Working Backstage Quotes

Backstage at the Grand Ole Opry, I got on my knees and told her that I was going to marry her some day. We were both married to someone else at the time. ‘Ring Of Fire’—June and Merle Kilgore wrote that song for me-that’s the way our love affair was. We fell madly in love and we worked together all the time, toured together all the time, and when the tour was over we both had to go home to other people. It hurt.

No, let’s make this interesting. If I win, we have sex backstage tonight. If you win, we have sex backstage tonight.” I wanted to laugh again, but the way he said sex froze my brain for a second. “Um…I don’t think you understand how betting works.” Moving in close to me, he breathed his response into my ear while he rested his hand on my stomach. “Don’t I?

If you don’t have to work for something, you just don’t appreciate it as much.

I never know the answer. They bear legitimate witness to my incompetence, my inebriation until the curtains part for showtime. And at last, I’m able to retreat. Shake off the pretense that I’m actually doing something. Melt into the backstage dark, a ghost spying on the living. Tonight? Tonight’s different. Look at me, I’m here. Right here behind the curtain. In the eye of the storm. I’m standing on my legs. Standing straight. Standing tall. I’m a shining tower of calm behind the curtain. My body emanating two works: All’s Well. And al is well. Not dying at all for once. Not a ghost for once. Not even pale.

The Penny Dreadfuls emerge,pulsating with excitement and energy,from...the staff room. Okay. So it's not as glamorous as emerging from a backstage, but they do look GREAT.Well,two of them do. The bassist is the same as always. Reggie used to come into work, mooching free tickets off Toph for the latest comic book movies. He has these long bangs that droop over half his face and cover his eyes,and I could never tell what he thought about anything. I'd be like, "How was the new Iron Man?" And he'd say, "Fine," in this bored voice. And because his eyes were hidden,I didn't know if he meant a good fine, or a so-so fine,or a bad fine. It was irritating.

The guitar. Rubbing the gentle polish On Every smooth contour. On the lap. Knowing every curve As the light shines from it. On stage a planned metamorphosis Takes places as the hours go by and the Space is transformed to a concert hall. The energetic nemesis has struck. The risers are transformed into a stage And black boxes turned into powerful Pieces of sound equipment. The spring is taut. Backstage while pandemonium Sweeps the hall and people Crowd the arena as ants flow to a cake. The stage is set, the Instruments tuned and placed. The musicians work out last minute Kinks as the lights dim. An intense force hits the spectators. Energy is released in every form. A power rage beyond comprehension.

But if you want to make a place safe for people to take on culprits, and admit their own bad behaviors too, it’s crucial to treat alleged jerks with dignity and respect. That means starting with calm and backstage conversations with them and giving them chances to change. It also means realizing that some people aren’t usually jerks, but there is something about the characters they work with, their customers,

they had to do it anyway. They had to try. They had taken an oath, and they would be faithful to the end. On the bank of surveillance monitors in front of her, she saw a dozen of her best agents—guns drawn—suddenly rush the convention stage, surround the president, grab him by the arms, and literally carry him away, his feet barely touching the ground. Sanchez then bolted out of the command post and met the president’s protective detail backstage and ordered them downstairs, into the makeshift bunker. “Go, go, go,” she yelled as they raced the president down one corridor after another, into a heavily guarded stairwell, and down five flights, eventually bursting into the basement, where all the convention center’s HVAC systems were housed. They turned one corner and then another, ducking pipes and ducts along the way. A moment later, they raced the president into a large storage freezer, slammed the door shut behind them, and worked feverishly to put him in a protective suit, gloves, and mask, pre-positioned there by the army’s nuclear, biological, and chemical fast-reaction team. That done, Sanchez and her agents began to suit up themselves. But just then, Sanchez felt the

I am very often asked why, at the age of eighty-five, I continue to practice. Tip number eighty-five (sheer coincidence that I am now eighty-five years old) begins with a simple declaration: my work with patients enriches my life in that it provides meaning in life. Rarely do I hear therapists complain of a lack of meaning. We live lives of service in which we fix our gaze on the needs of others. We take pleasure not only in helping our patients change, but also in hoping their changes will ripple beyond them toward others. We are also privileged by our role as cradlers of secrets. Every day patients grace us with their secrets, often never before shared. The secrets provide a backstage view of the human condition without social frills, role-playing, bravado, or stage posturing. Being entrusted with such secrets is a privilege given to very few. Sometimes the secrets scorch me and I go home and hold my wife and count my blessings. Moreover, our work provides the opportunity to transcend ourselves and to envision the true and tragic knowledge of the human condition. But we are offered even more. We become explorers immersed in the grandest of pursuits—the development and maintenance of the human mind. Hand in hand with patients, we savor the pleasure of discovery—the “aha” experience when disparate ideational fragments suddenly slide smoothly together into a coherent whole. Sometimes I feel like a guide escorting others through the rooms of their own house. What a treat it is to watch them open doors to rooms never before entered, discover unopened wings of their house containing beautiful and creative pieces of identity. Recently I attended a Christmas service at the Stanford Chapel to hear a sermon by Rev. Jane Shaw that underscored the vital importance of love and compassion. I was moved by her call to put such sentiments into practice whenever we can. Acts of caring and generosity can enrich any environment in which we find ourselves. Her words motivated me to reconsider the role of love in my own profession. I became aware that I have never, not once, used the word love or compassion in my discussions of the practice of psychotherapy. It is a huge omission, which I wish now to correct, for I know that I regularly experience love and compassion in my work as a therapist and do all I can to help patients liberate their love and generosity toward others. If I do not experience these feelings for a particular patient, then it is unlikely I will be of much help. Hence I try to remain alert to my loving feelings or absence of such feelings for my patients.

As for what motivated me, it is quite simple; I would hope that in the eyes of some people it might be sufficient in itself. It was curiosity – the only kind of curiosity, in any case, that is worth acting upon with a degree of obstinacy: not the curiosity that seeks to assimilate what it is proper for one to know, but that which enables one to get free of oneself. After all, what would be the value of the passion for knowledge if it resulted only in a certain amount of knowledgeableness and not, in one way or another and to the extent possible, in the knower’s straying afield of himself? There are times in life when the question of knowing if one can think differently that one thinks, and perceive differently than one sees, is absolutely necessary if one is to go on looking and reflecting at all. People will say, perhaps, that these games with oneself would better be left backstage; or, at best, that they might properly form part of those preliminary exercises that are forgotten once they have served their purpose. But, then, what is philosophy today – philosophical activity, I mean – if it is not the critical work that thought brings to bear on itself? In what does it consist, if not in the endeavour to know how and to what extent it might be possible to think differently, instead of legitimating what is already known?

We had good reason to be anxious, beginning anew without a clue or map, but on our backs in that unnatural whiteness, we lay peaceful as waterfront sunbathers. Our plan was loose and as undefined as the path across a beach—any route seemed possible, all effective in crossing. And a calm energy lit my heart, perceptible in my movements, which seemed slower. Justin switched off the light; momentarily spooked, I wanted to hear his voice. I spoke into dim space: “I bet you’ll do big things here too—” “I never want to work again,” he cut me off, his unexpected decree like stardust in the darkness. For a moment, the blankness of New York’s canvas took on an energetic tone of backstage butterflies.

Please get off me, please, I don't wanna to have something with you" (Well said, by a woman (The Wolf of Wall Street) ), as far as I can see I really like how is made everything, unfortunately what happens is just incrediable from one point of a view. How business man, goes will go in jail for 20 years, his wife have fuck with some kind a Swedish man, who works for her husband,.. everyone should check out this film. That's how everything goes, that's what happens backstage! Anger and agressive stuff, that's the truth, don't run from it, what I saw isn't for first time, one stuff goes in silence then in shouting other go in shouting and in shouting. To have hot chick to have everything to get so devastated?? It's fucking suicide, as for me!

My neck was messed up and I was about to get my ass kicked by my archnemesis and my ex. It couldn’t get much worse than that. But we were at the worlds, in this huge arena with everyone cheering. We had made it this far, and I was proud of how hard we worked. “You know, let’s just have an awesome time.” And that was it: I took all this pressure off us. We danced our butts off and I forgot to worry about my neck or Rachael and Evgeni. I was just living in the moment, pulling my energy from the roaring crowd. They were going crazy for their Czech Republic representatives, but I didn’t care. I used their energy to fuel mine. There was such a joy and freedom to my dancing that day. I gave myself permission to just let it all go, and my dancing felt pure and unbridled. We got to the finale--I somehow hung in there--and my neck was so tight and throbbing, I could barely turn it to see where Aneta was. It was kind of like dancing with blinders on; I had tunnel vision. Yet on we danced, till the judges called time. I had made it; we had made it. All I wanted now was a huge ice pack and a nap. They read the names out from sixth place to first. We were standing backstage behind a huge curtain, and Rachael and Evgeni were right next to us. Swell.

The best advice came from the legendary actor the late Sir John Mills, who I sat next to backstage at a lecture we were doing together. He told me he considered the key to public speaking to be this: “Be sincere, be brief, be seated.” Inspired words. And it changed the way I spoke publicly from then on. Keep it short. Keep it from the heart. Men tend to think that they have to be funny, witty, or incisive onstage. You don’t. You just have to be honest. If you can be intimate and give the inside story--emotions, doubts, struggles, fears, the lot--then people will respond. I went on to give thanks all around the world to some of the biggest corporations in business--and I always tried to live by that. Make it personal, and people will stand beside you. As I started to do bigger and bigger events for companies, I wrongly assumed that I should, in turn, start to look much smarter and speak more “corporately.” I was dead wrong--and I learned that fast. When we pretend, people get bored. But stay yourself, talk intimately, and keep the message simple, and it doesn’t matter what the hell you wear. It does, though, take courage, in front of five thousand people, to open yourself up and say you really struggle with self-doubt. Especially when you are meant to be there as a motivational speaker. But if you keep it real, then you give people something real to take away. “If he can, then so can I” is always going to be a powerful message. For kids, for businessmen--and for aspiring adventurers. I really am pretty average. I promise you. Ask Shara…ask Hugo. I am ordinary, but I am determined. I did, though--as the corporation started to pay me more--begin to doubt whether I was really worth the money. It all seemed kind of weird to me. I mean, was my talk a hundred times better now than the one I gave in the Drakensberg Mountains? No. But on the other hand, if you can help people feel stronger and more capable because of what you tell them, then it becomes worthwhile for companies in ways that are impossible to quantify. If that wasn’t true, then I wouldn’t get asked to speak so often, still to this day. And the story of Everest--a mountain, like life, and like business--is always going to work as a metaphor. You have got to work together, work hard, and go the extra mile. Look after each other, be ambitious, and take calculated, well-timed risks. Give your heart to the goal, and it will repay you. Now, are we talking business or climbing? That’s what I mean.

put on three plays a year. This was Millie's second year in drama, and she had only done bit roles, which suited her fine. She confided in Lila that her real reason for joining the group was to find a husband—she had no acting ambition. All the interesting guys hung around there. They were already into rehearsals of The Owl and the Pussycat, the December production, starring the two most talented actors in school. She persuaded Lila to sneak backstage and watch. Millie ushered Lila into the wings of the dark stage. Lila melted into the curtain and watched the actors rehearse, illuminated only by the work light. Their voices resonated in the empty auditorium, filling Lila with awe. Absorbed in their performance, Lila startled when the instructor called for a break. She realized she had been holding her breath. Suddenly she knew she wanted to join this group. Yet she would never have the courage to do it. How could she? She was no match for these students. They probably had taken acting lessons and performed plays all through high school. All Lila had to her credit was her fifth-grade Christmas performance. But she knew in that moment that every chance she had would be spent in this theater, watching an enchanting world. At the campus bookstore she flipped through a copy of The

It’s impossible to describe the atmosphere backstage: frantic, fraught and totally electrifying. Words can’t do it justice; it’s a visual circus! Here, all your research, all your sleepless nights, all your ideas fuse with the best hair, make-up and models in the world. Dreams become reality. Here, months of work is condensed into seconds and every second blurs—unless caught in the shutter of a camera—as final tweaks are made before she steps onto the stage … As our swans glide out onto the runway, no one out front is aware of all the pushing, pulling and preening that you don’t see.

Jimmy,” he shouts at a midlevel guy without even turning around to face us, “what business are we in?” Jimmy replies as if by rote, “We’re in the moving business.” Big Shot’s first syllable steps on the hem of Jimmy’s last: “Hear that, boys? We’re in the moving business, we ain’t in the storage business. You got a position not working out, today is when you sell it and you do that G. You write those tickets today no matter what, I don’t give a f*ck what story you need to tell.

The Nine lived and worked on top of one another. Between changing backstage, the house, and the romances, they had seen each other in every stage of undress. There was nothing strange about having visitors when you were in the bath.

Layla almost jumped. “Donovan,” she said with a sigh. “Time to go. He's gotta go to work after he takes me home.” “Girl, that dude sure has got you on a tight chain,” Jillian remarked. “You don't know what you're talking about. Donovan is the best thing that ever happened to me,” Layla shot back. “You bombed your dance because of him,” Jillian said, exasperated. “He made you lose your concentration, showing up backstage.” “That was not Donny's bad,” Layla replied hotly. “I was the only one on that stage. I just messed up.

Frank Zappa: 'What if I told you that a lot of other musicians are as sick of society's decay as you are? What if I told you there's a secret place they can go, where they can live and work in peace? And not only them: actors, writers, scientists, Madonna?' i-phone: 'Frankie-boy, this here's the Colonel. Meet me backstage, pronto!' Frank Sinatra: 'I'd say, what are we waiting for?' Frank Sinatra

How to deal with the chauvinism was something else again. Anne Beatts wanted to confront it directly, in unity, perhaps by forming a “coalition” to take their grievances to Lorne. Marilyn Miller didn’t go for that. The show was no different from any corporate environment, she said: You either put up quality work or shut up. Organized movements got you nowhere.

A key member of the show’s production staff found that she had to stop smoking pot when she worked on Saturday Night—ironically, since it was the first job she’d ever had where she could smoke pot—because it made her too sensitive, too soft in dealing with all the people calling in who wanted something. With cocaine she found she could tell them no very efficiently, very fast, with no emotion whatsoever. “Coke,” she said, “takes the heart out of people. It’s irrelevant if you’re hurting somebody. It’s all what you want to get across at the moment and who you want to listen to you.

Lorne’s bait for attracting that talent would be to offer them an honest chance to get their work across to a huge audience they all believed was out there, waiting. Lorne often said that in television creative people were usually given a great deal of money and no freedom. He promised to reverse that ratio. The money would come in time. The strength of the comedy underground also allowed Lorne the luxury of searching out what he called “disciplined shock troops”—people who could go in and get the job done. He wanted Saturday Night to be different and startling, but not for the wrong reasons. The sensibility should be fresh, even raw, but the execution smooth, if not seamless. He didn’t want people saying of the show, “They’re going to be great when they get it together.” Monty Python’s Eric Idle had once described Python as “the best comedy fighting team ever assembled,” and that’s what Lorne said he was after.

Tom Schiller recalls going in to ask Lorne about a new ending for a sketch he was working on. “Lorne would say, ‘Well, I like it for three reasons and I don’t like it for four reasons.’ And suddenly he’d whip off these four reasons, and you’d think to yourself, ‘How could he remember four reasons to talk about?’ But then you’d think that maybe he was thinking of the next one while he was saying the first one and he made it up. So you would be spellbound at the process, and you would leave sort of befuddled and enthusiastic at the same time, and sort of despondent that you had to rework your piece. That happened over and over again.

Author and entrepreneur, James Altucher, in his book, I Was Blind But Now I See, suggests that, the best thing you can do is avoid all news. He explains why he’s qualified to give that advice: I’ve worked for over a dozen media companies. I’ve written for newspapers, TV shows, I’ve been a pundit on TV shows … so I know what they are up to. He goes on to share that he was backstage at a news show when the producer told him: Don’t fool yourself – all of this is just filler in between advertisements. I share these stories because I don’t want the media’s headlines to scare you. The purpose of this chapter is to help you understand the world you are living in so you can make wiser decisions.

I was not perpetually sad – that’s not what depression is. More than ever before, I was tired all the time. I had lost interest in most activities. I was eating whatever, whenever, drinking more and more. I was easily irritated. Despite wanting to do not much more than sleep, I couldn’t sleep. I had developed chronic back pain that even an MRI could not diagnose. These were the individual signs and symptoms of depression I had battled for decades, and now I was experiencing them all at the same time and they were not going away. I was no longer able to hide what I was dealing with from my family and those closest to me. More than anyone, my wife knew that, if she couldn’t find me in my home office, my work for the day was done and I was in our room binge-watching something on the television, anything to get away from the noise of life. On stage, in court, in public and on social media, I remained in character: high energy and high efficiency, just another terrific day. Backstage, away from where you could see me, where only my family and closest friends could see, nothing: an empty shell. That’s no way to exist and it certainly is not living.

The crowd began to murmur in the indistinguishable syllables of backstage banter. As the ball ascended, so did the volume of the murmurs. Words could be made out. Then phrases. “Lovely golf stroke.” “Super golf shot.” “Beautiful golf shot.” “Truly fine golf stroke.” They always said golf stroke, like someone might mistake it for a swim stroke, or—as Myron was currently contemplating in this blazing heat—a sunstroke. “Mr. Bolitar?” Myron took the periscope away from his eyes. He was tempted to yell “Up periscope,” but feared some at stately, snooty Merion Golf Club would view the act as immature. Especially during the U.S. Open. He looked down at a ruddy-faced man of about seventy. “Your pants,” Myron said. “Pardon me?” “You’re afraid of getting hit by a golf cart, right?” They were orange and yellow in a hue slightly more luminous than a bursting supernova. To be fair, the man’s clothing hardly stood out. Most in the crowd seemed to have woken up wondering what apparel they possessed that would clash with, say, the free world. Orange and green tints found exclusively in several of your tackiest neon signs adorned many. Yellow and some strange shades of purple were also quite big—usually together—like a color scheme rejected by a Midwest high school cheerleading squad. It was as if being surrounded by all this God-given natural beauty made one want to do all in his power to offset it. Or maybe there was something else at work here. Maybe the ugly clothes had a more functional origin. Maybe in the old days, when animals roamed free, golfers dressed this way to ward off dangerous wildlife. Good

Ned Sherrin Ned Sherrin is a satirist, novelist, anthologist, film producer, and celebrated theater director who has been at the heart of British broadcasting and the arts for more than fifty years. I had met Diana, Princess of Wales--perhaps “I had been presented to” is more accurate--in lineups after charity shows that I had been compering and at which she was the royal guest of honor. There were the usual polite exchanges. On royal visits backstage, Princess Alexandra was the most relaxed, on occasion wickedly suggesting that she caught a glimpse of romantic chemistry between two performers and setting off giggles. Princess Margaret was the most artistically acute, the Queen the most conscientious; although she did once sweep past me to get to Bill Haley, of whom she was a fan. Prince Edward could, at one time, be persuaded to do an irreverent impression of his older brother, Prince Charles. Princess Diana seemed to enjoy herself, but she was still new to the job and did not linger down the line. Around this time, a friend of mine opened a restaurant in London. From one conversation, I gathered that although it was packed in the evenings, business was slow at lunchtime. Soon afterward, I got a very “cloak-and-dagger” phone call from him. He spoke in hushed tones, muttering something like “Lunch next Wednesday, small party, royal person, hush-hush.” From this, I inferred that he wanted me and, I had no doubt, other friends to bring a small party to dress the restaurant, to which he was bringing the “royal person” in a bid to up its fashionable appeal during the day. When Wednesday dawned, the luncheon clashed with a couple of meetings, and although feeling disloyal, I did not see how I was going to be able to round up three or four people--even for a free lunch. Guiltily, I rang his office and apologized profusely to his secretary for not being able to make it. The next morning, he telephoned, puzzled and aggrieved. “There were only going to be the four of us,” he said. “Princess Diana had been looking forward to meeting you properly. She was very disappointed that you couldn’t make it.” I felt suitably stupid--but, as luck had it, a few weeks later I found myself sitting next to her at a charity dinner at the Garrick Club. I explained the whole disastrous misunderstanding, and we had a very jolly time laughing at the coincidence that she was dining at this exclusive club before her husband, who had just been elected a member with some publicity. Prince Charles was in the hospital at the time recuperating from a polo injury. Although hindsight tells us that the marriage was already in difficulties, that was not generally known, so in answer to my inquiries, she replied sympathetically that he was recovering well. We talked a lot about the theater and her faux pas some years before when she had been to Noel Coward’s Hay Fever and confessed to the star, Penelope Keith, that it was the first Coward play that she had seen. “The first,” said Penelope, shocked. “Well,” Diana said to me, “I was only eighteen!” Our meeting was at the height of the AIDS crisis, and as we were both working a lot for AIDS charities, we had many notes to compare and friends to mourn. The evening ended with a dance--but being no Travolta myself, I doubt that my partnering was the high point for her.

She was the backstage director who worked so hard to make the star shine and without whom there could be no show. She was needed. And that made her feel secure. Marriage

My worst ever speech was one I did for a pharmaceutical company in South Africa. They were paying me $1,000 and my airfare. It was a fortune to me at the time, and I couldn’t believe my luck. That would last Shara and me for months. I soon found myself at a hotel in the Drakensberg Mountains, waiting for six hundred sales staff to arrive at the conference center. Their bus journey up had been a long one and they had been supplied with beer, nonstop, for the previous five hours. By the time they rolled off the buses, many of them were tripping over their bags--laughing and roaring drunk. Nightmare. I had been asked to speak after dinner--and for a minimum of an hour. Even I knew that an hour after dinner was suicide. But they were insistent. They wanted their thousand’s worth. After a long, booze-filled dinner that never seemed to end, the delegates really were totally paralytic. I was holding my head in my hands backstage. Sweet Jesus. Then, just as I walked out on stage, the lights went out and there was a power cut. You have got to be joking. The organizers found candles to light the room (which also meant no slides), and then I was on. It was well after midnight by now. Oh, and did I mention that all the delegates were Afrikaans-speaking, so English was their second language, at best? Sure enough, the heckling started before I even opened my mouth. “We don’t want an after-dinner speaker,” one drunk man shouted, almost falling off his chair. Listen, nor do I, big fella, I thought. I suspect it was just as painful an hour for him as it was for me. But I persevered and endeavored to learn how to tell a story well. After all, it was my only source of work, and my only way of trying to find new sponsors for any other expeditions that I hoped to lead.

An article the following week charged that one amateur had been cruelly set up for national ridicule. Barely had his song begun when Bowes gave him the gong. The audience roared with laughter: the major smiled, not unkindly. But when the defeated amateur was ushered backstage, he stole a peek at the program log. He had been scheduled for one minute only, confirming his sudden realization that he’d been made a goat. “I knew I couldn’t do my song in just one minute.” The article also repeated the charge that vaudeville professionals were sneaking in, people “willing to work for the major’s ten dollars in order to keep from starving.” Bowes continued to insist that every effort was made to keep professionals out.

Wilson, “whose strange past is darkly troubled” (Radio Life), and Ray Brandon, a bitter ex-con on parole. By the early 1950s, the Bauer family had become the serial’s center: Bill and Bertha (Bert), their 11-year-old son, Michael, and Meta Bauer, Bill’s sister. Three decades later, the TV serial was still focused on the Bauer brothers and their careers in law and medicine. The Ruthledges and the Kranskys were fading memories, and the “guiding light” of the title was little more than symbolic. In its heyday, it was one of Phillips’s prime showpieces. She produced it independently, sold it to sponsors, and offered it to the network as a complete package. Phillips paid her own casts, announcers, production crews, and advisers (two doctors and a lawyer on retainer) and still earned $5,000 a week. She dared to depart from formula, even to the extent of occasionally turning over whole shows to Ruthledge sermons. Her organist, Bernice Yanocek, worked her other shows as well, and the music was sometimes incorporated into the storylines, as being played by Mary Ruthledge in her father’s church. A few episodes exist from the prime years. Of equal interest is an R-rated cast record, produced for Phillips when the show was moving to New York and the story was changing direction. It’s typical racy backstage stuff, full of lines like “When your bowels are in a bind, try new Duz with the hair-trigger formula.” It shows what uninhibited fun these radio people had together.

The establishment was almost empty on the humid afternoon of July 26 when Tom Hamburger, a reporter for The Washington Post, settled into a quiet corner. One of the more seasoned members of a distinct Washington breed, investigative reporters who specialize in digging through thick stacks of campaign finance reports and finding sources privy to backstage maneuvers, Hamburger had worked at the Los Angeles Times and The Wall Street Journal, where he toiled alongside Glenn Simpson before the latter’s departure from the news business to found Fusion GPS.

Our ongoing Hollywood education included the lesson that moviemaking is not finished once you actually make the movie. After that, you have to promote the movie, because if the audience doesn’t show up, all your hard work is a bit pointless. But before we could sell Crocodile Hunter: Collision Course to audiences, we had to sell it to the theater owners who were going to show it to the public. So the first stop for our promotional efforts was a gathering of movie theater exhibitors called Show West, in Las Vegas. We would team up there with Bruce Willis, who had an interest in producing our movie. Bindi and I had been in Oregon for a few days, visiting family, and we planned to catch up with Steve in Las Vegas. But she and I had an ugly incident at the airport when we arrived. A Vegas lowlife approached us, his hat pulled down, big sunglasses on his face, and displaying some of the worst dentistry I’ve ever seen. He leered at us, obviously drunk or crazy, and tried to kiss me. I backed off rapidly and looked for Steve. I knew I could rely on him to take care of any creep I encountered. Then it dawned on me: The creep was Steve. In order to move around the airport without anyone recognizing him, he put on false teeth and changed his usual clothes. I didn’t recognize my own husband out of his khakis. I burst out laughing. Bindi was wide-eyed. “Look, it’s your daddy.” It took her a while before she was sure. Our Show West presentation featured live wildlife, organized wonderfully by Wes. Bruce Willis spoke. “I sometimes play an action hero myself,” he said, “but you’ll see that Steve is a real-life action hero.” Bindi brought a ball python out on stage. Backstage, she and Bruce hit it off. He has three daughters of his own, and he immediately connected with Bindi. They wound up playing with the lion cubs and the other animals that Wes had organized there.

And of course, beginning in ’65, I’m starting to get stoned—a lifelong habit now—which also intensified my impressions of what was going on. Just smoking the weed at the time. The guys I met on the road were, to me then, older men in their thirties, some in their forties, black bands that we were playing with. And we’d be up all night and we’d get to the gig and there would be these brothers in their sharkskin suits, the chain, the waistcoat, the hair gel, and they’re all shaved and groomed, so fit and sweet, and we’d just drag our asses in. One day I was feeling so ragged getting to the gig, and these brothers were so together, and shit, they were working the same schedule we were. So I said to one of these guys, a horn player, “Jesus, how do you look so good every day?” And he pulled his coat back and reached into his waistcoat pocket and said, “You take one of these, you smoke one of those.” Best bit of advice. He gave me a little white pill, a white cross, and a joint. This is how we do it: you take one of these and you smoke one of these. But keep it dark! That was the line I left the room with. Now we’ve told you, keep it dark. And I felt like I’d just been let into a secret society. Is it all right if I tell the other guys? Yeah, but keep it amongst yourselves. Backstage it had been going on from time immemorial. The joint really got my attention. The joint got my attention so much that I forgot to take the Benzedrine. They made good speed in those days. Oh yeah, it was pure. You could get hold of speed at any truck stop; truck drivers relied upon it. Stop over here, pull over to some truck stop and ask for Dave. Give me a Jack Daniel’s on the rocks and a bag. Gimme a pigfoot and a bottle of beer.