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Sunday, September 25, 2005
We All Have The Same Problems
"We All Have The Same Problems" was the slogan I used when running for the Illinois State Senate as a Democrat in the so-called most Republican county of the state, if not the nation. The ad campaign won awards but not the election. I did garner more votes than any Democrat, since Reconstruction, I was told. Many assumed I was a Democrat, when I was really a JFK, RFK and Otto Kerner acolyte. In those days I was a military-industrial hawk from a very Republican family. I wanted to be a US Senator and my support would come from the Democrats, primarily Gov. Kerner and Mayor Richard Dailey, (the first). They felt I could win. During that critical summer I also came under the influence of a young pacifist gardner and his mind-altering crop. I became a dove. The rest is my history of becoming the producer of HAIR. My motivation came from a desire to communicate the message of Freedom, Peace and Love from one generation to another. I believed, and still do, that the basic tenets of the hippie philosophy are the only real future of the world if we are going to avoid destroying the human race, or the environment that supports it.
When I tested my political inclinations, I came out as a Libertarian, where I exist comfortably today-socially liberal and fiscally conservative. I was sorely disappointed with many of the Clinton antics. However I felt that his private life was none of our business. Such witch hunts are handmaidens to the fundamentalist elimination of any politician who does not agree with their philosophy. It has made many suitable and adequate people decide to stay out of politics. I felt that 'we all have the same problems'. I still feel that basically we have the same objectives. Whether we are Red or Blue, Democrat or Republican people have the same basic desires. Most differences are about the methods of attaining our desires.
I had little idea of the major conspiracy facing America, namely the take over of the country by the "compassionate conservatives". That was a great phrase that many took to heart, myself included. However, my choice in those early days was for Senator John McCain. I felt here was a straight shooter who had proven his dedication and would be a fair leader. I did not have very strong opinions about Bush until I saw what the compassion of Carl Rove did to McCain in the primaries.
Then came the election with the obvious chicanery by Jeb Bush and cohorts to give his brother the edge. Further dissolution came with the Spreme Court overridding the State Courts and the cave-in of Gore. To this day I do not understand why he gave up his victory.
Is it not a problem that we all have to face real concern for may subjects: The War in Iraq, the reasons for that war, The Patriot Act, the Downing Street Memos, Environment, Medical Insurance, Cost of Housing, Unlimited political funding of both major Party's, and the Ohio election results are just some of the critical issues. Not to even talk about our protection in the case of a major terrorist attack when we have Katrina as an example of the lack of prevention and preparedness.
These are problems for all of us. They will be solved only be clear investigation and correction. Finding non partisan answers to such questions is too often confounded by political parties which have too much at stake financially.
Our greatest concern is the disappearance of a watchdog press. Since deregulation allowed rampant conglomerations of communication media, we have seen a blanket thrown over real scrutiny of the government. Mergers and acquisitions have reduced the voices of dissent. The media moguls and monsters are beholden to the government in power, no matter who it is.
So "we all have the same problems." we are not getting the straight story, or the full story; adverserial positions are not being pushed. No matter what one's politics are we are being entertained by big media beholden to big government and not to the people. The only way to cure this problem is to have open and clear information available to all. In an information age, an enlightend citizenry is our only hope.
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Friday, September 16, 2005
Questions About HAIR
Recently I have been asked about the HAIR film. I have been asked why the show didn't last longer on Broadway. Both these questions were put to me in a negative derogatory fashion. I am going to explain my aspect of those stories.
Originally I acquired the film rights as it seemed no decision would ever be made for it to go forward. I paid $1,000,000, quite a sum in 1969. After much negotiation I made a deal with Paramount. This studio was owned by Gulf & Western. It was run be the mercurial Frank Yablens. He had made it very successful. He gave me Peter Bart (now Editor-in-Chief of Variety) as the Executive Producer. Peter and I hit it off very well. We had a dream team: Hal Ashby to direct, Colin Higgens as screenwriter, Michael Heller for design and Doug Trumbell to do special effects.
Hal Ashby spent some weeks with me in England where we worked out a good relationship. One of our understandings was to consult with the authors of the play. He had no problem with this. Neither did Colin. We started to put the project together with considerable additional personal investment. Suddenly, without warning Ashby withdrew. He was a drug casualty who eventually succumbed to the habit. You can imagine the catastrophe to our plan.
We proposed that Colin Higgens direct. We couldn't get the approval as he had never directed.
A bad decision that was as he turned out to be a top director. One of the problems influencing this mistake was a great ego fight between Frank Yablans and Charles Bludehorn, the head of Gulf & Western. Naturally the boss won and Yablans was out too. Then Barry Diller was brought in to run Paramount. He had his own agenda and it did not include HAIR.
The film project languished until Robert Stigwood took me to his premier of "Tommy". I liked that work and asked him if he would be interested in doing HAIR. He was and we started to negotiate. Robert brought Lester Persky in as associate. Later Robert dropped out. I was left with Persky. We agreed to Milos Foreman as director. I understood the authors to be happy with Milos who had wanted for sometime to make the film. Lester and I had a clear understanding that the authors would be consulted. Michael Weiller was brought on to write the screenplay. My dislike of the screenplay, in particular the ending and the handling Claude's character, was so strong that I never went on the set again. I really dropped out of having anything to do with the production. I only returned to the scene when asked to assist in the promotion with speeches and presentations.
While I was disappointed I am very happy the film was made. It has given many an opportunity to be exposed to the basics of HAIR. Countless people have really enjoyed the film. Yes, it is not the play but it has made many fans who have gone on to want to see a live production with the author's intended. It is still the strongest anti war statement in the history of musical theatre.
As for the Broadway run not being longer. First, very few shows run on B'way for 1750 performances. Second, I elected to mount the show in Boston, Philadelphia and Washington' which, although exposing many to HAIR who otherwise might not have seen it, (including government officials) drew from the NYC fan base. I also mounted more than 12 productions in various cities without waiting on the end of the B'way run. Traditionally, road shows do not start until after their NYC production shuts down. We knew that this also would erode the NYC market base, but felt HAIR was too pertinent to await the normal flow of New York run. Given the same situation-with human beings dying every day- I would do it that way again.
Another not altogether unitended consequence of this decision allowed us to produce live, equity musical productions in more cities simultaneously than any other production, with casts drawn from these respective cities. I believe this dimension of authenticity gave HAIR: The Musical, and its message, a greater authenticity than it may have had had it played ten years in New York, on Broadway or Off. In the process, I believe HAIR brought more new actors to the American stage, if not the world's than any other legitimate stage production.
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