The Operator : David Geffen Builds, Buys, and Sells the New Hollywood 
As a visionary in the music, movie, and Broadway theater industries, Geffen orchestrates the sale of his record companies, which made him a billionaire, and brings you Laura Nyro; Cats; Crosby, Stills, Nash, and Young; Tom Cruise; the Eagles; Nirvana; Bob Dylan; John Lennon; Guns N' Roses; Saving Private Ryan; and Joni Mitchell (who immortalized his deepest yearnings in her tune "Free Man in Paris").
But the most impressive and detailed portion of King's landmark biography is Geffen's performance as an entertainment entrepreneur, and in this capacity he is apparently a visionary and a maniac at the same time. Not only does he discover all manner of talents and works of art and hire the best hit-sniffers in the business, he also masters the fine Hollywood art of the Machiavellian tantrum. Geffen allegedly softens up his prey in a business deal by offering up disarming gossip about his own life--his traumatic courtship of Cher, or Marlo Thomas, perhaps, or the male prostitute he is said to have boasted about being in bed with the night John Lennon was shot. At some point, minutes or decades into an apparent friendship, Geffen is shown betraying anyone, even best friends and mentors, in his relentless quest for winning a deal. King's book provides a ringside seat; it's fascinating to watch Tinseltown's titans slug it out in championship bouts, maneuvering, lying, reuniting, and seizing power like crazed Renaissance princes.
In one memorable encounter, Geffen protests that Sid Sheinberg of MCA is displeasing his DreamWorks colleague, Steven Spielberg. "David, stop screaming," says Sheinberg. "I'm not screaming!" Geffen screams. "David, you know what would make me happy?" says Speilberg. "Stop screaming." It turns out that Geffen doesn't even know the details of the deal in question. But nobody knows how to strike a deal--with mind and maniacal heart--like David Geffen. --Tim Appelo
Reviews
One thing that would help make the unrelenting scuzziness of Geffen's business life and the lack of meaningful long-term relationships in his personal life more bearable would have been some perspective. Despite pulling off some major deals, Geffen also took on some very weak clients and found himself with some very bad breaks, like taking on Donna Summer as a client just as she found religion and homophobia. He was an uneven judge of talent and largely out of touch with the popular culture his business helped shape. Even the most vile of studio moguls, like Harry Cohn, could have an acute appreciation and respect for talent. It's also telling that some of his greatest feuds were with people like Jerry Wexler, who understood music, built careers and helped open new doors for different styles of music. Geffen was fortunate to be on the ground floor of trends, in popular culture, but did little to actually shape them. Buried in the details is something else that's interesting--much, if not most, of Geffen's money came from his trading in junk bonds, rather than his show business wheeling and dealing. I came away thinking "yes, he's a talented deal maker", but a good salesman is someone who can believe in their product and maintain long-term business relationships. Geffen, like Jack Welch, is overrated and it will probably take a more analytical volume to make this more clear. Someone also needs to figure out a way to get his long-time secretary to tell her story (right now a settlement precludes that). Knowing how to survive for 20 years with a megalamaniac would be almost as interesting as the further betrayal and double dealing she could add to Geffen's story.
