Welcome to Stuff You Missed in History Class, a production of iHeartRadio. Hello, and welcome to the podcast. I'm Holly Frye and I'm Tracy be Wilson. Tracy, we have an interview today that I have been wanting to do for a very long time. At this point, He've been talking
about it for a while. I know you're probably like, this is never going to happen, But it did because several months back, Leslie iwork's team reached out to me and asked if I would be interested in talking to Leslie on the show, and the answer was a resounding yes. I would have wanted to talk to her before that. I think she's amazing. Our schedules, though, just did not want to cooperate. It became comedic where it was like, well,
I'm getting back from California on this day. I could do any time after that the following week and it would be like no. Then Leslie starts her travel that night and it would be like Okay, well, uh, Leslie's gonna be back this day, and I'm like I will be on a flight to Italy. Like it just nothing was working. But we finally wrestled those schedules to the ground. Yeah. I like how it finally worked when I was on vacation. Perfect timing actually was perfect. Yeah, it was during a
week when we were not doing our regular record. We did some recording before you went on vacation, so I had like some freed up time in there, and it just everything came together as it should. Hooray. If the name Iworks sounds familiar, it's because it's come up on the show before, although it's been quite a while.
I Works.
Leslie's grandfather was an animator and cartoonist and director and special effects artist and many other things, and also famously Walt Disney's partner from his earliest years in Kansas City. Don I Works, Leslie's father spent third years at the Disney Company, pushing the boundaries of film's more technical side and venting, among other things, the first three hundred and sixty degree camera. So Leslie's pedigree is really quite impressive,
and Leslie herself is very impressive. She is a filmmaker. Her latest project is a documentary titled Disneyland Handcrafted, and it shares the story of Disneyland's construction, something we talked about in our Haunted Mansion episodes, which were quite a while back now, although we have rerun them as classics. I think when the pandemic first popped off and everyone was at home, we did a list of our favorite episodes that we republished, and that was on there because
I love that place. But this is a really beautiful look and also terrifying, as we'll discuss in the course of the interview, look at how Disneyland went from an empty, massive lot to the place the amusement park that we all know today at Leslie very graciously spent time talking to me about making this film. So here is our conversation. I am so beyond delighted to get to be here today with Leslie. I works someone who's work I have
admired a great deal and we're going to jump right in. So, Leslie, your grandfather's story was of course incredibly instrumental in your decision to become a documentary filmmaker rather than what you initially went to film school for, which was narrative film I believe. Will you talk about that and how that resulted in your first film, The Hand Behind the Mouse.
Sure, First of all, thanks for having me on the show. Nice to be here. Yeah, I you know, I went to fill USC have a great time, and when I graduated, you know, everyone's always trying to look for what are they going to do next, what's our next project, and what's what are they passionate about? And I think for me it was to tell the story of my grandfather, who who I never got to know because he died when I was just one. So I thought, you know what, I now armed with a film degree, and I want
to tell his story in a documentary. And so I got the support of roy Disney roy E Disney to do it in Michael Eisner, and you know, I think they probably thought it was going to be like a small little doc and you know, no big deal, and then it ended up being a They said, well, we'll fund you for sixty minutes, and I really wanted it to be a ninety and I just have a great
time and made the best film I could. And when they saw the sixty they said, well, actually it's so good, we'll fund you for an additional thirty to make it what you really wanted. So that's that was great and ultimately became this project of fulfillment in a way to get to know my grandfather that I never got to know, and I traveled all the way through and walked in the footsteps of Walton and my grandfather back in Kansas City.
For those that don't know, his name was by Works, and he was Walt's original business partner and collaborator for the majority of his life. As an animator and also as an Academy Award winning visual effects and engineer. He developed all sorts of camera systems, projection systems, and all sorts of things for the parks. So it was a multi part story that I was able to tell and really get into all the facets of his life. And so that was a lot of fun for.
Me, and you have subsequently made a lot more document her. He's both in standalone form and as series like Recycled Life, the Pixar Story, one of my very favorites. Industrial light and magic, creating the impossible, and on and on. If somebody just wants to spend like a great weekend on the couch where they learn a lot and have fun, your library is like where it's at. Ah, thank you, Oh it's listen. Researching for this like doing my reviews.
I was very delighted to call it work. Not all of those films are about creative people and endeavors, but a lot of them are. And I have heard you speak before about growing up around the work of your father, Don Iworks, who was also groundbreaking in filmmaking and as an inventor and technology. How as being immersed in that world of filmmaking from the time you were very young informed the way that you tell stories, and particularly stories of creative people.
It's a good question. I've often wanted that myself. I mean, basically, what I really think happened is that I was given the opportunity to go behind the scenes with my dad as a kid, whether that be the Disney Studio back lot when it was still a working set, you know, back lot with movies happening and in production, and also to the parks backstage Disneyland and Walt Disney World and Epcot, and I got to see is a little kid is you know, a young adult little kid young how things
are done? And he would always be very generous in sharing with me how things are done, and it just I think created this inquisitiveness in me to want to know, you know, how do movies get made? How do you know how do these animatronic figures get made, and he would show me how cameras get built and how he comes up with optics and lenses and all sorts of things.
So it was not only technologically, it was also movie making as well, and I think that early interest fueled my interest to go to film school, and ultimately, ironically or not, that the fact that I've told stories about how things are do get made, whether it be industrial like and magic and the visual effects, or whether it be you know, Pixar and how they make their films, or whether it be imagineering and how they make the parks and the rides and the attractions. It's all kind
of interesting to me. But I think what really was interesting to me also in a young young age, was business. Business and business opportunities and how people find something and find a niche that needs to be, you know, a hole that needs to be filled out there in the world, and they figure out a way to create it and build it and bring it into fruition. And also innovation, and so innovation, business and creativity I think are the
three pillars of a lot of my work. And I really enjoy all those stories even independently, but when they come together, it's really exciting.
Speaking of exciting ways they've come together, your most recent project, Handcrafted, delves into the creation of Disneyland, which hits all of those pillars. There is some amazing footage in this documentary because, as you mentioned in it, while Disney hired photographers and cinematographers to basically have the construction documented throughout, and you ended up with a lot of footage that no one
had ever seen before that you to work with. How do you begin to sort through all of that when you realize you have to turn that into a film?
Well it, how do I even begin? I think what happened was we found these binders that were in the film archives, and we borrowed them and looked through them, and they were from like the fifties, right sixties, and they were the list of film reels that were taken captured during the making of the Disneyland park and film reels post Disneyland, you know, opening over the next decade.
Right.
So we started going through all this for the Imagineering Story, and we used quite a bit of it in The Imagineering Story Episode one. But my editor most Stobe had said, you know, one day, He's like, you know what if we tried to do something that's just using this footage by itself al veritay and I said, well, that's a great idea. I said, you know, you need to find a structure for it and figure out, you know, how much is there and find the audio bytes to support that.
Right.
I didn't want to do talking heads, typical talking heads. I didn't want to do still photos. I think what really intrigued me and intrigued us as a team was the fact that this footage was shot by the photographers who were some of the true life adventure photographers at Disney, hired to go shoot animals in Africa and you know, groundhogs on the prairie and things like that, and so these guys were so used to documenting real life as it happens for hours. So that was intriguing to me
that they shot these scenes as scenes. But when you look at the reels and the way we received them, they were all over the map, they were all disorganized, and we'd have to basically find the one shot that was on real thirty two and then another shot part of that scene that was on sixty five, and we finally had to like organize, you know what, became probably six sixty to seventy hours material just for the pre opening, and so taking all that information, all that and figuring out,
like an archaeological dig, what was this mound of dirt and where did what direction was it facing, what direction is the camera facing, and what is that going to be down the road? Is that tomorrow Land? Is that Adventureland? So all that stuff became a major feat for my editor Mo and my producer Mark Ketley and myself to really go through it all and figure out, okay, well what is what? But then now it was about how
do we tell the story? Because construction footage by itself can be a bit boring, so we need a story. So then we started going through all these transcripts of people figuring out who was there at the time, through photographs that we've seen and research that we found in the Disney archives, who was there and who were the
key people involved in the making of the park. I mean, there's a lot of people, but there were some, obviously, people that were kind of right front and center in the major parts of it, the finance, the engineering, the story,
the construction, the leadership of all that. So we found we started going through all these transcripts of people and then realizing that so much that was there that was interesting was about the drama happening behind the scenes, right and it was the fact that Walt was crazy, and Walt was insane, and you know, how's he ever going to do this? And he's going to run the company into the ground, and you know, there was so much doubt and fear in some cases of just can this
get done? And then ultimately the Disneyland TV show with ABC promised to have this park done in a year, So he set himself up for what should have been total failure to make that park. In today's world that would never happen. And the fact that he did, I think is the ultimate feet of this film. And I think was also unique in this film is that it's never been told in this way before, just straightforward footage that allows you to sit in it and immerse yourself
in it. And that's really what we wanted to do, is take you back in time into this time capsule of that plot of dirt that that would become the happiest place on earth, and see how they did it.
I imagine there are a number of times when you were going through all of those hours of archival footage and notes in information where you get some surprises along the way. Did any of those happen in this project? And what were they? Well?
I think, you know, to me, what stood out was so much of the detail in building, the like the brick and the you know, just crafting things by hand. You know, you kind of take it for granted now when you walk through the park that this park was always you always think it's it was always here, you know, and and but this was the very origin story of it, and how they the level of detail that they went
with to create it. It could have been any other amusement park that's kind of just off the shelf stuff, but they they literally crafted so much of this by hand, so much artistry to it, that you really gain a whole new appreciation for it. And I think the fact that they only had about ten percent of the plans built when they started making a Disneyland, that's incredible to me.
And I had never known that, And so I think those were little surprises along the way as we started to read the transcripts.
Yeah, yeah, that's the kind of thing that if a person in a leadership position did today, Like I only have ten percent of this planned out, but we're gonna go ahead and get guys on the ground. They get fired, right, It's not it's not anything that's really tenable in most people's eyes.
Yeah, And I think also what's interesting is to see those guys walking on those beams, smoking, you know, and going up and down the sliding down this beam, and it's just like the sheer fearlessness at that time of just getting this done and not caring about I mean, OSHA was not even a thing then, so it was just like, let's just do it. And I think that that's so refreshing for so many people to just have that ability to, you know, just go do it. There weren't a lot of rules and stuff, you know.
Yeah, it's so easy for people today to think of Disney as this very money flush juggernaut of a company, but your documentary really shows how tight money was in those early days and how stressful this project was for everyone involved, but of course for Walt Disney in particular. How much of that heavier side of this project were you aware of before you started making the film.
Well, I certainly knew about it, because I've done a lot of research on Disneyland and read a ton of the books and whatnot and so, and also having told Imagineering story episode one, I was aware of a lot of those stories, and I think for me, I just
I didn't want to tell that story the same way. Again, there was a there's a book called Disney's Land that I really appreciated, and I think that that book was very inspirational too, and that it really does get into the kind of the hardship of behind the scenes of what it took to make the park, to build it, you know, to put it together. And so I took that. I took that very seriously and really wanted you to
feel it. And I think with the choice of music that we used, and it's it's not your typical happy Disney you know cues, it's it's actually a little more grounded and making you feel Yeah, the more the weight I think of what they were all going through.
We have talked on this show before about the timeline of Disneyland's construction, and so even being aware of it, seeing just how much, like getting the visual of how much was still undone even a few months before opening, is a very different thing. Yeah, did seeing that footage give you as much anxiety as it did me, Like, I know it's going to turn out. I know we're going to land the ship, but it still was like, this is very stressful.
Yeah it is, and it so many people have said to me. My heart was racing towards the end there. It's like are they going to you know, how are they going to do it? And I think that's I think when you finally get to the rehearsals a few days before and everyone's all over themselves, all over the place, on top of each other in the park trying to rehearse for the TV show that's live across the country and also finish the park at the same time. I mean,
that's conflict. And I think that once we started seeing all that come together and knowing that you still got wet cement and you still have tomorrow Land that's not built finished yet, and you start to feel the pressure.
And we also the editing style I think also started to get a little bit quicker, and you start to really feel the tension as we go, you start to edit a little bit faster is in pacing, and so that's a subliminal way to kind of know, okay, well they were acting faster, and we need to edit faster, you know, to create that phonetic energy.
Yeah, there were two quotes that really stood out to me in it. One was from harber Goff where he says, I didn't understand what worry was until he was talking to Walt about, you know, just Walt's day to day concerns. And then the other one being art link letter saying it was a great, big panic all the time.
Yeah.
And when you think about those two things in conjunction, it sounds like it's a marvel. Everyone didn't have a heart attack.
It's true, especially Walt. Yeah, you know, I agree. It seemed like maybe at the beginning when they were making, you know, doing gag shots and gag scenes and having fun in the in the field, Yeah, you didn't see so much of that as it got closer to the finish.
Did you have any difficulty reconciling all of this information about just how stressed Walt actually was every single day with that very cool, smooth, assured persona that he was always showing the public on television and in interview appearances.
Well, yeah, I mean it's funny because he had to put on that persona obviously, he's Uncle Walt to so many people around the country, and he had to show that that sort of real confidence and sureness. But what I thought was actually pretty brilliant was in the TV show, they made fun of themselves. You know, they acknowledge that they're in the final race and it's you know, all
hands on deck and it's the final push. And you know, even when the guy was falling over in the tractor and jumps out that scene, they said, oh, nobody got hurt, you know, and you know, we can tell you to
continue to have a good time. I mean, it's they kind of make light of a lot of it, but then they're also acknowledging that they're they're in that final stretch and it's and it's harried, right, And so I think by by just being open about it and not denying that and sharing that with the audience, I think that was really smart. They brought the audience into the whole process and shared it with them.
Yeah. Oh the gasp, I gasped when that big tractor goes over. I was like, oh, oh, he's fine. Okay, that's fine, that's fine. I know you talked a little bit about this already, and approaching this with a very verite style in mind. But to be clear to any of our listeners reviewers who haven't seen it, this film includes voice recordings of people who were working on the Disneyland project. But you never cut away to those interviews, like to show the person speaking. And I think correct
me if I'm wrong. You enhanced some of the sound of the original footage. So those those kind of immersive sounds of like hammers hitting things and you know, trowels scraping against stone, et cetera, are there, and the footage is always the building and the construction, and it becomes
really really powerful. Were there any was that always did you already always have this vision that we're never cutting away from this construction or did that kind of congeal in the process of laying out what you had?
No we early on it was like, we're staying all in in this footage. We're not going to cut away to somewhere else, right, or a flashback to something. It was always about staying in the moment as if you were there and living in it. And that was and then the sound effects were really something that I that was important to me because I knew that all this
footage was mos. It was there was no sound to this raw footage that we got right and they didn't record sound when they were in the field, so it was all silent, and so when it came to together, we had to do a temp audio track to build in all these sound effects, and that's when it really started to come alive as a proof of concept that we did. And then we added some voiceovers to it and just to kind of see get a feel for it, and that's when Disney Plus said, Okay, this is great.
And then the project kind of went on hold for a bit and then kind of sat on a shelf for a number of reasons, not due to the project itself. It was just you know, what have you. And then Jason Recker with Disney Experiences saw it. I showed him a copy. I'm like, by the way, your seventieth anniversary of Disneyland's coming up, and you know, I got this project if you're interested, is sitting on a shelf. And
he was like, oh my god, this is amazing. So they funded the completion of it, and I think what was great was that once we got the real the finishing funds to do that, it was like all hands on deck. We got to get all the sound bites, we got to get all the audio clips, all the audio effects, sound effects to go with it, and I said, it has to be authentic. Every single thing you see has to feel authentic, and it has to be from
that era. So tractors have to be from the fifty four, you know, the hammers or whatever, you know, whatever saws they use at that time. Obviously you can't. They didn't have electric and I'll think to that. So it had to be really authentic to the time of what they were doing. And so we did that to the best of our ability in the offline edit. But then once we got to Skywalker, Bonnie Wilde and I had a conversation and I told her that I said, look at let's just make this as authentic as it can be.
Go the extra mile to get the period effects, and then work with Disney to get the sounds from the park at that time as well, because Disney has a library of sounds, and it was harder than we thought to try to get some of those authentic Disneyland sounds from that from that first year, but we were able
to get some, so it was fun. And then and then like the Mark Twain in that scene, and you know, you got you got water, and you got the sound of the engine and the paddle wheeler, and you've got you know, voices of people in the distance, And we didn't want to ever fabricate what somebody might be saying. So it's really just more muffully general ambiance because we could have we could have made some stuff up, and
no way we would ever do that. Like, I was so protective of this footage and wanted to make sure that it lived up to what it could have what it must have been like at that time.
Right, it sounds incredible. I know. I've seen footage of you in the Stag Theater at Skywalker Sound, which is an incredible place, and I've been lucky enough to visit once. I can only imagine what this sounded like in that setting, because for our listeners, this is like a theater that is optimized to sound incredible and delivered the best possible audio. I feel like the Hammers alone would be like oddly joyous in that theater.
Yeah, it was incredible. That's the theater. And I sat in George Lucas's seat in the center, the optimal seat for sound, and we mixed it in at Most and it was really fun because, you know, the idea was that if you're in there in the park in nineteen fifty four during construction, then you are hearing stuff all
around you. You're hearing hammers back there, you're hearing trucks over here, you're doing you know, so, you're hearing voices here and there, you're seeing it, you're hearing a helicopter fly over. And so to me, it was exciting to build that that three sixty audio escape soundscape, you know, and that was we put a lot of effort into
that and it was fun to do that. And I hope there's more opportunities to show this film theatrically so we can that atmost the work we did in at most pay you know, people can experience more.
So good. This is a good example of something that you've done a few times in your career as a director, where you are immersing yourself so deeply in these projects that are about people doing incredibly creative and impressive things, but they're often perceived by others as being completely impossible before they are accomplished. What lessons have you learned or taken away from researching and studying all of these people.
Well, I think, you know, I'm constantly inspired and of course just like, well what have I done? You know, It's like, you know, these people are like amazing brilliant minds, and I'm always inspired and always like, Okay, I got to do my next thing bigger and better and greater,
and you know, continue to be an entrepreneur. And I think what I what I find that's a thread through all of it is this this fearlessness and this ability to just take a leap and that and Wat especially saying I've been broke five times, one war is not going to matter, you know, that that sort of ultimate fearlessness. And I guess the fact that he doesn't fear financial
collapse even with the studio. I'm sure he did, of course he did, but to say that and somebody to repeat it that, he wouldn't have said it if he didn't mean it, right, And so I think that that is amazing. And I think when people what inspires me, I suppose is that the stories I've told her about people that had a vision and they trusted their instincts to follow that vision, and they also got amazing support
around them to make that vision happen. And that vision now, whether it be you know, Pixar, or whether it be you know, the theme parks or creating a restaurant. These things are that I've told have lasted. And I'm always wondering why something lasts one hundred years or one hundred and twenty five years. What is the DNA in that? And I did the Hearst documentary and that's one hundred and twenty five years of Herst, you know, And it's it's
just amazing to me. What because there's so many businesses that don't don't survive across the world. Some last one year, some last fIF ten years, some last longer, but very few last one hundred or longer. And when you really distill it down, and so what is it? What is what is the baton pass from leadership to leadership that
keeps it going? And what does that How does that create ave DNA that origin story continue to grow and shape and perpetuate basically, you know, years beyond the founder's death, you know. So I find these stories very interesting.
I'm glad you mentioned things that have incredible longevity because I wanted to ask you about something like this project like Handcrafted is very much a historical documentary versus others that you've done that are a little more contemporary. Do you take a different approach when you're looking at historical things or is it all just about the truth at the end of the day for you, I think.
I'm trying with archival stuff. It's hard. They're both. They're all hard, obviously documentaries, But because you're crafting a story, sometimes people already know that story. So the key is if if people know a story already, how do you tell it differently and how do you bring in fresh information and tell it from a fresh perspective. And so that's a challenge. That's what I always try to do. But if it's a subject like Zverite, like my film Selling Lies or Recycled Life back in the day, those
are stories that have some story to them already. They've been in the newspaper or stories have been done around them or whatever a little bit. But now I want to get in there and tell my own version of that. I want to get in and really understand what is going on and how is it affecting. And I would say that Recycled Life, which was my first short film that you know It was also Oscar nominated back in nineteen ninety seven, was it It was a while ago
or two thousand and seven. Sorry. The thing about Recycling Life was that it was unfolding before my eyes, and this is about people living in the largest landfill in Central America and who had families born and raised in the garbage dump for sixty years, right, And so to me, this was a very very hard and difficult film to produce and direct and shoot myself. But it was happening. Things were happening around you, and you just had to
find the story. And it takes a while to find your characters and follow them and you know, get get to know them, and then what are their goals and what are their troubles, and then who's making me who? And so that was a that was a really great lesson for me to take an unfolding story, film it in every way I could think of, and then have probably, oh, I don't know how many hours to edit that together,
you know. And I think what happens in the making of documentaries as well, is that you start to get after a certain point, very comfortable with the footage and very comfortable with the subject and sometimes that's not good, meaning you kind of take for granted that you're looking at something that's so weird and so amazing or so compelling. You just kind of go, yeah, I'm in a garbage
jump again, and I'm just shooting stuff. But when I come back and I edit something together and people watch it, have never experienced that they're blown away, right, and so, and I think that's in a way a good thing and a bad thing, meaning you can get too comfortable with your own stuff after a while when you're in it. But then it's also good to also remind yourself that this is actually really special and trust that, trust that people will enjoy watching it in one way or another, hopefully.
Yes, knowing that your audience for a film like Handcrafted is going to be a mix of people who are those hardcore folks that already know a lot about Disney history and people who are learning it for the first time. I wonder, when you're making this film, or even just when you're thinking about it after it's completed, what is the one thing that you hope that people take away from watching it.
Well, I think, to me, it's a renewed appreciation for Walt Disney and for Disneyland, and that it was not inevitable like it was just this was something. This was something that was willed into existence by sheer determination and share die Hard just giving everything he had to this, his financial resources, his physical ability to get it done in Marshall, hundreds of people to rally behind this incredible dream that a lot of people were like, this is nuts.
And so I think I think that sheer leadership and drive is what I hope will inspire people, you know, the most and say, you know what, if he could do that, I can do this, Like what am I doing?
You know?
And I think that's that's kind of the takeaway. I was joking about it before. It's like, well, what are we all doing? When are we living up to our full potential? When you see something like that at being achieved, you know. And and what's inspiring to me is that that was the DNA that has inspired all these parks
around the world. And when I travel with these parks and I see people in China, people in Paris, and you know, people in Hong Kong, and and you know, at some point in the future, Abu Dhabi like there's people all over the world that have a great time at these parks, and they pilgrimage to these parks generation
after generation, and that's very very rare. Yeah, you know, I mean maybe maybe in religious shrines and things like that you have pilgrimages, but this is like an entertainment pilgrimage.
And the fact that people do this and have this excitement to bring their young kid at a certain point to experience Dizeyland for the first time, that's a gift that Walt gave to humanity, and that to me, is very very inspiring, and so I just hope that people come away with that that renewed appreciation of that anything is possible.
It did make me feel that way and maybe want to delete all of the apps off my phone that are not doing anything but killing my time. Leslie, thank you so much for this. I so appreciate you spending this time with me today.
Well, thank you.
I cannot wait to see what you do next, because I will be watching it as soon as I possibly can, because I've loved your work for a long time.
Thanks.
Is there anything else you would want people to know before I free you from this conversation?
I mean, I you know, I don't think so. I appreciate so much your your interest in this subject and just having watched the other projects and understanding the thread of my filmmaking interest in style, and it's just it's just a blast to be able to tell stories like this, and to work with Disney is obviously a gift to me as well with my family history. So it's it's fun. I like, I like the variation between Disney and real life and all sorts of different subjects, so it's fun.
I love it. Thank you again so much, Thank you appreciate it again. I want to absolutely share my deepest thanks to Leslie for sharing her thoughts on filmmaking and history and the intersection of the two. I also want to make sure I shout out her entire team who worked really really hard to get this schedule nailed down. Disneyland Handcrafted is available now on YouTube and Disney Plus.
I also have a bit of listener mail for this one. Okay, this is from our listener, Pamela and I love it for a number of reasons which will become immediately apparent. Pamela Rides Dear Holly and Tracy, First, thank you for the work you both do to share educational and entertaining podcasts. Yours is the show I have listened to the longest, as I'm sure is the case for many listeners. I often find a connection between your podcast and something in
my daily life. It's always a great reminder that we are small part of a larger picture that existed before we were born and will continue after we are gone. Second, my husband and I recently tried a new to US restaurant and the drinksmen, you made me chuckle and think of you both when I saw orange cat behavior. This is the name of a drink and it's spectacular. I may try it next time. I went with moon Song for the rosemary in it, since the smash burger I
ordered featured a seasoning blend with rosemary attached. For pet tax is a picture of Dixie, our three year old border Collie Pity Mixed Rescue and the sidewalk chalk portrait made by my eight year old son. Okay, Dixie is so cute and Dixie is curled up with a bunch of bluey toys, So this is like a multi hit
dopamine situation for me. Yeah, and I had a dog named Dixie growing up, so this is the sweetest sweetest, don't think that I don't notice that there is one bluey and two Bingos in that picture, which is correct because Bingo is my my preferred character. This cocktail sounds amazing. Orange cat behavior is red wine, orange juice, ginger beer, and then delish. I know this sounds wild, but I bet it's really yummy. Again, it's like Cali mocho. Right.
I went through a process as he read off the ingredients. I was like, red wine, cool, and then oh, intriguing, and then Okay, that sounds like it might be really good. Yeah, I think I think that could actually work, because I did the same process when I first read this email, and I was like, I don't oh no, it's probably a lot like Calimocho or tinted di Verano, which we talked about before, those being drinks that we had in Spain that mix wine and a soda of some sort
or lemonade. Right, very delicious, sounds good. This entire cocktail menu is so fascinating to me and so creative that I'm like, do I need to go to this? Do I need to literally book a flight to go visit this thing? And then the chalk drawing is so cute because it is a picture of Dixie in chalk by their little and it's so sweet. I love it so much. Pamela,
thank you for sharing this with me. I do love the idea that an orange cat behavior is a drink that seems like a variety of disparate ingredients that make something pretty terrific, because that does sum up the way orange cats behave pretty beautiful. If you would like to write to us and share any interesting cocktails you find on menus, any pet pictures, any thoughts on episodes, any anything, you can do that at History podcast at iHeartRadio dot com.
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