Read Anyone Who Had a Heart Online
Authors: Burt Bacharach
When Stevie Wonder came onstage, he said, “I feel like I’m a regular here,” because he’d been to the White House so often. He started and stopped “Make It Easy on Yourself” three times because he didn’t like the way it was feeling. The night before at the Library of Congress, he had just gone straight through the song, but Stevie knew this was all going on tape and he didn’t like it so he started again. That was when the president leaned over to me and said in my ear, “He’s done this before.” And I said, “Yeah.”
The great thing about the president was his body language. The fact that he was sitting next to me and reacting so physically to my music was overwhelming. That was when I said to him, “I’d really like to work for you and record you.” The president just smiled but I do think he can really sing.
The show went really well and then the president got up to speak. He said, “Like the Gershwin brothers, Burt and Hal have never been limited to one genre, or one generation. Burt once said that all he looks for in writing a good melody is ‘to write something I like.’ Hal agreed, saying, ‘We just tried to write with as much integrity as we could.’ Above all, they stayed true to themselves. And with an unmistakable authenticity, they captured the emotions of our daily lives—the good times, the bad times, and everything in between. They have lived their lives on their own terms, and they’ve taught Americans of all ages to embrace their individual stories, even as we move forward together. So tonight, on behalf of a grateful nation, it is my privilege to present the nation’s highest prize for popular music to two kings of songwriting, Burt Bacharach and Hal David.”
There was no way I was going to top that. When I accepted the award, I got really choked up and repeated what I had said the night before about this being the greatest award I had ever received. Then I sat down at the piano and led everyone in “What the World Needs Now.” It wasn’t until I settled in at the piano that I finally felt comfortable.
After the show was over, the president and the First Lady got up onstage and went around and talked to every single musician. The president shook everybody’s hand and thanked all the staff. After they left, we all went to a champagne reception. President and Mrs. Obama could not attend because it was late, and the reason their daughters had not been at the show was that it was a school night.
When we left the White House, it was pouring rain. We got back into the van and went to dinner. Then Jane and I went off for a little vacation in Puerto Rico. I had been to the White House before with Carole to play for President Reagan, but for me this experience was on an entirely different level.
During the George W. Bush era, I had played a charity event in a hotel ballroom in Dallas. I was backstage waiting to go on when Laura Bush came back to see me with Cherie Blair, the wife of Tony Blair, the prime minister of England, and another woman who was a friend of theirs. The three of them started singing my songs to me like they were the Andrews Sisters and I thought that was wonderful.
Less than a year later, I went to Washington for the Kennedy Center Honors, where Elizabeth Taylor was being honored, and I was going to play piano for Dionne as she sang “That’s What Friends Are For.” As we went into the White House to meet President and Mrs. Bush, I was telling Jane, “Laura Bush was singing my songs to me in Dallas so I know she’ll be happy to see me.” We were all standing in line and when she came up to me, Laura Bush didn’t have a clue who I was but the president said, “I like your music.”
A couple of months after the Gershwin Prize ceremony, I went to a small fund-raiser in Los Angeles for President Obama, thrown by Ryan Murphy, who did the television show
Nip/Tuck
. There were about eighty people at Ryan’s house and I said to Jane, “We’re going to get our picture taken again with the president.” I was sitting there eating dinner and just before the president started to speak, I realized my knife had been taken away. Because the president had just come in the room, everyone’s knives suddenly disappeared.
When the time came for Jane and me to have our picture taken with the president, I said to her, “Do you think he’ll remember me?” She said, “Of course he will.” We went back to see him and the president couldn’t have been nicer. He gave me a big hug and said, “How’s Hal? Is he out of the hospital?” I thought that was incredible. The man has great charisma and all I can say is that I am kind of in love with the guy.
A couple of weeks after Jane and I came back from Puerto Rico, I talked to Hal on the phone. Then I did a benefit show at the Geffen Playhouse in Westwood with five other composers, J. D. Souther, Sergio Mendes, and Kenny “Babyface” Edmonds among them, for the Fulfillment Fund, a charity that helps about two thousand disadvantaged kids a year. I walked in and someone told me Hal was there. I went over and told him how happy I was that he was out of the hospital. Hal didn’t look that great but he could speak in short sentences, so I could communicate with him. When I got up onstage, I talked a lot about him before I sang “Alfie.”
About a week and a half later, Jane and I were in the car on our way to Hollywood Park when I got a call from Dionne in London. Chuck Jackson had just gotten in touch with her because he’d heard Hal had died. I got on the phone right away and called Eunice, but I couldn’t even get through to her voice mail.
I was now very concerned, so I called Phil Ramone on the west coast and asked him if he knew anything about it and he said he was going to try to find out. When I got in the car with Jane after leaving the track, the phone rang and it was Eunice. I was expecting really bad news but she said, “Hal and I were out at the Ahmanson Theater seeing
Follies
.”
Not long after that, in June, Hal was in New York at the Songwriters Hall of Fame dinner. I talked to him and Eunice again after I came back from playing a show in Louisville, Kentucky, and she told me they were going there the following week for an eight-day boat cruise up the Ohio River. As it turned out, Hal never got to make that trip. Instead he got an infection and had to go into the hospital. He came back out, but was then hospitalized again.
Hal was ninety-one years old when he died on September 1, 2012. I knew it was coming, so it wasn’t a sudden shock. I just felt really sad. I also thought Hal got the worst break possible because he had been able to go to that event at the Geffen Playhouse two weeks after the Gershwin Prize ceremony but he couldn’t be there in Washington for the greatest honor he had ever been given. I just thought that was so cruel.
I got a lot of condolence calls from people who said to me, “You lost your partner.” The truth was that it had been a long time since Hal and I had sat down in a room to write a song together. I had written with other people and so had he. But even though we were no longer partners, the real truth is that the guy was simply brilliant.
I was down in Del Mar when I heard the news on Saturday. Then the
Los Angeles Times
asked me if I would write a piece about Hal. I wrote it in longhand on a yellow pad the next day, and my son Oliver typed it up for me. The piece had to run on Monday, so I didn’t have that much time to get it done. The last line was “Hal, we had a great run and I’m so grateful we ever met.” And that’s the way I still feel about him.
I
t’s hard for me to describe how much I appreciate having a family at this time in my life. It is a little bit unusual for someone my age to have two children who are still teenagers and sometimes somebody will say something to me about my “grandkids.” When I say, “No, that’s my son and that’s my daughter,” they think they have to apologize.
I’m very proud of my son Cristopher, who is a fine young man working really hard to make it on his own. Cris is now twenty-six years old and lives in Los Angeles. He worked for a couple of years up in Seattle for the Seattle Sounders and the Seattle Seahawks, and then came back to Southern California. He worked at Warner-Chappell just to get a taste of what that the music publishing business is like. He didn’t love it so now he’s over at Warner Bros. Television.
I’m also lucky enough to have been able to take both Raleigh and Oliver out on the road with me. Raleigh was fourteen when we went through Italy together a couple of years ago. She has the kind of intensity about getting things done perfectly that reminds me of myself when I used to go into the studio to cut a record. She can also be a little shy, but not when she gets on a horse.
Oliver was eighteen when I took him on the road in Europe and he worked for me on the tour. We stayed together in castles in Italy and I got the kind of connection with him I would never have had in any other way. Oliver is so outgoing that he was like the mayor of whatever town we were in. At the end of the tour I said to him, “You know, I would have done this for no money just because of what I’ve gotten from you.” And he said he felt the same way.
The band I play with now didn’t even exist in my mind until Jane came up with the idea for me to get people together who could really sing and play my songs so they sound the way I want them to, instead of my just going out there to perform them by myself. On my own, I would never have thought of this, so that was all Jane’s doing.
Jane and Oliver and Raleigh and I were on a little vacation this past summer on the Greek isle of Mykonos and I was late getting ready. I certainly don’t get dressed as quickly as I used to because of my back, but I kept everybody waiting. They were all pissed off but nobody said anything. When we walked into the restaurant I kind of fell apart. I was in tears at the table, and I said, “You don’t know how much you all mean to me, and I can’t stand disappointing you.”
It was a full-out confession of my love for them, and I’m really glad I said it because, thanks to Cristopher, Jane, Oliver, and Raleigh, I am now finally truly happy.
Thanks to Eric Lax, who did the initial interviews with Burt and was kind enough to make them available for use in this book.
Thanks to “The Doc” at www.oldtimetv.pizco.com for copies of Burt’s television specials.
Thanks to Paula Stewart for her personal photographs and the copy of the sheet music for “Night Plane to Heaven.” Thanks to Carole Bayer Sager and Mike Myers for photographs from their personal collections as well.
Thanks to Joel Selvin for providing us with the manuscript of his forthcoming book,
Here Comes the Night: The Dark Soul of Bert Berns and the Dirty Business of Rhythm and Blues
, published by Counterpoint Press.
Thanks to Amy Schiffman, Brian Lipson, and Joel Gotler at the Intellectual Property Group. Thanks to Jonathan Burnham, Claire Wachtel, and Elizabeth Perrella at HarperCollins.
Thanks to Paul Conroy and Richard Havers for finding Paul Jones. Thanks to Jeff Ayeroff and Ryan Null for helping us look for a cover photograph for this book. Thanks to David Riva for his help with interior photographs.
Thanks to Herb Alpert, Jane Hanson Bacharach, Frank Binswanger, Slim Brandy, Elvis Costello, Hal David, Angie Dickinson, Lee Grant, Paul Jones, Mike Myers, Richard Kirschman, Jerry Moss, Phil Ramone, Carole Bayer Sager, Joel Selvin, Gary Smith, Paula Stewart, and Dionne Warwick for finding the time to talk about Burt.
Thanks to Sue Main, without whose never-ending help this book would not have been possible.
Much of what Angie Dickinson says about Nikki in this book comes from an article titled “Autism: A Struggle in Black and White,” by Angie Dickinson as told to Ed Leibowitz, which appeared in
Los Angeles
magazine on September 1, 2010. Many thanks to Ed Leibowitz for his kind permission to quote from it at length here.
Marlene Dietrich’s comments about Burt come from her autobiography,
Marlene
, which was published by Grove Press in 1989.
Cilla Black’s comments about Burt come from her autobiography,
What’s It All About?
, which was published by Ebury Press in 2004, as well as the 1996 BBC documentary about Burt titled
This Is Now
.
Hal David’s comments about “Anyone Who Had a Heart” come from an interview he did with Johnny Walker of BBC Radio in 2000, as quoted in
Burt Bacharach: Song by Song
, by Serene Dominic, published by Schirmer Books in 2003.
The comments by Richard Carpenter and Noel Gallagher come from
This Is Now
as well as a 2001 A&E biography of Burt. The material from all the other speakers comes from original interviews done with them for this book.
The pagination of this electronic edition does not match the edition from which it was created. To locate a specific passage, please use the search feature of your e-book reader.
A&M Records, 42, 77, 129, 143
Abner, Ewart, 76
Academy Awards, 124, 147, 178, 270
Adams, Neile, 37
Afternoon Deelites (horse), 216–17
Aldon Music, 42
“Alfie,” 1–2, 115–19, 126, 175, 183, 236, 237, 257, 259, 260, 268, 269, 270, 276
“Alison,” 228
Allen, Peter, 178
Allen, Woody, 97
Alpert, Herb, 42, 77, 123, 127–29, 143, 148
“Always Something There to Remind Me,” 89, 269
American Symphony Orchestra, 141
Ames Brothers, 37–38, 249
Ammons, Albert, 18
Anders, Allison, 221–22
Andress, Ursula, 122, 230
Anka, Paul, 72, 111–12, 172
“Any Day Now,” 53, 62, 69
“Any Old Time of Day,” 88
“Anyone Who Had a Heart,” 84, 85–87, 94, 97, 129, 270
Arcaro, Eddie, 212
Arlen, Harold, 50, 56
Armstrong-Jones, Antony, Lord Snowdon, 95
Army, U.S., 25–29
Arnaz, Desi Jr., 169
Arthur, Brooks, 176
“Arthur’s Theme,” 177–78
ASCAP, 212
Ashe, Arthur, 169–70
Atkins, Chet, 129
At This Time,
258–59
“Baby, It’s You,” 66–67, 227
Bacharach, Bertram (father), 5–11, 92, 161, 191
Bacharach, Burt: birth and early years, 5–11, 13–15, 17–19, 22
Bacharach, Cristopher Elton (son), 201–3, 207, 239, 254–55, 267, 279
Bacharach, Irma (mother), 5, 6–7, 11, 12, 14, 18, 33, 139, 141, 150, 190–92, 249
Bacharach, Jane Hanson (wife), 203–11, 215–17, 233, 247, 251–52, 267, 269, 273, 275, 280
Bacharach, Max (grandfather), 8
Bacharach, Nikki (daughter), 1–4, 121, 161–67, 193–200, 242–48, 264
Bacharach, Oliver (son), 210, 246, 251, 265, 267, 279–80
Bacharach, Raleigh (daughter), 211, 251, 255, 267, 279–80
Banderas, Antonio, 232
Barbirolli, Sir John, 57
Barefield, Eddie, 17
Barnes, Clive, 139
Barris, Chuck, 107
Barry, Jeff, 42
Basie, Count, 16, 82
Bassey, Shirley, 85
Battle Royal (horse), 213–14, 217
Bayer, Anita, 178–80
Beatles, 60, 61, 67, 85
Bennett, Michael, 133, 135, 136
Benton, Brook, 88–89, 156
Berg, Alban, 25
Bergen, Polly, 39–40
Bergman, Alan and Marilyn, 202
Berklee College of Music, Boston, 259
Bernstein, Leonard, 11–13
“Beware of the Blob,” 49
Billington, James, 266, 267, 269
Black, Cilla, 1, 85–87, 116–19
Blaine, Hal, 149
Blair, Cherie, 275
“Blue on Blue,” 80–81
Blume, Helmut, 22–23, 144
Boehner, John, 268–69
Bogart, Neil and Joyce, 176, 179
Bono, Sonny, 2
Booker T. & the M.G.s, 129
Bowen, Jimmy, 207
“Boys in the Back Room, The,” 55
Bracken, James, 75
Brandt, Willy, 55
Brandy, Slim, 35–36, 70–73, 75, 90, 119–20, 167
Brasil ’66, 124
Breakaways, 94, 117
Brewer, Teresa, 44
Bricusse, Tony and Leslie, 170
Brill Building, 42–45, 64, 69, 75, 113, 220
Brooks, Garth, 235, 238
Brown, Bobby, 236
Brown, James, 129
Brubeck, Dave, 25
Burnett, T-Bone, 219
Burt Bacharach in Shangri-La,
158
Burton, Richard, 186
Bush, Laura, 275
Bushkin, Joe, 18, 19–20
Butch Cassidy and the Sundance Kid
, 144–47
Butler, Artie, 87
Butler, Jerry, 75, 78
Cafritz, Buffy, 267
Cage, John, 30
Cahn, Sammy, 34, 44
Cain, Marvin, 34
Callas, Maria, 169
Campbell, Glen, 207
Carpenters, 148–49
Carter, Benny, 268
Carter, Calvin, 75
Carter, Vivian, 75
Casino Royale,
122–24, 131, 230, 250
Cassidy, Jack, 37
Cassini, Oleg, 169
Chamberlain, Richard, 148, 149
Charles, Ray, 235, 236, 238
Cher, 1–2
Clark, Dick, 80
“Close to You,” 128, 148–49, 269
Coca, Imogene, 39
Cole, Natalie, 229
Coleman, Cy, 43
“Come Touch the Sun,” 146
Como, Perry, 46
Conn, Jack, 17
Conniff, Ray, 46
Cosby, Bill, 168, 169
Costello, Elvis, 60–61, 80, 86, 219–29, 231, 233–34, 258, 259, 261–63, 265
Cowan, Irv and Marge, 171
Coward, Noël, 50
Cowell, Henry, 30, 268
Crane, Norma, 50, 91, 93
Crittenberger, Willis, 27, 28
Cross, Christopher, 177–78
Crow, Sheryl, 269, 273
Crystals, 79
Damone, Vic, 33–35, 36, 37, 44, 82, 150, 249, 257
“Dancing Fool, The,” 172
David, Hal, 40–46
and Academy Awards, 124, 147
breakup with, 156–57, 159–60
and Gershwin Prize, 266, 268, 270–71, 274, 277
illness and death of, 268, 276–77
less attention paid to, 112–14, 139, 160
lyrics by, 45, 83, 84, 101, 115, 132, 135, 138, 145, 146, 248
partnership with, 67–68, 81, 113, 122–29, 131, 154–55, 158–59, 212, 225, 270
songs written with, 45, 46, 49, 64, 69, 74, 77–81, 82–89, 94, 99, 102, 104–5, 115–16, 134–35, 143, 145, 148, 160, 183
David, Mack, 44, 49, 64, 66
Davis, Clive, 188, 235
Davis, Marvin, 206, 207–8
Davis, Miles, 118–19
Davis, Sammy Jr., 168
DeShannon, Jackie, 105
Diamond, Neil, 179–80, 182–83, 216, 224, 260
Dickinson, Angie, 91–93, 95, 96–97, 98–101, 103, 105–11, 113, 139, 140, 147, 150, 154, 204, 208, 213, 264
marriage to, 24, 106–9, 110, 119, 153, 159, 160, 165, 172
and Nikki, 1–4, 120, 121, 122, 132, 161–67, 193–200, 242–48
Dietrich, Marlene, 46, 49, 50–63, 66–67, 71, 89, 91, 93, 106, 108–11, 240, 249
Dixon, Luther, 65, 66, 75
“(Don’t Go) Please Stay,” 67
“Don’t Make Me Over,” 78–79, 85, 93, 94, 97, 220
Douglas, Illeana, 222
Douglas, Mike, 172
“Do You Know the Way to San Jose,” 127, 175
Dr. Dre, 258
Drifters, 67, 74, 87
Dylan, Bob, 190
Eastman, Lee, 113
Ebert, Roger, 158
Edmonds, Kenny “Babyface,” 264, 265, 276
Ellington, Duke, 82
Emanuel, Rahm, 259
Epstein, Brian, 85, 116–17
E.T.,
182
“Ever Changing Times,” 190
Evert, Chris, 157–58
Fain, Sammy, 189
“Falling in Love Again,” 52, 55
Famous Music, 38, 42, 43–45, 46, 49, 69, 88
Feinstein, Michael, 269
Feld, Norman, 17
Feldman, Charlie, 96–98, 103, 122
Ficks, Bill, 37
Fiedler, Arthur, 129
Fields, Freddy, 141
Fifth Dimension, 99
Fillol, Jaime, 169
Finch, Peter, 155–56
Finder of Lost Loves,
184
Fiondella, Jay, 92
Fishell, Dick, 10
Fisher, Marvin, 48
Fisher, Tracy, 48
Fitzgerald, Ella, 82, 89, 129
Ford, John, 69, 70
Foster, David, 176
Francis, Connie, 43
Franco, Francisco, 57
Franklin, Aretha, 206
Frasier, Ian, 170
Friedman, Edith, 212
Gallagher, Noel, 129–30
Garland, Judy, 52
Garrett, Snuff, 65
Garson, Mort, 44
Gazzara, Ben, 37
Geissman, Grant, 263
Gelbart, Larry, 141
Gershwin, George, 30, 139, 140
Gershwin, Ira, 139–40
Gershwin Prize, 266–75, 277
Getz, Stan, 82
Gibbs, Georgia, 39
Gielgud, John, 177
Gilbert, Lewis, 116, 119
Gillespie, Dizzy, 16, 23, 228
Gingold, Hermione, 37
“God Give Me Strength,” 221–23, 229
Goffin, Gerry, 42
Goldberg, Wendy and Leonard, 205
Goodman, Benny, 20
Gordon, Steve, 177
Gould, Morton, 12
Grace, Princess (Monaco), 169
Grace of My Heart,
219–23
Granada Television, 95, 96
Grant, Lee, 90–91
Granz, Norman, 55
Greenberg, Florence, 65, 74–75, 78–79, 80, 87, 113
Greenwich, Ellie, 42
Grey, Joel, 39, 40
Griffin, Merv, 47, 169
Griffin, Paul, 87
Guber, Peter, 156
Haley, Bill, and His Comets, 43, 228
Hamlisch, Marvin, 141, 173, 184
“Happy and His One Man Band,” 49
Harlem Globetrotters, 40
Harrison, Lou, 30
Hartman, Ena, 93, 94
Hawks, Howard, 96
Hayes, Isaac, 88, 235
“Heartlight,” 182
Heartlight No. 1 (horse), 215–16
Heath, Ted, 94
Helen, Princess (France), 169
Hemion, Dwight, 147, 157–58
Hendrix, Jimi, 94
“Here I Am,” 99
Here I Am,
257–58
Herman, Charlie, 47, 210
“He’s a Rebel,” 80
Hill, Faith, 237–38
Hill, George Roy, 144, 145, 146
Hilliard, Bob, 44, 49, 53, 64, 65, 67, 69, 74
Hindemith, Paul, 23, 144
Hitmaker, The
, 94–95, 143
Hoffs, Susanna, 234
Hollaender, Friedrich, 55
Hope, Bob, 98
Horne, Lena, 82
Horowitz, Mark, 268, 271
Horowitz, Vladimir, 31, 32
“House Is Not a Home, A,” 88–89, 156, 175, 257, 260, 269
Houston, Cissy, 74, 84–85, 105
Houston, Whitney, 235–39
Howard, Ron, 187
Hullabaloo
(TV), 111–13
Hunt, Tommy, 69, 80
Hunter, Ross, 154, 157, 158
Hurley, Elizabeth, 231
Hussey, Olivia, 155
“If I Could Go Back,” 155–56
“I Just Don’t Know What to Do with Myself,” 80
“I’ll Cherish You,” 66
“I’ll Never Fall in Love Again,” 134–35, 141, 233, 269, 270
“I Say a Little Prayer,” 125, 126, 234
Isley, Ron, 257–58
“I Smiled Yesterday,” 79
“I Still Have a Valise in Berlin,” 55
“I Still Have That Other Girl,” 224, 226–27, 229
“It’s Love That Really Counts,” 74–75
“It’s Not Unusual,” 99–100
“I Wake Up Crying,” 65
Jackson, Chuck, 53, 65, 69
Jackson, Michael, 176
Jackson, Paul Jr., 176
John, Elton, 188, 201, 264
Johnson, Lou, 89
Jolly, Pete, 128
Jones, Glenn, 185
Jones, Jack, 82
Jones, John Paul, 94
Jones, Paul, 100–101
Jones, Quincy, 60, 82, 227, 250
Jones, Shirley, 37
Jones, Tom, 77, 99–100
“Just Friends,” 176
Kahal, Irving, 189
Kapp Records, 94
Karen, Kenny, 116
“Keep Me in Mind,” 40–41
Kellerman, Sally, 155, 156, 160
Keltner, Jim, 176
Kennedy, Ethel, 135
Kennedy, George, 155, 156, 160
Kennedy, Jacqueline, 2
Kennedy, John F., 73
Kennedy, Ted, 13
“Kentucky Bluebird,” 89
Khan, Aga, 168
King, Ben E., 67
King, Carole, 42, 220
Kirshner, Donnie, 42
Klein, Arnold, 251
Kling, Ken, 212
Knee, Bernie, 49
Knef, Hildegard, 55
Knight, Gladys, 188
Koch, Howard, 115
Kohler, Billy, 47
Korshak, Sidney and Bea, 150
Krall, Diana, 269, 273
Kramer, Billy J., 95
Kramer, Larry, 154
LaBelle, Patti, 190
“Land of Make Believe,” 87
Latifah, Queen, 235
Lawrence, Steve, 39
Led Zeppelin, 94
Lee, Arthur, 102–3
Lee, Will, 222
Leiber, Jerry, 42, 53, 65, 67–70, 74, 80, 170
Leigh, Carolyn, 43
Le Roy, Hal, 17
Levin, Gerald, 252
Levine, Larry, 149
Levy, Lynn, 107
Lewis, Rudy, 67
Library of Congress, 266–72
Liechtenstein, Prince of, 185–86
Lombardo, Guy, 44
“Long Division, The,” 224
“Look of Love, The,” 122–24, 230, 257, 269, 273
Lorber, Alan, 89
Lorre, Chuck, 263
Lost Horizon,
154–60
Love, 102, 103
“Love of a Boy, The,” 104
Lovett, Lyle, 269
Lynne, Gloria, 65
“Magic Moments,” 46, 49
Main, Sue, 239, 244–45, 247, 254, 255, 266, 267, 269
“Make It Easy on Yourself,” 74–76, 77–78, 257, 270, 273
Mandell, Johnny, 227
Mann, Barry, 42
Mann, Manfred, 100, 101–2
Manoff, Arnold, 90
“Man Who Shot Liberty Valance, The,” 69–70
Marcos, Ferdinand, 189, 190
Marcos, Imelda, 189–90
Martin, George, 85, 95, 117, 118
Martinů, Bohuslav, 268
Mathis, Johnny, 45–46
Matz, Peter, 50, 112, 147
McDaniels, Gene, 65
McDonald, Michael, 174–75, 190
McGill University, 22–25
McGraw, Tim, 238
McGuinness, Tom, 102
McQueen, Steve, 37–38, 49
Medavoy, Mike, 177
“Mein Blondes Baby,” 57
Mendes, Sergio, 124, 276
Merrick, David, 131–37, 139, 140
“Message to Martha/Michael,” 89–90, 175
“Mexican Divorce,” 74
Michael, Prince (Greece), 169
Milhaud, Darius, 24–25, 228, 268
Miller, Mitch, 46, 51
Mills, Gordon, 99–100
Minnelli, Liza, 177
Mogull, Ivan, 33
Moog, Bob, 223
Moore, Dudley, 97, 177
Moore, Robert, 133, 139
Morris, Howard, 44
Moss, Jerry, 42, 77, 123, 129, 143, 148, 149, 269
Murphy, Ryan, 275
Murray the K, 88
“My Blue Heaven,” 51, 57
Myers, Mike, 118, 230–34, 261–63, 267, 269, 273
“My Little Red Book,” 99, 100, 101–3, 228
“My Thief,” 224–25
Nelson, David, 107–8
Nelson, Ricky, 79
Newley, Anthony, 170–72
Newsweek,
152–53