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<v Speaker 1>Let's go.

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<v Speaker 2>Hello everyone, and welcome to Forgotten the Hollywood, your podcast

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<v Speaker 2>and memories of Yesteryear. My name is Doug Hess and

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<v Speaker 2>if you're tuning in Forgotten Hollywood for the first time,

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<v Speaker 2>what I do on this podcast is take you on

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<v Speaker 2>a journey back in time and share with you pieces

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<v Speaker 2>of Hollywood that you may or may not know about.

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<v Speaker 2>And in this episode, we have very special guests with

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<v Speaker 2>us today, David Margolick, and he is here to talk

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<v Speaker 2>about his latest book, When Caesar Was King, How Sid

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<v Speaker 2>Caesar reinvented American comedy. David, Welcome to Forgotten Hollywood.

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<v Speaker 1>Thank you, Doug. It's nice to be here with you.

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<v Speaker 2>Ooh, it's our pleasure, and thank you for spending a

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<v Speaker 2>few minutes with us today to talk about your book

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<v Speaker 2>When Caesar Was King. And obviously I think a lot

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<v Speaker 2>of it kind of goes with the title of the book,

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<v Speaker 2>but we always like to have the author to tell

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<v Speaker 2>us in their own words what the book is about.

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<v Speaker 1>Well, the book is sort of a biography of Sid Caesar,

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<v Speaker 1>who was one of the five Others of American television

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<v Speaker 1>comedy and American comedy. More broadly, I mean, he was

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<v Speaker 1>this incredible meteoric figure in television history who appeared sort

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<v Speaker 1>of at the same time that television was just getting

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<v Speaker 1>off the ground, but with a groundbreaking kind of comedy,

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<v Speaker 1>a more intimate comedy that lent itself to the small screen.

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<v Speaker 1>So he was really the first true television comic and

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<v Speaker 1>a man of astonishing gifts and diverse talents who attracted

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<v Speaker 1>really the best comedy writers of his generation to work

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<v Speaker 1>with him and to help him shape his famous programs,

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<v Speaker 1>most notably Your Show of Shows, which a lot of

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<v Speaker 1>people will have heard of there ran from nineteen fifty

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<v Speaker 1>to nineteen fifty four, and then Caesar's Hour which ran

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<v Speaker 1>from nineteen fifty four to nineteen fifty seven, and then

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<v Speaker 1>followed by a couple of years when he was on

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<v Speaker 1>and off TV. And in that in that time, he had,

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<v Speaker 1>you know, his famous writers room that was depicted in

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<v Speaker 1>My in the movie My Favorite Year and the Broadway

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<v Speaker 1>play Laughter on the twenty third Floor. And his writers

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<v Speaker 1>included not all at the same time, but mel Brooks,

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<v Speaker 1>Larry Gelbart, Neil Simon, Woody Allen. I mean, he had

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<v Speaker 1>this incredible lineup of writers. And so when you talk

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<v Speaker 1>about Sid Caesar, you talk about his own comedy, which

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<v Speaker 1>was very unusual and brilliant in many different ways. And

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<v Speaker 1>then you talk about all of the comedy that his

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<v Speaker 1>disciples went on to write, and and you know, it's

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<v Speaker 1>absolutely everywhere. It's on TV, it's in the movies. It's me,

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<v Speaker 1>you know, mel Brooks and Blazing Saddles. It's TV with

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<v Speaker 1>the Dick Van Dyke Show and and all of its

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<v Speaker 1>progeny Saturday Night Live, It's Broadway with the shows of

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<v Speaker 1>Neil Simon. You know, it's disciples like Johnny Carson and

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<v Speaker 1>Carol Burnett and Billy Crystal and Conan O'Brien. All of

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<v Speaker 1>them have talked about the influence that Sid Caesar had

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<v Speaker 1>on them. So he was really he was sort of

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<v Speaker 1>the prime mover in American comedy in the nineteen fifties

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<v Speaker 1>and then beyond, and even as he faded, and the

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<v Speaker 1>story about his fall is really as dramatic as his rise.

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<v Speaker 1>Even after he faded from the scene, you know, his

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<v Speaker 1>disciples were out creating, you know, lavish comedy and all

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<v Speaker 1>of these different realms. So his fingerprints are everywhere.

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<v Speaker 2>Yeah, and we're still feeling those effects today.

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<v Speaker 1>That's right. I mean, you know you can I you

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<v Speaker 1>know I had. I corresponded with Larry David and he said,

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<v Speaker 1>you know, Sid Caesar was the best sketch comedian ever,

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<v Speaker 1>you know, and nobody was even a close second, you know.

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<v Speaker 1>And John Stuart, you know, the night that Sid died

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<v Speaker 1>in twenty fourteen, John Stewart said on his program, the

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<v Speaker 1>grandfather of us all has died today. And you know,

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<v Speaker 1>I think that in a way, Seinfeld's comedy the comedy

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<v Speaker 1>about not you know, comedy, the show about nothing. In

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<v Speaker 1>a way, Caesar was a student of human nature and

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<v Speaker 1>human nature is a series of nothings in a way.

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<v Speaker 1>I mean, you can you can poke fun at anything

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<v Speaker 1>having to do with human beings. And this was the

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<v Speaker 1>kind of thing that Sid Caesar did in a variety

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<v Speaker 1>of ways on his shows. And so in a way,

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<v Speaker 1>I think the Seinfeld has a debt to Caesar. And

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<v Speaker 1>then you know, all these different sitcoms, the Andy Griffith Show,

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<v Speaker 1>I mean all of them, I think they were all

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<v Speaker 1>done by Caesar alum or influenced by Caesar himself. So

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<v Speaker 1>he's an unusual character. He's an interesting character from a

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<v Speaker 1>biographer's standpoint, because there you have the two great prongs

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<v Speaker 1>of storytelling you have the story of his rise, which,

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<v Speaker 1>as I say, was dramatic, meteoric, and then you have

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<v Speaker 1>the story of his fall, which was also very dramatic

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<v Speaker 1>and very quick actually, And so it's not a My

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<v Speaker 1>book is not a conventional biography. It's malaportioned in a way.

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<v Speaker 1>Most of it has to do with his early life,

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<v Speaker 1>because arguably he was over the hill by the time

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<v Speaker 1>he was forty, and you know, the last fifty or

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<v Speaker 1>sixty years of his life. I deal within a couple

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<v Speaker 1>of chapters. I mean, they're also they're dramatic, and they're poignant,

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<v Speaker 1>but one can get through them a bit. You know,

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<v Speaker 1>one can get through them quickly because there's less to

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<v Speaker 1>write per year at that part, you know, over that

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<v Speaker 1>period of his life.

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<v Speaker 2>Yeah, David, how did you come about writing this book? What?

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<v Speaker 2>What kind of inspired you to do this?

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<v Speaker 1>Well, you know, my back my background, Doug is in

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<v Speaker 1>journal is in daily and magazine journalism, and and uh

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<v Speaker 1>I covered law for many years for the New York Times.

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<v Speaker 1>I was one of their law writers. I have a

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<v Speaker 1>law degree, but I had always wanted to broaden and

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<v Speaker 1>you know, write about culture more generally.

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<v Speaker 2>And this was.

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<v Speaker 1>Originally a book for a Jewish book series, and and

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<v Speaker 1>and a series of Jewish biographies of famous Jewish figures.

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<v Speaker 1>And I thought that, you know, when you look at

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<v Speaker 1>the sweep of Jewish history, a lot of the stories

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<v Speaker 1>aren't very happy. And I thought that maybe I'd give

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<v Speaker 1>myself a break and write about a comedy figure. And

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<v Speaker 1>I was intrigued by Sid Caesar because I had gone

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<v Speaker 1>to a testimonial dinner for him in the year two

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<v Speaker 1>thousand where mel Brooks was the featured speaker, And there

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<v Speaker 1>were a lot of intriguing things that night, I mean,

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<v Speaker 1>but the most intriguing thing was here was this kind

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<v Speaker 1>of almost wreck of a guy, I mean, very fragile looking,

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<v Speaker 1>you know, already already very aged, almost prematurely aged, and

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<v Speaker 1>dysfunctional in a way, fragile, halting, and yet everybody was

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<v Speaker 1>saying such wonderful things about him, including mel Brooks. I mean,

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<v Speaker 1>mel you could see was profoundly moved to be in

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<v Speaker 1>Sid Caesar's presence again. And that may have been one

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<v Speaker 1>of the nights where mel Brooks said, if you didn't

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<v Speaker 1>say it explicitly, he said it effectively that he said,

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<v Speaker 1>you know, mel Brooks was fond of saying no, Sid Caesar,

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<v Speaker 1>no mel Brooks. That Sid was the one who discovered

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<v Speaker 1>mel Brooks and developed him and gave him a chance

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<v Speaker 1>and tolerated him because mel was a high maintenance character

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<v Speaker 1>and hard to work with and one had one had

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<v Speaker 1>to put up with a lot to have him on board.

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<v Speaker 1>The producer, Sid, Caesar's producer on your show of show

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<v Speaker 1>is a guy named Max Leidman, wanted only to get

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<v Speaker 1>rid of mel Brooks because he was just such an annoyance,

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<v Speaker 1>you know, sort of hectoring them and you know, just

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<v Speaker 1>you know, always badgering them and trying to get his

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<v Speaker 1>stuff in and driving everybody crazy with his high energy

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<v Speaker 1>and his pushiness. And Sid protected him, even paid him

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<v Speaker 1>out of his own pocket and kept him around because

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<v Speaker 1>he made Sid laugh and Sid didn't laugh very easily.

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<v Speaker 1>Sid was a complicated guy, and they developed this very

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<v Speaker 1>kind of love hate sato masochistic relationship over the next

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<v Speaker 1>ten years. And ever since then, Mel has been talking

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<v Speaker 1>about Sid and the debt that he the debt that

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<v Speaker 1>he owes to Sid. One of really one of my

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<v Speaker 1>rewarding interviews was with Mel, and you know, Mel just

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<v Speaker 1>couldn't stop talking about Sid's rise and fall and the

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<v Speaker 1>impact that Sid had had on him. And Mel has

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<v Speaker 1>spent you know, the last fifty years thanking Sid Caesar

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<v Speaker 1>and acknowledging how important Sid was in his life. So anyway,

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<v Speaker 1>I went to this testimonial and it raised the question

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<v Speaker 1>everybody was thanking Sid and honoring him, and he was

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<v Speaker 1>a shell of a man, And you know, the two

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<v Speaker 1>questions were obvious. I mean, why are they all in

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<v Speaker 1>such awe of him? And what was it that he did?

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<v Speaker 1>And then what happened to him? Right? And so that

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<v Speaker 1>I think kind of wetted my appetite for doing a book.

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<v Speaker 1>And when the opportunity arose several years later and the

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<v Speaker 1>editor of the book series asked me which figure I

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<v Speaker 1>wanted to write about, I suggested Sid Caesar. And I think,

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<v Speaker 1>you know, I made a lot of mistakes, but I

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<v Speaker 1>think this was a good decision because his story needed

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<v Speaker 1>to be written. And I think that people like Mel

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<v Speaker 1>and Woody Allen when I interviewed him, and all all

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<v Speaker 1>of these people, Conan O'Brien, as I mentioned, Billy Crystal,

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<v Speaker 1>lots of younger comics, they all knew that Sid was

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<v Speaker 1>in the pantheon. Sid was at the top of Mount Olympus,

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<v Speaker 1>and they were eager to talk about him because they

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<v Speaker 1>wanted to restore him to his rightful place. And I

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<v Speaker 1>think that my book does that. My book is not

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<v Speaker 1>a hagiography. Sid was a difficult guy and kind of

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<v Speaker 1>hard to know and in some ways hard to like.

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<v Speaker 1>But you know, I think that, you know, I've honored

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<v Speaker 1>him by describing just how important he was.

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<v Speaker 2>Absolutely. You know, one of the things I kind of

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<v Speaker 2>found interesting myself was that how much food played a

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<v Speaker 2>part of his comedy.

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<v Speaker 1>Yeah, well that, you know, you raise a good point, Doug,

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<v Speaker 1>because one of the things that you're doing when you're

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<v Speaker 1>writing for a Jewish book series is that you need

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<v Speaker 1>to explain what's Jewish about Sid Caesar's comedy. It's a

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<v Speaker 1>subtle thing because they never wore it, they never proclaimed it.

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<v Speaker 1>I mean, you have to remember that. You know, they

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<v Speaker 1>were on TV in the early nineteen fifties, and you know,

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<v Speaker 1>it was the McCarthy era. It was an era when

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<v Speaker 1>everybody was very scared to do anything topical political in

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<v Speaker 1>any way, and so they had to tread very carefully

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<v Speaker 1>in that respect. It was also an era where American

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<v Speaker 1>anti Semitism, which had you know, subsided some during the

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<v Speaker 1>war and after the Holocaust was still ubiquitous, and you know,

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<v Speaker 1>Sid show was of buy and in some ways for

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<v Speaker 1>Jews at the beginning, when the television audience was very

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<v Speaker 1>urban and Eastern, and they were very conscious of downplaying

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<v Speaker 1>their Jewishness. They didn't want to. You know, the word

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<v Speaker 1>jew was never uttered on any Sid Caesar show. Yiddish

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<v Speaker 1>words were very scarce. So you have to look for

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<v Speaker 1>other other elements of their comedy that are that that

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<v Speaker 1>reflected Jewish sensibility, you know, the certain sense of irony

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<v Speaker 1>and a sense of detachment and a sympathy for the underdog,

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<v Speaker 1>and skepticism of authority. And there are lots of them.

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<v Speaker 1>But and one of them, and one of the most

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<v Speaker 1>blatant and conspicuous ones is food. They're always eating, and

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<v Speaker 1>they're always talking about eating, and all there are lots

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<v Speaker 1>of great Caesar sketches that revolve around eating and uh

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<v Speaker 1>and so that you know, it just it, just it.

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<v Speaker 1>It became an important It was an important lightmotif in

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<v Speaker 1>Caesar's comedy and therefore becomes an important theme in my book.

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<v Speaker 1>You know, the book is filled with anecdotes about food,

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<v Speaker 1>and it's something that's dear to my heart too. And

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<v Speaker 1>I actually I had an interesting conversation. Some of your

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<v Speaker 1>listeners will remember me, Me Sheridan, who is the restaurant

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<v Speaker 1>critic for the New York Times where I worked for

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<v Speaker 1>a long time and instead of an observer of the

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<v Speaker 1>food scene, and I asked her once about this thing

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<v Speaker 1>about Jews and food. She was Jewish. I'm Jewish, but

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<v Speaker 1>I needed somebody to explain it to me. And I said,

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<v Speaker 1>you know, food is obviously a central part of life

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<v Speaker 1>and a central part of every tradition. And you know,

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<v Speaker 1>all you had to do was look at the Sopranos,

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<v Speaker 1>which was on then, and you know they're always eating too.

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<v Speaker 1>And I said, like, what's the difference between the Jews

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<v Speaker 1>and the Italians when it comes to you know, how

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<v Speaker 1>are the Jews different, if at all? She said, the

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<v Speaker 1>Italians are just like the Jews, but without the panic.

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<v Speaker 1>And I thought that was really a brilliant line, because

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<v Speaker 1>you know, there's a kind of insecurity around food. In

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<v Speaker 1>Caesar's sketches. I have a passage in the book where

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<v Speaker 1>I describe it. You know, Sid is going to a

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<v Speaker 1>health food restaurant Imogene Coca, his co star, is bringing

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<v Speaker 1>him to a health food restaurant and all Sid wants,

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<v Speaker 1>he's a nineteen fifties guy. All he wants is a steak,

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<v Speaker 1>you know, a traditional steak, and all of these plants

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<v Speaker 1>are coming out and you know, all of these you know.

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<v Speaker 1>It really is a forerunner of the scene where Woody

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<v Speaker 1>Allen is stricken when he goes to a health food

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<v Speaker 1>restaurant with Diane Keaton. You know, here's the same thing

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<v Speaker 1>twenty years earlier. And so Sid's not getting enough food,

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<v Speaker 1>or he's not getting the right kind of food, you know,

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<v Speaker 1>or you know, somebody else is getting more of it,

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<v Speaker 1>you know, or he's getting sick from it, you know. Anyway,

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<v Speaker 1>it's just, you know, it's absolutely all over the show.

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<v Speaker 1>Sid was a great respector of food in his heyday.

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<v Speaker 1>He always insisted also, I think because he wanted real food,

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<v Speaker 1>that real food was used in all the sketches. I mean,

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<v Speaker 1>they're not faking it. You know, if you watch The Honeymooners,

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<v Speaker 1>you can see that Alice is stirring a pot with

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<v Speaker 1>nothing in it, you know, in all the you know,

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<v Speaker 1>in Sid's stuff, there there's always real food. And maybe

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<v Speaker 1>because of the tradition of the history of privation and

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<v Speaker 1>not having enough. There were no food fights on any

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<v Speaker 1>Sid Caesar show. They're not the Three Stooges. I mean,

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<v Speaker 1>the comedy is more elevated than that anyway, but food

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<v Speaker 1>was too important to throw around.

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<v Speaker 2>Wow, no pie fights. Oh, very interesting. In one of

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<v Speaker 2>those things that I think so many times you were.

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<v Speaker 2>When we're watching, whether it's on TV or the big screen,

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<v Speaker 2>we take so much for granted and we don't really

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<v Speaker 2>realize some of the meaning behind some of the things

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<v Speaker 2>that's being incorporated into a scene or a movie or

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<v Speaker 2>a sketch.

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<v Speaker 1>Yeah, yeah, that's right, And yeah, I mean this obviously

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<v Speaker 1>touched a real nerve among you know, Caesar and the

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<v Speaker 1>people who are working for him. And you know most

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<v Speaker 1>of Caesar's key colleagues were Jews like him, right, I

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<v Speaker 1>mean on your show of shows, the three writers were

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<v Speaker 1>Jewish mel Brooks, Lucille Callen. Unusual to have a woman

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<v Speaker 1>writing these days in the early nineteen fifties. So Sid

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<v Speaker 1>had a woman writing for him even before Lucille Ball did.

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<v Speaker 1>And Sid was doing domestic comedy even before Lucille Ball

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<v Speaker 1>and the Ricardos came along. And you know, Sid's producer

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<v Speaker 1>was Jewish his co stars were Jewish Howard Morris and

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<v Speaker 1>Carl Reiner, Carl Reiner being the second banana on the show.

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<v Speaker 1>The cover of my book shows Sid and Carl together.

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<v Speaker 1>Carl is absolutely a crucial part of the Sid Caesar story.

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<v Speaker 1>And then when Caesar started his own show, as I said,

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<v Speaker 1>Caesar's Hour in nineteen fifty four, at one point all

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<v Speaker 1>seven of his writers were Jewish. But this was, as

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<v Speaker 1>I say in the book, this was something that neither

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<v Speaker 1>Philo Semites nor anti Semites talked about, nor the people themselves.

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<v Speaker 1>It was just sort of a secret, that an open

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<v Speaker 1>secret that Caesar's Show was a Jewish operation. But it

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<v Speaker 1>wasn't the kind of thing that anybody proclaimed.

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<v Speaker 2>I mean, they wanted.

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<v Speaker 1>To sort of keep it quiet so that you know,

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<v Speaker 1>the two thousand year old man that Carl Reiner and

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<v Speaker 1>mel Brooks invented, he was invented in Caesar's writer's room,

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<v Speaker 1>but he was also imprisoned in caesar writer's room. They

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<v Speaker 1>never would have let him out. I mean, he could

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<v Speaker 1>never have been on national television. You know, he would

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<v Speaker 1>have offended you know, he would have offended more mainstream viewers.

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<v Speaker 1>And it was something that they just they felt that

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<v Speaker 1>they were on thin ice and that they couldn't They

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<v Speaker 1>felt that they had to soft pedal their jewishness, you know,

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<v Speaker 1>Carl Reiner said, and you know, Carl, it was interesting

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<v Speaker 1>coming from him because Carl was you know, very he

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<v Speaker 1>had He gave the image of being very sort of

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<v Speaker 1>care free on the air, you know, always in a

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<v Speaker 1>good mood, never heavy and crucial because he complimented Sid

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<v Speaker 1>Caesar so well. Caesar had an element of madness to him,

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<v Speaker 1>and Carl Reiner was the image of stability. But in

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<v Speaker 1>one interview Caesar, Carl Reiner said that Caesar we all

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<v Speaker 1>felt the way that Sid that Sid did as Jews

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<v Speaker 1>in the nineteen fifties, in the early nineteen fifties, that

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<v Speaker 1>everything that the TV, the network people were the owners,

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<v Speaker 1>the network people, the advertisers, you know that the advertisers,

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<v Speaker 1>the sort of money people in America, the lawyers, they

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<v Speaker 1>were the owners and we were just the renters. We

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<v Speaker 1>we as Jews were just the renters. And so they

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<v Speaker 1>they were, you know, as brilliant as their comedy was,

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<v Speaker 1>it was almost never edgy or risky.

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<v Speaker 2>Because of fear of being probably canceled.

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<v Speaker 1>Yeah, fear of being canceled. And also, I mean I

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<v Speaker 1>left out the other element, which was that, you know,

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<v Speaker 1>politically they were progressive. You know, one of one of

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<v Speaker 1>Sid's earlier the writer who lasted with him the longest,

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<v Speaker 1>Mel Tolkien, who was later on All in the Family later,

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<v Speaker 1>you know, helped run All in the Family. And you know,

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<v Speaker 1>another tributary therefore, of the of Caesar's show. You know,

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<v Speaker 1>he had been a leftist activist, so had Carl Reiner,

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<v Speaker 1>another of Caesar's writers, had been in the Communist Party.

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<v Speaker 1>You know, they steered clear of anything political because they

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<v Speaker 1>were afraid of being red baited. So that was another

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<v Speaker 1>reason for them, you know, to come up with this

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<v Speaker 1>kind of brilliant comedy that was not topical. There were

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<v Speaker 1>no jokes about McCarthy, there were no jokes about Stalin.

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<v Speaker 1>There were you know, Eisenhower's name. You know, Eisenhower was

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<v Speaker 1>president for all eight years of Caesar's reign on television

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<v Speaker 1>and his name appeared once.

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<v Speaker 2>Well, that that really tells you all you need to

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<v Speaker 2>know about that, right.

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<v Speaker 1>Yeah, that's right, now, that's right. That they were you know,

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<v Speaker 1>they were brilliant and innovative, but they were also very careful.

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<v Speaker 2>Right, well, David. I know we're getting closer on time,

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<v Speaker 2>but I do have one last question for you. Did

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<v Speaker 2>anything really surprise you during the writing and the research

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<v Speaker 2>of this book.

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<v Speaker 1>Well, you know what I had to do, Doug, because

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<v Speaker 1>Caesar was so forgotten. He was forgotten. You know, I

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<v Speaker 1>should explain why he was forgotten because his shows were

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<v Speaker 1>done live, which is really part of the extraordinariness of

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<v Speaker 1>his accomplishment to do all of this live before twenty

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<v Speaker 1>million people when you couldn't screw up and bring it

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<v Speaker 1>in on time. I mean, it really, it's an extraordinary thing.

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<v Speaker 1>And it ate Sid Caesar alive, and it really accounted

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<v Speaker 1>for his demise because his brain cells were consumed, you know,

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<v Speaker 1>he was he became alic and a pill popper, and

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<v Speaker 1>he was you know, mel Brooks said, you could basically

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<v Speaker 1>watch him disintegrate, you know, I mean you could see

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<v Speaker 1>the tensions eat eating away at him. And you know,

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<v Speaker 1>the other thing that I should just mention briefly was

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<v Speaker 1>that television was changing. Television was spreading into the countryside.

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<v Speaker 1>Tastes were changing. So Sid was Sid came across as

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<v Speaker 1>high falutinant to a lot of people, you know, in

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<v Speaker 1>the hinter lands, and in smaller towns and cities. So

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<v Speaker 1>when Sid was knocked off the air, it was by

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<v Speaker 1>Lawrence Welk. Lawrence Welk was on ABC and Sid was

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<v Speaker 1>on NBC, And you know that nothing better crystallizes what

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<v Speaker 1>did Sid caesar in apart from his own his self destructiveness,

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<v Speaker 1>was that the television audience was changing. But I think,

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<v Speaker 1>to answer your question, what really surprised me was the

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<v Speaker 1>dazzling quality of the work. I had to go out

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<v Speaker 1>because he had forgotten, because he'd been forgotten because his

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<v Speaker 1>stuff was never syndicated, so that it died, unlike I

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<v Speaker 1>Love Lucy or Sergeant Bilco or Graucho Marx or or

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<v Speaker 1>the Honeymooners. You know, it disappeared, and so I had

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<v Speaker 1>to go out and watch it all. And while there's

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<v Speaker 1>a lot of repetition and a lot of stuff that

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<v Speaker 1>obviously you're doing a show every week, you know, there

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<v Speaker 1>was a lot of mediocre stuff. The brilliant of the

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<v Speaker 1>great stuff is what surprised me and delightedly delighted me

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<v Speaker 1>and and treat me, and that I wanted to proclaim

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<v Speaker 1>to everyone in doing the book. I mean, the work

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<v Speaker 1>is just dazzling, and it's you know, there's great variety

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<v Speaker 1>in it. He was a pantomimist, he was a linguist.

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<v Speaker 1>He could talk, you know, and in fake Gibberish and

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<v Speaker 1>German or French or Italian or Russian. He could do

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<v Speaker 1>brilliant soliloquies. I mean, the range of his work is astonishing.

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<v Speaker 1>But you had to go look at it all, and

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<v Speaker 1>I did. I'm sure that I've watched more of it

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<v Speaker 1>than probably anybody on the planet at this point. And

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<v Speaker 1>how great is it that I had the chance to

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<v Speaker 1>do that, you know?

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<v Speaker 2>Yeah, absolutely well, David, great work on the book. Appreciate

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<v Speaker 2>you coming on and spending some time with us today.

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<v Speaker 2>We really appreciate this into our listeners. Please go out

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<v Speaker 2>and get a copy of David's book When Caesar was

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<v Speaker 2>King House Sids Caesar remitted American comedy. It's out. You

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00:24:03.400 --> 00:24:08.000
<v Speaker 2>can get on Amazon or your favorite local bookstore. Like

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<v Speaker 2>I said, we've only hit the tip of the iceberg,

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00:24:10.559 --> 00:24:13.200
<v Speaker 2>and there's a lot more there to dive into, so

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<v Speaker 2>pick up your copy When Caesar was King Again. David,

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<v Speaker 2>thank you so much for coming on spending some time

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<v Speaker 2>with us today.

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<v Speaker 1>Thank you, Doug. It's been a pleasure.

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<v Speaker 2>Yes, well, thank you and thank you for listening to

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<v Speaker 2>this episode Forgotten Hollywood. Just search for dodcast or Forgotten Hollywood.

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<v Speaker 2>You can also find me on Twitter, Instagram at hastep fourteen.

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<v Speaker 2>If you listen to this podcast or iTunes or another

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00:24:33.440 --> 00:24:37.039
<v Speaker 2>podcast service, please subscribe, a rate and review this episode.

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<v Speaker 2>Tune in next time for letus episode and Forgotten in Hollywood.

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<v Speaker 2>Thank you for listening and we will see you soon