Episode 149: Art

Speaker 0 (0:10): Welcome back to another episode of Wreck of My Father. Today, we're gonna be talking about art. I remember in high school, I had to do what was it? I think it was seven pieces of art or was it 12? Because I was a senior.

Speaker 0 (0:22): I think it was 12. And I did lithography. I did lithographs, which was dry point printing process where you draw a picture and then you etch it into a kind of plastic sheet and then you run it through a printing press, but then you have to cover it with ink before you put it on the printing press. And I thought that that was interesting. Then that taught me a lot about different mediums of art and how we really think about painting or drawing or multimedia such as collaging, which is for people that aren't talented.

Speaker 0 (0:55): But, you know, I think that you find something you like and you do it. You know? Well, what do you think about art?

Unknown Speaker (1:01): I think about my first art teacher was I think it was sixth grade. It was missus miss Bailey. And she was stooping somebody on the side. We knew one of the other art teachers, mister Sheehan or Shanigan or something like that. And she was like the older, pretty art teacher.

Speaker 1 (1:27): And then there was the younger, pretty art teacher that came in, and there was a big fight over who would get to marry him. Shin. That was his name. Not Asian. Interesting.

Speaker 1 (1:40): Weird things. A red haired, red bearded, mustached guy. Not not a fat guy, just normal sized, tall, whatever. And this would have been in the late sixties, early seventies. So it's really kind of funny.

Speaker 1 (1:54): It's Rippon Middle School's where I where I saw my first and and learned a little bit about art. I think through the years, though, it's like I've always it's been something that it catches my eye and catches my mind. I I remember in our houses that, the house I grew up in in Woodbridge, we had something called a Lionel Barrymore, and he it was a etching that he had done, and my mother was very proud to own that. She had a number of pieces that were, I mean, somewhat valuable, depending upon economic stout, you know, not millions of dollars, but worth a lot of money to us at our economic state then. And I I remember the different things like we had, George Washington crossing the Delaware.

Speaker 1 (2:40): There was a painting, and it was a it was, you know, it was two and a half feet by 18 inches, something like that. And then we had the great Fox Run, and that was a European piece, and it was downstairs in the hallway. And the reason I remember that really distinctly is I was in a brother with a fight with my older brother, and he he bear hugged me, like, just above the hips and was banging my me my body against the wall. And I knocked it off and it fell on the ground and the glass broke, the the painting didn't get torn. Things that sort of stick out in your mind when you think about art.

Speaker 1 (3:19): Mean, I've really changed over the over time. I have been I've been moved by art, you know, like emotionally, which is weird in itself, you know, and it's I think an art art is truly in my mind, the eye of beholder. It's who you you go and you look and you see if it if it sparks for me. Know for me it's a

Speaker 0 (3:45): money laundering thing. For me it's how you want money, you launder money because you see the banana with the duct tape on it sold for, I can't remember, I think it was like $50,000,000 or something. And you know, it's all about hiding it. It's all about how can I take my illegal assets and put them into something that's not illegal, but there's also the water lilies? You know, I love the water lilies.

Speaker 0 (4:08): I love them. I love them.

Unknown Speaker (4:10): Where did you see them?

Speaker 0 (4:11): I saw them at the MoMA and it wasn't one well, had the one, right? You had the one water lily painting, which was not the stretch horizontal canvas, but it was the cube canvas, which was really nice. But then you also had the, I think it's like five or six panels. And oh my gosh. Oh my gosh.

Speaker 0 (4:31): It meant that was incredible. Oh my God. To know that that was the perception of a blind man dying was nothing short. He had cataracts and I read a whole book about this and he did the hay bales too while he had cataracts, but specifically the water lilies were painted of Giverney, his garden And what is so profoundly interests me the most is that he destroyed those paintings dozens of times because he was so upset that he couldn't perceive light in the way that he wanted to. So he tried to expose the way that he was perceiving light.

Speaker 0 (5:07): But he destroyed canvas, canvas over canvas so many times. And it was an incredibly frustrating effort on his behalf.

Speaker 1 (5:16): Well, you mentioned you mentioned the water lilies. I saw them originally would have probably been in the late nineties, when your mother and I went to Europe. And we went to Paris, and there was actually a Monet museum and it's it's oval. And they were in a room, and I didn't realize that the water lilies was not just one freaking painting. It was panels that when you stand in the middle of the room, you can look around and you will see, like, water lilies.

Speaker 1 (5:47): I mean, it's it's it's amazing at a distance. But if you walked up to it, it's like he painted it with 15 foot long arms because and it was all to do with his sight. Because when you go up close, it just looks like a mess of green and blue and white painting that looks chunky and all this kind of stuff like this. And it's like, can't, you can't really figure it out. And then when you step into the room, you're like, Oh my gosh.

Speaker 1 (6:16): Oh my gosh. And that is that's crazy. That's crazy. I saw my wife saw that I really liked it. She she ended up for my, I don't know, 40, 40, 40 birthday, Baltimore Museum.

Speaker 1 (6:32): And it was like a small museum, was having a art show and, for Monet, and they and they had tickets. And you get in line, and it was a line, and you had to wait, and you walked, and you walked single file up the steps on one side. It was like a big townhouse. It was a row townhouse too too wide. We walked into one side and you're walking and you're literally two feet from the painting.

Speaker 1 (6:59): And so I'm looking and I'm going like and they were they were Monet paints, and they and I was just like, this is shit. I'm walking through. I didn't say that. I didn't say that because she went to all this effort, she ran a hotel in Baltimore, and I was like, wow, this is really special, beautiful. We're not done.

Unknown Speaker (7:13): They're all like, I wonder for stuff. But you go to Philly seafood? Yeah. Probably. Something like And I and I was walking through Barber.

Unknown Speaker (7:21): Yeah. But they didn't have any good art, so we left. And then I I went this is the problem with every podcast we do because we are start talking about You go to crab

Unknown Speaker (7:31): cakes? Yes.

Unknown Speaker (7:32): But we didn't get any barbecues. No barbecue potato chips.

Unknown Speaker (7:35): Grow up.

Speaker 1 (7:35): Anyway anyway, I was walking around the queue, and I looked across the room, and I stopped. Totally fucked up the line. Stopped and just looked, And then I I stepped out against because they had it roped. So I stepped out against the rope, and I'm looking across like a 30 foot room. And I'm seeing his painting on the other wall, which is you have a queue that's two, three feet away from it.

Unknown Speaker (8:03): It's just single file all the way in, all the way around, all the way through the whole thing. Was not just walk into a room and see it. You had to go through the queue. So when you're looking at it from three feet, it's just absolutely a waste. It's it doesn't make any sense to you, but when I turned around and I looked at the opposite wall, it was like, boom.

Unknown Speaker (8:21): It was like, woah.

Speaker 0 (8:23): That's like John Singer Sargent. Yeah.

Unknown Speaker (8:25): That's that's what he was doing. That's it right there. You know, you go like, woah. That's that's it. It's, know, it's kinda Jackson Pollock, you know, that kind of

Speaker 0 (8:34): looks No. Don't even say that. Oh my god. Pollock was not even, like, a real artist. That is I know.

Unknown Speaker (8:41): But he could forepaint really well. Anyway, I I okay. I take that back.

Speaker 0 (8:44): He was not a real artist in my opinion. But the

Speaker 1 (8:47): but the Monet walking through there that moved me enough to put going to see his home, which I'd seen all these pictures of Giverney. And I went there two years ago. And we we went through and saw the art. And when you see the place blooming in the springtime, because it's like June or July or something like that.

Speaker 0 (9:09): Did I give you that idea after I read the book about his late life? Was I like, you should go do this?

Unknown Speaker (9:14): No. You give me nothing. Nothing to go on.

Speaker 0 (9:16): Nothing I think you stole that from me, to be honest. But it's alright. Do you know the his son

Unknown Speaker (9:23): Well, I've stole slot canyons from you and I'm gonna do those and you're not gonna I know Glacier National Park and you're not invited.

Speaker 0 (9:28): That's messed up. That's messed up. Well, you went to Kiverney, and then I said, I'm gonna go skiing in Japan.

Unknown Speaker (9:33): Yeah. And you went to the Coco, and that was mine. So you just took mine, and you went out there, and you were like, wow. This is more snow than I

Speaker 0 (9:39): do with. Battle of the privilege, you know?

Speaker 1 (9:41): I was sitting at home. I was sitting at home and it was like 80 degrees. So you know what I did? I went, I stuck my head in the icebox until my ears froze. I said, okay.

Speaker 1 (9:49): Now I feel like I'm skiing. You know what anyway?

Speaker 0 (9:52): We know what some real good art is Jason X, a movie that I started watching today. Jason 10. It's about Jason Vorees, the the machete guy in space on a spaceship.

Unknown Speaker (10:04): Does he wear the mask, the hockey mask?

Speaker 0 (10:06): The whole time because he's ugly. And and, yeah, and so he's killing people on the spaceship and that's about as far as I've gotten to.

Unknown Speaker (10:14): Does he ever get any blood on escape on his mask?

Speaker 0 (10:17): I imagine that he has to, right? I imagine that.

Unknown Speaker (10:20): When you're watching the movie, I didn't watch

Unknown Speaker (10:22): the movie. So far, no. I mean, he's pretty, he's pretty clean with it. Wow.

Speaker 1 (10:26): It's kinda interesting that he's he's a slasher with no blood on his face.

Speaker 0 (10:30): But John Singer's sergeant, man. Oh my gosh. Yeah. What it is too is it almost looks like accidental brush strokes, you know? Yeah.

Speaker 0 (10:39): It looked accidental but then when you look at, oh my gosh, I think it's called like the carriage horse or something like that. And it's these mages of black and gray specifically on a London street with a little bit of yellow on a on a light and it is nothing short of one of the best paintings I've ever seen because it's a carriage running into a person, I think and it's. Oh. It's amazing. It's absolutely incredible or it's character.

Unknown Speaker (11:07): Does he does he have a machete?

Speaker 0 (11:09): No. Jason is not in that one but man.

Unknown Speaker (11:12): I didn't know. If it's all dark.

Speaker 0 (11:14): Really good painting. You know what I don't really like? And I've never understood at all is the kind of the Santa Fe art. Don't get it. Don't get it.

Speaker 0 (11:24): Yeah. Don't understand it. People talk about the Southwest and it being the best art in the world. I'm like, I don't get that. Do you get that?

Unknown Speaker (11:32): Do you

Unknown Speaker (11:33): get the Southwest stuff?

Speaker 1 (11:34): I think that who's the guy that did Yellowstone?

Speaker 0 (11:40): Pictures. Costner? No. In the TV show, Yellowstone?

Speaker 1 (11:44): Nope. The guy that took the pictures. Ansel Adams? Yes. Now some of his stuff is art.

Speaker 1 (11:50): Okay?

Speaker 0 (11:52): That That really considered the American Southwest. I guess you're right. Yeah.

Speaker 1 (11:56): Yeah. He's taking pictures of the brown. He's taking you know, that's he he took pictures. That the the painting of the blues and the whites and the Indians and the with the brown skin and all that kind of stuff and the big head dresses and stuff like that. I don't I that doesn't appeal to me.

Speaker 1 (12:10): I know shout out to Bill Combest, person I used to work with. He was an art collector, and I went to his house and he had big giant paintings like that all over. And and he was the one that told me that if you ever decide that you want to do anything, if you want to buy any Southwestern art, never buy in Santa Fe. Santa Fe is like the markup 50 to 75%.

Unknown Speaker (12:32): Oh, that makes a lot

Speaker 1 (12:33): of sense. In the secondary markets. You'll do a lot better if you're interested in that. I'm like, well, I don't buy art to make money. I buy it to hang on my wall so I can look at it because it's amazing to me.

Speaker 1 (12:45): And it's like, it's like why do you spend more for a desk? Because a desk really just holds shit on top of it. Right? Why would why would I mean, really. I mean, what's

Speaker 0 (12:54): your point? It's funny because I I dropped a coffee cup off my desk today shattered. And I was like, man, maybe if I didn't have so much stuff on my desk.

Unknown Speaker (13:02): Well, that's but that's not

Unknown Speaker (13:03): what it does. That's what

Speaker 1 (13:04): it does. That's the functionality of a desk and it's like the functionality of an art is to make is to catch my eye and make me evoke a feeling, you You ever get the

Speaker 0 (13:16): tingly the tingly on top of your head? That's nice. I've got music, though.

Speaker 1 (13:20): Got that. You weren't with us. My wife and I went to Caymans. We got some offers, something I forgot. And we're walking down the street, and I I walk into a strip mall, and I see the painting, and that's where I saw the Zebeszeski painting or Zebeszeski or whatever the heck his name was.

Speaker 1 (13:36): The one that gave you the little duck. Yeah. She was pregnant. And or you'd been born here. Yeah.

Unknown Speaker (13:43): That

Speaker 0 (13:43): one. That that behind me.

Speaker 1 (13:45): That. That. I love that. We went when we went through there, I saw a little painting, and it was three feet by two feet. And, it just I just stopped.

Speaker 1 (13:55): And I said, I want that. And she's, like, looking at me like, weirdo. Like, what you know, which is not unusual, but more than usual this unusual this time. And then we didn't buy it, but we went on because art store is closed. And the next day, I'm like, I gotta go there.

Speaker 1 (14:09): And so we we I took a taxi or whatever the heck we went back. We bought the painting. It was $350 at the time, which was a lot for us to spend for art in that timeframe. Buy it, hold it. And then all of a sudden, years later, I researched him a little bit and found out that he was in Key West.

Speaker 1 (14:31): Her and I went to Key West for vacation, and you were just a bump in her belly. You were a making her fat at that point. You weren't even born. So we go in and we see this guy and he and he tells us how he does the paintings, and he kind of like Pollocks them, you know. He puts down, he put down these huge canvases on the floor, and he goes through with buckets of paint, and he pours piles of acrylic So

Unknown Speaker (15:01): it's layered. Okay. Okay. Gotcha.

Speaker 1 (15:02): Yeah. And then he just comes in, and he and he makes them into something. And he said, I make every single thing into a picture of my wife. And I just thought that was really cool. And if you look and it's like different stages, like here she is zooting, here she is doing this, here she is doing this, here she is doing this.

Unknown Speaker (15:20): And I was like, oh my gosh.

Speaker 0 (15:22): Well, speaking of muses and things like that and women And he

Speaker 1 (15:25): gave us that let me finish. He gave that he gave us that duck when I bought that painting, and he said because those were like

Unknown Speaker (15:34): What duck are you talking about?

Speaker 1 (15:35): One behind you there. Whatever what do call that?

Unknown Speaker (15:37): This is not a duck.

Unknown Speaker (15:39): What is what is it?

Speaker 0 (15:39): Woodwind. It's a woodwind man. He's an alien man. His nose is a flute.

Speaker 1 (15:45): He gave that to us for you, and he said, give this to him when he's born. And we got it then. You were, you know, you were half born, whatever the hell that means. She was like six months pregnant. She had a beer gut.

Speaker 1 (15:59): I mean, it was, you know

Speaker 0 (16:01): You know what's funny? Beer. Is that you did this story on episode like 10.

Unknown Speaker (16:06): I thought so.

Speaker 0 (16:07): Yeah, when we we did this and that's kind of cool to to jog it again because we got some new new viewers now. Yeah. What have you? But as I was saying, no, Matisse, I don't like Matisse. Red period, don't like it.

Speaker 0 (16:20): I don't know. It looks lazy. It looks like a child did it. You know?

Unknown Speaker (16:26): Is that no. I'm thinking of Renoir.

Speaker 0 (16:29): Do you know? No. Renoir is amazing. But do you know the the people in the circle when they're dancing and they're all holding hands like this? Yeah.

Speaker 0 (16:37): Yep. It's really crudely painted.

Unknown Speaker (16:40): Well, I mean, you see lots of stuff like that.

Unknown Speaker (16:42): I don't get it. You know? But he's like one of the most famous painters of all time. Yep.

Speaker 1 (16:47): You know that? I went to Phillips and saw the blue period, I was like, meh, you know, whatever. Yeah. But, when I think about the different art places and museums that we've been to and just like everywhere we go, when we travel, we look for some local museum that shows the art of the country or the place.

Speaker 0 (17:07): That is something that you have ingrained in me in the importance of going to the museums. Well,

Speaker 1 (17:12): I think it shows you, you know, it shows you a a strand, a strand, strand of their culture. You know, when you see the way that they've what their selves and how they've developed. It's interesting. I mean, the interesting thing to see is to see that you're in China and you look at some of the, you look at some of the things that are there, the art pieces, and then you're in India, and then you're in Africa, and then you're in, like, South America, and you see, like, how did they all think that this is the way this should look?

Speaker 0 (17:56): It'd know, how they're

Speaker 1 (17:59): all very similar. And that is like when you see a connection of art across countries, and you're like, but they didn't, and they were different centuries, or, you know, maybe one traveled to the other. And you're thinking like, well, it isn't like they had the internet in the 1300s, you know, or the 1500s. But when we, most of the art I look at, or the more interesting art to me is, like, I guess, sixteenth, seventeenth, eighteenth, nineteenth, twenty, twenty first century art. That's that's what appeals to me.

Unknown Speaker (18:27): You know, lot of

Speaker 0 (18:28): stuff. Me and you are both big fans of impressionists and I don't know why that is but it just is that way and you know what's funny too is you had Anne Rand, the person that wrote Fountainhead, talk about objectivism in her book titled The Romantic Manifesto and how after the romantic period that all art was basically bullshit and self complaining, which is very, very interesting. And that like all the impressionist tried to do was reiterate what the romantics did which I think is kind of funny because it's kind of true but at the same time, she goes on. She's like, well, Jack Kerouac and these beatnik authors at this time, all they do is they look at the beauty around them and then look internally and how they're not self satisfied. And I think that that's a very interesting kind of point of why we like impressions.

Speaker 0 (19:16): And how you can paint that. The of the romantics, you know? I don't know.

Speaker 1 (19:20): Yeah. It is kinda it is kinda interesting when you look at it and how they the different things and what kind of feelings it evokes. And, you know, we have I I think about the two squirrels on the Audubon, John J. Audubon, whoever it is, that guy, Jingleheimer, and that he Audubon was like one of the big painters of art of animals. And he put out these volumes and what people did with his his plates that he used to make the books, they cut pages out of the books and pasted them on and made art from them.

Speaker 1 (20:03): So they would buy an Audubon book, and they'd make 100 paintings and sell those. And we have to. So that's the reason. I always remember the two squirrels that were running up and they're my house and the front door, one on either side. I had them, when I was growing up.

Unknown Speaker (20:22): They were on either side of the air conditioner, the, you know, the one with the mashed potatoes.

Speaker 0 (20:28): I think it's funny too that I went from

Unknown Speaker (20:30): Never broke them. Never hit never hit the art.

Speaker 0 (20:34): Dry point printing. Right? And then now I'm I'm making a movie. Which is interesting. And I I wonder really what where that comes from.

Speaker 0 (20:42): Right? The medium in which we choose to express ourselves.

Speaker 1 (20:45): Well, yeah. And you think of it and you think about art in general and it's like, well, what what was the one that I thought was really weird? I think we went to, I don't remember the museum. It was cause I go to them in every country we go to. And we went to a bunch of it in Paris.

Speaker 1 (21:00): We went to a bunch of them in London. Went to I mean, every time I go somewhere, go Buenos Aires. We went to some, but that was more recent. The but when I go, when you see like they had one that was called the White Room, and I think that is, that's either right up here. I can't remember the name of the art studio.

Unknown Speaker (21:22): Hirshhorn?

Speaker 1 (21:24): No, it's it's a it's a local one art studio. It's in Maryland. The Sales Brothers bought it. Rails. Rails.

Speaker 1 (21:35): They own it. They opened an art museum, spent like $500,000,000. It's like Oh, wow. 40 acres in Bethesda.

Speaker 0 (21:42): Wait. No. That's the not the torpedo factory. No. That's different.

Speaker 0 (21:46): Yeah. That's downtown.

Speaker 1 (21:47): No. This is this is if you come, you we should make we should go there. It's free to get in. You just have to pick a time slot and book it and go. It's called the White Room?

Speaker 1 (21:56): Yeah, it's the White Room and you walk in and it's paintings that are 25 feet by like wide by 30 feet high, like one, two, three, one, two, three, four. And they got one on the end, they got one here, and they're all different cues of just white, not signed. And you're like, what the fuck? And and it's like millions of dollars in art. And I'm like, I just don't.

Speaker 1 (22:34): That doesn't that doesn't drive me or people, you know, just like you said with banana and the duct tape. Modern art

Speaker 0 (22:40): is meant for money laundering and nothing else other than that.

Speaker 1 (22:43): Well, I don't know if I don't know if if white paint on a canvas that you would spend a $100 for, you know, is a big thing. There was

Speaker 0 (22:55): this guy that invented a different shade of blue, which I thought was cool, that was similar to something like that.

Unknown Speaker (23:01): Is it in the painting behind you?

Speaker 0 (23:03): The LACMA. No. No. Surprisingly not. But

Unknown Speaker (23:06): Yeah. I was looking at Man,

Speaker 0 (23:08): of art, man, the LACMA, Los Angeles County Art Museum might be the worst art museum in the world. I don't know. It's kind of interesting that when you have a buying power of, I think it was about a half $1,000,000,000 to reinvest, you build another portion or you renovate to make it look nicer instead of maybe, I don't know, purchasing art that is actually worth the Like, I don't I don't know. It's very, very interesting. Like, we're going to build another building.

Speaker 0 (23:37): It's like, oh yeah, wait. Let's not put reputable artwork in our museum. Let's just build another weird iron jungle here and it's like, I don't understand that. I don't I don't know. It was very, very crazy.

Speaker 1 (23:52): We went to the one in the Guggenheim in New York, which has a lot of really modern art. And they have they're more installation y where they, know, have they have

Unknown Speaker (24:03): a stuff. Yeah.

Speaker 1 (24:03): They have a car that runs around a racetrack and bangs into a ball that rolls down a hill and then and then it resets itself and or this, that, and the other or a light that's on that has a pendulum and the pendulum hits something three times and then the light cuts off and, you know, and I don't I

Speaker 0 (24:25): don't Goldberg machine. Yeah.

Speaker 1 (24:27): Yeah. That doesn't really drive me. That's that's something I've never you know, I think it's cool to look at is to me what it's like is setting up 10,000,000 dominoes and clicking them and watching them all fall down. And I'm like, whatever that evokes a feeling for me when someone does that, when you see the whole thing come down.

Speaker 0 (24:48): I like Rube Goldberg if it's, like a marble that rolls in a thing that hits the dominoes, that cuts a string, that turns a candle on, that heats up a needle that shoots me in the vein with heroin. Like, shit like that. That's cool. Yeah. Like, if it's if it's like, cooking an egg

Unknown Speaker (25:03): Does it have to be heroin or can it be cocaine?

Unknown Speaker (25:06): It could it could be a speedball. That's fine. But, like, you

Unknown Speaker (25:08): know speedball.

Unknown Speaker (25:09): The If it's, like, it cooks an egg at the end. You know, the Wallace and Grommet style. Like, there we go.

Unknown Speaker (25:15): Amazing. Well, see. But see. Love that. But see, that's Rube Goldberg, but that's Rube Goldberg and Claymation.

Speaker 1 (25:22): Yeah. Right. So it's it's not it's not the same as something real. So it's very, even I mean, a lot of things that are that are boring as hell but put into claymation are like, I mean, just walking, watching a dog walk across the room. And claymation is funny.

Speaker 1 (25:41): That's just crazy.

Unknown Speaker (25:43): Speaking of art, remember Mad God? We watched that the other day together.

Unknown Speaker (25:46): Mad God. Yeah. Yeah. Me, you, and

Speaker 0 (25:48): mom watched that about six months ago. And

Unknown Speaker (25:51): We were probably on our cell phones and not paid attention, but

Unknown Speaker (25:53): go ahead. Exactly what you guys do every time. It drives me insane.

Unknown Speaker (25:58): We're texting each other.

Speaker 0 (25:59): I'll pause it. It was funny. I was watching one with my girlfriend the other day like a movie and she's on her phone and I paused it and I'm like, are you gonna watch? She's like, what are you? The watcher police?

Unknown Speaker (26:09): It was so funny. What are you? The watcher police? I love that. But no, Mad God was made over.

Speaker 0 (26:15): I think it was a decade or maybe it was two decades. And this guy was in his basement. Claymation movie. And it's about a guy that goes in search of I don't even really know what it's about. I couldn't tell you but he goes into these recesses of hell and there's these characters designs that like you can't even understand.

Speaker 0 (26:33): Like, I can't even explain.

Unknown Speaker (26:34): Now, I remember.

Speaker 0 (26:35): You remember that? That's one of the best movies I've ever seen in my life. One, because of the consistent work over like two decades. But two, he did it all by himself. And it's also multimedia.

Speaker 0 (26:46): It's not just claymation. It was it was absolutely amazing.

Speaker 1 (26:51): American stop motion animated film.

Speaker 0 (26:55): I would say that there's there's nothing comparable to that. Even Wallace and Grommet, which is really good, it cannot even get close to what he created.

Speaker 1 (27:02): Well, Wallace and Grommet makes me just feel good. Okay.

Speaker 0 (27:06): Feathers McGraw. Did you watch the new one? No. Little little penguin guy with the glove hat? Feathers McGraw, evil penguin.

Unknown Speaker (27:12): Oh my god.

Speaker 0 (27:13): He's an ass. I hate him. He does pull ups in prison. Yeah. The penguin?

Speaker 0 (27:18): Yeah. He's amazing. He's scary.

Unknown Speaker (27:20): Yep. Scary dude.

Unknown Speaker (27:21): What are you gonna do?

Speaker 1 (27:22): Does he have love mom? Like the heart

Speaker 0 (27:25): with I think he actually does. I think he does. The the little baby penguin man. Yeah.

Speaker 1 (27:29): Yeah. That's a very common thing that we do we do in prison or we used to.

Unknown Speaker (27:34): I love

Unknown Speaker (27:34): going because we would get our arms tattooed with hearts and have love, mom, and an arrow through it. You know?

Unknown Speaker (27:39): Yep. That's what you gotta do. That means

Unknown Speaker (27:41): you Or you do it on your chest, right over your boob, you know, something like that.

Unknown Speaker (27:45): Well, you know what I also

Speaker 1 (27:45): And all of a sudden, get saggy and it looks really bad and the arrow gets crooked and it's all it's all wiggly and you swing it and then, you know, hey.

Speaker 0 (27:53): And then you die. And then you die. Yeah. Then you What was the tattoo worth but just kind of a representation of who you were when you were alive?

Speaker 1 (28:01): Well, you know, that's kind of a cool thing to think about but maybe this is gonna be the wrong way to put it is to say, what if you were to skin people of their tattoos when they died and made that into art?

Speaker 0 (28:12): Well, me and you went to the body museum when I was like 13 and. Oh, yeah. Remember that in New York?

Unknown Speaker (28:17): I was in New York, right?

Speaker 0 (28:18): And it smelled so crazy in there. The smell was great. Because for those that you don't know what the body museum is, it's a bunch of people that donated their bodies to science and what these people do is they put up the dead bodies without the the top skin on, right? Or something like that and it's the muscles. It's the muscles and it's and the eyeballs are out.

Speaker 0 (28:39): That was crazy actually that we did that. That was kind of insane. Yeah. Remember that? And it was like people like the muscles of people driving a car.

Unknown Speaker (28:48): And then

Unknown Speaker (28:48): you would you see would see where it was and it was weird.

Speaker 0 (28:53): As a kid, I don't think I was registering what I was seeing. But then as an adult, I'm like, that was kind of insane that we It

Speaker 1 (29:01): was in the it's called the discovery it's Discovery Times Square. That's where you saw it. Yeah. That was right now, and it's one of the most extraordinary experiences of my life, both simple and intricate and most and and most of all beautiful. No.

Unknown Speaker (29:14): It was it was It smelled crazy. Oh my gosh. Smelled, but it was scary to me.

Speaker 0 (29:19): It's you were freaked out. Yeah. I could tell that Yeah.

Speaker 1 (29:22): It was it was kind of a thing that I kept waiting for somebody to come back. Oh. You know? It to me, it reminded me of, I worried when I looked at those people that appeared to be in perfect health to be dead, that my mind was going, oh, they waited till you were in perfect physical physical shape, and then they killed you. And, I mean, I know that that's probab that's not supposed to bodies to science.

Unknown Speaker (29:52): Yeah. But they don't they probably signed the form, and then they put a bullet through their head. Don't know.

Unknown Speaker (29:57): That's such an interesting way to think about it.

Speaker 1 (30:00): I mean, that was just the way I thought about it, and I couldn't I couldn't get over that that they that they tortured and killed these people because they were selling themselves because they needed the money. And anytime you got people doing

Speaker 0 (30:12): stuff minute. They were all Chinese. Yeah. They were all Chinese. None of them were.

Unknown Speaker (30:17): They're probably the Uyghurs.

Speaker 0 (30:19): Oh, wow. Actually, now that I think about it, that's kinda a little messed. Yeah. Because they were all Chinese from what I remember.

Speaker 1 (30:26): Yeah. They were not this was not like, everybody from all over the place. This

Unknown Speaker (30:29): is No.

Speaker 1 (30:30): This the this is a selective tortured population.

Unknown Speaker (30:34): I didn't even think about that. Oh my gosh. You know? Wow. That's yeah.

Speaker 0 (30:38): We're we're we're we're Germany, World War two. I still remember the smell. Do you remember the smell? I can think about it. I can think about the smell right now.

Speaker 1 (30:47): Certain smells. I mean, the smells that stick with me are nursing homes.

Speaker 0 (30:52): That for me was I remember that very, very well.

Unknown Speaker (30:56): The nursing home smell?

Speaker 0 (30:57): No. The the body museum.

Speaker 1 (30:59): I miss I I can I remember smelling the nursing home from, like, seven years on? Seven years old on. Every time I went to my place

Unknown Speaker (31:07): dying one. You know? So

Speaker 1 (31:08): I Yeah. Yeah. But that was yeah. That but I for for some reason How could you forget? And fifty years or sixty years, they never decided to change what they clean things with.

Unknown Speaker (31:20): That is interesting, isn't

Speaker 1 (31:22): that shitty soapy smell when you come in that's mixed with urine. And it's like, do do you just make what is this? Chanel number piss? I mean, my god. It was just wow.

Speaker 1 (31:38): Every time you go in, it was age jacks, bleach, and urine. And it was just it's a smell that that I can I can I can taste it when I walk in? It's it's it's that thick. And you can't eat after it. Tasting a great diet.

Speaker 0 (31:58): That's an interesting concept. I'm trying to think of many things that I've the smells that I've been to taste, you know. I've only, I've had smells that are similar to a memory, you know? Like, I remember our kindergarten, this the hand soap with the little sea animal in it. Yeah.

Speaker 0 (32:14): That smells like when I was in kindergarten, you know? Really? Same thing. I remember the way the ham and cheese sandwich smelled, the one that they made for us. I remember that.

Speaker 0 (32:23): Oh. I remember grass specifically only like at certain times. I remember specific moments then.

Speaker 1 (32:32): What kinds of smoke or you kind that you mow?

Speaker 0 (32:35): The the mow but then also certain kinds of marijuana as well.

Unknown Speaker (32:39): Certain kind of marijuana is just sort of like, woah. Somebody's getting high.

Speaker 0 (32:42): Back when I, it was all Gorilla Glue and nobody knew what they were selling. That smell specifically. Yeah.

Speaker 1 (32:49): Airplane glue? I know that really well.

Speaker 0 (32:52): Fun fact, Towns Van Zam was huffing glue on an airplane and then passed out the bag glued to his face. Well, because he was huffing and he fell asleep inside the bag and then he was escorted off the plane after it landed with a bag glued to his face. What are you going to do? What are you going to do? He had problems.

Unknown Speaker (33:11): He had problems.

Unknown Speaker (33:13): Is he dead?

Speaker 0 (33:14): He's dead. Yeah. He died at the age of 55 of cirrhosis. But Wow. Was one of the most talented country I wouldn't I wouldn't consider him country.

Speaker 0 (33:21): Folk artists of all time. Poncho and Lefty, have you are you familiar with that song? No. Are you familiar with, oh my gosh, he's got a ton. Rake, there's another one.

Speaker 0 (33:33): If you listen to Towns Van Zant, they'll be like, oh, oh, I've heard this before. You know, it's kind of like that. There's one Poncho and Feet? Poncho and Lefty he wrote. Yeah.

Speaker 0 (33:44): And then.

Speaker 1 (33:44): Oh, that's Merle Haggard, Willie Nelson saying that.

Speaker 0 (33:46): Yeah, yeah. They covered it though, I think, right?

Unknown Speaker (33:49): He probably.

Speaker 0 (33:50): Because I think they covered Towns Van Zant.

Unknown Speaker (33:52): What's his, what's his name?

Unknown Speaker (33:53): Towns Van.

Speaker 1 (33:54): Oh, Poncho and Lefty, Towns Van Zant. Yeah. Pancho. Okay. That's right.

Unknown Speaker (34:00): They do the cover.

Unknown Speaker (34:01): He was incredibly.

Unknown Speaker (34:02): Oh, he did live in Austin. Yeah. In 1975.

Speaker 0 (34:08): He was incredible. Oh my gosh. One of my favorite artists of all time.

Unknown Speaker (34:15): We just had to put a little music in there. Did you hear that?

Unknown Speaker (34:17): Yeah.

Speaker 1 (34:18): That's him doing the he he's oh, man. He got he's got keyboard work. Wow.

Unknown Speaker (34:25): No. He was He

Speaker 1 (34:26): looks he looks like road hard, drunk hung up wet drug addict.

Speaker 0 (34:34): He does. He was a heroin addict for a very, very long time. And then also, I think he

Unknown Speaker (34:39): was He does have that James Taylor look.

Speaker 0 (34:41): Really a drunk at the end. Really hard drinker. Yeah, at the end there. But like, I think about Jim Morrison, you see Jim Morrison later when he's fat and like right before he died and to put on like 30 pounds or 40 pounds from alcohol just drinking in two years is in two years.

Unknown Speaker (34:58): That's pretty amazing.

Speaker 0 (35:00): Getting seroded in two years is pretty impressive.

Speaker 1 (35:03): I saw somebody like high school that was maybe he was six feet, maybe one hundred and thirty heroin. And then I was working construction five years later, maybe six years later, saw him, he quit heroin. He was two forty and he drank a case of beer in one sitting and get up and drive away.

Unknown Speaker (35:30): Well, there you go.

Unknown Speaker (35:32): I mean, a case

Speaker 0 (35:33): of think about it. You know? That's hard. Woah. Yeah.

Speaker 0 (35:37): I saw Starry Night when I was at the moment. You ever see Starry Night? Yeah. I saw that. That was cool.

Speaker 0 (35:43): Yeah. It looks bigger than it is or it's smaller but it's like, you know what I mean? Like, the

Unknown Speaker (35:47): It's kinda like the layered paint.

Speaker 0 (35:49): The layered paint, I didn't expect because it's like three-dimensional almost.

Unknown Speaker (35:53): Yeah. When you get it to go on it or something.

Unknown Speaker (35:55): You get a

Speaker 1 (35:55): chance to sit there. Well, you do that. I think I have a copy of it that I can send to you that we can use for the cover if you want As far as art goes. We're good. But we were talking about, I thought we were talking about, what were we talking about?

Unknown Speaker (36:11): Haircuts?

Speaker 0 (36:12): Towns, Vans, and heroin.

Unknown Speaker (36:14): No. Art. Art. We talking about art at the beginning of this? What's

Unknown Speaker (36:17): it? What's the topic? Yeah.

Speaker 1 (36:19): Yeah. Because I think about I think about, that's that's a beautiful painting. That's that's something you can stare at for, for me. For me. I mean, that's kind of the thing that you run into is that and I'm very weird in an art museum where I will walk through and, I'll walk into a room and there might be 50 paintings and I'll just look around and and I will wait for it to catch me.

Speaker 1 (36:44): Whereas I have a buddy of mine is truly an artist, doggy. And he goes in and he looks at every single painting and looks at how it was developed and learn and he learns everything. You know, they were talking. They went to the Louvre and it was we were there for three and a half days. I was like, what?

Unknown Speaker (37:03): And she goes, how long were you there? Three hours.

Unknown Speaker (37:08): You know what I love is the national

Unknown Speaker (37:09): We're some low rent fuckers. That's all I gotta say.

Speaker 0 (37:12): Well, if I if I see stuff I don't like, I'm not gonna appreciate it. You know? I just want Well, I

Speaker 1 (37:17): think I think what it is is that that he's more looking at the style that they did. He knows the brush strokes. He knows how long the work took, and he's getting a feeling for what the artist went through when they actually did it. So that's, that's a different way to look at art is like, it's like when you look at a piece of architecture, do you think about how many people died making it? You know, if you look at, like the San Francisco Bridge or Brooklyn Bridge or anything like that, you know, you're not thinking about all the people that are buried in the pilings.

Speaker 1 (37:49): You're thinking about, wow, that's really cool looking the way they made everything geometrically perfect together, and it's all connected into

Speaker 0 (37:56): Well, that's what I think about the World's Fair of like 1866 or something. And you just had people dying every day whether it be from electrocution or just falling from the tops of the buildings in Chicago and like that.

Speaker 1 (38:09): But it was a lot more common than to have.

Unknown Speaker (38:12): Oh, yeah.

Speaker 1 (38:12): High rates of death at things like that. Construction. Yeah. Yeah. And also, I mean, I'm sure it must be it must be odd to think about that today that we're all living at 70 years.

Speaker 1 (38:24): But you know, one hundred years ago, maybe one hundred and fifty years now, our average age was 40. I mean, so

Unknown Speaker (38:35): That's true.

Speaker 1 (38:36): You know, you would, you know, you're gonna you got just enough time to pop out seven kids and you're dropping dead.

Unknown Speaker (38:42): Yeah.

Speaker 1 (38:43): And then two of those are going to die at childbirth because we don't have anything that saves them.

Unknown Speaker (38:47): Well, your wife.

Unknown Speaker (38:47): You know,

Unknown Speaker (38:47): we have all this. You know, you never know.

Speaker 1 (38:49): Yeah. And your wife is going to she's going to die on like kid number 11. You know, and then you're going to be stuck with nine kids and you're going to say, the hell with this and just go to another city and leave the kids behind and start over.

Unknown Speaker (39:00): And that's art

Unknown Speaker (39:01): itself.

Unknown Speaker (39:02): For the

Unknown Speaker (39:02): last three years of your life and you're 27. And then you're done.

Unknown Speaker (39:07): I

Speaker 1 (39:08): mean, I just think about the whole idea that life was half of what it is now. Yeah. You know, it's like, wow. That's very weird. Year and the year before were the first couple of years that were actually the, life expectancy in The US is going down.

Unknown Speaker (39:28): Wow.

Speaker 1 (39:29): We're we're dying quicker. And, you know, you can point to many, many, many things. I think it's political affiliation a 100%, but

Unknown Speaker (39:37): Well, who wants to live in a world where you can't afford anything? Why would you wanna have kids to expose them to a world that just kind of sucks?

Speaker 1 (39:44): Well, yeah. I mean, in, you know, in in the the whole there's there's so many things and and art tries to make you removes you from that.

Speaker 0 (39:54): What? Yes. Exactly. Which is why we should not automate it with AI. That's BS.

Speaker 0 (39:58): I I Right.

Speaker 1 (39:59): Well, you can do you can do whatever you want. You know? You can you can do whatever you want. You can make it and don't demand it. And then we will either pay to go in and see it or we won't.

Speaker 1 (40:11): I mean, I think the I don't of guys was talking about that I just saw some meme on art that he goes and he uses art exclusively to save on taxes. You're like, what? And he said, if you if you own a piece of art for three years, you can then donate it. So he would buy pieces of art, appraise them at say $100,000 hold them for three years, and then give them away and get a 200 no, and get a a 2 or a $300,000 tax deduction, which was he said I would get on average, I get $2 for every dollar that I started out with. I'm like, you got a 100% return in three years.

Speaker 1 (40:55): Wow. And that's

Speaker 0 (40:56): You see the way Peter Thiel did it? Where he had a Roth IRA and he just had an untaxed, like, billion dollars. It's crazy.

Unknown Speaker (41:06): Oh

Unknown Speaker (41:06): my gosh. Absolutely insane.

Speaker 1 (41:08): Yeah. Well, there's there's so many ways to game the system and then the people that game the system will say, well, it's everybody else does it or I just follow the rules and it's like, the rules are kinda blurry, and I think that's the Well, the rules aren't reflective of your

Speaker 0 (41:29): own moral integrity. You know?

Unknown Speaker (41:31): Right. Too.

Speaker 0 (41:32): You are reflective of your own moral integrity, which Yeah.

Speaker 1 (41:35): I don't I'm not I'm not a I'm not a tax avoider guy and but I don't wanna pay any more than anybody else, and I don't I don't, you know, and

Unknown Speaker (41:43): I don't think Steven Segal should have been taxed. That was unfair, you know? Why is that? I think that was unfair. Well, that's why he went to Russia's because he had, like, I think it was only, like, a $100,000 in back taxes.

Speaker 0 (41:55): And he was.

Speaker 1 (41:56): Well, Wesley Snipes had like 3,000,000 and they put him in jail.

Speaker 0 (41:59): Yeah. Well, yeah. They were gonna put Steven Segal in jail. He's like, alright. I'm I'm I'm leaning.

Speaker 0 (42:03): I'm going to rush it. Yeah.

Speaker 1 (42:06): Well, typically, that's not a that's not a great tax avoidance strategy.

Speaker 0 (42:11): It's funny too because he's still making movies like every year and I'm like, who's who's watching these? Who's watching? You guys must have a DVD.

Speaker 1 (42:19): The fat people who wanna do karate. Yes.

Speaker 0 (42:22): They always talk about too like his evolution from like white man to like vaguely Asian and like the the eighties to like just he's a he's he acts like a black man like every movie now that he's Really? And it's so strange. It's Yeah. I don't I don't even know. It's like Carl Douglas and kung fu fighting.

Speaker 0 (42:40): It makes no sense. It's it's crazy. It's it's like, oh my gosh.

Unknown Speaker (42:45): Yeah. You just listen and go and like, really?

Speaker 0 (42:47): Well, the ones too where he's just like in these navy seal kind of movies. And the man's like in his, like, mid to late sixties, and it's like, we need our special forces team. And they're all like old as hell.

Unknown Speaker (42:58): I love that. That's great.

Unknown Speaker (43:00): Yeah. And with

Unknown Speaker (43:01): you

Unknown Speaker (43:01): Well,

Speaker 1 (43:01): that's what is what is Stallone Dewey does those series? Yeah. Where they go in and they save the world with nine guys in an old airplane, and they're all beat up and they're old as hell, and they they shoot 200 people and kill them all, and one of them gets wounded. And too.

Speaker 0 (43:20): In hindsight, why did that even do well? Why did

Speaker 1 (43:22): that And the scenes the scenes at the end, you know, because it's fight scenes and shooting and killing, and that's cool. And the good guys don't die. The bad guys die. And, you know, that's what people in a perfect world, they want to see people come out and break the rules because rules are bad. And, and then, you know, hurt people and hurt bad people or perceived bad people.

Speaker 1 (43:47): And they're usually child sellers or something, you know, whatever horrible thing you can think of that that will make people go, Oh, that's bad. That's good that they were killed, you know, even though, you know, you know, they they always put enough evidence out there that it's easily they're easily convicted. But in the real world, that just doesn't happen, unfortunately. Or when it does happen, they get pardoned because they have so much money that they can

Speaker 0 (44:14): Oh, evil people run the world. Oh my god. No. It doesn't matter anymore. Nothing matters.

Speaker 0 (44:18): Yeah.

Speaker 1 (44:19): Yep. But art can make take you away from that. Have to do that. You know, when you when you go to one of those museums and you you you feel like I feel better when I go through. Well, you feel like think about

Speaker 0 (44:32): existence of moral good is, I don't know. It's happen chance that it it You're

Speaker 1 (44:39): looking at five hundred years of history. You go in and you see something from 300 years ago, and you feel like you can connect with it. And you're like, wow. I mean, that's better than a Michael Jackson song,

Unknown Speaker (44:52): you know? Almost like a genetic memory thing.

Unknown Speaker (44:54): Yeah. Yeah. And it just pops up. And then you think about the year that he did it, and you think about, wow. And he was living in blah blah blah blah blah blah blah, and he had in a one room apartment, and he was, you know, doing whatever drug and smoking, killing this, and, you know, and and he was painless.

Unknown Speaker (45:14): And so many of the artists are painless.

Speaker 0 (45:16): I think that that's great. The Starry Nightguy lived a terrible life. Oh my god. And then was, like, shot by children in, like, the town that he was living in and then, like, didn't tell anybody about it because the whole town's like, gargoyle man. Gargoyle man.

Speaker 0 (45:29): And then he fucking died. And then it's like yeah.

Unknown Speaker (45:32): Did he work at the Notre Dame?

Speaker 0 (45:34): And then everybody's like, these paintings are stupid as fuck. And that's what they said the whole time. And then and then he died and then at four hundred years, nine hundred, probably two thousand years later, here in 2026.

Unknown Speaker (45:45): What year did the Starry Night happen?

Speaker 0 (45:47): Four thousand years ago about, I think. Really? Yeah. Four to five thousand years ago.

Unknown Speaker (45:52): What year what year did

Unknown Speaker (45:56): Maybe 7000.

Unknown Speaker (45:58): Did Starry starry night.

Speaker 0 (46:05): Like, oh, this podcast has become

Unknown Speaker (46:07): Get paid.

Unknown Speaker (46:07): You googling thing.

Unknown Speaker (46:11): How do you know I'm googling? 1889 in June. About Vincent Van Gogh was the guy that did it.

Unknown Speaker (46:16): Yeah. They yeah. Van Gogh. Yeah.

Unknown Speaker (46:18): Paul de moo de Saint Paul De Moo Jim asylum. Oh my god.

Unknown Speaker (46:26): Did you see Will Defoe play him?

Unknown Speaker (46:27): He was staying at an asylum when he painted it.

Unknown Speaker (46:31): Was he?

Speaker 1 (46:33): Yeah. He created this masterpiece while staying at the Saint Paul des Museau Asylum in Saint Remy De Provence, France, depicting the view from his east facing window just before sunrise, supplemented by an idealized village.

Unknown Speaker (46:49): Interesting. When did he go to the village that he

Speaker 1 (46:52): was It was painted in a Ground Floor studio at the asylum, not directly outdoors at night.

Speaker 0 (47:01): Wow. Woah. Woah. Woah. That's odd too because he would paint very quickly.

Speaker 0 (47:07): When, like, very, like, oddly quickly.

Unknown Speaker (47:10): Yeah. Yeah. And you had other people that would take, like, years and years and years.

Speaker 0 (47:14): You do it in, like, fifteen minutes. Yeah.

Unknown Speaker (47:16): Yeah. Ain't that strange? Well, you have a view or you have an idea. Well, you know who does that? Who does that?

Unknown Speaker (47:23): Your guy. Who's the guy that taught you how to paint? Who's the guy that taught you how to paint? We got paintings here on the wall from My guy. From from you.

Unknown Speaker (47:30): Oh, Bob Ross?

Unknown Speaker (47:31): Yeah.

Speaker 0 (47:32): I mean, yeah, in about ten minutes. Yeah.

Unknown Speaker (47:34): Yeah. When he goes in there and he does a painting and he does it ten or fifteen minutes, it it's like, oh my god. That's that looks real. And it's

Unknown Speaker (47:39): like little mistakes.

Unknown Speaker (47:41): Isn't that wild?

Speaker 0 (47:42): Happy little mistakes. You know?

Speaker 1 (47:44): Yeah. You just you just grab the grab the paint, throw it on there, and just look and just start to visualize and, you know

Speaker 0 (47:52): You get pretty good pretty quickly with his technique too. Like, there was ones in there that I'm surprised that I did.

Speaker 1 (47:57): I think we can we can we can we can really discuss what pretty good means. Oh.

Speaker 0 (48:02): Okay. Are you the one that you're looking at right now facing you this way. That one's bad? Tell me that one's bad. Tell me it's bad.

Unknown Speaker (48:10): It's bad.

Speaker 0 (48:11): No. It's not. It's not bad.

Unknown Speaker (48:13): You know what? This We're doing Hold on. Is it at? Oh, it's on the back wall. That's really beautiful.

Speaker 1 (48:20): Hold on.

Speaker 0 (48:21): Wait. Which one is it? That one. That one. Yeah.

Speaker 0 (48:25): No. Not that one. Not that one. Not that no. The other one.

Speaker 0 (48:30): The other one. The other one. That one's terrible.

Unknown Speaker (48:34): This one's terrible?

Speaker 0 (48:35): No. Not that one. The other one to your left.

Unknown Speaker (48:37): The other one?

Speaker 0 (48:38): The left. You see that one?

Unknown Speaker (48:39): Is it the big Mountain one?

Speaker 0 (48:41): No. It's the one to your left. This one right here. Let me point to it. You see where the air thing is?

Speaker 0 (48:46): The TV?

Unknown Speaker (48:48): The air thing?

Unknown Speaker (48:49): The TV. You see the TV? That one. Yeah. Yeah.

Speaker 0 (48:52): That one's the good one.

Speaker 1 (48:54): The one Are you talking about the one that's like a cube?

Speaker 0 (48:57): The the the one to the right of the TV that I'm looking at. My right of the TV on the wall in the corner.

Unknown Speaker (49:07): Can you see it?

Speaker 0 (49:08): You see the couch? Yeah. That was the first one I ever did, which was not great. But the one you can't see it. It's in the corner.

Unknown Speaker (49:17): It's in the corner over there? Yeah. The farc? Over there?

Unknown Speaker (49:21): No. No. No. You

Unknown Speaker (49:22): Or there.

Speaker 0 (49:23): That that that one. Yeah. Yeah. Yeah. Yeah.

Unknown Speaker (49:24): Yeah. You got it. Okay. I'm gonna grab that and bring it over here. Tell me that that's bad.

Unknown Speaker (49:28): You had to tell me that that's bad.

Unknown Speaker (49:29): Hold on. I gotta tell you. Is that the big volcano? Right?

Unknown Speaker (49:32): Yeah. Yeah. Yeah.

Unknown Speaker (49:47): You mean this one. Right?

Unknown Speaker (49:48): No. I don't mean that one. I did that when I was high.

Unknown Speaker (49:52): You mean that one?

Speaker 0 (49:53): Nah. Yeah. There we tell me that's bad. Tell me that's bad right now. Tell me that's bad.

Speaker 1 (50:02): Okay. You actually don't completely suck as an artist. I I must say.

Unknown Speaker (50:06): There you go.

Unknown Speaker (50:07): Okay. That that's pretty cool.

Unknown Speaker (50:09): I like how you showed the first one I ever did. I like I like that. You went out of your way. You're like, oh, yeah. Let me choose the absolute worst one I could find.

Speaker 0 (50:17): And then you chose the second worst one ever. Oh my god.

Unknown Speaker (50:20): But the funny thing is people would probably pay a bunch of money for the really bad one because it's, you know

Unknown Speaker (50:27): Money laundering.

Speaker 1 (50:28): This is what we did when we're eight. You know? Well, all you really need is a good appraiser. And if you get a good appraiser, then you can donate to a museum, and then they they then that puts that sets a price on it. Right?

Speaker 1 (50:40): But then I don't know how an artist would, how an art person would, you know, appraise something that, you know, well, that's it. You get a, you get appraiser that will say whatever you want them to say, right? Yep. To some degree? That's it.

Speaker 1 (50:55): But, you know, and Well,

Speaker 0 (50:56): that's how do mortgage fraud too.

Speaker 1 (50:59): You know? Exactly. That that's what they did. That that's what our, the rating agencies did. They they got got in bed and did the whole S and P, Moody's, you know.

Speaker 0 (51:10): Wait, finish this analogy for me. Finish this analogy. This is going to be fun. Okay. What is it?

Speaker 0 (51:17): Art appraisal as is to mortgage appraisal as Nirvana is to.

Unknown Speaker (51:32): God.

Unknown Speaker (51:32): I don't even know either. Yeah.

Unknown Speaker (51:35): What what what forks? Alice

Speaker 0 (51:39): in chains, I guess. Alice in chains works.

Speaker 1 (51:42): Forks are to cows as water is to planes.

Speaker 0 (51:48): No. But that's not an analogy because mine makes sense.

Unknown Speaker (51:51): I just made it up. Let's do an analogy there.

Speaker 0 (51:54): Mortgage or that that was the funniest thing I always thought.

Unknown Speaker (51:56): Really stupid.

Speaker 0 (51:57): Because they taught us no. Well, they taught us analogies in third grade via word masters, which was like meant to, I don't know, systematically increase your vocabulary by memory.

Unknown Speaker (52:09): You would understand something and then it would broaden your vocabulary because you can say, hey, Nirvana is the same as Allison Chains or similar or something like that.

Unknown Speaker (52:18): Well, yeah, exactly. That's where he

Unknown Speaker (52:19): has some of the same traits.

Speaker 0 (52:21): Art appraisal as is to mortgage appraisal as Nirvana is to Allison Chains. That actually works. That's a good analogy. That's a good analogy right there.

Speaker 1 (52:31): It's very weird because usually the other item that you would pick would be something that would be weird. Yeah. I don't know.

Speaker 0 (52:40): I just thought of on spot, you know, and it's hard being the smart.

Speaker 1 (52:44): I think really my water and planes is the same as forks and cows is better.

Speaker 0 (52:52): Oh, well, you could say rooster as is to spoon as cow is to knife. That kinda works. Okay. That works. You know?

Unknown Speaker (53:02): And you got animals and

Unknown Speaker (53:03): stuff. Spawn yard. Animals to cutlery.

Speaker 1 (53:07): Well, the thing I have the problem I have with the other analogy is that you have two, like, observations about where their financial calculations, whereas you're comparing it to music, which is like, you know, not like I can't I can't jump over that cow.

Unknown Speaker (53:30): Yeah.

Unknown Speaker (53:30): It's just it's too fat.

Unknown Speaker (53:32): It's too big of a cow.

Unknown Speaker (53:34): Must be American.

Speaker 0 (53:35): Milk that one, you know? Milk that cow. You know what I don't understand either in the art world is bear rugs. I don't like the bear rug. You know?

Unknown Speaker (53:45): Bear rugs? Bear rugs. Oh gosh. No.

Speaker 0 (53:47): Kill a bear and make it into a rug.

Unknown Speaker (53:49): That's just, that's horrible.

Unknown Speaker (53:51): I don't understand dead things in the house. You know?

Speaker 1 (53:53): I don't understand why

Speaker 0 (53:56): Why are we putting dead things in the house?

Speaker 1 (53:58): Or or the hunting of animals that are what do you call it? That are scarce.

Unknown Speaker (54:14): Scarce. Yeah. Yeah.

Speaker 1 (54:17): Yeah. That's the word I was looking for. Yep. Old people, we forget everything.

Speaker 0 (54:21): The time here? I did not.

Speaker 1 (54:23): I think we're I think we're there.

Unknown Speaker (54:25): Alright. Thank you

Unknown Speaker (54:26): guys for correctly, we should be we should be right in the right in the zone.

Unknown Speaker (54:29): That's right.

Unknown Speaker (54:30): We should show some more of your art. You know, the really good stuff.

Speaker 0 (54:33): Man. I like how in later in life, you just become condescending, you know? Yeah. Because you're jealous because you know you're gonna die soon. I think I Oh, you know?

Unknown Speaker (54:42): I think I

Unknown Speaker (54:43): I think use the word dick.

Unknown Speaker (54:47): Oh. And you gotta

Unknown Speaker (54:48): make you gotta make it a two syllable word.

Speaker 0 (54:50): Well, we'll listen to you. We'll we'll talk to you guys next week when my dad may or may not be alive. Alright. Yeah. See you then.