40469.fb2 When I Stop Talking You - читать онлайн бесплатно полную версию книги . Страница 12

When I Stop Talking You - читать онлайн бесплатно полную версию книги . Страница 12

Firing Ferguson

Around this time, in 1978, Jane and I purchased land in Malibu and built the house where she still spends much of the year. I describe it as a beach shack, but it really is one of the great California houses, a compound more than a house, with stables and guest quarters and trails that run across six acres on the Pacific coast, where the land juts out and Catalina Island rises into view. If you leave Beverly Hills at 2:00 P.M., heading north on the Pacific Coast Highway, with the sea on your left and the hills rising steeply on your right, you will arrive before three, finally passing through a gate marked "Blue Heaven."

In the midseventies, Jane and I threw a lot of parties. She calls it the era of "extreme entertaining." We had people over most nights, the rooms filled with music and movie types, the windows glittering, laughter spilling onto the beach, where I stand with a bottle of wine knee deep in the surf. In the garage in Malibu, we have posterboard-size pictures taken in those bygone days. Jane with Walter Winchell. Jane with Darryl Zanuck and John Wayne. Jane, at a dinner party, with three different kinds of crystal in front of her, seated between Frank Sinatra and Cary Grant.

By then, my touring company, Concerts West, was booming. But no matter how well I was doing, I was always on the lookout for the new artist, the next big thing. When I think back on those years, it's me going from club to club, sitting at cocktail tables, meeting artists in cramped dressing rooms, pitching, cajoling, selling. (Breaking a new act is a special high; some agents spend their careers chasing it.) My most noteworthy find of those years was John Denver, who, as far as I am concerned, I cooked from scratch. By examining how I dealt with John Denver you can get a pretty good sense of the task and challenge of the manager, how he finds and builds an act, and how that act will eventually break his heart.

John was a military brat. His childhood was spent moving base to base, New Mexico, Arizona, Alabama, Texas. His real name was John Deutschendorf Jr. His father was an amazing guy, a test pilot and flight instructor who often seemed confused by his kid. The love of music and songwriting, the long hair and pursuit of beauty-where did they come from? John left home as soon as he was of age. He traveled the country with a guitar and a notebook of songs. He was going to write about everything, all of it, the mountains and plains, the continental divide, set it to music. He made a few solo records, which went nowhere, then scored one big success, "Leaving on a Jet Plane," which went top ten when recorded by Peter, Paul, and Mary, who, by the way, I managed. But his first real break came in the midsixties, when, answering an open audition, he won a spot in the Chad Mitchell Trio, a hot New York folk act.

I first heard about John when he left the Trio and was looking to make it on his own. He had been represented by Irwin Winkler, who was going into the movie business, and needed representation. A friend tipped me: "Jerry, check out this kid. He's playing a dive in Greenwich Village." So I went over. No one there. The joint was empty. Just this earnest kid with a pageboy haircut, singing and playing guitar on stage. I sat and listened. He made a connection immediately. That's how it was with him-his talent. With each song, you felt he had opened his chest and was showing you his beating heart.

Okay, you might think, Jerry Weintraub and John Denver, something does not compute, something is not right. How does a folk singer from New Mexico end up in league with a street kid from the Bronx? But the fact is, we were a lot alike, me and John, had a lot in common, which is why our friendship was so immediate and deep. He, too, had run away from home when he was a kid-he left in his father's car and turned up weeks later at a cousin's house in Los Angeles. He, too, wanted to get out into the world, see and experience everything, find his way. I saw all of this that first night in New York. I saw the talent, too. It was one of those rare moments you dream of as a manager-spotting the kid who will become a star, who is a star already, even if the world does not yet know it.

From that moment, I was determined to break John Denver. He would be a test case for all my theories on selling and packaging, for everything I had learned since I left home and before, on the streets in the Bronx and from my father. John Denver would be my Star of Ardaban.

I wanted to start by getting some noise going. Here was this gem, John Denver, playing five nights a week in Greenwich Village, virtually for free-he was making seventy dollars a show when I met him-and no one even knew it. I went all around New York and LA, talking my head off to all the big operators. John Denver. Have you seen this kid? John Denver. He's amazing. John Denver. I went on like this until my friends said, "All right. We get it! John Denver. Shut up."

"Shut up about who?"

"John Denver."

"Yeah, isn't he great?"

Then I started to embroider, embellish. I would say, "Wow, John Denver, this client of mine, he's so great, so on fire, that Bob Dylan has been hanging out in this club every night, watching him play."

Just get them there, that's what I believed. Just get them there, let them see this kid, they will love him.

Did it work?

Of course it did.

Within a few weeks, the place in the Village was packed, every seat filled, and the patrons three deep at the bar.

"Okay," I said, "now let us see what we can do about this seventy dollars a night nonsense."

John had cut a record for RCA. This was part of his long-term contract. He had already made Rhymes and Reasons and Take Me to Tomorrow. This was all before I got there-pre-Jerry. The new record was called Poems, Prayers and Promises. It had one obvious hit: "Take Me Home, Country Roads." But the challenge was the same as always: get people to hear it, to recognize it as a hit. This mirrors the greater challenge of the talent manager. I did not invent John Denver. I did not write his hits, or create anything that was not there before I arrived. No manager does that. As I tell aspiring agents and managers, remember where the engine lies: with the artist. If the artist makes nothing, I have nothing to sell. It's as simple as that.

It's best, when selling something new, to envision the goal-let the entire world hear John Denver-then work your way back. How do we get there? Now and then, it happens by itself. This is a matter of luck, zeitgeist. More often, you have to be creative, crabwalk your way. Once the new record was released, I sent John on a tour of the biggest radio stations in the country. He would turn up by himself, with his song and his guitar, as if he just stumbled out of the mountains.

You have to remember what John looked like back then. He was simple and blond with the bangs and the glasses. This was the early seventies, when everyone was looking for his own Jimmy Carter, a man he could trust. John, with his apple-pie face, was perfectly cast. He came to hate this, but he was lucky. He had just what the market was demanding. It was his trademark, as the blue suede shoes and pompadour trademarked Elvis. It was his thing. You can evolve and grow but you should never resent your thing. If you look at how few artists actually make it, you will recognize that those trademarks, though in some ways limiting, are a gift of providence. John would show up with his pageboy and all-American smile and say, "Hi, I'm John Denver. I would like to play a song for you." And bang, he was on the air.

At times, I used my other clients to break John. Fame is a private party. You can dazzle your way in with talent, or you can be vouched for. How far this can be carried depends entirely on who is doing the vouching. If it's Frankie Valli, okay, maybe. But if it's Sinatra? I arranged for John to cross paths with Elvis on the road. They went to radio stations, or Elvis mentioned one of John's songs. I had learned something important from the incident of the unsold scarves. A mention by Elvis was the same as a multimillion-dollar ad campaign.

I had Sinatra talk about John, hook up with John, be seen with John. You might think of Sinatra and Denver as a mismatch (like Weintraub and Denver; like martinis and moon-shine) but everything blurred in the seventies-this is when Sinatra recorded "(It's Not Easy) Bein' Green." It was an odd moment, and yet another lesson for producers and managers: know your age, sing its songs. If you cross-breed the Elvis audience with the Sinatra audience, you get the great big everyone the Colonel spent his life chasing. We were not interested in niche marketing, or in targeting a selected demographic: We wanted them all.

Soon after its release, "Country Roads" was dominating the charts. You could not turn on your radio without hearing it.

The song, the tour, the public appearances-these were means to an end, which was not merely to have a hit, but to turn John into a star: not a star in prospect, but a star now and yesterday, someone who has already happened, so accomplished it's no longer up for debate. It's why I did not present John Denver as an exciting find, or as someone who had recently been playing to an empty house in Greenwich Village, but as talent that had already made it, an accomplished fact. I sold him in the past tense, as someone you've known about for years. I was telling the audience to relax and enjoy, as the judgment has already been made. You love him! In this way, we skipped several steps, jumping directly from the early days of struggle to the golden years.

I bought every billboard on Sunset Boulevard from Bel Air to Hollywood. On each, I put a different picture of John, a different posture, a different mood. You could not drive to work without being bombarded. He was all over the place. By the time you heard his song, you already knew him. I met with executives at RCA. They wanted to cut a follow-up to Poems, Prayers and Promises. I convinced them to do a greatest-hits album, which was amazing, considering John only had one hit. This is what I mean by selling John as if he were already a star. They paid us a million dollars for the record-a huge sum in those days. It came out in 1977, went straight to the top of the charts, and stayed there.

We branched out from there, transitioning John to TV. Within a few years, he was almost as well known for his work on the small screen as he was for his songs. He made his first appearance on The Tonight Show in 1972. I was friends with Johnny Carson and hooked them up at a party at my house in Beverly Hills. John became a regular on The Tonight Show, appearing again and again. America was still one market, and Carson stood at the center of it-it's hard to explain just what a big deal that show was. Then, one summer, when Carson went on vacation, the producer asked John to fill in as guest host. It was a milestone for any entertainer-like the moment the mob takes you into a basement with the wood paneling and makes you swear loyalty over a book. You're a made man after that, untouchable.

In 1974, I signed a deal with ABC under which John would do five guest spots on various network shows, getting paid $2,500 an appearance. In the end, ABC only used him once, in a Chevy Special, then called and canceled the rest of the contract. In other words, they dropped him. Four weeks later, "Country Roads" hit. A few weeks after that, I signed a new deal with ABC, under which he would be paid $350,000 an appearance. Remember, when I found John, he was playing in the Village for seventy bucks a night. What happened to him, the way he blew up, was amazing.

John understood all this, and appreciated it. He paid me a fortune. There were many years in which I made ten, twelve million with John. But for me, the money was a by-product of what was a labor of love. I had many clients, some of them bigger than John-Elvis and Frank, Neil Diamond, Bob Dylan-but John and I were very close. Because I broke him, because I understood him, because he understood me, because I loved him. We started as friends but became brothers. He made me the executor of his estate, he was executor of mine. Jane and I were to take care of his children if, God forbid, anything were to happen to him and his wife, Annie.

Yet there was something troubled about John. Success and money, rather than making these things easier to deal with, often bring them to the surface. He had an overwhelming need to impress and be accepted. It probably came from his father and the fact that John never seemed to win his approval, even when he made it big. He was in search of a father, really, someone who could stand in the old man's place and say, "Yes, John, I love you. Yes." And though he wanted a father and wanted approval, he resented the fact that he wanted those things. He needed you to love him, and hated you for making him feel that need. This sowed dangerous seeds in our relationship. After all, who was I? The man in the suit who paid the bills and made the schedule. In other words, I was the father. As he became more successful, he began to resent me. He needed me, but hated me for that need. I understood this only later.

John was beloved by fans but never accepted by critics, and it drove him crazy. No matter how many records he sold, no matter how much adulation was showered on him, he needed to win and be loved by the people who had already made up their minds, who thought he was lightweight and silly. I would say, "Hey, John, who gives a crap?" Or: "You know what? Screw 'em." If you want to survive, if you want a long life and career, if you want to go wire to wire and have a decent time doing it, you need to have a deep strain of "Screw 'em." I would say, "Believe me, John, you're better with the people than with the critics. That counts if you're an actor, a producer, a politician, or a singer."

But he could not let it go. The criticism drove him wild. He was troubled, as I said. He had no identity. He didn't know what he wanted because he did not know who he was. He wanted to ditch his glasses for contact lenses. "But the glasses are part of the shtick," I told him. "The glasses are great!" I mean, if you're getting hitters out with screwballs, keep throwing the screwballs. That's the sportsman's way.

The first danger sign came in 1979, when John was on tour in Europe. I got a call from one of my assistants on the road. "John is unhappy," he said. "He's talking about firing you."

I got on a plane, went over. I stood with John outside the Inn on the Park in London. He had his head down and paced, the way he did whenever faced with an onerous task or crisis. He stammered. He said, "Look, Jerry. You know how I feel about our relationship, but I think I am going to have to let you go."

"Let me go? Why?"

"Well, it's this tour. I mean, nothing is right. The hotels stink, and the food is no good, and the venues are just awful, and the sound systems are terrible, too. The band is furious. Nothing is right."

I said, "Look, I just got off a flight from LA. Let me get some rest. Then let's talk it over in four hours."

"What's going to happen in four hours?" he asked.

"Well, maybe I can fix these problems," I said. "Think of all we've been through. You can give me four hours."

"All right," he said, "four hours, but I am deadly serious, Jerry."

"I know you are, John."

That night, we went out to dinner after his show.

I said, "Look, John. Before we eat, I want you to know I've taken care of the problem. Things will be different from here."

"You took care of them? How?"

"I fired Ferguson."

"You fired Ferguson? Who's Ferguson?"

"There has been trouble with the hotels, with the food, with the venues, with the sound systems? Well, Ferguson was in charge of all of that. He's been fired."

"Really? You fired Ferguson."

"I did. And I think you will notice the difference right away."

We started eating, talking, being brothers again. I was brooding, looking down.

"What's the matter, Jerry?"

"Well, I'll tell you, John. I'm feeling bad about Ferguson. Sure, he screwed up, but he's not a terrible guy. And now he's been fired, and he won't have his salary and he won't have his bonus and it's right before Christmas. For godsakes, John, Ferguson has a family!"

We sat in silence, eating. Finally, John threw down his napkin and said, "Darn it, I feel bad about Ferguson, too!"

Some time went by. I was eating, drinking, looking around. It was one of those stolid British restaurants, with brass on everything and waiters coming and going with pints of ale.

I said, "Look, I have an idea. Let's say, instead of firing Ferguson, I just move him into another part of the business. Away from people."

"Hide him, you mean?"

"Yeah, hide him. In the business, just not out front, definitely not working with artists."

"Yeah, that's a great idea," said John. "I would feel a lot better about that, it being so close to Christmas and all."

"Good," I said. "I will call LA tomorrow and take care of it. Ferguson 's wife is going to be so relieved."

There really was nothing wrong with the hotels, food, venues, or the rest. John had just gotten himself in a tangle and needed to stand up for himself. Which was why we fired Ferguson. I also knew that John was very compassionate and would eventually blame himself for what happened to Ferguson, which was why we hired him back.

The next night, on the way back from the show, I asked John, "So how was the venue, how was the sound?"

"Oh, much better," he said. "I could tell the difference right away. I'm glad we could fix it without firing Ferguson."

Of course, there was no Ferguson.

Jerry Weintraub Presents

By this time, Concerts West had become perhaps the most important company in the industry, known for its live shows and productions. John Denver was just one of many talented artists who made me a force. I did not handle all these people personally-I had partners, employees-but I was sitting over everything, experiencing the entire scene.

I loved and appreciated all my artists, and still do. There was, for example, Bob Dylan. He was a god to his fans, but to me he was just another smart, Jewish kid from the provinces. Yes, he is brilliant. I don't think he has any idea just how brilliant. The man can break your heart with a turn of phrase. But to him it is just another day of work, which is how I treated it, too. Not even a priest wants to be revered when he's away from the church. He wants to go home and have a drink, knowing the lights will stay on and the bills will be paid. And that was my job. After all, an artist like Dylan has enough fans. A man to mind the store, to keep the books, that's what he needs.

And then there was Led Zeppelin, who we signed in the midseventies. Once you start working with the Presleys and Sinatras, other people, the superstars and up-and-comers, come looking for you. It's called momentum, what people mean by the phrase "cooking with gas."

"Jerry Weintraub?"

"Yeah?"

"You've got to help me!"

"Why?"

"Because I've got dreams!"

"All right, my boy! All right."

Zeppelin was wild. Our first concert with them was at Nassau Coliseum on Long Island. They were bitching after the show about the sound system: It did not have enough channels, not enough speakers, blah, blah. It was so loud the place was shaking. I was worried about a cave-in or structural disaster. But no, they wanted bigger, louder, more decibels, more, more, more. When these guys played "Stairway to Heaven," they wanted to build an actual stairway to heaven. The next day, I went around with a few of my guys and gathered every box on the island. We painted them black. I can still smell the fumes from the spray-paint. They made me high. We brought the boxes to the Coliseum and stacked them in huge piles on either side of the stage, hundreds of these goddamn things.

"What the hell are these, Jerry?"

"What do they look like? They're the goddamn speakers, schmuck. You want loud, you're gonna have loud."

That night, Zeppelin exploded onto the stage as if they'd been shot from a cannon, like clowns at the circus, danced and screamed and made a lot of wonderful noise, reveling in the mighty power of this wall of speakers, which, of course, were not connected to anything. If you expect loud, loud is what you are going to hear.

A lot of the time, these guys made demands just to be demanding. These were rock stars. They needed to say "Screw you!" to whoever was cutting the check or wearing the suit. It's part of the job description.

One afternoon, before Zeppelin was scheduled to play at Madison Square Garden, I went into a men's store on Fifth Avenue and picked up a gorgeous suit that had been tailor-made for me in London. I tried it on for the mirror-hand-stitched, double-breasted, beautiful-put it in a bag, and carried it to the arena, where I hung it in a closet in the dressing room, with a note pinned on the front: WEINTRAUB! HANDS OFF!

I went out front to watch the show. The lights went down, the announcer spoke over the sound system: "Now, the loudest, most dangerous rock band on earth…" The crowd went nuts, Zeppelin came on stage. Jimmy Page, John Paul Jones, Robert Plant. John Bonham, the drummer, came out last. He was wearing whatever crap those guys wore, but over it he had on a beautiful blue jacket.

What the hell?

He sat behind the drums, then, in one clean motion, ripped off the sleeves so you could see his arms and shouted, "How do I look, Jerry Weintraub? I've got your new suit." He held up the arms of the suit, then launched into "Black Dog."

It was hysterical.

For years, I handled the Moody Blues, a British group that went through various incarnations before breaking through in 1965 with the song "Go Now." (They are best known for "Nights in White Satin" and "Tuesday Afternoon.") I had a brilliant pitch for these guys: I sold them as everyone's second-favorite band. Are you a Beatles freak? Well, you're going to love the Moodies second. Are the Stones your thing? Great! Then check out the Moodies. You'll like them almost as much. We made a lot of money with that. We were, in essence, harvesting several fields at once, collecting everyone's runoff. Then these guys did a stupid thing. They broke up. It always happens. The more successful a band, the more certain its demise, as each member gets to thinking, "Well, it's because of me, it's my success, and I'm tired of sharing it."

Two of the Moodies, Justin Hayward and John Lodge, calling themselves the Blue Jays, decided to make their own record. I tried to talk sense. "We've spent years positioning the Moody Blues, and, as a result, millions and millions of people consider you their second-favorite band," I explained, "but no one has heard of the Blue Jays. You'll be starting from scratch."

Did they care?

Of course not.

When I could see they had made up their minds, I decided to get on board, pitch in. For me, the challenge was plain: get people to judge these veteran rock stars as if they were new, notice, and take time. Convincing cynical members of the establishment to rethink something they believe they already know is no small thing. You might call it a relaunch, or rebranding, but it really just amounts to a man from the Bronx yelling: Here, here, look over here! Remember this? It's still really good! They worked on their album for a year. When it was finished, I had beautiful invitations printed and carried by courier, with great pomp and circumstance, to journalists and critics all across the country. They read like tickets to an exclusive, impossible-to-get-into, one-time-only show by the geniuses behind your second-favorite band-Justin Hayward and John Lodge, playing at Carnegie Hall in New York City.

Critics and producers and celebrities turned up from all over the world. The show was in the afternoon. They took their seats. You could feel a tremendous buzz as the lights went down. Everyone was excited. But when the curtain came up, instead of rock stars and their band, there was just a huge, fantastic sound system. You could see tremendous speakers, but no band. Then I played the record, from start to finish. All along, people were yelling, "Down in front! I can't see!" But there was nothing to see, just all the hardware. I wanted to play the songs-I wanted these people, these influential people, to sit and listen to them, really listen, as the record unfolded. Yes, I could have had the Blue Jays perform (they would have been great), but the critics knew Hayward and Lodge, or thought they did. They would watch the show, like it or not like it, and move on. But this night, with that record playing on stage, well, they would never forget it. Some would denounce me, sure, but, with each denunciation, they would mention the record and the band.

I held a press conference after the show. The critics filled the room. They were furious. Jann Wenner, the owner and editor of Rolling Stone, and a great guy, was the first to speak. "You, sir, are a charlatan," he said. He was red with anger. "You have tricked these people with a stunt, made them come all this way, and for what? To sit and listen to a record? They could have done that at home and saved the money and time and fuel. You are P. T. Barnum."

"Okay, okay," I said, trying to calm everyone down. "You've had your say. Now let me have mine-after that, call me whatever you want. The fact is," I explained, "we've spent an entire year of our lives working on this record, and we're proud of it, and think it deserves to be heard, really heard. So what are we supposed to do? Send it to your house so you can put it on the record player? Well, maybe your stereo stinks and the sound stinks, and maybe you had a fight with your wife, and maybe your baby puked on you. So it plays, but it does not get heard. Well, now you have heard it. So go home and say whatever you want about me, but remember the effort that went into this record."

Rolling Stone ran an editorial about the show. It filled half a page. I was called many terrible names, but, in the end, they said, well, you know, he kind of has a point.

We were remaking the concert business in those years. Starting with Elvis, we took an industry that had been regional, divided among fiefdoms, with each territory controlled by a single promoter, and made it national. In the process, we cut out the middlemen. It was just me and the artist, working as partners, cutting deals directly with the owners of concert halls. Costs fell, everyone was enriched. As a result, artists sought me out, wanting to cut the same deal. Which increased my power. I was now able to go to the owner of Madison Square Garden and say, for example, "I'm going to give you thirty nights of shows this year-what kind of break can you give me on the hall?" In this way, overhead fell, and, as overhead fell, profits rose, attracting still more artists, which meant still more dates, which meant still better deals, which meant still more profits, and so on.

Remember how I said everyone was enriched by this process? Well, that is not exactly true. The fact is, when my business took off, the men who ran the old system, the promoters and operators, first got squeezed, then went under. In the academy, they call it creative destruction. I had invented a newer, more efficient model, which meant the old model was doomed. On the street, they call it pain.

The old promoters and middlemen grew to resent me. I was their bogeyman, the devil. The table is covered with settings and piled with food, and here comes Weintraub to pull out the cloth. They called a big meeting on Long Island. (I don't remember the exact year.) You want to feel persecuted? Imagine dozens of record men boarding planes all across the country with a single goal in mind: putting you out of business. The meeting was organized by Frank Barcelona, an agent with a personal beef. He represented Zeppelin. When I made the pitch to promote the band, I went around him, directly to their lawyer-Steve Weiss-who cut a side deal with us, which was a tremendous threat to Barcelona. (Zeppelin was real money.)

The charge against me went like this: "Weintraub doesn't build artists. The local managers and promoters build artists, then Weintraub swoops in and takes them away."

Here's how San Francisco 's Bill Graham, the biggest independent promoter in America at the time, explained it to Newsweek: "Jerry Weintraub comes into town like an eagle, scoops up the money, and leaves. He tells his acts, 'For a piece of the action, I can eliminate certain promoters and agents.' He's more a power broker than a producer."

My answer? Well, hell, yes, of course that's what I do. It's called business. Why do you think I'm successful?

(Bill Graham and I were great friends before this, and we remained great friends.)

I don't really know what came out of this meeting other than a bunch of chatter. The fact is, if a bunch of men are discussing you, meeting about you, and scheming to destroy you, it probably means you're doing something right.

In those years, my key relationship was with the owners of the arenas. That's where I cut my deals and made my profit. The owners were a unique breed, almost entirely gone now, wheelers and dealers, big-money boys, political players, sharpies and sharks, the makers and builders of cities. It was not art or ideas that interested these men. It was bricks and mortar, seats, stages, real estate. A few of them became my teachers. Here I am thinking mostly of Arthur Wirtz, who owned the Chicago Stadium and was one of the truly interesting people of his era.

For a long time, Arthur Wirtz was just a name, like John Doe is a name-I had heard it, but I was not sure where and not sure why. I took an interest only when I started making my way in the concert business. I had two or three months' worth of shows a year and was looking to strike a deal in Chicago, that fantastic market. Chicago Stadium was the obvious place. It had about twenty thousand seats, which is as big as you get before you have to move outside. Other than the Bulls, the Blackhawks, the Ice Capades, and the Circus, which adds up to about a hundred nights a year, the place stood empty.

I went to Chicago and started asking around.

"Who do I have to talk to cut a deal on the Stadium?"

Arthur Wirtz, you've got to talk to Arthur Wirtz.

Arthur Wirtz was huge, six-foot-six, with gray hair. He wore wire-framed glasses, an odd, dandified touch on an otherwise classic Chicago face. He had been to college, but kept something of the street about him, the grit of the west side club rooms. He was like a boss in an old movie, a mountain of a man behind a desk, the city humming behind him-Chicago, with its steel towers and slaughter yards. He had fought his way to the top of a tough town, and I admired him. He made his first fortune in commercial real estate, but his true talent had always been sales. Sell, earn, invest, increase. His family still owns the Blackhawks. He began to acquire things, which is how an ordinary man becomes a titan. By the time I started asking around, Wirtz had become a power in Chicago, the man behind the aldermen, the man behind the mayor.

Though sensible and hard-nosed, he had an eye for showbiz. He built the stadium, then needed to fill the seats. He owned an NHL franchise. It did so well he acquired interests in several others. He came to own most of the teams in the league, including franchises in Montreal, Toronto, and Detroit. He also brought Sonja Henie to America and produced her ice shows, which led to the Ice Capades. He was a giant.

"I don't understand Arthur Wirtz," I told a Chicago friend. "Why doesn't he put other shows in the Stadium?"

"He doesn't want other shows," my friend told me. "He has the Ice Capades, he has the circus, hockey, and basketball. He doesn't know from anything else."

I called Wirtz's office and left a message. No return. I called again. Nothing. It was like shouting into a well. Nothing came back.

Around this time, I ran into Bob Strauss, from Texas. He was a big player in the Democratic Party. I asked him if he could help set up a meeting with Arthur Wirtz. He laughed.

"What's so funny?" I asked.

"You can't just meet with a man like Wirtz," he told me.

"Well, then, how the hell am I supposed to do business with him?"

"You have to talk to Mayor Daley's people first," he told me. "You can't do anything in Chicago without the machine."

"Great, set up a meeting with Daley."

"No, no, no," said Bob, laughing. "You don't actually meet with Daley. You meet with Colonel Riley."

"Colonel Riley? Who the hell is Colonel Riley?"

"Everything in Chicago goes through Daley," he explained, "and everything that goes through Daley goes through Colonel Riley. You meet with him, work it out, then you get to meet with Wirtz."

"Work what out?"

"Just meet him."

I met Colonel Riley in the Bismarck Hotel across from City Hall. This is where the operators and aldermen hung out, where deals got done. We took a table in back. The Colonel hung his jacket on the back of his chair. It was nine in the morning, but the place was filled with newspapermen, union leaders, tough guys, and such. Riley was a skinny Irishman with a patch over his eye. We bullshitted a bit, then he said, "Okay, let's get down to it. What exactly is the nature of your business?"

I told him I wanted to cut a deal to put shows in Chicago Stadium.

"You mean you need to meet with Arthur Wirtz."

"Yeah," I said. "I guess that is what I mean."

"Okay," he said. "I'm going to get up and go the bathroom. And while I'm in the bathroom, you're going to put something in my jacket."

"What am I going to put in your jacket?" I asked.

He told me, and it wasn't two tickets to The Wiz.

"Well, I don't have that," I said.

"You have to get it," he said.

"Oh, God."

"Can you have it by lunchtime?" he asked.

"Yeah," I said, "I guess so."

"Good. Come back here at lunchtime, put it in my pocket, and you will have your meeting with Arthur Wirtz."

A few days later, I go to meet Mr. Wirtz. A two o'clock appointment. He had an office in the Furniture Mart, which he owned. I gave my name to the secretary, then sat, waiting. Now and then, I asked the secretary, "How much longer?" and she smiled and said, "Any time now." Her name, as I learned later, was Gertrude Knowles, and she was fantastic, a multimillionaire with a piece of every one of Wirtz's deals. (He could be very generous.) Two o'clock became three o'clock; three o'clock became four o'clock. I was angry. "What's his problem?" I asked Ms. Knowles. "We had an appointment. I got things to do."

"Relax," she said. "He does this to everybody. If you want something from him, you have to wait."

"I am thinking of leaving," I told her.

"Don't worry," she said. "I'll get you in there."

Another thirty minutes went by. I couldn't stand it. I was going wild. I stood up and said, "To hell with this, I'm out of here."

"No, don't," she said, "I'll get you in right now."

She walked over, opened the door, stuck her head inside, and said, "Jerry Weintraub has been out here waiting three hours. It is time for you to see him."

A voice boomed back: "Okay, fine, bring him in."

It was the biggest office I'd ever seen. Everything was covered in brass and wood. Behind him was a credenza filled with Steuben glass. On his desk-it was the size of an aircraft carrier-was a model of the Wirtz family yacht, the Blackhawk, and a plane. Mr. Wirtz was alone in this office, and had been all afternoon, this enormous man, signing checks, which were piled beside him. He did not greet me. He just went on signing.

"What do you want?" he asked, without looking up.

That's what he said. After all that sitting and waiting and him being in here all the time by himself, with his checks and signing pen.

"What do I want?" I said. "I'll tell you what I want. Screw you! That's what I want!"

Now he looked up, stunned, as if I had slapped him across the face.

My God, he was huge!

"Excuse me," he asked, "what did you say?"

This man was power, you have to understand that. He was the boss, the man sitting on top of a very tough town. This was Chicago. Sam Giancana was there. Tony the Ant was there. Wirtz was no gangster, of course, but he had the gangsters, and had the police, and had the firemen, and had the aldermen, and had the attorney general, and had the mayor and the governor and everything else.

"You heard me," I told him. "Screw you."

He was more surprised than angry-confused, concerned.

"Why?" he asked. "What's the matter?"

"I've been waiting out there four hours," I said. "Then, I finally get in here, and you don't even look up and say hello, how are you? You don't shake my hand, or offer me a drink of water? What kind of bullshit is that? I'm a human being, you know. I'm standing here."

And he sat back and looked at me-and this looking took longer than it should have-smiled and laughed. He stood up, walked around the desk, sat in the chair next to me, shook my hand, and said, "It is nice to meet you. I am Arthur Wirtz."

And I shook his hand and said, "Nice to meet you. I'm Jerry Weintraub."

We made a deal that very night, negotiating the terms for hours. At one point, he said, "Hey, Jerry, you look hungry," went into the little kitchen he had off his office and cooked me a steak. This big guy, this big shot, sleeves rolled up, standing over a T-bone. He loved me because I told him to go screw himself. No one had ever done that. We finished the last points at 9:00 P.M.

"Okay," he said, "now I have to get the board of directors to ratify the deal."

I was pissed. "You mean, I stayed here all night negotiating and you can't even do a deal with me? You have to wait for someone else?"

"We don't have to wait," he said. "We'll do it now."

He led me down the hall to an empty boardroom. There was a round table with ornate chairs and leather blotters and beautiful lamps with green shades, each throwing a pool of light. Arthur sat at the head of the table, struck the gavel, then said, "Meeting in session." He read the main points of our contract aloud, asked if any members of the board were opposed, any objections, waited a moment, as if expecting an answer-"Good news," he said to me, "no objections"-announced the contract ratified, then brought down the gavel, adjourning the meeting.

"I did that for a reason," he explained. "I wanted to show you something. You're going to make a lot of money. Do it yourself. Don't ever go public. Be in charge of your own destiny."

It was the beginning of a friendship that lasted decades. We made millions of dollars together. He was my mentor in the world of arenas and concerts and filling seats. He made me a king. He got me exclusive deals in hockey buildings all over the country. The Stadium in Chicago, the Olympia in Detroit, the Garden in New York, the Forum in LA-he controlled them all. We worked as partners, put on shows, filled the seats, paid the band and other expenses, paid our taxes, split the rest. He was supposed to be anti-Semitic. It was a rumor. You heard it whispered, but there was no truth to it. I loved him, and he loved me. We hung out together, vacationed together. Remember the model of the boat on his desk? Well, he gave me use of that boat-the real thing, not the model-whenever I wanted to get away.

Wirtz had a way about him. It was often hard to tell if he was joking. One night, when we had Zeppelin at the Stadium, security confiscated joints and other contraband from the kids as they came in the door. By showtime, the back room was filled with bags of dope and pills. One of the cops asked Wirtz what should be done with the stuff. Arthur thought for a moment, then said, "Well, why can't we sell it back to them as they leave?"

By the late seventies, I had so much going in LA, it left no time for Chicago. I stopped going, stopped hanging out, bullshitting, and instead sent Bill McKenzie, the chief financial officer of my company, to talk to Mr. Wirtz and settle up after a show. The money from the city had come to seem automatic. Then something changed. The profit dipped, the numbers went down. One year I made eighteen million with Arthur, the next year I made fifteen million, then thirteen million.

My accountant called.

"Jerry," he said, "something is wrong in Chicago. The receipts have been going up, but the backend stays the same. I think you're being shorted."

"Shorted?"

"Yeah. Shorted. You're being ripped off."

I called Mr. Wirtz.

"What's happening with the money?" I asked.

"If you want to talk to me," he said, "come to Chicago and talk to me."

I went to his office.

"Okay," he said, "what's the problem?"

I had written all the numbers on a sheet of paper, costs, ticket sales, and where I was coming up thin. He looked these over. "So you think you are being shorted?" he asked.

"Yeah," I said.

"How much you think you've lost?" he asked.

"Well," I said, "I think I'm behind about a million and a half dollars."

"Hold on," he told me, opened his desk drawer, took out a paper, looked at it, then said, "Not bad. You're only off a little. I actually owe you two million."

"What's going on?" I demanded.

"Don't get hot," he said. "I have every penny of it for you right here. You would have had it months ago if you had not been such a bastard and come here and been with me and talked to me and done business with me. You should have been here taking care of your business," he told me. "You weren't taking care of your business. This is a good lesson for you."

Years later, when Mr. Wirtz was dying, I went to Chicago and sat by his hospital bed. He could hardly talk. He was just a mountain of a man under the sheets, with the tubes, and the nurses coming in and out, but he was still sharp and missed nothing. You could see it in his eyes.

Once I was established in the entertainment business, I began to see the possibility of shows everywhere. All life was theater and I wanted to put it on a stage and sell tickets. I wanted to produce everything. This is when Billy Friedkin started calling me "Presents." As in, "Hey, Presents!" "How you doing, Presents?" I wanted to put the world under a marquee that read: "Jerry Weintraub Presents." I began to expand away from concerts, pursuing fantasies of the Great White Way. Like every kid from the boroughs, I dreamed of Broadway. I put on a few small shows but realized that to be good, I would need a teacher and guide. If you want to learn, find a person who knows and study him or her.

Which is how one day in 1968, I found myself in the office of Frank Loesser, that Broadway legend, author of, among others, Where's Charley?, How to Succeed in Business Without Really Trying, and, my favorite, Guys and Dolls. Frank Loesser worked in movies, too-he had been under contract with Universal-but he will always be associated with the theater.

He worked in a big office on 57th Street. There was an upright piano and a view of the city. New York is like an infinite library, with everyone you ever wanted to meet tucked in a little room. Knock on this door, Sinatra answers. Knock on that door, Presley answers. Knock on this door, Frank Loesser answers.

"What the hell can I do for you, kid? Did they send you for the dry cleaning?"

"No, my name is Jerry Weintraub."

"Okay, Jerry Weintraub. What do you want?"

I told him he was my favorite writer in the world, that Guys and Dolls was my favorite show, that I was a producer, and was going to produce on Broadway, and told him that he should produce a show with me.

"Why would I do that, kid?"

"Because I'm going to be a great Broadway producer."

Loesser laughed. "All right," he said, "but why not tell me what you are now."

"I told you," I said. "I'm Jerry Weintraub."

He thought a moment, noodled on the piano, notes drifting across the room, then said, "Tell you what. There is a show in London called Canterbury Tales." It's in previews. Hot as a pistol. Goddamn, I want to stage that in New York. But so does every other producer on Broadway. You go to London and get me the rights to that show, and we'll produce it together. We'll be partners.

"We got a deal?" he asked.

"Hell, yes, we got a deal."

"And you are again…?"

"Jerry Weintraub."

"Okay, Jerry. Go get it."

Loesser said everything but "fetch."

I had a big career on Broadway later, and owned a stake in several theaters with Jimmy Nederlander, who ran one of the great organizations in the history of the business. His name is up there with the Shuberts. But this is how I started, in that office off Broadway, with Loesser calling for this trick: Go to London and snatch the prize from the jaws of a dozen hungry producers.

When I landed at Heathrow Airport, I went straight to a house in Chelsea, where I met Nevill Coghill and Martin Starkie, who produced and adapted the original production of this play, Canterbury Tales. I say "this play" because I did not know anything about it. I had heard of Chaucer but did not really know who he was. Maybe if instead of the Air Force I had gone to college… but, as I said, I did go, only my professors were Colonel Tom and Frank Sinatra, who offered neither a core curriculum nor lectures in medieval English poetry. My classes, which were various, included deportment ("Talking Straight With a Buzz On"), History ("The Rise and Fall of Dukes and Kings"), Business ("Don't Be a Sucker"), vocations ("Knowing What You Got, and Using It"), and philosophy ("I think therefore I dance").

I knocked on the door of the house. A beautiful-looking guy came out in tight white pants with no shirt. He was Coghill and Starkie's butler. His name was Bunky. He led me to a dining room, where lunch had been set out. The producers were waiting, proper, English, amused. Referring back to my class with Professor Sinatra ("Knowing What You Got, and Using It"), and considering myself a not terrible-looking kid, I switched gears, turned a little flirty. We talked about the play. As I said, I did not know who Chaucer was, but the show had been a hit in previews and Loesser said get it, so here I was, drinking Perrier and asking the guys to pass the dill. I could not have the show, they said. Not yet, anyway. They were still making up their mind, had to meet with everyone, and so forth. But I persisted. I went over there every day for a week, pitching, selling. We got to be friends. They invited me to go with them to the opening night, which was a real honor.

We got to the theater. Freyer, Carr, Harris, Merrick, Bloomgarden-all the Broadway big shots were there, looking to acquire rights to the show. They were craning in their seats, looking over, perplexed, trying to figure, Who is the kid with Coghill and Starkie? Is that Jerry Weintraub? Doesn't he work with Elvis? What the hell is he doing here? The lights go down, the curtain comes up on a road in the country, a cart filled with travelers, each itching to tell his or her tale. The crowd is silent, rapt, but I'm not hearing it, not seeing it. I'm thinking about Frank Loesser: "Go to London, get the rights, we'll produce it together. We'll be partners." I'm with these guys, have them to myself… but the show will end, the party will start, the drinks and congratulations and Broadway hotshots, and I will miss my chance.

I have to act now!

I leaned over and whispered to Starkie-we're in tuxedos-"I'm sorry, Martin, and don't want to alarm you, but a pain is shooting up my left arm and into my chest."

Starkie looks over, thinks a moment, takes my wrist and says, "We're getting out of here right away. We're going to the hospital."

"No," I whispered. "I can't take you out of your opening night."

"To hell with opening night," said Starkie. "You're sick!"

Starkie and Coghill led me out of the seat and rushed me up the aisle, the whispers trailing us, out the door. I was slumped in back of the car. Martin was feeling my head, taking my pulse. We go by the Hilton. "Look," I said, "if I can just get in there, sit down, have a glass of water, maybe I'll feel better."

We found a couch in the lobby. These guys were all over me, pale with fear, certain I was going to die.

"How do you feel?" asked Coghill.

"A little better," I said.

"What can we do for you?" asked Starkie.

"Well," I said, "I really want to buy the show."

"Will that make you feel better?" asked Coghill.

"Oh, Nevill," said Starkie, "just sell him the goddamn show."

I bought it for ten grand. (My check bounced, but that's another story.) With the terms agreed on, my condition improved greatly. The play was over by then. We went to the cast party. Everyone was there. Coghill stood on a chair and made the announcement. "The American rights to Canterbury Tales have been sold to Jerry Weintraub." All those Broadway producers stood dumbstruck, couldn't figure it out. Neither could Loesser. He kept saying "How, Jerry, how?"

I'm not saying you should fake a heart attack every time, only in a pinch.

As I said, in those years, I wanted to acquire, perfect, produce, and sell tickets to everything that moved me. It was not just about money. It was about love. I wanted to share whatever electrified me. In 1976, I was, for example, mesmerized by Dorothy Hamill, the perky, young, short-haired figure skater dominating the Winter Olympics. She won the gold medal, but it was her charm and style that made her a sensation. I was glued to my television. I did not want to miss a minute of it.

One afternoon, I was talking to Roone Arledge, who was producing the Olympics for ABC. I said, "Look, Roone, if you happen to talk to Dorothy Hamill, ask if she needs someone to advise her. This all happened so fast. She must be overwhelmed."

Ten minutes later-boom!-the phone rings. It's Dorothy. She asks to meet right after the closing ceremonies. The whole world wants her, and she does not know what to do. We met in the lobby of a hotel in Providence, Rhode Island. We talked for hours. She had a difficult family situation. She was eighteen, and, like most of the kids who skate-because they practice twenty-four hours, seven days a week-she had not had much interaction with the outside world. She was very childlike. The only people she knew had either staked their careers on her success, or staked their careers on someone other than her being successful. She asked me to manage her, take care of her, and so forth. I made several moves right from the hotel lobby. I called the guys that ran Bristol-Myers, for example, and made a deal for a shampoo called Short N' Sassy. Because that was Dorothy. I called ABC and made a deal for eight Dorothy Hamill TV specials. Within a few hours, this girl who had never seen a nickel in all her life was a multimillionaire. It was fantastic. She came to California after that and lived with me and Jane. My friends were her friends, and she married Dean Martin's son, Dino Jr.