April 5, 2025 • 30 mins
We have technique talk and the people from Joselitos
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Episode Transcript
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Speaker 1 (00:00):
Hey, it's Niel Savedra.
Speaker 2 (00:01):
You're listening to kfi EM six forty the four Report
on demand on the iHeartRadio app. I'm Andrew karra Velat
what what what's that about?
Speaker 1 (00:12):
Why'd you say it like that?
Speaker 3 (00:13):
Was? I?
Speaker 1 (00:14):
Oh? Just Dad Aeron did how to keep it going? Oh? Sorry, Bob.
Speaker 2 (00:17):
I'm fascinated by my guest today, so I'm going to
be chatting with these folks a lot.
Speaker 1 (00:23):
Okay, let's start the show. Uh, hey, Kayla?
Speaker 2 (00:26):
Yeah, Neil, What did did Luke Skywalker do when he
was at the Chinese restaurant and couldn't use the chopsticks?
Speaker 1 (00:33):
What he used? The fuck? Let me teach you how to.
Speaker 4 (00:53):
Let me teach you how it, Marina, Let me t
you at it. It's a culinary Let me teach you
at it.
Speaker 1 (01:09):
Let me ki. I am sixty everywhere on the iHeartRadio app. Hey, everybody,
it's the Fork Report. Happy Saturday to you.
Speaker 2 (01:18):
I am your friendly neighborhood folk reporter Neil Savedra.
Speaker 1 (01:22):
How do you do? Happy Saturday? What a great day.
Speaker 2 (01:25):
The sun is coming back into southern California for the
next seven days, and.
Speaker 1 (01:30):
Boy do I have a show for Yeah, what's that, Hey,
turn your mic off, come on now. So sorry being professional.
Speaker 5 (01:38):
Oh my god, it's my first day.
Speaker 1 (01:39):
I'm so sorry.
Speaker 2 (01:41):
So uh, you know, last year in October for our
special show, I think it was on the twenty eighth
for Halloween, I had mister Bob Gerr, legendary imagineer and
designer for not only Walt Disney, but Universal Studios and beyond,
uh you know, a master of a thing with wheels
on And it was the most mentioned show of the year.
(02:07):
And there is a new documentary coming out called Bob
Gerr Living by Design. I have the producers, I have
the director, and I have mister Bob Gerr himself and
today and we're dedicating the entire show to you. We
have a couple of your favorite restaurants that are going
to be popping in bringing some food. We'll talk to
them as well, and you can chat about that. So
(02:30):
it will involve food, I assure you. But I wanted
to welcome back to the program mister Bob Gerr and
Ernie Alonso, who is his manager, A great guy. I'm
getting to know Ernie quite well, producer of the new documentary,
and Frank H. Woodward don't forget the H I call
him Frank. Don't forget the H. Woodward, producer and director
(02:52):
of the new documentary which we will be getting into
as well. So, Bob, you were very inspect to me,
and I found out very inspirational to listeners.
Speaker 6 (03:04):
Uh.
Speaker 2 (03:05):
And I said to my brother Scott, who writes for
a magazine, we'll get into that coming in just a
little bit about vintage uh stuff. And I sent a
video of you answering a question. He's like, oh my god,
I just love it. There's you have a way about
yourself and the way you think that is inspirational. You've
(03:28):
tackled some major things. You tackled the matta horn.
Speaker 1 (03:31):
Uh.
Speaker 2 (03:32):
And you said that you didn't you're not an engineer.
How the hell do you do make the matta horn
without being an engineer?
Speaker 6 (03:40):
I'll tell you what.
Speaker 2 (03:41):
Let's pop that mic on there wall. Yea, I'm sorry
about that. There's a little button at the top. Can
you get his mic on?
Speaker 1 (03:48):
Please? Thanks? We got you. Oh there you go.
Speaker 3 (03:54):
Well, basically, difference is you only have so much energy
in a day. Sure, you have to learn to choose
is it going to be positive energy or negative energy?
Speaker 6 (04:05):
A lot of people will automatically think oh this is wrong,
that's gone. Oh something's going bad's going to happen. So
that's negative energy. But the positive energy you learn to
control that after a while. I'll put it this way.
My late Boston Disney Roger Broken Senior, who managed the
(04:26):
machine shop at the Disney studio, he said something very
simple in his last interview on video. He said, Walt
told us to do it, so we did it. He
was very minimal on the words. And now I listened
(04:47):
to that and I thought about that. You could not
have responded in a simpler manner to an entrepreneur creator
like a Walt Disney. And you remember, he's in a
machine chop, he's manager a bunch of mechanical, complicated stuff,
so far away from drawing Mickey Mouse. But he understood
(05:08):
what that meant, he asked, and we did it. When
I look back at that period of time, not being
an engineer turned out to give me the flexibility because
I was never trained to learn that it can't be done.
Speaker 2 (05:24):
You know. It's funny about that, And that's the brilliance
of talking with you is I think that there is
the magic of ignorance sometimes because like you said, if
you go into it negatively that you can't do it,
you're kind of telling yourself that you can't.
Speaker 1 (05:42):
But otherwise you find ways. What was it about?
Speaker 2 (05:47):
We didn't talk about Walt much last time because quite honestly,
I'm fascinated about you equally as much as I am
Walt Disney. But I am curious about one thing about him.
How did he collect so many great minds like yourself?
What made the way he said get it done motivates
(06:08):
you when other people you might push back on.
Speaker 6 (06:11):
I never could quite figure it out. I'll have to
kind of do it backwards. His best attribute was he
recognized what people could do even though they'd never done it.
So your question relates to how to he find them
to begin with? Well, I learned over time. He really
never put an ad in the paper. He was always
(06:34):
asking people, both with inside Walt Disney productions and the
friends that he had, and what he was trying to
do stuff that's new. He'd walk around sa say, do
you know anybody that might be able to do this?
You know, anybody might be able to do this? You know,
I'd like to talk to him. And that was the
kind of conversation that would get started, because as soon
as he'd say, in my case, we have a little
(06:57):
Utopia car chassis and it needs a body, and that
built the chassis. Can't build the body. Did anybody know
I build a body for this little car in our
back lot? While there were two guys, Award Kimball, who
was one of the nine Old Men of Animation. He
was a car guy. I knew him very well for
a number of years. And there was another guy who
(07:17):
was a producer, and he was an artist who did
the painting of the cover of a monthly magazine called
The Horseless Carriage Gazette. Okay, now you can see there's
a little network of people in different parts of the industry.
He pokes his question and alwa, he's got two guy says, oh,
(07:38):
call Bob Gerr. He went to art center. He can
do bodies. But he only worked there five months and
he came back and he he just hangs her out places. Oh,
I got a phone call. Go out to the studio,
meete a guy. We walk out, look at the chassis
and I could see, Oh, they need a body. I'll
come back with some sketches on Saturday. That's all it
(07:59):
was stood.
Speaker 2 (08:00):
And those chassis. Those bodies rather are still on those
vehicles today.
Speaker 6 (08:06):
No, no, no, this was We had seven models of
Autopia car from nineteen fifty five to nineteen sixty eight.
It took all those years to get an Autopia car
that was so bulletproofed the kids couldn't kill it. But
each time we improved the chassis, I had a chance
to either remodel a body or create a brand new one.
(08:29):
The last one is called the Mark seven. The Mark
seven turned out to be a really classic, good look
and sports card type of body, a little bit like
a Corvette. Though. When Disney got rid of all the bodies,
there's guys now that collect them and design their own chassis,
either electric or gasoline. Because they liked the looks of
(08:50):
the car. Oh wow, and they spend the thirty thousand
minimum to build a chassis to put Disneyland Utopia Mark
seven body.
Speaker 1 (09:00):
Oh my goodness.
Speaker 2 (09:01):
Okay, hold that thought. More to come. Bob Gerr is
my guest today. The name of the documentary coming out
is Bob Gerr Living by Design. We'll get into that
as well, and how you can get tickets. I'm going
to be out at the opening in Glendale we're gonna
invite you to be a part of that and let
you know where you can find it as well.
Speaker 1 (09:22):
EARNINGE.
Speaker 2 (09:22):
Alonso mister Gurr's manager and producer of the new documentary,
and Frank H. Woodward is the producer and director. He's
with us as well. We'll be talking food, having some
food come in from some of Bob's favorite places around
the Southland. So stick around and go nowhere. Let's get
the latest news now with Andrew Caravella in the or
(09:43):
we'll call you Caravella because of the car.
Speaker 1 (09:48):
A celebration of Bob Gerr.
Speaker 7 (09:51):
You're listening to The Fork Report with Neil Saveadra on
demand from KFI AM six.
Speaker 2 (09:56):
Forty Saturday to you and Neil Savadri he with the
Fork Report Special edition three hours. Today we have with
legendary imagineer Disney imagineer Bob Gerr documentary coming out this month,
Bob Gerr Living by Design. We'll be talking more about
that with Ernie Alonso, not only mister Gurr's manager but
(10:17):
also producer of the documentary.
Speaker 1 (10:19):
And Frank A. H. A.
Speaker 2 (10:20):
Woodward, who is producer and director, is with us today too.
Plus we've got a couple of restaurants coming in that
are some of Bob's favorite in the Southland, and they're
going to be bringing some food in as well. Chatting
with Bob about design, does there eat Now we're talking
about the Mark seven, the design of the Autopia vehicle.
(10:46):
But you basically everything with wheels at Disneyland you created.
Speaker 6 (10:52):
Well, generally speaking, that's what people observe all the attractions.
The one guy simplified, I don't know who said that,
but well, if it has wheels on it, Bob probably
did it. But they think in terms of visible automobiles. Job.
But then it's railroads and it's the Doom Buggies where
the wheels you can't see them.
Speaker 1 (11:13):
Yeah, it all qualifies.
Speaker 2 (11:14):
My favorite ride at Disneyland, and so I've been on
it a bunch of times. But something my wife asked me,
because when we walk around, I'm like, see this, Bob
did that? See that that Bob did that? And I
talk about the vehicles on Main Street and I think
people are surprised. She goes, well, why would he have
to design them? Don't they just get a vehicle and
(11:37):
put it here? But that he couldn't do that, could you?
Speaker 6 (11:40):
Well? Early on in before the park opened, a fellow
approached Walt and he was a collector of really good
antique cars, unrestored. Guy made name Adca Lo Rams over
in San Berdino and he had barns of cars. So
my boss, Roger and I drove out there and we
went from barn to barn looking at these cars. And
(12:02):
the guy was trying to sell Wall on buying antique
cars and restoring them to run them on main street,
and very quietly, you just said no. We went back
and told Wall. He says, don't don't buy those cards.
They time you try to restore them, they're all different.
You'll go nuts trying to get them to work, and
they're not good for a driver at low speed on
(12:24):
a mainStreet where there's pedestrians. Well, how are we going
to get antique cars? Well, don't you know you can
design one from scratch? Yeah, from scratch, because I think like,
you know, a California hot rodder, you know, we know
how stuff built, you know was involved. And they said, well,
how are you going to do that? And I told
(12:44):
my boss, I said, well, simple, I'm not going to
invent anything. I'm gonna look in catalogs. I'm going to
buy a radiator. I'm going to buy a two cylinder
engine and NXB from Hercules, which is a water pump engine,
so it's got a putt putt feel to it. In
those days, drive trains and a vehicle they come in
(13:06):
sizes like a number four. So I can buy a
number four flywheel, bowl it to the NXB, buy a
flywheel housing to connect that, because that number four will
connect to a Warner ten nine transmission from a taxi
cab in New York, which will never wear it out.
And then the drive.
Speaker 1 (13:26):
She made a puzzle, a car puzzle.
Speaker 6 (13:29):
But you can mate up without modification all this stuff
from the radiator all the way to the wheels in
the back and for a front axle, while a model
A Ford's pretty close. I just take that and carve
off the parts we don't want because it only needs
breaks in the rear. Now it looks like an authentic
(13:49):
nineteen o five chassis. Well, what about the frame up.
A couple of steel tubes and a couple of cross
members weld it together and then you can attach everything
to it. Okay, you need a body, While a body
for an nineteen o five car is mostly folded flat
metal nothing to shape. Any machine shop can cut a fender,
(14:11):
and then you have these little things that roll around
and put the little beating around the edges and stuff
like that. So we just make it like that, put
a cute little front hand on it, make some seats
and stick it on her. And you got a car.
Speaker 1 (14:25):
No, you got a car. The rest of us didn't
do that.
Speaker 6 (14:28):
Yeah, you did that.
Speaker 1 (14:29):
Wow.
Speaker 2 (14:30):
And so this so it was for ease of repair,
a ease of use in its specific use of going
slow in the area. What about scale like the double
decker bus?
Speaker 6 (14:43):
All right, when you talk about the double decker bus,
this was a unique problem. I had to look at
Main Street is deliberately scaled down like the first forest,
kind of small as in the second floor is a
little squeezed down in a third and a little tiny
or source perspective, right, you could not use full size
omnibus on a street like that. There was a there
(15:05):
was a bus across the street, a yellow fagial model.
It used to be used for La Transit, So I
knew I could get the real dimensions. Walt had a
little dinky toy, a little metal thing like that, and
he says, I wanted to look like this nineteen oh
five British omnibus. I have to squeeze the people in
(15:25):
the vehicle, but I can't squeeze the people themselves. If
you remember what that omnibus looks like. When you go
on the ground floor, you sit down facing inward. Yes,
you go upstairs and you're facing outward. Okay, that meant
the aisle that you walk in the headroom's high, but
(15:47):
when you sit down, it's like an airline. You're sitting
under east something low, while on the top deck your
feeders over the heads of the people in the seat,
but your head on the ground floors underneath the fannies
of the peaceeople on the top. We took two and
a half feet out of the height.
Speaker 1 (16:06):
So that it works with the scale of Now.
Speaker 6 (16:09):
I could design the body. You got to remember, for
like a nineteen five vehicle, a bus is metal, little
square metal tubes welded together, covered with flat aluminum, with
screws and rivets. So the designing a body is incredibly simple.
For a vehicle like that. You know, we put fenders
(16:30):
on it, I make a hood, make a radiator shell
brass is good look, and we braise that all together.
What for a chassis. I go up to International Harvester
on San Fernando Boulevard and I befriend a car dealer,
truck dealer over there, and I said, I want a
beer truck chassis fourteen thousand pound. And the Bear truck
(16:52):
has what we call a Z drop chassis that you
cut the chassis and you drop the center framed down. Okay,
and this way you get your floor down, way down
low like a Bear truck. You know he stowed the
beer off the sides of those wagons.
Speaker 1 (17:07):
Yeah, didn't the side come up on it?
Speaker 6 (17:09):
And I didn't have to invent a mechanical thing one
because I could buy a brand new nineteen fifty six
International Harvester, a fourteen thousand pound rating with the dual
wheels on the back. I could also buy Eastern wheels
or which are cast iron. Western wheels are stamped steel.
I could make this thing very authentic by selecting details
(17:33):
and inventing nothing.
Speaker 8 (17:34):
And they're still on the road there today, still the
same same Yes, the same bus. The only difference was
when Jana Maters came into Disney and I had a sponsor,
we had to take the International Harvester chassis out from
under the bus and we slide a GMC underneath.
Speaker 1 (17:50):
It put the body back of course.
Speaker 2 (17:53):
All right, my guest, mister Bob Gerr, legendary designer and
imagineer at Disneyland and beyond. We haven't even talked about
King Kong. We'll get into that. You can maybe my
guess throughout the show, along with Ernie Alonzo and Frank H. Woodward,
producer director of Bob Gerr Living by Design documentary will
(18:16):
be coming out. We'll tell you how to get ticket
for that coming up moments from now, so go no where.
Speaker 7 (18:24):
You're listening to The Fork Report with Nil Sevadra on
demand from KFI AM six forty.
Speaker 2 (18:30):
Neil Savadra here with the Fork Report. Happy to be
with you this Saturday. A special show. We're dedicating it
to mister Bob Gerr and his new documentary, Bob Gerr,
Living by Design, Legendary Disney imagineer and Beyond. If you
look him up and start doing any research, you're gonna
see that he is a designer. And now the imagineer
(18:53):
part is what you're hearing him talk about. Because imagineering
is problem solving, really problem solving. But design is something
that's legendary as well. We spoke back in October, Bob,
and you I said, you know, I see the monorail
all the time. I mean, we have season passes where
(19:16):
my family and I are big Disney fans, and it's classic.
Speaker 1 (19:22):
It doesn't look old. It still looks space age.
Speaker 2 (19:24):
And you said about geometric shapes, just don't go out
of style.
Speaker 6 (19:29):
Yes. The monorail that was there first in nineteen fifty
nine was called the Mark one, and we've had the
Mark two, three, four, five, sixty seven between Disney and
Walt Disney World. So to anybody who visits the Disney Park,
they see a monorail, but they don't necessarily know the
lineage of all of them. But they all have the
same feel and the same look. Like the original Disneyland
(19:52):
one was very rocket ship pointy looking. The other ones
are all very white skinned, big windshill jet looking. In vehicles,
it has the same feeling. You look on the beam way,
Oh look at that silent thing moving all. Let's go
for a ride, just as looks makes you want to
ride it, yeah, just from the appearance. But back to
(20:15):
the Mark one, the design evolved probably in ten minutes.
The overall shape and when you when you do something
very fast and you're thinking quickly how to do something,
you have a sense he to make it very simple.
If you have a longer period of time, others involved,
production notes and committees, it will gradually get it'll over
(20:40):
decorate it sex So the mark one completely avoided that
The shapes are very geometric, very simple, and that's what
makes it to your eye. It reads quickly as a
simple statement. You don't keep looking at it for decorations.
There's stuff that's added to it, like some cars wind
up over decorated over a period of time.
Speaker 2 (21:00):
Yeah, artists, it's the curse of one more line, one
more hate stroke, one more whatever.
Speaker 6 (21:05):
Right, So it's important if you have the time, be
sure and make sure whatever lines you put you reduce
as many as you can and get back.
Speaker 1 (21:13):
To purity, economy of shape.
Speaker 6 (21:16):
Right because we were in such pressure to do that.
Remember from the time Walt showed me a picture of
a monorail and says, I want you to get started
on ours right away until we gave Richard Nixon to
ride on as eight and a half months. You can't
hardly get a budget out of a company in eight
and a half months. Wow, And I've never done a monorail,
(21:37):
and Walt's never done a monorail. But the fact that,
as I said before, he said, I want you to
do it, so we do it, And that means you
are You're thoughtful of time, and then at the same
time thoughtful of time, you're looking for how can I
find the simplest ways to do things? And then the
(21:58):
thing that I did learn and respect, the less I
know about design, fabrication and techniques, the least information I have,
which means I can create information to suit the instant
job at hand, and that then becomes a process. You
don't take a process to do something. Halfway through you say, oh,
(22:20):
we are developing a process for this particular item. That's
an entirely different thing. That gives you a free luxury
to go very very fast, because at no time is
somebody going to say, well, that's not the way we've
evolved on, that's not the way it's supposed to be done.
That conversation never happens because what we're doing, it's moving
(22:41):
at such a high speed. If you come back in
two weeks, whole bunch of us.
Speaker 2 (22:45):
Done, they call that paralysis by analysis. When people overthink
something rather than just getting it done.
Speaker 6 (22:53):
Yes, you can overthink a lot of times. Designers wish
to optimize. You get it up for a certain point. Up.
I want to fuss with the ninety to one hundred
to get it perfect perfect. No, no, you better stop there,
because my boss used to say what he saw somebody doing.
He says, Robert, stop, you're glossing your goose.
Speaker 2 (23:15):
I don't know what glossing the goose is, but it
sounds slightly painful for the goose.
Speaker 6 (23:21):
No. No, because you're basting a goose in a cooking
frying pan and you keep dipping the sauce over the goose.
How the goose does cook? Servant?
Speaker 1 (23:32):
Yeah, yeah, you know. It's like any good inventor.
Speaker 2 (23:36):
The first thing you do is you make it work right,
and then you can polish it if you need to,
But make it work first, all right, My guest Bob Gerr,
Living by Design is the new documentary. Ernie Alonzo and
Frank H. Woodward are here as well from the documentary,
and we're going to talk with them.
Speaker 1 (23:53):
So go know where.
Speaker 2 (23:54):
Tell you how you can get tickets. The opening night
is going to be near here in Glendale, not far
from Disney Studios as a matter of fact, So we'll
tell you more about that.
Speaker 1 (24:06):
So go know where.
Speaker 7 (24:08):
You're listening to The Fork Report with Nil Savedra on
demand from KFI AM six forty.
Speaker 2 (24:15):
Hey, everybody, it's The Fork Report, all Things Food, beverage
and beyond. We have three hours every Saturday to kind
of push aside the heaviness of the news, what's going
on in the world and just celebrate food, the people
that make it, the culture behind it. And you know,
it's been this show has been on for over a
decade and one of the best parts about is meeting
(24:36):
really interesting people. Back in October, I had mister Bob Gerr,
designer and one that you know very well because he's
a legendary Disney imagineer and beyond really as we will
talk about some of his other builds and designs, but
he's also a Southlander who eats at local places. And
(25:00):
dedicating the show to Bob gird today as he is
with us the entirety of the show. And one of
the other guests that we brought to bring some of
their food are the folks from Joselito's and Tanga And
we've got tomorrow and Jose, you look like a regular
size Jose. You don't look like a little Jose, all right,
(25:23):
So thank you guys for coming as well. Pop those
mics on there if you will, and Bob, we can
get Mike's Bob's mic on there.
Speaker 1 (25:32):
You go.
Speaker 2 (25:33):
Look at that he's attack. He knows what he's doing. So, Bob,
how did you find Joselito?
Speaker 6 (25:39):
And I've lived in Tahuga for thirty three years and
started looking at some restaurants and I found one very
close to my house that had a live iguana in
the corner of the dining boo.
Speaker 1 (25:50):
Was that a specific need of yours to have?
Speaker 6 (25:53):
The restaurant's name was Iguana? Yeah, oh wow, yes, And
I was fascinated. Guy stopping there for a lunch and
I go stair at the iguana for a while and decide,
you know, what I'm going to have to eat. But
immediately it had a nice feeling place. There's there's like
a Mexican restaurant that's not modern, but it's got a
(26:14):
lot of do dads hanging on the walls and the ceilings.
It's like a mom and pop somebody's kitchen or expanded
enough with stuff. Oh it's a restaurant now, rather than say,
design a restaurant and then make it, gotcha really modern.
So this was a comfortable place I could go and
oh it was pretty good in here. And then the
(26:36):
food was very good. And then the people, the way
they served and the way they treated you was really nice.
So after three years, I went in there one day
and the iguana's gone and it was a new new place,
hous alitos. First question I said, did you did you
cook the iguana?
Speaker 2 (26:53):
Because the way out there, yeah, wana, the chips, you've
got it rough.
Speaker 1 (26:58):
Yeah.
Speaker 6 (26:58):
So it changed and it continued and it continues to
this day. So that's a long time to be going
to one restaurant. I think I probably outlived most of
the staff been there all these years. And they change
the menu once in a while a little bit. And
the type of innuit they have now, there's got a
(27:19):
real pretty looking it's on the internet. You go there
and you can just scroll through the whole thing and
you see pictures and very good description and the prices
are very very nice. One of my favorites is this
chicken caesar salad because it's got certain features I like.
But as a big salad for sixteen dollars. Oh wow,
(27:41):
I have never been able to finish it. Okay, it's
that generous. So sometimes I I hate to tell her
that it usually is guaranteed two meals, but occasionally, I
guess we do a lot of talking. I don't eat
that much of it, so it goes home in the box,
and then I got two more meals out of it.
(28:01):
So I thought, you didn't know that that's a three mealer.
Speaker 2 (28:07):
So that's a great compliment. I got to imagine to
have someone like Bob come in and enjoy food at
your place.
Speaker 1 (28:14):
It's the highest honor just knowing Bob.
Speaker 9 (28:17):
And he can go anywhere and eat anything, and he
chooses to come to Hose Alitos, and everybody enjoys and
loves seeing Bob when he comes in, and it's just and.
Speaker 6 (28:29):
We love having regulars.
Speaker 5 (28:30):
We have lots of regulars come in all the time,
some four or five times a week.
Speaker 2 (28:35):
That's got to be I mean, really more than anything else.
To have regulars, to me, is a sign of everything
that Bob described, from the atmosphere to the service, to
the food itself and the prices.
Speaker 1 (28:52):
To keep them low. As you know right now, is
not easy.
Speaker 6 (28:57):
Yeah, it's really tough. Things are going really high.
Speaker 5 (28:59):
They're getting very expensive, but we don't want to pass
it on to the customers as long as we can.
Speaker 2 (29:04):
A lot of avocados and Mexican food. Yes, so that's
going to be an interesting time coming up. What are
some of the things that you have in front of
us today?
Speaker 5 (29:13):
So we bought brought some things that Taco Lito we've
had since nineteen seventy seven when my parents first opened
the restaurant. It's a giant taco there.
Speaker 1 (29:22):
Yeah, you named it wrong, that's huge taco sone.
Speaker 6 (29:26):
Yes.
Speaker 7 (29:26):
Sure.
Speaker 5 (29:27):
We also brought one of our new specials at the
Chiliriano can Cambrones. We also have a Mexican poke there,
which is a favorite of a lot of customers.
Speaker 6 (29:36):
And we brought some ros.
Speaker 1 (29:38):
Wow. Okay, we come back. We'll try some of this
talk more.
Speaker 2 (29:42):
I appreciate you guys coming out to celebrate Bob today.
I'm thrilled that he has that food is such a
part of his day to day and that he loves
food and that he's a regular. We thought it'd be
a fun way to celebrate Bob Gerr Living by Design.
The documentary coming out this month, which we were I
promise we'll give you more information on what's a website
by the way, they can find.
Speaker 1 (30:03):
That Ernie.
Speaker 2 (30:06):
Alex dot com, Thelex dot com and that's for the
Glendale opening night, the Alex dot com to find out more.
Bob Gerr Living by Design, what is that? The twenties
April twenty sixth. I'm gonna be out there very much
looking forward to it, and we'll tell you more about
that coming up.
Speaker 1 (30:23):
So go nowhere.
Speaker 2 (30:24):
It's a Fork Report. I'm Neil Savader KFI AM six
forty heard everywhere on the iHeartRadio app. You've been listening
to the Fork Report. You can always hear us live
on KFI AM six forty two to five pm on Saturday,
and anytime on demand on the iHeartRadio app.
Hey, it's Niel Savedra.
Speaker 2 (00:01):
You're listening to kfi EM six forty the four Report
on demand on the iHeartRadio app. I'm Andrew karra Velat
what what what's that about?
Speaker 1 (00:12):
Why'd you say it like that?
Speaker 3 (00:13):
Was? I?
Speaker 1 (00:14):
Oh? Just Dad Aeron did how to keep it going? Oh? Sorry, Bob.
Speaker 2 (00:17):
I'm fascinated by my guest today, so I'm going to
be chatting with these folks a lot.
Speaker 1 (00:23):
Okay, let's start the show. Uh, hey, Kayla?
Speaker 2 (00:26):
Yeah, Neil, What did did Luke Skywalker do when he
was at the Chinese restaurant and couldn't use the chopsticks?
Speaker 1 (00:33):
What he used? The fuck? Let me teach you how to.
Speaker 4 (00:53):
Let me teach you how it, Marina, Let me t
you at it. It's a culinary Let me teach you
at it.
Speaker 1 (01:09):
Let me ki. I am sixty everywhere on the iHeartRadio app. Hey, everybody,
it's the Fork Report. Happy Saturday to you.
Speaker 2 (01:18):
I am your friendly neighborhood folk reporter Neil Savedra.
Speaker 1 (01:22):
How do you do? Happy Saturday? What a great day.
Speaker 2 (01:25):
The sun is coming back into southern California for the
next seven days, and.
Speaker 1 (01:30):
Boy do I have a show for Yeah, what's that, Hey,
turn your mic off, come on now. So sorry being professional.
Speaker 5 (01:38):
Oh my god, it's my first day.
Speaker 1 (01:39):
I'm so sorry.
Speaker 2 (01:41):
So uh, you know, last year in October for our
special show, I think it was on the twenty eighth
for Halloween, I had mister Bob Gerr, legendary imagineer and
designer for not only Walt Disney, but Universal Studios and beyond,
uh you know, a master of a thing with wheels
on And it was the most mentioned show of the year.
(02:07):
And there is a new documentary coming out called Bob
Gerr Living by Design. I have the producers, I have
the director, and I have mister Bob Gerr himself and
today and we're dedicating the entire show to you. We
have a couple of your favorite restaurants that are going
to be popping in bringing some food. We'll talk to
them as well, and you can chat about that. So
(02:30):
it will involve food, I assure you. But I wanted
to welcome back to the program mister Bob Gerr and
Ernie Alonso, who is his manager, A great guy. I'm
getting to know Ernie quite well, producer of the new documentary,
and Frank H. Woodward don't forget the H I call
him Frank. Don't forget the H. Woodward, producer and director
(02:52):
of the new documentary which we will be getting into
as well. So, Bob, you were very inspect to me,
and I found out very inspirational to listeners.
Speaker 6 (03:04):
Uh.
Speaker 2 (03:05):
And I said to my brother Scott, who writes for
a magazine, we'll get into that coming in just a
little bit about vintage uh stuff. And I sent a
video of you answering a question. He's like, oh my god,
I just love it. There's you have a way about
yourself and the way you think that is inspirational. You've
(03:28):
tackled some major things. You tackled the matta horn.
Speaker 1 (03:31):
Uh.
Speaker 2 (03:32):
And you said that you didn't you're not an engineer.
How the hell do you do make the matta horn
without being an engineer?
Speaker 6 (03:40):
I'll tell you what.
Speaker 2 (03:41):
Let's pop that mic on there wall. Yea, I'm sorry
about that. There's a little button at the top. Can
you get his mic on?
Speaker 1 (03:48):
Please? Thanks? We got you. Oh there you go.
Speaker 3 (03:54):
Well, basically, difference is you only have so much energy
in a day. Sure, you have to learn to choose
is it going to be positive energy or negative energy?
Speaker 6 (04:05):
A lot of people will automatically think oh this is wrong,
that's gone. Oh something's going bad's going to happen. So
that's negative energy. But the positive energy you learn to
control that after a while. I'll put it this way.
My late Boston Disney Roger Broken Senior, who managed the
(04:26):
machine shop at the Disney studio, he said something very
simple in his last interview on video. He said, Walt
told us to do it, so we did it. He
was very minimal on the words. And now I listened
(04:47):
to that and I thought about that. You could not
have responded in a simpler manner to an entrepreneur creator
like a Walt Disney. And you remember, he's in a
machine chop, he's manager a bunch of mechanical, complicated stuff,
so far away from drawing Mickey Mouse. But he understood
(05:08):
what that meant, he asked, and we did it. When
I look back at that period of time, not being
an engineer turned out to give me the flexibility because
I was never trained to learn that it can't be done.
Speaker 2 (05:24):
You know. It's funny about that, And that's the brilliance
of talking with you is I think that there is
the magic of ignorance sometimes because like you said, if
you go into it negatively that you can't do it,
you're kind of telling yourself that you can't.
Speaker 1 (05:42):
But otherwise you find ways. What was it about?
Speaker 2 (05:47):
We didn't talk about Walt much last time because quite honestly,
I'm fascinated about you equally as much as I am
Walt Disney. But I am curious about one thing about him.
How did he collect so many great minds like yourself?
What made the way he said get it done motivates
(06:08):
you when other people you might push back on.
Speaker 6 (06:11):
I never could quite figure it out. I'll have to
kind of do it backwards. His best attribute was he
recognized what people could do even though they'd never done it.
So your question relates to how to he find them
to begin with? Well, I learned over time. He really
never put an ad in the paper. He was always
(06:34):
asking people, both with inside Walt Disney productions and the
friends that he had, and what he was trying to
do stuff that's new. He'd walk around sa say, do
you know anybody that might be able to do this?
You know, anybody might be able to do this? You know,
I'd like to talk to him. And that was the
kind of conversation that would get started, because as soon
as he'd say, in my case, we have a little
(06:57):
Utopia car chassis and it needs a body, and that
built the chassis. Can't build the body. Did anybody know
I build a body for this little car in our
back lot? While there were two guys, Award Kimball, who
was one of the nine Old Men of Animation. He
was a car guy. I knew him very well for
a number of years. And there was another guy who
(07:17):
was a producer, and he was an artist who did
the painting of the cover of a monthly magazine called
The Horseless Carriage Gazette. Okay, now you can see there's
a little network of people in different parts of the industry.
He pokes his question and alwa, he's got two guy says, oh,
(07:38):
call Bob Gerr. He went to art center. He can
do bodies. But he only worked there five months and
he came back and he he just hangs her out places. Oh,
I got a phone call. Go out to the studio,
meete a guy. We walk out, look at the chassis
and I could see, Oh, they need a body. I'll
come back with some sketches on Saturday. That's all it
(07:59):
was stood.
Speaker 2 (08:00):
And those chassis. Those bodies rather are still on those
vehicles today.
Speaker 6 (08:06):
No, no, no, this was We had seven models of
Autopia car from nineteen fifty five to nineteen sixty eight.
It took all those years to get an Autopia car
that was so bulletproofed the kids couldn't kill it. But
each time we improved the chassis, I had a chance
to either remodel a body or create a brand new one.
(08:29):
The last one is called the Mark seven. The Mark
seven turned out to be a really classic, good look
and sports card type of body, a little bit like
a Corvette. Though. When Disney got rid of all the bodies,
there's guys now that collect them and design their own chassis,
either electric or gasoline. Because they liked the looks of
(08:50):
the car. Oh wow, and they spend the thirty thousand
minimum to build a chassis to put Disneyland Utopia Mark
seven body.
Speaker 1 (09:00):
Oh my goodness.
Speaker 2 (09:01):
Okay, hold that thought. More to come. Bob Gerr is
my guest today. The name of the documentary coming out
is Bob Gerr Living by Design. We'll get into that
as well, and how you can get tickets. I'm going
to be out at the opening in Glendale we're gonna
invite you to be a part of that and let
you know where you can find it as well.
Speaker 1 (09:22):
EARNINGE.
Speaker 2 (09:22):
Alonso mister Gurr's manager and producer of the new documentary,
and Frank H. Woodward is the producer and director. He's
with us as well. We'll be talking food, having some
food come in from some of Bob's favorite places around
the Southland. So stick around and go nowhere. Let's get
the latest news now with Andrew Caravella in the or
(09:43):
we'll call you Caravella because of the car.
Speaker 1 (09:48):
A celebration of Bob Gerr.
Speaker 7 (09:51):
You're listening to The Fork Report with Neil Saveadra on
demand from KFI AM six.
Speaker 2 (09:56):
Forty Saturday to you and Neil Savadri he with the
Fork Report Special edition three hours. Today we have with
legendary imagineer Disney imagineer Bob Gerr documentary coming out this month,
Bob Gerr Living by Design. We'll be talking more about
that with Ernie Alonso, not only mister Gurr's manager but
(10:17):
also producer of the documentary.
Speaker 1 (10:19):
And Frank A. H. A.
Speaker 2 (10:20):
Woodward, who is producer and director, is with us today too.
Plus we've got a couple of restaurants coming in that
are some of Bob's favorite in the Southland, and they're
going to be bringing some food in as well. Chatting
with Bob about design, does there eat Now we're talking
about the Mark seven, the design of the Autopia vehicle.
(10:46):
But you basically everything with wheels at Disneyland you created.
Speaker 6 (10:52):
Well, generally speaking, that's what people observe all the attractions.
The one guy simplified, I don't know who said that,
but well, if it has wheels on it, Bob probably
did it. But they think in terms of visible automobiles. Job.
But then it's railroads and it's the Doom Buggies where
the wheels you can't see them.
Speaker 1 (11:13):
Yeah, it all qualifies.
Speaker 2 (11:14):
My favorite ride at Disneyland, and so I've been on
it a bunch of times. But something my wife asked me,
because when we walk around, I'm like, see this, Bob
did that? See that that Bob did that? And I
talk about the vehicles on Main Street and I think
people are surprised. She goes, well, why would he have
to design them? Don't they just get a vehicle and
(11:37):
put it here? But that he couldn't do that, could you?
Speaker 6 (11:40):
Well? Early on in before the park opened, a fellow
approached Walt and he was a collector of really good
antique cars, unrestored. Guy made name Adca Lo Rams over
in San Berdino and he had barns of cars. So
my boss, Roger and I drove out there and we
went from barn to barn looking at these cars. And
(12:02):
the guy was trying to sell Wall on buying antique
cars and restoring them to run them on main street,
and very quietly, you just said no. We went back
and told Wall. He says, don't don't buy those cards.
They time you try to restore them, they're all different.
You'll go nuts trying to get them to work, and
they're not good for a driver at low speed on
(12:24):
a mainStreet where there's pedestrians. Well, how are we going
to get antique cars? Well, don't you know you can
design one from scratch? Yeah, from scratch, because I think like,
you know, a California hot rodder, you know, we know
how stuff built, you know was involved. And they said, well,
how are you going to do that? And I told
(12:44):
my boss, I said, well, simple, I'm not going to
invent anything. I'm gonna look in catalogs. I'm going to
buy a radiator. I'm going to buy a two cylinder
engine and NXB from Hercules, which is a water pump engine,
so it's got a putt putt feel to it. In
those days, drive trains and a vehicle they come in
(13:06):
sizes like a number four. So I can buy a
number four flywheel, bowl it to the NXB, buy a
flywheel housing to connect that, because that number four will
connect to a Warner ten nine transmission from a taxi
cab in New York, which will never wear it out.
And then the drive.
Speaker 1 (13:26):
She made a puzzle, a car puzzle.
Speaker 6 (13:29):
But you can mate up without modification all this stuff
from the radiator all the way to the wheels in
the back and for a front axle, while a model
A Ford's pretty close. I just take that and carve
off the parts we don't want because it only needs
breaks in the rear. Now it looks like an authentic
(13:49):
nineteen o five chassis. Well, what about the frame up.
A couple of steel tubes and a couple of cross
members weld it together and then you can attach everything
to it. Okay, you need a body, While a body
for an nineteen o five car is mostly folded flat
metal nothing to shape. Any machine shop can cut a fender,
(14:11):
and then you have these little things that roll around
and put the little beating around the edges and stuff
like that. So we just make it like that, put
a cute little front hand on it, make some seats
and stick it on her. And you got a car.
Speaker 1 (14:25):
No, you got a car. The rest of us didn't
do that.
Speaker 6 (14:28):
Yeah, you did that.
Speaker 1 (14:29):
Wow.
Speaker 2 (14:30):
And so this so it was for ease of repair,
a ease of use in its specific use of going
slow in the area. What about scale like the double
decker bus?
Speaker 6 (14:43):
All right, when you talk about the double decker bus,
this was a unique problem. I had to look at
Main Street is deliberately scaled down like the first forest,
kind of small as in the second floor is a
little squeezed down in a third and a little tiny
or source perspective, right, you could not use full size
omnibus on a street like that. There was a there
(15:05):
was a bus across the street, a yellow fagial model.
It used to be used for La Transit, So I
knew I could get the real dimensions. Walt had a
little dinky toy, a little metal thing like that, and
he says, I wanted to look like this nineteen oh
five British omnibus. I have to squeeze the people in
(15:25):
the vehicle, but I can't squeeze the people themselves. If
you remember what that omnibus looks like. When you go
on the ground floor, you sit down facing inward. Yes,
you go upstairs and you're facing outward. Okay, that meant
the aisle that you walk in the headroom's high, but
(15:47):
when you sit down, it's like an airline. You're sitting
under east something low, while on the top deck your
feeders over the heads of the people in the seat,
but your head on the ground floors underneath the fannies
of the peaceeople on the top. We took two and
a half feet out of the height.
Speaker 1 (16:06):
So that it works with the scale of Now.
Speaker 6 (16:09):
I could design the body. You got to remember, for
like a nineteen five vehicle, a bus is metal, little
square metal tubes welded together, covered with flat aluminum, with
screws and rivets. So the designing a body is incredibly simple.
For a vehicle like that. You know, we put fenders
(16:30):
on it, I make a hood, make a radiator shell
brass is good look, and we braise that all together.
What for a chassis. I go up to International Harvester
on San Fernando Boulevard and I befriend a car dealer,
truck dealer over there, and I said, I want a
beer truck chassis fourteen thousand pound. And the Bear truck
(16:52):
has what we call a Z drop chassis that you
cut the chassis and you drop the center framed down. Okay,
and this way you get your floor down, way down
low like a Bear truck. You know he stowed the
beer off the sides of those wagons.
Speaker 1 (17:07):
Yeah, didn't the side come up on it?
Speaker 6 (17:09):
And I didn't have to invent a mechanical thing one
because I could buy a brand new nineteen fifty six
International Harvester, a fourteen thousand pound rating with the dual
wheels on the back. I could also buy Eastern wheels
or which are cast iron. Western wheels are stamped steel.
I could make this thing very authentic by selecting details
(17:33):
and inventing nothing.
Speaker 8 (17:34):
And they're still on the road there today, still the
same same Yes, the same bus. The only difference was
when Jana Maters came into Disney and I had a sponsor,
we had to take the International Harvester chassis out from
under the bus and we slide a GMC underneath.
Speaker 1 (17:50):
It put the body back of course.
Speaker 2 (17:53):
All right, my guest, mister Bob Gerr, legendary designer and
imagineer at Disneyland and beyond. We haven't even talked about
King Kong. We'll get into that. You can maybe my
guess throughout the show, along with Ernie Alonzo and Frank H. Woodward,
producer director of Bob Gerr Living by Design documentary will
(18:16):
be coming out. We'll tell you how to get ticket
for that coming up moments from now, so go no where.
Speaker 7 (18:24):
You're listening to The Fork Report with Nil Sevadra on
demand from KFI AM six forty.
Speaker 2 (18:30):
Neil Savadra here with the Fork Report. Happy to be
with you this Saturday. A special show. We're dedicating it
to mister Bob Gerr and his new documentary, Bob Gerr,
Living by Design, Legendary Disney imagineer and Beyond. If you
look him up and start doing any research, you're gonna
see that he is a designer. And now the imagineer
(18:53):
part is what you're hearing him talk about. Because imagineering
is problem solving, really problem solving. But design is something
that's legendary as well. We spoke back in October, Bob,
and you I said, you know, I see the monorail
all the time. I mean, we have season passes where
(19:16):
my family and I are big Disney fans, and it's classic.
Speaker 1 (19:22):
It doesn't look old. It still looks space age.
Speaker 2 (19:24):
And you said about geometric shapes, just don't go out
of style.
Speaker 6 (19:29):
Yes. The monorail that was there first in nineteen fifty
nine was called the Mark one, and we've had the
Mark two, three, four, five, sixty seven between Disney and
Walt Disney World. So to anybody who visits the Disney Park,
they see a monorail, but they don't necessarily know the
lineage of all of them. But they all have the
same feel and the same look. Like the original Disneyland
(19:52):
one was very rocket ship pointy looking. The other ones
are all very white skinned, big windshill jet looking. In vehicles,
it has the same feeling. You look on the beam way,
Oh look at that silent thing moving all. Let's go
for a ride, just as looks makes you want to
ride it, yeah, just from the appearance. But back to
(20:15):
the Mark one, the design evolved probably in ten minutes.
The overall shape and when you when you do something
very fast and you're thinking quickly how to do something,
you have a sense he to make it very simple.
If you have a longer period of time, others involved,
production notes and committees, it will gradually get it'll over
(20:40):
decorate it sex So the mark one completely avoided that
The shapes are very geometric, very simple, and that's what
makes it to your eye. It reads quickly as a
simple statement. You don't keep looking at it for decorations.
There's stuff that's added to it, like some cars wind
up over decorated over a period of time.
Speaker 2 (21:00):
Yeah, artists, it's the curse of one more line, one
more hate stroke, one more whatever.
Speaker 6 (21:05):
Right, So it's important if you have the time, be
sure and make sure whatever lines you put you reduce
as many as you can and get back.
Speaker 1 (21:13):
To purity, economy of shape.
Speaker 6 (21:16):
Right because we were in such pressure to do that.
Remember from the time Walt showed me a picture of
a monorail and says, I want you to get started
on ours right away until we gave Richard Nixon to
ride on as eight and a half months. You can't
hardly get a budget out of a company in eight
and a half months. Wow, And I've never done a monorail,
(21:37):
and Walt's never done a monorail. But the fact that,
as I said before, he said, I want you to
do it, so we do it, And that means you
are You're thoughtful of time, and then at the same
time thoughtful of time, you're looking for how can I
find the simplest ways to do things? And then the
(21:58):
thing that I did learn and respect, the less I
know about design, fabrication and techniques, the least information I have,
which means I can create information to suit the instant
job at hand, and that then becomes a process. You
don't take a process to do something. Halfway through you say, oh,
(22:20):
we are developing a process for this particular item. That's
an entirely different thing. That gives you a free luxury
to go very very fast, because at no time is
somebody going to say, well, that's not the way we've
evolved on, that's not the way it's supposed to be done.
That conversation never happens because what we're doing, it's moving
(22:41):
at such a high speed. If you come back in
two weeks, whole bunch of us.
Speaker 2 (22:45):
Done, they call that paralysis by analysis. When people overthink
something rather than just getting it done.
Speaker 6 (22:53):
Yes, you can overthink a lot of times. Designers wish
to optimize. You get it up for a certain point. Up.
I want to fuss with the ninety to one hundred
to get it perfect perfect. No, no, you better stop there,
because my boss used to say what he saw somebody doing.
He says, Robert, stop, you're glossing your goose.
Speaker 2 (23:15):
I don't know what glossing the goose is, but it
sounds slightly painful for the goose.
Speaker 6 (23:21):
No. No, because you're basting a goose in a cooking
frying pan and you keep dipping the sauce over the goose.
How the goose does cook? Servant?
Speaker 1 (23:32):
Yeah, yeah, you know. It's like any good inventor.
Speaker 2 (23:36):
The first thing you do is you make it work right,
and then you can polish it if you need to,
But make it work first, all right, My guest Bob Gerr,
Living by Design is the new documentary. Ernie Alonzo and
Frank H. Woodward are here as well from the documentary,
and we're going to talk with them.
Speaker 1 (23:53):
So go know where.
Speaker 2 (23:54):
Tell you how you can get tickets. The opening night
is going to be near here in Glendale, not far
from Disney Studios as a matter of fact, So we'll
tell you more about that.
Speaker 1 (24:06):
So go know where.
Speaker 7 (24:08):
You're listening to The Fork Report with Nil Savedra on
demand from KFI AM six forty.
Speaker 2 (24:15):
Hey, everybody, it's The Fork Report, all Things Food, beverage
and beyond. We have three hours every Saturday to kind
of push aside the heaviness of the news, what's going
on in the world and just celebrate food, the people
that make it, the culture behind it. And you know,
it's been this show has been on for over a
decade and one of the best parts about is meeting
(24:36):
really interesting people. Back in October, I had mister Bob Gerr,
designer and one that you know very well because he's
a legendary Disney imagineer and beyond really as we will
talk about some of his other builds and designs, but
he's also a Southlander who eats at local places. And
(25:00):
dedicating the show to Bob gird today as he is
with us the entirety of the show. And one of
the other guests that we brought to bring some of
their food are the folks from Joselito's and Tanga And
we've got tomorrow and Jose, you look like a regular
size Jose. You don't look like a little Jose, all right,
(25:23):
So thank you guys for coming as well. Pop those
mics on there if you will, and Bob, we can
get Mike's Bob's mic on there.
Speaker 1 (25:32):
You go.
Speaker 2 (25:33):
Look at that he's attack. He knows what he's doing. So, Bob,
how did you find Joselito?
Speaker 6 (25:39):
And I've lived in Tahuga for thirty three years and
started looking at some restaurants and I found one very
close to my house that had a live iguana in
the corner of the dining boo.
Speaker 1 (25:50):
Was that a specific need of yours to have?
Speaker 6 (25:53):
The restaurant's name was Iguana? Yeah, oh wow, yes, And
I was fascinated. Guy stopping there for a lunch and
I go stair at the iguana for a while and decide,
you know, what I'm going to have to eat. But
immediately it had a nice feeling place. There's there's like
a Mexican restaurant that's not modern, but it's got a
(26:14):
lot of do dads hanging on the walls and the ceilings.
It's like a mom and pop somebody's kitchen or expanded
enough with stuff. Oh it's a restaurant now, rather than say,
design a restaurant and then make it, gotcha really modern.
So this was a comfortable place I could go and
oh it was pretty good in here. And then the
(26:36):
food was very good. And then the people, the way
they served and the way they treated you was really nice.
So after three years, I went in there one day
and the iguana's gone and it was a new new place,
hous alitos. First question I said, did you did you
cook the iguana?
Speaker 2 (26:53):
Because the way out there, yeah, wana, the chips, you've
got it rough.
Speaker 1 (26:58):
Yeah.
Speaker 6 (26:58):
So it changed and it continued and it continues to
this day. So that's a long time to be going
to one restaurant. I think I probably outlived most of
the staff been there all these years. And they change
the menu once in a while a little bit. And
the type of innuit they have now, there's got a
(27:19):
real pretty looking it's on the internet. You go there
and you can just scroll through the whole thing and
you see pictures and very good description and the prices
are very very nice. One of my favorites is this
chicken caesar salad because it's got certain features I like.
But as a big salad for sixteen dollars. Oh wow,
(27:41):
I have never been able to finish it. Okay, it's
that generous. So sometimes I I hate to tell her
that it usually is guaranteed two meals, but occasionally, I
guess we do a lot of talking. I don't eat
that much of it, so it goes home in the box,
and then I got two more meals out of it.
(28:01):
So I thought, you didn't know that that's a three mealer.
Speaker 2 (28:07):
So that's a great compliment. I got to imagine to
have someone like Bob come in and enjoy food at
your place.
Speaker 1 (28:14):
It's the highest honor just knowing Bob.
Speaker 9 (28:17):
And he can go anywhere and eat anything, and he
chooses to come to Hose Alitos, and everybody enjoys and
loves seeing Bob when he comes in, and it's just and.
Speaker 6 (28:29):
We love having regulars.
Speaker 5 (28:30):
We have lots of regulars come in all the time,
some four or five times a week.
Speaker 2 (28:35):
That's got to be I mean, really more than anything else.
To have regulars, to me, is a sign of everything
that Bob described, from the atmosphere to the service, to
the food itself and the prices.
Speaker 1 (28:52):
To keep them low. As you know right now, is
not easy.
Speaker 6 (28:57):
Yeah, it's really tough. Things are going really high.
Speaker 5 (28:59):
They're getting very expensive, but we don't want to pass
it on to the customers as long as we can.
Speaker 2 (29:04):
A lot of avocados and Mexican food. Yes, so that's
going to be an interesting time coming up. What are
some of the things that you have in front of
us today?
Speaker 5 (29:13):
So we bought brought some things that Taco Lito we've
had since nineteen seventy seven when my parents first opened
the restaurant. It's a giant taco there.
Speaker 1 (29:22):
Yeah, you named it wrong, that's huge taco sone.
Speaker 6 (29:26):
Yes.
Speaker 7 (29:26):
Sure.
Speaker 5 (29:27):
We also brought one of our new specials at the
Chiliriano can Cambrones. We also have a Mexican poke there,
which is a favorite of a lot of customers.
Speaker 6 (29:36):
And we brought some ros.
Speaker 1 (29:38):
Wow. Okay, we come back. We'll try some of this
talk more.
Speaker 2 (29:42):
I appreciate you guys coming out to celebrate Bob today.
I'm thrilled that he has that food is such a
part of his day to day and that he loves
food and that he's a regular. We thought it'd be
a fun way to celebrate Bob Gerr Living by Design.
The documentary coming out this month, which we were I
promise we'll give you more information on what's a website
by the way, they can find.
Speaker 1 (30:03):
That Ernie.
Speaker 2 (30:06):
Alex dot com, Thelex dot com and that's for the
Glendale opening night, the Alex dot com to find out more.
Bob Gerr Living by Design, what is that? The twenties
April twenty sixth. I'm gonna be out there very much
looking forward to it, and we'll tell you more about
that coming up.
Speaker 1 (30:23):
So go nowhere.
Speaker 2 (30:24):
It's a Fork Report. I'm Neil Savader KFI AM six
forty heard everywhere on the iHeartRadio app. You've been listening
to the Fork Report. You can always hear us live
on KFI AM six forty two to five pm on Saturday,
and anytime on demand on the iHeartRadio app.
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