The Recording Artist as an Indentured Servant

some brilliant, some incompetent, some stupid, many stuck in their own egos, some who considered themselves gifts to women and some corrupt’—sometimes in one package.The most heartbreaking combination was brilliance mixed with corruption. They controlled the money and the business attention that I and the artists that I managed received.

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Artist Management: One Long Game of Creative Chutzpah

The first months that I worked as an artist’s manager for Bill Graham at Fillmore Management in 1969 was like attending an anarchist university. There were no structured courses, no schedule, no time clocks and no rules. Not only did I not know what I did not know; I didn’t know how tangled and corrupt some of the knowledge that eventually came my way would be and the toll it would take on me and the artists that I managed.

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1969: Bill Graham Hires Diane Sward (Rapaport) as an Artist’s Manager

While washing dinner dishes one afternoon, I thought, what if Bay Area acoustic performers had their own evening? They wouldn’t have to compete with the rock bands and have their more gentle sounds become dwarfed by raucous fans stomping, “We want the Grateful Dead.” A name came into all these thoughts in the same flash: Equinox; A Traveling Faire of Acoustic Music.”

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Fillmore Management Clips Off My Career as an Artist Manager

Rejection in the music business is as common as dirt. You can cry or laugh, but if you let it get to you, it’s as quick to bury you as quicksand. In one six month period in the late sixties, I had three rejections in six months. Rejections just make me stubborn. . .

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Bill Graham: Intimidation as a Negotiating Tactic

Barbara Mauritz of Lamb opened one of the shows during the last days of Fillmore West with a stunning version and performance of her song “Hello Friends.” Her performance is captured beautifully along with an equally stunning performance of her song “River Boulevard.” http://www.youtube.com/watch?v=OgPw2Q9-6jc

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