CC & NJ Guy
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CC & NJ Guy
Three Artists, One Question: Can We Separate The Art From The Artist;
What if the world’s most famous paintings weren’t just images, but diaries of obsession, ego, and grit? We dive into the lives and legacies of Pablo Picasso, Vincent van Gogh, and Jackson Pollock to unpack how reinvention, repetition, and raw gesture changed art—and how the mess of being human seeps into every masterpiece. Along the way, we challenge the uneasy line between celebrating groundbreaking work and confronting the harm some artists caused in their personal lives.
Picasso takes the spotlight as a tireless innovator whose Cubism shattered perspective and taught us to see from multiple angles at once. But his brilliance sits beside troubling truths about power, control, and the way he treated his muses. Van Gogh’s story counters cliché: more than a tragic ear and a short life, he was a disciplined machine of emotion who painted the same subjects until they turned into symphonies of yellow intensity and blue solitude. Pollock brings another register entirely—drip, gravity, and motion—where a floor becomes a stage and paint records the body’s rhythm.
We also widen the frame to include graffiti, murals, tattoos, and kinetic installations. From burned spray caps to bridge-side risks, street art carried its own vocabulary and now fills galleries and city blocks alike. Music threads through the conversation as a parallel art form: color can feel like a chord, a brushstroke can hit like a drum fill, and meaning shifts with the listener’s life. Taste, value, and interpretation collide in the best way.
If you’re here for art history with heart—creative process, cultural context, and the real people behind the myths—you’ll feel at home. Hit play, then tell us: can you separate the art from the artist, and which piece still gives you chills? Subscribe, share with a friend, and leave a review to keep the conversation moving.
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Right from Profit Studios. CC and NJ Guy. Woohoo! So what's going on, gentlemen? Everything's just trying to be warm, man. Yeah, we're um what's the word now? It's brick outside. I still say I think it's shit. Yeah, I think it's still brick. It's still cold. So cold they could cut ice, cut glass with these nibbles. Wow. Whoa. It's excited to be here.
SPEAKER_00:What are we talking about this evening? We you always hear through history all these like eccentric artists. You know, you hear weird stuff about them. And so we're all we all picked like an artist that we uh we want to talk about. Okay. That are eccentric. You know, the little theory. Well, eccentric. I don't know.
SPEAKER_02:Well, mine isn't so much eccentric. Mine was just, you know, I was just a fan of this one. Oh, yeah. Fair enough.
SPEAKER_01:Um you can still be a fan of the city.
SPEAKER_00:Yeah, about their history too. Not just a lot of people.
SPEAKER_01:Yeah, I think the reason we I was thinking about it is because of the conversation we had with Zoe when she was on last time. She we were talking about uh Picasso and how he saw himself. Remember? The Minotaur. We were talking about that, and I was like, oh, why don't we just have a conversation on different artists? You know, it kind of gave me the idea, so I thought it'd be good. So we'll start with Picasso, shall we? Yeah, yeah, go ahead. Picasso, born in 1881. Right. Elijah Spain, M-A-L-A-G-A. Uh-huh. Died in 1973. Believe it's a 91 rare four artists of his era, one of the most influential artists of the 20th century. Worked in painting, sculptures, ceramic, printmaking, stage design, co-founder of Cubanism, which I'm sorry, which changed art forever. Created an estimated 50,000 plus works in scene outputs. Wow. Yeah, that's a lot. That's a lot.
SPEAKER_00:But now that just the paintings, or was that also the uh I guess can with everything that we just mentioned. Well, you know what's a funny thing that he used to do, Picasso. He um he he was so famous and he was ego is so inflated. When he would like pay for like bills, he would draw people a sketch and give it to them. Cheap skate dude. Well no, not anymore. And you know what? Yeah, and you know what? Can you imagine having one of those guys? Yes. John Lovitz on on SNL did a skit with him and goes, um, Picasso. And he's like, they would just write sketches and give them the view.
SPEAKER_02:Here's a sketch of Picasso. I forgot about that one, man. Yeah, I remember that. That shit was funny. That was a good one. But then that's super ego, bro. Like, that's just Well, he did so much.
SPEAKER_01:Yeah, with the fingers touching.
SPEAKER_02:No, that's a sister. Oh, I'm talking about Da Vinci, okay. Yeah, yeah. The fingers touching, yeah, the guy like this, he's a Sistine Chapel who was the at the church. Right. The fingers touching the angels and whatnot. God Wow, just to paint that uh to have the talent. Yeah, well, they said that's how he started to go blind, him and the other painters that were there because they were on their back painting and the paint was falling into their eyes. Faces. And they're on their faces and whatnot. And that's why toward the end of his uh Oh, that makes sense. Yeah. I didn't even know he was going blind, honestly. Yeah. Until you said that now. Yeah. But we're going blind and then we, you know, we said goggles then.
SPEAKER_00:Yeah, they didn't.
SPEAKER_01:Yeah, you would have thought they would have thought of it because there were so many geniuses back then. Yeah, no.
SPEAKER_02:But it ruins their creativity because they can't see because of the glasses. No damage in their own head.
SPEAKER_00:Now, because of their ego, I would have invented something like glass with a strap on it, like a flat glass. Like the mask, yeah. You know.
SPEAKER_02:But you know, think of how many times they probably would have like, no, no, it's annoying. It's well, the breath would probably yeah, and then fog it all up and whatnot, and then, you know, but then that's what they would probably make it shorter to make it the glasses and like goggles and such. But you know, again, it's like anything else, you know. You think of all the other artists that have to be in a certain um state of mind, we'll call it. Yeah. When they're making music, when they're acting, you know, when they're painting. Um even uh athletes, you know, thing is they have to keep that that same thing going that because you know, like they feel like it's part of the um how they win. Yeah, yeah. It's like breaking that curse, it's that routine that they have to stay doing all the time. Right. Ficas, a painter, most artists, they have that something. 50,000 works. 50,000 works. Now that's what I'm saying. 50,000 works, are we gonna say like part of his sketches? Is it the actual thing? That would be everything.
SPEAKER_01:Yeah, see? Everything. That's it. It doesn't, you know, it doesn't say so many of what I'm assuming it's everything total. Yeah. That's insane. Yeah.
SPEAKER_02:And his stuff is still that, like, I I I guess we'll say valuable. You know what I'm saying? That's crazy.
SPEAKER_01:50,000. Yeah, they said he revent he reinvented himself constantly. Yeah, okay. He never stayed in one style too long. That's serious. Treated art like an experimentation, not tradition, broke press perspective, showed multiple viewpoints at once, didn't paint what things look like, painted what they felt like. And also, you know, he was like dating women younger than him, so.
SPEAKER_02:But that was a thing of the times, though, too, bro. You know, older man, more established, and yeah, I'm gonna marry you off the five.
SPEAKER_01:Well, I'm not saying it was a bad thing. We talked about that too when Zoe was on.
SPEAKER_00:But how old was she again? Oh, he was like twice her age. Was he in like his fifties and she was in like her twenties? Like twenties, like teens or something. Yeah, yeah, yeah.
SPEAKER_02:Yeah. There's songs about stuff like that, bro. You know what I mean? About just living like that. But that's another that's a different episode. Yeah. That's a different episode. Yeah. But yeah, no, so I mean, like, all right, so does it say there what was um one of his other yeah, what was his famous uh Well, hang out.
SPEAKER_01:Uh Obsessive worker, painted daily compulsively. Didn't believe in inspiration. Saw women as muses, not equals. He openly admitted women fueled his uh creativity, love, and control. See? See, so it did have some kind of effect, even though he didn't treat him well. Yeah. You know what I mean? Yeah. He was a horn dog.
SPEAKER_02:Yeah, creative one. Yeah. He had skills. That that's a gift, you know. Listen, you know, there there's I think that uh I don't have a problem with it. But for the time, it's what it is. Yeah, and that's just exactly it is it was what it was, but and he did. He has skills and whatever it was. Think about this. Some people, what they've done in history, doing some kind of drugs to turn around and bring that that creativity out, whether it was making music or painting, you know what I mean? That's what they did. They would get high in colors. He was making love to a young woman. Yeah. But he used them as in his paintings. Daniel used her so that then that's when he drew her, he made her extra whatever and the background vibrant, and like doing all those things that caught your eye when you saw it up. Like, oh, how does that make you feel? Ronde, baby. So I said it has many lovers, though.
SPEAKER_01:So I'll make you ronde. Yeah, baby. Yeah. That's awesome. It's like a baby holding an apple. Yeah, yeah. All right, yeah. It's like a tripod. Uh he had many lovers, dated very young women. Some relationships against uh began when women were in their late teens, emotionally abusive, a little bit of control of psychologically damaging to partners. Several women have suffered breakdowns, two attempted or committed suicide, often cruel, sad, disturbing things about women. Oh wow, he was No shit. He was a piece of work. Wow. Uh being machines for suffering.
SPEAKER_00:Can you separate the art from the artist?
SPEAKER_01:I don't know. We can't do it all the time, don't we? But again, yes. We we do it now. How do we do it? And what genre? Music. Yep. We're doing it right now in music. How many people can you think of music that were super creative but wound up turning out to be horrible human beings?
SPEAKER_03:Yeah.
SPEAKER_01:There you go.
SPEAKER_02:Again. But it's because of that mental. You know what I mean? They they people like, I mean, I I I've heard that uh you look at people that have um I'm gonna say disabilities. And you know, in the sense of like they don't have their social uh cues, you know what I mean? But they're cool people, but their social cues are off. So then my point is that here you have an artist, a painter, and he was a great painter.
SPEAKER_01:But he was a piece of shit, though.
SPEAKER_02:But he was a piece of shit because he didn't think about how he was shooting these people or something. But he cared about himself. Exactly. You know what I mean? Self-centered, narcissists, you know what I mean? That's what it is. That's just that's where his mentor was.
SPEAKER_01:Yeah, you know, exactly. Just to be a douche. Jersey guy over here.
SPEAKER_00:Yeah, so I wanted to talk about Mr. Vincent Van Gogh. Here we go. Here we go, here we go. So a lot of people when they when they talk about Vincent Van Gogh, they uh the first thing always comes up, oh yeah, he cut off his ear. Right. Or he was a crazy artist. Or he died poor, but he was famous later, right? But um he wasn't crazy, right? So so he he was obsessive. He made 900 works in 10 years. What? So yeah. And he he typically painted like the same thing a lot. Like he painted sunflowers, fields, uh his bedroom. He was he like he was just like he would paint like the same thing but several times, right? Oh shit. But it would always be different.
SPEAKER_01:Somehow it some little way it there would be differences in it, which would be really cool, of course, if you can point them out.
SPEAKER_00:Yeah. So he would paint the same things over and over and over, sometimes uh a couple times a day. Uh so this was uh hyper focused. He was very hyper-focused on what he was doing. He did use uh color as an emotion. When he uh if you see a lot of some of his works have like a lot of yellow in them, uh that was like for more intensity. Yeah. Um and then the blue ones, like you know, the famous like starry night, that uh that was more like loneliness, painting out of emotion, right?
SPEAKER_01:Yeah, painting out of whatever they're feeling, which is incredible to even be able to articulate that and put it up, you know, like this is what I'm feeling, this is what I see, this is how it looks. Yeah, yeah. And this is what you know, and you're like, and that was good, Lou.
SPEAKER_02:I felt that one right there when you said that. Like, yeah, to be able to see that. Because you all right, so you and I are super into music, Tom, or into like the freestyle stuff. Right, all that. Tom's in his, you know, what he listens to. And many genre. It's funny how we feel when we listen to that music. Right? It usually pulls us out of whatever little funk that we might be in, you know, that little like and we start hearing like, you know, coming to my aunt's baby, I knew, I feel you know what I'm saying? So it's like that's so you know, I could almost now I'm not artistic as such, you know. I just think I'm a funny guy, but it's crazy how you when how much more these artists feel what they're doing, how they feel their passion. You know what I'm saying? If that makes any sense. Right.
SPEAKER_01:You can interpret what it is with the orbital.
SPEAKER_02:Yeah, like you could see their painting and like, oh, I understand those colors, blah, blah, blah, blah. That's more like, you know, he was feeling sad. He was in his moment. So that makes sense. But then he did a whole bunch of other things though, right? Because he didn't just say over what was it, over 900?
SPEAKER_03:Is that what you said?
SPEAKER_02:Yeah, 910 years. That's a lot. Yeah. So then still, so now he didn't just do because he was an inventor, too, no? And what was his time?
SPEAKER_00:What was his error? He he was born 1853 and died in 1890. Okay. Not very long, not long. No. He didn't live very long. No. I was short. Because of all the lead paint.
unknown:Yeah.
SPEAKER_00:Supposedly. Is that what happened? Well, yeah, there was um a lot of issues. I mean, he he did have a drinking problem. He um had issues with malnutrition, mutilation. Everybody always brings up the ear incident, but that's that a lot of that shit was going on in his life, and it kind of just, you know, it's a downward spiral. That's what happens in some people.
SPEAKER_02:Well, and and I'm wondering if if the paint, because like I said, so everything that we hear about, you know, the painting and stuff like that said, painting. The lead awesome, the lead could have messed him up, you know, food and stuff, it wasn't the same way. And because he was so I mean, according to what we've read, he's so out there, you know, with a lot of his stuff. Maybe, you know, just malnutrition and stuff is what made him, you know, lose his mind a little bit over. Yeah. Yeah.
SPEAKER_01:You know, that could have been uh who knows what his upbringing was and what's going on. You know what I mean? What did he experience in life? We carry shit with us all the time, you know. Dude, it's insane. You know, good and bad. We go through it and you just it's a freaking balance it act. Yeah. So some people have a lot more than others. I guess he did. I don't know. Yeah. But his paint definitely, his painting definitely for sure, was great to look at because you it's just like you said, what he was doing or what he was thinking at that time.
SPEAKER_00:And and um, you know, a lot of his uh nature paintings, you know, a lot of people um they when people look at nature, most people say, Oh, it's calming. But for him, and when you look at his paintings, nature is very uh chaotic and angry and moving and he uh he did he nature for him was for some reason just uh if you base it on his artwork, right? For some reason he just didn't see it as calming, so it's like maybe he's overstimulating. Right.
SPEAKER_02:Have you ever gone to the museum and seen his stuff? Yeah.
SPEAKER_00:Yeah.
SPEAKER_02:And how did it make you feel when you were there? Yeah, it's really like you're like you in it.
SPEAKER_00:Yeah.
SPEAKER_02:Yeah, you two? Well, yeah, I almost got my ass kicked in the museum.
SPEAKER_00:Well, uh, oh well, you know, oh wait, wait, wait, wait, timeout. We're gonna hear this story. No, no, no, no. You can't just mention that now without the case. I was physically removed from the museum. Okay. So what did you do?
SPEAKER_01:I walked over to the picture and was just kind of looking at it. Right. Like I was looking at it. And I got too close. Oh, okay. And muscle came out of everywhere. I was like, whoa, I'm sorry, man. I did not touch it. I was totally bad.
SPEAKER_02:That's a good one. I think I'd say that, you know, you stood in front of me and somebody says, Hey, get out of the way, sir.
SPEAKER_01:No, it was the truth because I got too close to the arc. Yeah. The security came out immediately, man. No, yeah. No, no, I'm saying, whatever.
SPEAKER_02:We thought it's gonna be a good story. Some old lady.
SPEAKER_01:Oh. So for me, it was at first nobody told me the etiquette of what am I supposed to do or not supposed to do. You know what I mean?
SPEAKER_02:I was just So while you were looking at that and these muscles came out of nowhere. I realized I wasn't supposed to be doing that. No, no, I was saying, so how did it make you feel, Luke? When you saw the difference, when you see that painting now. Long distance. Oh my god. So you don't have those feelings anymore.
SPEAKER_01:That was the experience I had. So I messed up topics. That's a good one, though. I like it.
SPEAKER_02:I like it. That's a good one. That's fine.
SPEAKER_01:His uh his paintings, they they they they did portray that. What was the reason he did the ear, though? I mean, it's important to mention it because he is famous for that and most famous for that, is as well as his paintings, of course.
SPEAKER_03:Yeah.
SPEAKER_01:But I think he sent it to somebody, didn't he? He like lost his mind. He was going through a lot of shit.
SPEAKER_02:I thought he was trying to paint his ear. Like you know what I'm saying, like he was looking at it to to copy it.
SPEAKER_01:Not that he was sending it to somebody because he was a a a woman or something, or a lover or something. What's the deal? What did they say?
SPEAKER_00:What happened was yeah. So he cut off his left ear and wrapped it in paper and gave it to a woman at a brothel. This is Rachel. That's all right. Her name was Rachel. Yeah. I hear that.
SPEAKER_03:Is she doing that though?
SPEAKER_01:Uh you gotta be in a totally but think of this state of mind. Here's a guy who's got all this talent. Yes. But at the same time, he's got all the shit going on in his life. He's depressed. Whatever is going on, for him to even think of having to cut his ear off. Yes. Yep.
SPEAKER_02:And even think about it, bro, because now you're saying that he gave it to a chick in the brothel, right? You know. To get that ear, man. Well, because I'm saying STDs were running rampant. Okay, we're gonna do that. So that then so there's some STDs that will mess with your brain.
SPEAKER_01:Oh, actually, so if you got syphilis, right. So he had whatever that then, you know, that could have been. Right, none of that mentioned back. Yeah.
SPEAKER_02:Yeah.
SPEAKER_01:They may have had it, but I don't think it was as bundled as I'm sure.
SPEAKER_00:No. And he died when he was 37 years old. Yeah, you see? Really young. So I'm just saying, do you think that's a good one? You know what's funny? I when I was a kid, I always pictured him as an old person. I don't know why. The name Van Gogh, it just sounds old. Like, Van Gogh. Big name, though. Yeah. I picture someone 37. Yeah, no, no, right, yeah. There's like somebody like, you know, hackers. Like an old man, especially the ear part. I was pictured like an old man doing that. Right. Like senile old man. Yeah. Not like a 30-year-old guy doing that shit.
SPEAKER_02:You know what I mean? Like, nah, man, what the hell are you thinking, right? Yeah. Can you hear me talking to you now? Nope. Cut that shit off and give us something to shake. Later for that, man.
SPEAKER_01:That's insane. That's bananas. I mean, so what is pa what are his paintings worth now? They gotta be worth millions, bro. Right? Like uh priceless.
SPEAKER_02:Yeah. I would say. But between the both of them, who uh uh what's his name?
SPEAKER_01:Yeah. In the same ballpark.
SPEAKER_02:But I also believe too, I'm a friend believing.
SPEAKER_01:Do you think Van Gogh wouldn't beat out only because of who Van Gogh was at the time and how he painted? Well, maybe two different painters, but yeah, I would think maybe.
SPEAKER_02:You might be right. Almost saying because it it one man's trash is another man's, you know, treasure. You know what I mean? So it people are gonna pay for what it is. That's true. You know, we like the you know, you like DC, I'm into Marvel, you know, we're all into Star Wars and Star Trek. You know, we would turn around and paid$200 for official Captain Kirk, you know, action figure. Yeah, but then somebody else is like, yeah, I wouldn't give you five bucks for that. Right. You know what I'm saying? So it all depends on who feels whatever. The eye of the beholder, right? Yeah, because like we're saying, you know, so you guys had picked jurors, my guy was uh Jackson um Pollack, and he's an abstract painter. When I went to the museum and I saw his stuff up, I was like, I was stuck. Like I just don't know what it was. And it's it's the guy whose paintings, like um, you see them and it's just like looks like splatter, like kind of like paint splatter stuff all over. And for me, that spoke, I felt more than why, you know, the Van Gogh or or Da Vinci. You know what I'm saying? Like that wasn't this. I just like I just sat there and just stared at him. Really? But that was you know just me. And he wasn't like as eccentric as like your guys, I guess.
SPEAKER_01:You know, well, that's not to say that. You don't know.
SPEAKER_02:Well, cause well, he was an alcoholic. Oh, okay. Well, they did have to do that. You see what I'm saying? Yeah. So and he died at 44. He was 44 years old. He was drunk in the car and crashed the car. Not when it's anybody else, just the car crashed and he died. You know what I mean? So, but again, that goes back to what I'm saying, what I said earlier. They all have their vices, you know, whether it's some kind of drug or alcohol, you know, this is just you know where they were. 44 years old, bro, and what it says, um, famous for developing the drip technique. That was his pain. He uh 1947 and 1950, that was his thing. Um, by pouring paint uh onto large floor-laid canvases.
SPEAKER_01:I think I know who you're talking about. Yeah. Didn't he does he have the one that where the paint cans would swing as well? Did he do that too? I don't know if he did it.
SPEAKER_02:It doesn't say that if he did. I have seen people do that.
SPEAKER_01:I've seen him do that too. It's pretty cool the way they do that. The art comes out really nice. The colors are really awesome.
SPEAKER_02:Yeah, I said I have a t-shirt of it. So if anybody's watched the podcast before, you know, I have it's a black t-shirt and it's the beige um canvas with uh black and white uh paint on it. And like I said, there's the splashes, whatnot. What's his art going for? Uh so when I look before, his art, bro, was going for uh millions. Wow. Yeah. Yeah, some of them. Matter of fact, there's a TV show um the movie with um Ben Affleck, and that he's the assassin, he's a killer. I can't remember the name of the movie right now. Accountant, the accountant, yes. So in the movie The Accountant, he gives this girl that he meets in the movie an original Pollock. And that's the one that, you know, so if anybody's seen it, so that's the picture that he gives to her, and she had, and she, he's, it was the um when she got the pink thing, when she opened up the package, she was looking at it and she started to kind of chuckle because it was the dogs playing poker or something like that. And then when she's looking at it and she peels back, now it's that she sees that it's the original Pollock that he had hanging on his ceiling because he would lay down and look at it. It was hanging in the ceiling of his trailer. Yeah. I'm like, that's that shit. That's my t-shirt. I was like, that's official. So, you know. So it's a personal struggles throughout his life. Pollock battled alcoholism and depression, which often led to volatile behavior. So, with that, that's probably why his paint, that's probably why he painted the way he did. Because, you know, drinking or whatever in that moment, he's just like throwing the paint around and boom, boom, boom, boom, and you know, emotion all day long. And like I said, I didn't know this when I saw his artwork at the museum. So then now here it is. I'm like, damn, yo, I'm feeling this. This is this is really cool. Like I'm digging it, and now finding out, like I said, that he was the alcoholic and depressed and shit. I'm like, damn, now I really understand. You know what I mean? It's like, it's one of those, man. And, you know, and it's a lot of his paintings, you know, the different colors that he used, you know, it was different colored canvases, you know, with the different color paints. You know, I said black and white was one of them. Um, the one I have the t-shirt on is beige. There was another one that it was a red background. Dude, it was insane. Like just all of them. And it's just for me, I was just stuck.
SPEAKER_01:Yeah.
SPEAKER_02:You know what I mean?
SPEAKER_01:Yeah, no, it's good. When you get find something that you, you know, you connect with, you know what I'm saying? Yeah. Yeah, no, definitely. It's nice, you know. You get you you get you identify with something. Yeah. With that particular piece of art or music or whatever it is, you know. How many times you hear artists say about songs that they made that they wrote it for one thing, but heard people use it or interpret it differently for the things that were going on in their life.
SPEAKER_02:Yeah.
SPEAKER_01:You know what I mean? So that the song was able to reach out to everybody in their own different way, the the way they listen to it, how they hear it.
SPEAKER_02:Well, when you see, I mean, going by what you just said now, and it's the truth, they say, you know, when the artists are in the studio, a lot of the times it's like Feel that song. Like, yeah, I can have you can sing the song. It's like, you know, um, you know, Uptown Girl, you've been living in an uptown. It's like, nah, dude, feel that. Think about when you were, you know, looking at that girl, like, you know, but you just felt like she was out of your reach, you know. Uptown. Now you just get that boom, you get that feeling, you know what I'm saying? You get that love. Mary J. Blige, you know, basically all of her music was, you know, her life, how she was living and how people treated her and stuff like that. You know what I'm saying? It's like, it's just all those things that you just they feel it. And then you feel it because that's how we made the mixtapes back in the 80s. You know what I mean? The mix. That's how you made those mixtapes, bro. You know, or just, you know, you just put your little copy. Yeah, listen, you make it on the click, and then you stop it or whatever, you know? Oh my god. Yeah, it's it's wild. Like I said earlier, but it's just crazy how things get to you, how you feel the emotion comes over.
SPEAKER_01:Like there are certain songs I can hear, and to this day, it will still get me tyrized when I hear that. So my thing is I think about artists who are there's songs that they do, and there's gotta be, that when they sing them, that they have to somehow control themselves, be disciplined in the sense where they don't get emotional singing it. You know what I'm saying? In other words, they don't feel because you can feel that emotion. If you're singing something, you know, overcome you and you can get emotional. I wonder how artists go about doing that without that song affecting them like that.
SPEAKER_02:I'm trying to think of artists that I've seen actually tear up, you know, while singing a song. Right. You know what I mean? But yeah, but they didn't fully let it go. Right. So I think that that's just more of the control at that moment, like they can control the you know, could they control themselves just for that. They'll still cry, like you know, they'll still tear up or whatever, but they won't crack, you know?
SPEAKER_01:That's what I'm talking.
SPEAKER_02:Yeah, because there are people that even sing the um Because when you hear a certain song, you're like Yeah. Think about people that tear up when they hear the national anthem. You know what I'm saying? Like that it's that depending on who's singing it, that they'll, you know, that you'll get that feeling, you know what I mean? Mariah Carey, she'll hit some notes and you're like To this day it's still Whitney Houston, yeah. Whitney Houston, yeah. She did the last one. Who like you gotta get chills? Oh, you mean for the national anthem? Yeah, yeah, yeah. But but look at when she sings um what's the The Bodyguard. And I Yeah. Now she turned around and she when she hits that who does it, yeah. But I'm saying when so when Dolly Parton sings it, you know, you don't get that, yeah. It was a whole different sound, you know, different. Her style on it. Dolly Parton loved it too. Yeah, yeah. And when Whitney Houston did it, I don't know anybody who hasn't, you know, that's like I feel that. Whether you know, you get the chills or whatever. There are certain songs that'll do that to you, yeah. Hell yeah. Sure. You just like you feel that. You feel, and like I said, so now us talking about the artist, you know what I mean? That's like I would love to have a Pollock hanging in my fucking living room, dude. Oh my god. I would like to have a Van Gogh. You know what I'm saying? You know, that's never gonna happen. Well, no, you can't say, you know, you never know. Because like I said, for me with the Pollock. I'll just get the print and I'll put it up on my wallet. Yeah, exactly. Yeah. That's always the same thing, you know.
SPEAKER_01:I already have the Schnauzer version.
SPEAKER_02:That's what I'm saying. There's a way to get it. There's a way to have the image. And of course, in the race right here. S. Yes, there it is. That's the one worth millions. You just it's always always something, and I think it's pretty, you know, groovy. I appreciate the artists, you know what I mean? And and they're, you know, uh I feel bad that they felt depressed.
SPEAKER_01:It just goes to show you that just because they're artists doesn't make them superhuman. Right. Yeah. They got shit going on in their lives, or they've had shit or baggage already before they got famous, it's like everything else. They're like everybody else, only they're just making more money and having live a lot better than we exact the mundo. Exact the moon though. But still, when you think about it, even it doesn't do anything. It may help for a little while in the long run. It makes you comfortable and everything, right? But think about it. How many times do they have to some people had to go into rehabs to do that shit? Well, but no big deal. You do what you gotta do and they get through it. It shows you that nobody is uh above everybody's human. So we regardless of how much money and everything you make. No, and that's just three, you know, artists that we just picked off the back.
SPEAKER_02:Yeah, but that's what I'm saying. We're talking about the music and stuff we grew up with. Well, no, I'm saying like that's just three artists that we had that we were talking about. You know, there are so many great painters. Right. You know what I'm saying? That it's like, whoa, you almost think about how many of them were feeling in those ways, the depression. Which one of them was actually feeling great and loved to paint, and that's what that that's all they wanted to do. They only wanted to paint, like they didn't have any issues, they didn't have to worry about iPads and phones and all that shit. Everybody calling them they were too focused in on what they wanted to get done. Because see, like you, some people call graffiti writing that is just graffiti. No, no, it's all it's an art.
unknown:Art.
SPEAKER_01:It's an art form. I grew up in We grew up in the time of it when it started.
SPEAKER_00:I don't know. Sometimes it's there's like weird tags that are just like more of the pieces and stuff.
SPEAKER_02:Yeah, we talk about the pieces, trains, yeah, the top to bottoms. That was the whole top of the train to the bottom of the thing.
SPEAKER_01:But uh, you know, as far as the you know the styles and everything. Right.
SPEAKER_02:It's the uh pieces that I like. Right, yeah. When you have those nifty pieces, you know, when they're using some, you know, other cartoon characters, you know, or they're doing a um memory memorial.
SPEAKER_00:Those people end up getting hired to do like that. Yeah, now they are. Now they are.
SPEAKER_02:And a lot of those guys, a lot of them. Yeah. Yeah, they're doing all kinds of good shit. You know, there's a couple of them in the city, in New York City.
SPEAKER_00:But what about that famous one of Biggie?
SPEAKER_02:That's in Brooklyn. And that was just some dude that was uh, you know, he said, boom, boom, threw it up there. You know, there's one of Tupac in LA. Yeah. You know what I mean? Yeah. They got another one, there's one of Michael Jackson, you know, there's all there's a whole bunch. There's all over the place. And there was a hot second in New York City, right? For those who didn't know, that they were thinking about letting artists come and do the trains. I believe I'm pretty sure they did it for a while. Okay. Um back in the day, you mean? Back, yeah. I'm talking like uh like late 80s into the 90s. Well, they figured they made them look good.
SPEAKER_03:They wouldn't.
SPEAKER_02:Yeah, right. They said, you know, we'll let you guys do this and put them up, but you know, there wasn't enough of the nice ones that the people that came up because, you know, it was they thought they were gonna probably get arrested. Right, but they didn't want us to come there and they get baggers. So, but yeah, there was a time that they were looking to do that, you know, uh uh different things through, you know, of New York City and have them on the train. I know they've had a couple of painted trains that had gone through, but it wasn't that nifty graffiti of the 70s, you know, like you're looking and you're like, oh, look at that. Like I said, I think I told you guys I had um graffiti in my wall in Brooklyn where I lived. It was uh this guy had come in, he was from Baruch Projects in uh Lower East Side in uh Manhattan. And it was a friend of a friend, and he came over to the house, and I think we paid him, my mom gave it to me for a uh let me do it for uh one of my birthday presents, I think is what it was. And um, yeah, man, it was great. So there was the spray paint. We were in the room, it was a small ass room, and we had to have the windows open. Oh, yeah, I just say it man. Yeah, stunk. We had the bedroom door closed and had the fan blowing out in the uh in the window to try to pull the air out, just having that little vent drafting. And it was like, well, maybe 15 of us in the house, and we're in the room, and I had moved all the stuff over. And my mom comes in and she's like, What the hell's going on? And then I was like, Oh, he came to do the war, and she was like, and she, you know, cursing that little quick fast in Spanish because we were such a mess.
SPEAKER_00:You see a lot of those guys sometimes wear respirators.
SPEAKER_02:Yeah, later on they started to wear respirators.
SPEAKER_00:It's probably the smarter idea. Yeah, yeah, man. It's like trying to see the artists, like we're talking artists that die from Right, yeah, that they should have had the protection and shit.
SPEAKER_02:You know, it it's just it's wild. It's it's crazy, you know. And I I don't know. I I enjoy it. You know, I like artists.
SPEAKER_01:I always like driving on the train and knowing where the pieces were to find. My friend Anthony was good at that. Uh-huh. So if we were on the train, he would always know where these secret pieces were and stuff. But like if you were taking certain lines and things like that, he would point them out. Yeah. And they were daredevils, bro.
SPEAKER_00:They were daredevils. There's ones that you were like, how the how the how did they do that? Right. Yeah. I know a lot. Some of them have to do them upside down. Yes. Because when they hang from bridges and shit like that. Yeah. Yeah. Oh, they out of their freaking minds, bro. They have to have someone they trust to hold their legs sometimes and shit. No, like, you know, rope or tie a roll to their leg or some shit. Bullshit, man.
SPEAKER_01:Still. But some of the pieces they do are really amazing. Yeah, amazing. Just the talent alone, just to see that and be able to put it up that way. Yeah. And use a spray can and able to make serious tight lines that they would be able to do with the cans, that they would hold it a certain way, or they would actually burn the cat. Right. So this way it would make it a little bit more. So it would come out a little sharper and it would be. It's crazy how they would figure out all this stuff. And you know, to me, that's not only are you making art, but you created a new art. Right. Yeah. Yeah. Exactly. And then these posts, and then that create winds up creating something else. Right.
SPEAKER_00:Keep it on going. And I sometimes get the thin lines, I gotta layer it too. Like they put something in the room. Right, yeah, and then put on top of it to go to the tricks.
SPEAKER_02:Yep. And even too, like you just tag your name, you take the um shoe polish bottles, and uh they'll put the, you know, because it was the sponge top. And they would take that and that tag their names with quick yon or whatever. But that's it, that was the quick little bullshit, you know, tags like that. But um, yeah, man. It's it. It's just so many different things as far as paint art is concerned. You know, so diff so many different um expressions. You know what I mean? That you gotta appreciate all of them.
SPEAKER_01:Well, if you gotta appreciate all of them, I mean you like what you like. You know what I mean? If you happen to see something, you go, I don't think that looks like shit. I'm gonna say it looks like shit. I'm not gonna appreciate it.
SPEAKER_02:Well, yeah. Well, no, I'm saying appreciate the time that they put into it. You know what I'm saying? For whatever it was that they make and how they make anybody else feel. That's how I'm looking at it. I hear what you're saying.
SPEAKER_01:You know, it's the eye of the bowl. Well, I mean, yeah, that's what I'm saying. But either way, it could be both ways. It's not ever gonna always be. We might see stuff. Oh, it's so good. Yeah. I know not like another one, eh? That's the whole thing about it. That's we're all see it in a different perspective. Yeah. Looking at it from a different uh uh eye view. We can all hear the same thing, but we all hear something different. Well, we should see something the same thing, but we see something different.
SPEAKER_02:It's just that emotion that you feel that you see in those paintings, in the song that you hear. That's a that's that was a good way to put it, Lou. I'm digging it. I appreciate it. Yeah, now you make me want to go to the museum. Right.
SPEAKER_01:I haven't been to one in a while. I would love to go.
SPEAKER_02:Yeah. Just do that.
SPEAKER_01:In each room, they have our pictures, and we're not going anywhere near any pictures from based experience.
SPEAKER_00:They might stop me at the door. I love when they have like really weird exhibitions. What? When they have like really weird exhibitions that are like that are they're art, but they're not what you think. Like, like they're not classic art. Like they, like, there was I forget this one. It was the craziest one. It was this. Is it everything, or is it just it was this machine that like swept up the oil and then it spat it back out and it swept it up, and eventually the oil like was gonna run out and because it lubricated the motor for it, yeah, and it swept it back, and it like it eventually is gonna die. Like, so you're watching this machine that's just gonna, you know, wow, okay. It's really weird. But like that, I love that kind of shit. I love when you go and there's like type shit. I love that type of shit. That's my favorite type of art, art in motion.
SPEAKER_02:Well, think about it. You know, for anybody who's seen um uh Beverly Hills Cop. Yeah, right? So when he goes and he gets to Beverly Hills and he walks into the um into the art gallery to go find um the girl he grew up with, his friend. Yeah, it was Balky. And they're showing the art gallery that he was in, and the art was these people sitting, or you know, mannequins sitting at a huge dining room table, you know, with chains, sad. You know, and it's like too much time back. Yeah, but you know what I'm saying? People find that to be artwork. I went to the I got you going on a rollerge, bro.
SPEAKER_01:I got you. Yes, you know. And we might look at it and go, that is the strangest. Oh, but I see what he's trying to say.
SPEAKER_02:Yeah, you know? Yeah, and it's like, yeah, no, it's a booby hatch. Yeah, we're all trapped. We're all being chained to this table eating meat. Right. You know what I mean? That's a song one that you go. You know, but even the vegan one. Yeah, vegan one. So, you know, you I mean, and and again, it's what you, what people will find to be interesting, captivating, yeah, you know, a must-have. For us, it's just we're gonna throw out all the mannequins and have a nifty new dining room table. You know what I'm saying? For you know, that particular piece. But for somebody else, it's like that's the I gotta put this in the in the foyer, and you know, it's gotta look it's this and it's that, and it's just gonna pull people in to want to talk about it. Yeah, I don't want to talk that much about it. Like to me, that shit was just ugly. Yeah, you know what I'm saying? But you're right, there's just there's a but again, there's so many different uh forms of art, you know, visual art, you know, whether it's from painting to sculpture, cars. Look at what they do to cars when they paint cars. You know what I mean?
SPEAKER_01:Oh, yeah, they could they totally take them out, man.
SPEAKER_02:Yeah, you know, you get the guys who have the yeah, when they have the low riders that do the pinch striping and stuff on the hood of the lowriders, they're putting murals up. Tattoo artists, when they come up and you know, like, yo, this is what I want to get as a tattoo, and they're just like, yeah, your sleeve. You know what I mean? And you know.
SPEAKER_00:The other problem with like all the art on cars is so distracting. It's distracting.
SPEAKER_04:It's like Yeah, well, yeah, holy cow.
SPEAKER_02:Yeah, you're right. And fine, fair enough. That's the kind of shit.
SPEAKER_00:I mean, it's yeah, and it's that's that's a that's a me problem.
SPEAKER_02:Yeah, yeah. I'm just I didn't want to say that, but I'm glad you did.
SPEAKER_00:Thank you for sharing your problem.
SPEAKER_02:That's freaking hilarious, bro. But yeah, and it it it but it's just there are just so many forms of art, visual.
SPEAKER_01:Yeah, and um and many different things. It's not just painting, right? It's everything. Yeah, everything.
SPEAKER_02:Yeah, that just makes you draws you to it, draws people to it.
SPEAKER_01:You even see it on you even see it on TikTok and uh social media. There are certain artists that are on it, people who are known to be on it, and they have these certain videos that they make, but that's even art too. They took what avenue they yeah, you know, they saw it. Best of uh one of the best arts in the world is comedy. Comedy is the best for the um soul. Yeah. All right, yeah. And it's therapeutic and you need it. I think that's a great art too, when you hear somebody's uh different interpretation, or they're saying something and you're listening to them and you're identifying them 100%, but it's because you have children or they or you grew up that way, or you had that toy, or whatever it was, and you can identify immediately.
SPEAKER_03:Yeah.
SPEAKER_02:So it's the truth, man. And again, it's that feeling. It pulls out those feelings. It's true. Yeah, I think that I think that that's what makes the world go round. You know, we need more of it, then because you know what? When you go into uh an art museum and you're looking at things, and there's a bunch of you guys, a bunch of people, a bunch of us, whatever, that are standing there and looking at the same painting, and you can see the different you can see everybody's having a different thought, but everybody's there together. It's that piece, and like, hmm, hmm. Sometimes it strikes up conversation. Like, I don't know. Do I see this? Do you see that? Is it like this? Is it like that? You know what I mean? And what does it do for you? That's what you know, same like I said, same thing for music.
SPEAKER_00:I haven't been to an art museum in years, I think. Uh but I have. Yeah, or even better on shrooms. See, no, then you never leave because you're hiding to the uh now see I would get in trouble, though.
SPEAKER_01:Exactly. Oh touch something. Planetarium. Planetarium. Oh, I love the planetarium. So cool now. And they say it's even gotten better than it. Yeah, they had it.
SPEAKER_02:Gotta go to that. I went to we went to the Met last year, year before, we were at the Met when during the summertime they had the outdoor um bar thing up on top. Oh, yeah. And it was, yeah, because matter of fact, we went during the 50th anniversary of hip-hop. And they had a whole thing on that up on the rooftop. Yeah, it was freaking great. How was it?
SPEAKER_03:Was it good?
SPEAKER_02:Yeah, it was fucking awesome, dude. I'm like, what? What? They had this big thing, it looked almost like uh an open art room kind of thing. It was crazy. And they had all the different hip-hop names and artists and stuff on there and turntables and shit. And and and it was um it was almost like concrete, like when you uh hand prints and turntable prints and stuff like that in there, a little bit of color. It was pretty cool. It was it was pretty cool. Yeah, see, all that's hard too, man. Yeah, it was uh there was an Andy Warhol um exhibit downstairs. Um I said that's where I saw the Pollocks too. They had a whole bunch of Pollocks. Um I think Van Gogh was another exhibit that they had there, like it was a big thing. Like they had it would look like they had like about four or five different uh big uh exhibits while uh you know going on at the same time. And people went through all of them. It was great. That's awesome. Yeah, I think I would have liked that. Yeah, that would have been cool. So, but that is our time, my gentlemen. All right, yeah. So as always, it's a pleasure. Yes. Thank you all for listening. Like, follow, subscribe, all that other good stuff. Come back and follow us. Yes, yes. So appreciate you guys. Thank you for coming here, watching us. Love, peace, and hair grease. Live long and prosperous, and keep on enjoying those arts.
SPEAKER_03:Holler.
