Philip Seymour Hoffman Died From Toxic Mix Of Drugs

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Public Theater Opens MacBeth In The Park 2006The actor’s death was ruled an accidental overdose, following toxicology and other tests, almost a month after he was found dead in his New York City apartment.

Philip Seymour Hoffman died of a toxic mix of drugs, including heroin, cocaine and other drugs, the New York City medical examiner’s office told The Hollywood Reporter Friday.

Hoffman’s official manner and cause of death is accidental acute mixed-drug intoxication, consisting of heroin, cocaine, benzodiazepines and amphetamine.

Friday’s announcement ends a nearly monthlong mystery about Hoffman’s cause of death, initially assumed to be a heroin overdose, as he was found with a needle sticking out of his arm on the bathroom floor of his New York City apartment.

The police found several envelopes of heroin, used and unused syringes and various prescription drugs in the West Village residence. According to CNN, investigators found more than 20 used syringes in a plastic cup and many bags containing white powder. An initial autopsy on the Oscar-winning actor, performed shortly after he was found dead on Feb. 2, was inconclusive, meaning that further tests, including a toxicology study, would need to be done to determine his cause and manner of death.

The results of those tests show that Hoffman had also ingested cocaine and other drugs.

Hoffman had undergone treatment for drug addiction in the past and said last year that he had been clean for 23 years before “falling off the wagon” in 2012. In May, Hoffman entered a detox facility and completed a 10-day program for his use of prescription drugs and heroin.

The actor, who was laid to rest at a funeral attended by Hollywood’s finest on Feb. 7, left behind three young children, Tallulah, Cooper and Willa, whom he had with his longtime partner, costume designer Mimi O’Donnell. He also had two sisters, Jill and Emily, and a brother, Gordy Hoffman, who scripted the 2002 film Love Liza, in which Philip starred.

The actor’s will was released last week. In it, he left all his personal property to O’Donnell and set up a trust for his son, according to copies obtained by various media outlets. Hoffman’s will was written almost 10 years ago, prior to the birth of his two daughters. Hoffman also named O’Donnell as Cooper’s guardian and the trustee of his funds.

Considered one of the finest actors of his generation, Hoffman won the best actor Oscar for his role as Truman Capote in 2005’s Capote and received supporting actor Academy Award nods for his work in Charlie Wilson’s War (2007), Doubt (2008) and The Master (2012). He received Tony Award noms for True West (2000), Long Day’s Journey Into Night (2003) and, as Willy Loman, in Death of a Salesman (2012).

He recently appeared as Plutarch Heavensbee in The Hunger Games: Catching Fire and was set to repeat that role in the two-part final chapter of the Hunger Games series: Mockingjay. Indeed, Hoffman had nearly completed filming of Mockingjay — Part 1, set for release in November and had seven days of filming remaining on Part 2. He also was set to star in the Showtime series Happyish.

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George Lopez Arrested: Public Intoxication In Canadian Casino

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lopezComedian George Lopez was arrested on Thursday night at a casino in Canada, is reporting.

The 52-year-old actor and talk show host was at the Caesars casino in Windsor, Ont. where he had a performance that night and was scheduled to have another show Friday night.

The Ontario Provincial Police were notified by hotel security of a problem with Lopez and arrested him on site just after 11 p.m. for public intoxication.

According to one eyewitness, Lopez was passed out drunk on the floor of the casino and had to seek medical treatment.

George Lopez passed out on the casino floor last night. And he was sent to the hospital! No joke,” Chad Maura wrote on Facebook, accompanied by a photo of what appears to be Lopez.

And there was one eyewitness who claimed Lopez was already intoxicated when he flew into Michigan, before crossing the border for his show.

My mom just ran into George Lopez at the airport and he was drunk. She’s got the best life,” Twitter user named Gabriella wrote. “OMG HE WAS SINGING LOUDLY TOO.”

No charges were filed and the show will go on, as he’s expected to perform tonight despite his arrest.

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Fear not, it’s George Lopez, he’ll have an answer, some person or entity to blame. Just give it a day or so.

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Three-Way Sex Tape With JFK, RFK & Marilyn Monroe To Be Auctioned

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marilynA long-buried sex tape of Marilyn Monroe supposedly engaging in intercourse with ex-President John F. Kennedy and his brother Robert Kennedy could soon be released, a former Hollywood bodyguard has sensationally claimed.

The steamy, never-before-seen reel — said to have been shot on 8 mm film — will be auctioned by the Tulare County Sheriff in California which has seized the property as part of a lawsuit involving the man, William Castleberry.

Castleberry exclusively told “It’s real. I had it for years and I never released it out of respect for Joe DiMaggio… I’m just sick about it and I’m desperately trying to raise money to get it back.”

Castleberry, a 56-year-old memorabilia collector, would not detail how he obtained the alleged recording or what it depicts.

He was slapped with a judgment of $200,000 after he allegedly sold a fake statue to several people in Visalia, Calif. He had been making payments to satisfy the debt, but according to Castleberry, lawyers demanded a balloon payment that he simply couldn’t afford to pay.

They demanded a $90,000 payment I couldn’t afford and that is when the sheriff came in and seized the sex tape and all of my other memorabilia I have been collecting my entire life,” he said.

A lawyer involved in the case confirmed he’d heard that the seized lot apparently contained the sex tape of the Gentlemen Prefer Blondes actress.

I was told several years ago that Mr. Castleberry had a sex tape of Marilyn Monroe, JFK & RFK,” said attorney Ryan Sullivan, who is representing the plaintiffs in the case against Castleberry.

I was at the house when the sheriff was seizing the property. I’m simply trying to recover the money for my clients… I was able to locate a 8 mm film in a canister at the house, which was turned over to the Visalia Sheriff’s Department.”

The auction will take place on Tuesday.

But, cautioned the lawyer: “I have no idea what is on the tape, it could be what Mr. Castleberry says, or it could be a Disney cartoon. The only way anyone will ever know is if they buy it and view it. The entire lot will go up for auction on Tuesday and the minimum bid will be $200,000.”

Rumors have run wild for decades that the blonde bombshell, who died in 1962, had affairs with both Kennedy brothers.

What’s more, last June, it was revealed another former Hollywood private investigator had previously admitted to spying on the famous duo — JFK and Monroe — during their romance.

Relatives of the late Fred Otash claimed that he filmed an alleged sex tape after Monroe expressed her desire to own a “mini-phone listening device” to record her telephone calls.

A desperate Castleberry said he is trying to raise money before his stuff goes up for auction.

Mr. Castleberry has until Tuesday morning before the lot goes up for auction to get his stuff back,” Sullivan said. “He would have to pay over $200,000 to satisfy the judgement. If he fails to do so, the auction will proceed.”

If he does secure the apparent prized possession, Castleberry said he plans on “releasing it all to the world.”

He told Radar, “I had hoped to give it all to a museum, or even open one myself. If I don’t get it back, well, okay. It’s just stuff and I can start over. My wife is extremely sick and when I go to heaven someday, I’m not taking a U-haul full of stuff with me.”

Among other items that were seized were a signed Babe Ruth jersey and autographed books of Thomas Edison that were also signed by him.

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You would think if someone was filming the 3 of them, they would know. With that in mind, why would they ever allow it? Perhaps, if real, Marilyn set up a camera which filmed quietly and was hidden. Maybe someone set them up without their knowledge and sat on the film and then lost it somehow. Or, it’s all a bunch of crap. Regardless, no one needs a film to convince us the 3 of them were together, that by all accounts, is a given. If this film does exist, no doubt it will be worth a fortune though.

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Jeremy Bieber Reportedly Leaves His Family To Party With Justin

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bbJustin Bieber’s father Jeremy Bieber is reportedly severing a seven-year relationship with his partner Erin Wagner to party with his son.

A Daily Mail exclusive reports the 39-year-old father of the pop star will share custody of two youngsters Jaxon, 4, and Jazmyn, 5. But the main bone of contention from Wagner appears to be the fact Jeremy would prefer to be Justin’s friend than a father figure. According to the Daily Mail’s source:

“Justin hitting the big time in the way he has is an absolute dream come true for Jeremy and the temptation of being able to travel the globe, living like a superstar was too much to turn down.

‘Erin was always going to take second place to that. They are still on good terms for the sake of the children and she still has a great friendship with Justin, but their relationship has broken down.

‘Jeremy has the opportunity to party with beautiful girls in every city in the world. He was never going to let anything get in the way of that.’

The source added: ‘The fact Jeremy cannot seem to maintain a relationship is just another sign of how flaky he can be. He really isn’t the kind if role model Justin needs around him during this difficult time.’

Although the publication reports Wagner and the elder Bieber had been having some difficulties the proverbial last straw was Jeremy Bieber being with Justin when the singer was arrested in Miami Beach for driving under the influence. Some had even speculated the father was actually abetting Justin by blocking the street in an SUV enabling the musician to drag race. After posting bond, Justin and Jeremy were seen partying hours later.

On Jan. 16 Wagner tweeted the following with a subsequent tweet on Jan. 19:

Erin Wagner

This is all I need….

January 16, 2014 5:59 pm via iOS ReplyRetweetFavorite

Erin Wagner

I just don’t know….

January 19, 2014 5:50 pm via Twitter for iPhone ReplyRetweetFavorite

Jeremy was also seen with Justin at a Toronto Maple Leafs game on Dec. 29, hours before Bieber would be involved in an incident where he allegedly assaulted a limo driver in Toronto. Following the Miami Beach episode Jeremy Bieber was with Justin on a Jan. 31 flight where Bieber was accused of being verbally abusive towards a flight attendant and smoking pot. In the days leading up to that incident though Wagner tweeted the following, not naming names but definitely revealing not all was well:

Erin Wagner

Hard to believe sometimes that things can get better! Trying to keep going!

January 27, 2014 10:58 pm via Twitter for iPhone ReplyRetweetFavorite


Erin Wagner

Ready for the next chapter…..wonder what it’s about….#unknown

January 28, 2014 7:27 am via Twitter for iPhone ReplyRetweetFavorite

Jeremy Bieber has had some run ins with the law previously according to Justin’s mother Pattie Mallette. Mallette’s autobiography “The Only Way Is Up” claims Jeremy was in jail the day Justin was born (March 1, 1994) and cheated on her during their engagement. The couple broke up before Justin was a year old.

A source told the publication Jeremy “has always been a bad boy” and, while loving Justin, “wasn’t mature enough to be a responsible parent and his lifestyle meant he couldn’t be there for him like a father should be.”

Although he’s not in the current legal trouble his son is in, Jeremy Bieber had his run-ins with the law. In 1997, he served 90 days in prison for assault while in 1999 breached probation and served 21 days in jail.

Last year, Justin also purchased a farm house outside Stratford, Ontario for a reported $850,000, which the singer uses when he’s back in Canada. The musician also reportedly gives his father $50,000 allowance to maintain the residence, a place Jeremy and his friends refer to as “the ranch” and is often a hot spot for parties in the area.

As for Jeremy Bieber, he has occasionally tweeted his disgust with the media and stories concerning his son. On Jan. 24 he tweeted the following:

Jeremy Bieber

I can protect my kids, but I can’t protect them from you and your lies. Believe in the truth not in the lies of the enemy. #reallife

January 24, 2014 2:28 pm via Twitter for iPhone ReplyRetweetFavorite

Justin, who will celebrate his 20th birthday tomorrow, has finally made the cover of Rolling Stone magazine, albeit perhaps not in the way he once thought. Justin is shirtless (of course) beside the headline “Bad Boy: Why Justin Bieber just won’t behave.” Rolling Stones also places blame on Jeremy Bieber’s shoulders, reporting a source that said “‘His father’s not a great influence. They’re almost not like father and son — it’s more like two best friends.’ The magazine also pointed out that Jeremy goes to strip clubs with Justin, “enjoying the overflow of his son’s parade of strippers”

Justin’s next court appearance is March 10 in Toronto regarding the alleged late-December assault.

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No ‘Anchorman 3’ On The Horizon, Says Adam McKay

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willThis week will offer fans their opportunity to see Ron Burgundy and the rest of the Global News Network crew in theaters. Writer/director Adam McKay told Empire that he has no plans to make “Anchorman 3.”

It’s done,” McKay said. “I think that’s it. It was great to do it and it was so fun to work with those guys again, but I think that’s it for Ron Burgundy.”

This week’s re-release of “Anchorman: The Legend Continues” features almost 800 new jokes, but it’ll whip by in a flash, as the movie is in theaters for a one-week engagement. After that, McKay has no doubt that “Anchorman” is officially over as a series.

“Now we’re releasing this alt version, we’re totally satisfied. No ‘Anchorman 3,'” he said. “I’m going to say definitely no. I’ll actually say it in this case!”

McKay also said he’s done with sequels in general, which means the chance for a “Step Brothers 2” or “Return of Talladega Nights” is slim. Instead, he’ll focus on new projects like “The Big Short,” an adaptation of Michael Lewis’ non-fiction look at the financial crash of 2008.

“Anchorman 2” was lucrative for Paramount, but it hasn’t topped some of McKay’s originals, despite an aggressive marketing campaign prior to its December release. The movie has racked up about $169 million in global ticket sales, which falls short of the $223 million taken in by the 2010 action comedy “The Other Guys” but surpasses the $128 million generated by 2008’s “Step Brothers.”

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Warner Bros Finds Johnny Depp As Mobster Whitey Bulger An Offer It Can’t Refuse

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deppWarner Bros is signing on to co-finance and do the worldwide release of Black Mass, the Scott Cooper-directed crime drama that will star Johnny Depp as Whitey Bulger, the notorious Boston mob boss suspected of using his status as FBI informant to eliminate criminal competition. He also apparently used a tip from a childhood friend-turned FBI agent that the Feds were closing in as a reason to go on the lam, and spent a decade atop the Most Wanted List until he was finally caught in California in 2011, convicted and sent to prison for the rest of his life. I’m told that it looks like Joel Edgerton will play that disgraced FBI agent, John Connolly. He had been in the mix in the film’s first incarnation with Depp, the latter of whom departed the film over money at one point.

Warner Bros will co-finance the film with Cross Creek Pictures. Out of the equation is Exclusive Media, which was selling foreign territories at Berlin, but I’m told isn’t in the mix now after the company imploded with the impending exits of chiefs Nigel Sinclair and Guy East, and Warner Bros signed on for the whole world. I’m told that production will begin in eight weeks in Boston, and that Warner Bros is eyeing an October 2015 release slot.

Depp was originally expected to play Bulger when Barry Levinson was attached to direct, but the deal fell through over money even though the deal was near $20 million.Deadline revealed in January that talks had rekindled with Depp, along with Cooper, who so far has helmed Crazy Heart and Out Of The Furnace. The script is by Mark Mallouk, who adapted the 2001 Dick Lehr/Gerald O’Neill New York Times bestseller Black Mass: The True Story Of An Unholy Alliance Between The FBI And The Irish Mob.

Even as Bulger became the model for onscreen mobsters in films that included The Departed and  The Town, there have been several attempts to turn his life into a dramatic feature. A big part of the feature will be the relationship between Bulger and Connolly, who was sentenced to 40 years despite maintaining his innocence. Connolly was tasked with bringing down the Italian mob, and he was aided by Bulger, who burnished his own position as Boston crime kingpin by getting rid of the competition for his Winter Hill gang. Connolly was lauded for his work before things went south for him. He eventually was convicted of racketeering and obstruction of justice for aiding Bulger, who is currently in a Massachusetts state prison for second-degree murder. Meanwhile, Bulger was alleged to have participated in 19 murders and nobody really put much pressure on him. When the Feds finally had enough, Bulger got a tip and he fled, vanishing until he was finally apprehended.

Black Mass is being produced by Cross Creek’s Brian Oliver and Tyler Thompson, John Lesher and his LeGrisbi banner, and Christi Dembrowski, Depp’s partner in Infinitum Nihil. Cross Creek Pictures SVP Production Adam Kassan will oversee production. UTA reps Depp and Edgerton by CAA and Shanahan Management.

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Kim Kardashian’s Opera Ball Escort Complains ‘She’s Annoying Me’ After He Paid Her $500K To Show

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kimAustrian businessman Richard Lugner has made a tradition of paying starlets big bucks to accompany him to Vienna’s annual Opera Ball. This year, has learned that he paid Kim Kardashian $500,000 to be his date. But he’s not getting his money’s worth! Just hours after Kardashian’s arrival with mom Kris Jenner and baby North West, Lugner spoke out to local media to complain about how Kardashian had stood him up to film scenes for Keeping Up with the Kardashians!

Kim is annoying me,” Lugner told reporters. “Because she’s not sticking to the program.”

Only hours after her arrival, Lugner claimed, the reality star stood him up to go to a Schnitzel restaurant with her mom Jenner, and film scenes for her reality show.

She’s filming and so she doesn’t want to have me around,” he said.

The 81-year-old angrily insisted, “The guest should be with me and not anywhere else that is not agreed upon.”

And even when it comes to scheduled appearances, Kardashian has made it clear she won’t follow his schedule. Though Lugner had told press he would dance with her at 11:45 p.m. during the ball, Kardashian said in a press conference that she’d have mom Jenner take her place, explaining, “I’d rather watch the dancing.”

Kardashian was set to attend the ball Thursday night, and Lugner revealed he had already taken special measures to make sure he was ready for the spotlight: He told reporters he had gotten fifteen shots of Botox, saying, “What’s good for [Kim] is good for me too.”

Despite the drama, Kardashian is hardly Lugner’s worst date of all time. That honor surely goes to Lindsay Lohan, who didn’t even show up for her scheduled appearance in 2010 after she missed her flight.

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Lets see, 500k to go to dinner…..whether she agreed to sex or not, it sounds like Kim is Prostitute to me.

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Joe Pantoliano To Co-Star In CBS Comedy Pilot ‘More Time With Family’

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ppCBS‘ comedy pilot More Time With Family continues to add boldface names. Emmy-winning Sopranos alum Joe Pantoliano has joined the multi-camera project, toplined by Tom Papa and Alyson Hannigan, executive produced by Ben Affleck and Matt Damon, written/exec produced by Cathy Yuspa and Josh Goldsmith and directed by James Burrows.

Based on the stand-up of Papa and the experiences of Damon, the 20th TV-produced project centers on Tom (Papa), a husband and father making a career change to spend more time with his family. APA-repped Pantoliano plays Stan Rizzo, Tom’s brash, opinionated, old-school father.

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Tatum O’Neal Remembers Her 1974 Oscar Win, Shares Advice For Jennifer Lawrence

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taJennifer Lawrence might end up the youngest double Oscar winner in history, but Tatum O’Neal still holds the ultimate record. On the 40th anniversary of her win for “Paper Moon,” the actress recalls what it was like to triumph at age 10.

It’s Friday, Feb. 14 — Valentine’s Day — and Tatum O’Neal is at the London Hotel in West Hollywood talking about her plans for the evening.

No, they aren’t with a beau, but with a Hollywood veteran — and fellow Oscar winner. “I’m having dinner with my friend Anjelica Huston in Venice,” says the actress nonchalantly. “I can’t wait to catch up with her!”

Like Huston, O’Neal was both born into a showbiz family and is among a select few venerable screen performers to have claimed Oscar gold in their careers. Unlike Huston, however, O’Neal’s moment of Oscar glory came when she was just 10 years old: In 1974, she became the youngest-ever winner when she took home the best supporting actress trophy for her stirring debut performance in Peter Bogdanovich’s Paper Moon opposite her father, Ryan O’Neal.

On this sunny afternoon just two weeks before the 2014 Academy Awards, and on the eve of the 40th anniversary of her historic win, O’Neal, now 50, chatted with THR about her record-setting milestone and its lingering impact on her life and career.

How did you end up being cast in 1973’s Paper Moon?

My dad [Ryan O’Neal] must have said to Peter Bogdanovich, “Look, why don’t you meet my daughter?” I remember I took a walk on the beach with my dad and Peter in Malibu, and my dad was wearing an ascot and these funny shoes. I asked him: “Why are you dressed like that? You look so awkward on the beach.” I used a lot of these big words I copied from adults. And Peter said, “She’s got the part.” I had whatever he was looking for.

Do you remember having acting aspirations at that age?

Absolutely not. I just didn’t want to go to school! I’d had bad experiences in school. I’d been paddled, had been at boarding school. Then I broke my arm before filming and remember crying: “But I want to do the movie, Daddy. Please let me do the movie!”

You were only 8 when filming started. What do you remember about the shoot?

Most people on the set hated me, especially the actors! We all stayed at the Holiday Inn, and I adopted a cat in the middle of filming, and it made a big mess in my room. This lovely lady — my dad’s boxing coach’s wife — became my guardian, and I was also always making a mess of her stuff. I once put her contacts in my eyes and had to go to the hospital. I remember having six-page dialogue scenes. We did take after take. Madeline Kahn got so annoyed in one scene because when I got the lines wrong, she had to keep walking up and down this hill. But I think they knew they were getting something good. I remember in one scene, my dad said something and I said, “Are you mad at me?” And he said (in a low tone): “No, Tatum. I am just doing the lines!” I was like, “Oopsie daisy!”

What inspired you to wear a little tuxedo on Oscar night?

I was a big fan of fashion. I was obsessed with clothes. Bianca Jagger was my dad’s girlfriend at the time, and she wore these suits with little flowers, boots, a cane and these beautiful Tiffany flat diamonds and no bra. I thought, “That’s what I want!” If I could have used a cane, too, I would have. I did have little platform shoes on. My dad got them. He did stuff like that for me.

You sounded in the speech as if you had a British accent. Why?

My dad had been filming [the Stanley Kubrick film] Barry Lyndon in London, and I was actually living with the Kubricks at the time. I just loved the way [Kubrick’s daughter] Vivian spoke my name (in an English accent) — “Tay-tum.” I wanted to pick up the accent.

Did you have a strategy for your post-Oscars life? Did your father want you to have an acting career?

I tried to do a normal life, but it was really chaotic in the 1970s. My father’s life was in a chaotic place, too, and it was really hard for him to know how to direct me. I think he thought I’d just kind of “figure it out” on my own. When I turned 20, I met a tennis player [John McEnroe] and decided to leave Hollywood, have kids [Kevin, now 27, Sean, 26, and Emily, 22] and find my own way of rooting myself.

You had your share of ups and downs personally and professionally. Any advice for young winners today, like maybe Jennifer Lawrence?

Really, it all depends on the family. If your family is solid, you’re going to be fine. I didn’t put all my eggs in one basket — that can jam you up. You can think, “I have this Oscar, I should get this or that.” But sometimes it doesn’t happen.

Where is your Oscar now?

It has moved around a lot. My dad had it for a long time until I took it off his TV: “Dad, this is mine.” But I’m very shy about it, unless my kids want to play pretend with it or something. I have a Golden Globe and a NATO award, and it’s next to those, way up high. Only the cat can get to it. One day, I’d like to deliver a performance worthy of another nomination. If Jessica Tandy can do it, so can I.

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On the Rock ‘n’ Roll Road: Tour Managers of Rolling Stones, Foo Fighters, Alice Cooper Share War Stories

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tourStranded groupies, collapsing stages, a shark in a hotel bathtub and $200,000 in a carry-on bag — legendary road managers trade outrageous tales of their biggest headliners.

Behind every music tour — from Beyonce’s Vegas-styled extravaganzas to Phish’s weed-and-‘shroom-fueled odysseys — is an unsung individual who’s equal parts field marshal, political fixer, armchair psychoanalyst and bag man. The tour manager on a major artist’s outing is often responsible for shepherding more than 100 musicians, gaffers, carpenters, lighting technicians and accountants on voyages that span the globe and entire seasons. At the same time, they have to anticipate hundreds of demands from not-always-appreciative employers while keeping the entourage happy, safe and out of trouble.

Going through customs with Keith Richards, losing Barbra Streisand’s flowers, watching Alice Cooper kill a shark in his bathtub: Legendary tour managers Patrick Stansfield, David Libert, Marty Hom, Gus Brandt and Stuart Ross swap war stories about ego soothing, corralling groupies and how exactly $100,000 in cash gets delivered.


Stuart Ross
Ross has tour-managed
Tom Waits for more than 20 years, and was part of the team that launched Lollapalooza. He’s also headed Goldenvoice/AEG’s festival division and worked with acts like Metallica, George Michael and Weezer. He currently oversees touring and festivals at Red Light Management, and heads his own Music Tour Consulting agency.

Patrick Stansfield
Stansfield broke into the music industry as a stage manager for Bill Graham’s FM Productions, where he helped the famed concert promoter launch and popularize the first rock arena tours. Before retiring in 2002, Stansfield tour-managed The Rolling Stones, Barbra Streisand and Neil Diamond.

David Libert
After starting out with ’60s pop group The Happenings, which had four top 40 hits on the Billboard Hot 100, Libert became a booker at the Willard Alexander Agency. He served as Alice Cooper’s tour manager during the rocker’s ’70s breakthrough, and later founded Available Entertainment.

Gus Brandt
Brandt began as a punk-rock promoter in his native Pensacola, Fla., before breaking into road managing with Down by Law and Pennywise. He began working with Foo Fighters in 1996, and has tour-managed them ever since. Along the way, he’s worked with Eminem, Pearl Jam, Nine Inch Nails and many others, and booked Pensacola’s DeLuna Fest.

Marty Hom
A 40-year industry veteran, Hom is the longtime tour manager of Barbra Streisand and Fleetwood Mac, and has also worked with Shakira, Bette Midler, Lionel Richie, The Eagles, Alicia Keys, Shania Twain and Janet Jackson. Hom was deposed by AEG as an expert witness in the Michael Jackson wrongful death lawsuit.

Everyone has a preconceived notion of what a tour manager does. How would you describe your role?

Gus Brandt: What we do is such a rarified, weird, not noble thing. Just having that sixth sense of knowing when Barbra [Streisand] is going to go off on you or when [Foo Fighters’] Dave [Grohl] is going to be upset about the way the cheese smells — not that he ever has, but just as an example.

Marty Hom: It’s about budgeting. It’s about hiring and cutting the deals. It’s about logistics.

David Libert: We know how to get things done…You’re really not allowed to make mistakes because everybody depends on you. It’s like when [Alice Cooper manager] Shep Gordon [looked] me in the eye and said, “Is everything covered?” That’s like asking a thousand questions, and if I said “yes,” that represented a thousand answers.

Several of you started out in the late ’60s and early ’70s. How have things changed?

Stuart Ross: In the ’60s, bands would have one or two people working for them, doing everything. I worked for The Doors doing equipment when I was 16 and they had one person on the road with them, Vince Treaner, and he picked up people regionally and we worked for free. He did sound, lights, checked the band into the hotel, picked up the check from the promoter.
Libert: And there were no cellphones. And no email. [Laughter.]
Ross: I don’t remember how we sent the rooming list to the hotels.
Libert: You had to convince that hotel that if they didn’t have envelopes with keys and a room list, there would be mayhem and chaos in that lobby when those 50 people walked in…
Patrick Stansfield: At 2:15 a.m.
Libert: Somehow, 99 times out of a hundred, we were able to convince these hotels.

How did you handle the logistics, without email or cellphones?

Libert: Every road manager had that enormous book that could tell you the mileage from any city to any city in the entire country.
Stansfield: A Rand McNally Gazetteer.
Ross: If you were going from Anchorage [Alaska] to Xenia, Ohio, you looked up Anchorage and then you went down all of the names until you got to Xenia and it would give you the mileage. And that’s how we routed tours. We had no other way to do it.
Stansfield: Remember that in this equation, the band’s management had a somewhat different agenda in terms of routing…Management wants you to play where they’ve decided you’re going to play. If you were to say, “I can’t guarantee you we can make that gig,” [promoter-turned-movie producer] Jerry Weintraub would say, “Pat, I’m a rich man. I pay guys like you to figure this out.” Tap, tap, tap on the cigar. “Don’t tell me nothing except ‘yes.’ Now, get the f— out of my face.”

How do you cope when that happens?

Stansfield: You go out, throw the dice and make sure it happens.
Libert: One thing a road manager could do to influence the routing of a tour is, if there were two days off, you would try and figure out where the hottest girls were. That was where we wanted to have those two or three days off. Because to be in a town for one night was one thing, to be there for two or three days was completely different…So I would convince Shep Gordon why it was good business, why we should stay there: It was cheaper, the trucks needed whatever. But it was about the chicks.

The “sweet, sweet Connie,” from Grand Funk’s “We’re an American Band,” right?

Stansfield: There was this body of knowledge, mano a mano, from your lips to my ears: “Man, that Connie in Little Rock…F—ed me silly. Swear to God. At the end, she brightly says, ‘Thank you,’ and was off. I found out she went to the other bus and f—ed the entourage until the sun came up.” (To Hom): You ever meet Connie?
Hom: Theoretically.
Stansfield: If you played Little Rock [Ark.], you couldn’t help but meet Connie. She was a schoolteacher. Third grade.
Libert: She had her own room set up at the arena. There used to be a line.

Was that on a Stones tour?

Stansfield: That was Neil Diamond.

Those buccaneering days, why did they have to end?

Hom: There was so much money at stake. It had to end. You couldn’t run wild anymore. In the mid-’80s into the ’90s, it started becoming a legitimate, huge business for people to make a living — not just artists but also those that worked for the talent. You could actually support a family, buy a house, put your kids through school. I think it took a turn around that time. People got very serious about what they do. It was still a lot of fun, we still love it, but it’s a business.
Ross: Once we started carrying sound and lights and all of a sudden, it’s not just two to six people, you’re at 25-100. The dynamics shifted when carrying big production became feasible and our jobs went from making sure people stay out of jail to essentially being the CEO of a small corporation that shuts down after six months or a year.

Speaking of staging, there have been several collapses in recent years. Ultimately, it’s your decision where to call off a show.

Brandt: Which is a tough call.
Hom: We were doing a sold-out stadium with Shakira in Spain. And during load-in, a corner of the stage buckled. I called the promoters and the guys who built the stage into the tour production office. They said, “Oh, it’s safe.” I looked at them and said, “OK, you’re going to stand with me, your kids and your family underneath that stage when we play tonight. Because what you’re asking me to do is put my family underneath that stage.” They didn’t say a word. It was dead silence. And I said, “Here’s my answer.” We canceled.

So your show is done for the night. How is the money handled?

Ross: Until about 10 years ago, maybe less, tours were all cash. There were a lot of dollars going across the desk every night. So tour managers or tour accountants had to call the promoter in advance and say, “I need $50,000.” And it was not unusual for any of us to pick up that amount or $100,000 and distribute it.

How is $100,000 in cash delivered to you?

Ross: Somebody comes in with a big briefcase or a gym bag and lays down a stack of $100 bills and we count them.
Libert: You didn’t let the band go on until you had the money — period. And if you didn’t have the money, you’d hold up the f—ing show.
Ross: I went to see Al Green at the House of Blues and noticed after his last song, he walked over to the drum riser, picked up a thin, fashionable, alligator briefcase and walked offstage. [Laughter.] And I knew that he had gotten paid in cash prior to the show. Putting his pay on the drum riser: safest place.
Stansfield: I walked through U.S. customs with Keith Richards, coming back in from Australia into Honolulu. And I had my own briefcase and an extra suitcase that was filled with, I don’t know, a couple hundred thousand dollars.
Ross: I remember when they started put­ting on the customs forms: “Are you carrying more than $10,000 dollars in cash?” And it’s like, I’m going to have to divide this up between a bunch of people on the plane.
Brandt: Exactly. Do the envelopes before take off. I can’t tell you how many times I’ve said, “Hold this for me, please.”
Ross: The last South American tour I did, I weighed the ticket drop…I would put a person at each ticket entry location and put the tickets in bags, and they’d bring the bags backstage. And I have a scale that turns weight into a count. And we would count all the tickets.
Hom: That’s awesome.

Tour managers are famous for solving crises. Tell us about some.

Hom: When Barbra Streisand was play­ing Staples Center, it was like going to the Academy Awards. Everybody was there: Sidney Poitier, Elizabeth Taylor, Jack Nicholson, Dustin Hoffman — the creme de la creme of Hollywood. What happens is, they all send her flowers at Staples Center. And at the end of the second night, she says, “Marty, I’m going to send my gardener back to pick up all the flowers and have them driven to my house.” I tell her, “No problem,” and I ask our production manager to lock the dressing room. The gardener shows up at Staples Center the next day, the dressing room door is open, and all the flowers are gone. Panicked, I call Barbra’s assistant and ask, “Do you still have the cards that were attached to the flowers?” She did and I called them all and said, “Do you remember those flowers that you did for Dustin Hoffman and Sidney Poitier? Can you duplicate those and send those up to Barbra’s house?” I get the 20 arrangements that we were supposed to pick up, and they all get delivered to her house. And then at the end of the day, I give Staples Center the bill and they pay for all the flowers. [Laughter.]

Ross: When you knock on the hotel door and wake up the singer at 1 p.m., then you get the call saying, “I can’t believe you woke me up! Now I can’t sleep! I’ve been up all night writing songs. I’m not playing the show!”
Libert: Alice [Cooper] was doing a show in Vancouver and he slipped on one of the props and flipped off the stage like a tiddlywink and ended up in the pit. He cracked his skull open. This was after a couple of numbers. We take him backstage and I know he’s in bad shape. And it came down to this: “We’ll put a bandage around your head. You go back out there and do two or three songs. Otherwise, we’ll have to postpone the show, we won’t get paid, and you’ll have to come back.” So that was the motivating factor. “Go out there and do a couple of songs because as bad as you feel right now, it will feel a lot worse tomorrow.” So we put a bandage around his head with a little red ink on it, he did three more songs, pretended to collapse and we took him offstage. And he got paid.
Brandt: When I was working for the group Il Divo, we were flying from Mexico City to Monterrey and back in the same night. And it was down to the choice of planes: a turbo prop, a small jet, a bigger jet. So these guys chose the turbo prop.
Ross: Nothing wrong with turbo props.
Brandt: But Mexico…
Ross: Yeah.
Brandt: So we go up, no problem. Coming back, there’s rain and I’m trying to ask the pilot, “Hey, are we going to be OK?” He shows me the radar and it’s just red. But the band wanted to go, so we took off right into these thunderstorms. One of the guys filled four bags of vomit. People were crying, screaming. The plane got zapped by lightning and the pilot was like, “I have to pull us down.” So we landed in the middle of what we found out was a drug cartel war zone, this abandoned airport that was surrounded by guards. The promoter wouldn’t send the cars to come get us. We sat there until dawn guarded by these 16-year-old kids with moustaches and AK47s. And then drove three hours back to Mexico City and played a show.

Talk about rock ‘n’ roll hotels. You’ve all stayed in the same ones.

Stansfield: The Riot House in L.A.
Libert: Which was Gene Autry’s Conti­nental before that.
Ross: Swingos in Cleveland.
Stansfield: The Holiday Inn, on Lake Shore Drive in Chicago. Where [This Is] Spinal Tap was made with the famous line, “And this twisted old fruit…I am, sir, as God made me.”
Libert: I guess my favorite story is the Edgewater Inn in Seattle. You have to get the artist the rooms that overlook Puget Sound so they can fish off of the balcony. It really was a shitty hotel but you could do that. Everybody wanted to stay there. So Alice, just before we were about to go to a show, catches a shark…

Another shark story from the Edgewater? I though Led Zeppelin owned that particular urban legend.

Libert: …And he doesn’t want to throw the shark back because he wants to get a taxidermist to stuff it, right? Well, what are we going to do with the shark in the meantime? He says, “Fill the bathtub up with water. We’ll pour a bunch of salt in it.”

Did the shark die?

Libert: Of course it died. But as we were standing there with Alice, we’re looking at the shark, and this shark in the bathtub, he’s actually looking at us. I don’t know what he’s thinking but he’s looking at me and Alice. That was a really bizarre moment.

I can’t picture that happening today.

Hom: Now on bigger tours they have hotel advance people who actually fly ahead of the artist and prep the hotels and make sure they’re ready for the artist’s arrival.
Libert: And on really big tours, the artists want their suites with their own personal stuff in them.
Ross: I know somebody whose job it was to drive Bono’s bed from hotel to hotel on the last tour. Bono wanted to sleep in his own bed every night. So instead of being able to fly him, I assume, back to Dublin, there was a bed that was in a Ryder truck and they loaded it into the hotel.

Sounds like a long way from the Riot House.

Ross: We went from having to deal with guys who would wreck hotel rooms to dealing with people who won’t accept a hotel until they see the 24-hour room service menu in advance. So the expectations we’re managing are a lot different. It’s like, “What do you mean I can’t get into the Ritz-Carlton? What do you mean they’re sold out? Where am I going to stay?”

The concert business used to be populated with promoters who were fairly outrageous. Tell us about your experiences with them.

Hom: That’s the thing I miss — back when I first started, the personal relationships with all these guys, the Jack Boyles and the Larry Magids. The business was so vibrant and they were such an essential part of it.
Stansfield: We walked with giants [then].
Brandt: A lot of the big personalities aren’t participating anymore.
Ross: [New York promoter] Ron Delsener is still participating, thank God.

The Weinstein brothers, who founded Miramax, were originally rock promoters in Buffalo.

Libert: Harvey and Corky.
Stansfield: Harvey was a SUNY student and chairman of the concert committee.

You all speak with such reverence about these guys, like they were the lineup of a great baseball team, even though they were trying, as you put it, to screw you.

Hom: But they were smiling, and they were your friends.
Libert: Promoters traditionally feel like they’re getting screwed by the artist, so they have a hundred different ways to make money that you don’t know about. It was like a game.
Ross: Even after the show was over and we battled it out, you would always look forward to seeing Ron Delsener or Jules Belkin or Rick Franks. These were the guys we looked forward to working with.
Brandt: Characters.
Ross: They threw good parties, they were big personalities, they were colorful.

Some of you have toured with the same bands for more than a decade. Describe the bonds that form between you and them.

Hom: I’ve been with Fleetwood Mac for 17 years, Barbra for 13 years. If you’ve toured with somebody long enough, they are your family. And you’re kind of like the dad who takes care of them, and they depend on you. The younger artists are a little different in that they surround themselves with entourages now. They have assistants, they have managers who go on the road, publicists, they have people. The relationships are still good but they’re not as personal because there are layers of people you have to go through.

Sounds like it can get pretty intimate.

Hom: Let me tell you how intimate. I had to tell Ian Astbury from The Cult that his father had passed away. They were onstage at the old Omni in Atlanta, and the manager called me. It was one of the hardest things I had to do.
I was just in Europe with Fleetwood Mac and [bassist]
John McVie wasn’t feeling well. So we got him to a doctor in Berlin. And he called me afterward and says, “Marty, can you come over to my hotel and talk to me?” I know that’s not good, so I jump in a cab and go over to his hotel. We sit down and he says, “I’ve just been diagnosed with cancer.” And John’s sitting here and then Mick [Fleetwood] comes over, and we have a discussion of what we’re going to do next. We ended up canceling Australia and New Zealand — 15 sold-out shows. The band thought about moving on without a bass player but…you can’t get onstage without John McVie.

Some of you have been at this for more than 40 years. What keeps you coming back?

Ross: We’re in a bubble. Nobody new comes in, nobody leaves. And we all support each other.
Hom: You know what I think it is? I think we do it not only because we love it and we’re passionate about it but I think there is a sense of camaraderie. It’s like when you all go on the road together and you have this great team of people and you pull off a show and you kind of look at each other because everybody on that tour played a small part in accomplishing that show.
Ross: It’s all about 8 o’clock.


All: Showtime!

Presented by The Griper – E.Cowan

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