Originally shared in 2003,
this is about the job I loved most in my life- working as a producer at
Opryland Productions, aka Opryland Talent, aka OTI, etc. etc. Please remember
that in 2003 $750 was a lot of money…. If you were there then, this will make sense and maybe make you laugh. If you weren't, well, I don't know… see what you think.
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Here's my remembrance of
being the producer for even a very simple event just after the park closed.
The sales person comes to me
and explains what they want and I try to invent it for the sad amount of money
they say they have. I do this primarily by calling musicians and begging them
to work for millions of dollars less than they want. I promise them future
work, Christmas shows, anything they want... I am compelled to listen to an
endless speech about how they are treated poorly, unappreciated, not allowed to
eat and have to go in through the back door. They don't like the parking, don't
like the breaks, don't like the chairs, don't like the room, the acoustics, the
stage, the room captain, the agent on duty, the sound tech, the lighting, the
equipment or the requested attire. They hate the hotel and hate Gaylord and
hate my ten best friends. They hate Opryland in general and why are we so
stupid as to close the park and didn't we know it was a bad idea. I sympathize
and explain that it wasn't my decision to sell the park. They check their book
and ask their wife and finally they say they'll do it because they have nothing
else to do that night and we've been such friends for so many years now.
I call the client to
confirm details and it turns out that what they actually want is nothing like
what the sales person said they wanted. For instance, the sales person might
have asked me to find an outstanding classical ensemble but the client actually
wants bluegrass. Fortunately, this is Nashville and all the musicians play
everything so I call the classical musician back and ask him to change. He
complains again that he has to change musicians and attire and instruments and
that we need to get our act together out here and does bluegrass pay the same
as classical.... I tell him how deeply and truly sorry I am and he finally says
okay, at least he can use the same bass player.
So I tell the client I have
just the band she needs, guaranteed to make her look good to her boss and all
the attendees. I make up a name because they all have the same one: The
[Musician's Name Here] Band. "Yes ma'am, Southern Thunder's the best.
Music City Magic will give it up! No band comes close to the Soggy Bottom
Boys." That's right, I used it long before the movie came out.
Then I tell the sales agent
that they need to change the act description in the paperwork. They get mad
because they already turned it in and why did I have to go and switch it when
it was fine just like it was and the client is not going to like Bluegrass.
Nobody likes bluegrass. They sing through their noses. And it doesn't
cost as much as classical.
So I call the venue and talk
to the catering manager, who only tolerates me because now and then I get her
into a concert she likes. She listens patiently to my request for a 12 x 16 x
24" riser and some water for the band. She wants me to reiterate to the
band not to park on the ramp or they'll get towed and that they can't eat the
food and they can't drink the drinks and they need to take breaks in the chat and chew, which is
roughly two miles away. I agree & hang up.
I call the tech
director and ask for an appropriate p.a. & some basic illumination. He says
he knows what the band needs and to just send him the itinerary and he hangs up
on me so he can get back on line and look at things he's not supposed to.
So I write the itinerary. I
send it to the venue, the tech director, the musician, & the musician's
wife who actually keeps his books and tells him where to go and what to wear. I
make six copies, knowing that everybody will lose theirs before the event. The
day before the gig I call everybody to make sure they remember the event and
don't need any more information.
On the day of the event, I
go to the hotel early to make sure everything is set up. Nothing is set up. So
I call Banquet Set Up and they assure me that the catering manager did not
order a riser for the band & she has to approve it if I want one. It's not
on the plot, they say. I call the catering manager. She says she must have lost
the itinerary and asks to talk to Banquet Set Up on my phone. She tells them to
bring a riser. They cuss in another few languages and leave. I notice the guy
spit all over my phone.
I wait. And wait. And wait.
I call. They say they're coming. I wait and wait and wait. At 45 minutes before
doors open, the technician arrives. He's wearing Zebra leggings, yellow rubber
shoes and a torn shirt that says "F*%$ EVERYTHING!!" He's sweating
and cussing the the hotel people who wouldn't let him up the ramp, cussing the
truck that broke down, and cussing the equipment he's got with him. He says
it'll be no problem to have it all set up in fifteen minutes so we can do a
quick sound check before doors open. Then he leaves to go to the bathroom.
That's when the client comes
in and has a corporate tantrum because there is no band and no p.a. and she
wants to open the doors early, like now. The room captain shows up to help her
yell at me, "Yeah, didn't you order a riser?" Then the tech comes
back and he smells like dope. He introduces himself to the client and tells her
all about his own band that is better than the one he's late setting up for and about how the
equipment we gave him is crap so it may not sound so good. She is relieved when
he excuses himself to answer his phone. She whispers nervously to me,
"Will he be here during the event?" I tell her he will but promise
he'll change clothes.
The bass player shows up
about then and says in front of the client that he'll do his best but he
doesn't usually play bluegrass, he's more of a jazz guy. And whoever decided
bluegrass was the right choice for this event had to be crazy. It's clearly a
jazz room. On his heels comes the banjo player who says that he parked on the
ramp and hopes that's okay. Oh, and is there someplace he can get a drink
before they start.
The guys roll the riser in
at that point and barely miss mowing us down. They set up the 6 x 8 x 8"
riser and leave quickly, with more foreign cuss words still hanging in the air.
The guitarist/leader arrives
and tells me he can't believe we're not set up yet, that he isn't about to show
up for call time when the p.a. is never ready anyway. The technician is setting
up equipment while talking on the phone to his girlfriend and smoking a
cigarette. He assures me he'll be up and running by doors open, no problem.
About then the doors open.
So I beg the guitarist, whose toupee is shedding all over his western shirt, to
just play something through the one mic that's up. So he plays Old Time Rock n
Roll with a "bluegrass feel" and thinks his musical joke is very
funny AND sophisticated. The client is crying and telling me that she'll need a
new job soon. And she asks if the technician can stop bending over and showing
his quarter slot. So I ask the bartender for a double jack & coke, & he
gives it to me because I sound like I need it and I'm carrying a clipboard. You
can get anything, except a riser, by carrying a clipboard. I give the drink to
the client.
The tech finally has audio
up and going, & as the first 500 people rush into the room, the guitarist
and bass player are complaining over the mic that they can't hear anything in
the monitors. The audio guy asks if they are freakin' deaf and they say,
"huh?" The banjo player comes back from moving his car just as the
fiddle player gets there. He's sorry he's late. He thought it was in the
Magnolia ballroom. And he's still
dressed like Tom Jones from his earlier Italian Restaurant Gig. He is wearing
boots, alligator ones, as a concession to looking "bluegrassy" but
you can hardly see them when blinded by his vintage gold medallion reading "The
Streak."
At last the whole band is
onstage and playing and I ask the technician where the lights are. "What
lights?" So we look at the itinerary together, and he says, "Oh yeah,
I guess there are lights on there. Oh well, too late now!" And he sits
down on one of the road cases he didn't have time to move to the hallway. I ask
him if he would mind not holding up hiPENTHOUSE magazine so he puts it away and gets out GUNS &
AMMO.
I look around and figure
that there are a few track lights close enough to slightly illuminate the band.
I turn them on. Two weeks later, I'll get a bill from AV for $750 which
includes four lights, a supervisory technician, power, a paperwork fee, a late
fee, a penalty fee for not ordering ahead of time and a fee for set up and
strike.
The night goes on. The
client gets drunk. Her boss gets drunk. Everybody there gets drunk. The band
plays Rocky Top with underwhelming enthusiasm, and everybody sings, except the
bass player who doesn't know the words. Then they go on break so I take one,
too.
When I return in fifteen
minutes, the techie has changed into a blue shirt two sizes two small, an
oxford shirt, and slacks that crawl right up his butt. He still has on the
yellow shoes. He has a blazer and tie with him, but he uses them to mask the
milk crates he used to prop up the monitors. His eyes are nearly shut and he
smells even more like dope.
The band is standing at the
buffet table, heaping as much as possible onto tiny little plates because it
has to last them through the next two hours. The guitarist has two. One
exception: the banjo player has a martini in one hand and his other around the
client's waist. He is telling her that she is the most beautiful redhead he's
ever seen, that most of them have way too many freckles. And has she heard the
one about the Pollock and the Jew and the woman on a plane with the pope? And he prefers women
like her, with a little extra weight on 'em.
I lose it, tell them all to
dump the food, get onstage & play something they know. They are highly
offended and say things like "Yes Master, Hile Agent, Wait Til Next Time
You Want Us We May Not Be so Easy to Get." And they play things like Girl
from Ipanema and Feelings in a bluegrass style.
I decide to cut my losses
and go to the house. I'm thinking a career in fast food sounds stunningly
uncomplicated. I tell the client good-bye and she tells me that Southern
Thunder is the best classical band she's ever heard. Her boss loves them. The
crowd is dancing. It's all good. The room captain tells me it's a great band,
way better than the one I had last week. Have 'em back sometime, she tells me,
but don't let them eat the food. And she pops a shrimp into her mouth.
The technician hugs me bye
and cracks a rib. His roach clip falls out of his pocket. He picks it up and
says, "It's not mine. I'm keeping it for a friend."
I walk out the door into the
muzak, playing the music from CATS in a bluegrass style. I walk outside onto
the ramp and see the room captain's car. Her bumper sticker says, "HELL
YEAH! 100% WHOOPASS!"
I go home & dream that I
died and went to heaven and the orchestra was all banjos and we had to go in
through the kitchen. My job was making sure nobody ate from the heavenly
buffet.
The next day, the leader
calls me up & says, "Great gig last night. Got any work for me?"
Ever Yours,
(Written with love, for all
those who wonder, Was that about ME????)