Taking a Walk.

Taking a Walk.

All I wanted to do was focus on the one component was live performance. Put on a great show, Build a beautiful, great listening room that both the artist and the fan can can completely immerse themselves in. You want to fully indulge the complete sensory component of sight and smell in our case, you know, the aromas of wine making and good food, and just really connect all the sensory components for the fans and the artists so that they feel comfortable and they feel like home.

All I wanted to do was focus on the one component was live performance. Put on a great show, Build a beautiful, great listening room that both the artist and the fan can can completely immerse themselves in. You want to fully indulge the complete sensory component of sight and smell in our case, you know, the aromas of wine making and good food, and just really connect all the sensory components for the fans and the artists so that they feel comfortable and they feel like home.

Welcome to the Taking a Walk podcast, where Buzz Night talks with people from all walks of life about their love of music. Today is no exception as buzz Welcome City Winery founder Michael Dorf. Michael is the founder of the Knitting Factory, one of the oldest music venues in New York. We're for years, Michael has been able to share his passions for wine and music in the same wonderful location. Michael's story is truly a fascinating one that blends wine and music. Michael Darf joints Buzz Night now on Taking a Walk.

Welcome to the Taking a Walk podcast, where Buzz Night talks with people from all walks of life about their love of music. Today is no exception as buzz Welcome City Winery founder Michael Dorf. Michael is the founder of the Knitting Factory, one of the oldest music venues in New York. We're for years, Michael has been able to share his passions for wine and music in the same wonderful location. Michael's story is truly a fascinating one that blends wine and music. Michael Darf joints Buzz Night now on Taking a Walk.

Michael Darf from City Winery, It's an honor to have you on the Taking a Walk podcast.

Michael Darf from City Winery, It's an honor to have you on the Taking a Walk podcast.

Well, I look forward to taking a walk with you.

Well, I look forward to taking a walk with you.

So, yes, we were taking a walk with Larry Miller.

So, yes, we were taking a walk with Larry Miller.

We were just talking about.

We were just talking about.

This on a previous episode of Taking a Walk, and you and Larry know each other, Larry the professor there from NYU and great music executive and thought leader, so we intersected on that episode. But I want to ask you what first shape your love of music that would lead you on this incredible journey.

This on a previous episode of Taking a Walk, and you and Larry know each other, Larry the professor there from NYU and great music executive and thought leader, so we intersected on that episode. But I want to ask you what first shape your love of music that would lead you on this incredible journey.

Well, the irony of I think my getting into music as a career in life at this point was because I really sucked myself as a as a player and growing up and I'm really talking young, like primary school, I went to a camp, a summer camp up in northern Wisconsin called interlock In and it was a very musical socialist, Dewey radical, you know sixties counselors, you know, very hippie. We woke up in the morning, you know, on the megaphone speaker system to Dylan every morning going everybody must get Stone. So it was you know, Madison, Wisconsin hippies that were the counselors.

Well, the irony of I think my getting into music as a career in life at this point was because I really sucked myself as a as a player and growing up and I'm really talking young, like primary school, I went to a camp, a summer camp up in northern Wisconsin called interlock In and it was a very musical socialist, Dewey radical, you know sixties counselors, you know, very hippie. We woke up in the morning, you know, on the megaphone speaker system to Dylan every morning going everybody must get Stone. So it was you know, Madison, Wisconsin hippies that were the counselors.

It was quite a I guess early in doctor Nation into into music.

It was quite a I guess early in doctor Nation into into music.

But my friends Harlan Bob Michael.

But my friends Harlan Bob Michael.

They were they were all natural musicians.

They were they were all natural musicians.

They could they could play all different kinds of instruments.

They could they could play all different kinds of instruments.

They formed a band right away.

They formed a band right away.

I took two years of guitar lessons. I could still never get like Stairway to Heaven, even the beginning of it.

I took two years of guitar lessons. I could still never get like Stairway to Heaven, even the beginning of it.

Like I just it didn't come natural to me.

Like I just it didn't come natural to me.

And I just always wanted to be in the band, right because they were getting girls. And then high school, you know, they had the band, and it was just I was jealous and desirous of being part of the band.

And I just always wanted to be in the band, right because they were getting girls. And then high school, you know, they had the band, and it was just I was jealous and desirous of being part of the band.

And but couldn't.

And but couldn't.

I had no talent, And so I very quickly became the sound guy, you know, and again not qualified to be a sound guy, but you know, they'll take anybody, you know, the roadie, the lighting guy. I remember even building a lighting board out of just switches, you know, because I was into you know, construction and stuff like that.

I had no talent, And so I very quickly became the sound guy, you know, and again not qualified to be a sound guy, but you know, they'll take anybody, you know, the roadie, the lighting guy. I remember even building a lighting board out of just switches, you know, because I was into you know, construction and stuff like that.

So I just became part of the band.

So I just became part of the band.

And then when they got more serious, and a couple of them really became at the time working musicians in college, I became their manager and and then next thing, you know, I became a record guy for them, and and then I was in law school for a year and dropped out and went to you know, went to New York and you know, started a record label around a couple of bands from Wisconsin.

And then when they got more serious, and a couple of them really became at the time working musicians in college, I became their manager and and then next thing, you know, I became a record guy for them, and and then I was in law school for a year and dropped out and went to you know, went to New York and you know, started a record label around a couple of bands from Wisconsin.

But I got.

But I got.

Really, really, you know into it from the from the from the non you know, stage perspective in that sense, and and and have stuck with it, like I I.

Really, really, you know into it from the from the from the non you know, stage perspective in that sense, and and and have stuck with it, like I I.

Love my role in the kind of the ecosystem, you know, and I think the I.

Love my role in the kind of the ecosystem, you know, and I think the I.

Guess you know, if you will, My success, which has not been financial, but in terms of success being getting to do what you love to do, was recognizing that I'm not going to be the singer songwriter on the stage, but I'm going to do everything I can to make the perfect environment for the artists to be able to perform and work and maybe.

Guess you know, if you will, My success, which has not been financial, but in terms of success being getting to do what you love to do, was recognizing that I'm not going to be the singer songwriter on the stage, but I'm going to do everything I can to make the perfect environment for the artists to be able to perform and work and maybe.

Earn a living.

Earn a living.

And and so you know, I feel very blessed to have gone down the path and walk what I have in life so far. So take us back.

And and so you know, I feel very blessed to have gone down the path and walk what I have in life so far. So take us back.

You're twenty three years old.

You're twenty three years old.

You start this thing called the knitting factory in Greenwich Village. What was the vibe, like, give us the scene there if we were to walk into the knitting factory back.

You start this thing called the knitting factory in Greenwich Village. What was the vibe, like, give us the scene there if we were to walk into the knitting factory back.

Then, well, the you know, mid eighties on Houston Street and you know, little literally meets the Bowery.

Then, well, the you know, mid eighties on Houston Street and you know, little literally meets the Bowery.

It was a you know, it was it was really gritty and incredibly cool to me.

It was a you know, it was it was really gritty and incredibly cool to me.

You know, we were a couple blocks from CBGB's, which was you know, just storied. You know, you went into the East Village and it was you know, at the time just you know, as as grainy and and just full of characters as.

You know, we were a couple blocks from CBGB's, which was you know, just storied. You know, you went into the East Village and it was you know, at the time just you know, as as grainy and and just full of characters as.

As can be.

As can be.

You know, you would go a little further towards n y U and Washington Square and there was the bottom Line and Village Vanguard and a Blue Note and so there's all these storied music venues from my perspective, and people you know, the lou Reeds and the Patty Smith's and Eric Bogosian and you know Ethel Eichelberg, the great you know performer, and there was just there was such incredible grit in New York. So I got really lucky opening at a time when there was just so much energy artistically and being really green in a certain way from Wisconsin and and and and having been on the performer side in the sense of the getting to ban work in these different venues, I had a really simple deal with artists. It was seventy five to twenty five, you know, artists gets seventy five percent of the ticket.

You know, you would go a little further towards n y U and Washington Square and there was the bottom Line and Village Vanguard and a Blue Note and so there's all these storied music venues from my perspective, and people you know, the lou Reeds and the Patty Smith's and Eric Bogosian and you know Ethel Eichelberg, the great you know performer, and there was just there was such incredible grit in New York. So I got really lucky opening at a time when there was just so much energy artistically and being really green in a certain way from Wisconsin and and and and having been on the performer side in the sense of the getting to ban work in these different venues, I had a really simple deal with artists. It was seventy five to twenty five, you know, artists gets seventy five percent of the ticket.

You know, house gets twenty five.

You know, house gets twenty five.

And so if ten people show up and there's a ten dollars ticket, there's one hundred bucks.

And so if ten people show up and there's a ten dollars ticket, there's one hundred bucks.

They're making seventy five.

They're making seventy five.

If one hundred people pay twenty dollars and it's two thousand, they're getting fifteen hundred. And I was honest and real, and there was no deductions in fancy formulas. And so all of a sudden, all these artists from the from the jazz scene, from the rock scene, from the alternative world, and then within jazz was you know, the real avant garde East Village, you know, white folk. There was the Brooklyn you know, African American cool cats, Cassanda Wilson, Steve Coleman and those folks. And then there was the older guard of jazz that was not even getting They wasn't getting into the uptown you know at the time JBC Jazz Festival, which was George Ween and Newport, which I've became close with, but also the beginning of jazz at Lincoln Center. So there was they were being kind of boxed out. So Ornette Coleman and Cecil Taylor and Henry Threguiel.

If one hundred people pay twenty dollars and it's two thousand, they're getting fifteen hundred. And I was honest and real, and there was no deductions in fancy formulas. And so all of a sudden, all these artists from the from the jazz scene, from the rock scene, from the alternative world, and then within jazz was you know, the real avant garde East Village, you know, white folk. There was the Brooklyn you know, African American cool cats, Cassanda Wilson, Steve Coleman and those folks. And then there was the older guard of jazz that was not even getting They wasn't getting into the uptown you know at the time JBC Jazz Festival, which was George Ween and Newport, which I've became close with, but also the beginning of jazz at Lincoln Center. So there was they were being kind of boxed out. So Ornette Coleman and Cecil Taylor and Henry Threguiel.

So he had this like.

So he had this like.

Blue chip jazz world and the young and everything just kind of came in. We were it was like a black hole in the sense of everything just coming to us because I was just this kid who like didn't know what the fuck I was doing, and and it was and I.

Blue chip jazz world and the young and everything just kind of came in. We were it was like a black hole in the sense of everything just coming to us because I was just this kid who like didn't know what the fuck I was doing, and and it was and I.

Paid and I was honest, it was you you.

Paid and I was honest, it was you you.

Do three thousand son Rod did so many shows with us because he could make real money, you know, I wasn't ripping them off, and and so what happened. He also had just this kind of cross fertilation, fertilization of of music and scenes. So like you know, the cats from Sonic Youth, you know, would come in and and love watching you know, the free jazz players and and and get you know, learn from this improv world. And then because Sonic Youth was kind of revered by like someone like back and and and and and and and the young rockers, you know, we we then hosted you know, Beck's first show, or the Indigo Girls came up for their first show in New York or you know, like so we we had this incredible time where everything genres didn't matter. It was just music and and and fair pay and respect, you know, and and and again. I think that being and sort of understanding my my place and the ecosystem worked really well for kind of allowing all that to grow.

Do three thousand son Rod did so many shows with us because he could make real money, you know, I wasn't ripping them off, and and so what happened. He also had just this kind of cross fertilation, fertilization of of music and scenes. So like you know, the cats from Sonic Youth, you know, would come in and and love watching you know, the free jazz players and and and get you know, learn from this improv world. And then because Sonic Youth was kind of revered by like someone like back and and and and and and and the young rockers, you know, we we then hosted you know, Beck's first show, or the Indigo Girls came up for their first show in New York or you know, like so we we had this incredible time where everything genres didn't matter. It was just music and and and fair pay and respect, you know, and and and again. I think that being and sort of understanding my my place and the ecosystem worked really well for kind of allowing all that to grow.

So you were really well ahead of your time in nineteen ninety six with your digital club network and which would yield them the Macintosh Music Festival, which was really the first live streaming concert, I believe. Can you talk about that experience and your vision for all of that.

So you were really well ahead of your time in nineteen ninety six with your digital club network and which would yield them the Macintosh Music Festival, which was really the first live streaming concert, I believe. Can you talk about that experience and your vision for all of that.

Well, you know, a lot of it was just hustling and trying to on some level earn a living, you know, while there was this incredible fertile mix.

Well, you know, a lot of it was just hustling and trying to on some level earn a living, you know, while there was this incredible fertile mix.

Of music happening. And again I came to New York wanting to.

Of music happening. And again I came to New York wanting to.

Push not just live performance, but be in the record business, if you will.

Push not just live performance, but be in the record business, if you will.

We started doing a lot of recording live.

We started doing a lot of recording live.

From the Knitting Factor, but getting the word out to the world, you know, getting it out wasn't wasn't easy.

From the Knitting Factor, but getting the word out to the world, you know, getting it out wasn't wasn't easy.

It was old distribution.

It was old distribution.

So when there seemed to be the opportunity to not have to ship physical CDs you know before and the first four titles came out on vinyl, you know, as it was transferring to digital, I mean I got again lucky. I count my blessings. You know, the dat machine came out right as we opened, right, so the digital recording happened as we were opening. So the ability to go from Adams to digits was happening live as we were putting on stuff. So the idea of documenting it, putting it recording, then figuring out a deal, you know, that worked. So I had a record company in Japan called Takuma that was licensing my stuff, which allowed me to get some money in to give to the artists, to get worldwide rights to really develop.

So when there seemed to be the opportunity to not have to ship physical CDs you know before and the first four titles came out on vinyl, you know, as it was transferring to digital, I mean I got again lucky. I count my blessings. You know, the dat machine came out right as we opened, right, so the digital recording happened as we were opening. So the ability to go from Adams to digits was happening live as we were putting on stuff. So the idea of documenting it, putting it recording, then figuring out a deal, you know, that worked. So I had a record company in Japan called Takuma that was licensing my stuff, which allowed me to get some money in to give to the artists, to get worldwide rights to really develop.

And so you know where I met Larry Miller.

And so you know where I met Larry Miller.

Actually from like eighty eight to ninety five, we would go to to to to con to the Medium conference just to meet the distributors because he had to.

Actually from like eighty eight to ninety five, we would go to to to to con to the Medium conference just to meet the distributors because he had to.

Physically get together pre fax machine and.

Physically get together pre fax machine and.

That, you know, all that world, and so you know, it was it was and certainly pre email. I mean, the idea of it's it's almost seems unfathomable how we connected with people you know before this you know era. But then when the idea of transferring that music through the airwaves and that we didn't have to go through terrestrial radio, but we could actually use this thing called the internet, and we didn't call it the Internet. We called it the world Wide Web for the first six months, like it was the Www, you know, and like we didn't know, but it was so it was an adventure. But the idea that you could reach people all over the globe, you know, live, even though it was through a you know, fourteen hundred bad modem and it wasn't really live. It was just like a trickle of sound, you know, but it was you connected with people, and so it just seemed like such a huge opportunity to grow an experiment. And yeah, we we went for it with Apple and Intel and Bell Atlantic and m c I and then Larry and eighteen D like so we you know, we really had a.

That, you know, all that world, and so you know, it was it was and certainly pre email. I mean, the idea of it's it's almost seems unfathomable how we connected with people you know before this you know era. But then when the idea of transferring that music through the airwaves and that we didn't have to go through terrestrial radio, but we could actually use this thing called the internet, and we didn't call it the Internet. We called it the world Wide Web for the first six months, like it was the Www, you know, and like we didn't know, but it was so it was an adventure. But the idea that you could reach people all over the globe, you know, live, even though it was through a you know, fourteen hundred bad modem and it wasn't really live. It was just like a trickle of sound, you know, but it was you connected with people, and so it just seemed like such a huge opportunity to grow an experiment. And yeah, we we went for it with Apple and Intel and Bell Atlantic and m c I and then Larry and eighteen D like so we you know, we really had a.

It was just it was it was it was fun.

It was just it was it was it was fun.

I had an an intern literally worked for me for a year, went on tour to Europe and was playing around in this world of recording and getting it out, and he started a dot com company and went public and became my first intern turned billionaire for a while.

I had an an intern literally worked for me for a year, went on tour to Europe and was playing around in this world of recording and getting it out, and he started a dot com company and went public and became my first intern turned billionaire for a while.

Now.

Now.

Of course he lost all of it during the dot com bubble, not all of it, but he you know, it was like it was just such a heady time, you know, it's crazy.

Of course he lost all of it during the dot com bubble, not all of it, but he you know, it was like it was just such a heady time, you know, it's crazy.

Wow, how we'll be right back with more Than Taking a Walk podcast. Welcome back to the Taking a Walk Podcast.

Wow, how we'll be right back with more Than Taking a Walk podcast. Welcome back to the Taking a Walk Podcast.

So City Winery would form in two thousand and eight, and how do you feel that you're at? Where are you at today with City Winery? How are you feeling about it? It's a revered brand. I mean I interviewed the great artist, manager and music executive Danny Goldberg, and I said to Danny, Danny, where where are some of your favorite venues?

So City Winery would form in two thousand and eight, and how do you feel that you're at? Where are you at today with City Winery? How are you feeling about it? It's a revered brand. I mean I interviewed the great artist, manager and music executive Danny Goldberg, and I said to Danny, Danny, where where are some of your favorite venues?

The first thing Danny says is City Winery.

The first thing Danny says is City Winery.

I love my artists playing at City Winery. So you must be so proud of the respect that you have built. Where do you feel you are right now with the brand City Winery?

I love my artists playing at City Winery. So you must be so proud of the respect that you have built. Where do you feel you are right now with the brand City Winery?

Well, you know when I hear Danny and he's he represents obviously Steve Earle and and and and many others. But to know that Steve loves to be on our stage and perform, and and that Steve will say to me like when are you going to open in Austin?

Well, you know when I hear Danny and he's he represents obviously Steve Earle and and and and many others. But to know that Steve loves to be on our stage and perform, and and that Steve will say to me like when are you going to open in Austin?

Or when are you going to open in Toronto?

Or when are you going to open in Toronto?

Or when are you gonna You know, we need something in La like to hear from an artist or like Mark Cohne or Suzanne Vega.

Or when are you gonna You know, we need something in La like to hear from an artist or like Mark Cohne or Suzanne Vega.

Right.

Right.

You know, that's one of the greatest compliments you know, I can have. We're trying very hard. I mean this was very deliberate. One of the great opportunities of starting a second brand or company is you get to really work at trying to fix what you didn't do right the first time. And I made a lot of mistakes with the net in Factory. But number one, I didn't want to do any recording. Like I I wanted to leave the world of intellectual property right and copyright and just like leave that to Danny Goldberg and and and Larry Miller and everybody else. All I wanted to do was focus on the one component was live performance. Put on a great show, have a build a beautiful, great listening room that both the artist and the fan can completely immerse themselves in.

You know, that's one of the greatest compliments you know, I can have. We're trying very hard. I mean this was very deliberate. One of the great opportunities of starting a second brand or company is you get to really work at trying to fix what you didn't do right the first time. And I made a lot of mistakes with the net in Factory. But number one, I didn't want to do any recording. Like I I wanted to leave the world of intellectual property right and copyright and just like leave that to Danny Goldberg and and and Larry Miller and everybody else. All I wanted to do was focus on the one component was live performance. Put on a great show, have a build a beautiful, great listening room that both the artist and the fan can completely immerse themselves in.

I even call it indulge all of your senses. That the title of my book.

I even call it indulge all of your senses. That the title of my book.

You want to fully indulge the complete sensory component of sight and smell in our case, you know, the aromas of wine making and good food and the field. To make sure that furniture is wood in the room is authentic brick not fake, you know, materials, and just really connect all the sensory components for the fans and the artists so that they feel comfortable and they feel like home. And then we add the elements of great food backstage and just be nice. Like all of these things together are what create a magical moment.

You want to fully indulge the complete sensory component of sight and smell in our case, you know, the aromas of wine making and good food and the field. To make sure that furniture is wood in the room is authentic brick not fake, you know, materials, and just really connect all the sensory components for the fans and the artists so that they feel comfortable and they feel like home. And then we add the elements of great food backstage and just be nice. Like all of these things together are what create a magical moment.

And that's our job.

And that's our job.

Our job is creating the best medium between an artist performance and their fan to be able to connect. And I think wine helps lubricate that connection, but the connection really is my job, and so I focused on that. I didn't want to put out records and do radio shows and TV and have an artist ever look.

Our job is creating the best medium between an artist performance and their fan to be able to connect. And I think wine helps lubricate that connection, but the connection really is my job, and so I focused on that. I didn't want to put out records and do radio shows and TV and have an artist ever look.

At me in the eyes with like Larry David, you know, look and go like do.

At me in the eyes with like Larry David, you know, look and go like do.

You owe me a little royalty for that Japanese TV show we did? Or I just don't want to. I want them to give me a big bear hug. When when Joan Osborne and she opened the City Winery first show, you know, she just gave me a huge bear hug. And to me, that that relationship with an artist that I revere and love their music because we delive a great setting and medium for performance, that's to me, the.

You owe me a little royalty for that Japanese TV show we did? Or I just don't want to. I want them to give me a big bear hug. When when Joan Osborne and she opened the City Winery first show, you know, she just gave me a huge bear hug. And to me, that that relationship with an artist that I revere and love their music because we delive a great setting and medium for performance, that's to me, the.

Greatest compliment I can do. And so now I want to scale that.

Greatest compliment I can do. And so now I want to scale that.

You know, I want to take, you know, a three hundred seat perfect listening room and just move put that in as many places as I possibly can, you know, while I'm still a working stiff.

You know, I want to take, you know, a three hundred seat perfect listening room and just move put that in as many places as I possibly can, you know, while I'm still a working stiff.

Well, there's a number of amazing things that City Winery does, so I'll highlight them and allow you to brag about these things. Okay, First of all, you find spaces in various cities where you are helping to revitalize neighborhoods. I think that's really noteworthy. I also think you not only have tremendous legacy artists that you bring out, but you also are dedicated to a diverse group that includes emerging music as well. And I think that's a really important aspect.

Well, there's a number of amazing things that City Winery does, so I'll highlight them and allow you to brag about these things. Okay, First of all, you find spaces in various cities where you are helping to revitalize neighborhoods. I think that's really noteworthy. I also think you not only have tremendous legacy artists that you bring out, but you also are dedicated to a diverse group that includes emerging music as well. And I think that's a really important aspect.

And then the other aspect of it.

And then the other aspect of it.

Which is part of you that you've brought to the City Winery brand, is how the City Wineries work, you know, at helping charities and helping the community. So maybe talk about those those elements because they're so important.

Which is part of you that you've brought to the City Winery brand, is how the City Wineries work, you know, at helping charities and helping the community. So maybe talk about those those elements because they're so important.

Well, I love adaptive reuse of buildings as much as it is in the neighborhood and and and and sort of building not just community, but frankly, uh, real estate value around in neighborhoods. You know, We're a destination business. So whether it's a concert or a bar mitzvah or wedding, like, you're going to go to the address.

Well, I love adaptive reuse of buildings as much as it is in the neighborhood and and and and sort of building not just community, but frankly, uh, real estate value around in neighborhoods. You know, We're a destination business. So whether it's a concert or a bar mitzvah or wedding, like, you're going to go to the address.

So we get a little bit of an advantage that way.

So we get a little bit of an advantage that way.

Over a regular restaurant that really does need to seek a neighborhood that has foot traffic. We can go a little bit more on the on the edgy side. But that also allows me to find really cool historic buildings to to do adaptive reuse, and the materials again fit into my desire for for authenticity, you know, in terms of you know, programming from the knitting factory days, I've loved being eclectic. I think you don't have to just be a jazz club or just a rock club. Audiences are sophisticated and cultured. You you enjoyed diversity, You enjoy you know, both R and B.

Over a regular restaurant that really does need to seek a neighborhood that has foot traffic. We can go a little bit more on the on the edgy side. But that also allows me to find really cool historic buildings to to do adaptive reuse, and the materials again fit into my desire for for authenticity, you know, in terms of you know, programming from the knitting factory days, I've loved being eclectic. I think you don't have to just be a jazz club or just a rock club. Audiences are sophisticated and cultured. You you enjoyed diversity, You enjoy you know, both R and B.

And folk and and and you know.

And folk and and and you know.

So I think our programming is reflective, you know of that. Uh, there's a Hebrew expression called tikun o lum repair the world.

So I think our programming is reflective, you know of that. Uh, there's a Hebrew expression called tikun o lum repair the world.

Just before this, you know, we're trying.

Just before this, you know, we're trying.

To put together a benefit right now, you know for Ashville. You know, there's obviously a lot of people and the media is focusing on the politicians who are all you know, let's hope Trump doesn't throw toilet paper, you know at this this climate disaster, but like really feel bad for people who got caught off guard, you know, on this most recent hurricane from a few days ago, and the number of people have lost everything. We have a stage, we have a rolodex with with artists that we can reach out to, and we have you know, one and a half million customers in our in our in our database that we can reach out to and actually raise money and raise awareness for other funds. And so to me, this feels like a responsibility since we have these these venues to be able to do what we can to help repair the world. And sadly, there's something that needs repair every single day everywhere, and climate is a huge one and you know it ain't getting any better right now and won't be for a while.

To put together a benefit right now, you know for Ashville. You know, there's obviously a lot of people and the media is focusing on the politicians who are all you know, let's hope Trump doesn't throw toilet paper, you know at this this climate disaster, but like really feel bad for people who got caught off guard, you know, on this most recent hurricane from a few days ago, and the number of people have lost everything. We have a stage, we have a rolodex with with artists that we can reach out to, and we have you know, one and a half million customers in our in our in our database that we can reach out to and actually raise money and raise awareness for other funds. And so to me, this feels like a responsibility since we have these these venues to be able to do what we can to help repair the world. And sadly, there's something that needs repair every single day everywhere, and climate is a huge one and you know it ain't getting any better right now and won't be for a while.

But whether it's.

But whether it's.

Science disease issues or political caused problems, you know, health, school education.

Science disease issues or political caused problems, you know, health, school education.

You know, one of the proudest.

You know, one of the proudest.

Things I we were able to do is we got a call once from a music school that literally was three months behind in its rent and they were being shut down, like the end of the following week, we had to raise one hundred and fifty thousand dollars or else they literally would have closed their doors. And we just you know, called everyone, let's go, let's we got we need one hundred and fifty grand now's our goal. And we did it, you know, and that feels great that we can leverage our venues for something good like that.

Things I we were able to do is we got a call once from a music school that literally was three months behind in its rent and they were being shut down, like the end of the following week, we had to raise one hundred and fifty thousand dollars or else they literally would have closed their doors. And we just you know, called everyone, let's go, let's we got we need one hundred and fifty grand now's our goal. And we did it, you know, and that feels great that we can leverage our venues for something good like that.

You have a large team that is a part of City Winery. Talk about your leadership style with that team.

You have a large team that is a part of City Winery. Talk about your leadership style with that team.

Well, I'm glad you're not interviewing them. Yeah, there's fifteen hundred people. Now it's it's you know, crazy again. One of the lessons of all the mistakes from the knitting factory and being able to do a new business was one of the first things I really the first we did a company off site year one with City Winery, I took everyone up a little rock climbing exercise, but we together kind of co created mission and and.

Well, I'm glad you're not interviewing them. Yeah, there's fifteen hundred people. Now it's it's you know, crazy again. One of the lessons of all the mistakes from the knitting factory and being able to do a new business was one of the first things I really the first we did a company off site year one with City Winery, I took everyone up a little rock climbing exercise, but we together kind of co created mission and and.

And while yeah, I have all my notes, but like to get.

And while yeah, I have all my notes, but like to get.

People invested and embedded and feeling truly like a team and doing what I can to demonstrate the value of the whole team. That's been one of the key management goals for me in this new I you know, can't make wine. I can't make good mixed drinks. Frankly, I can't cook in the kitchen. I can't do the box office and sound. And you know, there's no way to be in sixteen markets simultaneously and introduce each show each night, you know, like that's just to hit scale. You've got to have a team that feels the same sense of crowd ownership that I do.

People invested and embedded and feeling truly like a team and doing what I can to demonstrate the value of the whole team. That's been one of the key management goals for me in this new I you know, can't make wine. I can't make good mixed drinks. Frankly, I can't cook in the kitchen. I can't do the box office and sound. And you know, there's no way to be in sixteen markets simultaneously and introduce each show each night, you know, like that's just to hit scale. You've got to have a team that feels the same sense of crowd ownership that I do.

And so that's a core part of my job.

And so that's a core part of my job.

I feel I'm not proficient at so many components of our operations, but I know I got to bring everybody together and I got to inspire. And part of the reason I even you know, did that book was almost on some level to puff the balloon up a little bit more than I feel myself in terms of being a thought leader and a leader, because I.

I feel I'm not proficient at so many components of our operations, but I know I got to bring everybody together and I got to inspire. And part of the reason I even you know, did that book was almost on some level to puff the balloon up a little bit more than I feel myself in terms of being a thought leader and a leader, because I.

Want people to in the company to to.

Want people to in the company to to.

Understand where we're going, and so you got to kind of kind of play that role. And I recognize that. So sometimes I don't feel qualified, and some days I do, you know. And I like to write a lot. I like to try and process the thoughts. My substack is getting some you know, attention, which is kind of.

Understand where we're going, and so you got to kind of kind of play that role. And I recognize that. So sometimes I don't feel qualified, and some days I do, you know. And I like to write a lot. I like to try and process the thoughts. My substack is getting some you know, attention, which is kind of.

Cool and and and and.

Cool and and and and.

People send me notes going like, oh, that was such a great you know note you wrote about this, and you know some you know, I think helping articulate what's now sixty two years of of of of I don't want to use the word wisdom. Let's just call it experience and and and artic it and in ways that hopefully can can resonate with with people and young people. And that's again why I appreciate what Larry Miller is doing in life right now, as he's been able to manifest what's been a great career and and now teach and and give back to to young people. I find that to be, you know, such an altruistic endeavor.

People send me notes going like, oh, that was such a great you know note you wrote about this, and you know some you know, I think helping articulate what's now sixty two years of of of of I don't want to use the word wisdom. Let's just call it experience and and and artic it and in ways that hopefully can can resonate with with people and young people. And that's again why I appreciate what Larry Miller is doing in life right now, as he's been able to manifest what's been a great career and and now teach and and give back to to young people. I find that to be, you know, such an altruistic endeavor.

And by the way, the work he's involved with as well at that amazing Lewis Armstrong Museum is pretty incredible as well.

And by the way, the work he's involved with as well at that amazing Lewis Armstrong Museum is pretty incredible as well.

No, I mean what what his family, you know, has been able to contribute towards that, And and Larry and I both serve on the Newport Foundation board. I feel very lucky to have overlapped with with George ween and and we competed and then became great friends.

No, I mean what what his family, you know, has been able to contribute towards that, And and Larry and I both serve on the Newport Foundation board. I feel very lucky to have overlapped with with George ween and and we competed and then became great friends.

And and then.

And and then.

For him to be you know, asked me to be on his board to keep the legacy going, you know. And I didn't have very many mentors besides say, my dad and all in the.

For him to be you know, asked me to be on his board to keep the legacy going, you know. And I didn't have very many mentors besides say, my dad and all in the.

Business, but.

Business, but.

George really was I would call a true mentor who you know, would take me to dinner and tell me what I did right and what I did wrong. And you know, I really, you know, love the men.

George really was I would call a true mentor who you know, would take me to dinner and tell me what I did right and what I did wrong. And you know, I really, you know, love the men.

So this is an impossible question, I'm sure, but I'm going to ask it anyway. Give me some memorable concert moments at your city wineries that you experienced as a fan of music.

So this is an impossible question, I'm sure, but I'm going to ask it anyway. Give me some memorable concert moments at your city wineries that you experienced as a fan of music.

Well, you know, my go to highlight and it is I go back to it all the time, and there's so many here. But you know, we got the honor of doing a couple of prints after shows. And so he played twice in New York and once in Chicago, and they were remarkable and and the second of the of the New York shows, he played from three am till six am, and he you know, big band, big set up. He played all the hits at six am to see five hundred you know, sort of respectable white people walking onto the street of New York who hadn't been up that late for twenty years, but they had just taken into oxygen like at a casino in Vegas from from his incredible.

Well, you know, my go to highlight and it is I go back to it all the time, and there's so many here. But you know, we got the honor of doing a couple of prints after shows. And so he played twice in New York and once in Chicago, and they were remarkable and and the second of the of the New York shows, he played from three am till six am, and he you know, big band, big set up. He played all the hits at six am to see five hundred you know, sort of respectable white people walking onto the street of New York who hadn't been up that late for twenty years, but they had just taken into oxygen like at a casino in Vegas from from his incredible.

Magic he did.

Magic he did.

It was just just remarkable. But right before the first show, I got a note from his his he had two young women who were acting as managers, who who basically he was he was going to cancel because I was on a on a podcast they I guess they called him. You know whatuld we call him back in two thousand and fifteen or vcas whatever we were called of of log I gave an interview as to some some folks on on on how I got Prince to come and we I do this annual tribute at Carnegie Hall and he had been the honoree and I thought he was going to come for that, and then you know, circumstance led to to this and I used the words I said, you know, I've been trying to get this motherfucker to come and play for for a long time. And I had just seen Purple Rain the night before, so like curse sing and you know, and I did it with it was endearing, you know way.

It was just just remarkable. But right before the first show, I got a note from his his he had two young women who were acting as managers, who who basically he was he was going to cancel because I was on a on a podcast they I guess they called him. You know whatuld we call him back in two thousand and fifteen or vcas whatever we were called of of log I gave an interview as to some some folks on on on how I got Prince to come and we I do this annual tribute at Carnegie Hall and he had been the honoree and I thought he was going to come for that, and then you know, circumstance led to to this and I used the words I said, you know, I've been trying to get this motherfucker to come and play for for a long time. And I had just seen Purple Rain the night before, so like curse sing and you know, and I did it with it was endearing, you know way.

I said it.

I said it.

But as soon as the show was over, I got a text going like please call me, you know, and it was this woman who was with Prince and he's like, you know what his name is? Correct?

But as soon as the show was over, I got a text going like please call me, you know, and it was this woman who was with Prince and he's like, you know what his name is? Correct?

And I'm like, what goes? You just cursed as his name rather than his name. You know what his name is. I'm like, of course I do. It's prince.

And I'm like, what goes? You just cursed as his name rather than his name. You know what his name is. I'm like, of course I do. It's prince.

Oh oh my god, like, no, no, no, you have no idea. Well, he's reconsidering, you know, the performance. And I'm like no, no, no, no, no no no no no no no no no no no, no, oh my god.

Oh oh my god, like, no, no, no, you have no idea. Well, he's reconsidering, you know, the performance. And I'm like no, no, no, no, no no no no no no no no no no no, no, oh my god.

And I said, is there anything anything I can do? I mean, you have no idea.

And I said, is there anything anything I can do? I mean, you have no idea.

I'm so sorry. It was that's wrong context. You got to understand.

I'm so sorry. It was that's wrong context. You got to understand.

She's like, hold on.

She's like, hold on.

So like there's a pause, and then she goes, all right, he he wants you to write I'm sorry, your name is prince one hundred times on a piece of paper. And after you do that, take a photo and text it to me and then we'll reconsider. So I scramble, and it's being videotaped. I'm scrambling. I'm sorry, your name is prince. I'm sorry your name is prince.

So like there's a pause, and then she goes, all right, he he wants you to write I'm sorry, your name is prince one hundred times on a piece of paper. And after you do that, take a photo and text it to me and then we'll reconsider. So I scramble, and it's being videotaped. I'm scrambling. I'm sorry, your name is prince. I'm sorry your name is prince.

You know.

You know.

I'm so, you know, bent over and like, but you know, of course he's prince. So I do it.

I'm so, you know, bent over and like, but you know, of course he's prince. So I do it.

I take the photo, send it, she sends me up going, I'm coming over to get it in person. So I'm sweating, you know. I like, this is five o'clock the day of the first show.

I take the photo, send it, she sends me up going, I'm coming over to get it in person. So I'm sweating, you know. I like, this is five o'clock the day of the first show.

And like, so you know, he obviously did the shows, and but oh my god, to have that connection with him was nuts.

And like, so you know, he obviously did the shows, and but oh my god, to have that connection with him was nuts.

What a story, what a life, Michaeldorf. What experiences you and your teams give us at your city wineries. I'm so grateful that you came on the podcast, and thanks for everything that you continue to do.

What a story, what a life, Michaeldorf. What experiences you and your teams give us at your city wineries. I'm so grateful that you came on the podcast, and thanks for everything that you continue to do.

Man, it's great.

Man, it's great.

Well, I really appreciate being honest and thank you for supporting us, and I hope to see you again soon.

Well, I really appreciate being honest and thank you for supporting us, and I hope to see you again soon.

Absolutely, thank you, Michael.

Absolutely, thank you, Michael.

Thanks for listening to this episode of the Taking a Walk podcast. Share this and other episodes with your friends and follow us so you never miss an episode. Taking a Walk is available on the iHeartRadio app, Apple Podcasts, and wherever you get your podcasts.

Thanks for listening to this episode of the Taking a Walk podcast. Share this and other episodes with your friends and follow us so you never miss an episode. Taking a Walk is available on the iHeartRadio app, Apple Podcasts, and wherever you get your podcasts.