Conrad and Lady Black: Dancing on the Edge. Tom Bower
pose as an opinionated, left-wing hippie. Recently she had praised the virtues of wealth and comfort. ‘I so loathe the permissive, promiscuous society,’ she had written, ‘and so long for fidelity, stability and monogamy, but it is always just out of my reach. There is a thing called discipline. I have tried to inflict it on my work. I’ve tried to inflict it on me. But all that emerges is self-indulgence. Really, I won’t talk about my personal life, because I am ashamed of it.’50
One minor forewarning for Graham of the perils of cohabiting with Amiel occurred at the wedding of Roy Faibish, a Canadian television producer and political adviser, at Chelsea Register Office in London. Amiel arrived with Graham, and met the CBC TV producer Patrick Watson with his girlfriend Caroline. ‘She’s so cute,’ said Amiel. ‘You’ve been together for some years. I always marry the men I sleep with.’ This carping comment to someone who was familiar with Amiel’s career at CBC provoked a blistering argument in front of thirty guests. Graham noted his fiancée’s independent spirit. Unlike other women, she had achieved fame on her own account, without depending on a rich husband’s wealth. Marrying her would not expose him to a financial liability – in fact she could be generous – but harnessing her strong character would be a challenge .
On 2 July 1984, while visiting Nantucket, off the coast of Massachusetts, Barbara Amiel and Graham married. Soon after the ceremony, Graham was badly injured in a car crash in France. After his recovery Amiel decided to celebrate the marriage again in Toronto, and to host a party at the Sutton Place Hotel.
No man in ‘33 Stop’, the hotel’s summit banqueting room, could have appeared to be less attractive to Barbara Amiel than Conrad Black. The two had met in 1979, at a dinner party in Toronto hosted by Black’s friend John Bassett, and had since discovered that they shared conservative opinions. The eventual union of two insecure Canadians dreaming of glamour, fame and fortune among the jet set could have been predicted by no one.
CONRAD BLACK DROVE AWAY from Barbara Amiel’s wedding party in a bad mood. Having agreed to give Allan Fotheringham a lift in his limousine, he discovered that his companion was drunk. He didn’t like Fotheringham. The journalist had a habit of telling the truth about the aspiring press tycoon, and one truth was that Black’s finances were not in good shape. He was determined that in the future he would have his revenge. ‘As [Fotheringham] stepped out of the car,’ Black would write years later, ‘he fell flat in front of the doorman.’ Although the story was denied by Fotheringham, Black ordered his editor to run it anyway: ‘Let him sue.’1
Black disliked most journalists. Their ‘sanctimonious and tendentious’ assertion of independence while greedily grabbing his dollars was as irksome as their refusal to accept his own judgement of himself. In public testimony he had once damned journalists as ‘a very degenerate group. There is a terrible incidence of alcoholism and drug abuse.’ Since then, his contempt had increased as he and David Radler struggled to build a newspaper business.
The original $500 investment in the Knowlton Advertiser in 1966 had grown into the American Publishing Company. The slender profits depended upon Radler’s constant criss-crossing of the country searching for savings and imposing cuts, and monitoring the financial results on a primitive central computer. Radler’s gospel never changed: ‘Count the chairs,’ he habitually ordered. Halving the number of employees was his familiar recipe, regardless of the consequences for the newspaper’s quality. Having exhausted the search in Canada, the two men began scouring America for small community newspapers with circulations as low as 5,000. In particular they wanted free shopping publications, weekly and community newspapers enjoying monopolies and a lot of advertising. By 1986 they owned eighty daily newspapers in thirty states, and fantasised about creating an empire to rival the two Goliaths, the Washington Post and the New York Times. In the meantime Black would have been satisfied with Toronto’s Globe and Mail, but he had recently been outbid by Ken Thomson, not least because under Black’s control the newspaper would have been made to reflect his conservative opinions. ‘I hate its leftish, pompous tenor and the editor’s smarmy pretensions,’ he had said. Ever since, the Globe’s journalists, he believed, had been unfairly scrutinising his business. He heard that the newspaper’s editors were planning an article describing ‘a rapacious, right-wing Bay Street baron’ who ‘milked’ his businesses, ‘destroyed public companies’ and oppressed minority shareholders ‘in a series of complex corporate shuffles designed primarily to fill his own coffers’.
Throughout his life, Black had cared little for the working classes. Politicians, he believed, should encourage and protect the rich rather than mollycoddle the poor. His true colours had been shown at Massey-Ferguson, and in 1985 he expressed similar ire against the employees of Dominion Stores. Radler’s attempt to revive the supermarket chain had failed. Selling the whole company to one buyer had proved impossible. The shabby supermarkets, Black knew, could only be sold piecemeal and the workers given compensation for losing their jobs. He blamed the staff for his predicament. Accusing them of gross larceny, he sniped in public, ‘Lobsters are walking out of my stores.’ The suggestion of theft was akin to throwing fuel on the fire, but Black enjoyed watching the effect of his provocation. ‘I’ll win,’ he told a friend, ‘because I say these things in such an erudite way.’ His verbal assault disguised the true reasons for the sale. Ravelston’s debts had risen to C$150 million, and the banks were pressing for repayment of loans worth C$40 million advanced to Dominion. Some whispered that Black was on the verge of bankruptcy.2 His salvation, he decided, was the Dominion Stores pension fund. To profit from the company’s sale, he anticipated using much of the fund’s C$62 million surplus for redundancy payments and to repay the company’s loans, a potentially permissible if controversial move. With skilful negotiation, he persuaded the Pensions Commission of Ontario to authorise his appropriation of those funds.3 The commission’s approval provoked outrage among trade unions. ‘He’s the representative of bloated capitalism at its worst,’ complained one prominent politician. Thrilled to engage in verbal combat, Black accused his critics of being ‘a symbol of swinish, socialist demagoguery’. The trade unions sued the Pensions Commission, claiming that legal requirements were unfulfilled. At the Globe and Mail journalists began investigating Black’s handling of his employees’ pension fund. The article would conclude, ‘He has been wrong when found with his hand near the cookie jar.’4
Black was once again a hate figure, and the banks were alarmed. Under pressure to sell his assets, including his private plane, he became ill, damaging his relations with his brother Monte, who was in the midst of an acrimonious divorce. Unexpectedly, Monte agreed to sell his equal interest in the business for $22.4 million, some suspected because he had proven to be unhelpful to his brother’s schemes. Conrad later justified the transfer as a scheme to help Monte avoid a more expensive divorce settlement. Black raised the purchase money by mortgaging his homes in Palm Beach and Toronto. The comparatively small amount exposed the limited value of the Blacks’ business. Their inheritance and the opportunities after the Argus coup had been squandered. Instead of glorying in his status as a global billionaire, Black was slithering along Bay Street sucking a lifeline.
Monte’s replacement as finance director was John ‘Jack’ Boultbee, an aggressive tax planner.5 ‘Jack will bring some imagination to our accounts,’ Black told a friend. Physically, Boultbee was hardly attractive. His hair was dyed black, his suits fitted badly over a paunch, and there were ugly gaps between his teeth. For professional rather than aesthetic reasons, he remained hidden from public view, known as ‘the man behind the curtain’. After his appointment, Black and Radler made no decisions without Boultbee’s scrutiny and approval. He became the brains behind all their schemes, and expected to be rewarded accordingly.
Jack