Latest / The Bob Lefsetz Podcast / Marsha Vlasic

Transcript

Marsha Vlasic · The Bob Lefsetz Podcast

• 0:02
  Speaker 1: Welcome, Welcome, Welcome back to the Bob Left Sets podcast.
• 0:06
  Speaker 1: My guest today is Marcia Blosse, legendary agent. Marcia. Good
• 0:12
  Speaker 1: to have you on the podcast. We keep hearing all
• 0:14
  Speaker 1: this stuff about blue dot fever. What's the status of
• 0:17
  Speaker 1: the market today?
• 0:19
  Speaker 2: Ah, I the new terminology blue dot. I have my
• 0:28
  Speaker 2: own opinion, and that is that I think a lot
• 0:31
  Speaker 2: of bands are out there that shouldn't be and everybody
• 0:34
  Speaker 2: wants to headline and they're doing it and it's causing
• 0:38
  Speaker 2: a lot of turmoil.
• 0:40
  Speaker 1: So you're saying people are playing buildings that they shouldn't
• 0:43
  Speaker 1: be playing, or there are too many people in the marketplace.
• 0:47
  Speaker 2: Well, I think it's their playing buildings they shouldn't be playing.
• 0:51
  Speaker 2: Is more the issue, of course the summer, and we're
• 0:54
  Speaker 2: not quite in the summer yet, but it's always saturated
• 0:59
  Speaker 2: and I think the major markets can handle that kind
• 1:02
  Speaker 2: of volume. But I think it's more that there are
• 1:05
  Speaker 2: bands that just don't want to support and they want
• 1:09
  Speaker 2: to be out there and they want a headline.
• 1:12
  Speaker 1: So as an agent, how do you pick the appropriate
• 1:15
  Speaker 1: building for your act?
• 1:17
  Speaker 2: I'm pretty conservative and I think that's how I kind
• 1:21
  Speaker 2: of prided myself and working with the iconic artists that
• 1:26
  Speaker 2: I do is that I always wanted to leave something
• 1:30
  Speaker 2: on the table, and I wanted to be careful that
• 1:33
  Speaker 2: we had somewhere to come back and be able to tour,
• 1:37
  Speaker 2: And a lot of concern and consideration and planning goes
• 1:41
  Speaker 2: into picking the buildings.
• 1:43
  Speaker 1: Okay, do you find it's different. You know, when we
• 1:46
  Speaker 1: were coming up, bands started in clubs. They've worked their
• 1:49
  Speaker 1: way up hopefully to arenas. Now they're acts that start
• 1:52
  Speaker 1: off in arenas. So what do you think about that.
• 1:57
  Speaker 2: And they go straight to stadiums. Well, I think it's
• 2:01
  Speaker 2: a problem. I think it's instead of building careers. See,
• 2:09
  Speaker 2: I think promoters only remember the last play in the market.
• 2:13
  Speaker 2: So I think that there should be a progression, whether
• 2:18
  Speaker 2: you're exploding or you're not exploding. And I think the
• 2:22
  Speaker 2: consideration should be the market. The consideration should be which
• 2:26
  Speaker 2: building is the natural progression to grow into. And I
• 2:31
  Speaker 2: think you could always add multiple days rather than just
• 2:35
  Speaker 2: going for venues that are too big.
• 2:39
  Speaker 1: Okay. One of the other issues is the smaller buildings.
• 2:45
  Speaker 1: The demand far outstrip supply sometimes and there's the secondary
• 2:49
  Speaker 1: market in pricing. How do you deal with that?
• 2:55
  Speaker 2: Well, look, we all and I hope we're not going
• 2:58
  Speaker 2: to get into the secondary market situation because we're all
• 3:03
  Speaker 2: exhausted from it, we're all frustrated from it, and yet
• 3:07
  Speaker 2: there is no battle we can win unless somebody steps
• 3:12
  Speaker 2: up and stops it. And when you live in a
• 3:15
  Speaker 2: city like New York and scalping is legal, it's really
• 3:19
  Speaker 2: hard to fight it. So, I mean, you can't fight
• 3:23
  Speaker 2: the secondary market. And I think that if an act
• 3:26
  Speaker 2: is that much in demand, then okay, then maybe they
• 3:29
  Speaker 2: should be in a bigger building. But if you're an
• 3:33
  Speaker 2: act that's growing, I mean, look, there are a few
• 3:37
  Speaker 2: that it happens with and that should that's a good
• 3:40
  Speaker 2: problem to have.
• 3:42
  Speaker 1: Well, when you have an act that you know is
• 3:46
  Speaker 1: going to sell out, do you think the ticket price
• 3:50
  Speaker 1: affects the perception of the act? Like in sports they
• 3:55
  Speaker 1: charge a fortune. Springsteen is on the road, everybody was
• 3:59
  Speaker 1: bitching about his tickets being in excess one hundred dollars.
• 4:01
  Speaker 1: Now the tickets are four hundred and five hundred dollars.
• 4:04
  Speaker 1: They're not major complaints. So do you price what the
• 4:08
  Speaker 1: ticket is worth or do you think the ticket price
• 4:10
  Speaker 1: should stay low to satiate the fan and the fans perception.
• 4:16
  Speaker 2: Well, I don't think you could keep the price low
• 4:19
  Speaker 2: based on that. I think you have to figure that
• 4:23
  Speaker 2: the band has to make a profit, and they have
• 4:26
  Speaker 2: to cover their expenses, and the building has to be paid,
• 4:30
  Speaker 2: and there has to be money for support, and there
• 4:32
  Speaker 2: has to be money to market the show. And I
• 4:36
  Speaker 2: think we go into a lot of trouble figuring out
• 4:40
  Speaker 2: tickets scaling, and it's not an easy thing to do.
• 4:45
  Speaker 2: But we usually do comparisons and we try to find
• 4:49
  Speaker 2: the middle ground where they act should be. The act
• 4:52
  Speaker 2: needs to make money. The platinum and the VIP people
• 4:58
  Speaker 2: buy those tickets first. They want the best tickets. They
• 5:02
  Speaker 2: want the highest price tickets. It's usually the middle price
• 5:07
  Speaker 2: or the second tier price, or the hardest tickets to sell.
• 5:10
  Speaker 1: Well, someone like Neil Young was a legendary artist. You've
• 5:13
  Speaker 1: represented him for a long time. How do you decide
• 5:16
  Speaker 1: what the price will be for Neil Young?
• 5:18
  Speaker 2: It's not easy, it's you know, you. I take market
• 5:23
  Speaker 2: for market. I see where we were the last time
• 5:25
  Speaker 2: in the market. I see what we sold the last
• 5:28
  Speaker 2: time in the market. Which seats we had trouble selling?
• 5:31
  Speaker 2: Which seats? You know, when first, a lot of information
• 5:35
  Speaker 2: goes into those decisions.
• 5:39
  Speaker 1: Okay, so Neil Young is the superstar. Let's say someone
• 5:45
  Speaker 1: where the demand is not that clear. How do you
• 5:49
  Speaker 1: establish price? Then?
• 5:52
  Speaker 2: Well, you kind of work the numbers backwards. You know,
• 5:54
  Speaker 2: you see where the budget and the the scaling. You
• 6:01
  Speaker 2: know of what a nact needs to make and what
• 6:05
  Speaker 2: the building costs, and you know what you're going to
• 6:08
  Speaker 2: spend on support, and you kind of work the numbers
• 6:11
  Speaker 2: backwards to see what the profit margin would be. Promoteds
• 6:14
  Speaker 2: don't want to work for nothing, No.
• 6:17
  Speaker 1: That's for sure. So where did you grow up?
• 6:21
  Speaker 2: I grew up in the slums of Brooklyn.
• 6:24
  Speaker 1: Tell me more about that. You say, the slums of Brooklyn.
• 6:27
  Speaker 1: What was it like.
• 6:29
  Speaker 2: I came from a very very poor family with a
• 6:32
  Speaker 2: lot of health issues and problems, financial problems, and my
• 6:41
  Speaker 2: childhood was quite rough.
• 6:44
  Speaker 1: What did your parents do for a living?
• 6:47
  Speaker 2: Well, my father went bankrupt when I was very young,
• 6:50
  Speaker 2: and my mother at that time had to go out
• 6:53
  Speaker 2: and work as a salesperson.
• 6:55
  Speaker 1: What was your father doing that he went bankrupt? He
• 6:58
  Speaker 1: was a farrier And did he ever find work after that?
• 7:03
  Speaker 2: Well he did, but he never recovered and medically he
• 7:07
  Speaker 2: was very unhealthy, and it wasn't a home of love,
• 7:13
  Speaker 2: let's put it that way.
• 7:15
  Speaker 1: And your mother sold what.
• 7:18
  Speaker 2: Well, she started in just a regular local department store,
• 7:23
  Speaker 2: and actually she became quite successful as she continued to work.
• 7:31
  Speaker 2: And she sold jewelry on Fifth Avenue in a store
• 7:37
  Speaker 2: called Marshall Julis. And they used to do the charm
• 7:42
  Speaker 2: bracelets for the people that would guess and this is
• 7:46
  Speaker 2: your life, and each charm was significant to that person's hobby, family,
• 7:58
  Speaker 2: et cetera. She was quite a successful salesperson at that time.
• 8:03
  Speaker 1: And did you take any lessons from her success?
• 8:07
  Speaker 2: Well, no, because I was already you know, like a
• 8:11
  Speaker 2: working on my own at that point. But I think
• 8:14
  Speaker 2: what I learned from my mother was, you know, work
• 8:19
  Speaker 2: was not a curse, and work was good, and it
• 8:23
  Speaker 2: was you know, you had to go out there and work.
• 8:27
  Speaker 1: And so how many kids in the family.
• 8:30
  Speaker 2: I had a sister, just one sister, and.
• 8:32
  Speaker 1: She older or younger.
• 8:34
  Speaker 2: She was older, she's passed, okay.
• 8:37
  Speaker 1: And what did she think about your success in the
• 8:39
  Speaker 1: music business.
• 8:41
  Speaker 2: She wasn't kind about it. Was she was she did well.
• 8:47
  Speaker 2: Nobody really understood what I did. Then my mother became
• 8:51
  Speaker 2: very unhealthy and she spent a lot of time in
• 8:54
  Speaker 2: emergency rooms, and she would tell every emergency room doctor
• 9:00
  Speaker 2: that her daughter could get them concert tickets. So she
• 9:05
  Speaker 2: didn't know what I did. And my sister resented my success.
• 9:11
  Speaker 1: How would that manifest itself?
• 9:14
  Speaker 2: We hardly spoke.
• 9:16
  Speaker 1: Okay, So you grew up. You're going to school. You
• 9:20
  Speaker 1: good student, bad student.
• 9:22
  Speaker 2: I was a good student, but I went to a
• 9:24
  Speaker 2: terrible school. I went to a school in the ghetto,
• 9:28
  Speaker 2: and nobody wanted to learn, and there was so much
• 9:31
  Speaker 2: disruption through the classrooms, and you know, there was no
• 9:38
  Speaker 2: focus on teaching at that point.
• 9:41
  Speaker 1: And was it safe Not really.
• 9:45
  Speaker 2: It was safe to a certain extent that I decided
• 9:48
  Speaker 2: that my boyfriend would be the leader of the South
• 9:52
  Speaker 2: Brooklyn Boys, so I was kind of protected.
• 9:56
  Speaker 1: What were the South Brooklyn Boys?
• 9:58
  Speaker 2: They were gang?
• 10:00
  Speaker 1: What did a gang look like in that era?
• 10:03
  Speaker 2: It was tough, you know, leather jackets and there were
• 10:07
  Speaker 2: lots of There were lots of girl gangs and they
• 10:11
  Speaker 2: were they were They carry knives and it was it
• 10:17
  Speaker 2: was like West Side story, let's put it that way.
• 10:21
  Speaker 1: Well, were we involved in any incidents?
• 10:25
  Speaker 2: No, not directly.
• 10:28
  Speaker 1: So you're going to school, how you perceived were you
• 10:33
  Speaker 1: the leader of the pack. Were you a bookworm loaner?
• 10:37
  Speaker 1: If I asked your classmates, oh, what's Marshall like, what
• 10:39
  Speaker 1: would they say?
• 10:41
  Speaker 2: I really don't know. I think I kind of just blended.
• 10:46
  Speaker 2: I don't know that I had a real identity at
• 10:49
  Speaker 2: that point.
• 10:51
  Speaker 1: And do you have any contact with those people later
• 10:53
  Speaker 1: in life? No, you just skated beyond that. So you're
• 11:00
  Speaker 1: in high school, you have this boyfriend. What do you
• 11:02
  Speaker 1: think your future holds?
• 11:05
  Speaker 2: I have no idea, but I have to go to work.
• 11:07
  Speaker 2: I can't even think about it continuing my education because
• 11:12
  Speaker 2: the family was in dire need and there were so
• 11:17
  Speaker 2: many problems. So I had to go get a job.
• 11:20
  Speaker 2: I graduated like six months early because I took extra
• 11:25
  Speaker 2: courses just to get out of there and went and
• 11:29
  Speaker 2: got a job.
• 11:31
  Speaker 1: And so you not only had to support yourself, you
• 11:34
  Speaker 1: had to support the family too well.
• 11:36
  Speaker 2: Help. Yeah, it was not a good situation.
• 11:40
  Speaker 1: So what did you do? What did you do for work?
• 11:43
  Speaker 2: I got a job. My first job was for Frank Lesser,
• 11:46
  Speaker 2: the playwriter, and I just worked in the office bookkeeper
• 11:55
  Speaker 2: secretary they were called at the time. I used to
• 11:59
  Speaker 2: I was a great and I could take shorthand and
• 12:02
  Speaker 2: I was a secretary.
• 12:04
  Speaker 1: Frank was very successful. How'd you get that gig?
• 12:08
  Speaker 2: Well, I didn't work directly for him. I worked into
• 12:10
  Speaker 2: his accounting department. The woman, I guess I went through
• 12:15
  Speaker 2: an agency and the woman told me at the time,
• 12:19
  Speaker 2: I don't know why I'm hiring you. My maiden name
• 12:24
  Speaker 2: was a very long, complicated name, and she said, you
• 12:28
  Speaker 2: have a funny last name, you have no experience, and
• 12:32
  Speaker 2: you're left handed. So I don't really know why I'm
• 12:34
  Speaker 2: hiring you. But she hired me.
• 12:37
  Speaker 1: And how did you learn how to type and do shorthand.
• 12:40
  Speaker 2: That I did at school?
• 12:43
  Speaker 1: Okay? And so you start to work for Frank Lesser?
• 12:48
  Speaker 1: Are you nine to five? Are you thinking that in
• 12:51
  Speaker 1: the back of your mind, well, maybe I can move
• 12:53
  Speaker 1: my way up the food chain.
• 12:56
  Speaker 2: I really didn't think that. I was nine to five
• 12:59
  Speaker 2: and I lived in Brooklyn and I had to take
• 13:02
  Speaker 2: trains to get to work, and you know it was
• 13:07
  Speaker 2: it was nine to five.
• 13:10
  Speaker 1: Well, you're painting a pretty depressing picture. Were you depressed? Oh?
• 13:15
  Speaker 2: Well, I really I knew other people lived differently, but
• 13:19
  Speaker 2: my childhood was not a happy childhood. My father then
• 13:23
  Speaker 2: had a series of heart attacks, mostly in front of us,
• 13:29
  Speaker 2: then he had a terrible stroke, and you know, there
• 13:33
  Speaker 2: was lots of battling in the family and it wasn't
• 13:36
  Speaker 2: a pleasant you know, it was rough.
• 13:41
  Speaker 1: Well how did you cope?
• 13:45
  Speaker 2: I don't know, I don't know.
• 13:49
  Speaker 1: I mean, you have a reputation as being a very
• 13:51
  Speaker 1: strong woman. Do you think it's because you grew up
• 13:53
  Speaker 1: in that environment?
• 13:55
  Speaker 2: It could have been. I mean, look, I had friends
• 13:58
  Speaker 2: that were well to do. You know, I was the
• 14:02
  Speaker 2: only kid that didn't go to camp in the summer.
• 14:05
  Speaker 2: I used to go to day camp and the make potholders.
• 14:09
  Speaker 2: My friends went to sleep away camp. You No, it
• 14:13
  Speaker 2: wasn't It wasn't a pleasant way to grow up.
• 14:16
  Speaker 1: So you work at Frank Lesser. How long do you
• 14:18
  Speaker 1: work there? And what's the next step?
• 14:20
  Speaker 2: Well? I worked at Frank Lesser and I had a
• 14:25
  Speaker 2: boyfriend who was not the leader of the Pact, and
• 14:30
  Speaker 2: he was a musician and he used to play in
• 14:35
  Speaker 2: the lounge at the Copa Cabana and guests were not
• 14:42
  Speaker 2: allowed to be in the Copa Cabana, so there was
• 14:45
  Speaker 2: a bar next door and everybody would hang out there
• 14:48
  Speaker 2: in between the sets, and I got to know some
• 14:52
  Speaker 2: of the go go dances that were there, and they
• 14:55
  Speaker 2: were you know, go go dances because they were making
• 14:57
  Speaker 2: a living. But all of them either one to pay
• 15:01
  Speaker 2: for their education or become real dancers or pursue other
• 15:06
  Speaker 2: you know, creative and they were all like great people.
• 15:11
  Speaker 2: And one of the girls told me that her managers
• 15:16
  Speaker 2: needed somebody to run their office and would I go
• 15:21
  Speaker 2: have a meeting with them? I said sure, and I
• 15:25
  Speaker 2: went up and it was like out of a movie scene.
• 15:29
  Speaker 2: It really was. I mean, it was like a joke.
• 15:33
  Speaker 2: They it was. They represented go go dances, they represented bands,
• 15:39
  Speaker 2: they middle agents, they wheeled, they deal, they were you know,
• 15:44
  Speaker 2: it was like crazy. And they offered me the job
• 15:49
  Speaker 2: and they didn't even know from you know, being on
• 15:52
  Speaker 2: the payroll taxes. You know, it was just all like Actually,
• 15:58
  Speaker 2: one of the go go dances was gold de Han
• 16:03
  Speaker 2: and she was leaving to go to La to pursue
• 16:08
  Speaker 2: her acting career. And so I worked there and I
• 16:15
  Speaker 2: learned the whole business. There wasn't any part that they
• 16:19
  Speaker 2: weren't involved in, in good ways and bad ways, and
• 16:22
  Speaker 2: you know, they were managers, they were they would rob
• 16:28
  Speaker 2: Peter to pay Paul. It was like craziness. And at
• 16:33
  Speaker 2: that point then I met Jeff Franklin, who owned ATI
• 16:37
  Speaker 2: at the time, American Talent International, and I don't quite
• 16:42
  Speaker 2: remember the details of how I got very friendly with
• 16:47
  Speaker 2: them and they offered me to go work there.
• 16:51
  Speaker 1: Okay, how hard was it to leave Frank for this
• 16:55
  Speaker 1: new organization.
• 16:57
  Speaker 2: It wasn't hard at all. That was like boot camp.
• 17:01
  Speaker 2: I mean that was like so regimented, and you know,
• 17:08
  Speaker 2: you I just had a flashback of a memory. There
• 17:12
  Speaker 2: was a switchboard, like a real switchboard, and so everybody
• 17:16
  Speaker 2: would have to like put their time in so like
• 17:20
  Speaker 2: whether I had to cover from three to four or
• 17:22
  Speaker 2: one to three, and when the frank lesser light would
• 17:25
  Speaker 2: light up, everybody would just freeze because Frank needed something.
• 17:31
  Speaker 2: And you know, the amount of anxiety and stress, you
• 17:38
  Speaker 2: would inevitably either disconnect or put him into the wrong extension.
• 17:44
  Speaker 2: So the job was you know, it was a job period, Okay.
• 17:51
  Speaker 1: And when you went what was the name of this
• 17:52
  Speaker 1: organization that represented the show girls?
• 17:55
  Speaker 2: It was called well, I had a few names. I
• 17:58
  Speaker 2: think that had to keep changing them to avoid paying
• 18:04
  Speaker 2: I think it was Oceanic Productions.
• 18:07
  Speaker 1: And how many people were working there?
• 18:10
  Speaker 2: Oh, it's just me and these two partners.
• 18:13
  Speaker 1: Oh really, who did your job before you.
• 18:17
  Speaker 2: One of the married men's girlfriends.
• 18:21
  Speaker 1: So you go in there and you find it's totally
• 18:24
  Speaker 1: for COCTA, messed up totally, and so on some level
• 18:29
  Speaker 1: you are probably shocked because they're doing the job here.
• 18:32
  Speaker 1: How do you tell them how screwed up it is?
• 18:36
  Speaker 2: Well, they just didn't. They didn't. They just gave it
• 18:41
  Speaker 2: to me and just said do it. So it wasn't
• 18:43
  Speaker 2: where I had to correct them or change things because
• 18:46
  Speaker 2: they did what they did. I just tried to organize
• 18:50
  Speaker 2: an office, which I had never done before.
• 18:53
  Speaker 1: And then you know organizations like that, sometimes they don't
• 18:57
  Speaker 1: pay taxes.
• 19:00
  Speaker 2: I don't. That's why they kept changing the name of
• 19:02
  Speaker 2: the company. That's why I had to think about it.
• 19:04
  Speaker 1: Okay, So you're there and you realize you're not paying taxes?
• 19:07
  Speaker 1: Do you roll with the changes or you put up
• 19:09
  Speaker 1: a red flag and say, hey, we got to do this.
• 19:12
  Speaker 1: Were you scared that you're going to be in trouble?
• 19:15
  Speaker 3: No?
• 19:15
  Speaker 2: I just kind of didn't take on that complete role
• 19:20
  Speaker 2: of responsibility. I don't think where I wanted to change
• 19:24
  Speaker 2: the world. I figured they're doing what they're doing, It's okay.
• 19:28
  Speaker 1: Okay, when you were not working not in the office.
• 19:31
  Speaker 1: What did your life look like?
• 19:33
  Speaker 2: I went to shows with them. I became very close
• 19:37
  Speaker 2: with the partners, but they had no hours. So we've
• 19:42
  Speaker 2: worked till nine ten eleven, you know, there were no hours.
• 19:46
  Speaker 2: So it was completely opposite of what working for Frank
• 19:50
  Speaker 2: Music was.
• 19:51
  Speaker 1: And so what kind of shows would you go to?
• 19:53
  Speaker 2: Well, at the time, I went to a lot of
• 19:57
  Speaker 2: Phil Graham's shows at the Fillmore on Second Avenue. Then
• 20:04
  Speaker 2: there was the the name of the place that was
• 20:09
  Speaker 2: on Fourteenth Street, but that changed names so many times, Academy.
• 20:12
  Speaker 1: Of Music and Academy.
• 20:14
  Speaker 2: Music, and then it went to all those others there,
• 20:18
  Speaker 2: and then the Ritz opened up and I would go
• 20:22
  Speaker 2: there a lot. I go all over.
• 20:25
  Speaker 1: Okay, did they represent acts that would play the film More?
• 20:28
  Speaker 2: No they would, But no they didn't. They represented acts
• 20:35
  Speaker 2: that really weren't that big. They were bands. They would
• 20:39
  Speaker 2: book lounges, bowling alleys, you know.
• 20:44
  Speaker 1: So when you would go would you go to the
• 20:46
  Speaker 1: film More with them?
• 20:50
  Speaker 2: Yeah, to just check out and act. Or I would
• 20:54
  Speaker 2: go to a lot of shows in the West Village
• 20:58
  Speaker 2: on Ninth Street. There were Trudy Heller's was there. They
• 21:03
  Speaker 2: used to book dances into Truty Hellers. I was there
• 21:08
  Speaker 2: five years.
• 21:18
  Speaker 1: Okay. I have a friend who said he knew he
• 21:21
  Speaker 1: made it when Hilly led him into CBGB's without paying.
• 21:26
  Speaker 1: You're in this era, this five years to what deg
• 21:28
  Speaker 1: we are in the outside of the inside.
• 21:33
  Speaker 2: I'm definitely on the outside. I have not achieved anything
• 21:39
  Speaker 2: at this point.
• 21:40
  Speaker 1: Well, if you want to go to the fieldboard, you
• 21:42
  Speaker 1: have to buy a ticket.
• 21:43
  Speaker 2: Yeah, pretty much.
• 21:44
  Speaker 1: So okay, let's go back. Were you always a music fan?
• 21:50
  Speaker 2: I was because I remember going to the Brooklyn Paramount,
• 21:54
  Speaker 2: which I was really thrilled when it reopened. And I
• 21:58
  Speaker 2: remember going to ther the K shows and they would
• 22:05
  Speaker 2: I wouldn't have money to buy a ticket for that show.
• 22:09
  Speaker 2: This was even before I was working for these guys,
• 22:15
  Speaker 2: and I would kind of walk around the block and
• 22:19
  Speaker 2: ask people to help me buy a ticket, and I'd
• 22:23
  Speaker 2: go in and sit there all day by myself and
• 22:27
  Speaker 2: watch the axe. It was the Drift Is Johnny Mathers,
• 22:33
  Speaker 2: the Shyrells.
• 22:35
  Speaker 1: So do you remember how much it cost to get in?
• 22:37
  Speaker 2: It was under a dollar?
• 22:38
  Speaker 1: I think, okay, well you were you know that was
• 22:41
  Speaker 1: a heyday of New York radio. Were you addicted to
• 22:43
  Speaker 1: the radio marry the k Yeah, okay, So you go
• 22:50
  Speaker 1: to work for Jeff Franklin I Redblacka. So how did
• 22:56
  Speaker 1: you meet him?
• 22:57
  Speaker 3: I don't remember. I choose.
• 23:00
  Speaker 2: I have a vision of being in a club. I
• 23:02
  Speaker 2: think it could have been like Roseland or something and
• 23:09
  Speaker 2: him offering me a job. And basically the job was
• 23:13
  Speaker 2: working for three agents and it was crazy. That was insane.
• 23:20
  Speaker 1: That was.
• 23:22
  Speaker 2: Wally Myrowitz. Let him rest in peace. I don't know
• 23:26
  Speaker 2: if you're familiar with the name.
• 23:27
  Speaker 1: No, I'm not.
• 23:30
  Speaker 2: Great agent, great agent Bruce Payne who went on to
• 23:35
  Speaker 2: manage Deep Purple and Greg McCutcheon. So I was an
• 23:41
  Speaker 2: agent to I was a secretary to three agents. And
• 23:46
  Speaker 2: there were twelve phones, twelve lines. Each one had four no,
• 23:53
  Speaker 2: each one had three, and then I had a line
• 23:56
  Speaker 2: and I don't know, but they were ringing all the time,
• 24:00
  Speaker 2: all the time.
• 24:01
  Speaker 1: So did you get spil because we are anxious answering
• 24:06
  Speaker 1: the phones or you have that skill?
• 24:09
  Speaker 2: I got that. There was so much turmoil going on
• 24:14
  Speaker 2: in the office that I figured that out really quickly.
• 24:20
  Speaker 1: How to do that other than answering the phones? What
• 24:23
  Speaker 1: did they have you doing everything?
• 24:26
  Speaker 2: Everything? That's where I learned how to be an agent?
• 24:29
  Speaker 2: I mean they were booking tours. They it was sex,
• 24:34
  Speaker 2: drugs and rock and roll at the time.
• 24:36
  Speaker 1: And what were the acts? You remember?
• 24:39
  Speaker 2: I do well. At the time there were two agencies
• 24:44
  Speaker 2: and that was Premier Talent and ATI and we had
• 24:49
  Speaker 2: like Brad Stewards in Small Faces, Deep Purple. You're a
• 24:53
  Speaker 2: heap rarer, Earth Wind and Fire.
• 24:58
  Speaker 1: Okay, you talk six drugs and rock and roll. Were
• 25:02
  Speaker 1: you are rock chick particking yourself or you were someone
• 25:05
  Speaker 1: new keeping it at arm's length?
• 25:10
  Speaker 2: I partied quite a bit.
• 25:13
  Speaker 1: So how did you graduate from being the secretary?
• 25:17
  Speaker 2: Well, Bruce Payne was leaving to go manage Deep Purple,
• 25:22
  Speaker 2: and he assumed that I would go with him as
• 25:25
  Speaker 2: his secretary. We use this word secretary, can use it.
• 25:31
  Speaker 2: It's never used anymore, but I at that time it
• 25:34
  Speaker 2: was very specific. I was a secretary. I was not
• 25:38
  Speaker 2: an assistant. But then I was doing their jobs completely anyway.
• 25:43
  Speaker 2: So at that time when he was leaving, I were
• 25:49
  Speaker 2: a blacker. Who was the other partner told me that
• 25:54
  Speaker 2: I could become an agent and stay at the company
• 25:58
  Speaker 2: and not leave with Bruce. Was amazing.
• 26:02
  Speaker 1: Okay, So Bruce leaves, you're an agent, you immediately have clients.
• 26:08
  Speaker 2: Well, no, because in those days and it still exists,
• 26:11
  Speaker 2: in some of the agencies, you had a territory. You
• 26:15
  Speaker 2: booked a territory, so you were given a territory and
• 26:20
  Speaker 2: you booked the whole roster in that territory.
• 26:26
  Speaker 1: And what was your territory?
• 26:30
  Speaker 2: Well, they gave me. My first territory was West Coast
• 26:35
  Speaker 2: and Bill Graham was one of them. And I was
• 26:40
  Speaker 2: petrified of him, absolutely terrified. And every time I would
• 26:44
  Speaker 2: call him to try and sell him zez t I
• 26:47
  Speaker 2: was easy to kiss, was founded and formed at ati,
• 26:54
  Speaker 2: So every time I would try and call him to
• 26:57
  Speaker 2: sell him something, he would just yell at me and
• 27:00
  Speaker 2: yell at me, and I'd wait till the end of
• 27:04
  Speaker 2: the day to call him. But so the West Coast
• 27:10
  Speaker 2: I booked a lot, and then I had these as
• 27:12
  Speaker 2: you moved around, you know, the let's.
• 27:14
  Speaker 1: Stay with what kind of numbers were we talking about?
• 27:18
  Speaker 1: How much were these acts charging?
• 27:21
  Speaker 2: Well, Zeezy Top had this festival show that they were
• 27:28
  Speaker 2: on the road with that the promoter had to provide
• 27:33
  Speaker 2: the the animals and so trying to tell Bigram that
• 27:42
  Speaker 2: story about you know, he's got to get some horses
• 27:45
  Speaker 2: and some pigs and some whatever. I don't remember what
• 27:49
  Speaker 2: the exact ridea was at the time. It was really
• 27:52
  Speaker 2: pretty chaotic. They were getting a decent amount of They
• 27:56
  Speaker 2: were getting a couple of hundred thousand dollars I think
• 27:58
  Speaker 2: at the time.
• 28:00
  Speaker 1: And to what degree would Bill hassle you over the fee?
• 28:04
  Speaker 2: Every possible way he could? Let him rest in peace?
• 28:09
  Speaker 2: And then we became good friends. And I remember when
• 28:11
  Speaker 2: he first opened Shoreline. He walked me through every inch
• 28:16
  Speaker 2: of it with such pride and really sad to lose
• 28:21
  Speaker 2: a man like that.
• 28:22
  Speaker 1: So do you think he was one of those people
• 28:25
  Speaker 1: with you that if you stood up to me, if
• 28:31
  Speaker 1: you stood up to him, you gained his respect.
• 28:33
  Speaker 2: Absolutely?
• 28:36
  Speaker 1: So, okay, that was Bill Graham. How about lay I.
• 28:41
  Speaker 2: Dealt a lot with Brian Murphy right? And what was
• 28:46
  Speaker 2: his part in his name? SETHEPHO Gary Perkins Right?
• 28:56
  Speaker 1: So in those days, how did the deals work? You
• 29:01
  Speaker 1: just quoted a price, was a guarantee against percentage? How
• 29:05
  Speaker 1: did it go?
• 29:05
  Speaker 2: It was always against percentage, It was always against percentage.
• 29:10
  Speaker 2: It was a guarantee.
• 29:12
  Speaker 1: And how did you make sure you got the percentage?
• 29:16
  Speaker 2: Oh? That was pretty easy. That was pretty standard. Getting
• 29:19
  Speaker 2: the guarantee.
• 29:21
  Speaker 1: Well, I'm trying to say, is let's just use raw numbers.
• 29:23
  Speaker 1: You know, twenty five grands.
• 29:26
  Speaker 2: You earned the percentage because most of them were net
• 29:29
  Speaker 2: deals at the time, So it was you had a
• 29:33
  Speaker 2: chore accountant out there and he would take the expenses
• 29:36
  Speaker 2: day a show, not the show, and you would split
• 29:40
  Speaker 2: after that. And so there wasn't you didn't have to
• 29:43
  Speaker 2: set the split point at that time.
• 29:47
  Speaker 1: And to what degree did you have trouble collecting?
• 29:54
  Speaker 2: No? I mean I to this day try to sell
• 30:01
  Speaker 2: two people I trust and know, and I'm not a
• 30:05
  Speaker 2: big risk taker. The money doesn't phaze me. I'm not
• 30:10
  Speaker 2: a risk taker when it comes to artists and things
• 30:13
  Speaker 2: like that.
• 30:14
  Speaker 1: And this was the days when it was still cash.
• 30:16
  Speaker 2: Right, Well, there were a few people that did cash
• 30:22
  Speaker 2: with a lot of things.
• 30:25
  Speaker 1: Okay, so you're selling the West Coast. Your next territory
• 30:30
  Speaker 1: is where.
• 30:33
  Speaker 2: I don't remember in order of I had the East Coast,
• 30:36
  Speaker 2: I had the South. I dealt with Cecil Corbett and
• 30:40
  Speaker 2: Jack Boyle. I mean, you know there are people that
• 30:46
  Speaker 2: are like them in our world. You know, they were
• 30:50
  Speaker 2: great people, great people, and I would go back forever
• 30:56
  Speaker 2: with Leslie West from Milwaukee, Rick Franks, I mean, Jules Belcan,
• 31:03
  Speaker 2: Mike Belcan you know the legendary promoters.
• 31:08
  Speaker 1: And to what degree would you go out on the
• 31:10
  Speaker 1: road and meet those people?
• 31:13
  Speaker 2: Well, certainly not as much as you do now. But
• 31:21
  Speaker 2: when it was a special show, you went, you know,
• 31:25
  Speaker 2: it was a big kiss show or is he a
• 31:28
  Speaker 2: top show or you went.
• 31:32
  Speaker 1: Okay, So you're booking your territory. What's the perception of
• 31:38
  Speaker 1: you in the office, like this is the young hot
• 31:40
  Speaker 1: person or it is just another person working here.
• 31:44
  Speaker 2: I think I blended in because I mean I kind
• 31:47
  Speaker 2: of had grown there and I was like the boss's favorite, Jeff.
• 31:55
  Speaker 2: We were really good friends. And I was the only
• 31:59
  Speaker 2: female agent and there were only other two other female agents,
• 32:04
  Speaker 2: and that was a premier talent and that was Barber
• 32:08
  Speaker 2: skuy Dell and Jane Garrety. But I didn't think of
• 32:11
  Speaker 2: it as like, oh wow, I'm a woman and I'm
• 32:14
  Speaker 2: an agent. I never thought of it that way. I
• 32:16
  Speaker 2: don't know, you know, it didn't.
• 32:19
  Speaker 1: So how many agents were at ATI now when you
• 32:22
  Speaker 1: were working there.
• 32:23
  Speaker 2: Oh it was a lie. I'd say ten or twelve.
• 32:27
  Speaker 1: Okay, So you're booking regionally, what's the next step for you.
• 32:32
  Speaker 2: Well, my first act that I got, and I don't
• 32:35
  Speaker 2: even remember how I got him was Al Stewart. That
• 32:38
  Speaker 2: was my first goal of record year of the Cat
• 32:43
  Speaker 2: and his manager, Luke O'Reilly was he was like, he
• 32:48
  Speaker 2: was tough. He's passed away, so I prefer we don't
• 32:54
  Speaker 2: use his name. But I learned. I learned how to
• 32:58
  Speaker 2: be the responsible agent and how to deliver the way
• 33:02
  Speaker 2: he wanted it delivered and on what days he wanted
• 33:04
  Speaker 2: to work this or miles or that.
• 33:07
  Speaker 1: So you don't remember, were you at that point going
• 33:10
  Speaker 1: out to clubs talking to other people trying to get acts?
• 33:13
  Speaker 2: Yes? Yes, I also represented ac DC.
• 33:19
  Speaker 1: How'd you get ac DC? The Brownings were the manager
• 33:22
  Speaker 1: in Australia.
• 33:24
  Speaker 2: Were the manager, and Doug Fayler right is the agent
• 33:28
  Speaker 2: at ATI was giving it up walking away and they
• 33:33
  Speaker 2: were worth five hundred dollars a night. And it was
• 33:37
  Speaker 2: during Highway to Hell the original lead singer was still alive.
• 33:43
  Speaker 1: Okay, So you're the agent that was the first album
• 33:48
  Speaker 1: that Mutt Lane did. Did you foresee they would become
• 33:51
  Speaker 1: what they became? And were you the agent during Back
• 33:57
  Speaker 1: in Black and for those about to rock us? Okay?
• 34:02
  Speaker 1: So you hear that the lead singer O d Well,
• 34:04
  Speaker 1: lead singer whatever, dies and they're going to get a
• 34:08
  Speaker 1: new lead singer. Are your eyes rolling in the back
• 34:10
  Speaker 1: of your head like this will never work?
• 34:15
  Speaker 2: I think by the time you know Brian Scott was
• 34:19
  Speaker 2: brought in, now Bond Scott was the original run Johnson.
• 34:25
  Speaker 2: Brian Johnson was born in I think I think everybody
• 34:29
  Speaker 2: was really good, fine with it. They were happy that
• 34:31
  Speaker 2: there was a replacement and they were ready to roll again.
• 34:36
  Speaker 1: And you heard that record, did you say to yourself,
• 34:39
  Speaker 1: holy shit, this is going to blow up? Or you
• 34:41
  Speaker 1: just figure it was another record I loved.
• 34:44
  Speaker 2: I loved, you know, in those days it was I
• 34:49
  Speaker 2: had a lot of metal, A lot of metal. I
• 34:51
  Speaker 2: did Metallica early on Anthrax. Bio has a fear factory.
• 34:56
  Speaker 2: I mean I had a lot of metal music and
• 34:58
  Speaker 2: a lot of hard rock news.
• 35:01
  Speaker 1: Okay, when did you wake up and realize you'd like
• 35:05
  Speaker 1: that music?
• 35:06
  Speaker 2: I think I liked all music. I mean when I
• 35:09
  Speaker 2: used to sit alone in my room and be miserable,
• 35:12
  Speaker 2: I would put on Billie Holiday so and then I
• 35:17
  Speaker 2: had this vision of I was in love with Johnny Mathis,
• 35:21
  Speaker 2: and you know, then it would be. You know, I'm
• 35:25
  Speaker 2: trying to think of the early rock that I was into. Well,
• 35:30
  Speaker 2: I was always in tassi osborn in Black Sabbath.
• 35:34
  Speaker 1: Wait wait, wait wait, first Black Sabbath album comes out.
• 35:38
  Speaker 1: At that time, led Zeppelin was considered metal. First Black
• 35:42
  Speaker 1: Sabbath album comes out. It's out there. How do you
• 35:45
  Speaker 1: even hear that that?
• 35:47
  Speaker 2: I don't know. Probably in the office, you know, people talking.
• 35:54
  Speaker 2: And Sharon came to us pretty early on.
• 35:57
  Speaker 1: And what did she say?
• 36:00
  Speaker 2: Well, I was at one point the guardian to the children,
• 36:04
  Speaker 2: to Sharon's children, to Amy, Jack and Kelly, So we
• 36:11
  Speaker 2: got very close. Obviously, how did.
• 36:15
  Speaker 1: You end up as the guardian?
• 36:18
  Speaker 2: She I guess, you know, respected me as a mother
• 36:23
  Speaker 2: and if anything happened, we became incredibly close. Families and
• 36:27
  Speaker 2: stuff like that.
• 36:29
  Speaker 1: Okay, so we all know the legend of her father
• 36:32
  Speaker 1: and everybody knows a legend of sharing in the world.
• 36:35
  Speaker 1: Now is real, it's the TV show. What was she
• 36:38
  Speaker 1: like back then?
• 36:41
  Speaker 2: Well, you know, Sharon certainly has changed her physical appearance greatly,
• 36:49
  Speaker 2: but she was as it was her life even way
• 36:54
  Speaker 2: back then. I mean, she managed Ozzie, she had come.
• 37:01
  Speaker 2: She was as it was her her purpose. It was
• 37:11
  Speaker 2: a beautiful love story. It was crazy and insane, and
• 37:14
  Speaker 2: you know, I spent a lot of time in their
• 37:16
  Speaker 2: house and with them. I just had lunch with Sharon
• 37:19
  Speaker 2: this week. But the love that they had for each
• 37:25
  Speaker 2: other was really, really, really unbelievable.
• 37:31
  Speaker 1: Well, anybody who's dealt with Sharon knows that you never
• 37:36
  Speaker 1: know which way she's going to come at you, okay,
• 37:40
  Speaker 1: And it's unpredictable in that way. So what was it
• 37:43
  Speaker 1: like having her being a manager of your act. It's
• 37:46
  Speaker 1: not as simple as somebody else saying, oh, give me
• 37:49
  Speaker 1: this money. I want to play these markets with her.
• 37:51
  Speaker 1: It's a whole nother thing.
• 37:53
  Speaker 2: No, it was we had some rough patches, and I
• 38:01
  Speaker 2: wasn't always as these agents, so I don't.
• 38:05
  Speaker 1: Know what okay, So what would a rough patch look like?
• 38:12
  Speaker 2: Well, Sharon was very opinionated, and you know, she wanted
• 38:17
  Speaker 2: things her way, and if things couldn't go away, it
• 38:21
  Speaker 2: was difficult to get her to understand that.
• 38:26
  Speaker 1: So, I mean, someone like Sharon you were really close to,
• 38:31
  Speaker 1: But it happens in the business where you represent somebody
• 38:34
  Speaker 1: and then they move on. How do you cope with that?
• 38:38
  Speaker 2: It was hard. It was a heartbreak. She moved on
• 38:40
  Speaker 2: and I but yet because of the family ties, like
• 38:45
  Speaker 2: my youngest son and Jack were like best friends, and
• 38:49
  Speaker 2: my son Franco used to go on the az Fest
• 38:53
  Speaker 2: every summer with Jack and my son Matthew and Amy
• 38:59
  Speaker 2: and Kelly were so tight together. I couldn't hold you know,
• 39:05
  Speaker 2: I couldn't hold a grudge because I couldn't tell the
• 39:11
  Speaker 2: children they shouldn't.
• 39:14
  Speaker 1: Generally speaking, when an act moves on, do you have
• 39:18
  Speaker 1: any contact or essentially they're dead to you.
• 39:22
  Speaker 2: Well, for me, it's when an act moves on and
• 39:27
  Speaker 2: there's really no specific you know, there wasn't a terrible
• 39:31
  Speaker 2: fuck up, or you lied, or you cheated, or you
• 39:36
  Speaker 2: there was a reason or real valid reason. I don't
• 39:40
  Speaker 2: want to ever know from them again. I mean, they're
• 39:45
  Speaker 2: not my friend. They don't care about me. Because if
• 39:48
  Speaker 2: they care about me, and I really didn't do anything
• 39:51
  Speaker 2: to deserve being fired, I don't. You're not my friend, and.
• 39:56
  Speaker 1: What would happen. The nature of the businesses is you
• 39:59
  Speaker 1: always and into them down the line could be fifteen
• 40:02
  Speaker 1: twenty years along.
• 40:03
  Speaker 2: Oh my god, it yes it did. I have several
• 40:06
  Speaker 2: off stories that I'm a dogget about right now.
• 40:13
  Speaker 1: So how uncomfortable for you is it when you run
• 40:15
  Speaker 1: into these people?
• 40:17
  Speaker 2: Well, look, you know, over the years things have quieted down.
• 40:21
  Speaker 2: And when we went to the Birmingham show, I'm so
• 40:27
  Speaker 2: thankful I went. I was in Cardiff for the Oasis
• 40:31
  Speaker 2: show because I represent an All and decided that how
• 40:37
  Speaker 2: can we miss Birmingham. We're so close, this is such
• 40:40
  Speaker 2: an event. And I tell you, when we walked in
• 40:44
  Speaker 2: it was like we were so welcomed with love. And
• 40:49
  Speaker 2: that was from Ozzie, from Sharon, from the kids, from everybody.
• 41:02
  Speaker 1: Okay, so you get Al Stewart, who's your next client?
• 41:06
  Speaker 2: After that, there was a band that Charles Koppelman had
• 41:12
  Speaker 2: called the La Jets that nothing ever happened with them.
• 41:16
  Speaker 1: I remember them, nothing did happen.
• 41:19
  Speaker 2: Right, But I had them. And then what happened was
• 41:26
  Speaker 2: Jeff Franklin represented all of Elliott Roberts acts. So it
• 41:31
  Speaker 2: was Neil, it was the cars, yes, Jonie, so every
• 41:41
  Speaker 2: Jeff really didn't want to sit and really book a
• 41:44
  Speaker 2: tour or do deals. Jeff always liked to like kind
• 41:48
  Speaker 2: of make the introduction and walk away. So he would
• 41:52
  Speaker 2: give me most of Elliot's stuff to work on.
• 41:58
  Speaker 1: And you know, Elliott's no longer with us. But what
• 42:02
  Speaker 1: was Elliot like as a manager?
• 42:06
  Speaker 2: Oh my god, you talk about not knowing wanted again,
• 42:08
  Speaker 2: and I'm going to get Elliot and I had an
• 42:11
  Speaker 2: amazing relationship, but my god, we would fight like cats
• 42:15
  Speaker 2: and dogs. He was crazy, he was insane, and you know,
• 42:22
  Speaker 2: you never knew what he was actually gonna tell Neil
• 42:26
  Speaker 2: or you know, translate what was going on. And it
• 42:31
  Speaker 2: was very challenging. We did the Bridge School together for
• 42:34
  Speaker 2: thirty years. I mean there wasn't a day that we
• 42:39
  Speaker 2: didn't speak three, four or five times a day.
• 42:42
  Speaker 1: And so how would his insanity manifest? Where would the
• 42:46
  Speaker 1: points of friction come.
• 42:49
  Speaker 2: When it wasn't realistic or it wasn't making any sense
• 42:53
  Speaker 2: and it couldn't be done. And it wasn't my fault
• 42:57
  Speaker 2: that those four thousand and seats are in sold. I
• 43:00
  Speaker 2: didn't tell people not to buy the tickets.
• 43:04
  Speaker 1: So you know, if you're in the studio, an engineer
• 43:08
  Speaker 1: is a yespin. He won't see anything negative. So you're
• 43:12
  Speaker 1: in the service business to what the gree can you
• 43:15
  Speaker 1: be honest with these people?
• 43:18
  Speaker 2: Well?
• 43:19
  Speaker 3: You know I have.
• 43:22
  Speaker 2: I think the years and the experience has taught me
• 43:30
  Speaker 2: or given me the confidence to be able to be honest,
• 43:35
  Speaker 2: it's you know, I used to say that being welcomed
• 43:41
  Speaker 2: into a dressing room and not feeling like, oh my god,
• 43:44
  Speaker 2: I wish it was a hole and I could disappear
• 43:46
  Speaker 2: right now because I don't belong here, or I feel
• 43:51
  Speaker 2: so unwelcomed, you know, to be welcomed into a dressing
• 43:55
  Speaker 2: room and to feel like you belong and you really
• 44:01
  Speaker 2: had something to do with this all. It's such an accomplishment,
• 44:06
  Speaker 2: but you don't have you know, you don't have that
• 44:08
  Speaker 2: in your early days. You're a rookie, and it's different now.
• 44:17
  Speaker 2: I don't need to ask for a past. I don't
• 44:19
  Speaker 2: need to have the right path. You know, I've put
• 44:22
  Speaker 2: in a lifetime. But then you never knew what past
• 44:27
  Speaker 2: you were going to get, or where you were welcome,
• 44:30
  Speaker 2: or it was a very uncomfortable feeling when you were
• 44:36
  Speaker 2: growing up.
• 44:38
  Speaker 1: So we've all been there where our name wasn't on
• 44:41
  Speaker 1: the list and we didn't get the past we thought
• 44:43
  Speaker 1: we were going to get. Would you scurry away with
• 44:46
  Speaker 1: your tail between your legs it was before the days
• 44:48
  Speaker 1: of cell phones whatever, or would you say, go talk
• 44:51
  Speaker 1: to this person.
• 44:52
  Speaker 2: Or yeah, it was hard to turn me away, right
• 44:55
  Speaker 2: even then no, I you know I would, but also
• 45:00
  Speaker 2: ego wise, I didn't want to be said no to either.
• 45:05
  Speaker 1: You know that was well, you just revealed a certain
• 45:09
  Speaker 1: vulnerability that it doesn't feel good. So how hard was
• 45:14
  Speaker 1: it to get your gumption up? Or you were from Brooklyn,
• 45:16
  Speaker 1: no one was going to stop you.
• 45:19
  Speaker 2: I kind of learned that.
• 45:22
  Speaker 1: So do you remember what year you start booking Neil?
• 45:27
  Speaker 2: I don't really.
• 45:28
  Speaker 4: Well, the reason is in the eighties, okay, the early
• 45:31
  Speaker 4: eighties he's had his comeback with you know, Russ Never sleeps,
• 45:38
  Speaker 4: and by the end of the eighties he is the
• 45:40
  Speaker 4: hero to the grunge people, the Pearl jam whatever.
• 45:43
  Speaker 1: But as the eighties begin, he's making these records for
• 45:46
  Speaker 1: geth In in all different styles trends. Yes, and Geffen
• 45:53
  Speaker 1: is ultimately sus him. Yeah, right, So how do you
• 45:57
  Speaker 1: book him? Then?
• 46:00
  Speaker 4: You know?
• 46:01
  Speaker 2: Now we didn't have email, but we had something because
• 46:07
  Speaker 2: he used to write me all the time. He was
• 46:09
  Speaker 2: called the Lonesome Cowboy on his handle or his address,
• 46:16
  Speaker 2: and he used to communicate with me. And I used
• 46:18
  Speaker 2: to have to book the Blue Notes Tour, the trans tour,
• 46:24
  Speaker 2: the Pink what was it, the Pink something? Oh, there
• 46:29
  Speaker 2: was a tour. I would have to book all those tours.
• 46:34
  Speaker 1: It didn't matter, Okay, but you know acts are out
• 46:38
  Speaker 1: of touch Bill Young and the Shocking Pinks.
• 46:42
  Speaker 2: Shocking Pinks, that was it.
• 46:43
  Speaker 1: I mean, famously, before you represented him, Neil had unbelievable
• 46:49
  Speaker 1: success with Harvest. He went out to Arena's with Crazy
• 46:53
  Speaker 1: Horse and played with the audience didn't want to hear.
• 46:57
  Speaker 1: So you know he's a legend. At this point. People
• 47:01
  Speaker 1: want to see legs whole different category. But this is
• 47:04
  Speaker 1: the eighties. You tell them, Neily, if you go out
• 47:07
  Speaker 1: and you play this stuff, the buildings can only be
• 47:10
  Speaker 1: so big and the tickets can only be so expensive.
• 47:14
  Speaker 2: No, I didn't have that kind of communication with him,
• 47:17
  Speaker 2: so I would have to rely on Elliott, and Elliott
• 47:20
  Speaker 2: wasn't telling him either.
• 47:24
  Speaker 1: Okay, so the rubber meets the road at some point,
• 47:28
  Speaker 1: did you just manage to pull it off? Or at
• 47:30
  Speaker 1: some point where you know ticket's unsold and someone's asking questions, Well.
• 47:35
  Speaker 2: I think you know, Neil is a Neil is a rebel,
• 47:40
  Speaker 2: and I think when he's told what you know, you
• 47:44
  Speaker 2: got to do this or you should do that, that
• 47:46
  Speaker 2: doesn't work. Neil's very smart and he gets it. He
• 47:52
  Speaker 2: totally gets it. But he enjoys his own music and
• 47:56
  Speaker 2: if he is writing new music, he wants to share
• 48:01
  Speaker 2: that with his audience and he wants them to be
• 48:08
  Speaker 2: they allowing him to share the music with it. And
• 48:14
  Speaker 2: he gets very upset when people yell out the songs
• 48:17
  Speaker 2: and requests. He gets really upset, just knock them straight off.
• 48:24
  Speaker 1: Well, there's two types of being upset. There's the type
• 48:28
  Speaker 1: where you react and say, I'll show you this other
• 48:32
  Speaker 1: act where it really hurts. Does he actually get wounded
• 48:36
  Speaker 1: by this?
• 48:40
  Speaker 2: No, I don't think so.
• 48:41
  Speaker 1: I don't think so either.
• 48:44
  Speaker 2: He's a very sensitive guy. I think very caring. I mean,
• 48:51
  Speaker 2: I just I don't know if you've heard the new
• 48:52
  Speaker 2: recag yet, but you probably haven't. I was fortunate enough
• 48:58
  Speaker 2: to hear it a few weeks ago at lou Adler's
• 49:02
  Speaker 2: and I expected it to be not what it was.
• 49:07
  Speaker 2: And it's all these beautiful, beautiful love songs.
• 49:14
  Speaker 1: Okay. In the eighties, Neil occasionally plays with Crosbie Stills
• 49:19
  Speaker 1: in Nash. Needless to say, the number of tickets they
• 49:23
  Speaker 1: can sell when Neil is there is much greater than
• 49:25
  Speaker 1: the number when he is not there. So how does
• 49:30
  Speaker 1: that work as an agent.
• 49:35
  Speaker 2: Well, I don't really these okay, yeah, but they don't
• 49:44
  Speaker 2: commit to just doing it because it's going to sell.
• 49:48
  Speaker 2: So when Neil was with C. S. N Y, that
• 49:53
  Speaker 2: was where he was at the time with his music,
• 49:56
  Speaker 2: and that didn't mean that that's how he was going
• 49:59
  Speaker 2: to con tinue. And then there was Crazy Horse who
• 50:02
  Speaker 2: he loved and loved playing with the Horse. So I
• 50:07
  Speaker 2: mean Neil, Neil had many chapters and it wasn't only
• 50:13
  Speaker 2: about where he got the big check from.
• 50:16
  Speaker 1: Well, I guess what I'm saying is when it's decided
• 50:19
  Speaker 1: the four of them are going to go out, who
• 50:22
  Speaker 1: does the booking? I did, and everybody just deferred to
• 50:27
  Speaker 1: Neil and you, yeah, oh.
• 50:30
  Speaker 2: Well Nil's the boss. Neil is the boss and any configuration.
• 50:36
  Speaker 1: Okay. And so you're representing Elliott's acts and does that
• 50:43
  Speaker 1: include because it's got Billy Gerber working for him.
• 50:45
  Speaker 2: And there's Antony Dimitriana.
• 50:47
  Speaker 1: Yeah, that's Tom Petty, it's Devo, it's heaven Sev.
• 50:51
  Speaker 2: I'll tell you a funny story about Tom Petty. The
• 50:55
  Speaker 2: original manager I believe was Redglock, and he asked me
• 51:00
  Speaker 2: to come see this band. I think it was over
• 51:02
  Speaker 2: a July fourth weekend and like two o'clock in the
• 51:05
  Speaker 2: afternoon at CBGB's and it was Tom Petty and the
• 51:09
  Speaker 2: Heartbreakers and the place was there was nobody there. It
• 51:14
  Speaker 2: smelled from horrible roach spray, and there was this band
• 51:19
  Speaker 2: and I didn't feel it and I really didn't and
• 51:25
  Speaker 2: I didn't take it.
• 51:29
  Speaker 1: Okay, But then they managed by Tony and they're part
• 51:33
  Speaker 1: of Elliot's organization. Are you involved? Then?
• 51:36
  Speaker 2: No, they were Premier talent.
• 51:38
  Speaker 1: Okay, so you represented?
• 51:40
  Speaker 2: Yes, I did, yes, and I did the cars okay.
• 51:44
  Speaker 1: Yes, had ups and downs.
• 51:47
  Speaker 2: You know, it was so down you have no idea, right, and.
• 51:53
  Speaker 1: Then Johnny Anderson came back and was an arena.
• 51:56
  Speaker 2: Tour again, but then it was and then did very right.
• 52:01
  Speaker 1: So as the agent, how do you decide where to
• 52:04
  Speaker 1: I mean, it's one thing in nine o two one, oh,
• 52:06
  Speaker 1: I think it was whatever was one thing at that's selling,
• 52:10
  Speaker 1: but John's out of that. How do you know how
• 52:12
  Speaker 1: big a than you to play and how much to charge?
• 52:15
  Speaker 2: Well, at that point management was making those decisions, okay.
• 52:23
  Speaker 1: And so if management calls you and you don't agree,
• 52:27
  Speaker 1: you're going to say.
• 52:28
  Speaker 2: What, Well, it's different what I would say in the
• 52:33
  Speaker 2: eighties and different what I would say today?
• 52:36
  Speaker 1: What would you say today?
• 52:38
  Speaker 2: I would say how I really felt, And I would
• 52:41
  Speaker 2: say it's career suicide putting an act in an arena
• 52:45
  Speaker 2: that doesn't belong in an arena. Okay, So, but I
• 52:50
  Speaker 2: wouldn't have said that in the eighties.
• 52:54
  Speaker 1: So you have Elliott's acts, what other acts do you get? Well?
• 53:00
  Speaker 2: Then I started working with all of the Stiff records, well,
• 53:06
  Speaker 2: Dave Robinson who was here in New York, and I
• 53:10
  Speaker 2: don't remember how I actually met him. My husband could
• 53:14
  Speaker 2: have been doing his office through Alan Fry. Alan Fry
• 53:20
  Speaker 2: was managing all of those acts. And I started representing
• 53:30
  Speaker 2: Elvis Costello, who I still represent, I in Jury, Reckless,
• 53:39
  Speaker 2: Eric Rock Partel, Nick Lowe. I had all of the
• 53:47
  Speaker 2: Stiff records, you know, punk rock bands. I loved it.
• 53:53
  Speaker 1: And did you get them at the beginning or they
• 53:56
  Speaker 1: were even talking.
• 53:58
  Speaker 2: At the beginning. I did Elvis costell first show ever
• 54:01
  Speaker 2: in the US.
• 54:01
  Speaker 1: Well, I remember seeing the first tour at the Whiskey
• 54:04
  Speaker 1: where he got in a fight with the people in
• 54:05
  Speaker 1: the audience.
• 54:07
  Speaker 2: He got in the fight with everybody in those days,
• 54:09
  Speaker 2: and the manager do too.
• 54:10
  Speaker 1: Right, Okay, you're the agent with the famous incident with
• 54:15
  Speaker 1: Delaney and Bonnie in the bar. What do you think
• 54:19
  Speaker 1: about that? And in retrospect what do you think of it?
• 54:24
  Speaker 2: I'm not clear on the question.
• 54:26
  Speaker 1: He made a racist remark Bonnie brom Bonnie Bramlett taunted him.
• 54:34
  Speaker 1: It wasn't completely unsolicited, but he said something completely off color. Well,
• 54:41
  Speaker 1: let me change the let me change the question. You've
• 54:45
  Speaker 1: been doing it long enough. These acts step in it
• 54:48
  Speaker 1: at where every once in a while. Yeah, and so
• 54:51
  Speaker 1: how do you deal with that?
• 54:54
  Speaker 2: Well, look, my feeling is you live and let live,
• 54:58
  Speaker 2: and I try not to get involved in political conversations
• 55:02
  Speaker 2: with my artists, religious conversations with my artists. And I'm
• 55:08
  Speaker 2: allowed to believe in what I believe in, and they're
• 55:11
  Speaker 2: allowed to believe in what they believe in. I just
• 55:14
  Speaker 2: I can't judge a person because of that.
• 55:19
  Speaker 1: Well, you know, there's the famous Billy Squire video where
• 55:22
  Speaker 1: he's in pink and then he couldn't sell another ticket
• 55:25
  Speaker 1: after that. Have you had any experiences like that where
• 55:29
  Speaker 1: somebody does something that really hurts their business.
• 55:35
  Speaker 2: Fortunately, I think it might have for a moment, but
• 55:38
  Speaker 2: they recovered. But certainly I've seen damage done and It's
• 55:47
  Speaker 2: funny you mentioned Billy Squire. That's when I represented def
• 55:51
  Speaker 2: Leppard and that was their first tour of the US
• 55:57
  Speaker 2: and their record just I mean number one, and we
• 56:02
  Speaker 2: were renegotiating their deal with on the Billy Squire tour.
• 56:06
  Speaker 2: Every single day they were blowing up like raising.
• 56:11
  Speaker 1: Okay, so the opening act, to what degree is the
• 56:14
  Speaker 1: agent involved in switching order on the bill?
• 56:20
  Speaker 2: Oh no, well, we weren't doing that. We were just
• 56:24
  Speaker 2: trying to get paid more.
• 56:26
  Speaker 1: Okay. So to what degree do you deal with the
• 56:29
  Speaker 1: acts as opposed to the managers.
• 56:32
  Speaker 2: In those days? Hardly at all. And as time goes
• 56:38
  Speaker 2: on and people start to trust and managers trust, then
• 56:44
  Speaker 2: you become very much more involved. And I fortunately have
• 56:49
  Speaker 2: personal relationships with almost all of my artists that I
• 56:54
  Speaker 2: really cherish, and I don't overstep the manager's role.
• 56:59
  Speaker 1: And if you ever had people try to poach your axe, oh.
• 57:04
  Speaker 2: Yeah, oh yeah, so, but I don't do that because
• 57:09
  Speaker 2: I if an act is going to leave and taking meetings,
• 57:13
  Speaker 2: I'll be the first to throw my hat and dring.
• 57:16
  Speaker 2: But I do not proach acts. I find it like
• 57:22
  Speaker 2: somebody who's worked so hard in an act. No, I
• 57:26
  Speaker 2: would never do that, but I know lots of people
• 57:28
  Speaker 2: that do.
• 57:29
  Speaker 1: So how about you must have you know, caught wind
• 57:33
  Speaker 1: that one of your acts is shopping. What do you do? Then?
• 57:36
  Speaker 2: I resign? I resign?
• 57:40
  Speaker 1: Do you ever resign? And they say, well, whoa wait
• 57:42
  Speaker 1: a minute, wait a minute, we were just you know,
• 57:44
  Speaker 1: testing the waters whatever.
• 57:46
  Speaker 2: Yeah, but then I said, you know, I think it's time.
• 57:51
  Speaker 1: Okay, So you're representing Elliott's acts, You're representing the stiff acts.
• 57:58
  Speaker 1: You're like totally hot at that point. And so do
• 58:02
  Speaker 1: you feel you're the perception of you in the business.
• 58:05
  Speaker 1: This is a power business, and so you will.
• 58:08
  Speaker 2: But I didn't know that then. I didn't know that then.
• 58:12
  Speaker 2: I seriously didn't realize that.
• 58:15
  Speaker 1: Okay, so what were the next steps for you?
• 58:19
  Speaker 2: Well, then I I'm an agent at ATI and I
• 58:24
  Speaker 2: have a big fight with Wally. Myoits and he fires me.
• 58:31
  Speaker 1: And just to be clear, is this one of these
• 58:35
  Speaker 1: things you go in the office and all of a
• 58:37
  Speaker 1: sudden it becomes a conflagration. Where had this been building?
• 58:42
  Speaker 2: No? No, it wasn't building at all, because I was
• 58:44
  Speaker 2: best friends with his wife. No. No, it was a
• 58:49
  Speaker 2: confrontation about going to cover a show that I had
• 58:54
  Speaker 2: wanted to cover and he wouldn't let me. And then
• 58:57
  Speaker 2: now he was assigning me to go to a for
• 59:00
  Speaker 2: an act and a different place where it really wasn't
• 59:02
  Speaker 2: as important as the one he refused to let me
• 59:05
  Speaker 2: go to. So it became a bit of a tiff
• 59:09
  Speaker 2: and he told me I was fired.
• 59:11
  Speaker 1: Do you think he realized that he was firing you
• 59:14
  Speaker 1: or it was just the heat of the moment.
• 59:17
  Speaker 2: No, because everybody was pretty drugged at the time, so no,
• 59:20
  Speaker 2: he didn't. But I don't remember how Tom Ross got
• 59:25
  Speaker 2: in touch with me. He had just gone to ICM
• 59:33
  Speaker 2: or he was at ICM, I don't remember, and West
• 59:37
  Speaker 2: Coast and he called me and I interviewed and they
• 59:44
  Speaker 2: hired me, which was unheard of because that was really
• 59:47
  Speaker 2: a men's club there at the time.
• 59:50
  Speaker 1: Was it such a big step.
• 59:54
  Speaker 2: Because they didn't have any women at all, So it
• 59:58
  Speaker 2: was a big step and I was very hot and
• 1:00:02
  Speaker 2: all my acts went with me and I was there
• 1:00:12
  Speaker 2: for I think five years.
• 1:00:14
  Speaker 1: Okay, so when everything calmed down at your old place
• 1:00:18
  Speaker 1: and they say, well, well wait a minute, wait a minute,
• 1:00:20
  Speaker 1: you shouldn't go.
• 1:00:23
  Speaker 2: Yeah, this happened. I went back, though. Actually I was
• 1:00:26
  Speaker 2: there for three years. I was there for one contract
• 1:00:30
  Speaker 2: and then I went back. At that point, Wally was gone.
• 1:00:33
  Speaker 2: He went to William Morris and Bill Elson took over
• 1:00:39
  Speaker 2: and I was named vice president.
• 1:00:50
  Speaker 1: So how was it different working at ICM?
• 1:00:55
  Speaker 2: It was not in it. It wasn't a good experience
• 1:00:58
  Speaker 2: for me because, yes, the culture was different, you know,
• 1:01:04
  Speaker 2: I really it wasn't a good experience at all. I
• 1:01:10
  Speaker 2: lived out my three year contract and Tom was gone
• 1:01:15
  Speaker 2: and he was a real ally of mine, and the
• 1:01:19
  Speaker 2: people that were there really didn't want me there.
• 1:01:22
  Speaker 1: To what degree have you encountered sexism in your career.
• 1:01:30
  Speaker 2: I've kept that very private.
• 1:01:33
  Speaker 1: Well, without talking about specific experiences, can you say how
• 1:01:37
  Speaker 1: much of a factory it is.
• 1:01:41
  Speaker 2: Well, again, it's just like if I walked in and
• 1:01:46
  Speaker 2: I was wearing an outfit and one of the guys said, wow,
• 1:01:49
  Speaker 2: you are really hot today, I wouldn't have been offended
• 1:01:55
  Speaker 2: to me. I wouldn't have thought that was sexist. It
• 1:02:01
  Speaker 2: just you know, it's different times.
• 1:02:05
  Speaker 1: Well, it's different times in terms of what you can say,
• 1:02:08
  Speaker 1: but it's also there's another avenue where someone says you're
• 1:02:13
  Speaker 1: a woman, I'm giving the job to a guide, or
• 1:02:15
  Speaker 1: you're a woman, you don't know what you're talking about.
• 1:02:19
  Speaker 2: No, no, no, I did not. I was fortunate enough
• 1:02:23
  Speaker 2: not to have that.
• 1:02:25
  Speaker 1: So now you're working for bill Elson in this interim,
• 1:02:28
  Speaker 1: are you going out signing new acts or people coming
• 1:02:32
  Speaker 1: to you? How does it work?
• 1:02:34
  Speaker 2: I was representing Stix Rush.
• 1:02:38
  Speaker 3: My roster was pretty amazing, Okay, but how did you
• 1:02:43
  Speaker 3: get Stixon Rush?
• 1:02:52
  Speaker 2: Each one came from a different Like I remember Rush.
• 1:02:57
  Speaker 2: There was this agent, Jimmy Opner, who died and he
• 1:03:01
  Speaker 2: was very close with the manager at the time, and
• 1:03:03
  Speaker 2: I think that's how Rush came and sticks. I don't remember.
• 1:03:11
  Speaker 1: And Q Prime is now the manager for the new
• 1:03:14
  Speaker 1: Rush tour. Who's booking the new Rush tour? Dennis Dennis? Okay,
• 1:03:20
  Speaker 1: I know from the Rush camp, but from your perspective,
• 1:03:24
  Speaker 1: although I should ask, Dennis's supposed to you? You know,
• 1:03:27
  Speaker 1: the demand was through the roof. Did you foresee that?
• 1:03:32
  Speaker 2: I think they did.
• 1:03:33
  Speaker 3: You know.
• 1:03:33
  Speaker 2: I think there was such a need for that band.
• 1:03:36
  Speaker 2: They hadn't reached their potential, and you know, I think
• 1:03:44
  Speaker 2: I think everybody kind of felt it was there.
• 1:03:48
  Speaker 1: Okay, So now you're working for Bill Elson, what's the
• 1:03:51
  Speaker 1: next step.
• 1:03:57
  Speaker 2: I think I stayed there a long time and then
• 1:04:03
  Speaker 2: I went to William Morris, And how was that?
• 1:04:09
  Speaker 1: I was ver.
• 1:04:11
  Speaker 2: At the time Peter gross Light let him rest in peace.
• 1:04:17
  Speaker 2: He ran the department and it was really dysfunctional, and
• 1:04:22
  Speaker 2: every two minutes he had me. I didn't realize when
• 1:04:24
  Speaker 2: I agreed to go to William Morris that I was
• 1:04:28
  Speaker 2: the satellite office in New York.
• 1:04:31
  Speaker 3: I don't know.
• 1:04:31
  Speaker 2: I didn't do it on me. And they were all
• 1:04:35
  Speaker 2: in LA. So every two minutes I was finding out
• 1:04:37
  Speaker 2: to LA because there was this situation or that situation
• 1:04:41
  Speaker 2: or all sorts of.
• 1:04:42
  Speaker 1: Stuff going on, and from William Morris.
• 1:04:47
  Speaker 2: From William Morris, I did mvoh my very own.
• 1:04:51
  Speaker 1: Okay, I can understand why you would want to do
• 1:04:54
  Speaker 1: your own. How was the experience of doing your own?
• 1:04:58
  Speaker 2: Well, I was afraid to do it my own because
• 1:05:01
  Speaker 2: I just didn't know what to do. I didn't know
• 1:05:02
  Speaker 2: how to go rent an offer, not that I didn't
• 1:05:05
  Speaker 2: know how, I didn't have it experience sold to do it.
• 1:05:10
  Speaker 2: You know, the thought of choosing a Xerox machine made
• 1:05:13
  Speaker 2: me sick. But it was actually Ron Stone at Gold
• 1:05:20
  Speaker 2: Mountain who said to me, with Johnsover, we have an
• 1:05:25
  Speaker 2: office on forty fourth Street. You could rent one of
• 1:05:29
  Speaker 2: the offices and start from there, you know, do it
• 1:05:33
  Speaker 2: from there. And I did. And how many they gave me?
• 1:05:37
  Speaker 1: How many people were in the office for you?
• 1:05:40
  Speaker 2: Oh, for me, just one person. And I did all
• 1:05:44
  Speaker 2: the booking on my own. I just needed somebody to
• 1:05:49
  Speaker 2: do the paperwork.
• 1:05:51
  Speaker 1: Okay, But that sounds like a lot of work. Do
• 1:05:54
  Speaker 1: you have a lot of clients? You know?
• 1:05:57
  Speaker 2: People say to me, how many clients do you have?
• 1:05:59
  Speaker 2: Do you know? I never counted them. I've never counted
• 1:06:03
  Speaker 2: my clients. And people don't all work at the same time.
• 1:06:07
  Speaker 2: I had no problem booking. I like booking okay today.
• 1:06:15
  Speaker 1: And then you're running your own organization. How do you
• 1:06:18
  Speaker 1: move on from there?
• 1:06:20
  Speaker 2: I was lonely and I had moved out of forty
• 1:06:25
  Speaker 2: fourth Street. I got my own office and it was
• 1:06:30
  Speaker 2: just me and an assistant, and I had an accounting
• 1:06:36
  Speaker 2: company that did all the accounting. But I kind of
• 1:06:41
  Speaker 2: felt lonely, and I two agents approached me and wanted
• 1:06:48
  Speaker 2: to do a joint deal, and I agreed to do it,
• 1:06:54
  Speaker 2: and whatever happened, they kind of left me at the altar,
• 1:07:01
  Speaker 2: and all the time ICM was after me again to
• 1:07:06
  Speaker 2: come back, because now the whole music department had changed,
• 1:07:12
  Speaker 2: and I finally agreed to go back to ICM.
• 1:07:18
  Speaker 1: Okay, everything changed, but it really didn't right.
• 1:07:23
  Speaker 2: Well, what happened was the whole concept was like I
• 1:07:26
  Speaker 2: could really build a department, but at that point they
• 1:07:29
  Speaker 2: had just brought out their investors, so it wasn't like
• 1:07:33
  Speaker 2: I could really just build into department. So it was
• 1:07:37
  Speaker 2: me and my roster at ICM.
• 1:07:42
  Speaker 1: And how long were you there?
• 1:07:45
  Speaker 2: Five years?
• 1:07:47
  Speaker 1: And then what.
• 1:07:50
  Speaker 2: I came here. Dennis had been chasing me for a
• 1:07:54
  Speaker 2: long time, and I just felt that we kind of
• 1:08:03
  Speaker 2: worked the same way we worked twenty four to seven,
• 1:08:07
  Speaker 2: and we don't need to be really accountable to anybody.
• 1:08:12
  Speaker 2: I didn't have to show up, I didn't have to
• 1:08:16
  Speaker 2: I could go cover whatever I needed to cover. It
• 1:08:20
  Speaker 2: just seemed to be a betefit.
• 1:08:25
  Speaker 1: And to what degree does Berkele have a hand in it?
• 1:08:32
  Speaker 2: Really not. He's always you know, he's very friendly, and
• 1:08:39
  Speaker 2: he's reachable and if I needed him, I could text
• 1:08:43
  Speaker 2: him and he'd be there in a minute. But he's
• 1:08:47
  Speaker 2: not involved in any of our day to day stuff
• 1:08:50
  Speaker 2: or so weird anything like that.
• 1:08:53
  Speaker 1: We're in this story to meet your husband.
• 1:08:57
  Speaker 2: Oh that was at Ati.
• 1:09:01
  Speaker 1: So how do you meet him?
• 1:09:02
  Speaker 2: I've been married a very long time.
• 1:09:05
  Speaker 1: How'd you meet him?
• 1:09:07
  Speaker 2: I actually met him. It's a funny story. I met
• 1:09:10
  Speaker 2: him in a plant store in New York. I had
• 1:09:13
  Speaker 2: just moved into my own studio apartment, and I had
• 1:09:19
  Speaker 2: broken up a relationship that I had lived with a person.
• 1:09:24
  Speaker 2: And I was actually on my way to a deep
• 1:09:26
  Speaker 2: purple concert at Nassau Coliseene and I stopped in this
• 1:09:31
  Speaker 2: plant store to get some plants for my apartment, and
• 1:09:35
  Speaker 2: he was visiting his friend who owned the plant store.
• 1:09:39
  Speaker 1: So what happened? Where was the clique?
• 1:09:42
  Speaker 2: The clique was? He offered to take the plants back
• 1:09:45
  Speaker 2: to my apartment, but he was very much taller than me,
• 1:09:50
  Speaker 2: and he had this very thick accent, and I didn't
• 1:09:55
  Speaker 2: even know where the country was, and I look at
• 1:09:57
  Speaker 2: him at where he was from. And he brought the
• 1:10:02
  Speaker 2: plants back to the apartment. But then I went on
• 1:10:04
  Speaker 2: to the purple concert, and then he started calling and
• 1:10:09
  Speaker 2: we started seeing each other, and one thing led to
• 1:10:13
  Speaker 2: another two children later.
• 1:10:16
  Speaker 1: And so what does he do all day when you're
• 1:10:18
  Speaker 1: being an agent?
• 1:10:21
  Speaker 2: He's a contractor. He's a contractor, designer, contractor.
• 1:10:26
  Speaker 1: And how many kids you have.
• 1:10:29
  Speaker 2: I have two sons and two grandchildren.
• 1:10:34
  Speaker 1: So what do the sons do?
• 1:10:36
  Speaker 2: My son Matthew ran Bravado merch company for Universal to
• 1:10:43
  Speaker 2: a pandemic. He really was the major part of changing
• 1:10:50
  Speaker 2: black rock and roll t shirts to fashion, was very
• 1:10:55
  Speaker 2: instrumental in growing that whole world of fashion. And my
• 1:11:01
  Speaker 2: son Franco onto restaurant to pandemic and now is probably
• 1:11:09
  Speaker 2: reopening a restaurant and doing other stuff.
• 1:11:12
  Speaker 1: Restaurants, that's a very difficult business.
• 1:11:17
  Speaker 2: You are horrible.
• 1:11:18
  Speaker 1: So you helped them out with a restaurant.
• 1:11:21
  Speaker 2: No where do you get there?
• 1:11:24
  Speaker 1: Do you get the money? Where do you get the
• 1:11:25
  Speaker 1: money for the restaurant?
• 1:11:27
  Speaker 2: They raised money, they have investors. No, no, I no,
• 1:11:31
  Speaker 2: I would not invest in the restaurant. I'll invest in
• 1:11:34
  Speaker 2: my son, but not the restaurant.
• 1:11:35
  Speaker 1: So what was it like balancing family life with your
• 1:11:41
  Speaker 1: work when your kids were still in the house.
• 1:11:43
  Speaker 2: Very difficult, I must say. I look at girls now
• 1:11:50
  Speaker 2: that are having children and working, and they don't they
• 1:11:54
  Speaker 2: have no idea how easy they have it in terms
• 1:11:56
  Speaker 2: of the lack of structure. Sure that our business has
• 1:12:02
  Speaker 2: these days, you know, since pandemic especially, but and the
• 1:12:09
  Speaker 2: maternity leave. I mean I never had the maternity leave
• 1:12:12
  Speaker 2: that by law you get now. It was very difficult
• 1:12:17
  Speaker 2: because I didn't have family that could help me take
• 1:12:20
  Speaker 2: care of my children, and so it was always hiring
• 1:12:24
  Speaker 2: somebody and then they wouldn't show up. They did show up,
• 1:12:27
  Speaker 2: and they had attitude, and I was afraid to leave him,
• 1:12:29
  Speaker 2: and my husband was busy, and it was a juggle.
• 1:12:33
  Speaker 2: Then I moved to New Jersey because we needed more space,
• 1:12:38
  Speaker 2: and that was a nightmare because the George Washington Bridge
• 1:12:42
  Speaker 2: was like going to Siberia. I couldn't get the day
• 1:12:47
  Speaker 2: help and the night help, it was like. And shows
• 1:12:51
  Speaker 2: were so much later that I mean, you would have
• 1:12:54
  Speaker 2: to go to a show with the Riots at midday
• 1:12:57
  Speaker 2: one o'clock and then get kids up from school in
• 1:13:00
  Speaker 2: the morning. And it was hard trying to go to
• 1:13:04
  Speaker 2: you know, the soccer game, the lacrosse game, football game,
• 1:13:08
  Speaker 2: and be a parent because that's what I wanted.
• 1:13:13
  Speaker 1: So did you stay in New Jersey while your kids
• 1:13:15
  Speaker 1: were still home?
• 1:13:15
  Speaker 2: No? I lasted a year and three months.
• 1:13:18
  Speaker 1: And moving back to where the city Witchborough.
• 1:13:25
  Speaker 2: New York, Manhattan, Manhattan.
• 1:13:27
  Speaker 1: But you were a Brooklyn girl originally. Once you get
• 1:13:29
  Speaker 1: out of Brooklyn region.
• 1:13:31
  Speaker 2: I was never going back, but now everybody goes to.
• 1:13:34
  Speaker 1: Yeah, isn't that sort of amazing having seen the transformation?
• 1:13:38
  Speaker 2: Well, what growing up in like the slums is now
• 1:13:42
  Speaker 2: like beautiful considered high end areas.
• 1:13:48
  Speaker 1: So at this point in time, if someone came along
• 1:13:53
  Speaker 1: with a new act, would you sign them? As absolutely?
• 1:13:59
  Speaker 1: How often you're not out combing for new acts? I
• 1:14:02
  Speaker 1: wouldn't think.
• 1:14:03
  Speaker 2: If somebody asked me to go see somebody, I would go.
• 1:14:08
  Speaker 2: If somebody wanted me to take a meeting with somebody,
• 1:14:11
  Speaker 2: I would go.
• 1:14:12
  Speaker 1: And when was the last time you signed a new act?
• 1:14:18
  Speaker 2: Well, I guess that's a good question. Well, I guess
• 1:14:24
  Speaker 2: Nola Gallagher was one of my latest when John Titmar
• 1:14:30
  Speaker 2: was retiring, I had I had known Marcus Russell and
• 1:14:39
  Speaker 2: got in touch with him right away. New no I signed.
• 1:14:44
  Speaker 2: I just took on this girl Kiki through Jordan Shure,
• 1:14:52
  Speaker 2: who used to run many labels. I have people on
• 1:14:58
  Speaker 2: my team that could book, but I oversee everything.
• 1:15:05
  Speaker 1: You said you'd like to book. Tell me more about that.
• 1:15:08
  Speaker 1: I don't tell me more about that.
• 1:15:09
  Speaker 2: I find the challenge. Actually, you know who taught me
• 1:15:12
  Speaker 2: how to route a tour was basically Malcolm Young from
• 1:15:17
  Speaker 2: ACDCENT because when I them, I would have to sit
• 1:15:21
  Speaker 2: and talk to and show the routing and talk about
• 1:15:24
  Speaker 2: the routing the tour. And there was no way that
• 1:15:29
  Speaker 2: you could con vince Malcolm to go from Philadelphia to
• 1:15:33
  Speaker 2: Boston to New York. You always had to go in
• 1:15:37
  Speaker 2: the straight line. You could not go back down the
• 1:15:41
  Speaker 2: same highway.
• 1:15:43
  Speaker 1: The highway to hell. Why do you think that was exactly?
• 1:15:46
  Speaker 2: I don't know. He was like obsessed with that, and
• 1:15:53
  Speaker 2: it didn't matter about availability, it didn't matter that, nothing mattered.
• 1:15:58
  Speaker 2: It had to be straight line.
• 1:16:02
  Speaker 1: So let's assume I'm an act today and I want
• 1:16:06
  Speaker 1: to go on the road. How far in advance you
• 1:16:08
  Speaker 1: start planning?
• 1:16:12
  Speaker 2: I mean you should like right now, I'm booking Cage
• 1:16:15
  Speaker 2: the Elephant for April of twenty twenty seven. But that's
• 1:16:20
  Speaker 2: not every act. You know, the Strokes we just finished
• 1:16:24
  Speaker 2: routing very close because we never knew day to day
• 1:16:27
  Speaker 2: when the music was coming, so we kept you know,
• 1:16:31
  Speaker 2: it really depends. It's lovely to have the lead time.
• 1:16:36
  Speaker 2: Elvis Costello, I book ahead of time. I usually have
• 1:16:40
  Speaker 2: an idea of what he wants to do. You know,
• 1:16:43
  Speaker 2: every act is kind of different.
• 1:16:46
  Speaker 1: And how about building availability?
• 1:16:50
  Speaker 2: It's tough and the hardest part is, you know, seeing
• 1:16:53
  Speaker 2: a building and on the date it says nine holes
• 1:17:00
  Speaker 2: and okay, So don't give me a calendar like that.
• 1:17:04
  Speaker 2: Tell me what's clearable before you give it to me.
• 1:17:07
  Speaker 2: I won't take calendars like that.
• 1:17:10
  Speaker 1: So let's say the nuts and bolts. Give us the
• 1:17:13
  Speaker 1: nuts and bolts of the booking a tour. Someone says
• 1:17:16
  Speaker 1: they want to work, let's just say, for the sake
• 1:17:18
  Speaker 1: of discussion, their arenas. What's your next step?
• 1:17:21
  Speaker 2: I go to New York and LA first, and those
• 1:17:24
  Speaker 2: are my anchors. And based on those availabilities is how
• 1:17:30
  Speaker 2: I build a tour?
• 1:17:32
  Speaker 1: And to what degree? In both those markets there are
• 1:17:37
  Speaker 1: multiple buildings, I mean Madison Square gardens of status. Play
• 1:17:40
  Speaker 1: you can't make as much money, but you can play
• 1:17:42
  Speaker 1: in Brooklyn, you can play on the Island. In LA
• 1:17:46
  Speaker 1: you can play Staples, you can play the Forum, you
• 1:17:48
  Speaker 1: can play the new building. How do you decide where
• 1:17:51
  Speaker 1: to go?
• 1:17:53
  Speaker 2: So all about the act, you know it's where the
• 1:17:56
  Speaker 2: act belongs.
• 1:17:58
  Speaker 1: Well, let's talk about New York City. Where there's the Island,
• 1:18:01
  Speaker 1: there's Brooklyn, and there's Manhattan. Where would it act belong.
• 1:18:06
  Speaker 2: Well, you have a problem in New York because, especially
• 1:18:09
  Speaker 2: with rock music, there's no radio. I mean you in
• 1:18:14
  Speaker 2: La have k Roc still in CACRW and all that stuff.
• 1:18:18
  Speaker 2: We have no radio and it's really a problem. So
• 1:18:24
  Speaker 2: you know, if an act hasn't one hundred broken and
• 1:18:28
  Speaker 2: they still want to grow into an arena, it's really
• 1:18:31
  Speaker 2: hard to get them there successfully. So you just got
• 1:18:36
  Speaker 2: to really I mean like unless they've totally broken, you
• 1:18:40
  Speaker 2: wouldn't go to the suburbs.
• 1:18:44
  Speaker 1: And what will make them bigger if radio is not
• 1:18:48
  Speaker 1: a factor.
• 1:18:51
  Speaker 2: You know, I hate to use the word streaming. Some
• 1:18:55
  Speaker 2: of those streaming numbers matter, some of them don't. Socials,
• 1:19:04
  Speaker 2: prior shows, promotion, marketing.
• 1:19:19
  Speaker 1: In the old days before YouTube, you would see a
• 1:19:23
  Speaker 1: show and you tell all your friends you got to
• 1:19:25
  Speaker 1: see this act and you would bring them back. Whereas
• 1:19:29
  Speaker 1: now there's nothing fresh one hundred percent. So it's what degree.
• 1:19:34
  Speaker 1: Is delivering on stage a factor in growing your business?
• 1:19:37
  Speaker 1: I mean you always want to be good.
• 1:19:41
  Speaker 2: Well, for me, the live show was always the most important.
• 1:19:46
  Speaker 2: People would tell me, you know, go see this band tonight, please,
• 1:19:50
  Speaker 2: You're not gonna believe it. It's a clash meet Siggy pomp.
• 1:19:54
  Speaker 2: It's you got You're gonna love it. So I would
• 1:19:58
  Speaker 2: go and the band Kids takes the stage, and I'm
• 1:20:02
  Speaker 2: watching this band and I'm like checking my phone to
• 1:20:05
  Speaker 2: see am I in the right place? Because it was nothing,
• 1:20:09
  Speaker 2: but was you know, described to me the live show.
• 1:20:13
  Speaker 2: I am not an A and R agent. For me,
• 1:20:18
  Speaker 2: it's about what the live show was about, or what
• 1:20:23
  Speaker 2: the voice is about. And for me, it's instinct and
• 1:20:31
  Speaker 2: the live show, to me, is the most important thing.
• 1:20:34
  Speaker 2: To what degree your people trustworthy? People are telling me
• 1:20:37
  Speaker 2: it's the latest and greatest my inbox all day long,
• 1:20:41
  Speaker 2: and either they're full of shit where they're selling what
• 1:20:44
  Speaker 2: they have, they're both.
• 1:20:49
  Speaker 1: And do you have certain people that you trust or
• 1:20:52
  Speaker 1: you just find this is the nature of the business.
• 1:20:55
  Speaker 2: Well, for me, it's about who the team is. Yeah,
• 1:20:59
  Speaker 2: and there are people I trust, and there's teams I
• 1:21:02
  Speaker 2: want to work with. I don't want to work with
• 1:21:06
  Speaker 2: people that point the finger out. We need the tour.
• 1:21:08
  Speaker 2: You got to deliver the tour. Well, what are you
• 1:21:10
  Speaker 2: delivering in order for me to get the tour? You know,
• 1:21:14
  Speaker 2: it's it's not a one sided thing. It's a puzzle
• 1:21:17
  Speaker 2: that has to be put together. The pieces have to fit.
• 1:21:22
  Speaker 2: You know this thing we got to get on the road.
• 1:21:24
  Speaker 2: We got Why why do you have to get on
• 1:21:26
  Speaker 2: the road to play to who? I say? I could
• 1:21:28
  Speaker 2: book any show in any market. All I gotta do
• 1:21:32
  Speaker 2: is pick up the part. I can't book the audience.
• 1:21:37
  Speaker 2: So if you go out there and you work, and
• 1:21:39
  Speaker 2: you play to ten people at nine, what a waste
• 1:21:42
  Speaker 2: of money?
• 1:21:46
  Speaker 1: So once again, how do you decide the right time
• 1:21:50
  Speaker 1: and the right building.
• 1:21:54
  Speaker 2: It's really not rocket science. It's I don't know how
• 1:22:01
  Speaker 2: to describe it to you. I mean, it's a progression
• 1:22:04
  Speaker 2: from selling out ballrooms? What sized ballrooms? Festivals? Festivals are
• 1:22:11
  Speaker 2: so important. The perception of the XT name on that
• 1:22:15
  Speaker 2: festival is like a magnet to other promoters, and so
• 1:22:22
  Speaker 2: that builds an act. I don't know. You just take
• 1:22:28
  Speaker 2: a look. I cag the elephant. Where are we going
• 1:22:30
  Speaker 2: to play in New York? So I have an idea.
• 1:22:34
  Speaker 2: Where am I going to play here? It's really per market.
• 1:22:38
  Speaker 1: So let's just go back to your paradigm. If you
• 1:22:40
  Speaker 1: start New York in LA let's assume you've locked those
• 1:22:43
  Speaker 1: two dates in. Where do you go from there?
• 1:22:47
  Speaker 2: Well, then you're wrap. Then you figure out where what
• 1:22:50
  Speaker 2: are the markets? Well, you used to look at a
• 1:22:53
  Speaker 2: SoundScan to look at it, you know, to see what
• 1:22:56
  Speaker 2: your sells in the market are. That doesn't exist anymore.
• 1:23:02
  Speaker 2: The streaming, it's so hard to There are acts that
• 1:23:07
  Speaker 2: are streaming the craziest numbers and are selling tickets, or
• 1:23:12
  Speaker 2: there's acts that are streaming the craziest numbers and they're
• 1:23:15
  Speaker 2: not selling tickets. And is it a one song thing?
• 1:23:18
  Speaker 2: Is it a whole record? Is a career And it's
• 1:23:22
  Speaker 2: just you have to pick the markets and look at
• 1:23:27
  Speaker 2: where they've had the best exposure, like an act that
• 1:23:31
  Speaker 2: played Lollapoos or in Chicago, how well did they do
• 1:23:34
  Speaker 2: in Chicago? What was the fan reaction? I mean a
• 1:23:39
  Speaker 2: lot goes into deciding where to play.
• 1:23:43
  Speaker 1: So how about Spotify? They slice and dice their data,
• 1:23:49
  Speaker 1: so you know, we could talk about assuming you can
• 1:23:51
  Speaker 1: sell tickets, but you might say they're big in Saint Louis,
• 1:23:55
  Speaker 1: they're bad in Phoenix. Does Spotify help you or you're not?
• 1:23:59
  Speaker 1: Don't even bother?
• 1:24:01
  Speaker 2: Well, No, the information that you get from Spotify you
• 1:24:04
  Speaker 2: have to use. Whether it's really helpful in terms of
• 1:24:08
  Speaker 2: ticket sales and how it can be is questionable, And
• 1:24:16
  Speaker 2: you know, you talk to the promoters locally and see
• 1:24:19
  Speaker 2: what's happening with them in local radio.
• 1:24:24
  Speaker 1: So let's say Cage the Elephant you mentioned, how do
• 1:24:27
  Speaker 1: you decide what to charge for Cage the Elephant.
• 1:24:33
  Speaker 2: We have a big discussion between management promoters what the
• 1:24:38
  Speaker 2: scaling should be, making sure you have a good amount
• 1:24:43
  Speaker 2: of tickets that every price point somebody could afford. Because
• 1:24:48
  Speaker 2: you want to appeal to a younger audience.
• 1:24:54
  Speaker 1: And to what degree do you negotiate fees a lot
• 1:25:00
  Speaker 1: and what you're what's your experience there?
• 1:25:04
  Speaker 2: Well, it depends on who the promoter is whether you
• 1:25:07
  Speaker 2: get resistance, and sometimes they use the wrong comparisons what
• 1:25:14
  Speaker 2: this act charges versus what your acts should charge, and
• 1:25:19
  Speaker 2: you know, depending on the demographic. You don't want to
• 1:25:21
  Speaker 2: outprice yourself. You don't want to be sitting there flexing
• 1:25:24
  Speaker 2: these tickets because you can't sell them.
• 1:25:29
  Speaker 1: So, you know, rock used to drive the market. It's
• 1:25:34
  Speaker 1: sort of a step sister now, but some acts with
• 1:25:37
  Speaker 1: bad streaming numbers, no radio players selling a shit ton
• 1:25:40
  Speaker 1: of tickets. What's the status of rock in the marketplace.
• 1:25:44
  Speaker 2: I'm hoping it's coming back. I mean, Boom has it.
• 1:25:49
  Speaker 2: It's you know, starting to do well again, the Strokes
• 1:25:54
  Speaker 2: are doing great. I think that's a great example.
• 1:25:58
  Speaker 1: The stroke has been around for twenty ideas.
• 1:26:02
  Speaker 2: Yeah, but they've had a lot of cold times.
• 1:26:05
  Speaker 1: Well, how about in terms of new acts developing acts?
• 1:26:08
  Speaker 2: Rock well, I think you have a lot of them.
• 1:26:11
  Speaker 2: You have. I mean I'm working on a list of
• 1:26:15
  Speaker 2: possible support bands or packaging ideas. I mean, you've got
• 1:26:19
  Speaker 2: that Joe that's really doing well.
• 1:26:22
  Speaker 1: You have.
• 1:26:25
  Speaker 2: Geese Somber. I think all of them fit into that
• 1:26:35
  Speaker 2: vein and they're doing well.
• 1:26:39
  Speaker 1: So how much long are you going to do this
• 1:26:42
  Speaker 1: till you drop? Or do you see a side?
• 1:26:44
  Speaker 2: Don't you? No? No, I have no reason to stop working.
• 1:26:48
  Speaker 2: I have time to do everything. What would I do?
• 1:26:51
  Speaker 2: Wake up in the morning and say what would I do?
• 1:26:54
  Speaker 2: I would not. I enjoy working.
• 1:26:56
  Speaker 1: And what about going on the road. What you're feeling
• 1:26:59
  Speaker 1: about that now?
• 1:27:00
  Speaker 2: I don't mind doing that. All my friends say to me,
• 1:27:03
  Speaker 2: I don't know how you do it. My only problem
• 1:27:06
  Speaker 2: is packing. I hate packing. I wish I could hire
• 1:27:10
  Speaker 2: somebody to pack for me and to carry me, you know,
• 1:27:13
  Speaker 2: to put my suitcase up. But I don't really see
• 1:27:18
  Speaker 2: a reason to stop working.
• 1:27:21
  Speaker 1: And to what degree do you travel personally on vacation.
• 1:27:28
  Speaker 2: I combine a lot of stuff with work, which I
• 1:27:31
  Speaker 2: don't have a problem with my family doing. We do
• 1:27:36
  Speaker 2: visit my husband's country once a year. I'm not one
• 1:27:45
  Speaker 2: for spas. I don't enjoy going to spas. I love
• 1:27:50
  Speaker 2: traveling in Europe and I don't feel deprived. Besides, I
• 1:28:00
  Speaker 2: could be anywhere. Nobody has to know where I am.
• 1:28:03
  Speaker 1: Oh yeah, I love that. My own life Okay, used
• 1:28:08
  Speaker 1: to be a ten percent business. Now it's all negotiable.
• 1:28:12
  Speaker 1: What are your feelings about that?
• 1:28:15
  Speaker 2: The first thing I say is I don't give a
• 1:28:17
  Speaker 2: reduced service. I do. I fight really hard for it
• 1:28:24
  Speaker 2: when we think it sucks.
• 1:28:26
  Speaker 1: When will you give reduction.
• 1:28:29
  Speaker 2: When I don't have a fucking choice. I'm not going
• 1:28:34
  Speaker 2: to lose an act over it, so you'll.
• 1:28:37
  Speaker 1: Give a reduction to make sure you don't lose an act.
• 1:28:42
  Speaker 2: It's not as black and white as that. Okay, No,
• 1:28:45
  Speaker 2: it really isn't. You know if an act is earning
• 1:28:49
  Speaker 2: big time and working, and it's a fair ask. But
• 1:28:58
  Speaker 2: I would not on an act that isn't a major act.
• 1:29:03
  Speaker 1: And what's you're feeling on tour deals?
• 1:29:08
  Speaker 2: If you can't find them? Join them.
• 1:29:13
  Speaker 1: I mean in your world, have you seen that more
• 1:29:18
  Speaker 1: and more tour deals are being part of the equation?
• 1:29:21
  Speaker 2: Yeah?
• 1:29:23
  Speaker 1: And to what degree is you, as an agent been
• 1:29:26
  Speaker 1: involved in a tour deal?
• 1:29:28
  Speaker 2: On all my acts, I will not allow the tour
• 1:29:31
  Speaker 2: to be booked by anybody or routed by anybody except
• 1:29:38
  Speaker 2: for myself. So that's even with a tour deal.
• 1:29:43
  Speaker 1: Okay. And how often does someone come in and say,
• 1:29:45
  Speaker 1: I want to go on tour. When we're done, I
• 1:29:49
  Speaker 1: need to walk away with X figure it out.
• 1:29:53
  Speaker 2: I think maybe they talk to a manager like that
• 1:29:55
  Speaker 2: to an agent, and you.
• 1:30:00
  Speaker 1: Talk about you're not a spa person. What are some
• 1:30:02
  Speaker 1: of the personal luxuries that you have with the success
• 1:30:06
  Speaker 1: you've had. How do you spend your money?
• 1:30:12
  Speaker 2: Shopping? I like shopping a lot. Yeah, No, I don't
• 1:30:18
  Speaker 2: want to spend I have no patience for spats. But
• 1:30:21
  Speaker 2: I love traveling, and I like traveling first class and
• 1:30:24
  Speaker 2: you know, stay it nice hotels, and I don't want
• 1:30:29
  Speaker 2: to sacrifice. I'm very generous with my family.
• 1:30:39
  Speaker 1: Okay. So has there ever been any tension that you
• 1:30:43
  Speaker 1: made more money, assuming you do, than your husband.
• 1:30:47
  Speaker 2: No, my husband respects what I do tremendously. I'm very
• 1:30:52
  Speaker 2: supportive of it.
• 1:30:55
  Speaker 1: That's a change from your family. So that's good. Yeah,
• 1:30:59
  Speaker 1: So this is a business you've been around long enough.
• 1:31:03
  Speaker 1: Prior to the Beatles, there were some good acts, but
• 1:31:06
  Speaker 1: certainly right before the Beatles we have Bobby right Dell,
• 1:31:08
  Speaker 1: we had Baby In etc. Beatles come, Beatles trans then
• 1:31:13
  Speaker 1: it becomes FM radio album rock things crash at the
• 1:31:17
  Speaker 1: end of the seventies. Then we have MTV. So today,
• 1:31:23
  Speaker 1: you know, it's kind of shocking for people of our
• 1:31:25
  Speaker 1: vintage to see all these pop acts getting this press
• 1:31:30
  Speaker 1: and these sales. You know, these these were acts that
• 1:31:33
  Speaker 1: we wouldn't even listen to back in the day. Also,
• 1:31:38
  Speaker 1: there was a thought by people who were your contemporaries
• 1:31:41
  Speaker 1: that myself included, that oh and the old acts die,
• 1:31:45
  Speaker 1: it's going to become a theater business. But now there's
• 1:31:48
  Speaker 1: more stadium shows than ever before. So where is the
• 1:31:52
  Speaker 1: business at large going?
• 1:31:56
  Speaker 2: Well, look, I think when you take a look at
• 1:31:59
  Speaker 2: the shows that Taylor Swift does or Sabrina Carpenter. I
• 1:32:04
  Speaker 2: haven't seen the Harry Styles show yet, you know, a
• 1:32:08
  Speaker 2: lot of work and money go into these shows. And
• 1:32:12
  Speaker 2: I do respect it. I totally respect it. I think
• 1:32:15
  Speaker 2: Madonna started it all, I think that there's always going
• 1:32:21
  Speaker 2: to be you know, where things go around comes around,
• 1:32:26
  Speaker 2: and you know we're going to get back into some
• 1:32:29
  Speaker 2: rock music and singer songwriters. I mean, look at the
• 1:32:34
  Speaker 2: string of singer songwriters from Dylan and Young, Neil Young,
• 1:32:37
  Speaker 2: et cetera. I mean, they'll be more singer songwriters. I
• 1:32:44
  Speaker 2: just think it's all, you know, timing, Okay.
• 1:32:49
  Speaker 1: Marsha, I want to thank you so much for speaking
• 1:32:52
  Speaker 1: with my audience, taking the time.
• 1:32:54
  Speaker 2: I appreciate. I told Jared this is all his fault, Okay,
• 1:33:00
  Speaker 2: came up with this idea until next time.
• 1:33:04
  Speaker 1: This is Bob left set