He was a manager, one of the singers, I guess talent coordinator for the local talent in Harlem. His name was Lover Patterson. He was living right across the street from where my dad had his restaurant. I guess he saw a lot of kids come in, a lot of my buddies.

One minute we can be in a small club, the next minute we can be in a coliseum, and the next minute we can be in a small auditorium. It varies, depending on the promoter, the budget, and the travelling distance.

The movie is actually from a book by Stephen King called The Body. When they were gonna put it to a motion picture, they found the story was a bit too strong for the title The Body, based on a young kid's movie. It would be too heavy.

The industry now wants to be in charge of everything.

It doesn't take me long to write songs.

Of course, the kids who had never heard of a person called Ben E. King were then aware of the name associated with the song. That gave a tremendous lift to me as an artist.

Those things don't happen today. I feel sorry for the kids in the industry today. They have on sunglasses, eat caviar in jet planes, but they'll never know the true feeling that we did.

When we took on the name The Drifters, we became the new Drifters, and signed a contract to be put on salary, which I think was like a hundred dollars a week, a piece, five hundred dollars for all five of us.

It would probably take me an hour to two to write it down, get the feel of it, and that's with quite a few changes. It's not really a hard thing for me to do.

I never even visualized for a second doing what I'm doing.

Yeah. I'm amateurish. I can play enough to write a song, or strum on a little guitar to write out a song. But, I don't play well at all. I wouldn't even attempt for a second to play in public.

And, because there was an honesty about all that was going on. It connected with the people in the street.

One of the members of the group, I can't remember which one, found out we were making $3 - $5,000 a night. We were getting a hundred dollars a week a piece. Everybody got upset about it.

The Phil Spector that I would meet has always been a nice, quiet, little guy who's very serious about his work; obviously you can tell that because each and everything he's ever done has always been charted.

Yeah. I've been pretty fortunate to travel I guess, all around the place.

At that time, we were in charge. We didn't ask. We just did. We just did what was in our heart.

I still think my whole career was accidental. I didn't pursue it. I feel like I'm cheating sometimes.

I do a lot of Vegas work and work with the comedians.

It never dawned on me at any particular time of my life that people are paid tremendous money to sing.

When I got involved with The Five Crowns who later became The Drifters, and we got this hit record, I still was looking at this as kind of a fun thing.

We were doing things with a hundred per cent feeling. It wasn't programmed. It wasn't asked for. It wasn't structured. It was just there. It was very raw. I don't think the industry would allow that to happen again.

He was a manager, one of the singers, I guess talent coordinator for the local talent in Harlem. His name was Lover Patterson. He was living right across the street from where my dad had his restaurant. I guess he saw a lot of kids come in, a lot of my buddies.

You were able to sing something they related to instantly, because it was part of what you felt. It was part of what you had already traveled through. It's part of the people you were associating with daily. It was all of that.

If there's anything about the business that I love and that I'm extremely happy about, is that my career started at that time and that I met some of the greatest entertainers at that time and some are still here.

Many times I've gone on tours with Paul Anka. He would have someone sitting behind him to keep people from even talking to him. You were almost in a little restricted area there.

I do like what Alicia Keys and John Legend are doing. With their music, you keep your clothes on.

In my vocal, I think you can hear something of my earlier times when I'd sing in subway halls for the echo and perform doo-wop on street corners. But I had a lot of influences, too - singers like Sam Cooke, Brook Benton and Roy Hamilton.

I won't be afraid just as long as you stand, stand by me.

When we started making electronic music I imagined that the reaction we got from the rock musicians must have been similar to the one the beat groups got from people like my dad.

It was tough at the time but when I was younger, my Dad. I would say my Dad, because without him I wouldn't have been here. I mean it was tough for me because he was really demanding. With him, it was never enough, you know, anything I did was never enough.

David and Dad didn't get along too well growing up. I mean we all got along, but it was harder on David, because David wasn't going to be the son that Dad wanted. But now they're like best friends.

Where I come from, you don't really talk about how much you're earning. Those things are private. My dad never told my mum how much he was earning. I'm certainly not going to tell the world. I'm doing well.

I feel lazy when I'm not working. I learned all my business sense from my dad. He always believed in me, and I think the last thing he said to me before he passed away was, 'I know you're gonna be OK. I'm not worried about you'.

And I love Mel Brooks. My Dad loved his movies, too, they're awesome, the kind of thing that if you're in for ten minutes, you're in for two hours.

My mom and dad met at UCLA when he as a captain in the Air Force and she was in her junior year.

My dad was born in Chicago in 1908... his parents came from Russia. They settled in Chicago, where they lived in a little tiny grocery store with eight or nine children - in the backroom all together - and my grandmother got the idea to go into the movie business.

Mom and Dad would stay in bed on Sunday morning, but the kids would have to go to church.

My dad was dean of fine arts at the university. I was casting bronzes in the school foundry. I was using the university as a playground.

I have to remind my dad, 'Journalists - no matter how many cigars they smoke with you - are not your friends, so don't talk to them.'

We came from a family where we ran our own small business. Our dad made his own products. We made our own sausages, our own meatloafs, our own pickles. Dad had to do everything himself. He had to figure out how to finance his business.

My dad was a carpenter and I would work with him during the summer and umpire on the nights I wasn't playing.

It was sort of just a family sport. My mom and dad were pretty keen golfers when I was young and so were my grandparents, and I just sort of tagged along with them.

My dad takes care of me as a manager and as a dad. That's his job, you know, to take care of me. He has my best interests at heart.

My mom and dad are both in stand-up comedy, so that's where I started, that's where I got everything. My roots are holding the mic.

Joanna points her camera at a section of society unused to having cameras pointed at it. But I don't know about categorizing them in terms of class; I'm a bit wary of that. My dad is the son of a shipbuilder.

Now my dad is with me, traveling with me and a big part of this whole thing is I like to mix it up a little bit, you know. Who gets to take their father on a private jet across the country and stay in first class hotels? So we're enjoying it, but I'd stop if it's not possible.

It was my 16th birthday - my mom and dad gave me my Goya classical guitar that day. I sat down, wrote this song, and I just knew that that was the only thing I could ever really do - write songs and sing them to people.

Jenna's traveled with me; they've both traveled with their dad. This is the only time they've been old enough in all of their dad's campaigns to really be involved in.

I was a very sickly kid. While I was in the hospital at age 7, my Dad brought me a stack of comic books to keep me occupied. I was hooked.