Monday, March 26, 2018

Pheaturing David Frankham

Good afternoon, kids, welcome to the Phile for a Monday. How are you? The March For Our Lives was held on Saturday, and leave it to conservative commentator Tomi Lahren to open up Twitter and tweet something stupid.

Lahren must not be following the news or else her reading comprehension skills could use some work, because the rally was called March FOR Our Lives. The word "For" is right there. Lahren could also work on her empathy skills, because she's going after teens who are protesting guns because they are tired of their schools being shot up. People clapped back at Lahren, though, trying to set her straight (good luck). Eventually Lahren figured out the name of the march, and used it in some more tweets. Lahren clearly loves guns more than just about anything. She recently posted an Instagram of herself with a gun in the waistband of her yoga pants (because nothing says "namaste" like a weapon). Maybe it's time for Lahren to re-examine her priorities. That's not too likely, though.
Unless you've been living under a rock, you know that Stormy Daniels, the porn star suing the president to break a $130,000 non-disclosure agreement to talk about their alleged affair, gave an interview with Anderson Cooper that aired on CBS' "60 Minutes" last night. And if you have been living under a rock, congrats! That seems awesome. The rest of us have not, unfortunately. Here are the most bonkers revelation from the highly anticipated interview, according to America's most unexpected superhero, Stormy Daniels. Trump and Stormy started hanging out when he offered her a spot on "The Apprentice." She never appeared on the show. “He goes, ‘Got an idea, honey bunch,'” she told Cooper. “‘Would you ever consider going on and... and being a contestant?’ And I laughed and said, ‘NBC’s never gonna let, you know, an adult film star be on.’" Trump insisted, because she's smart. TRUMP DESCRIBED A WOMAN BY HER INTELLIGENCE. "He goes, ‘No, no,' he goes, 'That’s why I want you.’" Daniels told Cooper. "‘You’re gonna shock a lotta people, you’re smart and they won’t know what to expect.'" The infamous "Forbes" spanking was Stormy's idea. Apparently spanking is the only thing that can shut up Trump. Hint hint, everyone in the White House. Trump also told Stormy she reminded him of Ivanka. HE ALSO TOLD KAREN MCDOUGAL THIS ("allegedly" but, like, it's clearly his thing). And here's where things get even uglier (I know, hard to imagine)... Daniels says she was "physically threatened" by an "unidentified man" in 2011 who told her to "leave Trump alone." The guy allegedly threatened her in front of and directly to her child. Daniels says she ultimately signed the $130,000 non-disclosure agreement with Trump because she was "concerned for my family and their safety." TRUMP MADE HER WATCH SHARK WEEK. WTF IS UP WITH DONALD TRUMP AND SHARKS?? I mean, it's pretty obvious... he is one.
One teenager who got caught with pot and a bowl to smoke it out of came up with an elaborate plan to not only get out of trouble, but also get to keep her drugs. And for the benefit of people's amusement, she posted her scam on Twitter, where it quickly went viral. Twitter user @prachid_ tweeted that her mom had found her stash and she decided to make up a fake assignment to get it back. Along with the tweet were pictures of the assignment the teen concocted. She wrote a letter from a teacher saying that kids in the class were given one of three things: a pregnancy test, some fake drugs (and a bowl), or an empty beer bottle. The purpose of this made up assignment, the girl wrote, was to find out how parents reacted to "bad news." The letter also included a request that the "materials" be returned to the school by a certain date. And apparently it worked, because according to the picture, the mom signed the letter! Now, I'm not condoning illegal drug use by anyone of any age. I am just pointing out that, damn, teens are wily.
In the midst of the gun violence epidemic affecting students... and members of Congress debating whether it's good or bad... one brave congressman knows what the real crisis is: cussing. The "Nevada Independent" reports that 17-year-old Noah Christiansen was suspended for two days after a complaint from a congressman's staffer to his school. Christiansen, of Nevada's 2nd Congressional District, participated in the National School Walkout for gun control and contacted GOP Congressman Mark Amodei's office, calling on lawmakers to "get off their fucking asses" and enact legislation that would keep children safe from massacres like the one in Parkland, Florida. On Tuesday, after the school shooting in Maryland, Christiansen's mom shared on Instagram just how insane the congressman's priorities are. Stacie Bird posted "#FreeNoah" on Instagram, along with the damning observation, "Another school shooting today and you're worried about my kid using a cuss word." "Being yelled at for calling my representative and trying to create change in the world is one of the worst feelings I’ve ever experienced," Christiansen told the American Civil Liberties Union, according to The Huffington Post. "I’ve never even had a detention before, let alone a suspension." The ACLU blasted Amodei for "unconstitutional retaliation" against the student. Amodei regrets nothing. "Welcome to the world where words have impact," he told the "Los Angeles Times."  Christiansen told the "L.A. Times" he plans to keep speaking up for gun control... including at the ballot box in November, when he'll be old enough to vote.  He doesn't plan on voting for Amodei.
There's something strange in your neighborhood. Who you gonna call? The bomb squad. Last week, a bunch of aspiring ghost hunters in Canada journeyed to Mackenzie Hall in Windsor, Ontario to search for paranormal activity, and they accidentally left behind one of their tools. The Listowel Paranormal Society accidentally left behind a small black box with a red wire and a blue light, and the Windsor Police Explosives Disposal Unit were called to Mackenzie Hall that night to examine the suspicious package. According to assistant director of the Listowel Paranormal Society, Jen Parker, the box is used "to determine if there's an entity or an energy in the room with us and if there is, the little blue light will flicker." The device was ruled not to be explosive, but the paranormal society, however, claimed to have found a suspicious spirit named George. Parker only realized what happened when she got a call from the cops about the ghost sensor. "I apologize to anybody who was affected by this," she said about the bomb scare, the most interesting thing to ever happen in the town of Windsor. "It was not intentionally done. It was just forgetfulness."
So, instead of doing this stupid little blog maybe I should be relaxing and listening to this album...

Maybe not. And that's not me with the yellow shirt. Haha. If I had a TARDIS I would like to see Finaldn, but knowing my luck I'll end up there in 1939 during the Winter War and see a Russian spy almost getting killed.

The Russian is laughing. Why? Am I that funny looking? You know, I was thinking, if there is a God I think some of you have strayed from his light. Check it out...

Haha. Hey, did you see the L.A. Chargers' new logo?

So literal. So, I saw this pick of Luke Bryan and it reminded me of something...

Then it hit me...

Heh heh heh heh. Did you see the teaser trailer for Christopher Robin? I liked it but am not sure I like the way Pooh looks in it...

See? Did you see Toys R Us's new ad?

So sad. So, today's guest, David Frankham, played Sergeant Tibbs in Disney's animated classic One Hundred and One Dalmatians. Well, before it was called that it had a different name and this book from the 60s came out right before the name change...

Hahahaha. Alright, now for another person with a sign from Saturday's March For Our Lives match...

Now from the home office in Port Jefferson, New York, here is...

Top Phive Slogans For Toys You Shouldn't Buy
5. Blonde and blue-eyed, just like a baby should be!
4. Just add wood, and watch your termites grow!
3. Meet your toddler's new worst enemy!
2. A chemistry set so fun, it should be illegal in more than just 27 states!
And the number one slogan for a toy you shouldn't buy is...
1. The foul-mouthed frog that kids fucking love!

This is so dumb. If you spot the Mindphuck let me know. So, recently a scientist came on the Phile and told us a few inventions he was working on. He contacted me earlier today and said he has been working on some new stuff and wanted to come here and talk about it. So, here once again is...

Me: Hello, Mak, how are you?

Mak: I'm good, Jason. Been real busy.

Me: That's good. So, what have you invented recently?

Mak: A color coded braille.

Me: Ummm... I don't know how that would work. Anything else?

Mak: Yeah. Waterproof teabags.

Me: I'm not so sure about that, Mak. These seem useless. Anything else?

Mak: Battery powered batteries.

Me: Ugh. Okay, I give up.

Mak: I have one more... Parachutes that open upon impact thumb. I'm selling those to the North Koreans.

Me: Oh, boy. Mak, thanks for coming on the Phile. Come back again soon, when you come up with more useful stuff.

Mak: Okay.

Me: Mak Asterborus, people, world's greatest inventor. Hey, it's time for...

Mike and Barron Trump working with international scientists in the Arctic to prove Global Warning is a hoax.

Spread the word, people, let's get Shania on the Phile. #ShaniaOnPhile.

Just a few more days. Okay, so, need a laugh?

There's a blond and a brunette in a car. The brunette is driving while the blonde is in the passenger seat. They're going down a steep hill when the brunette realizes that the brakes don't work. The brunette tells the blonde that the brakes don't work and they will drive off the side of the cliff because they failed to stop. The blonde then replies, "Don't worry! There's a stop sign ahead."

Today's pheatured guest is an English film and television actor, and the author of "Which One Was David?," the 77th book to be pheatured in the Phile's Book Club. He also provided the voice of Sergeant Tibbs the cat in Walt Disney's One Hundred and One Dalmatians. It's a great honor to have him on the Phile, please welcome... David Frankham.

Me: Hello, sir, welcome to the Phile. It is truly an honor to have you here. How are you?

David: Thank you for inviting me on the Peverett Phile. I'm doing good.

Me: Your book "Which One Was David?" is the 77th book to be pheatured in the Phile's Book Club, sir.

David: Thank you, Jason.

Me: Okay, so, I have to say One Hundred and One Dalmatians is one of my favorite Disney animated movies, but you have acted in a lot of other movies. Did you go to the movies a lot when you were a kid, sir?

David: Well, I have to say that I was at an age when I saw movies like Snow White and the Seven Dwarfs, Dumbo, and Fantasia first time around in the theatre. I was eleven when I started going to movies and I think one of the first movies I saw, not knowing I would one day work at Disney, was Snow White. I was the only child and I had parents who weren't too self indulgent that they let me go to the pictures, as we say in England. I would go once a week and that's how I started my movie going. I always wish I had brothers and sisters.

Me: What were some of your favorite movies growing up, sir?

David: Growing up? Laura was always a favourite. I was a great Gene Tierney fan. In England a devoted Jean Simmons fan, maybe she's not well known in America, I'm not sure. Of course she did biggies like The Robe, and big pictures like that. And Vincent Price, not knowing I would one day do three movies with him. A great Bing Crosby fan. Some people I understand today wouldn't know who he was. He was a big huge singer in the 30s and 40s.

Me: It's a cool story of when and how you ended up in America, sir. Rosemary Clooney was a big part of it, right?

David: Yes, Rosemary Clooney was a guardian angel in a sense brought me to this country. I interviewed her because I had a BBC talk show called "The Bright Lights" for about four years in England. Rosemary was a guest at the time of White Christmas, we chatted, promoting the movie and at the end of it I asked her what are the chances of me working in radio in Los Angeles? I always wanted to be an actor. My plan I hoped would be go to Los Angeles, work in radio and get to know a few people in the movies and go in that way. So, Rosemary said the magic words at the end of our chat. She said, "If you decide to go call me when you get there and we'll get you started." I am grateful to her.

Me: I saw her sing at Disney's Top of the World when I was a kid. That was the restaurant on top of the Contemporary Resort back then. What were the first days of being an actor like for you?

David: The first days? Terrifying. I thought I might get a line here and there to get started but because of a fluke Roddy McDowall was set to star in show called "Matinee Theater" which was live television, Monday through Friday for several years in L.A. in 1956. Roddy was suddenly called to Broadway to rehearse a play. I never acted, but thanks to Angela Lansbury's husband who I got to know quite briefly, not very closely at all, called my agent and said, "Get David out to NBC right away, they're in a fixing. They got to have someone." So in the old tradition of show business I was given the lead in the show not having ever acted. All that week I thought they were going to find out about me and put me back on the ship and send me back to England on the Queen Mary and the BBC and all that. But touch wood, it went well and NBC gave me five more to do. Meantime of course I suddenly started studying and joined an acting group and tried to find out why what I was doing what I was doing. The first thing was terrifying, I really thought I was going to pull this off or drop dead. Obviously I'm still here and didn't drop dead.

Me: I am so glad you're alive and kicking, sir. Let's talk about One Hundred and One Dalmatians.   Was that the only voice over role you did back in the day?

David: It was in movies. That year in 1959, this is really rewinding back, Jason, I was doing a show all that year called "One Man's Family" on radio. It had been running for decades actually. I just joined the show that year, so I was doing that show every Saturday, and I was doing some voice work for MGM. I was dubbing for Ben-Hur. William Wyler needed voices to fill in for not very good Italian actors. I was doing that at the same time, so I was comfortable working in a studio with a music stand, script and a microphone. But for a real movie, not counting Ben-HerOne Hundred and One Dalmatians as my break through, yes.

Me: I have to show a pic of your character, sir.

Me: Haha. What was the process like getting hired for that Disney movie, sir?

David: Another job for a troubling actor. My agent said I am to go to Disney on the 31st of March to meet the casting director, Jack Baur, he'll tell me all about it. Jack introduced himself and said, "The studio is producing One Hundred and One Dalmatians and we are thinking of you as the voice of the cat." I did an audio audition and I think Walt Disney listened to al the various takes. He never ever saw anybody auditioning a voice. He went entirely by the sound. I did it, we shook hands and I left. About a week later I was told I had the part and so on the first of June in 1959 I was told to report to studio 1-A at Disney studio. Of course it was hallowed ground, Jason, because it was where everybody who recorded voices for Disney recorded on that soundstage. So I stood on the footsteps of Walt Disney himself being Mickey Mouses voice of course. I showed up and a gentleman named Woolie Reitherman came in and introduced himself. I was aware at the time that he was one of Disney's Nine Old Men. Woolie introduced me to a very nice actor named J. Pat O'Malley, and he was going to be the sheep dog and I was going to be the cat. A fine voice artist by the name of Thurl Ravenscroft was the horse. We didn't meet unfortunately. He did many brilliant voicers for so many commercial recordings. Woolie then led us to one whole wall of this recording stage peppered with sketches and said, "These are the storyboards." He led J. Pat and I through the whole sequence that we were going to record. I wish I had grabbed one of those off the wall, that would of cost a fortune on eBay now. Anyway, he explained the whole thing that we were to do and we went over to the traditional music stands where we had the pages and microphone overhead. There was one addition that I never really quite understood, there was someone sitting besides me with a sketchpad sketching the whole time we were recording. One with Pat too. It turned out later they were incorporating part of our features into the animated character. Especially with Pat, he had a very jovial sheep dog kind of face. I was surprised to see how he came out. It ended and we did as much we were asked to do that day. I think there were three of four recording sessions that year and another few in 1960.

Me: Wow. So, did you meet Walt, sir?

David: All the time I was there, and I think any actor who went into that studio, when and will I ever meet Walt Disney? It was explained to me no, he only goes by the sound of the voice. I did eventually meet him because these recording sessions were spaced far apart while the animator caught up with our soundtracks. During that time Disney cast me in a feature film titled Ten Who Dared, about the first ten men who charted the Colorado River. We went off to do that in Utah and when we came back to do interiors that was when Walt Disney came on the set every day. You can imagine for me, Jason, going all the way back to Snow White, to meet the man who was responsible for all these marvelous films. All I could say was, "It's an honour to meet you, Mr. Disney." He said, "Nah, everybody around here calls me Walt." When he came on the set everyday I could bring myself to call him Walt. He was a genius and I believe he really was.

Me: You also did the voice of the little terrier dog in One Hundred and One Dalmatians as well, right, as well as Sergeant Tibbs?

David: I did? I have no memory of that. None. Looking back now I should have been paid twice though. Haha.

Me: What was it like to be Sergeant Tibbs? Did you change your voice at all?

David: I changed the kind of accent, yeah. I fell back on my lifelong love of cats which really helped a lot. I always had cats. Sergeant Tibbs was sort of a Cockney. I fell back on my father's voice, nobody asked me too. This voice came out and I thought if they didn't like it they'll tell me to change it. They did, so that's how the voice came about. Generally with my love of cats and how they would react to situations. Of course we had the storyboards to guide me all the way through.

Me: It's cool you had J. Pat recording next to you, that's rare to have two people in the same room, did you know that?

David: I didn't know that, no. I don't know why we didn't meet Thurl Ravenscroft, in many of the sequences it's the three of us together, the cat, the sheepdog and the horse. We didn't but Pat and I got along famously. Anyway, it was very well written I have to say. It's a shame I don't know who did the script and screenplay for it but Pat was absolutely perfect for it.

Me: What was it like at the Disney studios, sir? Any interesting stories?

David: Only getting there, because then I've been an actor for about three years I think. I worked at MGM, Fox, Universal, most of them were just concrete soundstages. Not the Disney Studios, it was like a college campus. There were trees, parks, lawns, everything about it looked laid back and everybody on it was. I never felt any pressure when I was there. I think they took the cue from the genius that owned the studio.

Me: What was the premiere of the movie like?

David: I don't think I saw the premiere. I went to the cast screening at the studio but I was all uptight, thinking did I do all right. But 20 years later, where I live in Santa Fe, New Mexico, they reissued it and I went to see it and I saw it two years before then I think. So I decided to go when it ran a week there and I decided to go to a Saturday matinee. I thought when I walked in this was a big mistake, it was full of kids. It was noisy, and I thought will they ever calm down. What I didn't realise was it's a child's picture, and when it began there was dead silence. That whole theatre applauded good ol' Tibsb. It was such a unique experience for me, I'll never forget it. I missed the premiere but I think I made up for it that Saturday.

Me: So, in 1966 Walt passed, sir, was that a shock to you?

David: Yes, of course. I don't think he was that old. I can't remember. He certainly seemed fit and terrific. I've auditioned for other things afterwards which I didn't get and I don't know if Walt was still alive then. Of course because I've done One Hundred and One Dalmatians I thought I'll be a shoe in for another animated feature. But he stuck to his guns, listened the voice and whatever I auditioned for my voice was not correct. But I thought he'll be around a long time, they'll be other opportunities. Of course, yes, it was a huge shock. Thinking about all the studio heads like Louis B. Mayer, whoever was running Universal or Columbia, he was the creative head of the studio. He wasn't just running the studio, he put pen and pencil to paper, drew and fought. Everything came from his imagination so I think in his case more than n the other moguls, I guess he was a mogul, it was more of a huge creative loss when he died.

Me: Okay, so, you mentioned earlier about working with Vincent Price. What was he like, sir?

David: Well, first of all, it was a huge thrill when I was told I was going to be in the sequel to The Fly, in Return of the Fly. I was truly in awe of him initially because he was 6'4 and I was 5'11, so I literally looked up to him. I had no idea what kind of man he would be, absolutely none. So, we did our first scene, of course that was Cinemascope, that was a stretched out screen, we had to keep filling up the space. We didn't really get to work next to each other but I went into my little dressing room after that first shot, and I was sitting there and Vincent stuck his head in the door and said, "What are you doing?" I said surprised, "I'm just going over the next scene." "Well..." he said, "I like a social set, kid. There's a chair out there with your name on it, so get your arse out there." That broke the ice for me, and that was the beginning for me of a lifelong friendship with him. When we came to do the second one, the following year, that was in 1959, I did Master of the World in 1960, and Tales of Terror in 1961, we knew each other well. That was a very happy set, we had a three week schedule instead of thirteen days schedule. One day we were doing it at the Old Republic studios where they had no air conditioning, it was in August, and I was sit talking to Mary Webster, who when we were done with filming we went outside and sat under a tree. Vincent heard me telling her I just moved into a rented house that weekend, this was a Friday, on the Saturday I was just going to go around and find some second hand furniture. Saturday morning the phone rang, "Hi, it's Vincent. I'm sending you some furniture. My wife and I have a lot of furniture we don't need so get your arse over here and you can spend the day taking the furniture that you like." I told Vincent I don't drive and he said, "What? I got to haul you back and forth all day as well as give you furniture?" He hated being thanked. He filled up my house that day with furniture, cutlery, everything you can think of. I knew that if I thanked I'm in front of the rest of the cast he'd kill me. So, as he was leaving that Saturday I said I'll never be able to thank him. I was holding my Siamese cat at that moment and Vincent who I said was very tall, looked down at my cat who scratched him. There was blood everywhere. I was like no, no, no, he'll take all the furniture back. I was sticking band aids on him telling him I was terribly sorry. Anyway, that was part of his generosity. He was the most generous man. His only challenge on Master of the World was Charles Bronson. Charles was a very shy private man. They have as you know done the House of Wax together. Charles was so shy he hardly related. I couldn't understand why he was so shy and wouldn't join Vincent's group of chairs. Vincent said to me one day, "The guy baffles me, I can't get through to him." I tried to explain that Charles was a really nice fellow, I liked him very much. But I think he always remained a challenge to Vincent. So, the following year we did Tails of Terror which was another additional thrill, not only working again with Vincent but working with Basil Rathbone, and Debra Paget who was a delightful young lady. That was a fast shoot with Roger Corman of course. It went smoothly and quickly because Roger was so well organised. I didn't see a lot of Vincent, other than being on the set with him. What he loved to do, like in every film we did, he loved to break me up. He was lying on the bed dying and I'm the doctor leaning over him saying, "You're gong to be alright," he started telling me a dirty joke. He would save the punch line until Roger Corman said action. Roger would say, "Cut. What's the matter, David? Can you focus please?" I didn't see him socially for that hectic week but boy, did he give me a heard time in the best possible sense of the word.

Me: When was the last time you saw him before he passed, David?

David: I saw him years and years later, sadly Tim Burton did a great salute to him at the International Hotel in Los Angeles, it was a salute to Vincent and I was invited along with Roger to just pay tribute to him. He was very frail by then, this was 1990. Young fellows were helping him on stage and I could see this giant of a man was failing, We got through it and we did the show together. As he was leaving he looked over his shoulders at the three young fellows who were helping him back to his car, and he said, "Old age sucks, kid." That's how I will always remember him. I don't think that's right, because I'm old now, and it doesn't feel to me it sucks. He was a dear, dear man and a huge influence on me too.

Me: Man, I love those stories. And he was Egg Head in "Batman." Okay, tell me about your stop motion movie that is being created that you're in, sir. It looks good. I have to show this poster for it...

David: Oh, you betcha. My only concession on being 92 is my failing eye sight. A few years ago my friend said I need to move into his condo so he can keep his eye on me. So, two years ago he woke me up and said, "Look on the computer." Somebody had done a complete two and half minute overview of my entire career with little sound clips. This young man turned out to be Ben Wickey. To make a long story short, some time later he emailed again saying he was preparing "The House of Seven Gables" and he would like me to do the narration and asked if I was interested. Of course. So, my friend Jonathan drove us both back to Los Angeles and I met Ben who was just a young man and a bundle of energy. He was very talented, Jason, and I looked him up on YouTube. I saw some of his short subject animated features, he's quite brilliant. It went very smoothly, I went in and did my narration and we went back to Santa Fe. Then in the meantime he told Jonathan that he was to do a younger version of my character and also asked Jonathan to compose the score for this movie, which he is now in the middle of doing. For me it's fascinating to see how an animated movie is put together because I stick my head in Jonathan's office, see him at his keyboard which is attached to his computer. Ben will send some pages across and come up with a tune what he's looking at on his computer. Ben has the wonderful idea actually premiering this feature at the actual house of seven gables in Massachusetts. That will involve a big adventure for me getting on an Amtrak train for three or four days. I hope one day you'll get to interview Ben.

Me: I hope I could. You are a character in the film as well, right, judging by this poster?

David: Yes, my character of course is a stop motion puppet, and about two inches high. I've seen myself on the screen as this character and it's awesome to me to hear my voice coming out from this puppet. It looks like my dad. He said he based the look of it on my character in Tales of Terror. I don't know how that works out because of course I was young in 1969.

Me: When it comes put I will have you back here for another interview, if you want, sir.

David: Yes, and interview Ben as well.

Me: Okay, so, I have to mention your book. Haha. What made you decide to write a book about your life?

David: About six years ago Jonathan sat me down and said what about my autobiography, I had an interesting life in England and here, so to make a long story short we chatted for about twenty hours, not all at once of course, recorded it on twenty CDs, and sent it to writer we know named Jim Hollifield in Memphis. Jim had put this idea to a publishing company and they said do a couple of chapters on me and let's see. So, Jim did and they liked it. The book came out in 2012 and it's called "Which One Is David?"

Me: What's with the title, sir?

David: My parents knew nothing about the theatre and my father thought actors were sissy's. This is back in 1943 or '44, and they went to see me in a school production of "The Merry Wives of Windsor," and I played Falstaff, and you can't miss Falstaff, cushions and waddling about. On the way home my mother said to my father, "I enjoyed that. Did you?" There was a pause and my father said, "Yes, it was okay. Which one was David?" He had no idea I was Falstaff. So, I thought, dear old dad, you're gone now, but I put what you said as the title of the book.

Me: Awe. That was sweet. David, this has been one of my favorite interviews ever. Thanks for being on the Phile and I hope you will come back soon.

David: Oh, gosh, it's so nice of you to say that, Jason.

Me: I mean it. Take care, and hope to have you back here soon. All the best.

David: You too.

That about does it for this entry. Thanks to David Frankham. Man, that was a great interview. The Phile be back on Wednesday from Gainesville with singer Emeli Sandé. Spread the word, not the turd. Don't let snakes and alligators bite you. Bye, love you, bye.

Not if it pleases me. No, you can't stop me, not if it pleases me. - Graham Parker

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