The Incredible Journey from the "Silver Screen to the Stars"
Interview by: Steve Wheate
Darwin Lamm is well known in the Elvis World as the Publisher of the "Officially Licensed Elvis Magazine" as well as his highly successful "Elvis Concerts". Also, Lamm is recognized as the Pioneer in Radio Syndication. With partner Dick Clark they opened the door for "Talk Radio Shows around the country . Then Lamm, created his own company, "Creative Radio Shows" producing Music Specials of major recording artists and the first Company to Syndicate them to radio stations around the world.
LITTLE KNOWN
Prior to 20 years in RADIO, Lamm was an "Agent to the Stars." That seems to be the most frequently asked question...how did you ever become an "Agent to the Stars"? We asked Lamm just that and glad we did. I'm sure you will find it quite interesting as he gives you insight into the entertainment business.
"AGENT TO THE STARS"
Steve: Darwin, I understand you are already writing a book called: "From the Silver Screen to the Stars" - The Incredible Journey.
The question I have is: What's the background to you and the Entertainment business?
Darwin: I knew at a very early age that I wanted to be in the entertainment business. There wasn't any one specific part of the business that I was focused on as a child; it seems I would go from one phase of the business to another, wherever it seemed to lead me. I guess I was about 8 years old when my mom started taking me to the movies. You have to remember, this was before Television (at least at our house). Tuesday night was "free" for children, and I will admit, I was always excited to go. First, we were treated to a Cartoon, then a Newsreel about the war in Europe, and then, the movie. I was fascinated watching the Movie Stars up on the Silver Screen. I couldn't sleep for several nights as I would relive the movie, and if I didn't like the ending, I would rewrite the ending in my mind, the way I thought it should be.
"SATURDAY MATINEE"
I'll never forget my first experience with the Saturday Matinee. I was hooked!! There was no way I would miss the Saturday Matinee with my heroes: Roy Rogers, Gene Autry, Tarzan, Superman, the Lone Ranger, and more. I actually had to go to work at 9 years old because my mom couldn't afford the 15 cents. I shoveled snow, shined shoes, and sold papers.
Steve: I believe that was in the small midwest town of Brainerd MN. That's a long way from Hollywood. What happened in-between that led you to 1966 and working with the Superstars in the entertainment business? I know you had some success in 1960 with two hit records in the Great Northwest; is that how you found your way to Hollywood?
Darwin: Well, in 1961, my friend Tom and I left Vancouver Washington, on our way to Hollywood, but fate had something else in mind, and I ended up turning around and going to Alaska. (Long story.) But I loved it- skin diving for gold, hunting moose for food, and commercial fishing for salmon. Also, the top "DJ" in Anchorage was having fun with my hit records all over again. Booking me at concerts and TV shows. They even had a "Win a Date with Darwin Contest." But that was still a long way from Hollywood, so in 1964 after the major earthquake in Alaska, I moved to Hollywood. It was not easy; my buddy Tom expected me to pay rent (of all the nerve). I had to fall back on my primary job I had in high school, where I worked for a small butcher shop. I called "Oscar Meyer," told them my background, and was hired (not as a meat cutter) but as a Weiner hanger... you laugh, but I was fast, so fast that I received an extra bonus every week... Big Bucks.
Steve: Did you continue to sing, perform, and release more records?
Darwin: Yes, I had written several songs and was signed by "Dore Records." I'll tell you a funny story.... While I was working at "Oscar Meyer" no one knew I had any desire to sing, and when my new record came out, it was receiving some great recognition from the Radio Stations. The record label asked me to perform the song on a top Bandstand-type TV Show in Los Angeles called the "Loyd Thaxton" show. It was a Saturday show, and when I returned Monday to hang "Weiners," about 18 of my co-workers were waiting for me with balloons and applause. They couldn't believe it. I bet I sold a lot of records because of that TV performance... at least 18 records. Ha ha.
Steve: Another phase of the music business you were involved in was as a record producer.
Darwin: Well, that did happen, but on a small scale. I finally found a job at a small recording Studio on Sunset Boulevard. I was working as a music engineer, recording whoever would walk in off the street to record a demo record, a song, a poem, or even a commercial. Having had two "semi" hit records in 1960 on Jerden Records in the Northwest, it at least gave me some credibility with the owner of the Recording Studio. Lots of credibility, but a salary of only $40.00 a week. Thank goodness I had a little extra money coming in from a "Squirt Commercial" which was being played on Radio and TV.
A few months later I was able to land a 'Head and Shoulders" commercial. In a way, working at the recording studio was a dream job. I was able to write and record my own new songs as well as record other talent I believed had that special song. One of the young groups I felt strongly about was called "The Syndicate." I had started working with them and liked what I heard, so I arranged for them to come into the studio, late in the evening, and I would record them at no charge, with the hopes of taking their demo to a record label to get them a deal. After several recording sessions, I felt we came up with a couple of songs that were quite good, so I made demos and brought them to "Dot Records." They liked what they heard, signed the group, and within a short time, the record was on the charts and doing well. It was at that point that I felt we needed an agent to start booking them as an opening act for tours. Yeah right, how do you find an agent?
Since there was no "Google" at that time, I turned to a book called "Phone Book." It was a thick book with yellow pages in the back with all kinds of businesses. The good thing about being naive is, I just started calling different agencies; the first few said "no and not interested" but I kept going. When I got to the "C"s in the phone book, it led me to an agency called CMA-Creative Management Associates. Again, I was put on hold and switched around a bit, then finally someone answered the phone. I gave him my pitch on the group. There was not a lot of interest on the other end, but I kept selling him as to how well their record was doing and could I drop off the Record and Promo material for his consideration. The nice man said okay, feel free to drop it off. I was there the next day. (Now, I need to explain I had been to many agents' offices while I was singing in a group called Darwin and the Cupids. We had a couple of records on the charts, and I was always trying to find someone to book us. I can tell you that all the agents' offices that I saw were 12x12 rooms in the back of a club, a bit sleazy to say the least. So when I walked into 9255 Sunset Boulevard and saw this huge six-story building... I was impressed.)
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I gave the receptionist my name and asked to see Mr. Thompson. She directed me to the elevator and told me to hit the penthouse. Now, I'm getting a bit nervous; this is a major business. But I didn't realize how big it was till I got off the elevator where I entered a large waiting room with beautiful pictures of many of the Stars I grew up with as a kid: Kirk Douglas, Judy Garland, Henry Fonda, Tony Curtis, Fred Astaire, and so many more. I thought for sure I was in the wrong place, when another receptionist asked if she could help me. Again, I mentioned I had promotional material for Mr. Thompson. I expected to drop it off with her and just hope he would get it, but Instead of saying "I'll make sure he gets it," she said he's down the hall, last office on the right.
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We spent about 45 minutes together covering my sales pitch for the group and my background. He finally explained that my group was not in the same category as the Superstars represented by CMA and gave me a few music-type agencies that may be more suited for a rock group. Then out of the blue, he says: I'm the office manager here and looking to fill a position at the agency as an agent trainee. He went through some of the responsibilities: helping the agents out with their needs as well as their clients' needs, picking up the clients, driving them to a studio, a TV show, or even the airport.
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The thought of hanging out with the Stars I watched as a kid was overwhelming. He wanted me to meet Stan Melander, who was an agent trainee as well. It turns out his main responsibility was taking care of the mailroom. We chatted for another half hour, and he was impressed that I had recorded some songs and had been working with rock groups. He put in a good word for me, and the next day I got the call from Mr. Thompson. It was a tough decision; I was doing what I loved, working part-time as a recording engineer, writing and recording my own songs, and managing a rock group. But something told me, it was a great opportunity, even my boss at the recording studio agreed, "don't pass up an opportunity like that, and you can always come around and spend time in the studio. I feel the main reason I made the decision to take the job at CMA Talent agency was that it was a steady job with great health insurance. Certainly not a lot more money, $65.00 a week, but I had recently gotten married with a child on the way. It turned out to be the right decision as our little girl was born premature, with many health issues.
AGENT TRAINEE
To be honest, after several months, although I was thrilled to meet the Stars, I felt I was nothing more than a gopher, go here, go there, pick that up, pick up so-and-so. I felt I lost all my creativity. I was so used to making things happen, for me as well as others. I wasn't happy.
Steve: But, you stuck it out.
Darwin: I did, but I ended up doing that job for security, during the day and went back to the studio at night. In just a few weeks, I recorded a song for a songwriter called "Beachcomber," and I took it to my friend Jimmy Rogers at Dot Records, and he loved it, and I was able to be at the session. Actually, the only reason I was asked to rush over to the session was, they couldn't figure out how I got the soft sound of the waves rolling in. They tried everything, but they couldn't get it. I had to tell them, we didn't use drums; we need a cardboard box. Sure enough, swishing the soft brushes over the cardboard did the trick.
Steve: I know you eventually became an agent because I've heard some of the fascinating stories you've told about Shelly Winters, Lily Thomlin, Dean Martin, Steve Martin, and even Liberace.
Darwin: Yes, and actually, it happened faster than I ever imagined. I remember Stan and I talked about how hard it was to ever become an agent. Either you had to be a kid born to a big shot agent or a kid born from a top movie star. Stan had seen it happen before, one of Kirk Douglas' sons, who couldn't find a job, came in as an agent trainee over Stan, who had been there over a year and was still in the mailroom. The kid was let go; he lasted three weeks. Oh, yeah... his name was Michael Douglas.
Steve: How long did it take for you to become an agent and what was it that made it happen for you?
Darwin: I feel the most important step to becoming an agent was helping Shep Fields in the Variety department. He really took me under his wing, and the more he found out about my background in music, record contracts, and producing records, the more he trusted me and gave me more responsibilities.
I have so many stories about Shep and me because we spent so much time together. We had a client, a famous actor from Ireland; his name was Richard Harris. He was also famous for belting out songs on Big Stage productions in England. Shep, being a big band leader from the old days, didn't know what to do with him but wanted to secure him a record deal. He called Columbia records, and although I had never dealt with Columbia records in the past, I was very aware of Johnny Cash, Tony Bennett, and other talent being on Columbia. This had to be early 1968 because I was already an agent, and Shep set up an appointment with Clive Davis. Shep was selling Mr. Davis on the idea of a big band production, much like Richard Harris sang on stage. Then the conversation switched to another big songwriter and artist, Jimmy Webb, who was really hot at the time. Although Shep didn't know of him, I was really into his music, and Mr. Davis and I were able to reflect on songs he wrote for Glen Campbell ("Galveston") and the Fifth Dimension ("Up, Up And Away"). Then I mentioned, what about a Jimmy Webb song that Richard Harris could sing. Wow!! Shep quickly said in a sharp manner... no!! He needs to sing with a big Orchestra. But thankfully, Mr. Davis saved my butt and said, "Actually, Webb has several songs that may work for Richard Harris, I'll look into that possibility." Five months later, the album debuted: "MacArthur Park," by Richard Harris.
It was Shep who let me go beyond just being an agent trainee. With him, I was involved in so many decisions and ideas, not just a gopher. I felt I was really contributing.
TURNING POINT
One day I picked up Peter Falk to drop him off at the Movie Studio, and he asked if anyone at the agency could book him on some of the game shows. He liked "Hollywood Squares" and thought it might be fun. I explained they didn't really book talent on game shows or talk shows, but I would look into it.
It was an easy call to the "Hollywood Squares" and the other game shows. They welcomed me with open arms; finally, someone from CMA would help them reach the superstars. It wasn't long before I was booking Peter Falk, Shelly Winters, John Forsythe, and many other actors and comedians on various TV shows.
Steve: So, was it okay to book them without you being a licensed agent?
Darwin: Not really, but no one brought up the fact that I was not an agent, and my boss Shep Fields, who was in charge of the Variety department, looked at it as if I was working for clients who wanted to promote something or perform on TV, so he went along with it.
Steve: So, you could say it was Shep Fields who really helped you become an agent.
Darwin: Indirectly, yes. But the final decision was made by Freddie Fields. There was always a weekly meeting with all the top agents. It was fascinating, an eye-opening creative session where important and creative decisions were made for the major superstars in the entertainment business. This was the most prestigious agency in the Motion Picture business, and most importantly, Freddy Fields was known as the Major Deal Maker in Hollywood.
Here I am driving his Bentley around town to pick up Paul Newman or Henry Fonda or personally spend time with whoever he told me to. I'll never forget I had to spend two days with a guy I never heard of, and he drove me nuts. He had just arrived from England to film his new movie, and his demands were a projector, a screen, set it up and run it for him so he could understand his "movie roll." (Very strange, weird, guy.) Oh yes, his name was Peter Sellers, and the film was "Pink Panther."
Sorry, I was telling you about what happened in the meeting. So, my boss Shep Fields was Freddy Field's brother, the most powerful man in Hollywood. Shep suggested that I go to the meetings, sit in the back, never ever say a word, and never take notes. (They always worried about someone stealing their secrets.) Shep was afraid I might do something wrong, and it would reflect back on him.
I remember one time my name was brought up in the meeting. Elliott Gould was a big star at the time and wanted some help with his wife. She had a record coming out and was going to debut the record at a major charity benefit at the Hollywood Bowl. Elliott expected someone to pick her up and be represented by CMA at the event. Freddy Fields looked at the agent and told him sternly, "You take care of that yourself." The agent then said, "Can Darwin help me out?" Freddie Fields approved. As I look back now on that day, it was quite a big deal, especially since her career exploded from that charity event. The funny thing was a few years later, she was the superstar, not Elliott Gould. Oh yes, her name was... Barbara Streisand.
YOU'RE FIRED
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I'll never forget; one time the meeting was almost over when Mr. Freddie Fields turned to his brother Shep and asked him to explain a number of TV shows and different appearances booked under his department. He said normally that's handled by their public relations firms; why are you booking these events? Well, poor Shep took it as he was in trouble, so he quickly said, "Well, it's something Darwin has been doing at the request of our clients." Freddie asked, "Did Darwin handle the agreements with the various studios?" Shep said yes. Freddy then asked, "Did Darwin handle the agreement for Henry Fonda to do a voice-over radio commercial?" Shep said yes. Then Freddie turned to Mr. Shepard, the personal agent for Henry Fonda, and asked him if he was aware of this deal. Thank goodness he confirmed that I brought the offer to him, and he ran it by Mr. Fonda, and he approved it for $40,000. Freddy looks at Shep and says, "We have a problem. Darwin is not a licensed agent; therefore, you will have to 'Fire him' or license him as an agent." My heart sank because, to be honest, I really didn't know what would happen. I went back to the mail room and waited until I got the call to go to Shep's office. Needless to say, I was relieved to see a smile on his face, and he told me he had filed papers. I was now licensed as an agent.
It took me on a journey I could have never imagined, working with so many wonderful celebrities and actually being instrumental in shaping a few of their careers. It was a journey filled with excitement, creativity, but most importantly, it meant so much to me to meet and work with the stars I grew up with, "Up on the Silver Screen."
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