80s TV Legends: Stefanie Powers on Acting, Activism, and the Hart to Hart Legacy

Episode Transcript
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Speaker 1 (00:00):
Weirding Way Media.

Speaker 2 (00:08):
So Pretty Babies, into the City, the money Man World.

Speaker 1 (00:23):
Welcome to eighties TV ladies, where we look back in
order to leap forward, and where we say we need
to defund and dissolve ice.

Speaker 3 (00:33):
Call your representatives.

Speaker 1 (00:34):
Meanwhile, we're going to take care of ourselves and each
other by spreading joy. And here are your hosts, Susan
Lambert Hadham and Sharon Johnson.

Speaker 3 (00:44):
Hello, I'm Susan and I'm Sharon. We are so thrilled
for today's very special guest.

Speaker 4 (00:50):
And we will be diving into the world of Chaufford limousines,
international intrigue, detective duos, and possibly the most enviable true
love and hied venture marriage in television history.

Speaker 3 (01:02):
The TV show Heart to Heart created by Sidney Sheldon
and executive produced by Aaron Spelling and Leonard Goldberg. This
action mystery series premiered August twenty fifth, nineteen seventy nine,
on ABC and ran one hundred and eleven episodes over
five seasons. It ended May twenty second, nineteen eighty four,

(01:24):
then spawned eight television movies throughout the nineties.

Speaker 4 (01:28):
Our Guest Today defined an era of sophisticated glamour She
was also a television pioneer, the first woman to lead
an hour long series in the nineteen sixty six spin
off The Girl from Uncle, but.

Speaker 3 (01:43):
To millions of fans in the nineteen eighties, she is
the elegant and erudite Jennifer Hart. Alongside Robert Wagner, she
showed us that a TV marriage could be sexy, equal
and genuinely fun. Ms Powers has been nominated for two
Emmys and five Golden Globes.

Speaker 4 (02:01):
And beyond the screen, she's a world traveling conservationist, a
renowned stage actress, dancer and singer, and a guardian of
the wild as the founder and president of the William
Holden Wildlife Foundation. So welcome to eighties TV ladies, the
one and only Stephanie Powers.

Speaker 1 (02:20):
Oh wow, thank you very much man.

Speaker 3 (02:22):
We're thrilled to have a chance to speak with you today.
Great and talk with you about your impact on television
history in your world changing conservation efforts with the William
Holden Wildlife Center.

Speaker 1 (02:36):
Fabulous. Well, so it is a five oh one to
C three public charity which I formed in nineteen eighty two.
And William Holden died in nineteen eighty one and Bill
was the big love of my life, a most influential
human being, etc. And I I mean I was already
in love with him on the screen, so it was

(02:58):
very easy to fall in love with him in life.
He was a visionary as far as wildlife conservation. In
the nineteen fifties, before independence of Kenya, he went out
with two friends as a hunter. In those days, the
game was prolific and it was not being poached out

(03:19):
of existence as it is today, and he fell in
love with the country.

Speaker 5 (03:25):
He was already in love with the animals, and on
that first trip they bought a hotel and they created
the Mount Keny Safari Club, which became very much a
kind of destination.

Speaker 1 (03:37):
For people going to East Africa and still is to
a certain extent. And it's a beautiful location on the
slopes of Mount Kenya, looking at the second tallest mountain
in the continent. Shortly after they opened the club, the
two thousand acre ranch surrounding the club became available and

(04:00):
he purchased it with an idea to create a sort
of center for the refuge and protection of wildlife, not
a personal zoo so much as something that could be
seen as educational as well as The word conservation wasn't

(04:22):
in everybody's vocabulary in those days, but he was doing it.
So in nineteen fifty he created the very first game
ranch for the preservation of species in the whole of Africa.
The game ranch at its peak had thirty seven species
of East African wildlife, some of which are still there,

(04:44):
five of which unfortunately are no longer visible in the wild.
So he was absolutely on course for understanding the need
for preservation. What he always wanted to do was to
build an education center so that local people of all
a could come and learn about biodiversity, about the importance

(05:05):
of flora and fauna in the lives of ordinary people,
and that unless we preserved it, that we were the
cause of it, diminishing that it was then our responsibility
to also preserve it and make it proliferate. So he

(05:26):
didn't live to see that happen. In his memory, I
formed the William Hold and Royalie Foundation public charity, which
means that every dollar you give us is tax deductible,
and every dollar one hundred percent of it goes to
the work. Nothing goes to the day to day running costs,

(05:48):
because that's all covered by one donor.

Speaker 4 (05:53):
Me, I was gonna say, who might that donor be.

Speaker 1 (05:58):
It's not only my passion, it is something I've seen
produce extraordinary changes changing people's lives. Coming through our doors
are about fourteen to sixteen thousand students who come to
us for free by the grace of our wonderful generous donors.
Howm I thank profusely and constantly. And we have an

(06:18):
outreach program into rural areas which are largely rather impoverished
and in need of special attention their tribal and their
rural and they're suffering greatly through the loss of habitat
for their own domesticated animals as well as themselves. So

(06:39):
our mission statement applies very much to them. Our mission
statement is wildlife conservation through education and alternatives to habitat destruction.
So that second half we have partnered with Jomo Kanyatan
University in Nairobi in their microbiology department to show and

(07:02):
prove that our methods of soil regeneration actually have a
scientific base to them and that we can show the beginning,
the middle, and the end of the restorative technology.

Speaker 4 (07:18):
I was very curious how the foundation evolved over the
years and moving into sort of this education component seems
like a huge part of it, this particular sort of
technology and the science of what you're doing for soil restoration.
But also I'd read something about plastic greenhouses, plastic bottle greenhouses.

Speaker 6 (07:39):
We take the plastic bottles that everybody would normally throw
on the ground or it's not biodegradable and would reduce
itself to little micro cousins that go into your food
and your body and your water.

Speaker 1 (07:52):
We create practical applications for the after use of it,
and we have greenhouses that are made out of plastic bottles,
and the plastic bottle retains the heat and does exactly
what the glass does. So we're very happy that we
can show and teach the after use of what would

(08:15):
not be biodegradable. I wish we had after use for
all the technological garbage that we produce, and or had
a government that demanded that those people that produce that technology,
which is so frequently replaced where people have to buy
new stuff, a lot of new stuff, including new connectors

(08:40):
and new this and new that, because they have to
keep making money. But we'll go into that later. It
would be nice if they insisted that they make it
out of materials that can be biodegraded instead of trying
to recycle materials that weren't meant to be recited. It

(09:04):
doesn't take that much more technology to make something out
of materials that can be recycled. So we have an
afterlife because we use Human beings produce so much garbage,
and the noise outside is is the garbage truck coming
by to collect the garbage in my neighborhood, of which

(09:26):
there is so much it's it's mind bobbled. There is
something we can do. There is a lot we can do,
because a lot of people would say, oh, but what
can I do? It needs government this, Well we can.
We can look at ourselves and look at our use
of items and our abuse of items, and what we

(09:48):
save and what we don't save, what we use and
what we don't use. I have friends who have stopped
going to buy clothes somewhere else. They go shopping in
their closet, which I do as well, because I've got
so much stuff that I haven't orn in a long time.
Just needs a good seems stress to reimagine them. And

(10:10):
I've got a new dress.

Speaker 4 (10:12):
It is so daunting when you feel like you can't
do anything about the things you want to be better
and trying to find ways, whether it's supporting a foundation
like the William Holdroen Wildlife Foundation, or making sure that
you're trying to use less, you know, just a little
bit less, or voting to make sure that you're voting

(10:35):
for people that might try to hold somebody accountable every
once in a while for what they're producing, you know.

Speaker 1 (10:43):
Susan, I think it's participating is knowing that your participation
is not just asked for, it's also required. So if
you have a passion or if you feel strongly about anything,
don't think that somebody else is going to do something
about it. You can do something about it. And we've

(11:03):
sort of lost that that activism. And I'm here to say,
William March again, let's do it. And they were good
march and restopped a war in Vietnam. So things are possible.

Speaker 3 (11:19):
Yes, And it's important that everybody understand that the small
things make a big difference. That you as an individual
may not be able to change everything, but maybe by
changing your behavior and changing what you do, you can
inspire others to do the same, and then those people
can inspire others and it'll have a ripple effect that
you may never actually tangibly see, but is there you see?

Speaker 1 (11:44):
This is why women should run the world. I know, yes.

Speaker 3 (11:51):
Someday.

Speaker 4 (11:53):
And you're coming up on the forty fifth anniversary of
the foundation, right, which is it's also the forty fit
the anniversary of Heart to Heart.

Speaker 1 (12:02):
I think it's the forty sixth of Heart to Heart.
It's an anniversary, So.

Speaker 4 (12:09):
We'll just say, we'll say that both of those are
incredible legacies to have been a major part of Are
they tied together for.

Speaker 1 (12:18):
You in some place?

Speaker 5 (12:20):
Yes?

Speaker 1 (12:21):
Because Bill died in nineteen eighty one, and so did
Natalie Wood two weeks apart. So obviously I would never
have created the William Holden Wilie Foundation had he lived.
And I think the success of Heart to Heart was
also a tremendous vehicle for me to begin to talk

(12:45):
about it in public, and it's helped with our donor
base and with having opportunities like this to speak to
you and your audience.

Speaker 4 (12:56):
And to take you back to that year where you're
doing hard heart. Was it the first season of Heart
to Heart or the second season?

Speaker 1 (13:04):
It was in this' say it was in November of
nineteen eighty one, and so it was the second season.

Speaker 4 (13:12):
Is the second season that must have been such a
devastating time to be working, And yet was work on
that show also healing because you were sort of together
in grief.

Speaker 1 (13:27):
Well yes, I mean, yes, all the above, you know,
you can imagine. But also we had an obligation, and
both of us had been brought up in the industry.
Robert Wager was under contract to Columbia Pictures when he
was nineteen. I was under not Columbia, to the twentieth

(13:48):
Century Fox when he was nineteen. I was under contract
to Columbia when I was seventeen. So we grew up
in the industry with the understanding of the obligation of
showing up every day, and not only to ourselves and
the producers and the studio in general, but to all
of the craftsmen, all the people behind the camera that

(14:11):
depended on our showing up in order to work. And
that number is usually about seventy people on any given set,
especially since you're moving around, so we have a lot
of drivers. And we were off for almost two weeks
during that period of time, and it was threatening to

(14:35):
make us lose our air dates for the show. And
that was also putting the show in question. So there
were all of these issues at take that we had
to consider when we decided to go back to work.
But it was a joint it was a joint agreement.
RJ and I both we were consulted equally and we

(14:57):
agreed equally to go back to work.

Speaker 4 (15:01):
That's an immense amount of pressure. I think you were
one of the last eras of actresses and actors in
that studio system training. What was that like? Did you
feel like you were living in this sort of movie
set of a movie career.

Speaker 1 (15:23):
Where you were brought up to have a kind of
obligation to understand what your obligations were and your responsibilities were.
It was a kind of finishing school for life as
well as for your professional life. So understanding that there
was that a lot had gone into it and that

(15:44):
you were respectful of the system, I think it raised
a different kind of a person. And everybody that grew
up in that system, everybody that was a participant in
that system, benefited from it an extent because you learned
things you could never learn anywhere else. Now. Interestingly enough,

(16:06):
in my work at the Union, I see young actors
who would kill to have those opportunities. And now we're
in fact also offering some acting classes and some discussion
classes to help help young aspirants in this world of

(16:29):
entertainment to understand it and understand what your obligations are
and what might happen to you. Because it's overwhelming. Somebody
once told me that they that we all seem to
be prepared for failure and how to cope with failure.
Very few of us have prepared for success, and success

(16:50):
comes in such a different way in these days because
it's overwhelming. It comes in, you know, waves that one
is unprepared for. Suddenly people are often jewelry to wear
and clothing to wear and endorse and this and that,
and suddenly you become this thing that there's you were

(17:13):
prepared for, and sometimes it has a very negative response.

Speaker 3 (17:18):
What was it like for you going through the transition
from the studio system into a more let's call it
entrepreneurial kind of system where actors and performers as an
individual were more responsible or had to work harder on
their own to work and be successful.

Speaker 1 (17:39):
Well, I have to put it in the context of
the times, because while the studio system was being dismantled
television was still working under the auspices of three networks,
so we had limited outlets for the shows that were created.
And I think I was in one of the original

(18:02):
mini series which was called Washington Behind Closed Doors, which
was I think six or eight hours. I can't remember exactly,
but I think we were one of the first ones
of long form. So all of that was only available
in one of three networks. So we had a really

(18:23):
captive audience that isn't available to people today, and that
also helped to keep careers going and keep you in
front of the public that had already become accustomed to
you by other television or motion pictures. So I continued
to do quite a few films and some work in

(18:47):
the theater, as well as two other television shows. Oh well,
did I say that they had told me? Yes, they
sold me to Did I mention that they sold you?

Speaker 4 (18:59):
Isn't it lovely?

Speaker 1 (19:01):
Columbia Pictures sold them not my contract because they were
in they were being forced to divest themselves of this
a legend monopoly of people as well, so they sold
my contract to MGM to do The Girl from Uncle,
which was the first It was not just my first
television series. It was also the first television series an

(19:24):
hour long show starring a woman.

Speaker 4 (19:26):
Which is amazing. And did you know that? Did you
know that you were like breaking ground in that way
at the time, or were just like I got a gig.

Speaker 1 (19:35):
No, No, I didn't. Well, you know, I also didn't
get it. I was told that to show up at
MGM that they had sold my gunlo. You now belonged
to MGM, So that was an interesting process. I loved
the days in MGM because they still had a wardrobe
department with Greta Garbo's costumes in it, and every once

(20:00):
in a while I could go in when they were
airing the costumes because they had to air them out
otherwise the uh the bugs might get to them or whatever.
And the head of the wardrobe department would call me
and say, we're going to air out Camille, you know.
So I'd go over there and look at these unrelievable costumes.

(20:23):
They were just they were made out of gossamer. They
were extraordinary. So they had a lot and I was
there during when they slowed everything off. I was there
during that the uh, that horrible period where they had
they decided to sell everything at MGM, all the props,

(20:45):
all the beautiful props. I tried. I had a big
swimming pool, and I tried to buy one of the
Swashbuckler's miniature buccaneer, these fabulous miniatures that they would that
they would use in the Swashbuckler movies, And I thought,

(21:05):
I want to put this big in a boat in
the middle of my swimming pool. But unfortunately they went
for a lot more money than I had to spend.

Speaker 4 (21:14):
You started as a dancer, did you do a lot
of your own stunts in Girlfriend Uncle?

Speaker 1 (21:20):
Yes, I did, until somebody took me aside and said,
you know, that's the way they make a living, so
maybe you want to let them do their job. And
that was a big lesson to me.

Speaker 4 (21:35):
And did you feel as a woman in that situation
did you feel responsible for the show in the way
that a lead person is Did you feel that responsibility
on you?

Speaker 1 (21:49):
Not the way I would today, obviously, not the way
I would today, but clearly you were. You were number
one on the call sheet, and you also had a
great deal to do with the tenor of the set.
So people, the way people spoke to each other, the
way people received guest stars coming in, we always greeted them.

(22:16):
We always wanted them to be comfortable, because the most
difficult thing in the world is to be a guest
star on a show that's been running and all the
people have a rapport, and then you come in like
a stranger, and unless you're received warmly, you feel really badly.
You just kind of feel like the odd man out.

(22:37):
And there are very few shows that do that. The
Rookies does that. I must say the Rookies. I did
a very small part on The Rookies last year, and
they were so nice, they were sweet, they were fabulous.
They made me feel so good, and I hope that's
the way we made on the Girl from Uncle and

(23:00):
on the Heart to Heart, that we made everybody feel
that came to to work with us.

Speaker 4 (23:05):
It makes such a difference when from the top there's
a feeling of we're in this together and we want
everyone to win right now.

Speaker 1 (23:16):
I understand, you know. I've spoken to a couple of
people who have done small roles on the Pit and
they say that that group of people that the lead
actor is who really runs the set. They bend over
backwards to make everybody feel like an ensemble, which is fabulous.

(23:37):
Isn't that what we're doing. Isn't that the better work ensemble?
Maybe if we apply that to life itself, it would
be better. Yes, you know that we work together.

Speaker 4 (23:48):
Isn't the pit? I'm loving the pit.

Speaker 1 (23:51):
It's wonderful.

Speaker 4 (23:52):
Except I do have to sort of shade my eyes
every once in a while from certain things, so I
don't see how they're doing anything.

Speaker 3 (24:00):
This season hasn't been as graphic in that respect, at
least not yet.

Speaker 1 (24:03):
So ah, oh, those episodes. I have to go back
and look for those.

Speaker 4 (24:11):
You like this, so just real quick going back to
the girl from Uncle, it was sort of that early
sixties and it was the Avengers time, Honey West, and
then after that would be Policewoman. It was the beginning
of the sort of these like you know, kick ass women, right, Like,

(24:32):
did you feel you were part of that?

Speaker 1 (24:35):
I didn't feel it at the time. No, I didn't
feel that. I was just you know, I was doing
my job and it was going from job to job
to job. It was working. Oh my goodness, I was
going from job to job to job. Yes, it is
a very busy time. Didn't have time to reflect.

Speaker 4 (24:56):
And what do you think about it now though, now
that you see what because it was groundbreaking that you
were the first female lead of an hour television show.

Speaker 1 (25:07):
I was, yes, but you know we didn't make that.
There were there wasn't Entertainment Tonight or any of these shows.
That there's so much publicity and so much personal publicity,
and everybody's on the Internet, and everybody's on social media
and all of that, that you get overwhelmed by the

(25:29):
cult of personality rather than the actual work itself, which
is what I'm more interested in. I'm more interested in
the work itself, projects and than my than publicizing myself.

Speaker 4 (25:46):
And then when you when you were put under contract
was with Columbia? Was that because of your dancer work,
your theater work? How did you? How did that happen
for you? Oh?

Speaker 1 (26:01):
That's Scout's got a funny certain story. I was dancing.
I went to see I was fifteen years old. I
was dancing at the I was studying dance at the
American School of Dance. And there was a girl there
who's my age, a little bit older than me, who

(26:22):
had a driver's license and could drive a car. The
two of us were very tall for our ages, and
at the American School of Dance. They would post all
the auditions for traveling shows, for traveling for movies that
were going at television shows, whatever, and as a lark,
we would go to those auditions. And because we were tall,

(26:44):
and I guess we moved pretty well, they never looked
at our faces. They looked at the will we moved,
were down there bodies and all this, and so we
were always kept to the end. Our mothers would laugh
and say, oh, they'll be back late, and then the
girl with a clip would come around and she'd say
how old are you? And we'd have to stand up

(27:06):
very total in phase seventeen, you know, and they'd say,
get out of here, stop wasting our time. With that
in mind, we went to an audition. Well goodness, there
must have been one hundred people there for the movie
West Side Story. I was asked to come back to
sixteen dance auditions. I never saw the same people twice,

(27:29):
and my mother wound up driving me to the auditions
because I couldn't drive. I didn't have it, I wasn't
of age. Then they asked me to do screen tests,
which I did three of and then they called and
said go and get your working papers because we start rehearsals.
So I was chosen to be at the time, at

(27:51):
least for the benefit of the rehearsals of Velma, one
of the jet girls. There were two Jet girls, Velma
and Graciana, and it was the greatest experience of my life.
We would have an hour and a half ballet class
every morning, the whole company, and then Jerome Robbins would

(28:13):
come in and start talking to us. In the beginning
he was giving us acting lessons. We had to choose
a character that don't let the dogs up on vow. Sorry,
people are coming in to let me get my wildlife.

Speaker 4 (28:33):
Okay, all right, your animals are my animals.

Speaker 3 (28:38):
I have a visitor there behind you.

Speaker 1 (28:42):
Yes, yes, can you see him? These seventy four pounds
of love here's But there's one in the kitchen who
you would love it? My parrot who got who has
been in my life for fifty four years? Wow? Wow,

(29:03):
isn't that amazing? Yeah, a friend of mine.

Speaker 3 (29:06):
Has a parrot that's almost thirty. But wow, fifty four years,
that's amazing.

Speaker 4 (29:11):
How long do parrots.

Speaker 1 (29:12):
Live into their seventies?

Speaker 4 (29:15):
Right for them?

Speaker 1 (29:17):
Yes? Good for me. I'm not ready to let her go.

Speaker 4 (29:20):
So you got her when you were very young. Yes, oh,
my goodness, before hurt to heart. Yes, fantastic secret. So
your love for animals and the environment goes back even
before William Holden.

Speaker 1 (29:40):
Oh your childhood. Yes. My stepfather, brand Thurman racehorses, and
he had a passion for exotic animals. So we always
had something weird running around and scurrying around or in
the trees or what have you. But he very much
believed in tough love, and tough love included my being

(30:01):
educated to the responsibility of taking on another life, which
is a dog, cat, bird, a horse. I have got
fourteen horses right now, so I'm very well horsed. I
have how many dogs? I have five seven dogs, but

(30:24):
they're not in the same place four year and then
the rest in Africa.

Speaker 4 (30:30):
Oh wow, I'm going to take you back to where
we were, which was talking about West Side Story.

Speaker 1 (30:37):
I was talking about Jerome Robins. This extraordinary experience of
working with Jerome Robbins formed a kind of fundamental basis
for a lot of the rest of my acting career.
He had gone Jerome Robbins had studied at the Actors Studio,
so he believed very much in motivated dance, and that

(31:00):
these characters in West Side Story, each one should be
a character, and each one of us was required to
create our own backstory, so that at any time during
the rehearsal he could stop the dancing and he could
point at you and say, why do you hate the

(31:20):
Puerto Ricans or why do you hate the Anglos? You know,
so that at the very basis of our dancing movements
was an aggression. We didn't snap unless we knew that
that was an explosion of frustration. So it was no
one had ever talked about dance that way, and it

(31:44):
was probably the main reason that everybody who saw West
Side Story on stage in those days it was jaw
dropping because you got so involved. That's what he wanted
as a choreographer and a director. He wanted in on
the part of the audience. So you had to provide

(32:04):
that that involvement for them. So the first few weeks
of rehearsals, we would have dance class in the morning,
and then the Jets would go off on their own
and the Sharks would go off on their own, and
we would sit in offices and listen to interviews that

(32:25):
were done of juvenile delinquents in New York on the
West Side of Manhattan, and we'd pick bits and pieces
of the stories that they told to form our backstory
as characters. As a character, that was an amazing experience,

(32:45):
let alone to work in his presence. He was an innovator.
He was also a monster. He was He picked on me,
He picked up a couple of other people in more
than once. I went home crying. But anyway, that's just
what those choreographers in that day would do.

Speaker 4 (33:09):
That was not an unusual experience. And by picking on you,
he was saying, you're not doing it right. You're doing
it you're more insulting than more insulting them, the insulting
version of that. That's horrible, But again it's not surprising
given the time and the power that role had.

Speaker 1 (33:30):
Yeah, so you asked, I think the original question was
how did I wind up at Columbia? Oh?

Speaker 7 (33:37):
I think we got to take a break. We'll be back,
and we're back. Oh so exciting. Let's continue this.

Speaker 1 (33:48):
So one day in the commissary at Sam Golden Studios
where we were doing your rehearsals, the fellow who was
the script supervisor was keeping track of all the notes
introduced me to a friend of his who was an actor, director, writer,
who was doing a movie, a small budget movie, and

(34:12):
asked me to come and read for him because he
liked to work with actors who hadn't had a lot
of training, experienced mannerisms, etc. He wanted it to be
very natural and instinctive. So I went to read for
him and he offered me the part. And it was
then the next week that I got replaced on the

(34:37):
West Side Story because it was ridiculous. I was under
age and I couldn't work on the full day. I
had to go to school and all this stuff. So
we went to Milwaukee to film this little low budget movie,
which is where and this man was from. His name
was Tom Laughlin, who you might remember from Billy Jack.

(35:00):
Remember the movie Billy John was Tom, and he liked
to do these low budget films that he could control well.
He had a great benefactor and an admirer who was
a very well known and very successful producer in Hollywood,
and he had his own cinema in his house. And

(35:24):
the first time I ever went to anybody's house where
they had a full size cinema screen and a lot
of recognizable faces around every part in Palm. I mean
I met Audrey Hepburn there. So he was a very
big producer and he wanted to show this movie to
all his friends. So as a result, I was invited

(35:47):
by three studios by their talent department to come and
join their contract players and work on a scene with
the drama coach for each one of those studios in
anticipation of doing the scene for the casting department who
might recommend me for a contract. So I was the

(36:10):
hottest nobody in town.

Speaker 4 (36:13):
I was going to walking through the gates and this
is nineteen sixty one one, something like sixty two, yeah.

Speaker 1 (36:25):
Oky one, yeah, because I got my seg card in
sixty two. In sixty one. So I was walking through
the front gate saying hello to Kam Hollywood, who was
the guard at the gate at MGM. Everybody knew he
Hi can I measured. I was somebody. And I was

(36:45):
going to study with Zena Provndi, who was a protege
of Stella Adlers, who was the coach for Marlon Brando
who came to such fame and fortune. And then I
was going to Toiath Century Fox, where Sandy of the
neighborhood Playhouse was the drama coach for the contract players.

(37:07):
I mean that was extraordinary. And then at Columbia Pictures,
I was raising a scene under the guidance of Las Mahony,
who had been the artistic director of the San Francisco
rap So I was, I mean, that was nobody. It's
this thing, you know. And I was late for class

(37:29):
at Columbia. I was sixteen years old, and I was
running through the shortcut, which was going through the editing
department where they had all these doors that swung, and
I ran straight into a man who was wearing the
same sunglasses I was wearing. Now, these sunglasses were the

(37:52):
latest thing on the French rivi era, and in those days,
in the early sixties, anything that was the latest thing
the French herd here would take three years to get
to California. So he said, where did you get those glasses?
And I had this big brother figure in my life.
His name was Lance Reventlo, and he was a race

(38:13):
car driver, among other things. And Lance had been driving
in the Monte Carlo rally and he brought them to me.
So I said, well, my friend was driving in the
Monte Carlo rally and he brought them to me. I
said where did you get yours? And he said I
was at the Monte Carlo and I said, oh okay,

(38:34):
and he said what do you do here? And I said, well,
I'm an actress. He said, really, are you any good?
No one had ever asked me that, and I said, oh, well, yes,
of course i am. And he said, well, I'm making
a movie here. You should come and see me. I
said I can't, I'm late for class. He said, all right,

(38:56):
come after class. I'm on the fourth floor and my
name is Blake Edwards. That's like one of those Hollywood
stories that I was you know, a lot of turn
there was discovered in Schwab's drug store. You know that's
in that area. So that's what happened.

Speaker 4 (39:17):
Hey, you got to think that race car driver?

Speaker 1 (39:20):
Yes, yeah, Dan seems like a big brother to me. Yeah.

Speaker 4 (39:25):
Oh my gosh. So it takes a thief. Is that
the first time you met Robert Wagner?

Speaker 1 (39:32):
Well, no, I met him on the set. He and
Natalie came to meet all the dancers on a West
Side story, so I met him there, but he wouldn't
have remembered me. However, Natalie, Natalie and I were in
the same ballet class, kiddies ballet class. Natalie was five

(39:54):
years older than me, and my mother saved a photograph
of our ballet class that I have as a treasurer.
In this photograph there are three ladies, all of whom
were married to do a Robert Wagner in one way
or another. In this class is Natalie Wood, Jill Saint

(40:21):
John and me. Now it just show us that this
was a very small town. Hollywood was a very small town,
and the man who was teaching is that ballet class
had been a great dancer in Europe, and everybody wanted
their children or their daughters to study with him. He

(40:43):
was from the Russian ballet Michael Kaniev, Michelle Panayev, and
even the professionals would go to Misha's class. Leslie Gallahall,
johanbat All, sorts of extraordinary dancers in Hollywood would take
his professional class, and we were in the kiddies class.

(41:04):
So isn't that amazing. It's one of those stories you
couldn't even duplicate today because the world is so much larger.
They just weren't any ballet a lot of ballet teachers
in Hollywood in those days, So of course you might
meet people at that ballet studio, I know.

Speaker 4 (41:25):
But a picture is pretty great.

Speaker 1 (41:28):
Yeah, it's quite amazing.

Speaker 4 (41:30):
That's pretty amazing.

Speaker 3 (41:31):
Well, and you and Robert Wagner definitely had a lot
of chemistry in the episode of It Takes a Thief
that you did, which was kind of unusual for that
particular show. Nevertheless, the two of you together just really
jumped off the screen, I thought, and it really it
continued on Heart to Heart. Where did I find it?
There's a sight online called the Internet Archives, and they

(41:56):
have all kinds of video of all kinds of things,
including television shows, and it has all the seasons of
It Takes a Thief. It does not have The Girl
from Uncle, unfortunately, but it does have a lot of
shows from especially like back in the sixties and early seventies,
where it's hard to find things on DVD. But that's

(42:20):
where I saw it.

Speaker 1 (42:21):
The Girl from Uncle is on DVD. I have all
of the twenty nine episodes.

Speaker 3 (42:27):
Oh, that's awesome.

Speaker 1 (42:29):
We did twenty nine episodes in the season.

Speaker 4 (42:33):
In the.

Speaker 3 (42:35):
About that.

Speaker 1 (42:37):
That's amazing.

Speaker 4 (42:38):
That is amazing it.

Speaker 3 (42:42):
Yeah, it was pretty astonishing that that much content was
created back then for a show.

Speaker 8 (42:46):
It was just unreal, and we did even with that
ancient technology, we made one show in seven days.

Speaker 1 (42:57):
You can't do that today. I don't know why, because
all the technology is so much faster, the lighting. You
don't know, I don't understand why we can't do that today.

Speaker 3 (43:09):
That is a very good question. I really hadn't thought
about the why not other I just assumed it was
maybe just a financial thing that networks didn't want to
make that many episodes. But yeah, what is the schedule
like for these days? For an hour long drama? It's
eight days, I think, And they don't. They only shoot
about or each episode is only minutes. Because of the

(43:34):
episode of It Takes a Thief that I saw was
fifty one minutes. It's it's very different, and I'm one
of the great mysteries of television.

Speaker 1 (43:44):
I guess yes, it is.

Speaker 4 (43:47):
So when you did that episode of It Takes a Thief,
did you feel like, oh, this is this is a
great working relationship with Robert Wagner.

Speaker 1 (43:58):
You know, I would see him, we all went saying
restaurants and things and all of that. So it wasn't
that it wasn't so strange. As I said, The town
was very small. If you went to a certain amount
of restaurants or certain restaurants, you'd see each other. He
loved Lascala, and Lascala in those days was a place

(44:22):
where there was somebody who said there were three rooms
at Lascala. People just said, I had a friend who
Tom Mankowitz, who was Joseph Mankowitz's son, who who named
the three rooms, And the first room was co starring.

(44:43):
That's co starring because you walked through it. The second
room was above the titles, and the back room was
with so you know your status when you went to
that restaurant.

Speaker 4 (45:02):
And Tom Minkowitz directed.

Speaker 1 (45:04):
Tom Mankowitz was He was a lifetime friend of mine,
so I knew him when we were very young and
toddlers and everything. And his father was Joseph Mankowitz. His
uncle was Hermann Mankolitz, the Mankolitz. The Mankowitz family was
legendary in in screenwriting and directing and all of that.

(45:27):
I'm trying to remember. I think Herman Magowitz wrote the
screenplay for Citizen Kane, wasn't it. Yes, Yes, so there was.
It was that level of literacy and quality of talent.
So when they were preparing the pilot for Heart to Heart.

(45:48):
I was in San Francisco with Stacy Keach. We were
doing the productions on Sarah Ad and Bergerak that we
were going to go to Broadway with, and we were
doing some out of town engagement and I got a
phone call from Robert Wagner, Tombancos and Aaron Spelling, all
of whom are knew, and they said, we're doing this

(46:10):
pilot and blah blah blah blah blah, and would you
like to do it? And I said, well, what am
I going to do? I am committed to sooner though,
and Aaron Spelling said, well, you know, there may be
a newspaper strike in New York. And every time there
was a newspaper strike, no shows that were out of
town would ever come into town because there was no

(46:31):
way you could publicize them or review them or anything.
So all I can say was the greatest newspaper strike
of my life. I am forever grateful for the coming
out and I could do the pilot own card tire.

Speaker 4 (46:48):
That is amazing. And when you got that call and
you're like, oh, I want to do this, did you
think this is going to lead to this sort of
beloved show that people will be talking about forty five
years from no, because.

Speaker 1 (47:07):
Nothing was guaranteed. You know, you did a pilot and
it was up to the gods, you know, but nothing
is guaranteed, even though you were doing it with a
top rated company. And you know Aaron Spelling, and you
Aaron Spelling when he coached our baseball team in La
there was a baseball team that was made up of

(47:27):
young agents and young actors and actresses and has the
Female League and the Male League, and they had funny
names for their teams. And I remember the boys had
one team that was called the Uja's which meant the
United Jews and Italians. That was the name of their team.

(47:51):
And they were all agents, young agents who then became
iconic names in the in the world of cinema. Soon Spelling,
who looked like Jiminy Crickets. He was a skinny writer
married to Carolyn Jalams, the actress who was adorable. He
was our coach for the girls team, the girl's softball team,

(48:16):
and he was adorable and the two of them would
often have us over for barbecues and everything, and so
it was that kind of intimacy that we all had
growing up in Hollywood and in this town. So when
Aaron's writing put him into a very different category and

(48:38):
he and Leonard Goldberg formed Spelling in Goldberg, they became
one of the most successful independent producers of television ever.
In fact, they used to they used to say ABC
was called Aaron's Broadcasting Company. They had more Aaron's and

(49:00):
Leonard Goldberg shows than anybody. So it's very difficult to
try and explain what the environment was like in those
days because it can never be repeated.

Speaker 4 (49:12):
Yes, and it was that eighties time of on screen
power and jet set shows.

Speaker 1 (49:21):
Right.

Speaker 4 (49:22):
They were all very lifestyles of the rich and famous,
and that all solved crime. Apparently for their side game.

Speaker 1 (49:29):
It was very dangerous to be a friend the hearts
because you were going to get killed. They were getting killed.

Speaker 4 (49:38):
It's like dating a hardy boy. You should never do.

Speaker 3 (49:40):
That, or being someone who knew Jessica Fletcher.

Speaker 1 (49:46):
Yes, yes, yes, dangerous.

Speaker 4 (49:52):
The other thing that was happening in the eighties is
that women were starting to step into more powerful roles,
both in front of them behind the scenes. And did
you recognize that was happening or was it just no more.

Speaker 1 (50:05):
What it was before the eighties Idolino. Do you remember
Idolupino and actress. She was well known as one of
the first who broke the glass ceilings. She was directing
television movies and it were long before many others. She
was fantastic.

Speaker 4 (50:26):
Yeah, there were breakthrough but I think in terms of
significant images, the.

Speaker 1 (50:31):
Images of what we were portraying.

Speaker 4 (50:33):
The images of what you were portraying, and the number
of different kinds of roles that were starting to be there.

Speaker 1 (50:43):
There's something then happened. I'll tell you that we have
a little more time, do we Okay?

Speaker 4 (50:49):
Yeah, if you do, we're fine.

Speaker 1 (50:52):
Yeah. I don't think about this very often, but everyone's
a while. I do when I start complaining about the
fact that there's so many venues for things and you
can't pull an audience in because how do you find
these things? And there are too many choices and all this. Well,
it's kind of my fault as well, because in nineteen seventy.

(51:16):
In nineteen seventy, it was a period of time where
the SEC the Securities Exchange Commission, was reviewing the exclusive
contracts that they had with ABCNBC and CBS for the airwaves.
Now the airwaves were the wave band that had been

(51:38):
designated exclusively to those networks when they were first inventing television.
So these networks wound up having a monopoly of those
airwaves across the country, and their exclusivity contract was firing,

(52:01):
and there was a group of people asked to go
and speak in front of the SEC in favor of
disallowing that monopoly to continue. And I was one of them.
I don't know why I was one of them, Maybe
because of the girl from Uncle, maybe because I had
been in that position at that time. But here's the group,

(52:27):
so you can see I was very awe awe struck
by being included in this group. So there was the
head of Screen Actors Guild, Charles and Heston. The head
of the Writer's Guild was Edward Anhalt, The head of
the Director's Guild was Robert Wise, the head of the

(52:49):
Producer's Guild was David Mirish, the head of oh Sydney
Boitier and me and we all went to give our
speeches and give our testimony in Washington with the guidance
of a very well known lawyer who represented the motion

(53:10):
picture industry and the head of the Motion Picture Association
who was lobbying on our behalf, and we testified, We
had our speeches, and we got up and gave our
speeches about why we felt, as representatives of the industry,

(53:31):
that we should have greater opportunities for employment, greater opportunities
for expression of choice. It was at that point called
family Choice television because we won the day. The next
day the networks were testifying, and at the end of
the week the decision was made in our favor to

(53:53):
open the airwaves, and it was the precursor to a
cable TV, which was the precursor to what we have now.

Speaker 4 (54:07):
Do you think it was good or bad? Like you're
saying this with a little bit.

Speaker 1 (54:10):
Of facitation, it was the sea change, this extraordinary sea change.
When there were less choices, you could create audiences for
shows that you could probably not create today. Now there
are so many choices that it's hard to keep track
of the shows you want to see, let alone the

(54:31):
shows that you might not want to see, do you
know what I mean? So the audience participation, we don't
have the ratings anymore, so we don't know how much
of the show is being launched by how much of
the audience. We also don't subscribe so much as we

(54:52):
did before. We have alternative choices in how we get
our streaming shows, it on the enginet, you know, So
it's it's all over the place, whereas it was much
more consolidated when there wasn't so much joy.

Speaker 4 (55:10):
Yeah, it's a double edged sword, right.

Speaker 1 (55:12):
That's right. As we say, it's positive in there, there's
always both sides of the coin.

Speaker 3 (55:17):
Yeah, And to that end, you know, that was when
we basically had a monoculture. Everybody was getting the same information,
preaching from the same hymnal as this saying goes. And now,
of course with the hundreds millions of sources of information
and misinformation, it's a lot more difficult to get people
to agree on what is or is not something that

(55:43):
is good or bad. But at the same time, this
culture we have now provides more opportunities for more people.
So everything has a has an up and a down,
and just a crush of navigating it.

Speaker 1 (55:55):
Yes, truly, truly.

Speaker 4 (55:58):
Just to take you back to heart to heart for
a minute, We've looked at a lot of the eighties
detective duo shows, and your relationship stays very equal in
a lot of ways, more so than other male female
detective shows did at the time. Did you fight for that?

(56:19):
Did it happen naturally? Was it just what was happening
or did you have to go, hey, wait a minute,
can I just hit him over the head?

Speaker 1 (56:27):
Like now, It was a mutual agreement, and RJ was
your leader, and he very much wanted a great deal
of equality in the show.

Speaker 3 (56:39):
Yeah, I think it's still pretty it's pretty remarkable to
watch it even now, in the levels between those two
people and the fact that they are co equals, not
just in the relationship but in the work that they're
doing to solve these crimes. I'm not sure there are
too many shows beyond this one that does it as well.

Speaker 1 (57:00):
Oh wow, thank you very much. Yeah, And we had
a rapport. So the rapport was like a tennis match.
You can't play tennis alone, so you need that other person. Yes,
which is why you know we were We were nominated
for five Emmy Awards as individuals and those shows. But

(57:21):
it wasn't you know, we one couldn't be without the other,
so it wasn't it wasn't a solitary performance. She couldn't
exist without him and he couldn't exist without her. So
that I think that really sort of was the tone
of the of the piece.

Speaker 4 (57:37):
And there's clearly an instant chemistry in a lot of ways,
but at the same time you sustain it very well.
Your chemistry in the beginning of the show is both equal.
And then that there's a later season flashback of How
You Met, and it's adorable, like it's like, oh my god,
there of course they had to be alone, right, it's
it really holds up. Not all on screen relationships from

(58:00):
the eighties hold up.

Speaker 1 (58:03):
How We Met was my favorite episode.

Speaker 8 (58:05):
Oh oh yes, And I still wonder to this day
because the proposal came when we were standing on the
side on the south bank of the Thames with Tower
Bridge behind us, and he says turn around, and I'm
defiant and he said no, turn around, and the sign

(58:26):
drops from tower Bridge.

Speaker 1 (58:28):
Almost impossible. Nothing has ever dropped from Tower Bridge? Will
You Marry Me? And I've often wondered what all those
commuters driving home at rush hour thought when they saw
this sign dropping from the governed tower Bridge, because.

Speaker 4 (58:49):
You really dropped it, like it wasn't CG. You really
threw that big sign up on all of London and
everybody thought someone was getting married. That day, we're getting engaged. Yeah,
it's a good like. It's a very clever show. It

(59:10):
is because it's hard to sustain I believe on screen
over seasons that same level of sort of sexy banter
once you've done it right, like, and you guys had
already done it, so I guess it worked. You started
off that way. Well.

Speaker 1 (59:26):
We had, First of all, we had wonderful writers, but
also very collaborative writers because some of those still called
heart to heart scenes between the two of us were
very much just improvising, and so as long as they
had created the environment for the improvisation, we could do that.

(59:51):
But they had to create the format so that we
could fill that in.

Speaker 3 (59:57):
That must have been fun and also kind of fulfilling
professionally to be able to have that opportunity to do
that within the show. You don't hear about that too often?

Speaker 1 (01:00:08):
No, No, no, we were spoiled.

Speaker 4 (01:00:12):
Did you ever get that again?

Speaker 1 (01:00:16):
Not really? No. Every once in a while you could say,
couldn't we change this? Could we possibly? If he does this,
then I say that, But most of the time, no, But.

Speaker 4 (01:00:28):
You got that. I'm also curious. I like to look
at the behind the scenes numbers. You had two out
of twenty eight directors were women, but the women did
several episodes, which is fairly unusual too. So you had
Gabrielle Beaumont, Karen Arthur, who we've talked to on the shows.

Speaker 1 (01:00:46):
I'm still in touch with Karen.

Speaker 4 (01:00:48):
She's amazing, and I'm very curious about if it felt
any different when you were working with female directors at
that time than male directors, particularly those two.

Speaker 1 (01:00:58):
Oh well, every director has it, you know, it's different
to work for every director. I was reminded the other
day of the fact that in voting for the Academy Awards,
I will just say it, my favorite male supporting player
is Sean Penn. Now, Sean Penn's father was a director

(01:01:20):
called Leo Penn. He'd also been an actor. Leo did
a lot of our shows and he used to bring
this little kid on the set.

Speaker 4 (01:01:33):
With it.

Speaker 1 (01:01:34):
And even when I see Sean today, he remembers his
days on the set of The Girl from one uncle.

Speaker 4 (01:01:43):
That is amazing and for one battle after the other,
that's the performance, right, that's what a performance. That's so funny.
Little baby Sean Penn, Well.

Speaker 3 (01:01:58):
This is not gonna air if we're not gonna until
Aftic Academy Awards, so you can say whatever you.

Speaker 4 (01:02:02):
Want directors or actors in particular, that you just loved
working with and I.

Speaker 1 (01:02:12):
Thing everybody, everybody who ever worked with James Garner adored
and I did too, adored working with him. You know,
there's a go back to the game of tennis. Playing
tennis is you have to have a kind of rhythm
and you have to hit the ball back. And good

(01:02:35):
acting partners are good tennis players. They hit the ball
back to you. And that's the best way I can
describe it. When that happens, it's a very rewarding experience.
You want that reaction. You want to have the reaction
that you would have in life, and sometimes you don't

(01:02:57):
get it.

Speaker 4 (01:03:00):
And then you have to make it work anyway. But
it's so much better when.

Speaker 3 (01:03:03):
You get it.

Speaker 4 (01:03:04):
How much. That's so funny. They bring up Rockford because
my husband and I are big Rockford fans. He's a
huge Rockford fan and he heard that I was interviewing you,
and he was like, is it in person because she's
got to sign my Rockford book. And I was like, no,
it's not in person. So you played a female private
eye on the Rockford episode that you were on.

Speaker 1 (01:03:26):
Right, Yes, I think so.

Speaker 4 (01:03:28):
Okay, remember the real easy red dog whoa what was that?
That was the name of the episode. And you are
a female private eye and then you are at odds
with Rockford and then you guys are together. We watch
around a lot of Rockford ages because it is a

(01:03:51):
very character driven show, right that the guest stars on
that show have a lot of wonderful character to them,
as well as Rockford as well.

Speaker 1 (01:04:01):
It was a expensive humor to it, Yes, got you
know that that charm, that sense of humor that adds
to its charisma and to Rockford's character's charisma. He didn't
take himself too seriously.

Speaker 4 (01:04:17):
And speaking of not too seriously, how was the dog
Freeway on Heart to Heart?

Speaker 1 (01:04:23):
He was adorable? Right, We had two dogs, two dogs
because we came back to do eight two hour movies
versions and we had another dog, our first one, Charlie
had passed on. Charlie was adorable. He was a rescue dog.
I went to the ale. I have to rescue all
these dogs. All four of my dogs are rescues. And

(01:04:45):
Charlie was this mixed breed and he was just the
most lovable thing. And in one of the episodes, from
one of the episodes, he had a lot of long
hair and then adorable face. And in one of the episodes,
it says and Freeway growls at the intruder, and it's

(01:05:07):
a pivotal point of the story. And they couldn't get
him to growl. They couldn't get him to show his
teeth because he was just such a lumbug, you know.
And they put rubber bands around his canine teeth to

(01:05:27):
hold his lips up. The only problem was his tail
keept wagging.

Speaker 3 (01:05:37):
It was Hilary, Oh gosh, he sounds like such a sweetie.

Speaker 1 (01:05:44):
Oh my gosh, it's a durable.

Speaker 4 (01:05:47):
Well, I'm glad to hear he was good work with
because you know, they say no kids and dogs, but.

Speaker 1 (01:05:53):
I work for the Pelican, so you're good. That was great.
I enjoyed that.

Speaker 4 (01:06:00):
All right, Well, how can people find out about the
Foundation or where you are or what's next for you?

Speaker 1 (01:06:07):
I would love them to go onto our website, which
is WWF dot org, the acronym for the Foundation. There's
something for everybody there. I hope you find something of
interest and join us.

Speaker 3 (01:06:25):
It's amazing that it's still going strong after all these years.
It's a tribute to the work I'm sure that you
put into it and continue to put into it. So congratulations.

Speaker 1 (01:06:36):
We can't do it without support. We can't do it
without the generosity of our donors, and want to emphasize
that we also pay a lot of attention to our
donors as much as they want to participate, which is
also part of the work to connect everybody. It's important
that you know where your money goes. It's important that

(01:06:57):
you know what your money is doing, because it's tough
enough to get enough money to feel you can donate,
but no donation is too small for us.

Speaker 4 (01:07:09):
That is fantastic. And will you be doing love letters
again at some point?

Speaker 1 (01:07:12):
Well, it's awesome. I did it with that with Patrick
Wayne recently as a benefit for the foundation. It was
very well received, so they had a couple of offers
to do it again. And there's a wonderful theater in
Palm Springs, the Plaza Theater, which has just reopened and
it's a perfect size for us, so we're going to

(01:07:34):
be investigating that.

Speaker 4 (01:07:35):
Awesome And where can people find out if they want
to know if you're going to do it again on
the website.

Speaker 1 (01:07:42):
That website which is Stephanie Powers online dot com.

Speaker 4 (01:07:47):
Thank you so much. This has been Thank you.

Speaker 1 (01:07:49):
It's been adorable to talk to both of you as
if we's known each other for years.

Speaker 4 (01:07:56):
Thanks to your dogs, horses.

Speaker 3 (01:08:00):
This I'm the bird and your parent.

Speaker 4 (01:08:02):
And your parent all right, thank you so very much.

Speaker 1 (01:08:07):
Thank you both.

Speaker 4 (01:08:08):
Take care, have a beautiful rest.

Speaker 1 (01:08:10):
Of your day, you too, Bye bye.

Speaker 3 (01:08:18):
For today's audioography. You can find out more about Stephanie
Powers at Stephanie powersonline dot com. You can even find
personally autograph copies of her memoir One from the Heart,
Heart spelled Hart, and all proceeds from her book and
store go directly to the William Holden Wildlife Foundation.

Speaker 4 (01:08:41):
For those of you listening who want to help Stephanie
continue the legacy of the William Holden Wildlife Foundation, you
can get involved right now. Visit WHWF dot org to
find out all about them, special programs they are developing,
and how you can donate. You can even become a
monthly member. Because miss Powers supports all the administration fees

(01:09:03):
through her own donations, every part of your donation goes
directly to support the work in Kenya.

Speaker 3 (01:09:10):
As Stephanie says, wildlife is the echo of our own existence.
Let's make sure that echo stays loud and clear.

Speaker 4 (01:09:19):
Hey, do you want to let your representatives know what
you think about what is happening in America and around
the world? Right now? You can call their office and
your voice matters. The website fivecalls dot org can help
you find your rep and give you scripts for what
to say. Check it out. Lift your voice. It's more
important than ever.

Speaker 3 (01:09:40):
Please note, Susan and I are for real, real life people.
This podcast contains original and copyrighted material that is not
intended to be used for the purpose of training artificial
intelligence LLM or AI systems.

Speaker 4 (01:09:57):
Sharon and I are the authors and publishers of the podcast,
and we prohibit the use of any part of this
podcast for AI training, machine learning, or any other similar
purpose without prior written permission.

Speaker 3 (01:10:10):
Next time, what do you want to know? Who should
we talk to? What should we talk about? Send us
your thoughts at eightiestvladies dot com or email us at
eightiestv Ladies at gmail dot com.

Speaker 4 (01:10:25):
And please, please, please, guys, we could use more ratings
and reviews at Apple Podcasts and Spotify only if you
like the show, like five stars like the show, so
go and do that. And we could use some more
followers on YouTube. Go subscribe if you haven't already. If
we get to five hundred listeners, we get some kind
of YouTube prize I think maybe probably not, but it

(01:10:47):
would be awfully cool for me.

Speaker 3 (01:10:49):
It certainly would, And as always, we hope eightiestv Ladies
brings you joy and laughter and lots of fabulous new
and old shows to watch, all of which will bring
us closer to being amazing ladies of the twenty first century.

Speaker 1 (01:11:07):
Woo nice.

Speaker 2 (01:11:15):
Bread through the city man World,

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