I think what made show business interesting to me, at this point, was that it was one of the last corners of this overdeveloped capitalist economy that you could go into with no knowledge and no money — and I had neither — and start generating income in a short time.
Any business that shows tremendous growth and the chance for fortunes to be made overnight has its own rules, and they aren’t very nice.
Jim McGuinn was an independent television producer who had made his mark in kids’ shows on WGN television. Jim called me up one day in 1959 and said, “Let’s have lunch.” So we did: in those days having lunch was just having lunch. He said he had an idea for a television show about contemporary folk music, and would I be interested in being a third owner and being the talent coordinator. It sounded like a wonderful idea and I said sure.
Jim suggested that our third collaborator should be a very talented local director by the name of Billy “Gloves” Friedkin, who at that time had a bit of a reputation. So we formed a partnership. We conceived a show with the Clancy Brothers, the Chad Mitchell Trio and Josh White. Chad would host it.
We went to shoot it at the Village Gate in New York, because everybody was already in New York and we wouldn’t have any expenses. We shot the show in one night, for $6,000. There were a few people from the industry there, and they were skeptical. We were from Chicago, and on top of that we were making a pilot for $6,000, and pilots had to cost $60 or $70,000 in those days. And we were making it in April, when the traditional selling season was over.
I sent Ted to talk with Jim a few years ago to help jog my memory. Here’s some of what Jim remembered:
A young woman folk singer drove all night from St. Louis to audition for us. I remember she was very nervous, and her hand was shaking. We said settle down; we gave her some coffee and just talked, and finally she did lt. Her name was Judy Collins. So we used her.
We felt that the blacklist, which very much existed at that time, was improper, and if you‘re doing a folk music show you should stand behind the people who are really the legends of that field. We had every intention of using Pete Seeger, and all the others. We did use Josh White on the show.
After we booked the Weavers, I remember an agent from William Morris calling to say, “Why did you use those people? lt’s hurting the project.” And I said, “Well, we did, and that‘s the reality of it, and let’s get on with it.” So I kind of watched a certain pullback in enthusiasm by the William Morris office in New York.