After a few days of June 1981, Chris Cornell tour kicked off starting in Seattle, Washington at "The Showbox". With the help of Lenny Russo, as well as coordination with Joseph Kennedy Sr and Sub Pop Inc's operation team, further dates and venues were confirmed. Ozzy Osbourne's 1 month tour really kicked up a lot of influence for Chris Cornell around those venues he opened for, and now, the James' Sub Pop and Chris Cornell were reaping benefits, tons of it, plus with Jem Records bit of help, it was sure fire win.
Lenny Russo confirmed the tours all throughout June to the end of July 1981. They were as follows:
June 8 in Portland, Oregon at the Crystal Ballroom - Known for its spring-loaded dance floor and support for alternative acts.
June 10 in San Francisco, California at The Fillmore - A legendary venue that hosted numerous iconic rock performances.
June 12 in Los Angeles, California at Whisky a Go Go - A staple of the Sunset Strip, pivotal in launching many rock careers.
June 15 in Phoenix, Arizona at The Mason Jar - A smaller venue known for featuring up-and-coming rock bands.
June 18 in Austin, Texas at Armadillo World Headquarters - A hub for eclectic music acts, blending rock with other genres.
June 20 in Dallas, Texas at The Agora Ballroom - Part of a chain of venues that supported rock and metal acts.
June 23 in Atlanta, Georgia at 688 Club - A key venue in the Southeast for punk and new wave artists.
June 25 in New Orleans, Louisiana at Tipitina's - A venue with a rich history of hosting diverse musical talents.
June 28 in Nashville, Tennessee at Exit/In - Known for its intimate setting and support for singer-songwriters.
July 1 in Chicago, Illinoi at Park West - A theater-style venue that offered excellent acoustics for rock performances.
July 3 in Minneapolis, Minnesota at First Avenue - A cornerstone of the Minneapolis music scene, famous for its role in launching artists' careers.
July 6 in Detroit, Michigan at St. Andrew's Hall - A venue that became a launching pad for many rock bands in the Midwest.
July 9 in Cleveland, Ohio at Agora Theatre - Part of the Agora chain, instrumental in promoting rock acts.
July 12 in Boston, Massachusetts at The Rat (Rathskeller) - A legendary dive bar that was central to Boston's punk scene.
July 15 in New York, New York at CBGB - The epicenter of punk and new wave, a must-play for rising rock artists.
July 18 in Philadelphia, Pennsylvania at The Trocadero - A historic venue that hosted a variety of musical acts.
July 21 in Washington, D.C. at 9:30 Club - Known for its eclectic bookings and support for alternative music.
July 24 in Pittsburgh, Pennsylvania at The Electric Banana - A key venue in the local punk and rock scenes.
July 27 in Denver, Colorado at Rainbow Music Hall - A venue that attracted a range of rock and alternative acts.
July 30 in Salt Lake City, Utah at The Terrace Ballroom - A historic venue that hosted numerous touring rock bands.
When James saw the list of the venues Chris Cornell would perform in, he felt elated because he would then earn another round of money bags from the system!
'God damn, I am getting richer each month and it has not been that long since I started this venture. Yeah, of course, it is from the system, so I gotta take advantage of everything and make big money in the coming 1987 Wall Street crash called "Black Monday". Though it will be in a few years, I can have a hundred million dollars by then and be prepared for any situations to occur, plus I have been studying a lot of stock and trading materials, so by the time 1987 arrives, I would be fully loaded!"
James' eyes, the 11 year old eyes, gleamed like it was not that of a kid's.
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After two months of touring, Chris Cornell has become a sounding name within the music industry, plus many have tried to poach him from Sub Pop's label, though they were not successful. James had ordered Joseph Kennedy Sr and Sidney Reilly to keep Chris Cornell and the poaches apart. Sidney Reilly in particular, was ordered to "silence" those who tried, of course it was not through the killing method but through blackmails.
Sidney Reilly unearthed tons of blackmail evidence, recordings and pictures from the people who tried to poach Chris Cornell and once they received copies of the evidence in their mail boxes, these insects shut up and disappeared.
Even the person tasked by Jem Records to poach Chris Cornell quietly backed out which made the boss of Jem Records wary of Sub Pop's information power. They tried once but knowing the huge secret powers behind this small independent label, they quickly shut off the idea.
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JEM RECORDS EXECUTIVE SUITE, NEW JERSEY.
AUGUST 1981.
In the office that smelled of cigar smoke and ambition, and where the golden records hang on the wall behind a polished desk. There, a man was seated behind, it was Marty Goldman, the Jem Records' sharp and calculating Vice President of Artist Relations. With him, another man was seated, it was Lenny Jacobs, an artist and repertoire man fresh off a cross-country sweep of the summer tour circuit.
Lenny started with an excited face, "The kid's golden. Two months and packed houses. He's pulling in crowds like he's Springsteen's damn little brother. I say we grab him. Chris Cornell is the product. Not the label."
Marty nodded but asked curiously, "He's not signed directly with Jem. We're just distro. You're saying we offer him a solo contract, cut out the middleman?"
Lenny answered, "Sub Pop's a small kingdom. You've seen the tour numbers. But once we backed Chris Cornell directly, he will be platinum in two years."
Marty leans back, stroking his chin. He reaches for the phone.
Marty's face changed, it quickly showed interest and replied, "Let's test the waters. Quietly."