13:07.640 --> 1:13:10.519
<v Speaker 1>went and we sat at lunch with Gallagher, and he

1:13:10.600 --> 1:13:14.839
<v Speaker 1>trashed everything in the business, trashed everybody, He trashed everything.

1:13:14.920 --> 1:13:17.400
<v Speaker 1>He he was on stage or sitting. This was sitting

1:13:17.400 --> 1:13:19.880
<v Speaker 1>at lunch prior prior to putting him on tour with

1:13:20.240 --> 1:13:25.160
<v Speaker 1>I think too great Gallagher stories. So he's he's sitting there,

1:13:25.760 --> 1:13:28.040
<v Speaker 1>we're sitting at lunch and he's telling us what's wrong

1:13:28.120 --> 1:13:31.600
<v Speaker 1>with everything, and we get up and we leave, and

1:13:31.680 --> 1:13:33.880
<v Speaker 1>my wife on the in the parking lot, I remember

1:13:34.040 --> 1:13:37.679
<v Speaker 1>distinctly as we're walking out, and says, you're not gonna

1:13:37.720 --> 1:13:39.560
<v Speaker 1>sign him. I mean, there's no way you're going to

1:13:39.680 --> 1:13:41.479
<v Speaker 1>sign that guy. I mean, that was so negative. I

1:13:41.560 --> 1:13:44.599
<v Speaker 1>can't believe it, I said, Cathy, I can't promise you that.

1:13:44.680 --> 1:13:48.120
<v Speaker 1>I said, I'm like a moth to the flame. When

1:13:48.160 --> 1:13:51.599
<v Speaker 1>I see that level of star quality, when I see

1:13:51.640 --> 1:13:55.400
<v Speaker 1>that level of unique talent, it is just so hard

1:13:55.439 --> 1:13:57.519
<v Speaker 1>for me to stay away from it, even though I

1:13:57.600 --> 1:14:00.879
<v Speaker 1>know it's going to be a lot of a a hassle,

1:14:01.040 --> 1:14:03.360
<v Speaker 1>you know, and it was a lot of work in

1:14:03.400 --> 1:14:05.680
<v Speaker 1>a hassle. But he was brilliant. But this is the

1:14:06.080 --> 1:14:10.080
<v Speaker 1>too really funny Gallagher story. One kind of tragic and

1:14:10.360 --> 1:14:15.400
<v Speaker 1>not exactly but we um I booked him with Kenny

1:14:15.479 --> 1:14:20.200
<v Speaker 1>Rogers first show. And it's in Aptis, California, little town

1:14:20.280 --> 1:14:26.040
<v Speaker 1>up near below Sant Jose and everything. And uh, it's

1:14:26.080 --> 1:14:28.160
<v Speaker 1>a concert in a concert hall and he's up on

1:14:28.280 --> 1:14:30.800
<v Speaker 1>stage and he used to break a watermelon and it

1:14:30.800 --> 1:14:34.040
<v Speaker 1>would splatter out, and there's a guy sitting in the

1:14:34.240 --> 1:14:39.280
<v Speaker 1>center of the front row in a white soup. Now understand,

1:14:39.320 --> 1:14:43.000
<v Speaker 1>nobody has seen Later on with Gallagher audiences, people would

1:14:43.000 --> 1:14:47.000
<v Speaker 1>come with plastic and umbrellas and everything. You try to

1:14:47.000 --> 1:14:50.960
<v Speaker 1>trick them, but they become prepared to get squirted and

1:14:51.760 --> 1:14:56.760
<v Speaker 1>covered with stuff. This guy, nobody's seen him, right, he

1:14:56.880 --> 1:15:01.160
<v Speaker 1>smashes the watermelon and it goes right onto the guy

1:15:01.400 --> 1:15:04.760
<v Speaker 1>in the white suit. And I mean, and Kenny's this,

1:15:05.360 --> 1:15:09.360
<v Speaker 1>it's my act, Kenny headlining, right, I'm We're all panicked.

1:15:09.720 --> 1:15:12.200
<v Speaker 1>We run out there, we go up to the guy.

1:15:12.760 --> 1:15:16.400
<v Speaker 1>We're saying, listen, sorry, we'll get it cleaned, or we

1:15:16.520 --> 1:15:20.000
<v Speaker 1>probably can't clean it, we'll buy you. Ah No, that

1:15:20.120 --> 1:15:22.400
<v Speaker 1>was the funniest act I ever saw. You don't have

1:15:22.439 --> 1:15:25.479
<v Speaker 1>to do it. Wow, I couldn't believe it. We didn't

1:15:25.479 --> 1:15:28.280
<v Speaker 1>have to do anything. We didn't even take his name. Um,

1:15:28.320 --> 1:15:31.519
<v Speaker 1>but the other one was kind of crazy. I got.

1:15:32.120 --> 1:15:33.760
<v Speaker 1>I got a lot of good things for Gallery. I

1:15:33.800 --> 1:15:37.120
<v Speaker 1>sold a series of specials to Showtime I think it was,

1:15:37.600 --> 1:15:40.800
<v Speaker 1>and stuff that were great shows that he did. Anyway,

1:15:41.080 --> 1:15:46.120
<v Speaker 1>I get Gallagher a deal to do it. Well, I

1:15:46.200 --> 1:15:50.800
<v Speaker 1>want to get Gallagher a TV show, and so I

1:15:50.880 --> 1:15:53.880
<v Speaker 1>get Bud Grant, who's the president of CBS at the

1:15:53.960 --> 1:15:56.560
<v Speaker 1>time and the head of one of the studios to

1:15:56.680 --> 1:16:01.360
<v Speaker 1>fly up to Las Vegas where Caliger's opening for one

1:16:01.400 --> 1:16:04.439
<v Speaker 1>of my acts. It may have been apartment, may have

1:16:04.479 --> 1:16:07.799
<v Speaker 1>been Kenny, but it also may have been Olivia. Any event,

1:16:08.920 --> 1:16:12.599
<v Speaker 1>I am checking in staying overnight, but the Kenny's playing

1:16:12.640 --> 1:16:16.040
<v Speaker 1>which we used, is flying them back that night after

1:16:16.120 --> 1:16:19.200
<v Speaker 1>the show, So it must have been Kenny. Uh, because

1:16:19.200 --> 1:16:24.080
<v Speaker 1>Olivia didn't go in private jet um and and they

1:16:24.080 --> 1:16:26.880
<v Speaker 1>go in the bar, and who do they come upon

1:16:27.000 --> 1:16:30.040
<v Speaker 1>but Gallagher, and he does just what he did to

1:16:30.080 --> 1:16:34.080
<v Speaker 1>me my wife at that luncheon. He now trashes the

1:16:34.120 --> 1:16:38.639
<v Speaker 1>whole industry. And then he leaves and I come back

1:16:38.720 --> 1:16:41.519
<v Speaker 1>down and the guys are sitting there and they say,

1:16:41.520 --> 1:16:43.559
<v Speaker 1>we're going back to l A And I said, why

1:16:43.640 --> 1:16:46.040
<v Speaker 1>is it? We just had this encounter with Gallagher we

1:16:46.080 --> 1:16:49.479
<v Speaker 1>don't see any point in doing anything here. He hates

1:16:49.800 --> 1:16:53.360
<v Speaker 1>everything in the business, you know. And and but they

1:16:53.400 --> 1:16:56.639
<v Speaker 1>didn't leave. I convinced him to stay. They stay, They

1:16:56.680 --> 1:16:58.760
<v Speaker 1>see the show, they stand up after the show, they

1:16:58.800 --> 1:17:01.280
<v Speaker 1>give me a thumbs ups, and we make a deal

1:17:01.320 --> 1:17:04.360
<v Speaker 1>to do a series. And we get a guy named Maddie.

1:17:04.920 --> 1:17:07.120
<v Speaker 1>I can't remember his name, but he was National Lampoon

1:17:08.040 --> 1:17:13.639
<v Speaker 1>right ahead of it. Maddie. It's an s. Maddie Simmons,

1:17:14.400 --> 1:17:17.720
<v Speaker 1>Mattie Simmons. So Maddie comes up with they come up

1:17:17.760 --> 1:17:21.400
<v Speaker 1>with this great idea, and it's it's called our Man

1:17:21.439 --> 1:17:25.000
<v Speaker 1>in the House, and it's it's a little a little

1:17:25.040 --> 1:17:29.960
<v Speaker 1>county in Idaho. The congressman dies and the governor of

1:17:30.040 --> 1:17:33.599
<v Speaker 1>the state has to appoint a new congressman. And there

1:17:33.600 --> 1:17:38.000
<v Speaker 1>are only eight possibilities in this part of the state. Uh,

1:17:38.000 --> 1:17:40.760
<v Speaker 1>And there are reasons for eliminating seven of the eight.

1:17:41.200 --> 1:17:44.160
<v Speaker 1>And the one that's left is Gallagher. And Gallagher used

1:17:44.200 --> 1:17:46.439
<v Speaker 1>to go around on roller skates all over the place

1:17:46.479 --> 1:17:50.200
<v Speaker 1>on his stage show and everything. So the idea was

1:17:50.360 --> 1:17:53.599
<v Speaker 1>you you go to the parking area at the Capitol

1:17:53.640 --> 1:17:57.160
<v Speaker 1>building and you'd see car after car with license later

1:17:57.200 --> 1:17:58.479
<v Speaker 1>and then all of a sudden, you have a parking

1:17:58.520 --> 1:18:01.559
<v Speaker 1>spade and they'll be two roller skates in it. And

1:18:01.680 --> 1:18:05.080
<v Speaker 1>so Gallagher says, look, I want to go back and

1:18:05.120 --> 1:18:08.120
<v Speaker 1>research this. CBS loves the idea. That's great, you know,

1:18:08.400 --> 1:18:12.000
<v Speaker 1>called our man in the house, and he goes back

1:18:12.080 --> 1:18:14.240
<v Speaker 1>and I introduced him to friends of mine in Washington.

1:18:14.320 --> 1:18:16.760
<v Speaker 1>Patrick Lay's a friend of mine. He hangs out in

1:18:16.800 --> 1:18:22.160
<v Speaker 1>these congressional offices and meantime we set up a meeting

1:18:22.160 --> 1:18:24.720
<v Speaker 1>out here with the network. When he gets back, he

1:18:24.800 --> 1:18:27.600
<v Speaker 1>comes right back from there. He comes over to CBS.

1:18:27.640 --> 1:18:30.800
<v Speaker 1>I'm sitting with the head of the Bud Grant Head

1:18:31.240 --> 1:18:34.240
<v Speaker 1>and Matty Simmons in the office when Gallagher walks in.

1:18:34.760 --> 1:18:38.719
<v Speaker 1>He walks into the office, he says, I just spent

1:18:39.600 --> 1:18:43.400
<v Speaker 1>two weeks in Washington. I would need two years before

1:18:43.439 --> 1:18:46.439
<v Speaker 1>I'd be steeped enough and what's going on there to

1:18:46.479 --> 1:18:48.720
<v Speaker 1>be able to do this show any justice? And he

1:18:48.720 --> 1:18:51.479
<v Speaker 1>turns around and walks out. It's the end of the series.

1:18:52.280 --> 1:18:57.320
<v Speaker 1>We had a serious deal. Okay. Now it's something I remember.

1:18:57.479 --> 1:18:59.960
<v Speaker 1>You would turn on you talk about those cable special

1:19:00.520 --> 1:19:02.840
<v Speaker 1>It seemed like whenever you went on the dial, Gallagher

1:19:02.920 --> 1:19:05.360
<v Speaker 1>was on. He was on more than anybody. Oh God,

1:19:05.400 --> 1:19:07.960
<v Speaker 1>they were so good. I mean, that's what this guy

1:19:08.120 --> 1:19:10.960
<v Speaker 1>had and still has. I saw him maybe two years

1:19:11.000 --> 1:19:13.240
<v Speaker 1>ago now, but he was funny as I'll get my

1:19:13.280 --> 1:19:16.360
<v Speaker 1>wife and I still quote all kinds of lines from Gallagher.

1:19:17.120 --> 1:19:19.720
<v Speaker 1>It's just brilliant. Just okay. So why did it end

1:19:19.760 --> 1:19:23.960
<v Speaker 1>with you and Gallagher? You know, I don't really recall

1:19:24.200 --> 1:19:27.519
<v Speaker 1>the ending of that usually I can, but it certainly

1:19:27.560 --> 1:19:30.720
<v Speaker 1>wasn't bitter or anything like that. It wasn't I In

1:19:30.800 --> 1:19:33.120
<v Speaker 1>most cases I stayed friendly with I mean, I went

1:19:33.160 --> 1:19:35.840
<v Speaker 1>to with the people, you know, you know part of it.

1:19:35.880 --> 1:19:38.960
<v Speaker 1>You asked me, are you you know? Were they successful

1:19:39.040 --> 1:19:42.880
<v Speaker 1>because of you? My attitude, which served me so well

1:19:42.960 --> 1:19:46.080
<v Speaker 1>during that period, was they need me more than I

1:19:46.120 --> 1:19:49.559
<v Speaker 1>need them. If they leave me, I have more free time.

1:19:49.840 --> 1:19:54.160
<v Speaker 1>I don't have whatever hassles I was having with them. Uh, somebody,

1:19:54.240 --> 1:19:57.080
<v Speaker 1>something better is going to come along. No matter what

1:19:57.160 --> 1:20:00.400
<v Speaker 1>it was, even when Lionel Richie I part, I would

1:20:00.479 --> 1:20:04.280
<v Speaker 1>have so much self confidence and hopefully it wasn't arrogance

1:20:04.400 --> 1:20:07.679
<v Speaker 1>or or you know or whatever, but so much feeling

1:20:08.360 --> 1:20:11.200
<v Speaker 1>that that was that it was a good thing. I

1:20:11.200 --> 1:20:13.519
<v Speaker 1>think it's part of I have a general philosophy that

1:20:13.600 --> 1:20:18.320
<v Speaker 1>everything in life happens for a good reason, and that uh,

1:20:18.600 --> 1:20:21.760
<v Speaker 1>everything that happens, even the negatives, can be turned into

1:20:21.880 --> 1:20:25.680
<v Speaker 1>very positive, even some of the most serious I look

1:20:25.720 --> 1:20:28.599
<v Speaker 1>at I teach this sort of I look at mothers

1:20:28.640 --> 1:20:31.960
<v Speaker 1>against drunk driving. They their kids were killed by drunk drivers,

1:20:32.200 --> 1:20:35.880
<v Speaker 1>formed an organization save millions of live That's one of

1:20:35.920 --> 1:20:38.360
<v Speaker 1>the worst things you can possibly happen. Not that it

1:20:38.439 --> 1:20:41.639
<v Speaker 1>was there wasn't. There was good in it because they

1:20:41.720 --> 1:20:44.719
<v Speaker 1>found that they wouldn't let their kids die in vain.

1:20:45.200 --> 1:20:48.000
<v Speaker 1>You know, I can give you fifteen different examples like that.

1:20:48.520 --> 1:20:52.439
<v Speaker 1>Um So, I think that when an artist leaves me,

1:20:52.520 --> 1:20:55.400
<v Speaker 1>I just figure and now I don't have to worry

1:20:55.400 --> 1:20:58.439
<v Speaker 1>about that. I don't manage anymore. But I always feel

1:20:58.479 --> 1:21:01.320
<v Speaker 1>like there's a good reason for everything the way it happens,

1:21:01.640 --> 1:21:04.439
<v Speaker 1>and when you look for that, most of the time

1:21:04.560 --> 1:21:08.920
<v Speaker 1>that's what you find. You know, it changes your approach too,

1:21:09.880 --> 1:21:12.640
<v Speaker 1>not feeling defeated, but feeling like, oh, this is just

1:21:12.760 --> 1:21:16.680
<v Speaker 1>part of life and something better is coming along. Okay,

1:21:16.960 --> 1:21:20.320
<v Speaker 1>Just staying in that philosophy, you have a very active

1:21:20.520 --> 1:21:25.200
<v Speaker 1>entrepreneurial personality. If someone didn't have that, maybe nothing would

1:21:25.240 --> 1:21:28.720
<v Speaker 1>come along. Well, that's true. I do get out when

1:21:28.720 --> 1:21:31.519
<v Speaker 1>I get excited about something, I work on it. Okay,

1:21:31.520 --> 1:21:33.320
<v Speaker 1>So how did inn You know a number of these

1:21:33.400 --> 1:21:35.880
<v Speaker 1>artists that work with you, they and something like Gallagher

1:21:35.960 --> 1:21:39.200
<v Speaker 1>Travis Tritt, subsequent to work with you, their careers are

1:21:39.240 --> 1:21:42.479
<v Speaker 1>nowhere near and successful. Yeah, that's I was kind of

1:21:42.479 --> 1:21:44.960
<v Speaker 1>proud of that for a while. I was. I would

1:21:44.960 --> 1:21:47.760
<v Speaker 1>always say, gee, you know, nobody's ever left me and

1:21:47.880 --> 1:21:50.880
<v Speaker 1>been hot or after they left me. Now I will say,

1:21:50.920 --> 1:21:54.160
<v Speaker 1>and I'm friendly with him still. I just saw him recently, Uh,

1:21:54.320 --> 1:21:57.280
<v Speaker 1>Lionel Ritchie. It's pretty hot again. He's got a lot

1:21:57.320 --> 1:21:59.439
<v Speaker 1>going for him. And we've seen him three times in

1:21:59.439 --> 1:22:02.320
<v Speaker 1>the last couple of years, most recently just a few

1:22:02.360 --> 1:22:06.000
<v Speaker 1>weeks ago in UH concert in Santa Barbara and I

1:22:06.040 --> 1:22:08.200
<v Speaker 1>love it because we were the only ones backstage because

1:22:08.200 --> 1:22:10.760
<v Speaker 1>he was late getting there, which wasn't unusual, and he

1:22:10.760 --> 1:22:13.639
<v Speaker 1>had to really rush on stage, so they positioned us

1:22:14.000 --> 1:22:15.760
<v Speaker 1>right where he got out of the elevator and went

1:22:15.800 --> 1:22:18.400
<v Speaker 1>through the stage store to go on stage. And he

1:22:18.600 --> 1:22:20.639
<v Speaker 1>comes on. He hugs my wife, he said, I gotta

1:22:20.680 --> 1:22:23.840
<v Speaker 1>hug the women. First meets our cousins who were there,

1:22:24.360 --> 1:22:26.400
<v Speaker 1>and and then he looks at me, and there's a

1:22:26.400 --> 1:22:30.320
<v Speaker 1>whole group of people around, the musicians and everybody, and

1:22:30.360 --> 1:22:33.600
<v Speaker 1>he goes, that's the man who made me famous? Is

1:22:33.640 --> 1:22:36.720
<v Speaker 1>that boy that made me high? Like puffed up? I

1:22:36.800 --> 1:22:40.160
<v Speaker 1>felt so good, that was so wonderful. But he's a one.

1:22:40.280 --> 1:22:44.000
<v Speaker 1>He's a charming, wonderful, wonderful. So why maybe he's hotter

1:22:44.080 --> 1:22:46.639
<v Speaker 1>now he's got great management. Now he's got a guy

1:22:46.720 --> 1:22:50.240
<v Speaker 1>named Bruce Escovitz who's just fabulous and Escowitz and uh

1:22:51.040 --> 1:22:54.479
<v Speaker 1>um okay, But why did he leave? Why did Travis

1:22:54.479 --> 1:22:58.640
<v Speaker 1>Trent leave? It's always different reasons. There is one underlying

1:22:58.680 --> 1:23:02.320
<v Speaker 1>reason that quite often happens. I've said, you work your

1:23:02.320 --> 1:23:05.720
<v Speaker 1>way out out of management job or you know, one

1:23:05.760 --> 1:23:08.840
<v Speaker 1>of two ways. One you're terrible at what you do,

1:23:08.960 --> 1:23:12.000
<v Speaker 1>or you you fail somehow and they leave you because

1:23:12.000 --> 1:23:14.320
<v Speaker 1>you didn't do the job that you hope to do.

1:23:14.479 --> 1:23:18.320
<v Speaker 1>You might have might have tried hard. I haven't had

1:23:18.360 --> 1:23:22.599
<v Speaker 1>that happen hardly ever, but it has happened. The other one,

1:23:22.920 --> 1:23:26.920
<v Speaker 1>which has more often been my case, is they get

1:23:27.040 --> 1:23:29.439
<v Speaker 1>very successful and they look at what they're paying you.

1:23:30.680 --> 1:23:32.320
<v Speaker 1>And I mean I had an artist come to me

1:23:32.400 --> 1:23:34.960
<v Speaker 1>one time it had made five million dollars that year,

1:23:35.720 --> 1:23:42.400
<v Speaker 1>and she had netted one point five and she paid

1:23:42.439 --> 1:23:49.920
<v Speaker 1>mecent commission. So I made seven fifty dollars, but that

1:23:50.000 --> 1:23:53.960
<v Speaker 1>was my gross. Her gross was five million she netted,

1:23:56.240 --> 1:24:01.080
<v Speaker 1>or or of what she what she made. I went

1:24:01.120 --> 1:24:03.120
<v Speaker 1>back when she said, she said to me, you're making

1:24:03.200 --> 1:24:06.920
<v Speaker 1>more almost as much money as I am. Uh you know,

1:24:06.960 --> 1:24:09.920
<v Speaker 1>And I said, wait a second. Years is after everything,

1:24:09.920 --> 1:24:13.200
<v Speaker 1>including taxes, what you needed. Let me tell you what

1:24:13.320 --> 1:24:15.720
<v Speaker 1>I needed. And I went back and I looked at it,

1:24:15.800 --> 1:24:18.720
<v Speaker 1>and it was seventy five dollars. Ten percent of what

1:24:18.800 --> 1:24:25.679
<v Speaker 1>I got didn't fly because she looked at the seven

1:24:25.760 --> 1:24:27.840
<v Speaker 1>fifty and went, I don't have to. I mean I

1:24:27.840 --> 1:24:31.000
<v Speaker 1>could save all that, you know, and did for a while.

1:24:31.080 --> 1:24:35.360
<v Speaker 1>I think she had other advantages in ways she could

1:24:35.400 --> 1:24:40.200
<v Speaker 1>get advice. But but I have said that you can,

1:24:40.439 --> 1:24:44.040
<v Speaker 1>at least in my case, I have more often found myself.

1:24:44.120 --> 1:24:46.759
<v Speaker 1>I mean I managed this mother's brothers three separate times,

1:24:47.280 --> 1:24:51.639
<v Speaker 1>three different times, and each time when we got really

1:24:51.800 --> 1:24:54.559
<v Speaker 1>successful and things were really going good, Tommy fired me.

1:24:55.160 --> 1:25:00.800
<v Speaker 1>So you know, it's the you kind of you reach

1:25:00.840 --> 1:25:03.800
<v Speaker 1>a point that they think you know artists ego. It

1:25:04.080 --> 1:25:07.400
<v Speaker 1>becomes very hard to think that somebody else is responsible

1:25:07.479 --> 1:25:10.559
<v Speaker 1>for even part of your success, if not a good

1:25:11.000 --> 1:25:14.280
<v Speaker 1>part of it. I always felt Kenny Rogers and I

1:25:14.400 --> 1:25:19.120
<v Speaker 1>were fifty fifty, that he brought the talent, which was

1:25:19.160 --> 1:25:23.920
<v Speaker 1>half the equation, and I brought the creative and you know,

1:25:24.080 --> 1:25:29.720
<v Speaker 1>business expertise and career management and career promotion and all

1:25:29.760 --> 1:25:32.479
<v Speaker 1>that expertise that was the other half of the equation.

1:25:32.840 --> 1:25:36.400
<v Speaker 1>I didn't get paid, but I always looked at it

1:25:36.479 --> 1:25:39.280
<v Speaker 1>as a partnership. We did. We did share a partnership

1:25:39.280 --> 1:25:42.000
<v Speaker 1>on some of the Gambler movies which I developed for him,

1:25:42.120 --> 1:25:44.800
<v Speaker 1>UM and some other of his movies of the week.

1:25:45.280 --> 1:25:50.040
<v Speaker 1>But but I always felt that my my arrangement with

1:25:50.080 --> 1:25:54.720
<v Speaker 1>an artist was that I was we were partners. We

1:25:54.800 --> 1:25:57.760
<v Speaker 1>were doing this as partners. Looked at it that way.

1:25:57.840 --> 1:25:59.760
<v Speaker 1>We didn't get paid that way, but that was more

1:25:59.800 --> 1:26:02.440
<v Speaker 1>because of the traditions. Kay, did you have written contracts

1:26:02.560 --> 1:26:06.439
<v Speaker 1>or not? Once? But what about if an act left you?

1:26:06.920 --> 1:26:09.519
<v Speaker 1>They left me? They left me. Now, I think there

1:26:09.560 --> 1:26:12.240
<v Speaker 1>have been times when having a written contract might have

1:26:12.360 --> 1:26:16.080
<v Speaker 1>been some value, but there are also ways for artists

1:26:16.120 --> 1:26:22.640
<v Speaker 1>to get out of written contracts. There is, unfortunately, um Ah,

1:26:22.680 --> 1:26:24.599
<v Speaker 1>there's been a lot of there have been artists who

1:26:24.600 --> 1:26:28.560
<v Speaker 1>have fought when I'm at because when you're a manager,

1:26:28.640 --> 1:26:33.639
<v Speaker 1>you almost always have to do something uh to uh

1:26:33.680 --> 1:26:37.160
<v Speaker 1>to book the artist, which in California gets you in trouble.

1:26:37.600 --> 1:26:40.120
<v Speaker 1>And you can know the famous Jefferson airplane case whatever,

1:26:40.240 --> 1:26:44.320
<v Speaker 1>And it's still going on. There's still the talent agency. Uh.

1:26:44.439 --> 1:26:47.920
<v Speaker 1>The talent act has been fought a lot by managers,

1:26:47.960 --> 1:26:51.200
<v Speaker 1>but not successfully. Okay, so but let's just say you

1:26:51.280 --> 1:26:53.479
<v Speaker 1>had an act who left and they had a very

1:26:53.520 --> 1:26:56.120
<v Speaker 1>hot record. You know, in a written contract you have

1:26:56.200 --> 1:27:00.519
<v Speaker 1>sunset classes in this particular case, how much would you

1:27:00.520 --> 1:27:02.720
<v Speaker 1>you know, try to commission what was coming in the

1:27:02.720 --> 1:27:06.759
<v Speaker 1>future are supposed to walking away that day. I would

1:27:06.840 --> 1:27:11.120
<v Speaker 1>never worry too much. I was never money driven, um

1:27:11.160 --> 1:27:13.760
<v Speaker 1>you know, I would never not only because I was

1:27:13.800 --> 1:27:16.640
<v Speaker 1>making good money, but more importantly, it wasn't what motivated

1:27:16.680 --> 1:27:21.360
<v Speaker 1>me and and so as a result, I didn't care

1:27:21.400 --> 1:27:23.160
<v Speaker 1>that much. I wanted to get on with my life

1:27:23.920 --> 1:27:27.439
<v Speaker 1>um and and the things I was doing. I did

1:27:27.640 --> 1:27:32.200
<v Speaker 1>care about fairness, but the accident in general that I

1:27:32.320 --> 1:27:37.759
<v Speaker 1>managed uh were such that they lived up to whatever

1:27:37.840 --> 1:27:41.599
<v Speaker 1>would be fair in the situation. If we currently had

1:27:41.680 --> 1:27:44.320
<v Speaker 1>something that was payment, but I didn't get I didn't

1:27:44.360 --> 1:27:49.240
<v Speaker 1>get long term residuals on stuff that's still selling to

1:27:49.320 --> 1:27:52.400
<v Speaker 1>this day. You know, I mean I could have easily

1:27:52.520 --> 1:27:55.200
<v Speaker 1>gone after that, but I never wanted to be about

1:27:55.200 --> 1:27:59.719
<v Speaker 1>the money and I and uh, you know, I mean, listen,

1:27:59.760 --> 1:28:03.400
<v Speaker 1>I any Rogers thirty three years without a contract. You know,

1:28:04.080 --> 1:28:07.559
<v Speaker 1>there's something about a contract that or but not having

1:28:07.600 --> 1:28:10.720
<v Speaker 1>a contract that says, look, if you go, you go,

1:28:11.240 --> 1:28:14.080
<v Speaker 1>it's your problem. Now that thirty three years he had

1:28:14.080 --> 1:28:18.640
<v Speaker 1>fired you once in the end, No, Lionel did not Kenny,

1:28:18.720 --> 1:28:22.760
<v Speaker 1>and then Kenny Kenny fired me in the end. That

1:28:23.040 --> 1:28:28.000
<v Speaker 1>primarily happened because of a three way partnership. We got

1:28:28.040 --> 1:28:33.120
<v Speaker 1>into a three way deal which never really really happens properly,

1:28:33.320 --> 1:28:37.599
<v Speaker 1>and and I always felt I was a bit betrayed

1:28:37.680 --> 1:28:40.479
<v Speaker 1>by the other partner. Okay, So who have you worked

1:28:40.479 --> 1:28:45.400
<v Speaker 1>with who has had this charisma? Who didn't hit? I

1:28:45.479 --> 1:28:48.280
<v Speaker 1>worked with a teen group group called Three of Hearts,

1:28:49.160 --> 1:28:53.479
<v Speaker 1>who were gorgeous, but they were in the wrong music field.

1:28:54.000 --> 1:28:56.840
<v Speaker 1>They were they would have been a pop hit, and

1:28:56.880 --> 1:28:59.720
<v Speaker 1>they had records that should have been released. Bob, and

1:28:59.760 --> 1:29:03.680
<v Speaker 1>we've begged the record company to do it. Uh but

1:29:03.880 --> 1:29:06.479
<v Speaker 1>and the other problem was they were seventeen years old.

1:29:07.439 --> 1:29:10.680
<v Speaker 1>Listen I went. I went on a bus tour with

1:29:10.760 --> 1:29:13.479
<v Speaker 1>three seventeen year olds and a and a mom as

1:29:13.520 --> 1:29:17.160
<v Speaker 1>a chaperone, sleeping in bunks on a bus all summer,

1:29:17.840 --> 1:29:22.080
<v Speaker 1>introducing them to radio and doing shows all over the country.

1:29:22.600 --> 1:29:26.880
<v Speaker 1>And they were terrific. They were wonderful singers, they were gorgeous,

1:29:27.200 --> 1:29:31.160
<v Speaker 1>they were charming, they were totally different each one, and

1:29:31.160 --> 1:29:33.760
<v Speaker 1>and we everything in that first year that you could

1:29:33.760 --> 1:29:37.720
<v Speaker 1>make happen happened. Everything imaginable, but we had we were

1:29:37.800 --> 1:29:41.400
<v Speaker 1>in the right we weren't in the right genre. And

1:29:41.479 --> 1:29:44.479
<v Speaker 1>as much as we tried the record company to release

1:29:44.560 --> 1:29:46.960
<v Speaker 1>some pop, they didn't do it. And the part of

1:29:47.000 --> 1:29:50.080
<v Speaker 1>the reason was it was our c A and they

1:29:50.160 --> 1:29:54.120
<v Speaker 1>had a pop similar pop group breaking at the same time,

1:29:54.640 --> 1:29:58.000
<v Speaker 1>and they didn't want two of them, and we just didn't.

1:29:58.320 --> 1:30:01.120
<v Speaker 1>And that was the biggest season. But the group broke

1:30:01.200 --> 1:30:04.799
<v Speaker 1>up after after a whole year of great stuff happening.

1:30:04.880 --> 1:30:08.240
<v Speaker 1>The group went three separate ways, and none of them,

1:30:08.280 --> 1:30:10.479
<v Speaker 1>as far as I know, are still in music as

1:30:10.800 --> 1:30:13.080
<v Speaker 1>you know, or doing much in it. Okay, how do

1:30:13.200 --> 1:30:15.840
<v Speaker 1>acts feel when you're this white hot. How do they

1:30:15.880 --> 1:30:19.200
<v Speaker 1>feel that you're spending time with the other acts? Well, first,

1:30:19.320 --> 1:30:23.320
<v Speaker 1>I tried to limit my personal clients to three because

1:30:23.360 --> 1:30:27.680
<v Speaker 1>when you get above three, I found you can't proportion

1:30:27.760 --> 1:30:31.479
<v Speaker 1>your time properly. Three you can kind of balance. I've

1:30:31.520 --> 1:30:34.400
<v Speaker 1>had moments when they didn't balance, but generally you can't.

1:30:35.000 --> 1:30:37.479
<v Speaker 1>I mean, I once went to Uh, Tricia was going

1:30:37.479 --> 1:30:40.559
<v Speaker 1>to do a big commercial for Revlon in New York,

1:30:40.600 --> 1:30:42.360
<v Speaker 1>and I felt I needed to be there when they

1:30:42.400 --> 1:30:47.280
<v Speaker 1>filmed it. Travis Tritt was doing a video in uh

1:30:47.320 --> 1:30:53.280
<v Speaker 1>in Georgia. Uh yeah, I think, I think probably near

1:30:53.360 --> 1:30:57.200
<v Speaker 1>his home there in Marietta. And it was the same day,

1:30:58.479 --> 1:31:00.840
<v Speaker 1>and I got on a plane in for New York

1:31:01.120 --> 1:31:04.639
<v Speaker 1>and landed in New York and got two calls, one

1:31:04.720 --> 1:31:10.040
<v Speaker 1>from Georgia where Travis had walked off the set because uh,

1:31:10.120 --> 1:31:13.640
<v Speaker 1>they had um the director had called him in at

1:31:13.680 --> 1:31:16.200
<v Speaker 1>six thirty in the morning and it was four thirty

1:31:16.200 --> 1:31:19.160
<v Speaker 1>in the afternoon. They hadn't used him yet, but I

1:31:19.200 --> 1:31:21.479
<v Speaker 1>hadn't gone there because he'd worked with that director a

1:31:21.479 --> 1:31:24.559
<v Speaker 1>lot in the past. But he just got fed up

1:31:24.600 --> 1:31:28.080
<v Speaker 1>with sitting around the whole day and he left. So

1:31:28.120 --> 1:31:31.760
<v Speaker 1>they were now calling me panicked, And I get a

1:31:31.760 --> 1:31:34.760
<v Speaker 1>call from Tricia and I'm on my way to the

1:31:34.800 --> 1:31:37.439
<v Speaker 1>stage where she was doing stuff, and that he wants

1:31:37.439 --> 1:31:39.799
<v Speaker 1>her to do something that's real sexy and she doesn't

1:31:39.800 --> 1:31:42.400
<v Speaker 1>want to do it. As the director, she had big

1:31:42.439 --> 1:31:46.080
<v Speaker 1>time director that she hadn't worked with before, so I

1:31:46.120 --> 1:31:50.519
<v Speaker 1>went to that. But I'm I'm like torn. It's one

1:31:50.560 --> 1:31:53.880
<v Speaker 1>of the few times I can remember where I should

1:31:53.880 --> 1:31:56.479
<v Speaker 1>have been in one place and it should have been

1:31:56.479 --> 1:31:59.400
<v Speaker 1>in the other at the same moment in time. Usually

1:31:59.400 --> 1:32:03.080
<v Speaker 1>when I kept it to three, I could. I could

1:32:03.120 --> 1:32:06.080
<v Speaker 1>cover for three. They weren't all getting hot at the

1:32:06.120 --> 1:32:09.360
<v Speaker 1>same moment or time or whatever. It might compromise three,

1:32:09.560 --> 1:32:13.080
<v Speaker 1>even three might compromise my personal life some you know,

1:32:13.240 --> 1:32:17.040
<v Speaker 1>I found conflicts when I couldn't do things because I

1:32:17.080 --> 1:32:20.000
<v Speaker 1>remember on Valentine's Day when my wife always went to

1:32:20.000 --> 1:32:23.639
<v Speaker 1>a restaurant that was a terrific restaurant in l A. Chasen's,

1:32:23.680 --> 1:32:26.719
<v Speaker 1>if you may. Of course, we used to have a table,

1:32:26.800 --> 1:32:29.840
<v Speaker 1>permanent table for Valentine had to be in New York

1:32:29.880 --> 1:32:35.000
<v Speaker 1>because Tricia was appearing in Central Park, you know. But okay,

1:32:35.120 --> 1:32:38.120
<v Speaker 1>so with the it was called Craigetting Company, at its peak,

1:32:38.320 --> 1:32:41.559
<v Speaker 1>how many acts? How many people working there at its

1:32:41.600 --> 1:32:44.839
<v Speaker 1>absolute peak, which was a mistake, by the way, fifty

1:32:45.560 --> 1:32:54.280
<v Speaker 1>people working twelve acts. Three managers I had, Kenny Lionel

1:32:54.520 --> 1:32:57.360
<v Speaker 1>and one other whoever it was at that moment. It

1:32:57.520 --> 1:33:05.519
<v Speaker 1>changed over time. Um. And it's really interesting because another

1:33:05.600 --> 1:33:09.719
<v Speaker 1>manager called me when I started to get big, and

1:33:09.960 --> 1:33:13.360
<v Speaker 1>he said, Ken, I'm gonna give you a piece of advice.

1:33:13.360 --> 1:33:16.240
<v Speaker 1>You're not going to take it, but you're going to

1:33:16.360 --> 1:33:19.719
<v Speaker 1>get big and you're gonna regret it. He said, because

1:33:19.760 --> 1:33:22.080
<v Speaker 1>society kind of makes you want to grow and be

1:33:22.160 --> 1:33:26.320
<v Speaker 1>bigger and everything. But in our business, smaller is better.

1:33:26.760 --> 1:33:29.000
<v Speaker 1>And once you add people, it's so hard to get

1:33:29.080 --> 1:33:32.640
<v Speaker 1>rid of them. Everybody is dependent on an assistant. Everybody's

1:33:32.720 --> 1:33:36.000
<v Speaker 1>been And you know, he was so right. And what

1:33:36.160 --> 1:33:38.800
<v Speaker 1>happened and what drove me finally to cut it down

1:33:39.600 --> 1:33:43.760
<v Speaker 1>was another manager in my company, Gary Boorman, who went

1:33:43.800 --> 1:33:48.000
<v Speaker 1>on to be very successful with a lot of big acts. Uh.

1:33:48.040 --> 1:33:51.679
<v Speaker 1>And another one of my employees decided to leave even

1:33:51.720 --> 1:33:55.400
<v Speaker 1>though I just spent a year negotiating a phenomenal deal

1:33:55.520 --> 1:33:58.600
<v Speaker 1>for them. Unbelievable. They could never I was covering the

1:33:58.640 --> 1:34:00.719
<v Speaker 1>overhead and they were going to get any five percent

1:34:00.800 --> 1:34:04.200
<v Speaker 1>of what they brought in and U. But they decided

1:34:04.240 --> 1:34:06.960
<v Speaker 1>to leave and form any any formed. Ultimately, his own

1:34:07.000 --> 1:34:12.360
<v Speaker 1>company is very successful these days. Um. But when I

1:34:12.479 --> 1:34:15.920
<v Speaker 1>added up they took it was five employees. They took

1:34:16.040 --> 1:34:20.519
<v Speaker 1>three other people with them major employees, so it was

1:34:20.560 --> 1:34:24.080
<v Speaker 1>five of them. I added up. I was two hundred thousand,

1:34:24.200 --> 1:34:26.679
<v Speaker 1>and they took five acts. Five employees and five acts

1:34:27.479 --> 1:34:30.400
<v Speaker 1>I added up. I was two hundred thousand better off

1:34:30.439 --> 1:34:34.160
<v Speaker 1>after they left than I was before. And I went,

1:34:34.240 --> 1:34:37.439
<v Speaker 1>wait a second, and I started cutting my company down

1:34:37.479 --> 1:34:40.439
<v Speaker 1>like crazy. And I eventually, I mean, nowadays, I don't

1:34:40.439 --> 1:34:44.439
<v Speaker 1>manage anymore. I do mostly consulting and nonprofit work and

1:34:44.479 --> 1:34:47.160
<v Speaker 1>all kinds of very big but I get paid for those.

1:34:47.200 --> 1:34:52.200
<v Speaker 1>But I do that, uh and UM, but I looked

1:34:52.240 --> 1:34:56.240
<v Speaker 1>at it, and I eventually worked out of my home, okay,

1:34:56.280 --> 1:35:00.000
<v Speaker 1>with one assistant. Um. Did you learn anything in Harvard

1:35:00.080 --> 1:35:03.640
<v Speaker 1>Business School that helped you in your career? More in

1:35:03.720 --> 1:35:08.519
<v Speaker 1>my life, because it gave me interest in anything every area.

1:35:09.640 --> 1:35:12.799
<v Speaker 1>A couple of things. I mean, I learned something about banking,

1:35:12.840 --> 1:35:15.640
<v Speaker 1>at least at the time. It's changed now. But I

1:35:15.760 --> 1:35:20.080
<v Speaker 1>learned that the time banking was subjective, not totally objective.

1:35:20.439 --> 1:35:23.680
<v Speaker 1>It's more so now because corporations have gotten on the

1:35:23.720 --> 1:35:28.280
<v Speaker 1>banks and stuff big ones. But in those early days,

1:35:28.360 --> 1:35:33.240
<v Speaker 1>in the sixties, seventies, eighties, my relationship direct relationship with

1:35:33.280 --> 1:35:37.240
<v Speaker 1>a banker. Man, I could pick up the phone and say, listen,

1:35:37.400 --> 1:35:40.599
<v Speaker 1>I've got this artist. They need fifty dollars to buy

1:35:40.600 --> 1:35:43.559
<v Speaker 1>a bus and go on the road. I mean, I

1:35:43.600 --> 1:35:47.000
<v Speaker 1>did that this exact thing for Travis, and they'd say,

1:35:47.040 --> 1:35:49.639
<v Speaker 1>all right, here, come in, we'll sign up the papers,

1:35:49.720 --> 1:35:55.360
<v Speaker 1>you know, and do it. And I made I learned

1:35:55.360 --> 1:35:57.720
<v Speaker 1>that banking relationships. I don't know how I learned that

1:35:57.760 --> 1:36:02.439
<v Speaker 1>at Harbor, but I did. Um that banking relationships were

1:36:02.479 --> 1:36:05.360
<v Speaker 1>there were people that made decisions that affected you and

1:36:05.360 --> 1:36:07.599
<v Speaker 1>if you could be if you could get the trust

1:36:07.680 --> 1:36:10.400
<v Speaker 1>and the friendship of those people, it could really be

1:36:10.439 --> 1:36:13.160
<v Speaker 1>a value. Much harder to do these days, it's a

1:36:13.160 --> 1:36:17.840
<v Speaker 1>whole different ballgame. Um. I learned. I learned to be

1:36:18.000 --> 1:36:24.799
<v Speaker 1>interested in what anything, every business, and the interesting the

1:36:24.840 --> 1:36:29.840
<v Speaker 1>most valuable thing about that is the more you learn,

1:36:29.960 --> 1:36:33.080
<v Speaker 1>you find angles that support some other part of what

1:36:33.120 --> 1:36:38.680
<v Speaker 1>you're doing. You know, um uh, oh, gosh, what's his name?

1:36:38.760 --> 1:36:43.000
<v Speaker 1>Jacqueline Hyde and Frank Wildhorn. Frank Wildhorn came to teach

1:36:43.040 --> 1:36:44.479
<v Speaker 1>him my class at u C l A, and the

1:36:44.520 --> 1:36:47.240
<v Speaker 1>first thing he said to the students was, don't ever

1:36:47.400 --> 1:36:51.280
<v Speaker 1>quit learning. Don't ever quit being a student. The most

1:36:51.320 --> 1:36:54.360
<v Speaker 1>important thing you can do that will support everything you

1:36:54.400 --> 1:36:59.799
<v Speaker 1>do in life is is learning constantly. And I read

1:37:00.040 --> 1:37:02.920
<v Speaker 1>everything I can every time. I love anything new that

1:37:02.960 --> 1:37:08.280
<v Speaker 1>I haven't learned about. Um, you know, I just I'm fascinating.

1:37:08.320 --> 1:37:10.160
<v Speaker 1>I'd like to live a lot longer than I'm going

1:37:10.200 --> 1:37:14.600
<v Speaker 1>to live, just because I want to know everything I

1:37:14.640 --> 1:37:16.599
<v Speaker 1>want to know, and particularly I want to know a

1:37:16.600 --> 1:37:19.080
<v Speaker 1>lot of stuff about space that hasn't been discovered. I

1:37:19.120 --> 1:37:23.080
<v Speaker 1>have quite an interest in astronomy. I built my own observatory,

1:37:23.280 --> 1:37:31.479
<v Speaker 1>you know. But I'm fascinated by, uh, by learning. Okay,

1:37:31.479 --> 1:37:34.200
<v Speaker 1>what are you most proud of in your career? In

1:37:34.320 --> 1:37:38.880
<v Speaker 1>my career, probably the United Nations Peace Medal. Tell us

1:37:38.880 --> 1:37:41.800
<v Speaker 1>the story of that, well, it's just basically from we

1:37:41.880 --> 1:37:43.680
<v Speaker 1>Are the World. We haven't talked about we are as

1:37:43.680 --> 1:37:45.400
<v Speaker 1>I say so, tell the story of we are the World.

1:37:46.400 --> 1:37:48.639
<v Speaker 1>We are the World started with a well, it started

1:37:48.640 --> 1:37:52.759
<v Speaker 1>with Bob Geldof seeing pictures on the BBC in London,

1:37:53.280 --> 1:37:57.120
<v Speaker 1>of children dying in Africa and deciding you had to

1:37:57.160 --> 1:38:00.479
<v Speaker 1>do something about it, and twisting the arms of all.

1:38:00.560 --> 1:38:03.120
<v Speaker 1>I mean, he wasn't a big deal at the time,

1:38:03.560 --> 1:38:06.840
<v Speaker 1>but he he bugged everybody to the point where they

1:38:06.920 --> 1:38:09.639
<v Speaker 1>all agreed to perform, and he put a record together

1:38:09.680 --> 1:38:12.800
<v Speaker 1>and it ultimately brought in ten million dollars. Led to

1:38:12.880 --> 1:38:17.320
<v Speaker 1>live Aid much later. But while that was going on

1:38:17.560 --> 1:38:21.320
<v Speaker 1>and making the news, Tom brokaw here insisted that those

1:38:21.360 --> 1:38:26.280
<v Speaker 1>same pictures from Africa be shown on NBC here, and

1:38:26.800 --> 1:38:29.880
<v Speaker 1>all of a sudden, everybody over here was seeing it,

1:38:30.600 --> 1:38:33.720
<v Speaker 1>and Harry Belafoni picked up the phone. Well what Belifani

1:38:33.800 --> 1:38:36.439
<v Speaker 1>did first as he went to he thought they should

1:38:36.479 --> 1:38:39.439
<v Speaker 1>do a concert here. So he went to a concert

1:38:39.439 --> 1:38:42.879
<v Speaker 1>promoter named Ron Delsner in New York, and Ron Delsner

1:38:42.960 --> 1:38:46.519
<v Speaker 1>said to him, look, Ken Craigan manages some of the

1:38:46.560 --> 1:38:49.839
<v Speaker 1>biggest art and Belifani wanted to do it with strictly

1:38:49.880 --> 1:38:54.479
<v Speaker 1>with African American artists who had some ties to Africa,

1:38:54.560 --> 1:38:56.880
<v Speaker 1>which is a good idea, but not not the one

1:38:56.960 --> 1:38:59.720
<v Speaker 1>we ended up with. And I'm glad we didn't just

1:38:59.800 --> 1:39:04.639
<v Speaker 1>do African American art. But anyway, Delzner said, look, Ken

1:39:04.680 --> 1:39:10.040
<v Speaker 1>Craigan's got managing some of the hottest artists in the world. Um,

1:39:10.320 --> 1:39:13.479
<v Speaker 1>and he cares about this because he was Harry Chapin's manager,

1:39:14.120 --> 1:39:20.880
<v Speaker 1>and he said he he Um, these issues, these hunger

1:39:20.960 --> 1:39:24.519
<v Speaker 1>and homeless issues and poverty issues are something that he's

1:39:24.560 --> 1:39:27.559
<v Speaker 1>been working on with for years with Harry and then

1:39:27.560 --> 1:39:30.760
<v Speaker 1>with Kenny Rogers. So I get a call from Belofani

1:39:30.880 --> 1:39:35.000
<v Speaker 1>on two days before Christmas or two days before Christmas.

1:39:35.840 --> 1:39:40.599
<v Speaker 1>Uh and uh, he says, uh, we should do a concert.

1:39:40.680 --> 1:39:42.519
<v Speaker 1>Have you seen these photos? I said, yeah, I've seen

1:39:42.560 --> 1:39:45.799
<v Speaker 1>him on television. And I said, but why do a concert?

1:39:45.840 --> 1:39:49.000
<v Speaker 1>I said, Geldof has just shown us the way. I said,

1:39:49.040 --> 1:39:52.360
<v Speaker 1>We've got bigger artists who sell more records here than

1:39:52.400 --> 1:39:54.120
<v Speaker 1>what he had there. And not that he didn't have

1:39:54.200 --> 1:39:57.519
<v Speaker 1>some very big artists, but we we've got a better

1:39:57.520 --> 1:40:02.479
<v Speaker 1>stable in terms of what we can rape. Um, let

1:40:02.479 --> 1:40:04.640
<v Speaker 1>me see what I can do. So I hung up

1:40:04.640 --> 1:40:08.160
<v Speaker 1>with him. I drove to Lionel's house. I was picking

1:40:08.200 --> 1:40:11.519
<v Speaker 1>him up for he was going to host the American

1:40:11.600 --> 1:40:14.759
<v Speaker 1>Music Awards and I was taking him to a meeting

1:40:14.760 --> 1:40:17.280
<v Speaker 1>with Dick Clark to go over some of the details.

1:40:17.720 --> 1:40:21.599
<v Speaker 1>It wasn't for another month until the twenty eight January.

1:40:22.360 --> 1:40:25.439
<v Speaker 1>On the way on my way to Lionel's house, I

1:40:25.479 --> 1:40:28.200
<v Speaker 1>called Kenny Rodgers and Kim Carnes and they both said,

1:40:28.680 --> 1:40:31.880
<v Speaker 1>you know, they do whatever we wanted. And then I

1:40:31.920 --> 1:40:34.000
<v Speaker 1>got to Lionels and he and his wife Brenda had

1:40:34.000 --> 1:40:36.519
<v Speaker 1>seen there. They wanted to do something bad, and I

1:40:36.560 --> 1:40:40.960
<v Speaker 1>suggested the right with Stevie Wonder, but he couldn't. He

1:40:41.000 --> 1:40:44.040
<v Speaker 1>couldn't reach Stevie tried all night. In the meantime, I

1:40:44.080 --> 1:40:45.920
<v Speaker 1>took Lionel to meet with Dick Clark, and on the

1:40:45.960 --> 1:40:48.120
<v Speaker 1>way over to Dick Clark, I got this idea, why

1:40:48.120 --> 1:40:49.880
<v Speaker 1>don't we do it the night of the American Music

1:40:49.920 --> 1:40:53.200
<v Speaker 1>Awards because the artists would be already be in town.

1:40:53.600 --> 1:40:57.200
<v Speaker 1>I'm not gonna have to struggle to get him. Um.

1:40:57.320 --> 1:40:59.400
<v Speaker 1>I told Dick that he loved that because it would

1:40:59.439 --> 1:41:03.920
<v Speaker 1>help him get artists to come to down. So I'm

1:41:03.960 --> 1:41:07.679
<v Speaker 1>I did. Then the next morning, Lionel was still trying

1:41:07.680 --> 1:41:12.400
<v Speaker 1>to reach Stevie and his wife Brenda at the time.

1:41:12.479 --> 1:41:16.040
<v Speaker 1>His wife then then went into a jewelry store to

1:41:16.040 --> 1:41:18.519
<v Speaker 1>buy it was the day before Christmas, to buy last

1:41:18.520 --> 1:41:24.599
<v Speaker 1>second gifts. Who walks in but Stevie wonder. I probably

1:41:24.720 --> 1:41:27.120
<v Speaker 1>had somebody with him who said, that's Brenda Richie, because

1:41:27.320 --> 1:41:30.599
<v Speaker 1>Stevie couldn't go around on his own. But I don't

1:41:30.600 --> 1:41:33.040
<v Speaker 1>know that part of the story. I do know that

1:41:33.200 --> 1:41:36.240
<v Speaker 1>he said, would you help me pick out some jewelry gifts?

1:41:36.640 --> 1:41:39.840
<v Speaker 1>And she said not until you call my husband back.

1:41:40.840 --> 1:41:45.920
<v Speaker 1>And they got Lionel in a dentist chair and Stevie

1:41:45.960 --> 1:41:50.040
<v Speaker 1>agreed to write. In the meantime, I'm on the phone

1:41:50.040 --> 1:41:53.280
<v Speaker 1>with Quincy Jones. He's on a getting He's in the

1:41:53.320 --> 1:41:56.360
<v Speaker 1>airport getting on a Warner Brothers plane to fly to

1:41:56.439 --> 1:42:01.760
<v Speaker 1>a wife for vacation, for Christmas vacation. And I say,

1:42:02.200 --> 1:42:06.360
<v Speaker 1>will you produce this? He says absolutely, And he I said,

1:42:06.439 --> 1:42:08.719
<v Speaker 1>can you get Michael to be one of the singers.

1:42:09.520 --> 1:42:12.080
<v Speaker 1>He calls me back thirty minutes later. He says, Michael

1:42:12.120 --> 1:42:14.080
<v Speaker 1>will do it, but only if he writes a song

1:42:14.200 --> 1:42:18.880
<v Speaker 1>with Lionel and Stevie, which is all good. I mean.

1:42:20.160 --> 1:42:23.120
<v Speaker 1>Bellafoni calls me back after the day after Christmas, says,

1:42:23.160 --> 1:42:25.519
<v Speaker 1>if you thought about this at all, what do you

1:42:25.560 --> 1:42:28.080
<v Speaker 1>think we ought to do? I said, well, I've got

1:42:28.080 --> 1:42:31.519
<v Speaker 1>a song being written by Lama Richie Stevie Wonder, I

1:42:31.600 --> 1:42:34.599
<v Speaker 1>thought and didn't work out that way. And Michael Jackson,

1:42:34.640 --> 1:42:37.439
<v Speaker 1>I've got Quincy Jones producing. I've got Kenny Rogers and

1:42:37.520 --> 1:42:40.200
<v Speaker 1>Kim Karnes and Lindsey Bucking and the rest of my

1:42:40.280 --> 1:42:45.760
<v Speaker 1>clients willing to perform. He says, uh, oh, okay, Well,

1:42:45.800 --> 1:42:48.160
<v Speaker 1>I'm off to Europe. He was going to Europe for

1:42:48.200 --> 1:42:51.080
<v Speaker 1>a month. I'll be back. He got back three days

1:42:51.120 --> 1:42:57.000
<v Speaker 1>before the recording session. Um. Any event, I very little

1:42:57.040 --> 1:42:59.479
<v Speaker 1>could get done from there till New Year till after

1:42:59.520 --> 1:43:03.479
<v Speaker 1>New Year's But I just sat down starting January two,

1:43:03.680 --> 1:43:07.400
<v Speaker 1>every day, get two artists. Go start at the top

1:43:07.439 --> 1:43:10.760
<v Speaker 1>of the billboard charts. Get two artists that are up there.

1:43:10.800 --> 1:43:14.360
<v Speaker 1>I had already number one and number three, which were Lionel,

1:43:14.400 --> 1:43:18.679
<v Speaker 1>and number one was Michael, Number two was Prince, Number

1:43:18.720 --> 1:43:21.599
<v Speaker 1>three was Lionel. But I just worked my way down

1:43:21.640 --> 1:43:24.400
<v Speaker 1>the charts and would get in touch with and call

1:43:24.479 --> 1:43:27.519
<v Speaker 1>an artist every uh at least. And I wouldn't go

1:43:27.520 --> 1:43:29.840
<v Speaker 1>to bed at night until I had two artists. And

1:43:29.880 --> 1:43:34.599
<v Speaker 1>then on the fifteenth of January, UM Bruce Springsteen's manager

1:43:35.479 --> 1:43:39.519
<v Speaker 1>John Landau. I had convinced John that he should ask

1:43:39.880 --> 1:43:42.320
<v Speaker 1>Bruce to come out and do it. He talked Bruce

1:43:42.360 --> 1:43:44.559
<v Speaker 1>into it. It didn't take much from what he said,

1:43:45.120 --> 1:43:52.240
<v Speaker 1>and uh and uh. I from the moment that Bruce said, yes,

1:43:52.720 --> 1:43:55.680
<v Speaker 1>I never made another outgoing call. I just had to

1:43:55.680 --> 1:43:59.160
<v Speaker 1>turn people down or okam, you know I already had

1:43:59.280 --> 1:44:02.559
<v Speaker 1>quite a bit at that point, but Bruce was that

1:44:02.680 --> 1:44:06.879
<v Speaker 1>magnet that brings people you know to it. So okay,

1:44:07.120 --> 1:44:09.680
<v Speaker 1>so now you have how hard was it to absolutely

1:44:09.800 --> 1:44:12.320
<v Speaker 1>actually finalize it, have it done that night at A

1:44:12.439 --> 1:44:16.840
<v Speaker 1>and m etcetera. Well, it almost didn't happen. There's a

1:44:16.840 --> 1:44:20.439
<v Speaker 1>great Thornton Wilder quote, every great thing balances at all

1:44:20.520 --> 1:44:24.040
<v Speaker 1>times on the razor edge of disaster. And I've always

1:44:24.080 --> 1:44:26.479
<v Speaker 1>found the bigger they are, the more often that's going

1:44:26.520 --> 1:44:31.679
<v Speaker 1>to happen. And the night before the actual recording session,

1:44:33.240 --> 1:44:37.719
<v Speaker 1>one of the artists managers who quite involved with the artist,

1:44:38.680 --> 1:44:42.679
<v Speaker 1>came to me and said, the rockers don't like the song.

1:44:43.960 --> 1:44:46.160
<v Speaker 1>They don't want to stand on the stage next to

1:44:46.240 --> 1:44:49.639
<v Speaker 1>the non rockers because they think it will diminish him somehow.

1:44:50.640 --> 1:44:57.320
<v Speaker 1>And so we're leaving. And I said, you know, listen,

1:44:57.360 --> 1:44:59.360
<v Speaker 1>if you're gonna leave, you're gonna leave. I can't do

1:44:59.439 --> 1:45:03.280
<v Speaker 1>anything about that we're recording tomorrow. Well, they went to

1:45:03.360 --> 1:45:07.040
<v Speaker 1>Springsteen and Springsteen said, I came here to feed people

1:45:07.080 --> 1:45:10.519
<v Speaker 1>and save lives. I'm not going anywhere. And they knew

1:45:10.600 --> 1:45:13.960
<v Speaker 1>that if they left and the boss stayed, they're gonna

1:45:13.960 --> 1:45:19.479
<v Speaker 1>look pretty sat nobody left, but you know, hey, listen,

1:45:19.800 --> 1:45:24.519
<v Speaker 1>it was it was difficult in every way, you know,

1:45:24.720 --> 1:45:26.720
<v Speaker 1>to pull it off. But I had a staff of

1:45:26.800 --> 1:45:30.240
<v Speaker 1>fifty in those days. I mean, my my head of

1:45:30.280 --> 1:45:35.439
<v Speaker 1>a of you know, personnel at the company was parking cars.

1:45:35.640 --> 1:45:38.680
<v Speaker 1>My assistant was sitting at the get door with a

1:45:38.760 --> 1:45:42.040
<v Speaker 1>sign saying check your egos at the door, checking people

1:45:42.080 --> 1:45:46.640
<v Speaker 1>in and directing their whoever had come with them to

1:45:47.400 --> 1:45:51.400
<v Speaker 1>the There was a sound stage there where they could

1:45:51.400 --> 1:45:55.400
<v Speaker 1>watch on a big TV screen what was going on

1:45:55.479 --> 1:45:57.800
<v Speaker 1>in the studio. But think we couldn't have all the

1:45:57.840 --> 1:46:00.160
<v Speaker 1>people that were came with, you know, with everybody was

1:46:00.200 --> 1:46:03.599
<v Speaker 1>allowed to bring five people and forty five artists. You know,

1:46:03.680 --> 1:46:07.080
<v Speaker 1>you've got I don't know a hundred some people there

1:46:07.280 --> 1:46:11.600
<v Speaker 1>fifty people. So so um uh, it was quite in.

1:46:11.920 --> 1:46:14.840
<v Speaker 1>Geldof came. We flew Geldof over and he came and

1:46:14.880 --> 1:46:18.960
<v Speaker 1>he uh uh, he almost spoiled the whole thing because

1:46:19.360 --> 1:46:22.720
<v Speaker 1>he he went out, I had put a microphone and

1:46:22.760 --> 1:46:24.760
<v Speaker 1>a little stand up if any of the artists wanted

1:46:24.760 --> 1:46:27.320
<v Speaker 1>to talk to the crowd that was there. And I

1:46:27.360 --> 1:46:32.200
<v Speaker 1>see where you're going, Bob, keeping Bob. So Bob goes

1:46:32.320 --> 1:46:36.000
<v Speaker 1>up there and we have everything's been donated. Every single

1:46:36.080 --> 1:46:42.280
<v Speaker 1>thing for that night has been donated. Couches, pool tables, food, everything.

1:46:43.040 --> 1:46:46.719
<v Speaker 1>He gets up on that podium and he says, listen,

1:46:47.200 --> 1:46:49.400
<v Speaker 1>there are people dying in Africa, and you people are

1:46:49.400 --> 1:46:52.360
<v Speaker 1>sitting here and eating all this food. You should be

1:46:52.400 --> 1:46:56.520
<v Speaker 1>ashamed of yourselves. And he starts lecturing them on everything,

1:46:56.960 --> 1:46:59.400
<v Speaker 1>and I get I'm in the studio and somebody runs

1:46:59.439 --> 1:47:00.840
<v Speaker 1>in and gets me. You've got to get out here

1:47:00.880 --> 1:47:03.400
<v Speaker 1>and get Bob off this stage. Sure enough, about half

1:47:03.400 --> 1:47:05.800
<v Speaker 1>the people left. I mean it was much like you know,

1:47:05.960 --> 1:47:08.160
<v Speaker 1>was two in the morning or something like that. We

1:47:08.280 --> 1:47:11.720
<v Speaker 1>finished at eight am. But when he spoke, had you

1:47:11.800 --> 1:47:14.600
<v Speaker 1>done any recording? We have been recording and people have

1:47:14.600 --> 1:47:19.800
<v Speaker 1>been seeing it. Oh yeah, so the whole project. Did

1:47:20.439 --> 1:47:24.439
<v Speaker 1>it turned out the way you expected? Much bigger, much bigger?

1:47:24.600 --> 1:47:30.280
<v Speaker 1>And he twists and turn serendipity that you didn't anticipate. Well, no,

1:47:30.520 --> 1:47:34.200
<v Speaker 1>but the greatest thing was I was able to convince everybody,

1:47:34.280 --> 1:47:38.160
<v Speaker 1>record distributors, everybody, but we paid. We paid for nothing

1:47:38.280 --> 1:47:41.200
<v Speaker 1>but the vinyl. So when you bought a record, I

1:47:41.200 --> 1:47:44.479
<v Speaker 1>don't know, it was either eight those days for a

1:47:45.040 --> 1:47:50.200
<v Speaker 1>you know, thirty three and album, a big album. When

1:47:50.240 --> 1:47:53.880
<v Speaker 1>you bought that record, we got all but a dollar

1:47:54.479 --> 1:47:57.160
<v Speaker 1>of you know. I talked to There's a big distributor

1:47:57.200 --> 1:48:00.280
<v Speaker 1>called Handelman. I talked to them. They said, we lost

1:48:00.280 --> 1:48:03.040
<v Speaker 1>four hundred thousand dollars distributing that album, but we didn't

1:48:03.080 --> 1:48:07.840
<v Speaker 1>care for a good cause. Um, you know. So yeah,

1:48:07.880 --> 1:48:11.040
<v Speaker 1>there were all kinds. I mean, look, every every we

1:48:11.080 --> 1:48:14.920
<v Speaker 1>had lawyers negotiating deals with record companies so that you know,

1:48:15.040 --> 1:48:18.160
<v Speaker 1>the artists. But the good news was we had the

1:48:18.160 --> 1:48:21.280
<v Speaker 1>biggest artists in the country all agreeing to be part

1:48:21.280 --> 1:48:24.719
<v Speaker 1>of this. So nobody put up. Nobody drove us crazy, really,

1:48:25.320 --> 1:48:28.080
<v Speaker 1>and Josh, from the first day it came out, it

1:48:28.160 --> 1:48:31.280
<v Speaker 1>just went through the roof. I mean, it was just

1:48:31.600 --> 1:48:34.360
<v Speaker 1>one of the you know, I would go to Tower

1:48:34.439 --> 1:48:38.680
<v Speaker 1>Records here on you know, on Sunset, we're near the

1:48:38.720 --> 1:48:42.080
<v Speaker 1>block from my office, and I'd see people walking out

1:48:42.120 --> 1:48:45.800
<v Speaker 1>with ten and fifteen albums under their arm. It was

1:48:45.840 --> 1:48:48.479
<v Speaker 1>one of those things I'm doing in the project and

1:48:48.600 --> 1:48:52.360
<v Speaker 1>big project I'm doing now. You you give people something

1:48:52.400 --> 1:48:56.120
<v Speaker 1>that they want and yet at the same time they're

1:48:56.160 --> 1:48:59.519
<v Speaker 1>doing good so they know that the money they're buying

1:48:59.600 --> 1:49:04.120
<v Speaker 1>this records with is going to a good cause. And

1:49:04.120 --> 1:49:07.479
<v Speaker 1>and but they're getting We put a record album out

1:49:07.520 --> 1:49:11.400
<v Speaker 1>with unreleased tracks, you know, we had we had ten

1:49:11.479 --> 1:49:15.680
<v Speaker 1>or eleven under his release tracks. Um, and and we

1:49:15.760 --> 1:49:19.639
<v Speaker 1>are the world on this album. And so you've got that,

1:49:19.760 --> 1:49:22.840
<v Speaker 1>You've got a double album that it wasn't two records,

1:49:23.240 --> 1:49:25.760
<v Speaker 1>but you got a double album that you could a

1:49:25.800 --> 1:49:29.360
<v Speaker 1>gatefold gatefold. Yeah, that's the right, and uh, with all

1:49:29.479 --> 1:49:33.200
<v Speaker 1>kinds of photos and everything, and and uh, you know

1:49:33.280 --> 1:49:35.519
<v Speaker 1>it was I still have it right behind my desk

1:49:35.520 --> 1:49:39.360
<v Speaker 1>in my office. I love it. And so we found

1:49:39.360 --> 1:49:42.040
<v Speaker 1>ways to really make it exciting for people. I you know,

1:49:43.720 --> 1:49:47.320
<v Speaker 1>it was a pretty heavy time. Things really went amazing

1:49:48.280 --> 1:49:52.200
<v Speaker 1>for and a lot of people jumped him. MTV vh one,

1:49:52.560 --> 1:49:55.400
<v Speaker 1>well yeah, I think h one had started by the yes,

1:49:55.439 --> 1:50:00.080
<v Speaker 1>it wasn't. Yeah, Um, they both jumped on HBO. I

1:50:00.120 --> 1:50:04.920
<v Speaker 1>sold HBO a special on it, which MTV was also

1:50:05.040 --> 1:50:08.160
<v Speaker 1>doing like a three or four days on it. I

1:50:08.240 --> 1:50:12.559
<v Speaker 1>had to then convince a MTV that the HBO special

1:50:12.640 --> 1:50:18.320
<v Speaker 1>would be a promotion for the Michael Michael Fuchs was

1:50:18.360 --> 1:50:23.040
<v Speaker 1>the president of HBO. Uh and he wasn't you know,

1:50:23.680 --> 1:50:25.519
<v Speaker 1>or one way or maybe it was the other way around.

1:50:25.800 --> 1:50:30.400
<v Speaker 1>I think it was Michael Michael had paid two million dollars. Yeah,

1:50:30.439 --> 1:50:34.679
<v Speaker 1>he paid two million dollars for the special and MTV

1:50:34.920 --> 1:50:38.400
<v Speaker 1>had three days of it and he and I said, no,

1:50:38.560 --> 1:50:42.960
<v Speaker 1>it's a build up to your special. Okay, this has

1:50:43.000 --> 1:50:46.040
<v Speaker 1>been wonderful, Ken. We got your biography, We only touched

1:50:46.040 --> 1:50:48.519
<v Speaker 1>on certain parts of your management career. We could go

1:50:48.560 --> 1:50:50.519
<v Speaker 1>on for six or eight hours, but we're gonna end

1:50:50.520 --> 1:50:53.040
<v Speaker 1>it here today. Thanks so much for coming on the podcast.

1:50:53.320 --> 1:50:57.000
<v Speaker 1>Thank you, it's been my pleasure. Okay, until next time.

1:50:57.040 --> 1:50:58.240
<v Speaker 1>This is Bob left Sex