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How did you happen to become the initial manager of Tim Reid and Tom Dreesen? How long were you their manager?
I had a radio talk show in the Chicago area and was involved in a fundraising project--featuring a full slate of prominent jazz artists. Tim and Tom heard the announcements and asked if they could appear on the show.
I agreed--they appeared on the show and the next week they came back to the station and asked if I would be their manager. We were together for 2 1/2 years, but I remained close to them for another year or so as they moved on under a different manager.
How did Tim and Tom come together to form the first black and white stand up comedy team?
The way they always told the story--they were members of the local Jaycees Club where they both lived in the south suburbs of Chicago. They developed an anti-drug presentation for the club that they would take to the local grade schools in the area. They were a big hit with the kids. The anti-drug program attracted international attention and the students and teachers continued telling them were funny enough to be in
show business. They took that advice literally, and the rest is history.
What do you think made them such a good team?
They're both good hearted intelligent men. Back then they were young and open for a challenge--at any level. Otherwise, at ages 25 and 28, they wouldn't have been in those classrooms trying to prevent youngsters from going astray. And I'm almost sure they were able to sense, even at that age, that they were gifted with above the average reasoning. That was, I think, the motivation behind their decision to show America that men of diverse culture could stand together--on stage at the very least.
It's been suggested that Tim and Tom's comedy team might have ended because their approach to racial humor was a bit too much for 1969. How do you think they would fare in today's social climate?
There's no question theirs was a more difficult situation than if they had been of the same race.
However, that might not have been the overriding factor; for two identifiable reasons from my viewpoint: First of all--they knew full well what the obstacles were--going in! Tim was raised in the South--attended
predominantly black, if not all black schools. Tom was a Northerner, but he grew up in a
predominantly black neighborhood. So, they both knew where the lines were drawn plus they knew how to circumvent them. Secondly, they were talented enough as a team to build an act totally void of any racial material--and still leave their
audience in stitches. The unfortunate aspect of those days was any time they appeared on the stage together, they were a racial oddity. If they were together today--knowing what they've learned since the separation--they'd be a smash hit--racism notwithstanding. I always did say Tim and Tom had all of the natural tools.
Not only is your book,
That's Not Funny about Tim and Tom, but it is also about race and race relations during a very pivotal time in our history and within an entertainment setting. How hard was it, really, during this time for black entertainers to make a name for themselves?
I think there's some validity in the observation that it appeared easy for some and very tough for the others. While show business has shown more racial tolerance than some other areas of our society, the
turbulence of sixties placed additional burdens in the mix. There were nuances we all lived by: Rock and Roll was their music and
Rhythm and Blues was ours. Early on we thought every American loved Nat King Cole until he got a TV show but couldn't get the big corporations to sponsor the program. A similar fate struck the Sammy Davis, Jr. show. However, In 1965, Bill Cosby became the black side of a team of special agents in a show called "I Spy". Then in 1968 Julia featuring Carol--and then came Flip Wilson and the corporations seemed willing to sponsor them.
Considering what things were like in the 1960s, 70s, how would you compare it to the entertainment climate of the 21st century? Has it improved? In your opinion, what are obstacles do African Americans still face in the entertainment industry?
There've been tremendous improvements. There are more African American producers and
directors in Hollywood than ever before. I think it is most important that all of us remember that show business is just that--a business.
That's Not Funny is not your first book. You've also published
can't get HERE from THERE. Are you currently working on a new project?
Yes! I'm about a third of the way to the completion of my first fiction title called "Misapplied
Passions."
I don't want to talk about the story line too much, but I think it's going to be an exciting book. At this point, I can't say when I think I'll have it ready for the publisher. My first book:
can't get HERE from THERE is about my years in the broadcasting industry and there will be more--I now realize that writing is what I should have been doing all along.
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