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Speaker 1: So he talked like a he had the lingo was

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Speaker 1: a rough and ready truck driver. Not so much in

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Speaker 1: today's Japanese but at that time, the differentiation between classes

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Speaker 1: and sexes and age and all that was very different.

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Speaker 1: So for me, for instance, as a five year old girl,

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Speaker 1: appropriate way for me to refer to myself would be

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Speaker 1: what actually want it? And then Tanaka San would have said,

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Speaker 1: vocal us up. So I talked. I learned largely from

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Speaker 1: Tanaka San. I talked like a foul mouth middle aged

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Speaker 1: truck driver. Raised a lot of eyebrows. I'm Linda Pearl.

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Speaker 1: I'm thrilled to be on Brian's show. I'm an actress

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Speaker 1: and a mom and a singer I like to say

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Speaker 1: not necessarily in that order. Got to play Helene on

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Speaker 1: the Office, which was one of the best gigs ever. Hello, Hello,

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Speaker 1: gentle listeners. I am so glad you've joined me today

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Speaker 1: for a brand spanking new episode of Off the Beat.

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Speaker 1: I am your host, Brian Baumgartner. Some might call today

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Speaker 1: a happy day, but more on that in a moment.

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Speaker 1: I have a strong hunch a lot of you are

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Speaker 1: going to know my guest today, the amazing Linda Pearl

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Speaker 1: from her time on the office playing Michael Scott's love interest,

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Speaker 1: I mean Pam Beasley's mom, Helene Beasley. But if you

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Speaker 1: were around and paying any attention to pop culture at

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Speaker 1: all in the seventies or eighties, you would definitely know

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Speaker 1: her as the fonds Is girlfriend Ashley Fister on Happy Days,

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Speaker 1: or maybe as Charlene on Mattlock, or from her multitude

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Speaker 1: of roles on an Off Broadway over the years. I

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Speaker 1: love Linda. She comes from the Pearl family tradition of theater.

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Speaker 1: She sure lives up to it. Her whole family was

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Speaker 1: involved in theater growing up. She grew up in Japan.

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Speaker 1: But on top of that, now she has found the

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Speaker 1: time to start a sour dough starter kit business with

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Speaker 1: her partner Patrick Duffy, to climb mountains, and to have

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Speaker 1: a full on jazz career. I was so happy to

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Speaker 1: bring her onto the podcast so that all of you

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Speaker 1: could get to know Linda just a little bit better.

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Speaker 1: And now is the time to do that, all right.

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Speaker 1: Let the waiting stop, Let the conversation commence. Here she

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Speaker 1: has everybody, Linda, Pearl, Bubble and Squeak. I love Bubble, Queak,

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Speaker 1: Bubble and Quaker cooking every month left from the nut people.

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Speaker 1: You are such a doll. Can I tell you the

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Speaker 1: look on Max's face when not only look jumping Jackson

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Speaker 1: was over the moon to get your photograph. Oh that's

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Speaker 1: so great. I'm so glad I last saw you there

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Speaker 1: at the under cont How was that for you? It

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Speaker 1: was great? Oh my gosh. Well, the fun I mean

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Speaker 1: I've done other I'm sure we all have, you know,

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Speaker 1: autograph events like that, however, not never one that was

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Speaker 1: dedicated to one show. And the Office fans are a

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Speaker 1: breed unto themselves. They were so much fun. They were

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Speaker 1: so festive, so in the spirit of the show. They

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Speaker 1: were so well versed in the show. Um, I mean,

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Speaker 1: the costumes were to die for, crazy right, really, And

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Speaker 1: it was an education because I mean, you know far

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Speaker 1: better than I for all your wonderful years on this show,

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Speaker 1: that the ability for the Office to tap into to

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Speaker 1: an audience and to ignite that sort of silly fun

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Speaker 1: in all of us. Uh, you don't get to see

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Speaker 1: that when you're doing the work, but boy, we got

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Speaker 1: to experience it there. It was. It was really cool. Yeah,

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Speaker 1: it's always amazing to me. I'm wondering if you had

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Speaker 1: any experiences where the fans feel as though they're not

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Speaker 1: telling you because they want to. They're almost telling you

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Speaker 1: because they feel a need to let you know how

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Speaker 1: much the show has meant to them, or you know,

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Speaker 1: helped them through a difficult time. You bet. Yeah, it's

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Speaker 1: it's done into me coming out of the coming out

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Speaker 1: of the pandemic. It's like people missed the experience of

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Speaker 1: being in an office. They missed their friends and their

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Speaker 1: enemies and their freenemies, and just the dynamic of being together.

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Speaker 1: Uh not you know, sealed up in your home. So

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Speaker 1: that was cool. Just this kind of bonus uh factor

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Speaker 1: of a different kind of resurgence or a different kind

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Speaker 1: of locking into the show because of the pandemic. Yeah. No,

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Speaker 1: I think that's true as well. And obviously we we

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Speaker 1: learned a lot of people were watching it for the

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Speaker 1: first time. We're rewatching it, uh during that time that

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Speaker 1: they were away. Um, well, I want to start back

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Speaker 1: ways for you. Um, you grew up in a family

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Speaker 1: a long line of performers. Your mom was an actress,

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Speaker 1: dad was a director, your grandmother was a stage actress. Um,

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Speaker 1: what what kind of influence do you think that that

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Speaker 1: had for you? As a as a child, huge, absolutely huge.

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Speaker 1: My mother had been an actress but also ballerina. Dad

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Speaker 1: an actor and a director, and Dad grew up on

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Speaker 1: the road. His parents were touring actors through the through

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Speaker 1: the Midwest, so that was his joy and family glue.

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Speaker 1: He had a career as an engineer, but he never

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Speaker 1: in his heart left the theater. And that was my

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Speaker 1: parents family glues, what they did together. Dad had his

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Speaker 1: career in Japan, so they were away from family, halfway

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Speaker 1: around the world for family, and in those days, getting

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Speaker 1: there just wasn't that just wasn't that easy. And also

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Speaker 1: Japan was a much more foreign place than it is today.

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Speaker 1: And in that moment that I was growing up in

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Speaker 1: the late fifties through the sixties, early seventies, Japan was

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Speaker 1: in a moment of huge inhale. Cultural inhale. They were very,

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Speaker 1: very curious to know about the West. All over the West,

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Speaker 1: I mean if that includes the then Soviet Union and

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Speaker 1: um so there was a constant influx of of culture.

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Speaker 1: The Bullshoy and the Kirov people, you know, artists from

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Speaker 1: behind the Iron Curtain were coming through. We had a

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Speaker 1: fairly big house, just not because we were wealthy, it's

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Speaker 1: just what the company gave them. So some guest rooms

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Speaker 1: and so there was really only one or two hotels,

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Speaker 1: so you never knew who was gonna show up at breakfast.

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Speaker 1: We'd have members of the Royal Shakespeare Company or the

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Speaker 1: kid Off Ballet just hanging out at the house. Was

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Speaker 1: like who are you? And so so that was sort

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Speaker 1: of the culture in in our home. There were painters

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Speaker 1: and writers and Harold Clamence Tennessee Williams over this for

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Speaker 1: a period of time. So wait what, Tennessee Williams lived

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Speaker 1: with you in Japan for a time. I mean I

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Speaker 1: say that, I didn't. He was there for a couple

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Speaker 1: of months, so it wasn't like he moved in for

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Speaker 1: five years or anything. But still that was yes, he

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Speaker 1: was that They were very interested in his work in Japan,

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Speaker 1: and so he came over to oversee a couple of

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Speaker 1: productions of his of his play, and he came with

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Speaker 1: a dog. There were very strict quarantine regulations at that time,

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Speaker 1: so they said, you're going to have to leave the

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Speaker 1: country if you, you know, if you insist on being

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Speaker 1: here with your dog. But they also recognized that he

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Speaker 1: was a cultural icon and we had dogs and caged

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Speaker 1: in area, so they it was funny. They Mr Williams

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Speaker 1: came with his dog, and the cultural attache and the

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Speaker 1: quarantine people came to the house and uh, and they said, okay,

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Speaker 1: well Mr and Mrs Pearrel, if you sign your life

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Speaker 1: away and promise that this dog, who was this big

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Speaker 1: by the way, does not leave, you know, the boundary

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Speaker 1: will make this lone exception. And Tennessee said, well, that's fine,

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Speaker 1: but where my dog's days. I stayed too, and my

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Speaker 1: parents are like, well, okay, go ahead there. And it

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Speaker 1: was hysterical, but those kinds of things. So yeah, all

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Speaker 1: of that had a tremendous influence. My parents weren't atheists

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Speaker 1: or agnostics necessarily, but we didn't go to church. So

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Speaker 1: the theater and the arts was our family glue, our

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Speaker 1: family church and our our community. You grew up in Japan,

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Speaker 1: was this difficult as a child for you? There was

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Speaker 1: this just a blessing. It was such a gift for

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Speaker 1: any child growing up anywhere. We think that's the world, right,

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Speaker 1: I mean, that's just accepted as normal. So there were

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Speaker 1: things of privilege that we had. Again not because we

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Speaker 1: were wealthy, It was just an accident of the times

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Speaker 1: that I look back now on and just the education,

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Speaker 1: the global exposure. I mean in my school we had

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Speaker 1: thirty three different nationalities, every possible religion, and we just

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Speaker 1: got along because we were in it together. And so

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Speaker 1: to have that as a as a child, to be,

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Speaker 1: you know, in a diverse um environment, I think was

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Speaker 1: again I just took it for granted. I didn't. It

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Speaker 1: never occurred to me that that we were different anything.

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Speaker 1: We were in different classes or you know, different parents,

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Speaker 1: but that was it. Those were the lines of demarcation

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Speaker 1: and beyond that, everyone was in it together, right you.

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Speaker 1: So I read here that you had your own TV

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Speaker 1: show on Japan's Educational Network ages seven to fourteen. I

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Speaker 1: mean you say, as a as a kid, your world

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Speaker 1: is the world, Like that's how you see things. Was

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Speaker 1: your early experience a part of who your family was, like,

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Speaker 1: that's just what you do. You just perform, you go

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Speaker 1: into into acting or or was this a particular interest

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Speaker 1: to you? Uh? No, it was probably both. I mean

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Speaker 1: my my parents, it's what they did. I they had

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Speaker 1: so much joy and so many friendships out of it

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Speaker 1: that we we would see at the dinner table, we

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Speaker 1: would see the rehearsing plays, you know, in the living room.

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Speaker 1: And yes it was in the DNA or sort of

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Speaker 1: spoon fed to me, but also I took to it.

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Speaker 1: And my parents were those kind of people that had,

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Speaker 1: you know, I had my sister and I wanted to

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Speaker 1: go into the sciences or medicine. Them think they would

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Speaker 1: have been equally thrilled, maybe with some dismay they thought,

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Speaker 1: oh no, another generation shot to help, but you know,

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Speaker 1: very supportive. Now it was not my own TV show.

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Speaker 1: There was this yen for learning English, and so n

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Speaker 1: h K, the educational the sort of the MPR of

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Speaker 1: still ongoing in Japan, had several programs geared for teaching

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Speaker 1: English at different levels, and the basic format was that

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Speaker 1: would have a skit uh that would be performed by

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Speaker 1: an English speaking person, and then they would sit around

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Speaker 1: and sort of a chat show kind of format on

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Speaker 1: sofas and they would explain to the viewer that these

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Speaker 1: the professors were the new vocabulary words, the grammatical structure,

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Speaker 1: and they would have me in this case, sitting on

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Speaker 1: the sofa and they would kind of poke me because

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Speaker 1: I could say the word in perfect American accent oddly enough,

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Speaker 1: so that was my lone donation to the show, but

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Speaker 1: I would be involved in the skit which were you know,

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Speaker 1: what is the name of your dog? Or please might

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Speaker 1: have some carrots from the supermarket, you know. So it's

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Speaker 1: a very elementary teaching English program. But it did put

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Speaker 1: me in a TV studio with the cameras and with

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Speaker 1: the crew and other people, and I suppose there was

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Speaker 1: a bit of makeup here and there, and the occasional

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Speaker 1: line to learn. So it was a lovely sort of

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Speaker 1: easy s early on apprenticeship into what it's like to

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Speaker 1: be on a set. Right, did you speak fluent Japanese?

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Speaker 1: I did my dad again, that came with the with

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Speaker 1: the company. We had a wonderful driver for my dad,

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Speaker 1: but he was at the house a lot Tanaka San

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Speaker 1: and Tanagason had been a rough and ready truck driver

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Speaker 1: and he had swapped out that career now to be

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Speaker 1: in a suit and driving a car for you know,

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Speaker 1: this this particular executive. So he talked like a he

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Speaker 1: had the lingo was a rough and ready truck driver,

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Speaker 1: not so much in today's Japanese, but at that time

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Speaker 1: the differentiation between classes and sexes and age and all

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Speaker 1: that was very different. So for me, for instance, as

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Speaker 1: a five year old girl, appropriate way for me to

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Speaker 1: refer to myself would be what actually want it? And

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Speaker 1: then Tanaka san would have said vocal usa. So I talked.

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Speaker 1: I learned largely from tanakasan. I talked like a foul mouth,

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Speaker 1: middle aged truck driver girl. Raised a lot of eyebrows,

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Speaker 1: but yes, and I never really studied the language. Oh

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Speaker 1: a little bit of writing, but I had that gift

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Speaker 1: of I just got to pick it up on this street.

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Speaker 1: So I admire the people who struggle and steady hard

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Speaker 1: to learn it. I didn't have to uh to get

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Speaker 1: it that way. That said, it never advanced after I

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Speaker 1: more or less moved away. So you know, that's kind

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Speaker 1: of the level. It's a it's a conversational level, and

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Speaker 1: it's very old fashioned in the way that I have

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Speaker 1: Japanese friends who had gone to university in the States

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Speaker 1: and the seventies. I tease them because they'll say, oh, man,

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Speaker 1: that's groovy, or you know, I got to get back

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Speaker 1: to my pad. It's like, we can't really say that anymore.

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Speaker 1: People were talking about that's kind of my Japanese sounds.

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Speaker 1: You were at the time, uh, the only foreigner to

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Speaker 1: train at that. Now, my Japanese is not like yours.

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Speaker 1: Toho game Noo. Yeah, perfect academy film studio that was

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Speaker 1: behind Godzilla by the way, So I mean this is

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Speaker 1: a significant thing. Why were you allowed to train there

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Speaker 1: or what did they see in you or or how

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Speaker 1: did that transpire? Well? I did a couple of plays

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Speaker 1: with them, and so, and Toho was a is a

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Speaker 1: large theatrical corporation along the lines of the old studio

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Speaker 1: system in Hollywood. Okay, you know, they would have their

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Speaker 1: they're sort of coterie of actors, performers, directors, whatnot. And

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Speaker 1: they would also train them. And uniformity is a is

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Speaker 1: a big thing um for many island nations, and I

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Speaker 1: mean they're having to get along in a small space,

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Speaker 1: so uniformity helps a lot. In Japan is no exception,

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Speaker 1: and that bleeds into all aspects of education and business

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Speaker 1: and the arts. So their academy was very strong and

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Speaker 1: really wanting everybody to be working from the same place,

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Speaker 1: using the same disciplines. And so because I was able

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Speaker 1: to work with them every once in a while and

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Speaker 1: do a couple of their TV shows, it was important.

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Speaker 1: I guess that I uh that I take some classes there,

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Speaker 1: and I studied dance, ballet and jazz and acting and

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Speaker 1: maybe some singing along the way too. But again it

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Speaker 1: was just an accident of timing and life. Uh. There

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Speaker 1: were not in Tokyo any other little girls who were

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Speaker 1: who spoke the language, whose families were living there for

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Speaker 1: as long as we did. My folks were there for

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Speaker 1: about thirty years altogether. Usually folks come through for two

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Speaker 1: and three years and their company would move them on,

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Speaker 1: or the diplomatic core would move them on to the

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Speaker 1: next post in some other country that was not doing

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Speaker 1: My dad's career, uh, you know, worked he was there,

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Speaker 1: and so there were we. So between the longevity of

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Speaker 1: living there and speaking the language and having an interest

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Speaker 1: in it, I was the only one. I was kind

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Speaker 1: of a freak, kind of weird thing. But it was

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Speaker 1: fun for me because then I got to I got

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Speaker 1: to study there, and they're the jazz and certainly the

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Speaker 1: acting was curious because it wasn't their organic art form.

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Speaker 1: Their organic art forms would be kabuki and no and bundaku,

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Speaker 1: none of which I studied at all. I mean, they're

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Speaker 1: all men discipline, so I couldn't really. So they were

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Speaker 1: doing there in order to do modern pieces, which is

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Speaker 1: all I was involved with or being trained for. They

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Speaker 1: were teaching their version of American acting, so they would

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Speaker 1: have watched or perhaps even studied my professors American artists,

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Speaker 1: and then through their Japanese lens, which had more to

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Speaker 1: do with mimicking than actually having it be an organic

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Speaker 1: part form. And then so that's what I was taught,

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Speaker 1: which wasn't like later on I went to the at

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Speaker 1: least Drosperg Institute stuff, It's like, oh they meant so

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Speaker 1: it was. It was a curious I mean, I'm sure,

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Speaker 1: as things do, their training has evolved tremendously, but at

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Speaker 1: that time, I mean, the concept of free emotion and

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Speaker 1: free music breaking the classical line was just mind blowing

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Speaker 1: for Japan. It was just not the way things were

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Speaker 1: done at all. So again I took it for granted

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Speaker 1: at the time, And now I think what a curious

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Speaker 1: moment I got to be exposed to as those tectonic

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Speaker 1: plate shifts were happening within the culture. Yes, that's so

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Speaker 1: fascinating to me. I mean, first off, you talked about

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Speaker 1: uniformity and how important that is. I mean that you know,

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Speaker 1: in a way feels an athetical to at least what

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Speaker 1: we think of as as art and free expression. But

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Speaker 1: you know the idea that well, it wasn't really it

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Speaker 1: wasn't really something that they did. So they were trying

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Speaker 1: to imitate what they were seeing happening, which I think,

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Speaker 1: by nature, does make it much more uniform. If it's

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Speaker 1: not organic, it's something you're putting on. Absolutely, that's fascinating

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Speaker 1: to me. In fact, one one time there's some show

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Speaker 1: and I there was a moment in the in the musical,

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Speaker 1: and I there's a pop up separation. Anyway, it's a

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Speaker 1: sad moment. It's a musical, but it's a sad moment.

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Speaker 1: And I cried real tears on stage that evening, and

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Speaker 1: I was so pleased with myself. I was about eleven,

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Speaker 1: and I got back to my dressing room and I

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Speaker 1: had a notification that I was supposed to go see

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Speaker 1: the director, and I thought, oh, I know he's gonna

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Speaker 1: be so pleased with my work, because I was especially

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Speaker 1: pleased with myself. And I walked in and there he

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Speaker 1: was behind his desk and he gave me a talking to.

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Speaker 1: He was furious, he said, to cry real tears was

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Speaker 1: just not on. And I thought, wow, that's but he

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Speaker 1: was right because I was doing a different acting method

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Speaker 1: than anybody else on it wasn't right. So it was

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Speaker 1: very curious and he caught it. You know, he saw

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Speaker 1: it. It It was a big house. It was a fifty

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Speaker 1: hundred seat house, and he saw it. And boy, I

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Speaker 1: never did that again. Well, I mean, I guess, I

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Speaker 1: guess you could say I had. I haven't thought about this.

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Speaker 1: I haven't talked about this, Linda, and so long the

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Speaker 1: same experience in reverse. I played in the theater one time,

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Speaker 1: a role in kabuki. I played the old evil grandmother

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Speaker 1: in a production with full kabuky makeup that I did myself.

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Speaker 1: By the way, I have one somewhere. Yes, But the

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Speaker 1: reason I bring it up is it wasn't real kabuki, right,

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Speaker 1: it was. It was an American actually French director interpretation

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Speaker 1: of what kabuki was, with a comedic slant on it,

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Speaker 1: I'll be honest. So it was, uh yeah, But I played, Yes,

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Speaker 1: I played the evil the archetype of the evil h

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Speaker 1: grandmother in full, in full kabuki. So there you go.

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Speaker 1: I don't think. I don't think i'd be allowed in

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Speaker 1: Japan now that I'm thinking, Um, so your family stayed,

333
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Speaker 1: but you left Japan to come back to the States.

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Speaker 1: Was that for education or what was that decision? It

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00:22:16,760 --> 00:22:20,080
Speaker 1: was hormones, you know, time to get my folks right,

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Speaker 1: I mean that pop of separation. But also I was

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Speaker 1: interested in the theater, and I felt like a gimmick

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Speaker 1: over there, you know, so grateful for all of the

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Speaker 1: experiences and training and stuff. But at the end of

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Speaker 1: the day, if they the only reason they would hire

341
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Speaker 1: me is if they needed, you know, a blondie who

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Speaker 1: spoke Japanese. I mean it was I was a gimmick,

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Speaker 1: and I was curious to know how I would fare

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00:22:48,200 --> 00:22:51,320
Speaker 1: in America or in the West anyway. So there was

345
00:22:51,400 --> 00:22:53,119
Speaker 1: that it was sort of a popular thing to go

346
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Speaker 1: to boarding school and all that. So it was a

347
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Speaker 1: confluence of things and I I came back and it's funny,

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Speaker 1: next week I'm getting together if we we have a

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Speaker 1: biennial reunion with some Tokyo childhood girlfriends, and you know,

350
00:23:06,320 --> 00:23:09,040
Speaker 1: we're very closest kids. And then we had our lives

351
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Speaker 1: and raised our kids and careers and whatnot, and now

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Speaker 1: we get together and a constant a topic of our

353
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Speaker 1: discussion is it's the culture shock that we each experienced,

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Speaker 1: and we were from we were not necessarily from the

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Speaker 1: same native countries. But when we returned to our native countries,

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Speaker 1: it was hard because at that point you don't belong

357
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Speaker 1: in Japan and you don't belong in your native country.

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Speaker 1: Your all third cultured kids. So it's a price to pay,

359
00:23:41,720 --> 00:23:44,080
Speaker 1: you know, whenever you're in one place, there's a part

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Speaker 1: of you that's left behind. Um and we all have that.

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Speaker 1: I mean, if anybody's moved from the city to the

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Speaker 1: country or vice versa. So it's a price, but it's

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00:23:53,000 --> 00:23:56,679
Speaker 1: it's it's worth it. So yeah, I mean when I

364
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Speaker 1: moved to the States in the seventies, I mean pan

365
00:24:00,359 --> 00:24:03,119
Speaker 1: was a drug free nation. Not so much in the

366
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Speaker 1: seventies in the States, right what people are doing what?

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Speaker 1: Uh so? And and lots of things, lots of freedoms,

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Speaker 1: and it was sort of the beginning of the women's movement.

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Speaker 1: So that was very antithetical really to the things I saw,

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Speaker 1: the influences that I was raised around. Gosh, that's so interesting.

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Speaker 1: You eventually study at some very significant in terms of

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Speaker 1: the theater world in the United States. Uh, the Neighborhood

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Speaker 1: Playhouse Lee Strasburg Institute, which the basis of that was

374
00:24:37,600 --> 00:24:41,960
Speaker 1: my background as well. Um was theater what you were

375
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Speaker 1: most interested in at that point? Oh? Yes, yes, I

376
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Speaker 1: didn't really think about the other. Um, I mean I've

377
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Speaker 1: done a couple of films, but I love that you

378
00:24:52,880 --> 00:24:55,080
Speaker 1: just called it the other. By the way, I'm gonna

379
00:24:55,200 --> 00:24:57,480
Speaker 1: use that as well. I'm gonna use that from now

380
00:24:57,520 --> 00:25:03,119
Speaker 1: on the other. Uh yes, yeah, I felt that was,

381
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Speaker 1: you know, the basis for everything. It was the foundation

382
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Speaker 1: and from there sort of like ballet. I mean, if

383
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Speaker 1: you have ballet, then you can move into jazz or modern.

384
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Speaker 1: If you know what the line is, then you can

385
00:25:13,840 --> 00:25:15,280
Speaker 1: break it, but you have to sort of know what

386
00:25:15,359 --> 00:25:18,560
Speaker 1: the line is. And and theater being the actor's medium,

387
00:25:18,600 --> 00:25:21,479
Speaker 1: it was what was most Uh well, it was what

388
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Speaker 1: I was were raised in. Right, You were based primarily

389
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Speaker 1: in New York at this time, I was. I was,

390
00:25:29,920 --> 00:25:33,320
Speaker 1: And then I had gone out to actually Donnie Most Darling.

391
00:25:33,400 --> 00:25:35,960
Speaker 1: Donnie Most was a friend and he moved out to

392
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Speaker 1: l A. And Donnie had mentioned, oh there's this, you know,

393
00:25:40,240 --> 00:25:42,399
Speaker 1: a part that you might be right for. Unhappy days Anyway,

394
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Speaker 1: auditioned and so I started working more in in l A.

395
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Speaker 1: In television rather than in New York. So it took

396
00:25:51,840 --> 00:25:56,280
Speaker 1: about five years to leave New York altogether. But that

397
00:25:56,359 --> 00:26:00,320
Speaker 1: was sort of the beginning of starting my career in television. Yeah,

398
00:26:00,520 --> 00:26:07,000
Speaker 1: transitioning to the other you played Gloria dating uh the

399
00:26:07,040 --> 00:26:10,520
Speaker 1: main character Ron Howard at the time. Now, you just

400
00:26:10,760 --> 00:26:13,760
Speaker 1: audition for this role. Do you have any any stories

401
00:26:13,800 --> 00:26:16,679
Speaker 1: that you remember from auditioning for that. There was a

402
00:26:16,680 --> 00:26:21,600
Speaker 1: wonderful casting director, Bobby Hoffman, and his office was like

403
00:26:21,760 --> 00:26:26,280
Speaker 1: no others. He just loved actors and especially young actors.

404
00:26:26,320 --> 00:26:29,800
Speaker 1: He just was for you in the room and it

405
00:26:29,840 --> 00:26:32,439
Speaker 1: didn't matter if you did a horrible audition orgre, he

406
00:26:32,560 --> 00:26:35,200
Speaker 1: was just that's great, go for it. He was just

407
00:26:35,359 --> 00:26:39,600
Speaker 1: this force of encouragement for so many young actors, and

408
00:26:39,760 --> 00:26:43,119
Speaker 1: everyone who was on Happy Days came through Bobby's office.

409
00:26:43,840 --> 00:26:46,919
Speaker 1: I guess the main you know, the prominent story for

410
00:26:46,960 --> 00:26:49,760
Speaker 1: me is certainly as relates to Happy Days was so

411
00:26:49,800 --> 00:26:53,000
Speaker 1: I did the character of Gloria as just as a

412
00:26:53,040 --> 00:26:57,320
Speaker 1: recurring as a supporting character around Ron Howard's character because

413
00:26:57,320 --> 00:27:00,399
Speaker 1: it was his show. But his Happy Days progressed. It

414
00:27:00,480 --> 00:27:03,720
Speaker 1: was the Fonzie character that took off, and Ron was

415
00:27:03,760 --> 00:27:06,399
Speaker 1: thinking about going into directing. It's such a shame that

416
00:27:06,480 --> 00:27:11,000
Speaker 1: didn't work out for him. He left the show, which

417
00:27:11,040 --> 00:27:13,320
Speaker 1: meant that I was out of a job. I mean,

418
00:27:13,440 --> 00:27:16,080
Speaker 1: they didn't need those satellite characters anymore, and I was

419
00:27:16,240 --> 00:27:19,920
Speaker 1: audios and fade out, fade in. However, many years later,

420
00:27:20,080 --> 00:27:24,560
Speaker 1: now there's a casting notification that went out for a

421
00:27:25,119 --> 00:27:27,639
Speaker 1: fiance for Fonzie and they wanted to have a Linda

422
00:27:27,680 --> 00:27:32,040
Speaker 1: Pearl type. That's actually what the breakdown said. Sob agent

423
00:27:32,119 --> 00:27:35,000
Speaker 1: called and said, oh please, oh please, could Linda audition?

424
00:27:35,160 --> 00:27:38,120
Speaker 1: And I did and I ended up getting the role.

425
00:27:38,240 --> 00:27:41,359
Speaker 1: So and Gary Marshall, who I adored, I mean, but

426
00:27:41,440 --> 00:27:45,960
Speaker 1: a remarkable human being, he very kindly let me come

427
00:27:45,960 --> 00:27:50,280
Speaker 1: back years later as an entirely different character. Yeah, so

428
00:27:50,880 --> 00:27:56,760
Speaker 1: you start to Richie Cuttingham's love interest and then yes,

429
00:27:56,920 --> 00:27:59,800
Speaker 1: as you said, I mean, it's hard to even imagine

430
00:27:59,840 --> 00:28:05,960
Speaker 1: the happening today, but coming back years later, um, a

431
00:28:05,960 --> 00:28:10,000
Speaker 1: totally different character. Were you concerned or I mean, Gary

432
00:28:10,040 --> 00:28:13,280
Speaker 1: marshalln't didn't seem concerned that fans would pick up on

433
00:28:13,320 --> 00:28:16,040
Speaker 1: this or that you were the same person. Was there

434
00:28:16,080 --> 00:28:18,960
Speaker 1: a discussion about it? If there was, I don't, I

435
00:28:19,000 --> 00:28:21,639
Speaker 1: don't recall it. I mean, it was just you know,

436
00:28:21,720 --> 00:28:24,440
Speaker 1: Gary was a very single minded person and if he

437
00:28:24,720 --> 00:28:26,920
Speaker 1: made a decision, that was how it was going to go.

438
00:28:27,760 --> 00:28:30,120
Speaker 1: And uh, I'm not I'm not sure he was ever wrong.

439
00:28:30,160 --> 00:28:32,680
Speaker 1: I'm surely grateful that that's how he decided in this

440
00:28:32,960 --> 00:28:36,359
Speaker 1: in this case, right. How was it like working with

441
00:28:36,400 --> 00:28:38,600
Speaker 1: those guys on that show, I mean, at the time,

442
00:28:38,640 --> 00:28:42,280
Speaker 1: the biggest show in television. Yeah, it was. It was great,

443
00:28:42,560 --> 00:28:46,320
Speaker 1: very similar in feel to the set on The Office,

444
00:28:46,600 --> 00:28:49,600
Speaker 1: I think because well, first of all, because I'd met

445
00:28:49,640 --> 00:28:52,800
Speaker 1: all of them early on, that was the downbeat of

446
00:28:52,840 --> 00:28:56,320
Speaker 1: for friendships that lasted, many of them for my life.

447
00:28:56,400 --> 00:29:00,200
Speaker 1: I mean, Tom Bosley was a a friend, Marian remains

448
00:28:59,840 --> 00:29:03,200
Speaker 1: and so that was fun. And to see them now

449
00:29:03,280 --> 00:29:04,960
Speaker 1: from a distance because I wasn't on the show, he

450
00:29:04,960 --> 00:29:08,160
Speaker 1: had this meteoric rise so many ways, it felt like

451
00:29:08,240 --> 00:29:11,040
Speaker 1: coming home when I got to come back to the show.

452
00:29:11,240 --> 00:29:14,760
Speaker 1: But Gary was interesting. He had a softball team and

453
00:29:14,800 --> 00:29:19,000
Speaker 1: you had to play, no matter how poorly you play,

454
00:29:19,600 --> 00:29:21,400
Speaker 1: no matter Andry would be the first to say, no

455
00:29:21,440 --> 00:29:24,480
Speaker 1: matter how stupid he looked in those silly little shorts,

456
00:29:24,480 --> 00:29:26,600
Speaker 1: We're gonna play. And as we know, you get on

457
00:29:26,640 --> 00:29:29,360
Speaker 1: a sports field and the and it's leveled. I mean,

458
00:29:29,440 --> 00:29:33,320
Speaker 1: it's just there's no chance for diva or nonsense or nothing.

459
00:29:33,640 --> 00:29:36,200
Speaker 1: So that was great. And the other thing, which I'd

460
00:29:36,200 --> 00:29:38,560
Speaker 1: like to tell, but it's it is kind of gross.

461
00:29:38,600 --> 00:29:43,480
Speaker 1: It was the success of Happy Days rebuilt, the Paramount

462
00:29:43,560 --> 00:29:48,120
Speaker 1: Lot rebuilt, paved the roads, new landscaping, new great Commissary,

463
00:29:48,160 --> 00:29:51,240
Speaker 1: new buildings. Gary never allowed them to put in a

464
00:29:51,320 --> 00:29:56,000
Speaker 1: second bathroom on the sound stage, which had its own

465
00:29:56,040 --> 00:29:59,840
Speaker 1: sort of leveling effect. So that meant that everyone, you know,

466
00:30:00,080 --> 00:30:04,960
Speaker 1: I mean, so it was just the human ness on

467
00:30:05,080 --> 00:30:09,239
Speaker 1: that set. There were these gentle reminders where it just

468
00:30:09,400 --> 00:30:11,920
Speaker 1: got real. You know, it wasn't there wasn't an opportunity

469
00:30:11,960 --> 00:30:13,760
Speaker 1: for things to kind of get get fancy in the

470
00:30:13,800 --> 00:30:16,280
Speaker 1: way that they could when you're exverence in that kind

471
00:30:16,320 --> 00:30:20,680
Speaker 1: of success. And so Jerry Paris, who directed so many

472
00:30:20,800 --> 00:30:27,000
Speaker 1: of the episodes, rest ass all. He just insisted that, uh, well,

473
00:30:27,040 --> 00:30:29,280
Speaker 1: the humor Unhappy Days was kind of fun and light

474
00:30:29,440 --> 00:30:34,280
Speaker 1: and and silly, which was its genius. And so that's

475
00:30:34,360 --> 00:30:37,880
Speaker 1: the atmosphere on the set. And you when you opened

476
00:30:37,880 --> 00:30:41,680
Speaker 1: the door to that sound stage, people dropped their earth weights.

477
00:30:42,160 --> 00:30:44,760
Speaker 1: They just didn't come onto the set and people went

478
00:30:44,800 --> 00:30:47,640
Speaker 1: through a lot of stuff as happens in life. People

479
00:30:47,680 --> 00:30:52,000
Speaker 1: went through deaths in their families, marriages, divorces, you know,

480
00:30:52,400 --> 00:30:57,320
Speaker 1: unbelievable situations and all of that. All of that got

481
00:30:57,440 --> 00:31:00,280
Speaker 1: dropped at the door, and so you came into this

482
00:31:00,520 --> 00:31:04,560
Speaker 1: atmosphere that was sweet and supportive and fun and light

483
00:31:04,800 --> 00:31:09,000
Speaker 1: and loving. That never changed. And there was a sense

484
00:31:09,080 --> 00:31:16,320
Speaker 1: of sort of astonished gratitude really that the privilege that

485
00:31:16,400 --> 00:31:20,400
Speaker 1: this was ongoing. People worked really hard, The writers worked

486
00:31:20,520 --> 00:31:26,200
Speaker 1: so hard on that show, and so um cohesively, so holistically.

487
00:31:26,240 --> 00:31:28,000
Speaker 1: You know, there was the joke meister, there was the

488
00:31:28,000 --> 00:31:29,800
Speaker 1: guy that would no we got to stick to the character.

489
00:31:29,880 --> 00:31:33,920
Speaker 1: There was the giant story arc guy, and just that meld,

490
00:31:33,960 --> 00:31:36,680
Speaker 1: you know, was brilliant. And again, I coming into the

491
00:31:36,760 --> 00:31:39,720
Speaker 1: office and that beautiful success. As late as I did,

492
00:31:39,800 --> 00:31:41,800
Speaker 1: I thought, oh gosh, what's it going to be like?

493
00:31:41,840 --> 00:31:44,720
Speaker 1: But I felt that just coming on the set right away,

494
00:31:44,760 --> 00:31:47,640
Speaker 1: there was a sense of first day of school. Each

495
00:31:47,680 --> 00:31:50,400
Speaker 1: one of you could so have easily got one more,

496
00:31:50,440 --> 00:31:53,320
Speaker 1: taking it for granted, but boy, that was not the sense.

497
00:31:53,360 --> 00:31:57,880
Speaker 1: People worked hard, they cared, they were grateful, and that's

498
00:31:57,920 --> 00:32:00,200
Speaker 1: a that's a beautiful thing. I mean, it's a kind

499
00:32:00,200 --> 00:32:03,360
Speaker 1: of work atmosphere you hope anyone gets to experience in

500
00:32:03,400 --> 00:32:25,600
Speaker 1: their lifelime. Right, I have to ask you about this.

501
00:32:25,960 --> 00:32:29,240
Speaker 1: I did not know this. At the same time you

502
00:32:30,120 --> 00:32:37,320
Speaker 1: married Desi Arnez Jr. Son of Lucille ball and Desi Arnez.

503
00:32:37,840 --> 00:32:43,400
Speaker 1: You're now part of the ball Arnaz family and you

504
00:32:43,440 --> 00:32:47,120
Speaker 1: guys are what having Thanksgiving together? Or I mean, Linda,

505
00:32:47,200 --> 00:32:53,960
Speaker 1: this is unbelievable. Well, yeah it was. They were remarkable people,

506
00:32:54,160 --> 00:32:59,360
Speaker 1: brilliant Desi Senior, you know, he he was I don't

507
00:32:59,360 --> 00:33:02,680
Speaker 1: know that he was were tested, but he was a genius.

508
00:33:02,720 --> 00:33:06,640
Speaker 1: I think he was a genius. His thinking was so

509
00:33:07,200 --> 00:33:10,920
Speaker 1: sparkly and so so original all through his life. Now

510
00:33:11,000 --> 00:33:13,640
Speaker 1: mind you, I came in very late in in both

511
00:33:13,680 --> 00:33:18,000
Speaker 1: of their lives. But in his conversation, you go through

512
00:33:18,080 --> 00:33:21,560
Speaker 1: along the normal route, not daisy. He would go, yeah, yeah, yeah,

513
00:33:21,600 --> 00:33:23,440
Speaker 1: but what about and he would take a look at

514
00:33:23,440 --> 00:33:26,760
Speaker 1: it from here, from like another angle, you go. You know,

515
00:33:26,840 --> 00:33:30,080
Speaker 1: he didn't see walls. He saw ways under and around

516
00:33:30,160 --> 00:33:34,600
Speaker 1: and above and through that were unusual. He was responsible

517
00:33:34,680 --> 00:33:38,480
Speaker 1: for when he was running Paramount for Mission Impossible and

518
00:33:38,640 --> 00:33:41,640
Speaker 1: Star Trek. Those were shows that he liked and he championed,

519
00:33:41,680 --> 00:33:46,080
Speaker 1: and that's why they were even seen. He did that serially,

520
00:33:46,120 --> 00:33:48,880
Speaker 1: I mean he with my understanding. When this is from

521
00:33:48,960 --> 00:33:53,760
Speaker 1: his book Brilliant Autobiography, Thrilling Autobiography. You know, they came

522
00:33:54,120 --> 00:33:57,200
Speaker 1: from Cuba and his father was nothing, and they were

523
00:33:57,240 --> 00:34:01,720
Speaker 1: living in a sub basement with a pile of broken tiles,

524
00:34:02,960 --> 00:34:04,880
Speaker 1: and they had to make a living. And so they

525
00:34:04,960 --> 00:34:08,080
Speaker 1: scooped up a bunch of tiles and got some glue,

526
00:34:08,160 --> 00:34:13,640
Speaker 1: and they went around the neighborhood and said, we're mosaic artists, okay, whatever. Anyway,

527
00:34:13,680 --> 00:34:16,360
Speaker 1: you know, they saw where other people would see limitation

528
00:34:16,640 --> 00:34:21,279
Speaker 1: or fear or something, he saw opportunity and possibilities on

529
00:34:21,320 --> 00:34:25,880
Speaker 1: a regular basis. And of course, you know, brilliant musician

530
00:34:25,920 --> 00:34:29,000
Speaker 1: and all that. But when they had seen he and

531
00:34:29,120 --> 00:34:32,319
Speaker 1: Lucy perform in New York and and he said, yeah,

532
00:34:32,360 --> 00:34:34,440
Speaker 1: but we have to have an audience. Well there had

533
00:34:34,480 --> 00:34:37,280
Speaker 1: never been a live audience in a sound stage before,

534
00:34:37,280 --> 00:34:39,799
Speaker 1: he said, but we can't do it. So he just

535
00:34:40,120 --> 00:34:42,360
Speaker 1: kept figuring out ways to do this. One of the

536
00:34:42,400 --> 00:34:44,839
Speaker 1: things which I loved was that so there would be

537
00:34:44,880 --> 00:34:49,520
Speaker 1: the performance area, then the cameras, then the audience and

538
00:34:49,560 --> 00:34:51,320
Speaker 1: they said, but you know, the audience can't see. So

539
00:34:51,640 --> 00:34:54,160
Speaker 1: Das he said, well raise the audience on bleachers, you know.

540
00:34:54,440 --> 00:34:57,000
Speaker 1: So he just would figure it out. He had rational

541
00:34:57,080 --> 00:35:01,040
Speaker 1: thought and creativity went hand in hand powerfully with him.

542
00:35:01,080 --> 00:35:04,440
Speaker 1: So just to be you know, around that kind of

543
00:35:04,480 --> 00:35:09,600
Speaker 1: brilliance into um experience a mind that thinks like that

544
00:35:10,040 --> 00:35:15,360
Speaker 1: in all aspects of life was really was thrilling, right um.

545
00:35:15,400 --> 00:35:18,840
Speaker 1: Not long after happy days and you were cast on

546
00:35:18,960 --> 00:35:25,920
Speaker 1: matlock and then again your life is so fascinating. Then

547
00:35:26,200 --> 00:35:32,040
Speaker 1: shortly after that your life takes yet another turn and

548
00:35:32,080 --> 00:35:34,600
Speaker 1: you you decide, oh, I'm just going to launch a

549
00:35:34,719 --> 00:35:39,120
Speaker 1: jazz career. What was it that drew you specifically to jazz?

550
00:35:39,760 --> 00:35:43,440
Speaker 1: That's a really that's a very cool question. Thanks for that. Well,

551
00:35:43,719 --> 00:35:48,480
Speaker 1: growing up, we didn't have air conditioning, and the summers

552
00:35:48,560 --> 00:35:52,800
Speaker 1: in Japan, in Tokyo were brutal. I mean they were muggy.

553
00:35:52,840 --> 00:35:57,800
Speaker 1: It was monsoon season, big bugs, big heat, and so

554
00:35:58,360 --> 00:36:02,040
Speaker 1: my mother kept Guardinia in the house. So there was

555
00:36:02,040 --> 00:36:05,800
Speaker 1: this wafting of you know, this love of roma and jazz,

556
00:36:06,080 --> 00:36:09,520
Speaker 1: I know, just they were just intermingled and it somehow

557
00:36:09,640 --> 00:36:13,160
Speaker 1: seemed to bring the temperature down somehow. I don't know,

558
00:36:14,360 --> 00:36:16,440
Speaker 1: it would just make you feel kind of chill. So

559
00:36:16,760 --> 00:36:19,480
Speaker 1: that was the music of a large part of my

560
00:36:19,680 --> 00:36:23,920
Speaker 1: of my childhood. That and musicals, you know, lots of musicals.

561
00:36:24,040 --> 00:36:26,360
Speaker 1: And it was a way, I suppose of them maybe

562
00:36:26,360 --> 00:36:30,960
Speaker 1: staying connected to the part of America that they had missed,

563
00:36:31,239 --> 00:36:33,800
Speaker 1: you know, being far away. So that was an influence.

564
00:36:33,800 --> 00:36:36,960
Speaker 1: And I had done musicals as a kid, and but

565
00:36:37,040 --> 00:36:39,320
Speaker 1: once I was living in l A, I music was

566
00:36:39,360 --> 00:36:41,640
Speaker 1: no longer a part of my life and I really

567
00:36:41,719 --> 00:36:45,960
Speaker 1: missed it. I sorely missed it, and I wanted somehow

568
00:36:46,239 --> 00:36:50,400
Speaker 1: to get music back in my life. And so I

569
00:36:50,400 --> 00:36:52,880
Speaker 1: would have been introduced to a couple of friends and

570
00:36:53,200 --> 00:36:55,719
Speaker 1: the music director and a director and a club owner

571
00:36:55,760 --> 00:36:58,719
Speaker 1: in l A. And I realized that you could get

572
00:36:58,760 --> 00:37:02,120
Speaker 1: your team together, create a show call club and go

573
00:37:02,200 --> 00:37:05,880
Speaker 1: out and perform. And it was certainly making a living

574
00:37:05,880 --> 00:37:08,520
Speaker 1: at this, or you know, making but it was a

575
00:37:08,520 --> 00:37:11,799
Speaker 1: way of getting music back into my life. So I

576
00:37:11,920 --> 00:37:14,840
Speaker 1: had one music director for twenty two years, were unable

577
00:37:15,120 --> 00:37:18,640
Speaker 1: and adored, and he held my hand and those terrifying things,

578
00:37:18,680 --> 00:37:22,120
Speaker 1: because in a concert it's not a character. Then you're

579
00:37:22,160 --> 00:37:24,960
Speaker 1: not talking to your fellow actors you're talking to the audience.

580
00:37:25,000 --> 00:37:29,240
Speaker 1: That which horrifying. And when when you I mean, there's

581
00:37:29,320 --> 00:37:31,960
Speaker 1: no one else, it's just it's you've finished singing the

582
00:37:32,000 --> 00:37:33,880
Speaker 1: song and it's still up to you to move the

583
00:37:33,920 --> 00:37:37,239
Speaker 1: show forward. So lots of fun things to learn there.

584
00:37:37,239 --> 00:37:39,520
Speaker 1: And but jazz was always an area that I had

585
00:37:39,560 --> 00:37:41,600
Speaker 1: wanted to lean to and Ron to be the first

586
00:37:41,600 --> 00:37:44,000
Speaker 1: person to say, he's much more show tune and you know,

587
00:37:44,120 --> 00:37:48,520
Speaker 1: more of Broadway, big kind of sound. About fourteen years ago,

588
00:37:48,800 --> 00:37:51,520
Speaker 1: I was invited to do a show, just a concert

589
00:37:51,520 --> 00:37:53,239
Speaker 1: with a whole bunch of people in about gers Win

590
00:37:53,440 --> 00:37:55,000
Speaker 1: and they said do your music director is going to

591
00:37:55,080 --> 00:37:57,760
Speaker 1: be Ted Firth. It's like, well, who's this? My guys

592
00:37:57,920 --> 00:38:01,600
Speaker 1: run and Ron, who worked with all kinds. In fact,

593
00:38:01,640 --> 00:38:04,480
Speaker 1: one of his main stayss he works with Lucy Arnez.

594
00:38:04,920 --> 00:38:08,960
Speaker 1: They have worked together for such a long time wonderfully Anyway,

595
00:38:09,000 --> 00:38:11,719
Speaker 1: So I go into this rehearsal, I'm not so sure

596
00:38:11,719 --> 00:38:15,279
Speaker 1: about this Ted guy. And he put the piano and

597
00:38:15,560 --> 00:38:19,040
Speaker 1: I tell you what, I was gone. This was this

598
00:38:19,160 --> 00:38:23,279
Speaker 1: was the sound. This was the guy. And so we've

599
00:38:23,400 --> 00:38:26,320
Speaker 1: musically been together for fourteen years now. We've done three

600
00:38:26,480 --> 00:38:29,200
Speaker 1: CDs and coming up on a fourth and again he

601
00:38:29,239 --> 00:38:33,000
Speaker 1: works with so many, many, many people, but there's not

602
00:38:33,080 --> 00:38:36,759
Speaker 1: a time there's the same true for Ron. I get

603
00:38:36,800 --> 00:38:38,520
Speaker 1: to work with him and do a concert, you know,

604
00:38:38,680 --> 00:38:41,840
Speaker 1: create some arrangement. I don't learn it, just you just

605
00:38:41,920 --> 00:38:46,200
Speaker 1: feel your soul being moved forward. You know, it's not

606
00:38:46,320 --> 00:38:49,400
Speaker 1: like that. I mean, you know this for yourself. You

607
00:38:49,440 --> 00:38:51,799
Speaker 1: know that one of the joys of acting is that

608
00:38:51,840 --> 00:38:55,759
Speaker 1: you'll you'll never get it right. Oh maybe every wanted all.

609
00:38:55,800 --> 00:38:58,960
Speaker 1: I feel like that was okay, But the learning curve

610
00:38:59,560 --> 00:39:02,800
Speaker 1: never ever ends. I mean, that's the that's the thrill

611
00:39:02,840 --> 00:39:05,440
Speaker 1: of it. There's always something more to experience yours, some

612
00:39:05,520 --> 00:39:08,040
Speaker 1: other depths to find, or some other whatever it is.

613
00:39:08,480 --> 00:39:12,080
Speaker 1: Certainly the same is true with music. That's awesome. And

614
00:39:12,120 --> 00:39:15,800
Speaker 1: it's interesting that, you know, you have your first musical

615
00:39:15,840 --> 00:39:20,560
Speaker 1: experiences obviously in Japan, and at the same time there's

616
00:39:20,680 --> 00:39:24,680
Speaker 1: nothing less uniform as a musical art form that I

617
00:39:24,719 --> 00:39:27,720
Speaker 1: can think of as jazz, and yet that is where

618
00:39:27,880 --> 00:39:30,840
Speaker 1: you ended up. Yes, yeah, that's interesting. I never really

619
00:39:30,880 --> 00:39:33,800
Speaker 1: thought of it in those terms, but oh oh yes,

620
00:39:34,040 --> 00:39:38,000
Speaker 1: and gosh, the people that you get to work with,

621
00:39:38,040 --> 00:39:42,080
Speaker 1: the musicians and their and their legacies and It's a

622
00:39:42,120 --> 00:39:44,799
Speaker 1: wonderful thing. And I've been able to do cabaret in

623
00:39:44,840 --> 00:39:48,880
Speaker 1: a few different countries now and and I only do

624
00:39:49,000 --> 00:39:51,960
Speaker 1: the Great American Songbook. Can't sing pop to save my life.

625
00:39:52,040 --> 00:39:56,160
Speaker 1: But you know, when you get to perform in I

626
00:39:56,160 --> 00:39:58,359
Speaker 1: don't know, Azerbai John or something like that, and they

627
00:39:58,360 --> 00:40:01,840
Speaker 1: know the tunes, they know the tune. Realized that the

628
00:40:01,880 --> 00:40:06,320
Speaker 1: Great American Songbook all through the Cold War was making

629
00:40:06,560 --> 00:40:09,920
Speaker 1: subtle in roads. It's like it was water that just

630
00:40:10,040 --> 00:40:14,280
Speaker 1: seeped under those walls. They came across an X rays

631
00:40:14,360 --> 00:40:18,120
Speaker 1: because they could put the musical grooves into X rays

632
00:40:18,160 --> 00:40:19,840
Speaker 1: and they could send those and they would pass the

633
00:40:19,880 --> 00:40:22,520
Speaker 1: customs or the borders or whatever would know. And then

634
00:40:22,560 --> 00:40:24,520
Speaker 1: however that happened, I don't know. If you take them

635
00:40:24,560 --> 00:40:26,359
Speaker 1: some kind of a wax imprint of the X ray

636
00:40:26,400 --> 00:40:29,960
Speaker 1: and then you get the record ergo, the songs were

637
00:40:30,000 --> 00:40:34,680
Speaker 1: being played in behind the Iron curtain and this appetite

638
00:40:35,760 --> 00:40:40,040
Speaker 1: for America. But to your point, that freedom of thought

639
00:40:40,800 --> 00:40:44,959
Speaker 1: that you experienced viscerally in American jazz in the Great

640
00:40:44,960 --> 00:40:49,320
Speaker 1: American Song Book clearly was igniting and supporting and nurturing

641
00:40:49,480 --> 00:40:55,040
Speaker 1: some sense of freedom of thought. Yeah. Absolutely, it's fascinating.

642
00:40:55,600 --> 00:40:57,360
Speaker 1: I have to talk to you about the office a

643
00:40:57,400 --> 00:41:02,000
Speaker 1: little bit more. Yeah, you get cast as Pam's mom.

644
00:41:02,160 --> 00:41:06,640
Speaker 1: This occurred to me. So in Happy Days you played

645
00:41:06,640 --> 00:41:11,320
Speaker 1: two different roles, two different names, with no acknowledgment. In

646
00:41:11,480 --> 00:41:16,080
Speaker 1: the Office, Pam's mom first played by someone else for

647
00:41:16,920 --> 00:41:20,960
Speaker 1: one episode. Again, any thought when you were taking that

648
00:41:21,080 --> 00:41:26,040
Speaker 1: over that the part had been played by someone else? Oh? Absolutely, absolutely,

649
00:41:26,080 --> 00:41:28,239
Speaker 1: of course I'm to this, damn convinced. She was much

650
00:41:28,280 --> 00:41:32,360
Speaker 1: better than I was, and better everything. But yeah, I

651
00:41:32,400 --> 00:41:34,960
Speaker 1: mean grateful for who knows. I mean, it's a gypsy life,

652
00:41:34,960 --> 00:41:37,680
Speaker 1: as we know, and so when the phone rings, you're

653
00:41:37,680 --> 00:41:40,680
Speaker 1: either available or not. Apparently she wasn't, so I to

654
00:41:40,840 --> 00:41:43,840
Speaker 1: my good fortune when I got to do the show.

655
00:41:43,960 --> 00:41:47,120
Speaker 1: My son was, however old he was, and to the

656
00:41:47,160 --> 00:41:50,279
Speaker 1: point that the bargaining chips of Santa Claus and Easter

657
00:41:50,320 --> 00:41:55,120
Speaker 1: Bunny were not useful anymore. And however, being Pam's mom

658
00:41:55,239 --> 00:41:59,240
Speaker 1: was very useful because I was cool again, I was

659
00:41:59,360 --> 00:42:04,640
Speaker 1: my son's so thank you for that. Um. Again, you

660
00:42:04,680 --> 00:42:07,799
Speaker 1: had gone into definitely the biggest show that was on

661
00:42:07,840 --> 00:42:10,640
Speaker 1: at the time, Happy Days. Did you have any feelings

662
00:42:10,680 --> 00:42:14,880
Speaker 1: about coming in and joining the office. I was terrified.

663
00:42:15,280 --> 00:42:18,120
Speaker 1: First of all was that I got the role. Thrilled,

664
00:42:18,760 --> 00:42:22,439
Speaker 1: and then of course I had seen once I knew

665
00:42:22,440 --> 00:42:23,960
Speaker 1: it was going to be I had watched some of

666
00:42:23,960 --> 00:42:28,800
Speaker 1: the episodes I okay, and the level of talent mind boggling.

667
00:42:28,840 --> 00:42:30,960
Speaker 1: So that's where the terror came in. It's like, oh

668
00:42:31,040 --> 00:42:33,239
Speaker 1: my god, they're gonna find me out, They're gonna get

669
00:42:33,239 --> 00:42:38,200
Speaker 1: a fire anyway. Terrible. But the biggest surprise I think

670
00:42:38,520 --> 00:42:42,640
Speaker 1: was the lack of improvisation that was going on. I

671
00:42:42,640 --> 00:42:46,960
Speaker 1: mean there was, but but the honoring of the word

672
00:42:47,960 --> 00:42:53,080
Speaker 1: and then the ability to mask all of that skill

673
00:42:53,160 --> 00:42:55,480
Speaker 1: and technique and just to make it seem have it

674
00:42:55,600 --> 00:42:59,320
Speaker 1: be so organic from all of the actors was something.

675
00:42:59,800 --> 00:43:01,520
Speaker 1: And then also the way that it was that it

676
00:43:01,600 --> 00:43:04,880
Speaker 1: was shot. I had never shot with steadicams so present

677
00:43:05,360 --> 00:43:08,360
Speaker 1: in the scene, and I loved that sort of that

678
00:43:08,600 --> 00:43:13,080
Speaker 1: almost improvisor is that a word improvisitorial something like that,

679
00:43:13,120 --> 00:43:16,600
Speaker 1: you know what I mean, feel of make way for

680
00:43:16,640 --> 00:43:19,360
Speaker 1: the camera because he feels that he has to be

681
00:43:19,400 --> 00:43:22,480
Speaker 1: here for the moment. So that was lovely. That was

682
00:43:22,560 --> 00:43:25,960
Speaker 1: really fun and impressive to be a part of. But

683
00:43:26,080 --> 00:43:29,480
Speaker 1: also just to see how smooth all of that language

684
00:43:29,640 --> 00:43:34,040
Speaker 1: was between the permanent members of the cast. Yeah, the

685
00:43:34,160 --> 00:43:37,799
Speaker 1: level of want was I mean between the musicianship and

686
00:43:37,920 --> 00:43:40,520
Speaker 1: the actors who were writers and the writers who were actors.

687
00:43:40,680 --> 00:43:44,080
Speaker 1: And yeah, it was very heady and at the same

688
00:43:44,120 --> 00:43:48,359
Speaker 1: time very grounded set. Yeah, it's interesting. I never really

689
00:43:48,400 --> 00:43:51,200
Speaker 1: had thought about that before, because obviously we get asked

690
00:43:51,200 --> 00:43:54,160
Speaker 1: the question all the time about how much is improvised,

691
00:43:54,960 --> 00:43:56,839
Speaker 1: And I think a lot of that comes from, now,

692
00:43:56,960 --> 00:43:59,360
Speaker 1: you know, people knowing that there are so many great

693
00:43:59,400 --> 00:44:05,080
Speaker 1: improv improvisers. Now I can't say it, people who can

694
00:44:05,200 --> 00:44:07,720
Speaker 1: who can improvise, you know, who are on the show.

695
00:44:07,760 --> 00:44:10,120
Speaker 1: But yeah, actually that never sort of occurred to me

696
00:44:10,320 --> 00:44:13,880
Speaker 1: that that that that ability, that that so many had

697
00:44:13,920 --> 00:44:17,200
Speaker 1: to make it appear as though they were coming up

698
00:44:17,600 --> 00:44:21,040
Speaker 1: with it, that gave it that sort of organic feeling

699
00:44:22,040 --> 00:44:26,880
Speaker 1: further rooted in reality, etcetera. Yeah, Um, when did you

700
00:44:27,200 --> 00:44:31,200
Speaker 1: find out that you were going to have this this

701
00:44:31,280 --> 00:44:36,759
Speaker 1: story arc with Michael and to become Michael's love interest? Uh? Well,

702
00:44:36,960 --> 00:44:39,000
Speaker 1: I guess I don't know. When when did I come on?

703
00:44:39,040 --> 00:44:41,919
Speaker 1: This is the problem with this age. I honest to god,

704
00:44:41,960 --> 00:44:44,120
Speaker 1: I can't tell the difference anymore between two years and

705
00:44:44,160 --> 00:44:46,400
Speaker 1: eight I mean not long after I was on the

706
00:44:46,440 --> 00:44:50,239
Speaker 1: show than This than This arc will say that one

707
00:44:50,280 --> 00:44:53,960
Speaker 1: of the scenes they talk about I talked about myself

708
00:44:54,000 --> 00:44:57,160
Speaker 1: being fifty four years old, and I wasn't fifty four yet,

709
00:44:57,719 --> 00:45:00,719
Speaker 1: and I my insane vanity was so it was like,

710
00:45:00,760 --> 00:45:03,680
Speaker 1: I can't say fifty four. And then one of you know,

711
00:45:03,760 --> 00:45:06,239
Speaker 1: the changes came in and they lowered my age to

712
00:45:06,320 --> 00:45:09,279
Speaker 1: fifty two, and I was greatly relieved. It's like ridiculous

713
00:45:12,000 --> 00:45:14,200
Speaker 1: trying to make an issue of age in the script,

714
00:45:14,239 --> 00:45:20,359
Speaker 1: and I was having a much bigger issue myself. Uh,

715
00:45:20,719 --> 00:45:28,200
Speaker 1: how did you find working with Steve So? He's so fastile,

716
00:45:28,360 --> 00:45:32,280
Speaker 1: I mean, he can do anything. He can do anything

717
00:45:32,320 --> 00:45:36,359
Speaker 1: as an actor, he's so smart. Um. Yeah, I mean

718
00:45:36,400 --> 00:45:38,759
Speaker 1: we had a chance to talk. He was so gracious

719
00:45:38,880 --> 00:45:44,600
Speaker 1: and so so lovely and um so it was interesting

720
00:45:44,680 --> 00:45:46,359
Speaker 1: just to get a little bit of a glimpse into

721
00:45:46,440 --> 00:45:49,480
Speaker 1: his personal life and how what it devoted. Family man

722
00:45:49,560 --> 00:45:53,759
Speaker 1: he is and lovely wife and great dad. So that

723
00:45:53,840 --> 00:45:57,200
Speaker 1: was just cool. You just feel okay, and with a

724
00:45:57,360 --> 00:46:01,960
Speaker 1: really terrific human being here. Um and the capacity which

725
00:46:01,960 --> 00:46:05,960
Speaker 1: he gives back to various communities is also impressive and

726
00:46:06,120 --> 00:46:09,440
Speaker 1: not something he touts it's just something he does. And

727
00:46:09,480 --> 00:46:10,960
Speaker 1: you know the other thing, I don't I'm going to

728
00:46:11,040 --> 00:46:14,160
Speaker 1: get this wrong. But at some point he had had

729
00:46:14,719 --> 00:46:17,839
Speaker 1: uh well, his future film career was starting to take off,

730
00:46:17,920 --> 00:46:22,000
Speaker 1: and he was at a point contractually whatever that he

731
00:46:22,040 --> 00:46:25,560
Speaker 1: could have he could have left the show, but he didn't,

732
00:46:26,480 --> 00:46:31,399
Speaker 1: and he put his film career on pause, which, as

733
00:46:31,520 --> 00:46:33,600
Speaker 1: we know, in this business, you put it on pause

734
00:46:33,640 --> 00:46:35,960
Speaker 1: and they'll just say, okay, never mind, and they'll move on.

735
00:46:36,120 --> 00:46:39,840
Speaker 1: And that could be your only shot to have a big,

736
00:46:39,880 --> 00:46:43,760
Speaker 1: you know, move in your career. And instead he keeps

737
00:46:43,800 --> 00:46:45,960
Speaker 1: said to the office, now, I'm gonna I will leave

738
00:46:46,000 --> 00:46:49,279
Speaker 1: in a year, but I'm giving you a year. So

739
00:46:50,440 --> 00:46:54,359
Speaker 1: I've I've never seen that happen in Hollywood. I don't

740
00:46:54,360 --> 00:46:57,080
Speaker 1: think many people any kind of business have seen that

741
00:46:57,200 --> 00:46:59,640
Speaker 1: someone makes it was the right thing to do, and

742
00:46:59,680 --> 00:47:02,960
Speaker 1: it meant that everybody had a year to plan. Okay,

743
00:47:02,960 --> 00:47:05,319
Speaker 1: this means I might not the show is gonna last

744
00:47:05,360 --> 00:47:07,160
Speaker 1: a year at me and right not last after that,

745
00:47:07,239 --> 00:47:10,480
Speaker 1: and so I'll plan financially to you know, my kids

746
00:47:10,520 --> 00:47:13,760
Speaker 1: college or my mortgage where it is. And writers could

747
00:47:13,800 --> 00:47:18,880
Speaker 1: make a transition. And but I mean that's a remarkable,

748
00:47:19,239 --> 00:47:24,239
Speaker 1: grace note to give and most unusual. Yeah. I mean

749
00:47:24,600 --> 00:47:28,440
Speaker 1: the reality is is that he has forty year old

750
00:47:28,520 --> 00:47:31,760
Speaker 1: virgin that comes out, you know, basically at the beginning

751
00:47:31,760 --> 00:47:37,719
Speaker 1: of season two, and he stays till he stays seven years. Yeah.

752
00:47:38,000 --> 00:47:43,200
Speaker 1: So yeah, you're right. I always it's interesting to me, Jenna,

753
00:47:43,560 --> 00:47:47,719
Speaker 1: you're your pretend daughter. She actually made this comment. It

754
00:47:47,800 --> 00:47:49,359
Speaker 1: always sticks with me. I don't know if I've ever

755
00:47:49,360 --> 00:47:52,720
Speaker 1: said it on here or not, but that Steve Carrell

756
00:47:52,840 --> 00:47:56,640
Speaker 1: and Will Ferrell have this unspoken competition in Hollywood for

757
00:47:56,719 --> 00:48:02,160
Speaker 1: like who's the nicest person? They're just so talented but

758
00:48:02,320 --> 00:48:07,240
Speaker 1: also just so kind and generous. Um. You came back

759
00:48:07,520 --> 00:48:11,400
Speaker 1: several times over a few seasons. Did you notice things

760
00:48:11,520 --> 00:48:14,400
Speaker 1: change when you kept coming back or did you feel

761
00:48:14,640 --> 00:48:18,680
Speaker 1: just as welcome? Oh all the time, just as welcome. Yeah,

762
00:48:19,120 --> 00:48:24,200
Speaker 1: just as welcome and so just so grateful. Um. Yeah,

763
00:48:24,280 --> 00:48:27,160
Speaker 1: Jenna's there was a full scene of the office that

764
00:48:27,360 --> 00:48:29,080
Speaker 1: came up when I had gone down the dark hole

765
00:48:29,120 --> 00:48:31,880
Speaker 1: of the internet, as when Ken and it was Jenna,

766
00:48:32,080 --> 00:48:36,760
Speaker 1: and as an actress, I marveled at at the tone

767
00:48:36,800 --> 00:48:38,520
Speaker 1: at which she hit the scene. I know. It was

768
00:48:38,560 --> 00:48:42,080
Speaker 1: a scene where she's railing at Steve because you know,

769
00:48:42,280 --> 00:48:46,959
Speaker 1: you hurt my mother's feelings, right, And I just sat

770
00:48:47,000 --> 00:48:49,960
Speaker 1: there watching it like as acting student as I. How

771
00:48:50,000 --> 00:48:51,799
Speaker 1: did she do that? How did she figure out to

772
00:48:51,880 --> 00:48:58,440
Speaker 1: hit that note of absolute truth and real anger and

773
00:48:58,520 --> 00:49:02,560
Speaker 1: yet have it been comedic without without playing the funny

774
00:49:02,560 --> 00:49:07,440
Speaker 1: in it? Just the tone was pitch perfect. Hard to

775
00:49:07,480 --> 00:49:13,959
Speaker 1: do anyway. She's a she's a wonderful actress. Yes, well,

776
00:49:14,080 --> 00:49:18,040
Speaker 1: I'm so glad that you came to that UNDERCN event

777
00:49:18,280 --> 00:49:22,920
Speaker 1: in New Jersey. I think people enjoyed it so much.

778
00:49:23,239 --> 00:49:28,120
Speaker 1: And yeah, really a celebration of the show and and

779
00:49:28,120 --> 00:49:30,239
Speaker 1: and everyone who was a part of it. So that

780
00:49:30,400 --> 00:49:33,600
Speaker 1: was awesome. Yes, I was happy to be there. Thank you.

781
00:49:33,760 --> 00:49:56,000
Speaker 1: It was really really cool. You've been acting in the Other,

782
00:49:56,640 --> 00:49:59,160
Speaker 1: which is Linda and my new term for film and

783
00:49:59,200 --> 00:50:04,120
Speaker 1: television since the seventies. Too many shows to mention. How

784
00:50:04,160 --> 00:50:09,480
Speaker 1: have you seen the landscape of television specifically change over

785
00:50:09,520 --> 00:50:14,480
Speaker 1: that time? Well, I think it's I think it's better,

786
00:50:14,840 --> 00:50:17,799
Speaker 1: I really do. I think the whole art form there

787
00:50:17,920 --> 00:50:20,920
Speaker 1: has has risen. I think it's relevant in ways that

788
00:50:21,000 --> 00:50:23,200
Speaker 1: it that it wasn't. I think it's truth telling in

789
00:50:23,239 --> 00:50:25,960
Speaker 1: ways that it didn't have to be or you know,

790
00:50:25,960 --> 00:50:28,960
Speaker 1: it didn't have to be. The range of topics that

791
00:50:29,040 --> 00:50:32,680
Speaker 1: it covers is remarkable. I mean it used to be

792
00:50:32,800 --> 00:50:37,760
Speaker 1: more about differences of eras, but now it encompasses different

793
00:50:37,800 --> 00:50:40,760
Speaker 1: kinds of humor and different kind of politics and different

794
00:50:40,760 --> 00:50:44,800
Speaker 1: living conditions, and so there really is something for everyone.

795
00:50:44,800 --> 00:50:46,600
Speaker 1: And I think the acting is better. I think the

796
00:50:46,680 --> 00:50:51,279
Speaker 1: writing is better. Mm hmm. Then what it was? I

797
00:50:51,360 --> 00:50:56,080
Speaker 1: do miss some of the cinematic art. I think that's

798
00:50:56,200 --> 00:51:00,680
Speaker 1: a lot of that has been has been law again.

799
00:51:00,719 --> 00:51:04,600
Speaker 1: This is probably vanity speaking again, but the way that

800
00:51:05,400 --> 00:51:08,120
Speaker 1: many of the cinematographers I had a chance to work

801
00:51:08,160 --> 00:51:13,319
Speaker 1: with would craft light, the care and the attention from

802
00:51:13,360 --> 00:51:18,560
Speaker 1: all members of behind the behind the lens, we're given

803
00:51:18,600 --> 00:51:22,280
Speaker 1: a chance to to really put that into into film,

804
00:51:22,320 --> 00:51:26,160
Speaker 1: and I think we've I think we've lost that. That's

805
00:51:26,200 --> 00:51:31,280
Speaker 1: just a personal preference. The time doesn't really exist anymore

806
00:51:31,440 --> 00:51:34,720
Speaker 1: for that, and I dare say, to a large extent,

807
00:51:34,880 --> 00:51:39,120
Speaker 1: this skill doesn't exist. There's more interest in the overall

808
00:51:40,080 --> 00:51:45,640
Speaker 1: physicality than right here. And I missed that. I missed

809
00:51:45,640 --> 00:51:49,520
Speaker 1: that as an audience member going to see film, I mean,

810
00:51:49,960 --> 00:51:53,319
Speaker 1: film is so is such an intimate art form, and

811
00:51:53,800 --> 00:51:57,600
Speaker 1: as we get into you know, black shadows cut across

812
00:51:57,800 --> 00:52:02,560
Speaker 1: actors faces. Um, I feel like we're we've lost something

813
00:52:02,600 --> 00:52:05,000
Speaker 1: in the you know, in the art form. But that's

814
00:52:05,040 --> 00:52:10,040
Speaker 1: old school. That's very interesting. Yeah. Also not as a

815
00:52:10,080 --> 00:52:14,719
Speaker 1: person of color now seeing that change in television, I'm

816
00:52:14,760 --> 00:52:19,719
Speaker 1: astonished at my level of ignorance. I would not have

817
00:52:19,800 --> 00:52:23,759
Speaker 1: the career today that I had starting out in the

818
00:52:23,800 --> 00:52:28,560
Speaker 1: seventies in American television. And I think now what it

819
00:52:28,680 --> 00:52:33,000
Speaker 1: must have been like to open a magazine, turn on

820
00:52:33,040 --> 00:52:36,279
Speaker 1: a television channel for a young girl my age of

821
00:52:36,400 --> 00:52:40,960
Speaker 1: color growing and not see themselves. They were invisible. They

822
00:52:41,200 --> 00:52:45,640
Speaker 1: they didn't exist. So that's something I think, you know

823
00:52:45,760 --> 00:52:50,160
Speaker 1: has changed, is changing and had to change, and it's

824
00:52:50,160 --> 00:52:56,160
Speaker 1: an egregious wrong two those people of our ages and

825
00:52:56,880 --> 00:53:00,520
Speaker 1: younger who had to grow up, people of color who

826
00:53:01,000 --> 00:53:05,680
Speaker 1: did not see themselves just they were invisible. Yeah, well

827
00:53:05,719 --> 00:53:10,680
Speaker 1: said it's so insane now to the diversity, as you

828
00:53:10,760 --> 00:53:14,360
Speaker 1: talked about, but just the variety and the a number

829
00:53:14,560 --> 00:53:19,239
Speaker 1: of projects and platforms that are available now that I

830
00:53:19,280 --> 00:53:22,320
Speaker 1: think are what you said, doing a much better job

831
00:53:23,200 --> 00:53:29,720
Speaker 1: of storytelling, writing becoming important. Diversity. It's fun, it's fun

832
00:53:29,760 --> 00:53:33,240
Speaker 1: to enjoy and to be working in this art form

833
00:53:33,360 --> 00:53:36,680
Speaker 1: now for sure. I think The Office was probably one

834
00:53:36,719 --> 00:53:39,480
Speaker 1: of the first shows to delve into that. I mean,

835
00:53:39,640 --> 00:53:44,279
Speaker 1: it didn't champion whatever the norm was, whatever the you know,

836
00:53:44,440 --> 00:53:50,160
Speaker 1: and it exposed brought to life tremendous diversity of of eccentrics,

837
00:53:50,200 --> 00:53:53,520
Speaker 1: you know, and there's an eccentric in all of us.

838
00:53:53,680 --> 00:54:00,680
Speaker 1: And so I think it helped many people feel valid dated,

839
00:54:01,239 --> 00:54:05,080
Speaker 1: that needed to be validated, that should be validated. And

840
00:54:05,600 --> 00:54:08,520
Speaker 1: The Office did that with such a note of truth,

841
00:54:08,719 --> 00:54:12,680
Speaker 1: I mean, without forcing it that real people come in

842
00:54:12,719 --> 00:54:18,080
Speaker 1: many different ways and and somehow we bump up against

843
00:54:18,120 --> 00:54:20,200
Speaker 1: each other, but we'll get along. By God, we'll get

844
00:54:20,239 --> 00:54:22,600
Speaker 1: a product made at the end of the day. Right.

845
00:54:22,920 --> 00:54:28,960
Speaker 1: The Office was a very pioneering force in those possibilities. Yeah,

846
00:54:29,320 --> 00:54:34,239
Speaker 1: celebrating ordinary people and the beauty of that. Um, you're

847
00:54:34,280 --> 00:54:39,719
Speaker 1: a jazz musician, uh, an actor. Now, you're a you're

848
00:54:39,760 --> 00:54:46,200
Speaker 1: a baker, You're you're just recently started Duffy's Dough with

849
00:54:46,320 --> 00:54:51,680
Speaker 1: your partner Patrick Duffy, a sour dough starter kit business.

850
00:54:51,880 --> 00:54:55,520
Speaker 1: I need to get on the mailing list here. What

851
00:54:56,040 --> 00:54:58,960
Speaker 1: is what is your interest? Was this a pandemic born

852
00:54:59,120 --> 00:55:04,080
Speaker 1: thing or was is this something. No it's not. And

853
00:55:04,280 --> 00:55:06,520
Speaker 1: I I'm going to take you on a little tour.

854
00:55:06,520 --> 00:55:09,440
Speaker 1: I'm gonna we'll talk a little bit. So, yeah, Patrick

855
00:55:09,840 --> 00:55:12,959
Speaker 1: um family went to Alaska when he was two years old,

856
00:55:13,120 --> 00:55:15,560
Speaker 1: and some kind of woman up there took pity on

857
00:55:15,719 --> 00:55:17,680
Speaker 1: Mrs Duffy and said, Henny, you're never going to make

858
00:55:17,719 --> 00:55:20,440
Speaker 1: through the Alaska winter without this, and gave her a

859
00:55:20,520 --> 00:55:23,799
Speaker 1: starter that apparently it had been handed down from the

860
00:55:23,840 --> 00:55:29,360
Speaker 1: gold rush minor people. So and they have kept it alive, unadulterated,

861
00:55:29,400 --> 00:55:36,560
Speaker 1: in their family for seventy two years, and Patrick stop it. Yeah.

862
00:55:36,920 --> 00:55:39,560
Speaker 1: So it's a very very hearty strain. It's a very

863
00:55:39,600 --> 00:55:41,960
Speaker 1: sort of it's a very's a very robust, you know,

864
00:55:42,040 --> 00:55:45,960
Speaker 1: flavor in it. And well it's clearly it's hardy. It's

865
00:55:46,000 --> 00:55:50,880
Speaker 1: seventy two years old. So Patrick bakes with it. He'd

866
00:55:50,920 --> 00:55:53,640
Speaker 1: you know, pancakes and all this. So and I have

867
00:55:53,800 --> 00:55:57,120
Speaker 1: never been a baker, but Um hard for me to

868
00:55:57,120 --> 00:55:59,280
Speaker 1: pass up one of these cinnamon rolls or the pancakes

869
00:55:59,360 --> 00:56:02,399
Speaker 1: or the general role. So then we would see him,

870
00:56:02,520 --> 00:56:04,680
Speaker 1: you know, we'd take them, make them for friends, if

871
00:56:04,680 --> 00:56:06,760
Speaker 1: they'd come over for dinner, if we were going someplace

872
00:56:07,520 --> 00:56:11,040
Speaker 1: take the cinnamon rolls and people respond to them because

873
00:56:11,080 --> 00:56:15,160
Speaker 1: they're wonderful. And Patrick said, well, maybe I should turn

874
00:56:15,160 --> 00:56:17,759
Speaker 1: it into a into a business. It's like, of course

875
00:56:17,800 --> 00:56:21,040
Speaker 1: you should. And yes, it's the dough and the experience

876
00:56:21,080 --> 00:56:23,759
Speaker 1: of activating your starter and baking all that, but it's

877
00:56:24,000 --> 00:56:26,960
Speaker 1: so much fun. I had never been a baker, but

878
00:56:27,120 --> 00:56:32,160
Speaker 1: the meditative quality of needing the dough and seeing something

879
00:56:32,239 --> 00:56:35,280
Speaker 1: that's been dormant come to life, to see that yeast

880
00:56:35,320 --> 00:56:38,200
Speaker 1: and off and all that come to life, there's something

881
00:56:38,640 --> 00:56:41,439
Speaker 1: I don't know. It's very grounding. It's fun. It's fun

882
00:56:41,440 --> 00:56:43,719
Speaker 1: to do by yourself. It's fun to do with your

883
00:56:43,760 --> 00:56:46,600
Speaker 1: friends and family. Lord knows, it's fun to eat. But

884
00:56:47,160 --> 00:56:50,880
Speaker 1: we didn't know. I talked to my son's godfather, Lance Stewart,

885
00:56:50,920 --> 00:56:53,880
Speaker 1: who's an entrepreneuris at Lance, which you know, is this

886
00:56:53,960 --> 00:56:56,239
Speaker 1: an idea? And he said, sure, you're crazy to do it.

887
00:56:56,400 --> 00:56:58,680
Speaker 1: Do it anyway, And here's what you do. You do it.

888
00:56:58,760 --> 00:57:02,080
Speaker 1: You get all your kits, everything you need in one box,

889
00:57:02,320 --> 00:57:04,920
Speaker 1: and you sell it online and you start with maybe

890
00:57:04,920 --> 00:57:08,279
Speaker 1: two see if you like it, if it sells, and

891
00:57:08,280 --> 00:57:10,239
Speaker 1: then then move on from there. And I thought, what

892
00:57:10,360 --> 00:57:12,080
Speaker 1: could be so hard to get a little box. You

893
00:57:12,120 --> 00:57:16,680
Speaker 1: throw a few things. Oh my god, I didn't know

894
00:57:16,720 --> 00:57:18,880
Speaker 1: you have to you know legal this f d A

895
00:57:19,040 --> 00:57:21,560
Speaker 1: that you know we are now because Patrick and I

896
00:57:21,560 --> 00:57:24,600
Speaker 1: are doing all the packing ourselves. We are we are Coloradoe,

897
00:57:24,600 --> 00:57:27,560
Speaker 1: we live in Colorado. We are we are food handlers

898
00:57:27,800 --> 00:57:29,760
Speaker 1: for the next two years in the state of Colorado.

899
00:57:30,400 --> 00:57:35,400
Speaker 1: Past the test, I mean, it's just the learning curve

900
00:57:35,560 --> 00:57:38,640
Speaker 1: is so so steep. What kind of box does it

901
00:57:38,760 --> 00:57:41,080
Speaker 1: lift this way? Does it go down? Is it three quarters?

902
00:57:41,200 --> 00:57:44,120
Speaker 1: Is it Matt? Is it? I mean, I'm frossing at

903
00:57:44,120 --> 00:57:46,520
Speaker 1: the mouth telling this because it's so prescient in my mind.

904
00:57:47,040 --> 00:57:50,040
Speaker 1: You have you build your site and then you know,

905
00:57:50,080 --> 00:57:52,560
Speaker 1: in the old days, Mr Smith would come to the

906
00:57:52,640 --> 00:57:54,480
Speaker 1: store and he pays your thing. At the end of

907
00:57:54,480 --> 00:57:56,360
Speaker 1: the week, you take your paper sack of money and

908
00:57:56,400 --> 00:57:58,160
Speaker 1: you take it to the bank and you give it

909
00:57:58,160 --> 00:58:01,800
Speaker 1: to Jane and you're done. Now they pay the credit

910
00:58:01,800 --> 00:58:04,240
Speaker 1: cards goes into the site. Then you have to link

911
00:58:04,320 --> 00:58:08,080
Speaker 1: and e commerce. There's this thing called eke cards, it's

912
00:58:08,200 --> 00:58:10,880
Speaker 1: wool commerce. Then that goes they take the money, then

913
00:58:10,880 --> 00:58:12,760
Speaker 1: it goes to plug in, then it goes to the

914
00:58:13,040 --> 00:58:18,240
Speaker 1: I mean, the stuff is just it's unbelievable. So we

915
00:58:18,320 --> 00:58:21,040
Speaker 1: have a darling tech man in India, so I pull

916
00:58:21,120 --> 00:58:23,760
Speaker 1: all nighters on a regular basis to get the e

917
00:58:23,880 --> 00:58:27,720
Speaker 1: commerce thing going. How is this going for you? Well,

918
00:58:28,080 --> 00:58:31,680
Speaker 1: we launched two weeks ago, worried if we would be

919
00:58:31,720 --> 00:58:36,320
Speaker 1: able to sell two hundred boxes. The two hundred were

920
00:58:36,440 --> 00:58:39,840
Speaker 1: sold out in less than twenty for ours like, yeah,

921
00:58:40,120 --> 00:58:45,200
Speaker 1: oh no, because now so we we have We've ordered

922
00:58:45,240 --> 00:58:47,880
Speaker 1: another eight hundred supplies and we've promised to get a

923
00:58:47,920 --> 00:58:52,240
Speaker 1: thousand kids. Lord help us under people's trees by Christmas.

924
00:58:52,240 --> 00:58:55,160
Speaker 1: We've sold I think six d and twenty of this morning.

925
00:58:55,400 --> 00:58:58,320
Speaker 1: So but I had to reorder supplies. So that's I

926
00:58:58,360 --> 00:59:01,360
Speaker 1: have eight hundred pounds of flour coming in, three seventy

927
00:59:01,360 --> 00:59:04,560
Speaker 1: pounds of sugar. And then the you know, because their

928
00:59:04,600 --> 00:59:07,640
Speaker 1: cups and aprons and things, and they said, no problem,

929
00:59:07,720 --> 00:59:10,000
Speaker 1: it will be here, just the flour in the sugar alone.

930
00:59:10,040 --> 00:59:12,720
Speaker 1: It will be coming in an eighteen wheeler. At eighteen wheeler.

931
00:59:12,760 --> 00:59:16,000
Speaker 1: We can't get it eight d wheeler up the driveway

932
00:59:15,280 --> 00:59:17,720
Speaker 1: because we'll give it at the bottom of the driveway. No,

933
00:59:17,920 --> 00:59:21,680
Speaker 1: you won't. The kinds of challenges you know that were

934
00:59:21,760 --> 00:59:24,760
Speaker 1: and the other day tragically. We had we had ordered

935
00:59:25,280 --> 00:59:29,040
Speaker 1: potholders from Florida. They were all set to come, and

936
00:59:29,080 --> 00:59:32,920
Speaker 1: then we had that email from the company saying, your

937
00:59:32,960 --> 00:59:36,360
Speaker 1: pot holders are scattered across Greater Florida because they lost

938
00:59:36,360 --> 00:59:42,120
Speaker 1: the whole warehouse. So unbelievable. They're safe, but nobody died.

939
00:59:42,240 --> 00:59:46,160
Speaker 1: But so I will show just madness. I used to

940
00:59:46,160 --> 00:59:49,360
Speaker 1: have a house, Now I have a factory. There's the

941
00:59:49,760 --> 00:59:53,160
Speaker 1: part of the assembly table. Can you see that? My word,

942
00:59:54,040 --> 00:59:55,959
Speaker 1: this is what you get when you get your little

943
00:59:56,040 --> 01:00:00,320
Speaker 1: kit let's see. And the logo I made myself started

944
01:00:00,360 --> 01:00:06,000
Speaker 1: with crans And then there's some boxes. You see their boxes.

945
01:00:06,160 --> 01:00:11,480
Speaker 1: I mean your guys her house is it's a factory.

946
01:00:11,680 --> 01:00:15,760
Speaker 1: It's just it's absurd. But we're learning, you know, I

947
01:00:15,800 --> 01:00:23,520
Speaker 1: mean we we are learning. They're the next. I mean,

948
01:00:23,800 --> 01:00:28,360
Speaker 1: there's some more boxes. So we are making it up

949
01:00:28,400 --> 01:00:32,040
Speaker 1: as we go along. And uh, you know, you know what,

950
01:00:32,040 --> 01:00:37,840
Speaker 1: what sour dough goes really well with what chili? Oh

951
01:00:37,880 --> 01:00:42,920
Speaker 1: that's a great idea. Yeah, okay, all right, so I

952
01:00:43,000 --> 01:00:48,440
Speaker 1: can get some of the sour doughs sold for sure. Okay,

953
01:00:48,560 --> 01:00:52,880
Speaker 1: I see a strategic partnership in our future idea. Oh

954
01:00:52,960 --> 01:00:58,000
Speaker 1: bless your heart. Oh well, I can't tell you how

955
01:00:58,120 --> 01:01:02,040
Speaker 1: nice it was to chat with you. Congratulations on the

956
01:01:02,120 --> 01:01:08,040
Speaker 1: success of of Duffy Stope. Good luck than you, better

957
01:01:08,160 --> 01:01:11,919
Speaker 1: you than me there and uh I wish I wish

958
01:01:11,960 --> 01:01:15,400
Speaker 1: you all of the best. Thank you continued a good

959
01:01:15,440 --> 01:01:17,960
Speaker 1: things for you, Brian, and thank you again, so kind

960
01:01:17,960 --> 01:01:33,000
Speaker 1: of you'd have had me on No, thank you, Linda,

961
01:01:34,160 --> 01:01:37,640
Speaker 1: You're a joy. Thank you so much for stopping by

962
01:01:37,720 --> 01:01:42,360
Speaker 1: and talking to me. I absolutely loved hearing about your

963
01:01:42,360 --> 01:01:46,680
Speaker 1: time growing up in Japan. Not everyone can say that

964
01:01:46,800 --> 01:01:52,360
Speaker 1: they broke bread in Japan with Tennessee Williams. This is

965
01:01:52,680 --> 01:01:56,200
Speaker 1: amazing to me and to those of you out there listening.

966
01:01:56,280 --> 01:02:00,680
Speaker 1: Thanks for spending another Tuesday with me, or maybe you're

967
01:02:00,720 --> 01:02:07,320
Speaker 1: listening on a Wednesday, Thursday Happy days. Well I'm getting distracted. Sorry,

968
01:02:07,520 --> 01:02:09,800
Speaker 1: whatever day you're listening to this, I'm glad you're here.

969
01:02:10,000 --> 01:02:13,360
Speaker 1: I'm gonna be back next week with another conversation you

970
01:02:13,400 --> 01:02:16,840
Speaker 1: are not gonna want to miss. Oh. I promise you

971
01:02:16,840 --> 01:02:19,400
Speaker 1: you're gonna want to hear that one. Until then, have

972
01:02:19,520 --> 01:02:31,320
Speaker 1: a fantastic week. Off the Beat is hosted an executive

973
01:02:31,320 --> 01:02:36,160
Speaker 1: produced by me Brian Baumgartner alongside our executive producer Langley.

974
01:02:36,560 --> 01:02:40,960
Speaker 1: Our producers are Diego Tapia, Liz Hayes, Hannah Harris and

975
01:02:41,000 --> 01:02:45,760
Speaker 1: Emily Carr. Our talent producer is Ryan Poppa Zachary and

976
01:02:45,840 --> 01:02:50,200
Speaker 1: our intern is Sammy kts. Our theme song Bubble and Squeak,

977
01:02:50,480 --> 01:02:53,240
Speaker 1: performed by my great friend Creed Bratton,