More than one historian has observed that New Jersey has a legitimate claim to being the golden cradle of American popular culture. A decade before the first cameras rolled in Hollywood, Fort Lee was the birthplace of the motion picture industry. A half-century before Las Vegas, Atlantic City was America’s first playground. Red Bank produced Count Basie, Hoboken Frank Sinatra. In 1926, the Patron Saint of Comedy, Jerry Lewis, entered the world in Newark and later announced his arrival with the immortal words Hey Laaaaady! This fall, the 90-year-old Lewis starred in the title role of Max Rose, portraying an octogenarian pianist dealing with the loss of his beloved wife. Filmmakers Luke Sacher and Carole Langer have known Lewis and his family for decades. They asked him to peel back the veneer on his 70-plus years in show business and talk about the Jerry that his fans rarely get to see.    

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EDGE: When you and Dean Martin began working together at the 500 Club in Atlantic City, were you looking for a partner? 

JL: No, it was an accident. I wasn’t looking for anything. The singer got laryngitis, and [club owner] Skinny D’Amato said to me, “Do you know anybody?” After the first night he was on the stage with me, I knew we had lightning in a bottle. He was just hoping to get through the two weeks so he could pay a car payment. When I took Dean for a tux after two weeks, he said, “What the hell do we need tuxes for?” I said, “Because, before the end of a year, we’re going to be making around five thousand bucks a week.” He said, “You’re crazy! You’re nuts. We’re going to go and spend three hundred a piece for tuxedos?” I said, “Trust me. Let’s just do it. We’re going to have to look like what they’re spending.” And in less than six months, we were getting five thousand a week.

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I was writing immediately, the minute I got him in Atlantic City. But listen…he was a klutz. Dean moved on the stage like he had three pounds of [poop] in his pants! He was the klutz of the world! After we were together a couple of years, he started to take on a little bit of ambiance, and movement and grace, because we were learning, and we were honing our profession, our craft.

If he didn’t have to put his mind to work, he didn’t. Yep. He could take a nap fifteen minutes before opening night at the London Palladium with Her Majesty the Queen in the audience. We always knew that, the way we had it—I handled the business, I did the editing, I did the writing—it worked.

He played golf. But, it’s very important to say for Dean that when he came from the golf course, and I finished writing the material, and we would put it on its feet, he knew it in five minutes. And [his timing] was impeccable. It could be on take one, he had it so well. What [people] didn’t understand was that they couldn’t have seen me if he wasn’t there. He was the spine of the whole act. I did tell him the following: “You can’t take a pratfall in a grey suit. It doesn’t work.” He said, “Why?” I said, “’Cause you can go down to the Bowery and see fifty, sixty grey suits laying in the gutter. But when you take a fall on a dusty floor, wearing a three thousand dollar tux. That’s funny.”

Dean was my hero, my big brother. My confidant.  And one thing I knew best about him was that he hated pathos. Because it would dig in and find something that he was working so hard and so desperately to keep behind the facade. Let me tell you how he was brought up. He was brought up by an old Italian family, who gave him a couple of prerequisites: 1) grown men don’t cry and 2) you never take money out of your pocket, you just put it in. You share with no one. And 3) there is no one on earth that cares about you. You, therefore, have no reason to care about anyone else. That was his training. And they did a good job. The only man that ever got through to Dean was me, because of my passion, because of how much I loved him.

EDGE: Besides raising money for causes like muscular dystrophy, you have used your stature in the business time and again to stand up for friends and co-workers. 

JL: I’ve never used fame or power for myself. With the exception of underdogs, of course, or people that are maligned or demeaned and have no recourse. I love to get on my white charger…I had it as a kid, in grammar school. If I saw somebody that was being unjustifiably treated, I had to do something about it. I didn’t see anyone else doing anything about it, I always had to. I had a Holden Caulfield kind of a gut that drove me to do the things that I did. And I find that in my older years, as I look back, I feel tremendous self-esteem for what I did. Talking about them sometimes diminishes them; I’m not often comfortable talking about the nice things that you do. I’m not sure if it’s a selfless act—I have a feeling it’s a selfish one. Because I get so much pleasure out of seeing that they’re not demeaned anymore.

I’ve always had a fair doctrine that runs through my blood. If I see a producer bump into my camera operator, or my sound man, or my grips or my electricians—and doesn’t even know their names—I’m going to teach him a lesson in manners. I’m very protective of the people I work with. Because I know that they are the unsung heroes of everything I’ve done. 

I remember a time, in the early 1960s, Paramount brought an efficiency expert out to Los Angeles. He thought it would be a good idea to get rid of the watchman on the West Gate at Paramount Studios. Now, I grew up with this watchman. From the time I came to that studio, Jess was my friend. They dismissed him, after 42 years. It was a bean pusher who picked the name out of a hat, and that was that. So I called Joe Stabile [my executive producer]. I said, “Get a Mayflower moving van and have it parked outside my office. We’re out of here!” The Mayflower van got there, and it was a humongous 18-wheeler. Y. Frank Freeman, the Chairman of the Board of Paramount West Coast, could see it from his office. I went into Y. Frank Freeman’s office, and said, “You see that truck, Frank? That’s going to have all of my office and all of my staff. We’re going to load it in, and drive off this lot, if Jess doesn’t get his job back.”

He looked at me and he said, “Well, I don’t really understand. You bring this company 800 million dollars in film rentals. Isn’t that a larger issue than one man?” 

I said, “You’re not listening to me. If you can’t put the price on one man’s life, 800 million doesn’t mean a thing. And you didn’t know it was happening, Frank. An ‘efficiency expert’ has done this, and I’m expecting you to fix it so that I can pay this guy that drove this Mayflower truck—pay him a nice little gratuity—and have the truck depart from the studio.”

EDGE: You also stood up for Sammy Davis Jr. in Las Vegas when he was performing with the Step Brothers.

JL: Absolutely. Vegas in the ’50s was still pretty much like the Deep South. One night after a performance, I saw Sammy in the dressing room—having dinner! And in the next dressing room were the Step Brothers having dinner. I said, “What the hell is going on here?” He said, “We’re not allowed in the Garden Room.” 

So I went to a couple of my friends who ran the hotel and I said, “I don’t think you’ve got a show at midnight—and it’s a Saturday—unless you start adjusting some of your rules. The Step Brothers will eat in the Garden Room, and go anywhere they want in the hotel. Or I’ll do one of two things: not appear, and/or have a press conference. And let the rest of the world know that you’re building this empire on the kind of stuff that we’re trying to get out of this country. It was fixed.

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Sammy and I were friends for 45 years. We had a Damon and Pythias friendship, closer than any man and wife, closer than any two friends could ever be. The reason we were that way was because we didn’t take ourselves too seriously. We made jokes about the stupidity of ignorance, and the stupidity of racism. We had the best time laughing at all of that crap! I said to him, when he converted to Judaism, “You didn’t have enough trouble being black?Jesus Christ, I mean, you got a death wish? You’re black and you want to be a Jew also?” I said, “All we have to do is have a car accident, and you’d lose one eye!” And sure enough…

I was there the night of the accident. It was a very straightforward accident. He was driving straight, and a car hit him head-on. No reason, no nothing. He was on his way to Los Angeles, felt like driving, to relax, and he was hit by an oncoming car. He was lucky to be alive, but he lost his eye. I sent him watermelon and Kentucky Fried Chicken in the hospital, so he’d be comfortable. And Matzo!

EDGE: When did you first meet Sammy?

JL: Let me see, the year had to be 1950, Ciro’s Night Club, Sunset Boulevard, Los Angeles. I went to see [him with] the Will Mastin Trio, and I knew I was experiencing lightning in a bottle. His presence on the stage felt like there were fans that were pushing you into the back of your seat. I hadn’t had a feeling like that since I saw Jolson when I was five years old. At the end of the show, I went backstage to see him. He was young, it was the first big shot for them, and I had some notes for him. And I’ll never forget his first remark. He said, “We haven’t met yet and you’re monitoring me?”

I said, “You’re doing some things on that stage that border on genius, and then you turn around, and you do some things on that stage that border on amateur. So I thought I would mention it to you. ’Cause you don’t need the latter.” One of the notes that I gave him that first night was you can’t walk out looking like a bookie at a racetrack. Which is what he looked like. I also gave him a couple of ideas about transposing material. He did some wonderfully strong things too early, and couldn’t rise above them—though he stopped the show cold. It was an incredible performance.

EDGE: Who did you learn the most from during your career?

JL: My father. My father taught me everything…I’m just still trying to get it right. He was the most brilliant performer that ever lived. He did the mime better than I did, he conducted better than I did, he was funnier than I ever was, he sang better than I ever sang, he danced better, he had an Astaire kind of quality. The women absolutely went nuts when he would sing a love song, and in a heartbeat he’d have his stupid hat on, doing crazy walks that I learned from him. I learned everything from my dad.

He was right about a lot of things. He was right about, when you walk out on the stage, and that lady paid $70 to see you, you have only one responsibility, and that’s to work your [rear end] off. And if you’re going to be a consummate professional, he said, sweat. “I’ll be embarrassed and offended if you ever walk off that stage dry. That means you dogged it, you didn’t give 100 percent, and you’re getting careless.” He got me to where I am. Let’s put it this way. I once told somebody, most men in this world don’t mind being one of the two hundred drummers in the parade. I do mind. I had to carry the baton. You want the baton? It carries a lot of responsibility.

So it was my dad’s birthday, and I called General Motors.

Soapbox Productions

A.L. Roach was Chairman of the Board of General Motors, and I said, “My dad’s never driven a car in his life, and he’s going to be 50 years old. I want to get him a Patton Tank, so that if he gets into an accident, at least he’s surrounded by better than what they’re making today.” And I paid$100,000 to have that four-door sedan made. And in 1957 or ’58, that was a lot of money. They built it for me, F.O.B. Detroit, delivered to me in Los Angeles. I put red ribbons around it, I drove it to his house. I went up to the door, rang the bell. I said, “Happy Birthday, Dad, look!” and he said… “It’s not a convertible.”

So I was shattered for a moment or two. Then I went on to explain the reason that it’s a four-door sedan is that you’ve got much more protection. “It was built to protect you and mom.” But I never forgot he said that. He just wasn’t thinking, that’s all. He didn’t mean to hurt me. I was so full of myself then, driving so hard to reach those galaxies I dreamed about. I was very vulnerable.

The love, when it’s right, that the father has for the child—only God can explain to us the dimension of that love. And I knew that I had that from him. And I also knew that he had it for me. But when I was quitting school, he was very clear: “If you’re not going to complete your high school education and not be able to go on to college, there’s a Band-Aid that can be put on this decision you’re making. And that Band-Aid is, go out in the world, and ask everybody anything you want to know. You’ll become articulate, in some cases prolific. You’ll be bright. You’ll get an education better than anything they’d ever give you at Dartmouth—if you’ll do that. I need you to attempt that, because without a formal education, you will get shot down at some time, and not be able to recover.”  

Hopper Stone/Falco Ink

JERRY ON THE MAKING OF MAX ROSE…

The last time I read a script I thought would make a wonderful movie was The Nutty Professor. I haven’t had the experience of film making for 20 years, but you don’t forget it, you remember every frame. I fell in love with this script on the first read, which is incredibly different than normal. I’ve read scripts 15 times and couldn’t get them to work. 

What attracted me to [Max Rose] was how love can really generate a difference in the personality of a human being. I fell in love with the thought that anyone can fall in love, and that everyone will fall in love. And the beauty of love, as far as I’m concerned, is that it makes you better—it makes you stronger, it gives you direction and gives you an understanding of what life is and what we’ve been given.  

We had fun but we had to concentrate. It’s the only film I’ve ever made that kept me absolutely dedicated—without any adjustments or additions. Just do the script—the script is honest, it was written well. There was nothing I could do, other than spoil it, other than to do the scripted material. 

AT THE COPA, COPA CABANA… 

In April 1948, Dean and Jerry were booked into New York City’s Copacabana—arguably the most prestigious nightclub in America—as the supporting act for movie star and songstress Vivian Blaine. Blaine would be cast as Adelaide in the original Broadway production of Guys and Dolls two years later. The Copa was owned and managed by Jules Podell, whose connections to the mob were common knowledge. 

Sonny King, one of the great lounge singers of that era, once explained to me: “Look, they owned all the clubs and showrooms all over the country, right? New York, Philly, Atlantic City, Chicago, Hollywood, Vegas. So who are you gonna work for? The guy who owns the delicatessen?”

Anyway, on opening night, the crowd went wild for Dean and Jerry, and simply wouldn’t let them off the stage. Vivian Blaine was forced to come on late and shorten her act. At the end of the show, Podell told Blaine that she would now be opening for Martin and Lewis—not only the following night, but for the rest of her booking. She quit.

One night later that week, between the early and late shows, Dean was chatting with maître d’, Joe Lopez, while Jerry was working the bar with his “whacko” routine. Suddenly, a very well-dressed older man with a serious face shouted at Lewis Why don’t you knock it off and shut up!

Jerry stayed in character, pointed at the man, and retorted just as loudly, “See, folks? That’s what happens when cousins get married.”

The man rose from his chair, approached Lewis, and informed him that if he opened his mouth one more time, he would be collecting his own teeth from the floor. Jerry took just long enough to respond for Dean to rush over and apologize for his younger partner’s rudeness. Sensing he had crossed a line, Jerry apologized, too.

Keep your partner away from me, the man warned Dean, as he escorted Jerry away. 

“You tell him he’s lucky I got a sense of humor!”

Dean informed Jerry moments later that they had just apologized to Albert Anastasia (right), known less for his sense of humor than for his status as lord high executioner of Murder Incorporated. 

Editor’s Note: The stories in this feature were recounted by Jerry to Carole Langer during the making of an A&E documentary. His thoughts on Max Rose followed a later screening of the film in Las Vegas. Carole was nominated for a Primetime Emmy for her Biography episode on Frank Sinatra and the Rat Pack, and received the DuPont Silver Baton for “Who Killed Adam Mann?” on PBS Frontline. Luke Sacher—an Emmy-nominated videographer, writer and editor who shot and edited both programs—has been a friend to (and fan of) some of the true legends of the entertainment world. Janet Leigh was like an aunt to him, he recalls. “She was one of the best women that ever lived. My grandfather, actor/director Abner Biberman, was Tony Curtis’s first drama coach. Both Tony and Janet were best friends with Jerry Lewis. Tony once told me that Frank Sinatra was ‘the teacher of all of us.’ But I’ve always felt, personally, that Jerry was my most important teacher as a child. His movies were more than just silly fun to me…they were moral lessons that helped mold my sense of right and wrong, and championed the power of love and kindness and empathy to make life worth living. No fooling.”

Idol worship has come to New Jersey in the form of Jackie Cole, a spunky blond teenage chanteuse known to millions of music fans by her three-letter nickname, Jax. A native of East Brunswick, Jax powered her way to the finals of American Idol (Season 14) this spring, making it farther than any New Jersey singer in the show’s history. She is an original in every sense of the word—her look, her attitude and her voice—right down to the (non-permanent) trademark X on her left cheek. Tracey Smith caught Jax heading into the Final 3.

Somehow, she fell one round short of victory…but we suspect we’ll be hearing from her long after the two finalists have faded from memory.

EDGE: What kind of advice do American Idol contestants get from the judges?

JC: All three of the judges commented that I am an artistic person and to stay artistic and focus on being creative. The most inspiring advice was to stay in the moment, stay present, because you can lose yourself in a lot of other moments, instead of the one you’re actually in. In the performance, it’s important to stay in the moment.

EDGE: What goes through your head when you perform in front of millions of television viewers?

JC: It depends on the song. I often think of my parents and family members—because they’re sitting right in front of me!They are getting to watch the most incredible experience of my lifetime. Sometimes I’ll think about a guy, again, depending on the lyrics. A lot of times I’ll just think about myself.

EDGE: How far back can you trace your singing career?

JC: I have been singing since I was able to talk. And I was fortunate enough to have known my calling as an entertainer for a very long time—since I was the age of three. I’ve always wanted to sing. As far back as I can remember.

EDGE: What have your musical influences been?

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JC: I love all kinds of music. When I say that, I really mean it. I love music from the 40’s and on! I think my number-one inspiration was probably Janis Joplin. It’s pretty cool to perform her songs.  I’m influenced by all women of power, like Joan Jett and Stevie Nicks, who I actually just saw live with Fleetwood Mac, which was insane. I like Gwen Stefani and No Doubt. I like Haley Williams a lot. And Lady Gaga. But I also like Billy Joel and Simon and Garfunkel. And whatever is new on pop radio. In terms of mentors, I have my vocal coach. He’s incredible. I go to vocal lessons once a week in the city. With the amount of singing I do, there is no choice but to keep going and improving.c

Fox Broadcasting Network

EDGE: Of the people the contestants worked with on the show, who were the most memorable?

JC: We learned something different from every one of them. I think that maybe the most enjoyment I got out of mentorship was with Kelly Clarkson, because she was a former contestant. There’s nobody who could relate to us any more than she could, in that sense. But yeah, everybody brought something different to the table. I loved Boy George, Florida Georgia Line, Nile Rodgers, everyone was really great. But Kelly Clarkson was truly the most relatable.

Fox Broadcasting Network

EDGE: As you move forward in the American Idol competition, how do you deal with the inevitable highs and lows?

JC: It’s not easy. It’s really important to find a balance between those things, because if you don’t, then you can wind up in either of those two dangerous extremes. For example, I try to stay away from comments in blogs for the most part, because if they’re really great or really awful, either way they are likely to affect my mindset.  It’s like when a football team thinks way ahead in the season and ruins the actual next game they have to play. That’s what I meant before about just having to stay in each moment.

EDGE: You know, there was a famous football coach named Bear Bryant who used to tell his players, “Show class, have pride, and display character—if you do, winning takes care of itself.”

JC: It’s true. You should be your own worst critic, you should compete with yourself and learn from your mistakes. It’s important to give off that kind of class. And I think it’s important to inspire people, to show the world that this is a beautiful thing, a beautiful process, and that however American Idol ends, we’re all just trying to leave our mark on this planet. Presenting yourself in that kind of way really shows the honesty of the process.

EDGE: And if you do win?

JC: The first thing I’m going to do is celebrate with my family and [laughs] go get some Taco Bell!

EDGE: You came into this competition as a Jersey Girl. Are you ready to spread your wings a little more?

JC: I love my hometown and New York and everything, but I want to travel. Part of my job and purpose is to touch people in as many places as I can. I am really ready to branch off.

EDGE: So have you named your first CD yet?

JC: The Undefined Variable with an X [laughs]. No, it would definitely be a pop record, but with more of a rock edge…something a little darker than your usual pop record. I want to make an honest pop record.

EDGE: What was it like to hear yourself on iTunes for the first time?

JC: It was surreal. It’s, like, people can actually pay for my recordings. I don’t even know how to feel about it. I actually bought my own recording on iTunes [laughs] and felt guilty about it. Then again, it’s really great to hear what we worked on in the studio.

What is it about northern New Jersey that produces so much show business talent? Is it a numbers game, as some claim, a result of so many people per square mile? Is it the restlessness engendered by urban sprawl, the need to move up and move out? Is it the nighttime skyline of New York City, twinkling in the distance, coaxing our hidden gems across the river? EDGE’s Gerry Strauss sat down with actor Jason Biggs to explore these questions, and to chart his course from child actor to movie franchise star to his most recent turn as a member of the spectacular ensemble cast of the Netflix hit Orange Is the New Black. What’s on the horizon for Biggs? Spoiler alert: It won’t be Guys and Dolls.

EDGE: From a career perspective, was there a benefit to growing up in Hasbrouck Heights, in terms of the proximity to New York? 

Photo by Linda Kallerus for Netflix.

JB: Without a doubt. In fact, if I had not grown up where I did, it stands to reason that I might never have gotten into show business at all. As it was, it was just eight miles between my house and Times Square. Our patience was tested plenty, fighting the rush hour traffic at the Lincoln Tunnel when I had an after-school audition. But had I lived any further away, I can’t imagine that working and auditioning in the city would have been plausible.

EDGE: Aside from the acting, was your childhood fairly typical?

JB: I played Little League baseball, Pop Warner football, and wrestled with the town recreational team. I rode my bike everywhere, swam in our pool during the humid summers, and shoveled snow for neighbors in the winter. We lived right under the flight paths for both Teterboro and Newark airports, and I would spend countless hours sitting outside, watching and identifying the planes overhead. In fact, I remain obsessed with aviation as an adult.

EDGE: How did acting find its way into the mix?

JB: My older sister, who is six years my senior, was in a dance group as a kid. Some of the other girls in the group started going into the city to try to get agents and attempt acting. My sister wanted to do the same. Our parents, thinking it could be both a fun hobby and a good way to save money for college, supported it and made it happen. When I was five, my sister’s then-manager called my mom and asked if I would want to audition for something. I did, and haven’t stopped since.

Photo by Ali Goldstein for Netflix.

EDGE: What role did your parents play in your evolution as an actor?

JB: My parents were instrumental in making it possible for me to act as a child. Logistically speaking, there was no way I could have done it without their services as chauffeurs and chaperones. But they never forced it on me—it was always my choice. They were very proud of my accomplishments as a kid, just as they are now.

EDGE: At 14, you were on Broadway with Judd Hirsch and Tony Shaloub in Conversations with My Father, and at 16 you were on As the World Turns. What did you carry forward from those early experiences as an actor?

JB: I like to think that every job I have helps prepare me for the next one. But daytime television certainly had its challenges and gave me important lessons to take into future jobs. For example, the filming schedule in daytime moves at a breakneck speed. As such, you need to be very capable when it comes to quickly and efficiently memorizing all of your lines. You don’t have much time for rehearsal. You really learn to focus and think quickly.

EDGE: You are so well known for the R-rated coming-of-age American Pie films, which continue to have an incredible following. What do you think the movie’s ultimate legacy will be?

JB: Well, it’s obviously somewhat difficult to be objective about something that I am so close to, and that is such an integral part of my life. But based on people’s reactions—and to the constantly changing demographic of the movie’s fans—I believe it will have great staying power. I look forward to helping many future generations of adolescents learn about the birds and the bees!

EDGE: On the flip side, playing the same character in a hit movie with three hit sequels is a risky proposition for anyone who thrives on playing diverse characters.  How important was it for you to pursue roles where people could see you differently than they knew you from American Pie?

JB: I’m always trying to change people’s perception of me, especially since that perception is pretty firmly attached to one role in particular. I know that I am a more complicated and multi-faceted person than I’ve been able to show in my roles, so of course I’m eager to share that. But really, the bigger point in trying to branch out is to keep things exciting for me and to continue to challenge myself by working outside my comfort zone. Ultimately, I’m grateful for any opportunity to work. This is a very fickle industry—one in which it is tough to find success, let alone maintain it.

EDGE: Was it tough to know that the world was basically watching you grow up?

JB: Truthfully, it wasn’t something I was aware of while it was happening. I’m more aware of it now though. Looking back at the footage, I can’t help but be struck by how young I look. It’s been over 15 years since the first American Pie. Of course, I thought I was such an adult then, but I obviously had so much still to learn.

Photo by K.C. Bailey for Netflix.

EDGE: Your body of work is eclectic, to say the least. From drama to comedy to voiceovers to small films. What do you look for in a role?

JB: I look for an opportunity to have fun, to challenge myself, and to work with great people. I’ve been very lucky in my career to have been able to move across different genres and different mediums, and work with people who I can learn a lot from. Ideally, every job will feel like it’s an organic next step in my career, one that will hopefully continue into the future.

EDGE: Your current show, Orange Is The New Black, is unique not just in terms of story and tone, but in the fact that it’s part of the Netflix library of original programming—with no actual presence on traditional broadcast or cable television. It sounds as if that uncharted aspect of the project might have been appealing.

JB: There is no question that a huge part of the appeal of the project was the fact that it would be streaming on Netflix. The entire television landscape has changed dramatically over the last few years. The way people consume their shows and movies is different. And Netflix is at the forefront of the movement to cater to these new demands. I feel like I’m part of something groundbreaking, something cutting-edge. It’s very cool.

EDGE: What’s different about shooting a series that’s released all at once, where people can binge watch or watch on their own schedule?

JB: What makes this model most unique—both because we shoot the whole season in its entirety and it is released in its entirety—is that it makes it more akin to a 13-hour movie, as opposed to a television show. This affects the actors on set and, as you point out, also the audience at home.

EDGE: Your character on the series, Larry Bloom, exists in real life. For you, is it more important to be accurate or entertaining?

JB: The show’s creator, Jenji Kohan, was clear from the beginning that we would be making our own show, one that could stand apart from the book and therefore from the real lives of the characters in it. It’s a necessity, really, since we are making a longer-form version of the original story—and therefore need to expand upon the original, both in storylines and ideas. So there was no real pressure on me to portray Larry in any other way than that which was dictated by the scripts. I never needed to do an “impression,” so to speak.

EDGE: Orange Is The New Black has such a talented ensemble, headed by Taylor Schilling (above left). Is there a hidden gem in the cast, one actor or performance that has really taken you by surprise?

JB: Well, it’s hard to single out one performance. This entire cast is pretty special. But the character of Tiffany “Pennsatucky” Doggett has always been a favorite of mine. Taryn Manning’s portrayal is both hilarious and heartbreaking.

EDGE: What is your own hidden gem? If you could point EDGE readers to one performance you’re particularly proud of, which would it be?

MRB Productions/Votiv Films

JB: Grassroots is a film and performance I am particularly proud of. Not unlike Orange, it required a more subtle, grounded, and emotionally true performance. It’s a cool little film that represents for me a turn toward choosing more challenging and adult roles.

EDGE: Do you still maintain any connection to your old stomping grounds in Jersey?

JB: Very much so. My parents live in the same house I grew up in. My sister lives in Bogota. I’ve remained friends with a lot of my buddies from high school, some of whom still live in North Jersey as well. I try to get back a couple times a year, and I always make it to at least one Giants game each season. They’ll always be my team, no matter where I might live.

EDGE: What aspect of Jersey life have you clung to?

JB: Well, my dietary habits remain firmly tied to my Italian-American-North-Jersey upbringing. I love cooking pasta for early Sunday dinners, for example. And my accent is likely to make the occasional appearance, especially when I’m having a conversation with one of my family members or friends from home. My wife always points it out when that happens. Fortunately for me, she thinks it’s cute.

EDGE: You’ve done so many things already in your career, but what would you like to do that you’ve never done before?

JB: Tough question. It sounds trite, but I really want to try it all—except for the things I absolutely know for certain I will never be able to do. Like singing. So don’t expect to see me in Guys and Dolls anytime soon. And if you hear that I’m in a production of it, definitely don’t go see it. It will be a waste of your money. It’s good to know your limitations, I suppose.

Photo By Chalres W. Bush

Rare is the actress who possesses the exceptional fortune and talent to star on an iconic television series. Rarer still is the leading lady with the business acumen to use that role to launch a parallel career that fulfills her greater ambitions. And then there is Jaclyn Smith, a transcendental beauty who understood, perhaps better than any entertainer of her time, how mass appeal can evolve into an indelible brand. EDGE editor Zack Burgess connected with Smith in Los Angeles and, in doing so, got to live out a PG-rated fantasy shared by other children of the ’70s…he got to play Charlie on the speakerphone for a half-hour!

EDGE: Charlie’s Angels was a unique, unproven concept in its time. Did you sense it would make stars out of its three leads?

JS: Absolutely not. And I think that’s what made it a hit.

EDGE: How so?

JS: We went into it with an open mind. We were friends. We were not desperate, ambitious actresses. We all had proper training, so we explored that first year and really learned what was going to make the show work as time went on. I don’t think any of us thought that it would change our lives. We were surprised—and I think even the producers were shocked—at our ratings. Our ratings went through the roof. We were almost always number one, number two…really up there in the top five. We even beat Gone With the Wind one night!That was kind of amazing—my favorite movie of all time. It was sort of like we were rock stars, only overnight. We had no concept of the impact Charlie’s Angels would have.

EDGE: Did you read for the role of Kelly Garrett initially?

JS: Kelly was initially Kate Jackson’s role, because it was the largest role in the pilot. She was cast from day one; she had already worked with Aaron Spelling. But after reading the script, she liked Sabrina because the description of the character was more of a stretch—the glamour, the clothes, coming from a fine family—but oddly enough, once the show took hold, our own personalities sort of meshed into our own characters. Farrah and I—and later Cheryl (Ladd)—loved clothes. Kate never loved fashion that much, so she chose to stand behind the bar and wear a turtleneck and slacks.

EDGE: Kate was the veteran of the trio in terms of TV work. Did she assume a leadership role that first season?

JS: I think she was the leader that first year. She had done Dark Shadows and then she did The Rookies, so she was just more seasoned. It was nice to have someone who could enlighten us on certain things that we needed to know. But as time went on, we were all equals. That’s what made it work. We just wanted to work together and be cohesive as a team. And that’s really what it was about—three girls on the screen at the same time. That was the concept of the show.

EDGE: Yet critics often took shots at Charlie’s Angels, saying it objectified women. Given the environment of 1970s network television, I think the show was empowering and uplifting.

JS: Yes, it was.

EDGE: Each character also reached a different type of viewer.

JS: There was another strength of the show. We all had our own individual personalities and there was someone for everyone. If someone liked a strong character, they went for Kate. Sexy, Farrah. Me, more of the gentle spirit. Also, we were all—how do I put it?—I think we came off as really caring for each other, which we did. We were friends above all. We were having fun on the screen and I think people found that cohesiveness appealing.

EDGE: Given that cohesiveness, how did you deal with Farrah leaving after the first season?

JS: We said okay, we’ve got to keep it moving. There was a sadness, because we’d had a great first year and we wanted her to stay. However, when you care about someone and they’re not happy, then you have to accept it. I will say that first year was hard to duplicate. But Cheryl came in and filled some impossible shoes. She was amazing. She had such a good attitude and she was great and, again, very appealing. People continued to love the show. I’m very close friends with Cheryl now. I was really fortunate to be on Charlie’s Angels. It reached a very broad demographic and it was one of the first of its kind. It was glamorous, it was fun, and it gave people a period of escapism.

EDGE: What are your thoughts on the movies, and the Charlie’s Angels series that aired in 2011?

JS: The series didn’t work. The two movies did. They were hits. I think there was a darkness to the movies, which wasn’t really our concept. It had nothing to do with the casting, just the subject matter, which was trying to be more contemporary. We were light, we were fun. You know, I did a cameo in the second one and it was really fun. I must admit, I didn’t want to, but Drew (Barrymore) called me and convinced me. We really had fun that day.

EDGE: You ended up taking a lot of TV movie roles after Kelly Garrett. The best remembered might be Jackie Kennedy. Was that the first time you’d played a living public figure?

JS: Yes—and it was frightening! But I loved every minute of it. I had to test for that role, because they said We don’t want an Angel doing Jacqueline’s role, but they liked what they saw. It was a real honor to play her, because I truly admired her. I admired her mostly as a mother. I couldn’t believe the beauty of her. You know, she created Camelot—that was the magic of Jacqueline. I loved playing her, and I loved playing the most beautiful part of life, falling in love with John Kennedy, even though there was heartache.

EDGE: What were some of the unusual challenges that role presented?

JS: Just the fear of not capturing her in the most real way. I’m from Texas and she’s from New England. So you have to drop your R’s. I had a dialect coach, Robert Easton, who stayed with me the whole time. I thought I would just go for the essence—after all, who can be Jacqueline Kennedy?

EDGE: I think of all the merchandising done around Charlie’s Angels and it makes me curious. You’ve established yourself as a successful consumer brand. Is there a connection between the two?

Photo by Charles W. Bush

JS: No, it wasn’t Charlie’s Angels, although Charlie’s Angels made it possible. I was a household name and the people at Kmart thought this is the girl to do a designer line here. They approached me and I had to turn them down, because I was under contract with Max Factor at the time. Max Factor felt that wasn’t my audience, not my customer.

Still, I agreed to take a meeting, and I couldn’t believe the line of clothes I saw in there. It was so beautiful and the price points so affordable. I thought, Wow! My mother had wanted to be a dress designer and I had designed my senior prom dress among other things, and I thought if I could have total input…

EDGE: Meaning…

JS: Meaning everything. Everything from the hangtags to the commercials to where a button goes on a blouse. And they informed me that that’s what they wanted. So I took it on, and it was one of the best decisions I have made in my career—even though a lot of people advised me against it. It’s been 29 years and I’m in homes with sheets and rugs and dishes and glasses, and bathroom accessories. It’s a whole one-stop shop. My apparel is so beautiful today. It’s hard to believe that we can do the things that we do, with the prices that we have.

EDGE: There’s a giving back component to your brand.

JS: There is. Value has always been important to my customer and that’s something I have always wanted to deliver. Not everyone can go and spend a $1,000 on a blouse or an outfit. So I’m really proud. Also, Kmart has made it possible for me to give portions of sales at different times to causes for breast cancer research, because I’m a breast cancer survivor. At Christmastime we always create a little toy and a portion of that always goes to the children at St. Jude Hospital. So they’re very morally conscious, which makes me feel really proud to be a part of this family at Kmart. It’s as much a part of my history as Charlie’s Angels. It really is.

EDGE: How has the Jaclyn Smith brand branched out beyond the Kmart relationship?

JS: I also have a beautiful line of fabrics in fabric stores and with interior designers. The line has been successful because, again, the quality and value is there. They are just very high-end looking. My husband and I—he’s a doctor—also developed a skincare line. If you go to jaclynsmithbeauty.com you can read all about it. I also have a line of wigs. There, again, they’re very affordable. Today, wigs are a fashion statement. But for people who go through chemo, they can get one of my wigs for a very reasonable price. And thinking of them, we’ve used silicone, which is soft and cushiony for people who have lost their hair. It just adheres to your head. You are constantly asking How can we make this better? What can we do to lower price?

EDGE: What’s the difference between Jaclyn Smith the actress and Jaclyn Smith the business person?

Photo by Metthew Rolston

JS: Business is a whole different world as opposed to acting—taking a script and breaking it down, creating a character, I can go into my room and analyze a scene and do it a million different ways. Business is harder. There are certain things in business and branding that just take a team to bring it together and do it right. Everything that I have done in business has been challenging, and I think that’s invigorating to a certain extent because you’re constantly learning something new, constantly rethinking, and reinventing it, going in a direction that you never thought you’d go. As for branding, it’s ongoing. Every day. Going to your desk and figuring out what you are going to do in this collection. I’ve loved it. It’s all under the umbrella of being creative. It’s a wonderful, challenging thing that I am doing today, because I’m giving back to a customer that has been very loyal to me.

EDGE: I have to ask…did you ever get to meet John Forsythe face-to-face?

JS: Oh, yeah (laughs). On the show, though, you’re right, he didn’t come down to the set. I did a movie called The Users with John, so we were friends. But during the run of the show, he made it a point not to come down.

EDGE: With all you’ve experienced in the public eye, what do you ultimately want your legacy to be?

JS: I’m a family girl. The main thing in my life is my family. I’m proud of the work that I have done. I want to be known as a great individual—a person who lived beyond myself, a person who gave back to the world. I want my legacy to be that I have contributed, whether it’s to breast cancer, to children or whether it’s my line of clothes. I want to be known as a person who brought enlightenment to people’s lives, and made their lives a  little better, made the day a little easier.

When Princeton-educated F. Scott Fitzgerald wrote that there are no second acts in American lives, it is unlikely he imagined someone like Yale-educated Harry Hamlin. Like the figment of a talent agent’s imagination, Hamlin arrived on the entertainment scene in the late 1970s with a killer combination of easy charm, classic good looks, impeccable stage training and a knack for making parts his own. After reaching the apex of his profession in the 1980s, he backed out of the spotlight to raise his family. When Hamlin decided to get back into the game, his timing couldn’t have been better. Yet, as Editor-at-Large Tracey Smith discovered, when it came to landing the role of Jim Cutler in Mad Men, timing wasn’t everything.

EDGE: In 2014–15, you are a cast member of Mad Men and Shameless. They are wildly different shows. Are they wildly different sets?

HH: No. They’re both extremely professional. John Wells and Matt Weiner are two of the most accomplished and professional writer/show-runners that have ever existed. So you can imagine that everything is extremely well thought- out on both sets. There are very few differences, other than the fact that on the Shameless set you’re not allowed to have any sides. Sides are small versions of the script that are handed out every day, kind of a crib sheet for the actors. John Wells doesn’t permit them; he demands that the actors know all of their lines in advance.  Normally, the sides are right there in your dressing room and you look at them to find out what scene you’re doing first and what the order of the scenes is, and what words you may need to brush up on. In the car on the way over to the set from the studio, Emmy Rossum said, “You’d better know your lines—if you don’t, you’re in deep trouble with John Wells and he’ll never hire you again!” (laughs) So, it’s a good thing I knew my lines.

EDGE: How did your casting experience compare on the two shows?

HH: For Shameless, I was offered the role and didn’t need to read for it, or even meet John Wells. He obviously knew who I was. Matt Weiner has a policy where he meets everybody that comes on the show, and reads everybody that comes on the show. But he normally doesn’t cast anyone who has a profile. He likes actors to be somewhat known, but not really, really well known.  In my case, there have been times in my career when I have been really, really well known, but not so much lately, because I took some time off to raise my kids. Anyway, I was surprised to get the call from my agent to go in and meet Matt and read for a part they called “Swinger Boss” for Mad Men. They told me it would be a one- or two-episode part. I was a fan of Matt’s, and I loved the show, so I agreed to go in.

EDGE: But Matt obviously knew who you were.

Photo by Eiske Photography

HH: Yes. The casting directors told me later that they had to spirit me into the room by putting a fake name on the docket for Matt, because they wanted him to see me for this part—but they knew that if he saw my name on the docket he probably would say, “Wait a minute, what’s he doing here? I don’t see guys who are well known.” So as soon as I walked through the door, there wasn’t much Matt could do but say, “Oh. Hi. How are you? Welcome and let’s read the part.” So I read for the part…and didn’t get it. I was disappointed, because I wanted to work on Mad Men.  But a few months later, they called and offered me another part. They didn’t tell me it was Jim Cutler. They said it might go for two episodes, but definitely one. Once again, I said to myself, Well, I don’t really do just one episode, but then [my wife] Lisa said, “Come on! It’s Mad Men! You should go in and do it…maybe you could get Jon Hamm’s autograph!” (laughs) So I did. I went in, got the part, and it expanded and became what it has become now.

EDGE: Cutler seems like a deep pool, a pragmatist who plays everything close to the vest. What do you like about that part?

HH: I like that he’s quirky. It’s a chance to play a character that’s somewhat eccentric or a little bit off. I saw Jim being at somewhat of an angle to reality—not exactly a right angle to reality, but maybe thirty degrees off. In my opinion, he has potentially another secret life that has not been revealed. They gave me a lot of latitude to create the character that I wanted to create. I had to say the words they gave me, but when it came to my behavior, they kind of let me loose.

EDGE: Do we see any Harry Hamlin in Jim Cutler?

HH: No. The rhythm and how he holds his body, I don’t do that at all in life. I actually used my 10th Grade Latin teacher as a kind of a template. I remember him being pretty tightly wound.

EDGE: How would you characterize the quality of the writing on Mad Men?

HH: Every single word is well thought out—the choice of every comma, every single nuance of the language. There’s nothing there by accident, and there’s nothing there that hasn’t been embedded over and over again to make sure that the cadence that the actors deliver is exactly the cadence that they want to hear. Oftentimes, narrative dialogue is very right-on-the-money; it’s not how people actually speak. In Mad Men, they have integrated spontaneity into the dialogue.

EDGE: You mentioned taking time off to raise your children. What was behind that decision?

HH: I deliberately stepped back from the business when my new flock of kids was born. The hours that we keep on TV shows just do not jibe with raising a family, and with films you’re going on location all the time. It was the late 1990s and the business essentially left L.A. right about the same time the kids were born. You’ll recall that the Canadian dollar went way down, and incentives began to be put into place in different states; Hollywood ceased to be Hollywood about fifteen years ago.  When that happened, I said to Lisa, “I’m going to keep working, but I’m only going to work here in L.A. because I want to put these kids to bed every night. We’re going to have to figure out a way to make ends meet and make our lives work with that arrangement.” I already had a son and didn’t get a chance to spend any time with him, because he grew up in Rome and I was working all the time. I was devastated by that, and am to this day. You don’t want to have kids and not be there with them growing up. The most important thing in life is the legacy one leaves with their children. The ability to raise a solid family and be part of it, I think, is the greatest effort that we can make in life. So, I just said, “You know what? We’ll figure something out. I’ll write a book or I’ll do some reality TV, or we’ll do whatever is required to stay in town so that we can put our kids to bed every night.”

EDGE: And it worked.

HH: It did. We were able to do it. Lisa and I both worked and kept the fire going. Then, when the kids were old enough, around 13 or 14, I said, “It’s time now for me to go back to work.” I called my agent and said, “Let’s see what we can find.” Veronica Mars shot here, so I could do that. Army Wives shot in South Carolina. By then, though, I could leave for a while. Curb Your Enthusiasm came up and that was a lucky stroke. Then Shameless came up and people liked that, and then I got Mad Men. I have been very fortunate that things have worked out as well as they have.

EDGE: Final question…Perseus 1981 or Perseus 2010—which Clash of the Titans am I renting tonight?

Warner Bros

HH: Well it had better be 1981! (laughs) Little known fact about Clash of the Titans that Matt Weiner revealed to me on my first day working on Mad Men. They were in the process of casting Jim Cutler and Matt’s 13-year-old son was having a bunch of guys over for a sleepover birthday party. He told his son he could rent any movie he wanted and watch it in the screening room, and his son picked my version of Clash of the Titans. Matt said, “You were on my mind two weeks ago when my son asked to have this movie screened at the house.” That’s 30-some years after this film was made. That a kid would still ask to have that movie screened at his birthday party, I was amazed by that. I don’t know whether that had anything to do with his decision to cast me for the role, but that was something he told me my first day working with him.

EDGE: What do you recall about Clash of the Titans?

HH: Well, we kind of skewered the mythology a little bit. At Yale, I wrote my thesis on Myth and Drama. When I got the script for Clash of the Titans many years later, I noticed that the story was all screwed up. Perseus never rode a Pegasus in the original myth. Also, about three-quarters of the way through filming in Malta, they informed me that I would not be cutting off Medusa’s head with a sword. They had been told by the studio in London that the movie might get an X rating for violence, so I couldn’t do it. I said, “If that’s the case, you’re going to have to find somebody else to finish the movie because I’m going back to Los Angeles tonight.” They totally freaked out. They locked me in my trailer and unplugged the electricity. I still refused to do the shot. “You’ve screwed up the mythology so much in this movie—and now you want me to cut Medusa’s head off with my shield? Like a Frisbee? I’m not gonna do it!”

EDGE: You won that one.

HH: Yes, I did.

Editor’s Note: Tracey Smith took Harry Hamlin back to his days as a teenager and 20-something, and also quizzed him on his starring role on L.A. Law. Log onto edgemagonline.com to read more of their Q&A.

Photo by NBCUniversal/Heidi Gutman

The entertainment industry is full of people who play Mr. Nice Guy. The list of stars who actually are nice is considerably shorter. If Harry Connick, Jr. wanted to be a jerk, he could probably pull it off. He has the money, talent, work ethic and show biz instincts to live by his own set of rules and torture the folks around him—and still make his fans believe he’s their pal. That Connick is, by all accounts, one of the true sweethearts in the business makes his sustained stardom all the more remarkable. Since his breakthrough as a virtuoso musician and Sinatra-caliber crooner in the 1980s, he has conquered film and television as both a dramatic and comic actor, connected with Reality TV audiences as himself on American Idol, and used his fame to make a difference in the actual reality of his beloved New Orleans. Now Connick is leaving his imprint on the daytime talk space—to rave reviews—with Harry, and also revisiting his iconic role in NBC’s reboot of Will & Grace. As Gerry Strauss discovered, when Connick decides to tackle a new project, there is little doubt about the outcome. The NFL Saints will be looking for a new quarterback one of these days. Do you think…nah.   

Enigma Productions/Warner Bros.

EDGE: What aspects of stardom are most rewarding for you?Creative freedom? Being able to make a difference in other people’s lives? Doing right by your family?  

HC: I’d say the first two things are probably a tie. I mean, creative freedom is way up there, only because all I really want to do is try to function artistically on as high a level as I can. Success gives you the ability to do that. I get to work with great musicians, and I have the facilities that I need to improve. It’s like a chemist. If he’s successful, he gets to have a great lab to work in and that expedites the creative process, so that helps immensely. The ability to be heard is important, too, especially in times when your voice can make a difference. I think back to times when, had I not had a public platform upon which to stand, I would not have been able to do things like start the Crew of Orpheus, which was the first multi-racial, multi-gender major Mardi Gras parade in New Orleans. Or start the Musician’s Village, which is an incredible project that Branford Marsalis and I started. Or be of some help during Hurricane Katrina. Those are all things that I was able to do as a result of being in the public eye, so I think it’s a tie between that and creative freedom.  

EDGE: From whom did you learn the most during your music career? 

HC: Probably Ellis Marsalis. He was my teacher back in high school. I probably spent the most hours with him, if you were to count up all the hours I’ve ever spent with everybody, because I was with him every day for four years. Ellis taught me things that I still use to this day, and if anyone were to be credited for having the biggest influence on my playing, it would be Ellis.

EDGE: Given the state of Jazz in the 80’s, how secure were you in the belief that you’d have a real shot at carving out a lucrative career for yourself? 

HC: Well, it’s like when you’re a kid and you look at yourself in the mirror, and you look at your family. If you’re around people that kind of eat the same food, and talk like you, and look like you…that’s your norm. Jazz music was my norm. It’s who I was. I never thought about it as being a risk. It’s just who I was. So when I moved to New York, I didn’t even think about playing any other kind of music, because that’s the music that I knew. When you believe in yourself—and you have a little bit of confidence and a drive to be known in this industry—the last thing you’re thinking about is Oh my gosh, I hope I’m making the right decision. All I wanted to do was play music, and at that time all I was doing was playing piano and singing, and I was playing jazz music, and I loved it. It was just something that I had to do. I felt compelled to do it because I loved it so much. 

EDGE: At 25 years old, you released one of the most enduring holiday albums ever, When My Heart Finds Christmas. Did you have any idea that this album would stand the test of time and become an all-time classic?

HC: It’s just such a humbling feeling to know that that record has been a part of so many people’s lives around the holidays. I never really think about whether things are going to endure or not. All I can do is try to make the best record, or best TV show that I can. You never know how people are going to respond to it, and the fact that it’s stuck around for so long is just a thrill. I worked just as hard on that album as I did on all of them. I’m thankful I did it, and I always enjoy playing those songs around Christmas time. 

EDGE: You seem equally comfortable on stage or in the studio. Do you consider yourself more of a recording artist who plays live shows, or a live performer who occasionally records? 

HC: I think it’s too hard to define. I mean, I’m a live performer for sure. But I also relish the time I have in the studio. It’s really hard to pull those two things apart. I’m probably equal parts live performer, and equal parts recording artist.

EDGE: You’re obviously comfortable in front of the camera. Has that always been the case?

HC: I’ve always loved being in front of the camera. I started doing public appearances at a really young age—probably six or seven years old—and started making records at nine years old, and being on TV and stuff since I was a kid. So the idea of that was always really familiar to me. I’m not a snow skier. I’ve gone a dozen times or so, but I’m terrible, and when I get off the lift I’m always nervous, because I don’t have the skillset to guarantee myself that I’m gonna be able to make it down safely. And you see these little kids out there doing it with no problem. It’s the same kind of thing. Some people say, “Well, how do you go up in front of all those people and perform on Broadway?” It’s just what I do. I’ve done it for so long. I just feel very comfortable being on stage and in front of the camera.

EDGE: Do you have a favorite genre in terms of acting? 

HC: I like whatever I’m doing at the time. When I’m doing Broadway, I love that because I’m very, very focused. When I’m doing Will & Grace or another sitcom, it’s the same type of thing. All I think about is the moment. The fun thing about doing Harry is that, although I get to do different things under the same roof, it’s still its own skillset—hosting a daily syndicated television show—so I’m focused on that, and all of the things that I have to do to try to make that show as good as I can. Like, right now I’m in “TV Show” mode, and I’m just loving every second of it. Whatever I’m doing at the time, I think, is what I enjoy the most. 

EDGE: To what do you attribute your success beyond your music career?

HC: I think it starts with believing in yourself, and believing that what you have to offer is something that other people might like. And working really, really hard at it. I have a work ethic second to none, and you can say what you want about my talent or lack thereof, but you’re not gonna find many people who work harder than I do. 

EDGE: Why is that?

HC: I genuinely appreciate the opportunity to do it. One of the things I get asked a lot is, “How are you doing with the grind of daytime?” I can’t get over that. It’s not a grind to me! Every day I wake up, and I’m thankful to be there. Do I have days where I’m tired or sick? Of course. But I’m fortunate to be here, and I’m going to give these people one hundred percent of myself every single time. I think those things probably have something to do with the success I’ve been able to achieve. 

HC Productions/NBC Universal Television

EDGE: What intrigued you about having your own talk show?

HC: Well, I love to perform and I love to be with people. I’ve been inspired by amazing women my entire life, I continue to be, and I wanted to do a show that I thought might have its own lane—a daytime show with music that celebrated everyday people and wasn’t about gossip or politics. It was about acknowledging incredible people for what they’ve done, having the occasional celebrity come on and share their story, and just doing a show that made people feel good. You never know if the thing’s gonna work…or if anybody’ll even buy it. But they bought it, and we were lucky enough to get five Emmy nominations the first season out. These shows rarely get picked up, and the fact that we got picked up for Season Two with a continually growing audience sends a very clear message to me that maybe our hunch was right. Maybe people want to watch a show that is wholesome, that you can watch with your whole family, but which is trying to be a show on a high artistic level, too. Those are all the reasons that made me want to do it. 

EDGE: What went into shaping the vibe and format? 

HC: Well, the last thing I wanted to do is plug myself into an existing formula. You see a lot of the same type of daytime shows on TV. Some of them are great. The host comes out, there’s a monologue, there’s a celebrity guest, there’s another celebrity guest, there’s another celebrity guest, and people do that really well. I didn’t want to do that because I’m not a “talk show host.” I wanted to do more of an experience that everybody kind of celebrates together. So I built everything based on my skillset, which is music, entertainment, and things I love to do.  

EDGE: For example? 

HC: I like to go in my audience all the time..we play live music on daytime television—we’re the only people who do that. I’m the only host that writes the music for the band. I did things that I knew how to do and, again, you never know if it’s gonna work. But I think people know that I’m sincere. Regardless of your feelings toward me, or what I have to offer, I think one thing that’s undeniable is that I absolutely love doing it, and I’m honored to do it, and every day when people come in I just feel blessed to be able to perform for them. Hopefully those things come across, and show people that they have a choice when they watch daytime. 

EDGE: What’s been your favorite part of doing Harry? 

HC: Meeting the women I call “Leading Ladies.” That was the first idea I had for the show. Fine, amazing women that I can talk to and that can inspire other people. Just yesterday, we filmed the captain of the ferry in New York that was one of the first responders when Miracle on the Hudson took place. I think she’s the only female ferry captain. Certainly she was the first one, and she just went into autodrive and saved dozens of people. This woman is amazing, and I said, “What do you have to tell young women out there?” She says, “Believe in yourself.” These are messages that we can’t hear enough—especially young women who I think struggle with self-esteem. Young boys do, too. But it’s tough out there for young girls. I have three daughters, and I’m aware of that, so I love having strong women. That’s my favorite part of the show. 

You’ve seen Hank Azaria’s face a hundred times and heard his voice a thousand more. Or maybe ten thousand more. Fans of The Simpsons know him as the man behind the voices of ill-tempered bartender Moe Syzslak, gluttonous police chief Chauncey Wiggum, sad-sack Comic Book Guy, hillbilly Cletus Spuckler and America’s favorite convenience store clerk, Apu (“Thank you come again”) Nahasapeemapetilon. Azaria’s over-the-top film roles include fork-flinging superhero The Blue Raja (Mystery Men), 1950s sports legend Patches O’Houlihan (Dodge Ball), megalo-maniacal pharaoh Kahmunrah (Night at the Museum: Battle of the Smithsonian) and inept houseboy Agador Spartacus (The Birdcage). To this long list of indelible characters add Jim Brockmire, the title character in IFC’s Brockmire, a new comedy co-starring Amanda Peet. The show follows the travails of a legendary announcer banished to the bush leagues after a profanity-filled on-air meltdown. Gerry Strauss talked to Azaria about what it takes to slip into the shoes of one unique character after another…and what makes his newest role the culmination of a long, personal journey.      

Courtesy of IFC

EDGE: You have a particular talent for creating scene-stealing characters. How does that differ from being an actor who inhabits a character for months or years? 

HA: It’s fun. It’s not boring. You do get to switch things up. Even if it’s as simple as going back and forth from comedy to drama and, let alone going from a guy who’s kind of unhinged, to somebody who’s rather sweet, then to somebody with a Latin accent, then to a guy in law enforcement. Whatever it is, it’s fun.  

EDGE: Is it a way to learn about the world?

HA: It is. As I take on a different role, I tend to learn about what that person would really be like. It’s a great way to discover how different people live and think. That’s the easy part for me. I became an actor because as a teenager, I was very insecure and did not want to be myself. I wanted to be anybody but myself. I discovered that, in order to do the craft of acting well, you have to reveal yourself to an extent. Still, I like that chameleon aspect of what I do. Vocally, that’s easy for me. A lot of times, I feel like if I find the way a character sounds, I also instinctively know how he thinks and feels. I don’t know why that is. 

EDGE: Jim Brockmire is an old-school, throwback sports announcer. Do you tend to gravitate towards characters that harken back to the past?

HA: Oh, for sure. That’s like a major theme of Brockmire. Old-school dude in a modern world. I grew up watching and listening to a lot of those voices. I’m 52, so my memories go back to about 1969, 1970, and to an extent those guys were still around. A lot of them had very distinct voices. Any distinct voice, any vocal anything, really made a huge impression on me. And still does. I always was asking myself, “Why are they talking like that?” I was always noticing the way folks sounded, and asking why they sound like that. Those baseball announcers especially. I’d wonder, Why is this the voice that delivers sports and commentary and information? Then I started wondering if these guys were like this in their private lives, if they still sound like this when they’re having sex, when they’re eating dinner, when they’re wasted. That was the comic premise of Brockmire that we started with—as well as the fact that these guys can basically say whatever they want on the air, as long as they get the count right. Then it kind of grew into what you just said, which is how does an old-school guy handle the modern world? That became an even more important aspect of the show. 

EDGE: When did you begin working on the Jim Brockmire character?

HA: Like I said, it was a voice I was particularly obsessed with as a teenager. By the time I was in my 20s and working professionally as an actor, it was at least in the back of my mind, like This voice belongs somewhere comedically—it should be something. It was a character I did for my friends at poker night all through my life, just announcing whatever was going on in some kind of foolish way. About 20 years ago, in my early 30s, there was a movie script I was working on that never got off the ground. Not about a baseball announcer, but I think it was about a telemarketer who talked with this kind of announcer voice. Then I did it as a Funny or Die short about eight years ago, with the idea that, maybe if people liked it, we could develop it into a TV show or movie. That’s always the plan, and it never happens. But it actually did with this one. 

EDGE: I suspect that people might be surprised to discover that Brockmire is a lot more than a comedy about a guy with a hilarious way of speaking. It’s a show with tons of heart, as well as a dark undertone. How do you strike that kind of balance?

HA: It’s a few things. And thank you for saying that. I agree. First, I have to acknowledge Joel Church-Cooper, who is our show runner and wrote most of the episodes himself. Joel’s got the ability to not only understand a guy like Jim Brockmire on the surface, but also to commit to this fish out-of-water, old-school alcoholic has-been in a modern world. He really grasps those things and writes them really funny and really poignantly. That’s what I think you’re responding to: He’s a real guy. It’s kind of my shtick. I like to find strange, vocal personages that just sound funny to me—and the game I like to play is Now let’s fill that person in and make him real.

EDGE: How do the characters you play on The Simpsons come to life?  How does the collaboration between voice actors and animators play out?

HA: In animation, the voices are recorded first—whether it’s The Simpsons or whatever last Pixar thing that you saw—you record it like a radio play. They edit together a soundtrack that they think works, and then they do an animatic, which is a pretty cool black-and-white sketchy version of the show or the movie. That gives them a feel for how it’s playing. What we usually do next is write based on that animatic, then do some re-recording based on that animatic, and finally send it off and start the actual process of animating. Once that color animation comes back, you get another round of re-writes as the thing starts really coming together. 

EDGE: Is it difficult to re-write animated characters?

HA: It’s pretty easy because you don’t need to go and shoot again in locations, you just need to change lip flaps of characters mouths moving, or add a scene, or whatever it is. During the first 10 or 15 years of The Simpsons, the voice cast was always all together recording. We got to know each other intimately, each other’s timing and whatever. The last bunch of years have changed. I live in New York now, so I usually record on my own. I feel like I work better recording on my own because they’re only focused on me while I’m recording. I can give a lot more choices. And having spent 15 years learning everyone’s timing, we all knew what the other one is going to do before they do it. 

EDGE: I know you’ve said that most of your voices and characters are derived from actual people. What’s it like when you run into those people after the fact?

HA: There have been times when I’ve worked with somebody who I did an impression of, and they sort of get wind that you do an impression of them, and they say, “Let’s see it! Let’s hear it.” That’s a highly embarrassing, awkward moment in your life. But no one’s ever come to me like, “Hey, you’re doing my voice there, aren’t you?” I once did a character voice that was based on a guy I grew up with, very distinctly. He came up to me and mentioned that he liked the character, but didn’t realize that it was based on him. That made me laugh. There’s another character, Snake, on The Simpsons that’s based on a guy I went to college with. I said that publicly, and he got a big kick out of that fact. I spoke to that guy recently, and he sounds nothing like how I remembered him! I think it was really only when he was wasted that he sounded like Snake. 

Courtesy of IFC

EDGE: Both of your parents were interested in the entertainment industry. Did growing up in that environment set the stage for your own interest in becoming an entertainer?

HA: Yeah, it definitely made an impression on me. The culture of the house was to see what’s going on in TV, music, film, and stage. [My parents] were major enthusiasts of everything, from whatever sitcom was popular to the opera. They really were genuinely all over it. When you’re a kid, you just think that’s what everybody does, but my parents were extreme in their appreciation of entertainment. But back then, kids were pretty much left alone. It’s not like today. You pursued what interested you, and I was majorly interested in entertainment and sports. My parents weren’t all that sports-oriented, but I was very into that. New York’s a great sports town, it’s got everything. I grew up in Queens back when the Jets and the Mets played at Shea Stadium. We lived very close to Shea, so it was like we had a couple of our own teams, not to mention the Knicks. I don’t know if it was particularly a New York thing. Actually, the truth is that it was a TV thing. I was mostly raised by a television set. I watched whatever was on it, whether it was The Brady Bunch, a Mets game—it almost didn’t make any difference to me. It was always going to be the television set.

EDGE: And you were a gifted mimic. 

HA: Yeah, big time. I am a mimic, quite literally a vocal mimic. That came too easily to me. What was difficult about acting was being yourself in front of people, revealing your honest emotions. I didn’t like that at all. I had to actually learn to do that. It didn’t come easily to me. I really needed to go to class for that. It was easier for me to learn improvisational comedy skills than it was to learn to be myself in a dramatic scene. But the better you are at that, the funnier you are, I think.

EDGE: You and Oliver Platt started an acting troupe after graduating from Tufts. Was live theater terrifying for you?

HA: The short answer is Yes. I was profoundly uncomfortable acting, really. When I look back, I’m kind of amazed I was so driven to do it and stayed with it. I loved it so much. I guess I saw that I was good at it on certain levels, so I felt compelled to keep doing it. But it took me a long time to relax. It’s amazing I did as well as I did, given how tight I was well into my 30s and 40s. I really feel like it’s only in the last five or 10 years that I’ve calmed down on camera and in front of people.

EDGE: Brockmire is launching on IFC at a time when the bar for quality television is higher than ever. What do you make of this industry?

HA: As a fan of television, which I am—and somebody who’s lucky enough to work in television—I’m so thrilled to see this second Golden Age of Television, this evolution into incredible creative freedom. Freedom of language. Freedom to curse a blue streak. Freedom to talk about whatever you like. Places like Amazon, Netflix, HBO, Showtime, or via cable, FX. IFC said, “Let’s get creative people in here and let them do what they want to do with the show. Let’s let them try what we think is a really good idea, with really smart, funny people doing it. Let’s leave them alone to do what they want to do.” It’s been thrilling. Especially thrilling for me, who is so frustrated whenever I’ve tried to bring things to network. It gets watered down. It gets compromised. I have incredible admiration for anybody who makes a quality network show, given the corporate and creative structure. 

EDGE: Is it a lot of pressure or a lot of fun having the freedom to do what you want to do?

HA: It’s so much fun. They’ll say, “You know what? These are our suggestions. Take what you like, leave the rest. If it makes sense to you, do it. It’s up to you.” It’s just a tremendously great thing. It’s why awesome television has been getting made throughout the last decade. 

The word “magnetic” is thrown around a lot in show business with little regard for what it actually means. Of the many words that have been used to describe Dennis Haysbert, it is difficult to think of a better one. Indeed, most actors labor their entire lives to achieve what seems to come so naturally to him. Add great passion, talent and commitment—along with a refreshing dose of self-awareness—and the result is a performer who knows how to command both screen and stage. EDGE Editor-at-Large Tracey Smith hoped to discover what makes Haysbert tick, and perhaps got a bit more than she bargained for. However, as their conversation shows, she was in good hands from start to finish.      

EDGE: Let’s start by talking about your portrayal of authority figures. It takes more than a big body and big voice to carry it off. Who were the authority figures you modeled yourself after—who are you channeling as President of the United States in 24 or as the Allstate spokesman?  

Photo courtesy of 20th Century Fox

DH: For 24, I channeled a number of presidents, and a number of individuals that were high in integrity. Some may be controversial, Tracey, but they were my choices and I still stick with them. Colin Powell was one of them; his character is beyond reproach as far as I’m concerned. I think he’s just an amazing man, who I think would’ve made an amazing president. Why didn’t that happen? I don’t know. I can speculate until the cows come home and never really find a real enough or true enough answer for that question. Jimmy Carter, another man of high integrity, was considered weak, but I fail to see what people thought was weak about him. I believe he was a gentle man. I think he was a very fair man. In the world of politics in which we live, it’s very difficult to be a really, really good man. The other is the one that they thought was the “original” first black president [laughs] and that is William Clinton. There is just something about him that is, like, “You know what? I don’t care what color you are or what gender you are, where you’ve traveled, if you are in this country, and if you are a citizen of this country or a citizen of this world—you’re going to be treated right.” That’s what I got from him. 

EDGE: And Allstate?

DH: I think I got that role because I was President David Palmer on 24 and people saw me as being very trustworthy. And that’s a good reason. Because I am. And I understand that the attorneys won’t allow me to say anything that they can’t back up, so I’m pretty secure about what I’m saying to the public.

EDGE: There is a serious nature to the sales pitch in those commercials.

DH: The foundation of the campaign was built on that. I don’t really consider myself a salesman. I consider myself an advocate. And I am presenting the country with choices. And you have your right to choose. You want to follow the Gecko? Or you want to follow Flo? Or you want to follow the professor? You want to follow the camel that’s asking you what day it is [laughs] but you really don’t know what it is he’s selling? Yes, you can be entertained and be entertained…but you can also be entertained and told the truth. And that’s what I, and the company, have chosen to do.  There is a reason why the other insurers are not doing what we do. It’s because we’re already doing it. So they have to find other ways.  

EDGE: Which entertainers were your influences as a young man? 

DH: I’ve been an athlete all of my life and I have some phenomenal athletes in my family; my brothers were incredible.  So I had a lot of athletes on my wall. But I also loved movies at a very young age, and there were a lot of artists and actors that I really enjoyed. There were three of them in particular that I actually had on my wall: Brando, Olivier and my mentor now, Sidney Poitier. There were a whole lot of actors that I liked, including Montgomery Clift, Roscoe Lee Brown, Ivan Dixon and James Earl Jones, but those first three stood out to me. There were women that I really enjoyed, too, like Katharine Hepburn and Audrey Hepburn. And Cicely Tyson, Diahann Carroll. These people were blazing trails, and were coming around at a time when things were seemingly opening up for black people and for people of color in general. When Bill Cosby did I Spy, I said “What?!I Spy? Really?!” When Sidney Poitier did Brother John, a little known movie that people seldom talked about, it blew my mind that they were making movies like this. I knew what was possible. When the role of Jonas Blane came up? Oh man, I was ready to step in! Oh yes…this is what I was built for.

EDGE: How did it feel when you began pursuing this passion?

DH: When I first started to act? Oh, it felt like coming in out of the cold and being wrapped in a heated blanket. It was immediately comfortable. I would get so deep into my characters I’d get stuck in them. I realized that I had to come off of that, I had to back up. One of my instructors told me, “When you’re on stage, you are that character. You are everything you want that character to be. But five feet after you come off that stage, you have to become Dennis again.” So there was a switch I had to develop, and I just had to turn it on and off, activate and deactivate.

EDGE: What are some of the other key moments in your development as an actor? 

DH: I went to the American Academy of Dramatic Arts. I wanted to be classically trained, I wanted people to take me seriously as an actor. So I guess that was one moment, attending the Academy. I guess the next moment was when I was working with John Lynne, who I thought was absolutely amazing. He is no longer with us, but his teaching is still with me…you’re making me go back to a time…it’s rather emotional for me…he was an amazing instructor and an incredibly good man.  

EDGE: You worked with Ed Asner on the show Lou Grant.

DH: Ed was the consummate professional. I worked early in my career with Tom Berenger. He was at the height of his career in Major League. Another good person was Gene Hackman. And Clint Eastwood, who is a very incredible source of performance energy for me.  

Photo courtesy of Upper Case Editorial

EDGE: Was there a “eureka moment” early on, when you thought Hey, I can do this?

DH: I guess when I got my first job, when I got hired for the first time. Coming from where I come from, I didn’t have any connections, I didn’t know anybody when I got into the business. I was very grateful. [laughs] I don’t think I’ve ever sat down and just said, “Man, Dennis you’re terrific.” I don’t think I have ever said that. As soon as you start thinking “you’re all that” I think you lose it. My M.O. is I perform roles the way the people actually define them in their life. When a doctor comes up to me and says, “You know what? That’s what we do,” that’s the best compliment I can get. There were some baseball players that came up to me and said, “Man! You played Cerrano like—oh, man—we love Cerrano!” If a baseball player tells me that then I must’ve done something right. When I have politicians or the President greet me and say, “I see we have the first black president here in the room,” I say, “Thank you.” When I have Ethel Kennedy tell me that I was partially responsible for Barack Obama becoming president, that humbles me, that kind of brings me to my knees a little bit. What? Really? When I play Command Sergeant Major Jonas Blane and then go to Iraq and Afghanistan to visit the troops, and they tell me, “This is the show we watch here”…I mean, you’re in a war zone and you’re doing a show about black ops and you have guys that perform those black ops say you’re doing it right— that’s a compliment for me! You’ve got to remain grounded, because what you’re doing is taking on personalities, you’re taking on characters, and you can’t have an ego about that. You can’t be outside your body looking back saying, “Boy, I didn’t do that right,” because then you’ll miss the next moment, and any actor will tell you that you have to be in the moment. 

Photo courtesy of Upper Case Editorial

EDGE: On 24, did they tell you the character arc would include being president?

DH: No. That may have been their plan but it’s not something that they had divulged to me. All I was at the time was Senator David Palmer running for president in the primary.    

EDGE: Did that role get you more interested or more involved in real-life politics?

DH: I aspired to…but then I got Allstate and I was working for a Fortune 500 company. I could no longer voice my opinion publicly about politics.  I could donate my money, go to functions, shake hands and things like that, but I really couldn’t talk about politics. So I don’t.

EDGE: Would you ever consider running for office? Clint Eastwood, Ronald Regan, Sonny Bono…Dennis Haysbert?  

DH: Maybe for a quick second. [laughs] I have a number of friends in politics in Sacramento who actually have said to me, “If you keep your nose clean, you portray a positive role—we could put you in the Senate” What? You could do what? Hmmm. I don’t think so!

EDGE: You’ve done one of the toughest things to do in film—convincingly portray a baseball player—in more than one movie. Can you handle a bat as well as it seems?

DH: Well, in all modesty, yes. All the home runs that I hit in the movie I actually hit out, but they just didn’t go as far as they shot them out. That is probably the most fun I’ve had on screen, playing baseball and getting paid for it.   

EDGE: Which sports did you play in high school?

DH: I played football and ran track. I also played a little bit of basketball, but that was during our theater season, so I didn’t play a lot and I was marginally good at that. But I always loved basketball, and I loved track, I loved football, and I loved to fence, especially stage fencing. 

EDGE: Your character in Far from Heaven was incredibly complex. Was that an easy role to play for you—did you have personal stuff to draw on—or did you have to dig as deep as it looked?

DH: I will say this: love is love and we really can’t choose who we love. We think we can, but you can’t pinpoint one person, and go out and say, “You know what, I’m going to love them and they’re going to love me back,” and go out and do that. I wish it were that simple. Sometimes your chemistry is such that you’re going to attract a certain person, and it has a lot to do with where you are energetically at the time, how clear you are, because sometimes you draw the wrong people towards you, and it’s incredibly hard to release them—even when you know they’re not good for you. Do you know what I mean?That’s something that hits everyone.  

EDGE: What kind of response did you get to that performance?

DH: I can’t tell you how many women in their sixties came up to me with tears in their eyes and whispered to me, “That was my life”…and how my jaw dropped to the floor.

EDGE: What will we be seeing you in during 2014?

DH: I have Sin City: A Dame to Kill For, in which I reprise the role of Manute, who was played by the late Michael Clarke Duncan. I have a couple of independents coming out—The Life of a King, which is a story about an ex-con who comes out of prison and teaches chess to inner city kids, and Welcome to the Jungle, which premiered at the 2013 Newport Beach Film Festival. Welcome to the Jungle is chock full of really brilliant comedians. It was one of the few times I felt out of place in a movie, because I wasn’t a comedian. But they gave me such funny lines to say. It is also the first comedic appearance by Jean Claude Van Damme, who is actually really funny. It was a fun movie to do. This March, I have a part in Mr. Peabody and Sherman, a DreamWorks Animation comedy, which is a spinoff off of Rocky and Bullwinkle. And Think Like a Man, Too, which came out at the end of 2013. 

Editor’s Note: Read more from the EDGE interview with Dennis Haysbert at edgemagonline.com!

Two decades before Al Jarreau gained international fame with his joyous theme from the hit TV series Moonlighting, he was moonlighting as a singer with the George Duke Trio in San Francisco. Jarreau was busy putting his Master’s degree to work as a vocational rehabilitation counselor when he found his stride on stage…or vocal thumbprint, as he likes to call it. Needless to say, he’s never looked back. Editor at Large Tracey Smith asked the six-time Grammy winner to look back—at his musical family, his early influences, and the unexpected twists and turns in a professional career that is now in its sixth decade.

EDGE: What kind of impact did Moonlighting have for you?

AJ: People heard me who had never heard me before. People who were unlikely to go to Tower Records and search through the jazz bin and find this singer named Al Jarreau—who was singing Chick Corea and Dave Brubeck, who was doing this really eclectic form of music that had a mixture of styles. I mention Tower Records because that’s the time period covered by Moonlighting, when we had brick and mortar stores to go into.

Picturemaker Productions/ABC Circle Films

EDGE: Moonlighting had an international audience.

AJ: That’s an important point. People in Jakarta, Indonesia, and Oslo, Norway found out about Al Jarreau by hearing [singing] Some walk by night, some walk by day. Moonlighting strangers, who just met…on the way. It was a very wonderful introduction to people, who went out and found my music. And [laughs] guess what? Listening to me they learned about Dave Brubeck and Chick Corea and found that music, and got their lives enriched some more.

EDGE: How did you get that job?

AJ: The writer called me and he mentioned he was doing music for a pilot show that would star Cybill Shepherd and—I could hear papers rattling…he was looking for Bruce Willis’s name and he finds it—Bruce Willis, this young actor. Who knew!

EDGE: What did you want to be when you grew up?

AJ: My Dad was a preacher, a Seventh Day Adventist Minister—four years of school, ordained ministry, not somebody who read the bible a few times and decided to open a church on 3rd and Vine. So I wanted to be a preacher until I was 13 or 14 years old [laughs]. But then I figured out that probably was not for me. My older brothers had brought jazz and stuff into the house. They sang the Mills Brothers, Count Basie, Sarah Vaughan, Billy Eckstine—they called themselves The Counts of Rhythm. I was knee high to them looking up in total wonderment. That was the heaven I wanted to go to, where they do this kind of music. Impactful! Greatly impactful.

EDGE: When did you start singing?

AJ: When I was four years old. It was a wonderful thing to stand there and open your mouth and something comes out that makes people smile. I got it. Whatever I did, my folks were big on education, so I knew that I would stay in school, graduate from high school and go on to college somewhere. I didn’t know what my vocation would be, but I knew that more education was in my future, and that I would be doing music all the way through. And that’s exactly what happened. All through high school, I sang in the a capella choir, solos that I rehearsed for and looked forward to, doing the sacred music of Bach, the show music of Broadway, singing doo-wop music on the street corner and in the bathroom with three other guys [laughs], because there was good echoing off the tile. I rehearsed with quartets that only sang a couple of nights a year at Lincoln High School—we got together to laugh and smile and make this music we could make with these four people.

Photo by Helmut Riedl

EDGE: Did your father sing?

AJ: My dad sang his butt off! He sang in a quartet that traveled all the states of the Union doing church music. They were all students at Oakwood College and becoming ministers within the faith. My dad was a brilliant singer, an Irish tenor type of voice. My mother was a pianist and she could sing, too. But her main thing was to play the piano, and she played for the choir and with the soloists that sang during most of the years of my upbringing in church.

EDGE: When did you know you shared that gift for music?

AJ: At five or six I knew. I knew I had it—that early! The dream began then to do music in whatever situation I could.

EDGE: How did you establish your voice and perfect your craft?

AJ: Simply by doing it. When you do it over and over, you find yourself. We all begin trying to sound like somebody that we admire and that’s good, but if you do it long enough, you’ll find your own voice. There’s a thumbprint inside you, inside your mind, inside your throat, that is only you, that nobody else has. If you have time to research and look for it, you find your own thumbprint. Don’t nobody sound like Ray Charles or Joe Cocker or Celine Dion.

EDGE: Who did you emulate at first?

AJ: When I started out, I wanted to sound like Johnny Mathis…and Jon Hendricks. Pound for pound, Hendricks is one of the best jazz singers that ever walked the face of the earth.  He’s 95  and still doing it. Go and find Lambert, Hendricks & Ross—I wanted to sing like those guys. Most singers who sing jazz don’t sing complex stuff like Take Five, or scat like I do. But I started out wanting to be like Jon Hendricks.

EDGE: When did you start writing your own music?

AJ: I really started writing my own music in about 1969 or ’70, about five years before I recorded We Got By, my first album. It was rather frightening for me. When you listen to Bob Dylan, when you listen to Joni Mitchell, when you listen to Janis Ian—those singer/songwriters who were writing at such a high level, it’s intimidating. So, it took me a while to find my own voice as a writer. I’m still struggling as a lyricist, writing in that way. Musically, it comes out a little more easily for me. But I don’t think I’m a great music writer—I mean, the melody and the chord changes for the melody I do okay. And when I collaborate, that really lifts it to a different level musically.  But in terms of the message and the lyrics and all of that…if you read poetry, you see how some people put together words in a way that just [laughs] scares the crap out of you if you’re going to start messing with words!

EDGE: Talk about your history with George Duke. Last year you recorded a tribute album to him, My Old Friend.

Concord Records

AJ: [laughs] George and I go back to when we were puppies. I was 24 or 25 and George was 19.  There’s a record called Al Jarreau and the George Duke Trio Live at the Half Note 1965. George was not even old enough to be in the Half Note Club! I was doing jazz standards, American Songbook standards and some Broadway music, but George was swinging like Ahmad Jamal and Wynton Kelly—at age 19. I walked in on a Sunday afternoon, which was a “Matinee Sunday,” and stood in line with five horn players and a guitar player, waiting to get up and play with this wonderful trio that was led by George. That started a three-year run with George and me at the Half Note, in San Francisco. His mother would come to the club and shake her finger at the owner, Warren, and tell him to get her son home immediately when he was done performing, because he had to play for church the following Sunday morning. We did a lot of great George Duke music on My Old Friend, with Stanley Clarke, Marcus Miller, Boney James, Jeffrey Osbourne, Dianne Reeves and a bunch of people who came and played on this record. It’s been out there since last August, and its doing great…we’re on the charts since that time and we’ve got numbers, and I’m tickled to death to be doing this summer’s tour with that record under my arms, presenting it basically to the rest of the world. He was one of the most important music people in this sector of the universe during the last one hundred years.

2016 PGA Championship Director 

How would you say the PGA Championship compares to other major sports championships?

It’s similar in that we have the best athletes in the world at their chosen profession who will be competing at the highest level of the sport. At the same time, it’s different in that the host venue is a tremendously important part of the story. Championships in all other sports take place on a field of play that is regulated. The Lower Course at Baltusrol Golf Club is unique among the world’s golf courses in its design, layout, and history.

How so?

The Lower Course at Baltusrol is a spectator course. While the scale is epic, the classic design makes it easy to traverse from the back 9 to the front 9. There are excellent vantage points throughout, and the golf course will present the players with numerous strategic options and opportunities to thrill us with their incredible talents. The beauty of the grounds is a joy to experience as the majestic trees will afford ample shade and opportunities to relax and soak in the unique atmosphere. And finally, Baltusrol is one of only four golf clubs in America to be designated as a National Historic Landmark

Do most fans buy tickets for one day or do they go for a package?

Attending on multiple days is by far the best way to experience the Championship. There is just too much to see and experience to fit into one day.  

What are some of the interesting things that happen in the days prior to the first round?

The players are more relaxed and will try to execute multiple shots on every hole. This provides a unique opportunity to take pictures, ask for autographs, and get a feel for the best places to watch once the competition begins on Thursday.  

What’s the optimal strategy, to follow a specific golfer or to stake out territory at a particular hole so you can see all the players come through?

I prefer to do a little of both over multiple days. There is nothing like following a player for an entire round and getting a feel for how they are playing that particular day. If they are at the top of their game, you can actually feel it—you can see it in their demeanor and in their eyes, and the player starts to feed off of the crowd’s energy. On another day, it is great to find a grandstand with a concession stand and restroom close by, so that you can watch all of the players come through. 

How many volunteers will be working the tournament and where do they come from?

We have almost 3,500 volunteers, including residents from 37 U.S. states and six countries outside of the U.S.  Almost 2,000 are from New Jersey, but we also have volunteers coming from Finland and even as far as Australia.

What differences will fans who attended the Championship here in 2005 notice in 2016?

There are new parking and transportation options. The merchandise tent on site will be larger and, frankly, worth coming to see all on its own. We have better grandstand options than before and there will be more concession stands with a wide variety of options to choose from. Children 17 and younger now have complimentary grounds access all seven days as long as they are accompanied by a ticketed adult, and we have complimentary Wi-Fi zones on the property. 

Log onto pga.com/pgachampionship for more info.

Author of Twelve Days of Terror: A Definitive Investigation of the 1916 New Jersey Shark Attacks

A century after these infamous attacks, what is known about them and what is still up for debate?

The first attack occurred late in the afternoon of July 1, in Beach Haven. The second occurred on July 6 in Spring Lake. Both victims were men in their 20s and both were killed. On July 12, there were three victims in Matawan Creek, two of whom were killed. The third person survived with serious leg injuries. What is still up for debate is how many sharks were involved, what the species was/were and, ultimately, why this series of ferocious attacks occurred in a place where attacks had never occurred before and haven’t since. 

What were those 12 days of terror like for beachgoers?

People didn’t associate the water with dangers—they were more afraid of jellyfish, sharp stones and crabs. So the response to a predator attacking the limbs of bathers and killing four out of five people was what you might imagine it would be today. A shark attack is such a rare occurrence in New Jersey that I refer to the ferocity and frequency of these attacks as an “anomaly within an anomaly.” There was a fear of the unknown in nature and, as a result, there was a great reluctance to venture into the ocean after the attacks.

How did public perception of sharks change?

In 1916, a lot of people in the metropolitan area didn’t know what a shark looked like, or even have a grasp that there were multiple species. If an American bather spotted a shark prior to 1916, it posed as much of a danger as, say, a stray dog—certainly nothing life-threatening. The 1916 attacks baptized us to the potential danger of these predators if you were in the wrong place at the wrong time. The attacks also triggered what was probably the biggest shark hunt in history. People tried to catch and kill any large shark they could. When it became apparent that the attacks had ceased, that response changed. 

In the 15 years between the original release of your book and the updated 2016 edition published in May, people have become obsessed with sharks. That’s helpful to you as an author, but how do you explain it?

I will say I’m very, very surprised at the response to films like Sharknado. I’m even surprised by the perpetual interest in “Shark Week.” I believe that it’s a combination of things, including the growth of social media and the immediate news feeds that give you reports of shark attacks from very distant lands. You also, over the last 20 or 30 years, have an increase in wholesome and accurate education about sharks to a whole new generation of young people, mostly through aquariums and research programs. I hate to use the word “sinister,” but there is something diabolically mysterious about the general appearance and stealthy maneuvering of sharks that continues to fascinate people. 

So this summer, when people take Twelve Days of Terror to the shore, is it safe to put it down and go in the water?

Yes. Reading about attacks can sensitize you to the dangers of sharks, but that is completely unfounded, especially as it relates to New Jersey. The rarity of attacks in New Jersey should actually encourage someone to go in the water.  

Editor’s Note: Richard G. Fernicola is a physician specializing in post-stroke and post-injury recovery. The 2016 edition of Twelve Days of Terror is published by Lyons Press and hit store shelves in May.

Photo by Jordin Althaus courtesty of AMC

Mad Men’s Harry Crane

What is it about your character, Harry Crane, that makes him so right to handle the agency’s TV business?

He loves to schmooze—no doubt about it! He loves a cocktail, he knows where all the parties are, he has a knack for making inroads with the right people, he’s very business-flirty, he’s good at buttering someone up, holding their hand and making sure they make the right decision. Which is something Harry and I do not have in common!

Which actor on the show was the farthest from the character he or she played?

Vincent Kartheiser. I think all of us would agree, hands-down, that Vinnie was the farthest from the part he played.

How about Jon Hamm as Don Draper?

Luckily, he’s not much like Don at all. He’s a very good guy to be around and he set the tone early for our group. He’s on time, he knows his lines, he treats others with respect—so no one in the entire cast had an excuse to do otherwise.

Did you imagine that the Mad Men concept—which was very experimental—would be a hit?

I had done a couple of commercials, but this was really my first TV job, so of course I never expected this. I’m starting a pilot for a new show now and I have the same feeling—I have no idea what it could be. I like the script a lot, I’m hopeful it will turn into another few years of quality work, but you never really know.

What was the smartest thing Mad Men creator Matthew Weiner did?

Not ever letting the cat out of the bag. His commitment to—and enforcement of—total secrecy helped the show’s popularity and also elevated our thinking about the characters we played. Knowing that the stakes were that high added something to our performances.

Do you like where Harry Crane is heading as the final episodes unfold?

I’m very pleased. Clearly, he’s got his foot in the door, he’s made his intentions clear about being a partner, he’s on a good trajectory. Unless he blows it.

In a way, Harry is perfectly positioned to become a major player in the television industry. Where do you think Harry is headed post-Mad Men?

I have no idea how the series will end, so I have no idea what will happen to Harry. But you know, historically, people like Harry Crane ended up as power agents. I don’t imagine his ambition stops at being a partner at Sterling Draper, or whatever the heck it is now. But I don’t know that he’ll ever stop climbing.

What would you like your character’s last line to be?

I’ll leave it to the writers to come up with that. I’m just scared to know that there is a last line coming.

Editor’s Note: EDGE Editor-at-Large Tracey Smith squeezed another five minutes out of Rich Sommer. Log onto edgemagonline.com to read more of their Q&A.

How did growing up in Union shape you?

I’ve thought about this, growing up in the tri-state area. I was in, like, the legitimate suburbs. Union was a town of 50,000 and had small-town suburban dynamics. I know a lot of people don’t think of New Jersey like that. But then, we were also 45 minutes outside of the city. So all of the news we got was New York City news. We didn’t have “local stations.” We heard everything that was going on in New York. I don’t want to say that it was more sophisticated, but you “got” what was going on in New York. That had an influence.

How much time did you spend in the city?

A lot of kids use to go in. I didn’t. New York scared me. This was the ’60s and ’70s. I remember going to Port Authority. It was disgusting. Forty-second Street was really gritty, dirty, with all the porno places. It just wasn’t my cup of tea. But I do think by growing up so close to New York, with a suburban vibe, it gives you a little bit of everything.

Were you a Jersey Shore guy in the summer?

Oh, yeah! I started out as soon as I graduated from college. When I got on the soap opera [Another World], my friend Gene and I got a house. Yeah, we were in Belmar and Point Pleasant. We had another one across the street from that guy who used to own the Giants, Timmy Mara. We went to Long Beach Island a lot. So yeah, we used to go there every summer.

What is your most vivid memory of growing up in New Jersey?

Playing sports. Whatever the season was. All I did was play sports when I was younger. I lived on a dead end street. Now they call them cul-de-sacs, but they’re dead ends. We were always being active and playing sports there. We used to play softball, basketball, baseball all the time.

You’re shooting a series this summer and fall in New York with Jennifer Lopez. Any plans to visit the old neighborhood?

I’m here for six months, from May to November, so I’ll definitely go back.

Any go-to spots?

I’ll tell you one thing, I still go back to certain places for food. There’s a great place in Union called Peterson’s [now The Galloping Hill Inn]. It’s a hot dog place. And to this day, every time I go to visit Gene, we stop and get a hot dog. Whenever I’m in New York, I’ll go and visit my best friends since third grade, Gene and Jules. Gene lives right behind a school where we use to play soccer and basketball. The area still has a small-town feel to it, so it seems like the same place to me.

Editor’s Note: Ray Liotta narrated the eight-part AMC mini-series The Making of the Mob: New York, which premiered in June. He was also a member of the all-star cast of the 10-hour Texas Rising miniseries, which premiered in May on The History Channel. Robert Piper conducted this interview. For more of Ray’s memories, log onto edgemagonline.com.

Jazz guitarist and composer Pat Metheny copped his 20th Grammy in 2013 for the album Unity Band. He’ll be performing at the Count Basie in Red Bank and at Town Hall in New York this March before embarking on a spring tour of Europe.

What excites you, what challenges you, when you pick up a guitar?

To me, the guitar is really just a translation device. While I am aware of the kind of cult-like thing that surrounds the instrument with guitar magazines, guitar collectors and people who are mostly interested in the instrument as a kind of iconic element in our culture, for me it is just a way to get ideas out into the air. Having spent now a huge amount of my life with a guitar in my hands, the connection between the musical ideas I have and the ability to execute them on the instrument is pretty complete—although I am always striving to make it better. The main thing for me, however, is the ideas themselves, more than the tool used to bring them out in sound. 

Where do newcomers to your work discover the “quintessential” Pat Metheny experience?

Live performance has always been the most important thing for me. I have taken making recordings much more seriously over the years. Early on, I saw it as kind of an “ad” to get people to come to the gigs  But I think live is the way to go, even though I also like the records.

Does performing live and touring get old…or is it an opportunity to take risks and explore?

Since improvisation is at the heart of everything I do, it makes each night have a whole new set of possibilities. Playing live night after night with great musicians is one of the great privileges of life for me.

Given how diverse and adventurous your music has been, is there a particular album or song that really gets to the heart of who you are?

It is hard for me to say. I feel like all the records are one long single record. Each is a chapter in a long single book. I have used different musicians along the way to get to different things, but each choice that I made— to use this person or that person, or to write this way or that way—has been in the service of getting to a central point that was kind of initially described on Bright Size Life and seems to still be at the heart of everything. 

When you’re assembling players for a project like the Unity Band, what are you looking for in the artists you choose?

Each project has kind of different demands, and I try to put together a group of musicians who can tell that particular story the best way it can be told. I like musicians who have a point of view and a developed sense of who they are as people. Also, I have to admit, it carries over to the things off of the bandstand, too— as the years have gone on and I have young kids at home, I like musicians who are adult and secure in who they are. My capacity for adults who act like children is pretty much zero at this point. But the main thing is the ability to listen. The degree to which someone is able to hear into each moment and respond to it in a deep and meaningful way regardless of what their role is, is the essential thing for me.

Editor’s Note: Editor-at-Large Tracey Smith actually squeezed an additional five minutes out of Pat in their Q&A. To read more about the Unity Band and the upcoming tour, log onto edgemagonline.com.

How soon after George Bush named Iran as a member of the “Axis of Evil” did you realize what a gift that was? 

I got upset at first! As an Iranian in America, I’ve been here now for almost 40 years. The moment I came, Iran was on the list of public enemies and it has remained there. Really, it’s pretty frustrating. Yet at the same time, it is a gift because comedy is about emotion and passion, as well as having a point of view. We watch a guy like Lewis Black lose his mind and it makes us laugh. I think when I got upset about it, it helped me then to be able to talk about it in a passionate way.

How important is it to take audiences out of their comfort zone?

I think it’s important to push a little bit, to make people be open-minded a little more, to open up their boundaries. I’ll cuss here and there, but my shows are not X-rated. I feel like somewhere in the back of my mind I’ve got my mother or father’s voice in my head criticizing me if I’m saying anything that’s even a little risqué. That said, when I do a headlining show, there’s obviously a lot of Middle Easterners in the audience, so when I make some type of [sexual] innuendo, I’ll make fun of the fact I know what my audience is thinking. It’s become a part of my act. I enjoy calling them out on it because I think, when you do that, it helps them come on the ride with you.

Maya Angelou said Don’t trust anyone who doesn’t laugh. Do you agree?

I do. And I feel sorry for anyone who doesn’t laugh. I’ll do a show for a cultural event that’s been sponsored by, let’s say, a Persian group, and so there are kids there and the elderly, and my material sometimes is a little edgy for them. Recently, a woman came up to me afterwards and said, “I just want you to know that people might not have been laughing because they were a little older and maybe they were just offended by some of the stuff you said.” I told her, “I appreciate you telling me that but I honestly feel that, if they’re offended by my stuff, I think they have bigger issues…and should talk those issues through with a therapist.”

When did you realize you had the ability to make people laugh?

Coming to America in the late-70’s when I was six years old, I remember there were three things that helped me adapt to the new country. One was sports—I was good at kickball and soccer. Another was that I would go grocery shopping with my mom and just buy a ton of sweets, and quite often I would take extra sweets to school and hand them out to my newfound friends. I was bribing my way into their hearts with Starburst. The third way, definitely, was being funny. I like laughing and I like making people laugh. And I stuck with it.

How did you develop your comic timing?

It probably started first as an actor. When I was 12 years old in school, we did musicals and I loved being on stage; as soon as I stepped on stage I felt alive. I was a huge fan of Eddie Murphy—to this day he is my comic hero. I wanted to be a comedian, but I just didn’t have the confidence then, so the actor part came first and the comedian part came second. EDGE

Editor’s Note: Maz Jobrani is a member of the Axis of Evil comedy group. He was born in Teheran and grew up outside of San Francisco. Jobrani plays Fawz in the CBS sitcom Superior Donuts, which was just picked up by the network for a second season. In all, Editor at Large Tracey Smith spent a good 10 minutes with Maz. So for 5 More Minutes with Maz, log onto edgemagonline.com. 

A Real Housewife of New York City

Does the presence of a video crew alter your family dynamics in any way?

I don’t think so. We signed on to do a reality show, so what you see is what you get. Watching the show when it airs does give you an interesting perspective on things, though. My husband and I have our standard arguments, but on the show you get to see both sides. Imagine having an argument with a friend or family member and then being able to watch it later…and seeing that he or she was right.

How much do you let your kids get involved in the process?

My daughter wasn’t even walking when we started, and now she naps, so my son is more involved. He has fun with it. So does everyone on the crew.

Photo by Nadine Raphael

Have you had to set boundaries for the show, is anything off-limits?

Not when it comes to the family dynamics. I’m not a shy person. I’ve got nothing to hide. People forget that it is realty—the show is about me, my family and my friends. There’s a lot of stuff that’s really fun. Sometimes, I wonder why people would want to see some silly thing we do, but the producers say, “No that’s what people love to see!” I think the only time I got really frustrated was having a camera in my face when we went Geocaching in Montana. But at that point I didn’t have a choice.

What are you doing for the holidays? Does the show have any say in those kinds of plans?

It’s up to us, not the show. My husband’s family is in California and mine is in Connecticut, so we usually split 50-50. We’ll do Thanksgiving with my family and Christmas with his this year.

You’ve started a fashion blog on your web site called Last Night’s Look. Are you thinking about that business in addition to your modeling?

My kids are beyond a full-time job, so not right now. I am really into makeup—I’ve started an exclusive nail polish line with Ricky’s NYC, and that’s been a really fun venture. And how great would it be to still be modeling in my 50s? Some women can do it. Actually, my secret dream is to be a TV host or newscaster. It’d be fun to experiment with that. Maybe you’ll see me as your local weather person some day. EDGE

Editor’s Note: EDGE and Kristen wish you a happy and healthy 2015! (Dress: ALEXIA ADMOR; Earrings: GREGG RUTH; Bracelet: SIMON G.; Shoes: STEVE MADDEN)