Mr. Griffin. Can you give us some specific examples of particular things that he talked with you about and advice that he might have asked you for?
Mr. Meyers. You mean businesswise?
Mr. Griffin. Yes.
Mr. Meyers. Well, for example, there were two competitors, there are and were, I should say, two competitors in Dallas named Weinstein. These were two brothers. There were two brothers in Dallas named Abe and Barney Weinstein who also ran the same type of operation, should we call them striptease places or strippers or whatever you want to call them, nightclubs if you want to glamorize them, and Jack—well, I am going to get into specifics now with what I think of Jack. Is that all right with you?
Mr. Griffin. We would like to hear that; yes, sir.
Mr. Meyers. Jack, to me, always gave me the impression of being—that he always thought he was being taken advantage of. He never felt that he had as much of a share of prosperity as anybody else, as many other people. His complaint primarily to me against these Weinsteins was an operation that they would call audition nights in Dallas, in these clubs. The audition night evidently was a special night where, oh, three or four or five different girls would come in. Some of them were experienced strippers who worked for that fee for that night. Others were actually amateurs, I guess, who had the dreams of being artists. Well, we will use that word.
Mr. Griffin. How many different times would you estimate that Jack talked to you about the amateur nights that the Weinsteins were running?
Mr. Meyers. Oh, golly, this is quite a few times. Quite a few times. As a matter of fact, as I told you, I had seen Jack, I don’t know, I say 20, 25—it could be 30, 35 times. I really don’t know. And in the last year or so he was very vehement about this thing, about the proceedings that he had taken, the things that he had tried to do. I will get into that if you want me to.
Also he would mention this to me many times in one night. This was one of his—of course, this all goes back to prior to the tragedy in Dallas now. It seems that he resented the fact that the union, I don’t know what the name of it was, AGVA or Actors Equity or something, had forbidden these amateur nights and he, in compliance with the union rules, had discontinued them.
However, his competitors had not discontinued them. And he was trying to use—I suppose you would call it—legal methods, through the union officials, to try to get them to discontinue these things, because he felt they were hurting his business for these particular nights.