Speaker 1: Welcome to Ruthie's Table four, a production of iHeartRadio and
Speaker 1: Adamized Studios.
Speaker 2: When I phoned Frank Garry to ask him to do
Speaker 2: this podcast, he immediately said yes. For years, every time
Speaker 2: a new Frank Gary building opened, Richard, my husband and
Speaker 2: I would make a pilgrimage to visit the Disney Center
Speaker 2: in Los Angeles, the Louis Vreton Foundation in Paris, the
Speaker 2: Guggenheim in Bilbao, and Moore. But one summer in two
Speaker 2: thousand and eight, a spectacular Gary building came up to
Speaker 2: us in Hyde Park, just ten minutes from our house.
Speaker 2: It was a Serpentine pavilion, a temporary structure designed with
Speaker 2: his son Sammy. For those few months, we met friends
Speaker 2: there almost daily, watching the sun set, listening to people
Speaker 2: play music, eating and drinking. This brave and beautiful structure
Speaker 2: made Harde Park a better park and London a better city. Today,
Speaker 2: I've made a pilgrimage on my own from London to
Speaker 2: Los Angeles, not to see a new Frank Gary building,
Speaker 2: but to see my much loved close friend Frank.
Speaker 3: Six slices of presciutto or pansetta. I really like that
Speaker 3: one pheasant plucked and clean. Americans don't have.
Speaker 2: Ye No, we don't have game.
Speaker 3: They don't have pheasants Canada, but does Canada. But it's
Speaker 3: a long time ago. I was in Canada. Half a
Speaker 3: cup of olive oil. I like that. Three garlic cloves peels, yes,
Speaker 3: I'm still in. Three fresh rosemary sprigs, great, five fresh
Speaker 3: sage leaves. Great. Half a bottle of Josephine dores u.
Speaker 3: It's wine.
Speaker 2: It's a fortified sweet wine, rather like Marsala.
Speaker 3: Uh huh.
Speaker 2: So you could use Marsala as well. But I love
Speaker 2: the name Josephine Dorik or wine.
Speaker 3: Okay, I like the name too. One hundred and seventy
Speaker 3: five millimeter chicken stock, one hundred and twenty five milliiters
Speaker 3: of heavy cream. Place the prescudo or pancetta slices over
Speaker 3: the pheasant and tie on with a string. Heat the
Speaker 3: olive oil in a saucepan and brown the pheasant on
Speaker 3: all sides. Add the garlic and herbs. Cook over a
Speaker 3: medium heat for about forty minutes. Adding the wine and
Speaker 3: stock in stages. You do not want to boil the bird,
Speaker 3: but braize it in the liquid. Remove the bird and
Speaker 3: keep warm. Add the cream let it simmer and then season,
Speaker 3: pour the juices over the pheasant and serve yum yum.
Speaker 2: It's good, isn't it.
Speaker 3: I'm shocked you didn't bring me some.
Speaker 2: I know it's not the right season.
Speaker 3: There I would go with this interview is.
Speaker 2: Can you imagine me getting into customs?
Speaker 3: And I've got to me it would make the interview.
Speaker 3: We could do that. We can do a replay.
Speaker 2: Okay, we'll do it. Did you ever do the cooking?
Speaker 3: I cook mots of brye?
Speaker 2: How do you? What is that?
Speaker 3: On Sunday mornings and I have lots of bride bakeoffs
Speaker 3: with people. Mats of brie is unleavened bread that the
Speaker 3: Jews crusted the desert with Moses a long time ago,
Speaker 3: and it's used for Passover. It's used mostly for Passover.
Speaker 3: It's unleaven bread for Passover. I break it up underwater
Speaker 3: and get it sort of moist. I salted and stuff,
Speaker 3: and I take a bunch of eggs and I beat
Speaker 3: them up and put them all over the matzabrie and
Speaker 3: it absorbs the egg stuff and then I fry him.
Speaker 3: That's called matzabrie. Okay, So I grew up with that ye,
Speaker 3: what did.
Speaker 2: You grow up? But tell me first start from the beginning.
Speaker 3: Where were you born Toronto?
Speaker 2: And where were your parents born?
Speaker 3: My mother Poland, my father New York and his father
Speaker 3: and mother his father Russia.
Speaker 2: Russia, Poland, Yeah.
Speaker 3: Pince, I think my mother luds ldz.
Speaker 2: Yeah, loves And what was their story?
Speaker 3: They came in nineteen thirteen. I think there was a
Speaker 3: pogram in Poland. I found out later that the Jews
Speaker 3: were being rounded up and beaten up. And my grandfather,
Speaker 3: who delivered coal, he had a wagon. I went to
Speaker 3: Lootch and saw where the rail tracks were and where
Speaker 3: he was and when did you I was invited to
Speaker 3: do a film festival and called the Camarade Film Festival
Speaker 3: in Poland. And I went with David Lynch. David Lynch
Speaker 3: and I went to Poland. I loved the people. And
Speaker 3: I went to the city hall there and they asked
Speaker 3: David and I to sign our names on the wall,
Speaker 3: and I wrote, my grandfather left in nineteen thirteen. If
Speaker 3: he hadn't left, I wouldn't be here. I was immediately
Speaker 3: called by the mayor's office and they became very solicitous.
Speaker 3: They found all my grandparents' families. They all of a
Speaker 3: sudden became like to show me they really loved the Jews.
Speaker 3: Blah blah blah, which was a bunch of bullshit, I guess.
Speaker 3: But so I did get a pretty deep and I
Speaker 3: found out my grandmother actually ran a foundry. There was
Speaker 3: folklore about it when I was growing up, but it
Speaker 3: was true.
Speaker 2: The grandmother did.
Speaker 3: She ran a foundry in Poland. They came across on
Speaker 3: a Dutch ship that got stalled mid ocean, which was
Speaker 3: the reason my mother would never cross a bridge in
Speaker 3: a car. She had a phobia for so she would
Speaker 3: get out of the car and walk across the bridge
Speaker 3: and meet us on the other side because of this experience.
Speaker 3: As I guess she was a nine year old or
Speaker 3: six year old, I don't remember, but obviously they got here.
Speaker 2: Yeah, they got to where did they learn to Canada?
Speaker 1: Right?
Speaker 3: And they land that in Toronto. My grandfather got a
Speaker 3: horse and buggy. He was delivering bread, I think, and stuff.
Speaker 3: They lived in a little house, tiny house that just
Speaker 3: got torn down.
Speaker 2: Did it feel like they were a very Jewish community
Speaker 2: within me?
Speaker 3: Yeah, it was a Jewish community. My grandfather had got
Speaker 3: went on to have a hardware store, which I worked
Speaker 3: in as a kid with him, and he's the one
Speaker 3: that got me to read Talmud. And he wasn't religious.
Speaker 3: It was interesting. He was the head of his little
Speaker 3: congregation because he took the He was a business guy
Speaker 3: and so he managed the money for them. But he
Speaker 3: read Talmud. To me, that was interesting. You know. Talmud
Speaker 3: starts with the word why. Yeah, curiosity, and curiosity is
Speaker 3: the feeder for all all of our work, right, all
Speaker 3: creativity is.
Speaker 2: Somebody always asked me what I look for in a
Speaker 2: new chef or anyone i'd take on it River Cafe,
Speaker 2: and I always say, curiosity.
Speaker 3: Yeah, right, that's where I'm interested.
Speaker 2: And so you were. You went to school every day.
Speaker 3: And you know you look So we were in Toronto.
Speaker 3: I went to I went to Blue Collegiate until forty
Speaker 3: seven and then we but in between my family moved
Speaker 3: to Timmins, Ontario, five hundred miles north of Toronto, and
Speaker 3: I lived there from eight years old to thirteen years old.
Speaker 2: So you've sort of set up a picture of what
Speaker 2: where you were. If you were to kind of close
Speaker 2: your eyes and remember the smells of your mother's kitchen
Speaker 2: or the food in her kitchen. Can you visualize it?
Speaker 2: What was it a big room? Was it a small kitchen?
Speaker 3: Yeah, it was. It was a small kitchen. It wasn't
Speaker 3: She wasn't a great cook. Okay, Yeah. My grandmother made
Speaker 3: on the cook stove, made all the to gel fill
Speaker 3: to fish, and I used to watch. That's why everybody
Speaker 3: says I do fish sculptures because I used to go
Speaker 3: pick up the live fish and put it in the bathtub,
Speaker 3: and then at night I would I was as a kid.
Speaker 3: I would play with the fish in the bathtub and
Speaker 3: then the next day it was gone.
Speaker 2: Would did you ever watch them kill the No?
Speaker 3: I didn't know what happened was at home. I finally
Speaker 3: figured it out.
Speaker 2: But do you think there was? Because that is interesting
Speaker 2: about why the fish? Because when did the image of
Speaker 2: the fish begin?
Speaker 3: You know, that's a whole other story. Do you want
Speaker 3: me to get.
Speaker 2: Into it about the fish? Yes?
Speaker 3: You know. I was started practicing sixty four of my
Speaker 3: own I'd worked on shopping centers with groon and stuff
Speaker 3: like that. I got some houses to do. I did
Speaker 3: some small buildings. Uh. And I got to know Peter
Speaker 3: Eisen and your husband, and Norman Foster and Michael Graves
Speaker 3: and Charlie Moore, and I wasn't a big force in architecture,
Speaker 3: but I was. They sort of paid attention. I was
Speaker 3: doing enough stuff they paid attention. From the very beginning,
Speaker 3: I hung out with the artists because I always thought
Speaker 3: of architecture as an art and I thought they were
Speaker 3: coming around to my buildings and looking at my stuff
Speaker 3: and inviting me for dinner. And the artists, the artists
Speaker 3: in la ed Ed Moses, Billy, Albankston, John Alton, Peter Alexander,
Speaker 3: a lot of people, you know, became close friends. And
Speaker 3: I would go to their shows and they would come
Speaker 3: to my At a point, Arthur Drexler do you remember
Speaker 3: who that is? He was the architecture guy at MoMA
Speaker 3: did a show called boz Art and it was at
Speaker 3: sixty sixty.
Speaker 2: I think.
Speaker 3: Everybody went to that show. I went to it. It
Speaker 3: was a knockout. The Bose Art buildings, the models they
Speaker 3: showed were so seductive, it was incredible everybody. It was
Speaker 3: after that show that Philip put the top on at
Speaker 3: and t Bright as a director at that show, and
Speaker 3: Graves came out and Stern came out and they all okay,
Speaker 3: so postmodernism became the Siren Song. And I remember I
Speaker 3: was at a and I couldn't buy it. I wasn't
Speaker 3: buying it, but I thought there was more to life
Speaker 3: than copying the past. So I was at a conference
Speaker 3: with a lot of those guys and I can't remember where,
Speaker 3: and when my turn came to talk, which I never
Speaker 3: prepared talks, I would get up and just do what
Speaker 3: I'll say what was on my mind. I looked at
Speaker 3: them and said, what the hell is there only one
Speaker 3: way to go backwards? Can't there isn't there something new?
Speaker 3: Isn't there any hope for the future. I forget what
Speaker 3: and I said, damn it. If if you got to
Speaker 3: go back, I mean you can go back three hundred
Speaker 3: million years before man to fish, I said, fish are
Speaker 3: very architectural and their movement is beautiful, and they suggest
Speaker 3: movement and it goes with cars and trains and planes
Speaker 3: and stuff. So just copy that. I had no idea
Speaker 3: why I said that. After that, I started to draw
Speaker 3: fish on all my little drawings. I've got cups stuff
Speaker 3: fall around with fishy. They're on those drawings too, So
Speaker 3: I started playing with it. I was doing that project
Speaker 3: with Klaus Oldenburg in Venicia. The sponsors were a fashion
Speaker 3: house in Florence asked me to do a fish sculpture
Speaker 3: for their show, and so I went to China Chita
Speaker 3: and did a drawing and they made it. I never
Speaker 3: saw it. In Turino, they were just getting ready to
Speaker 3: open the the Costello de Rivoli as a museum and
Speaker 3: they had their first show and they invited me to
Speaker 3: be in the first show, and so they gave me
Speaker 3: two galleries. In one gallery, I put all my models
Speaker 3: and they said they had something for the other gallery.
Speaker 3: They didn't tell me. What I walked in the other
Speaker 3: gallery was this wooden fish made for the fashion show.
Speaker 3: It's the biggest piece of kitsch I've ever seen. It
Speaker 3: was so embarrassing. I stood beside it was just freaked
Speaker 3: out that they were making this part of my show.
Speaker 3: And standing beside me was a guy from the Stedlic
Speaker 3: Museum who had spoken ill of my work many times before.
Speaker 3: He's standing beside me and he said, how'd you do that?
Speaker 3: And I said, what do you mean? She said, how'd
Speaker 3: you do it? I want to talk to you. Then
Speaker 3: I realized what he was talking about. The thing looked
Speaker 3: like it was moving, This piece of egregious kitch had
Speaker 3: the movement that a fish has.
Speaker 2: And how they had made it in that way.
Speaker 3: They didn't know.
Speaker 2: I didn't know. It was just an accident.
Speaker 3: This guy said, that's brilliant. How did you do that?
Speaker 3: I said, it's pure, you know, I said, I told him, well,
Speaker 3: I was interested in the fish because of movement.
Speaker 2: So what do you think that relates to the carp
Speaker 2: in the bathtub?
Speaker 3: I don't know.
Speaker 2: Maybe maybe that a psychiatrist that image of the car,
Speaker 2: but I.
Speaker 3: Think that the next thing I did was a show
Speaker 3: at the walker and I cut the tail off the fish,
Speaker 3: the head off the fish, and I made an abstract
Speaker 3: and it's still moved, it still had the sense of movement.
Speaker 3: And that's when I got hooked, hooked on the shape
Speaker 3: shaping and using that to express to express.
Speaker 2: An Yeah, the image of so that I think.
Speaker 3: That experience made made Bill bow. I'd love the food, and.
Speaker 2: Let's talk about that because San Sebastian, which is right
Speaker 2: next to Bilbao, is a mecca for food. People go there.
Speaker 2: The chefs are really interesting. So what when you say
Speaker 2: you love the food of Bilbao, tell me about it.
Speaker 3: It's the cod fish. What do they call it.
Speaker 2: Yeah, the bacola, baccala bala.
Speaker 3: Yes, you know, don't you? You're a cook anyway, Baola.
Speaker 3: I love bacola and I loved the wine.
Speaker 2: Yeah, you would go for these site meetings, and did
Speaker 2: you spend a long there?
Speaker 3: Bill Bell reawakened my food whatever foody I was happened
Speaker 3: there because that's what we did. We went out to
Speaker 3: restaurants with them. The wine was special because.
Speaker 2: Life that you're describing a working all day, whether you're
Speaker 2: Cassavettis your friend, or actors or writers or artists in
Speaker 2: their studios, there was a real momentum to go to
Speaker 2: eat at the end of the day because the work
Speaker 2: was solitary and so was that true here as well?
Speaker 2: Did you go out to restaurants all the time?
Speaker 3: And yeah, with Benny Gazar we used to go to
Speaker 3: Italian restaurants. So we had a lot of pasta and
Speaker 3: a lot of red wine.
Speaker 2: And there was one that somebody told me there was
Speaker 2: one in like a train.
Speaker 3: Carriage, the Pacific Dining car. Is it still there downtown?
Speaker 3: I think it's still there. It was in my neighborhood,
Speaker 3: so we used to go there because it was around
Speaker 3: the corner from where we lived, and you could. You
Speaker 3: didn't need a reservation, you just walk in. Yeah, and
Speaker 3: it was never filled. And I mean I used to
Speaker 3: see Spieler, he used to be there, and a lot
Speaker 3: of Hollywood people, but they would come at six in
Speaker 3: the morning for early breakfast, when nobody was there our
Speaker 3: real late at night.
Speaker 2: I think about a restaurant in a city is that,
Speaker 2: as we found out when restaurants were closed in London,
Speaker 2: is that they do provide a social life to the
Speaker 2: city that you can go there and see people that
Speaker 2: you didn't know were going to be there. There's a
Speaker 2: spontaneity about meeting a friend or sitting there.
Speaker 3: For the Pacific Dining Car was more private. People didn't
Speaker 3: go there to meet other people. It was the booths
Speaker 3: were spread apart and it was never filled.
Speaker 2: So you as a kid, did you ever go out
Speaker 2: to a restaurant when you were a child.
Speaker 3: Not very much. They couldn't afford to go out. Yeah.
Speaker 3: I do remember going to restaurants with my father in
Speaker 3: Toronto that had signs no Jews alone. No, I do
Speaker 3: remember that really, And he always knew the owner because
Speaker 3: he was a gregarious guy. So we would go in anyway.
Speaker 2: So he would He would actually be friends with an
Speaker 2: owner who actually had a sign on his door saying.
Speaker 3: He wasn't friendly with him, but he had he had
Speaker 3: some kind of business relationship with him.
Speaker 2: Was your father alive to understand your success?
Speaker 3: He died before my success. Now my mother did, did.
Speaker 2: She bask in the in the glow of your success?
Speaker 3: She tried. But when I when she died, I found
Speaker 3: a box with every article. Yeah, I didn't know she
Speaker 3: was doing that, and it was from way back. But
Speaker 3: she always used to compare me to other people's kids,
Speaker 3: you know, like Hilda's son does. Why can't you be
Speaker 3: more like that? So I got it. I had a
Speaker 3: bad time.
Speaker 2: I think you had a bad time, and they had
Speaker 2: a bad time leaving your country and having a ship
Speaker 2: stold in the middle of the ocean and living in
Speaker 2: a city that you knew no one, And I mean
Speaker 2: when you left your home and where did you go
Speaker 2: to architecture school?
Speaker 3: USC?
Speaker 2: So you came to California.
Speaker 3: So my father lost everything, had a heart attack, had
Speaker 3: to leave leave Toronto. He was penniless. His brother brought
Speaker 3: him to California. My mother came, my sister came. We
Speaker 3: lived in a two rooms the size of this in
Speaker 3: an old building downtown.
Speaker 2: Sisters and brothers? Did you have sisters and Brothers's sister.
Speaker 3: I got a job as a truck driver. My father
Speaker 3: got a job as a truck can I delivered breakfast,
Speaker 3: nooks and furniture. He was a soda pop delivery. My
Speaker 3: mother got a job in the Broadway, Hollywood, in the
Speaker 3: candy department, and she stayed there all the way to
Speaker 3: the end. For her, she were in the Broadway, she
Speaker 3: ended up in the decorating department, and she was selling
Speaker 3: draperies to Hollywood people.
Speaker 2: So would she cooked? Would she come home and cook
Speaker 2: for you? Do you remember sitting very much? Would sitting
Speaker 2: down to a meal in your house?
Speaker 3: I would remember, but I can't.
Speaker 2: I don't remember that meals, family meals did not exciting.
Speaker 2: Now now everybody talks about you know how sad it
Speaker 2: is now that we don't all gather around a table
Speaker 2: every night. But for some people, quite a few people,
Speaker 2: it was quite and stressful to have to sit around
Speaker 2: a table with your family. That's what it was for you?
Speaker 2: Was it because he just.
Speaker 3: Had a temper and you never knew couldn't control it.
Speaker 3: Took it out on me because he saw me as
Speaker 3: not understanding business. I was. I was the kind of
Speaker 3: artsy type. Yeah, so he didn't understand that. And my
Speaker 3: mother also supported that that I wasn't really interested in
Speaker 3: I mean I was interested in going to the symphony
Speaker 3: and going to art galleries, but not in things that
Speaker 3: would make a living.
Speaker 2: And some meal times for a kind of tyranny were
Speaker 2: they of.
Speaker 3: It was difficult.
Speaker 2: And then when you went to architecture school and college
Speaker 2: you kind offended for yourself.
Speaker 3: And yeah, then I got married.
Speaker 2: Yeah, became domestic life.
Speaker 3: That was domestic life kind of yeah. Yeah, well this
Speaker 3: was the first marriage before birship.
Speaker 2: When you designed the canteen, the cafeteria Forcaill New House,
Speaker 2: did that make you think more about food or did
Speaker 2: Was that about space? Was that where people could stop
Speaker 2: working in the magazines and punt have a meal.
Speaker 3: I did think about food because we did the cafe
Speaker 3: Ta Park and we had to set up where you
Speaker 3: go through the line of gage.
Speaker 2: But that's a radical canteen. I mean there's no other
Speaker 2: space like that to have as a place to eat
Speaker 2: when you're working all day. It was the hottest ticket
Speaker 2: in New York. It was invited to that, Yeah, to lunch.
Speaker 2: Everybody was trying to figure out how.
Speaker 3: They were I didn't know.
Speaker 2: Oh yeah, huge. Everybody wanted to go there, you know.
Speaker 2: I remember going with Victoria, took me and people friends
Speaker 2: of mine, call up friends of theirs.
Speaker 3: Who they remodeled it. They've totally.
Speaker 2: What was SI life as a client? Was he the client?
Speaker 3: He was the client?
Speaker 2: Did you know what he wanted?
Speaker 3: Really? Did? I took him to the best thing I
Speaker 3: did with Sai is I took him to Japan for
Speaker 3: a week with Greg Wallace, who was my partner who
Speaker 3: had spent a lot of his life in Japan. So
Speaker 3: Greg knew Japan really fantastic, and Victoria and Ci and
Speaker 3: Bert and I and Greg spent a week together and
Speaker 3: so I ended up in the same little cafe with
Speaker 3: typical Japanese there pork noodles or something, and that's what
Speaker 3: he ordered every day, and he wanted to go back
Speaker 3: to the same restaurant every day. No. Ci. Months before
Speaker 3: he died, I was with him in Paris for the
Speaker 3: opening of the Louisy Tom building. He called me over
Speaker 3: he was sitting there kind of not totally with it,
Speaker 3: and he said Frank. The trip he took me on
Speaker 3: to Japan, I think I'm going to cry, he said,
Speaker 3: was one of the best ever. It was so sweet.
Speaker 3: What he's in?
Speaker 2: Do you like sugar? Do you like sweet food?
Speaker 3: Oh?
Speaker 2: Boy, oh boy? What's your go to see?
Speaker 3: My friend Stephanie Barron makes the greatest lemon drops and
Speaker 3: I invite her to go sailing, specifically because she brings
Speaker 3: the lemon drums.
Speaker 2: So sailing. Yeah, so sailing.
Speaker 3: Now you're talking.
Speaker 2: And when you're on the boat, do you do you eat?
Speaker 3: Do you have any we order sandwiches or something?
Speaker 2: Yeah?
Speaker 3: And drink wine?
Speaker 2: Are you interested in the wine?
Speaker 3: Yeah? I got a lot of it, but I don't.
Speaker 3: One of my clients is the Southern wine spirits owner
Speaker 3: from from from Vegas, and I did his little building
Speaker 3: in Vegas, and so he sends us all the wine
Speaker 3: and so I mean, I mean, I get to like
Speaker 3: some of it. I pick stuff that I like him
Speaker 3: and Berta likes some of it. But we're not wins.
Speaker 3: Tequila has We've been drinking a little bit and so
Speaker 3: we do tequila for dinner.
Speaker 2: And what are the sweets apart from the lemon drops?
Speaker 2: Do you like chocolate? Frank, Oh, yeah, me too. Is
Speaker 2: there something that when you're feeling kind of low or
Speaker 2: kind of worried that you might reach for in terms
Speaker 2: of food? But is there something that you would say this,
Speaker 2: there's a kind of sense of comfort in some pint.
Speaker 3: I guess just plain pasta pasta.
Speaker 2: Yeah, do you know? I asked this question to.
Speaker 3: Everybody and they always end up with us.
Speaker 2: Everybody loves a pasta. Yeah, I think it is.
Speaker 3: Well, it's uh, you don't have to eat a lot
Speaker 3: of it, and it's kind of filling. Yeah, and you
Speaker 3: can drink some wine with it.
Speaker 2: Yeah.
Speaker 3: And then there's some such so many varieties of pasta
Speaker 3: that that gets exciting, you know. But and when you
Speaker 3: go to a restaurant, an Italian restaurant, the varieties are incredible.
Speaker 3: So I like to try.
Speaker 2: Well, let's go next time I'm here. Are you going
Speaker 2: to restaurants?
Speaker 3: Are you avoiding them a little bit? I'm going to
Speaker 3: come to the River Cafe.
Speaker 2: Yeah, Frank Garrey, you are invited to the River Cafe. Invited.
Speaker 2: That means you don't have to pay anything. And by
Speaker 2: the way, juice are allowed.
Speaker 3: Oh my god, that's terrible. Well, I will be.
Speaker 2: And also you know, food is a pleasure.
Speaker 3: Yeah it is.
Speaker 2: It's so good and it's so great thing to give
Speaker 2: yourself and then just eat it and havept deliciously.
Speaker 3: Okay. So in the morning for breakfast, I make I
Speaker 3: take toast and I fry an egg and I put
Speaker 3: it on the toast. That's good, and that's what I
Speaker 3: have egg.
Speaker 2: If the egg is good and the toast is good,
Speaker 2: and the butter is good and it's hot, then that's
Speaker 2: a delicious meal. But you need to put a lot
Speaker 2: of salt and pepper on it, and you need to
Speaker 2: eat it pleasure with pleasure. Yeah, no idea food is
Speaker 2: you know, it's simple. An artist and architects and designers.
Speaker 2: Everyone is part of coming out. Okay, now it's coming out.
Speaker 3: It's not just the mos both that's my specialty.
Speaker 2: All right, I'm all right, thank you. Frank what's frank
Speaker 2: Berry ice cream?
Speaker 3: Frank Berry ice Cream.
Speaker 2: Company named an ice cream? Is that right after you?
Speaker 2: Did you know that?
Speaker 3: Yeah? I saw something like that.
Speaker 2: I think having an ice cream named after you is
Speaker 2: pretty cool. I have to say, you know, I can
Speaker 2: have a building named after you or.
Speaker 3: You know, snicker doodle.
Speaker 2: I guess Okay, Well, maybe we'll have to go get one.
Speaker 1: The River Cafe Look Book is now available in bookshops
Speaker 1: and online. It has over one hundred recipes, beautifully illustrated
Speaker 1: with photographs from the renowned photogher Matthew Donaldson. The book
Speaker 1: has fifty delicious and easy to prepare recipes, including a
Speaker 1: host of River Cafe classics that have been specially adapted
Speaker 1: for new cooks. The River Cafe Lookbook Recipes for Cooks
Speaker 1: of all ages. Ruthie's Table four is a production of
Speaker 1: iHeart Radio and Adamized Studios. For more podcasts from iHeartRadio,
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