Speaker 1 (00:00): Coming up Speaker 2 (00:00): On Art Palace Speaker 3 (00:02): And then a Flying Train comes and it's Doc and Mary and their two kids. Two Speaker 2 (00:09): Kids, Jules and Vern. Speaker 1 (00:25): Welcome to Art Palace, produced by Cincinnati Art Museum. This is your host, Russell iig. Here at the Art Palace, we meet cool people and then talk to them about art. Today's cool person is Danielle Lin, who is content editor for everything but The House. Today we are doing a tour inspired by the Back to the Future trilogy because we are excited that Mount Adams Cinema in the city will be showing back to the future part two on June 22nd at the season. Good Pavilion right across the street from us. The Art Museum is open until 8:00 PM that night, so stop by before the show and check out the pieces we discuss or use this episode as an audio tour. We'll let you know when we are about to move to a new gallery, and you can pause whenever you hear music. You'll probably want a map from the front desk unless you know the gallery numbers by heart. We begin our tour on the second floor, gallery 2 31 in front of Pete Rose by Andy Warhol. Speaker 2 (01:33): Do you do a good Huey Lewis impression? Speaker 3 (01:41): Can't say that's in my repertoire. Speaker 2 (01:44): No, no Power of love that we could start out with or anything Speaker 3 (01:51): That might have to move the mic back. Speaker 2 (01:53): Yeah. Yeah, if you're going to, it's the Power Speaker 3 (01:54): Of Love. Speaker 1 (01:55): Yeah. Speaker 2 (01:56): See, that's pretty good. That's pretty good. Speaker 3 (01:58): I think the best I got. Speaker 2 (01:59): Yeah. So we are at in Gallery 2 31. Now that I said that, I'm going to double check that because I doubting myself. Speaker 1 (02:11): Yes. We're in 2 31. Speaker 2 (02:13): Can you believe it? Speaker 3 (02:14): 2 31. Speaker 2 (02:15): And Speaker 1 (02:15): We Speaker 2 (02:16): Are making our first stop here on our travel through time. Well, actually we haven't started the travel through time. We're in the present. 1985. Speaker 3 (02:26): Go back in time, Speaker 2 (02:29): But we're back to the future one. Speaker 1 (02:30): The present is Speaker 2 (02:32): 1985, and so I thought we'd start with Pete Rose by Andy Warhol, and this piece actually was made in 1985. It Speaker 3 (02:41): Was a good year, Speaker 2 (02:43): And I thought it was cool because Wait, were you born in that year? Speaker 3 (02:45): I was born in that year. Speaker 2 (02:46): Oh, wow. That's crazy. I didn't know that. Okay. Well, I was just excited because this piece is both from 1985, but it also really feels like the eighties. Speaker 3 (02:59): It is the most eighties. And I guess it also in the future of Back to the Future part two, in the eighties cafe, it looks like it should be in the eighties cafe. Speaker 2 (03:14): Yes, totally. Yeah, exactly. Speaker 3 (03:16): It would fit in perfectly with Pepsi Perfect. And the video game machine. And it's an embodiment of the eighties Speaker 2 (03:26): In Speaker 3 (03:27): A way that is hard to get and it's hard to create a facsimile of. Speaker 2 (03:32): Yeah. If you watch almost anything, I feel like set in the eighties too, where there's a famous person, they'll always have a faux Warhol portrait of themselves in their office. Speaker 3 (03:45): Oh, yes. It's a way to show how important they are or conceited they are. Speaker 2 (03:50): Yes, exactly. That they have a Warhol of themselves. Yes. Speaker 3 (03:57): It's a little trick of the trade in movies and television just to print out a fake Warhol. Speaker 2 (04:03): You know what? I've made some fake Warhols. I did it for our Arts Wave campaign not too long ago, and I will say it's harder to do than you would think. Making fake Warhols. It seems like it should be pretty easy. You're just like, yeah, yeah, slap some different colors in there, whatever. But getting those colors is not as easy as you'd think. Speaker 3 (04:24): Well, I guess it's like when you watch SS n l or just any kind of comedian who does impressions and trying to capture that essence, and it's not exactly, you don't want to trace a Warhol, Speaker 2 (04:38): But Speaker 3 (04:38): Capturing just the right colors and just the right textures that indicate Warhol. And if somebody was to look at it and say, yes, Speaker 2 (04:48): Yeah, there's a few more things going on in here than you might expect. It's always interesting to me that just the text where that says Pete Rose, and then the outline of Mr. Red is blue in most of them, but then it's black in this bottom left one Speaker 3 (05:08): And then yellow in the top left, Speaker 2 (05:10): But then the Mr. Red is yellow in that one, but then the text is still blue. It's pretty, there's a few more things going on that you would expect. And the outline of Speaker 3 (05:22): The Speaker 2 (05:22): Bat in his hair is blue in some of them too. Good point. And not in others. And so there's just these little tiny differences that you don't really pick up on. Another thing I noticed, so I don't know, we were doing some kind of research on this piece and we found the source photograph that Warhol worked from. He didn't take a lot of Warhol's. He would take the photos himself. He's multiple, he kind of is multiple people. So Warhol is not just one person really. A Warhol usually probably had Speaker 3 (05:56): Is the factory, Speaker 2 (05:56): Is the factory probably. Who knows if he ever actually even touched it, but I noticed on his helmet there, it's got the little reflection you see coming down from the sea. So in the actual photo that is just as bright as the C. Interesting. So he had to go in and adjust that to make the logo stand out more, because in the actual photo, it just totally gets blended in with that reflection. And it just all almost looks like, I don't know, a nine because it just all comes together. Speaker 3 (06:36): I can see that being really confusing and difficult to parse by the eyes. Speaker 2 (06:41): So it's kind of interesting that he went in and kind of painted that in probably on the screen to conceal that when the red went down to fill that space in with the red screen. Sure. Speaker 3 (06:56): Was the original photograph for a baseball card. Speaker 2 (06:59): I think it was. It Speaker 3 (07:02): Doesn't look live action, Speaker 2 (07:05): But Speaker 3 (07:05): It looks like those typical poses, Speaker 2 (07:08): It was some sort of, I'm not 100% positive on that, but it was some sort of promotional photo that existed for some other reason than for this. Speaker 3 (07:16): Yes. Speaker 2 (07:17): And then it's kind of interesting because all of the sort of setup of the Red's icons and his name, which looks very baseball card but isn't, it's not really taken from a real baseball card. It's just designed to look like that. Speaker 3 (07:32): It's like somebody trying to come up with what a baseball card would look like in 2015, in 1985. Speaker 2 (07:43): It's kind of crazy that, I don't know. Again, it's one of these things that maybe doesn't look like work because it's like, oh, it's like if you just came in, you probably think, oh, it's a baseball card that he's taken that image. But actually, it's not like he set it all up to appear a baseball card to read as that really quickly. And if you don't know a lot about Warhol, that kind is in line with a lot of his other work where he is sort of doing things that are meant to just almost blend in. He has these famous pieces that look like Brillo boxes Speaker 3 (08:17): That Speaker 2 (08:17): Are just wood. The boxes are actually wood, but they're painted so that they just look like stacks of cardboard boxes that would contain Brillo pads. So there's this interesting thing of putting a lot of effort into making something blend as just totally mundane in a way. You've actually done a lot of work, but it's really hidden and nobody really notices it. Speaker 3 (08:39): Sure. Speaker 2 (08:41): But yeah, other things, if we're traveling in time here, I think it's really interesting that this piece is made before the baseball scandal. Speaker 3 (08:51): Yes. Speaker 2 (08:52): The gambling scandal, I should say. Yeah, Speaker 3 (08:54): Correct. Well, I mean, this is such an appropriate piece given the subject matter of part two in particular of Back to the Future, not only is it about sports, but Speaker 2 (09:06): Pete Rose Speaker 3 (09:07): Kind of embodies betting on sports. Speaker 2 (09:10): Oh. Oh my gosh. I, I'll be honest, I just picked it of the year and kind of the aesthetic. I totally forgot that the whole point of it is Biff is gambling on sports. Speaker 3 (09:21): On sports. He gets the 1950 to 2000 Sports Almanac, which Pete Rose would have been in. Speaker 2 (09:27): That's true. Speaker 3 (09:28): All the 85 sports and well, even back to Big Red Machine in the earlier and in his managerial days, which was the real issue with his betting. Speaker 2 (09:40): Yeah. Well, that's crazy. Didn't even think about that as being a nice tie in, but there I am. But I was thinking, I think I was just thinking of this as embodying just that almost very beginning of the movie, which you don't really actually think all that much about anyway. Speaker 3 (09:57): Sure. Speaker 2 (09:58): I was thinking about how Marty Mcflys sister is such a weird character. She's not in it that much Speaker 3 (10:06): At all. Speaker 2 (10:07): I can't even remember her name right now. This is where we consult pants computer to Hey, it's computer, to find out the real answer. Because if you're listening and you know this is the most maddening experience Speaker 3 (10:20): Ever. Oh yeah. You're writing angry emails to us as we speak. Speaker 2 (10:23): How dare you people. That's how they all start. Speaker 3 (10:28): How dare you? Speaker 2 (10:29): I would be so lucky to get hate mail. Speaker 3 (10:34): Print it out. Make your own Warhol esque Speaker 2 (10:37): Print Speaker 3 (10:38): From the Hate mail, Speaker 2 (10:39): Linda? Speaker 3 (10:40): I was close with Lauren. Speaker 2 (10:42): Yeah. But just Linda does not Linda sound like a, I don't know. We're teens in the eighties named Linda. I guess. Speaker 3 (10:48): I think I am stealing this from Kimmy Schmidt the most recent season, but women aren't named Linda until they hit their forties and start working in hr. That's an established fact. Speaker 2 (11:00): Yeah. There's no children named Linda. There's no children named Linda. Speaker 3 (11:06): It might be a middle name, but they don't start going by it until they hit 42. Speaker 2 (11:10): Yeah. Yeah. Speaker 3 (11:12): Linda, now you're going to get hate mail Speaker 2 (11:15): From Linda's. I know. We apologized to all the Linda's out there. You're beautiful. Just like your name suggests. Correct. Speaker 3 (11:24): Youthful and energetic. Speaker 2 (11:25): Yes. Yes. Well, do you have any other thoughts about Pete Rose here and any connections with Back to the Future? Speaker 3 (11:34): I'd be curious to know his opinion. Imagining in the movie scape what Pete Rose's opinion on taking the Almanac would be. Speaker 2 (11:45): Oh, that's a good thought experiment. Which side of history would he be on in this? Yeah, would Speaker 3 (11:57): He be, he's kind of a weird guy. I mean, he sings baseballs now where he started signing them. Sorry, I bet on baseball. But then he started doing really weird stuff of like, sorry, I shot J F K. What? He started making up really weird ones where he would sign baseballs of just completely bizarre things that he was not involved in. Speaker 2 (12:20): Whoa. So it's almost like he's still trying to, so it's like a, sorry, not sorry. Basically, yes. Sorry. I bet I'm baseball, but I'm also, sorry. I did all this other stuff that I didn't do, so maybe I didn't also do that. Speaker 3 (12:32): I feel like he's really not Sorry. Speaker 2 (12:33): No, I don't think he is at all. Speaker 3 (12:34): And that's the thing is I feel like if he showed any kind of real contrition, I think the baseball commissioners would probably forgive him because there was talk of it a few years ago, especially surrounding, when Cincinnati had the All-Star game in 2015, I believe. Was it 2015? Yeah. Speaker 2 (12:50): Yeah, I think so. 2015. Yeah. Speaker 3 (12:54): So that would've been a weird tie in too. Speaker 2 (12:57): Oh yeah. Speaker 3 (12:59): I don't think he's really terribly sorry. Speaker 2 (13:02): No, he doesn't strike me as a very humble person. Speaker 3 (13:05): No. Speaker 2 (13:05): So I think that would be, yeah, Speaker 3 (13:08): There was a Super Bowl commercial two or three years ago that he was in, and I can't even remember what it was for, but it was an extended riff of him in his own hall. Speaker 2 (13:21): Yes. In his, I remember this. Speaker 3 (13:23): In his much younger wife. Speaker 2 (13:25): Yes. Speaker 3 (13:26): Yelling at him about something. Speaker 2 (13:28): Do you know if that's his real wife? Speaker 3 (13:30): I think that it is. Speaker 2 (13:30): Okay. I kind of couldn't figure out if this was a TV commercial. Vanity wife. Speaker 3 (13:36): I think that is his actual, that's Speaker 2 (13:38): His real life vanity wife. Correct. Oh boy. Well, Speaker 3 (13:48): Pete Rose, don't send us email. Speaker 2 (13:50): Yeah, no hate mail, please. From Pete Rose also. I Speaker 3 (13:53): Love you forever actually. Speaker 2 (13:55): Yeah. Danielle is a huge baseball fan. Speaker 3 (13:57): That is true. She Speaker 2 (13:58): Knows way more about baseball than certainly I do, which is next to nothing. Speaker 3 (14:03): I praise indeed then. Speaker 2 (14:05): True. Yeah. Pretty much could have picked about anyone and said that. Yeah. Alright, well let's hop in our DeLorean and go to 1955. We are going to, if you're standing in front of the painting, you're going to turn to your right and find your way to Gallery two 11. Speaker 3 (14:35): We've gone back in Pine. Speaker 2 (14:37): Yep. We've crashed through some trees. Is that what happens when he goes back to 1955? Speaker 3 (14:46): Yeah. Speaker 2 (14:47): He ends up pretty close to the subdivision. Right. Speaker 3 (14:51): Yeah. Speaker 2 (14:52): But it hasn't been built yet. It's like the future site of Yes. Speaker 3 (14:58): Shady Acres or whatever the name of the Speaker 2 (15:00): Lion Estates, I feel like aren't there? Is there something with a Lions or just the Speaker 3 (15:08): Oh, it may be. Speaker 2 (15:08): Again, these are terrible things to be saying because people are just like you dummies. You know Speaker 3 (15:14): Jerks. Speaker 2 (15:14): Yeah, I know. Okay. I'm not looking up that one. But the town is Hill Valley. Right? Speaker 3 (15:21): Hill Valley, Speaker 2 (15:21): Okay. Alright. See, I know that Speaker 3 (15:23): One in California. Speaker 2 (15:24): Yes. So admittedly, this is not 1955. We are actually, Speaker 3 (15:33): We're close. Speaker 2 (15:34): Yeah. Well, I tried to find a piece that was in 1955 that also had the right feeling and I just really couldn't, that was also on view. Of course. That's the other trick. So we are standing. Well, we're sitting. You're welcome. It's quite luxurious actually. The bench is still here. Speaker 3 (15:53): Avail yourself of this Lovely. Speaker 2 (15:54): Yeah. And take advantage. Lovely Speaker 3 (15:56): Padded seat. Speaker 2 (15:57): Yeah, we're in front of Edward Hopper's son on Prospect Street, and it's actually from the thirties, 34. My eyes ain't what they used to be. I had to stretch out to see that. So yeah, over 20 years early here. But just when I was thinking of a piece, the reason this one stuck out to me is it was the piece that if I was hearing Mr. Sandman playing in my head, it would work with this piece. Speaker 3 (16:32): Yes. I mean, I feel like it really does evoke that kind of small town Main Street America that is portrayed in the 1955 sections of the films. Speaker 2 (16:42): Yeah. So that's kind of what I was more true to the spirit than the letter. Speaker 3 (16:48): I like it. Speaker 2 (16:49): Yeah. I realized I wasn't going to be able to fit everything perfectly into the timeline here. Speaker 3 (16:55): But you don't have an ideal collection always Speaker 2 (16:59): To do back to the Future Tour. Speaker 3 (17:01): Do specifically back to the future tours. Speaker 2 (17:03): And you'd be surprised that we don't really curate with that in mind either. We Speaker 3 (17:07): Don't have an acquisition budget just to get paintings from 19 55, 19 85 and 2015 and I guess 1885. Speaker 2 (17:15): I mean, if you strike it rich, you could maybe give us a gift. Speaker 3 (17:21): I'll put that on my bucket list if I go win the lottery. Speaker 2 (17:25): You can be very specific when donating money to Speaker 3 (17:28): The art Speaker 2 (17:28): Museum about what you want that money for. Speaker 3 (17:31): I want paintings and works of art that will specifically fit into this timeline of Back to the Future. I Speaker 2 (17:38): Think that that's reasonable Back to Speaker 3 (17:40): The future wing of the Cincinnati Art Museum. Please. Speaker 2 (17:46): We can do that. So yeah, I don't know. That's what I felt. I felt this feels like this could be Hill Valley 1955. Speaker 3 (17:56): Oh yeah. And I think what's so charming about the 1955 scenes in the movies is they do seem to be this perfect embodiment of that fifties life and that suburban, like I said, small town life of not really the suburbs that we know today, the sprawling mass of Applebee's and Olive Gardens, but Sunny Streets where you can sing Mr. Sandman. Speaker 2 (18:26): Yeah. Yeah. Speaker 3 (18:27): And I love Edward Hopper and this is an interesting one because it, I feel like a lot of his paintings are very melancholy. This Speaker 2 (18:36): One's not as, I don't know. Speaker 3 (18:38): And this one doesn't have quite as much of that tinge of loneliness that a lot of his paintings do. Speaker 2 (18:46): Yeah. I mean maybe I guess you could say that that sort of lack of any people there does have a little bit of that because you don't see anyone out. It's just kind of this empty street. There is maybe a little bit of that kind of creepy factor that some of his paintings have, or just more melancholy, like you said, probably not super creepy, but it's not like where is everyone Speaker 3 (19:11): Kind Speaker 2 (19:11): Of thing. Speaker 3 (19:13): I'd say it's a beautiful day. You'd kind of expect people to be out. You can see porches, you can see a sidewalk and parked cars, but nobody strolling and nobody's sitting even on a curb or things like that. Speaker 2 (19:25): Yeah, yeah. It is kind of oddly empty, which is not exactly what Hill Valley 1955 feels like. Speaker 3 (19:35): No. Speaker 2 (19:35): So yeah, in my mind, I was thinking this painting was a lot later and then the minute I walked up to it, I saw those cars, I was like, Nope. They're kind of a dead giveaway too of a time period. Those cars just stick out right away. Speaker 3 (19:52): Well, and cars are such a big part of Back to the Future. Speaker 2 (19:56): Yeah, that's true. Speaker 3 (19:57): I mean, not only the DeLorean, which Speaker 2 (20:00): Became Speaker 3 (20:00): So symbolic, I mean it's embodiment of the films themselves. I don't think you can look at a DeLorean and not think back to the future. My husband actually says that it's a crime if you own a DeLorean and don't have a back to the future related vanity quite, you should be fined. Speaker 2 (20:19): That's true. Or if you get annoyed when people want to talk to you about back to the Future, it's like, Speaker 3 (20:25): No, you made this bed, Speaker 2 (20:26): You got to sleep in it, buddy. Speaker 3 (20:27): Exactly. You knew what you were getting into. Speaker 2 (20:31): Why can't anyone talk about any other, the fine features of DeLorean, Speaker 3 (20:36): The fine craftsmanship of the British Highlands Speaker 2 (20:41): River? Are they British? I didn't. Speaker 3 (20:43): They are British. Speaker 2 (20:44): I did not know that. Speaker 3 (20:44): It was a small British company and I feel like it was in Birmingham or Bristol somewhere. They were failing pretty hard. I think they were maybe already failed by the time the movie was made. And they actually had a hard time getting, I may be making this up, please direct all hate mail towards, Speaker 2 (21:08): Well, I mean this is one that it's at least not about our own collection. So if we're wrong about this Speaker 3 (21:14): Name, DB or Wikipedia will tell us Speaker 2 (21:17): All of the fun facts about DeLorean. Speaker 3 (21:19): But in terms of cars, Biss car is also a big part of Speaker 2 (21:26): The Speaker 3 (21:26): Films Speaker 2 (21:30): Constantly being raced and held onto with Speaker 3 (21:37): Makeshift skateboarders. Speaker 2 (21:38): Right, exactly. And filled with manure. Speaker 3 (21:40): Correct. Speaker 2 (21:41): And every time period, does that happen in Speaker 3 (21:43): Every time period? I believe that it does. Speaker 2 (21:44): Okay. Speaker 3 (21:44): He doesn't have a car in 85, 18 85. Speaker 2 (21:49): That's true. But Speaker 3 (21:49): He does fall into a cart of old timey. Speaker 2 (21:57): The manure was so different Speaker 3 (21:58): Then It was green. I watched the scenes. What is that? Speaker 2 (22:05): I guess the horses ate different stuff. Speaker 3 (22:08): Hard to get good quality manure in the 19th century. Speaker 2 (22:14): So obviously in the movie, this is the reason Marty McLay goes back is to reunite his parents to keep them together so that he can be born. Speaker 3 (22:30): Well, I mean, that's not the reason he goes back in the first place. He has to do all that stuff. He interrupts the timeline. Speaker 2 (22:35): Oh, that's true. Yeah. He just goes back because he is just testing out, Speaker 3 (22:38): He just testing docs and Speaker 2 (22:39): Then he just happens time machine. Speaker 3 (22:41): And then he interrupts his dad peeping on Lorraine, Speaker 2 (22:47): I forgot about that scene, Speaker 3 (22:48): And knocks him out and he has a concussion Speaker 2 (22:51): And then he starts to disappear in the photos. Speaker 3 (22:54): And so that's when he realizes he, the opportunity when his parents first met didn't occur. So he has to create another way that they get together, thus creating all of the hijinks of the film Speaker 2 (23:11): And inventing rock and roll. Speaker 3 (23:13): Yep. Listen to this. Speaker 2 (23:16): Yeah. Alright. Well let's say Marty has successfully done that. He's gotten back to 85. Speaker 3 (23:26): Yes. Speaker 2 (23:27): And he and Jennifer are on the porch. Speaker 3 (23:30): Jennifer won Speaker 2 (23:30): Jennifer, he and Jennifer won are on the porch. But there's trouble because we have to go to the future now to help his kids. Alright, let's go to the future. So we are to go to Gallery 2 22. It's going to be kind of around the corner on what we call the ambulatory. We we're back on the porch, but now with Jennifer number two. Speaker 3 (24:05): Jennifer number two, Elizabeth Shu. Speaker 2 (24:07): Yes. I wonder if there's got to be some bogus fan theories that try to make up an alternate timeline to explain the switch in Jennifer's and Speaker 3 (24:17): Jennifer's switch. Speaker 2 (24:18): And I guess George's too, because Crispin Glover's not in any of Speaker 3 (24:22): The Crispin Glover isn't in it. There was actually a lawsuit over Crispin Glover. Speaker 2 (24:26): Yeah, because he's a super weirdo. Speaker 3 (24:29): Yes, yes indeed. How Speaker 2 (24:31): Fascinating weirdo though. Speaker 3 (24:33): Yes. But they settled out of court and it was for like 700 some thousand dollars. Speaker 2 (24:39): Yeah. Wow. Speaker 3 (24:40): Thanks. I A M B D trivia. Speaker 2 (24:43): Always good for something. Well, we are now looking at a big plate that is just simply called number 22. And I'm going to massacre this artist's name because I don't really know how he says his last name, but it's Klaus Moji. Okay. Speaker 3 (25:10): I'm snowballing with Speaker 2 (25:11): You here. I it's Australian, so I don't, but I Speaker 3 (25:14): Mean they're an immigrant population as America is, so Speaker 2 (25:20): It Speaker 3 (25:20): Could be of any extraction. Speaker 2 (25:22): Yeah. I got no idea. Speaker 3 (25:24): So I don't actually know. Speaker 2 (25:25): Sorry. Again, so many hate mail letters this episode. Speaker 3 (25:29): So Klaus fans, Speaker 2 (25:32): Buddies, friends of Klaus, please just direct all your mail to me. Yeah. So anyway, again, timelines aren't exactly right. We're not in 2015 with this piece because, but this was made only a few years after Back to the future two came out. So this piece is from 1991. Speaker 3 (25:58): Yes. Speaker 2 (25:58): And I just couldn't resist picking this piece because it looks so much like that 1989 view of the future of what Speaker 3 (26:08): Yeah. Speaker 2 (26:08): Would be. Speaker 3 (26:10): Yeah, it really does. It looks exactly like the inspiration board for the eighties cafe that they were making. It looks like an alternate design that you could probably get on the hoverboards. There's the two little girls that he went up to take the boards from. The other girl was writing this model at all, guaranteed. Speaker 2 (26:35): The neon colors are so late eighties, early nineties. Speaker 3 (26:41): And that orange, there's something about that neon ish orange that just embodies that 89 90 Nickelodeon Speaker 2 (26:55): Look, this piece is so kind of over the top. I love it. Speaker 3 (27:02): I want it in hat form. Speaker 2 (27:03): Ooh, that would be nice. I'm probably very heavy if you could replicate those colors. And we've Speaker 3 (27:12): Got three DD printers. Right. Speaker 2 (27:14): That's for sure. They do everything now. Speaker 3 (27:16): The future is now. Speaker 2 (27:18): Well, I was reading about his process and he uses individual pieces of glass. And so a lot of the pieces behind us say there's a big vase behind us that looks like it was blown in the traditional hot glass way where that form was all worked on Speaker 3 (27:42): The tube. Speaker 2 (27:43): Yeah, exactly. Speaker 3 (27:46): That may not be the right term for a glass blower. I Speaker 2 (27:48): Can't really remember what they say. But this one is made by actually a mold. So all of the different colored pieces would be individual little pieces of glass that were laid out on top of a mold. Speaker 3 (28:01): Interesting. Speaker 2 (28:02): And then heated in a kiln and all the glass melted and fuses together to create the form. Speaker 3 (28:09): That's awesome. Speaker 2 (28:10): So it's a really interesting process too of how they do this, how they get those colors in there. And when you look at it, you can kind of start to see, it starts to make sense how all these stripes and things were individual little pieces, and then they kind get all melty together. That's why the edges start getting a little fuzzy Speaker 3 (28:29): And Speaker 2 (28:29): You can see other layers. There's sort of transparent layers Speaker 3 (28:32): Front, as I would say, I like the clear transparent layers that interweave throughout the overall design. Speaker 2 (28:39): And they kind give this little interesting effect of depth and depth because they put a push back and obscure it a little bit. And so you can even see where the edge of the other colors are kind of pulled forward, which is probably just simply that that was below it. So it melted down closer Speaker 3 (29:02): Into the mold base Speaker 2 (29:05): And it's got such a, I dunno, it's a really pleasing surface. I really would love to touch this. I Speaker 3 (29:11): Was about to say, I really want to touch it. Speaker 2 (29:13): I know it's very, Speaker 3 (29:14): Don't touch the art Speaker 2 (29:15): Very good that it's in a glass case. I would totally want to touch that surface. It just feels like it's got that nice, Speaker 3 (29:23): It's got a madness to it that you don't usually see with a lot of glasswork Speaker 2 (29:29): Or Speaker 3 (29:30): I guess it's not obviously frosted in the way that you would tend to associate with that matte glass and things like that. So it seems to have an innate madness, if that makes any sense. Speaker 2 (29:42): But Speaker 3 (29:43): It makes me want to touch it. Speaker 2 (29:45): Yeah, I know. Speaker 3 (29:45): It almost looks soft. Speaker 2 (29:46): Yeah, that's what I was thinking. There's a softness to it because it is not, maybe Speaker 3 (29:50): That's why I want a hat version. Speaker 2 (29:55): But yeah, it's interesting. I was thinking about how that effect also comes across in certain places is very painterly, the big sort of yellow and black stripes here on the side. They feel just almost brush strokes in the way they flow. So again, I like when materials kind of pretend to be other materials. Speaker 3 (30:17): Yeah. Speaker 2 (30:20): So any other things. Obviously this one is sort of totally abstract too, so it doesn't really have a lot to connect with in terms of plot of the movie, but it's just Speaker 3 (30:33): Aesthetically, it literally aesthetically it was Pepsi Max's dream board, I guess while we're in the 1989 envisioning of 2015. I mean all of the products that they've come up with and how in 2015 most of those products were made a reality by the different companies that still exist. So they made Pepsi Perfect and it was limited edition, and instead of costing $45, it cost like $20. So reasonable still for Pepsi. But the self-lacing sneakers that all got auctioned off on eBay Speaker 2 (31:18): Apparently. Speaker 3 (31:20): And the U s A today even had a special front page where they had the futuristic logo and some of the headlines from the movie. Speaker 2 (31:31): I love that idea of having to sort of engineer, especially the sneakers, having to engineer this product that never really existed. And so you have to go back and okay, but now it has to work. It can't just be a prop that is really just somebody pulling a string somewhere to make a titan. Now you have to make it real Speaker 3 (31:55): Well, and the biggest disappointment, I guess, well, having never actually tried one, but the hoverboards that aren't actually hoverboards, my amusement is just garnered from the YouTube videos of people crashing into stuff when they're trying to use them. Speaker 2 (32:10): Do you remember, I feel like when I was a kid, that was basically everyone. There was a lot of kids who were like, no, they really made a hoverboard. Speaker 3 (32:22): Yeah. Because ec, the director, Robert Zuki, said something like, oh yeah, they're magnetic forces is what makes them work. And Mattel's made these and they're too dangerous or something. He was all tongue in cheek. He was joking, Speaker 2 (32:41): But Speaker 3 (32:41): People did not realize that obviously. And the internet did not exist, at least for most people. And people apparently inundated Mattel with calls and it created this urban legend essentially that the hoverboards really existed. And they were just like the government was keeping them from us, but it was actually the actors, their feet were secured to what was literally just a wooden board. And then it was wires Speaker 2 (33:09): That Speaker 3 (33:09): They painted out in post. So it's a lot less interesting how they did it, but yeah, that's because Robert ZECs really was like, yeah, these totally exist and it's magnets. Speaker 2 (33:22): And it was probably just that Mattel just couldn't make it work because once they found out they didn't work on water, they were like, well, why even bother? Speaker 3 (33:29): Why Speaker 2 (33:29): Nobody's going to want these. You can't. Speaker 3 (33:31): You've got to have the power. Speaker 2 (33:33): Not without the power. It's just too costly for the average consumer to buy the power version Speaker 3 (33:40): Or the pit bull. Speaker 2 (33:41): Yeah, that's what I was trying to say. Going to call it like the Mad Dog, but that's a Mad Dog Tanners. Right. Speaker 3 (33:48): Funny you should say that. They were originally going to call it the Mad Dog, which was an allusion to the character in the western world, the 1885 world. But I don't know why they didn't end up going with that, but it was changed to I think the pit bull. Speaker 2 (34:04): Yeah. Mr. Worldwide. Something we did have in 2015. So they Speaker 3 (34:12): Were Speaker 2 (34:12): Successful in predicting the rise of pit bull. So congrats. Speaker 3 (34:21): You're making me really looking forward to Pit Bulls a New Year's celebration. Speaker 2 (34:24): Oh yeah. It sounds amazing. Speaker 3 (34:28): Miami. Here I come. Speaker 2 (34:32): Well, since we're sort of talking about the Western world, maybe it's time to hop in the DeLorean again. I guess that we're skipping some stuff actually, if we're going to go back to the future timeline, because back to the Future two is the most complicated one. Speaker 3 (34:49): So they start out that, I mean, it literally picks up with new Jennifer, new Speaker 2 (34:55): Jennifer, but as if you don't notice, they've Speaker 3 (34:58): Refiled everything. The exact same scenes at the end of the original movie with Elizabeth Shu now as Jennifer, they go to 2015 in which, and then they have stayed in the Robert Ekka stated that he really wished Jennifer hadn't gotten in the car, they hadn't filmed her in the car at the end of the first one. We didn't really want to deal with her. Right. Speaker 2 (35:27): And they do just have her sort of hiding a lot of places and Speaker 3 (35:32): They knock her out and then she comes to, and the police take her home to her house, and that's, it provides a way for us to find out all this information about what's going on in their lives. And then Lorraine and comes in with the dehydrated pizza and gives the whole backstory for no apparent reason and her awful old lady voice. Speaker 2 (35:56): Oh, it's so bad. Speaker 3 (35:57): It's really bad. Speaker 2 (35:58): Yeah. Yeah. I remember thinking when I was a kid that Back to the Future two was my favorite of the franchise. And now I'm like, oh no, no. The first one is, one is, yeah. Speaker 3 (36:12): King of my heart. Speaker 2 (36:13): Yeah. One is amazing actually. Speaker 3 (36:16): I think there's nothing wrong with one. Speaker 2 (36:18): Yeah. It's pretty great. But that old lady voice is real bad. Speaker 3 (36:24): And then she continues, Speaker 2 (36:25): So Speaker 3 (36:27): They think they've gone back to Yeah. So bad. Oh, Marty, how are you? Speaker 2 (36:37): She's also, I mean, how old would she be at that point too? She's talking, Speaker 3 (36:42): She's 30 years older. Well, from 85, so she would've been I think sixties. Speaker 2 (36:48): Oh, okay. I'm thinking. Okay. But yeah, so I don't know, Speaker 3 (36:52): Seventies maybe. But even then, I feel like you don't go from sounding yourself to being like, wow, Russell. Speaker 2 (37:00): Right. It doesn't, yeah. Speaker 3 (37:02): I'm going to tell you about Marty's car accident right now because very pertinent to our conversation. Speaker 2 (37:10): Yeah. It's so cartoony old lady voice. Speaker 3 (37:15): It is. And what killed me too was when they go back to the alternate 1985, and she's married to Trump, Biff, Speaker 2 (37:23): She Speaker 3 (37:23): Continues to do it, but then slips out of it a bunch. She keeps going back and forth, but also she's got huge fake boobs Speaker 2 (37:35): That Speaker 3 (37:35): Are hanging out of her sequiny dress. Speaker 2 (37:39): And they're really fake looking too. Speaker 3 (37:42): Yes. Speaker 2 (37:42): I just remember. Well, and Speaker 3 (37:43): They referred to as fake. They are. That's true. Supposed to be fake. They Speaker 2 (37:46): Don't look like fake implants. They look like fake, like prosthetics. Speaker 3 (37:50): Like a chest plate. Yeah. It's not just, it's all, they're drag queen boobs. Speaker 2 (37:55): Yes, exactly. All of everything under below her neck looks unreal. Speaker 3 (38:01): Yeah. It looks like a Nina Bon brown chest piece. But she starts out talking in the old lady voice in those scenes and then will snap out of it and then go back into it. And I have no idea why she'd be doing the old lady voice there. Right. Speaker 2 (38:19): Yeah. It doesn't really make any sense for from Marty's perspective or anything of why she would sound like that. Speaker 3 (38:27): Yeah. It was very bizarre watching it. And it was something, it had been a long time since I'd seen part two, so I re-watched it this morning and that was the part I was like, what is going on so bad? Speaker 2 (38:43): Yeah. Okay. Well, but anyway, yeah, there's alternate timelines. We go to Speaker 3 (38:50): Alternate Speaker 2 (38:51): 1985 Speaker 3 (38:52): Because Biff gets the book Old Biff in the Future in 2015. And Marty has this brilliant idea. He sees this book, the lady sells it to him, comments on how rare the dust jacket is. And isn't it funny that books used to be published with dust jackets, which becomes a plot point later, oddly enough. And then Doc talks him out of it and Marty's like, yeah, that's a horrible idea. But Biff overhears, this Takes the Idea, hitches a Ride back to Speaker 2 (39:24): 19 55, 55, Speaker 3 (39:27): Gives it to himself the same day of the lightning strike, thus altering the timeline, creating the ultimate 1985, which is a Hellscape. Speaker 2 (39:39): Yes. Speaker 3 (39:43): With Lorraine's fake boobs. And so yeah, from there, they then have to go back to 1955 again to prevent old Biff from giving 1955 Biff himself. And the dust jacket comes back into play because young Biff fools Marty by putting an Ula LA magazine in the dust jacket of the Almanac. So Marty thinks he has triumphed over Biff by getting the Almanac, but he realizes that, oh no, it is just, he keeps saying it. Speaker 2 (40:23): I love that. Alright, well, so it's from 55 that the DeLorean gets, what happens? It gets struck by lightning and Doc Brown disappears and Speaker 3 (40:41): He disappears and it seems that Marty is stranded, but then all of a sudden in the rain, this car drives up and it's these mysterious dudes in trench coats, and they hand him this portfolio looking thing and he's like, what's this? And they're like, we're from Western Union and we've had this letter for 70 years. Speaker 2 (41:01): It's Count Floyd from S C T V, right? Speaker 3 (41:03): Yes. It's Speaker 2 (41:04): Okay how Floyd is there. Speaker 3 (41:06): See you don't send us hate mail. We have such good trivia. Speaker 2 (41:11): So that's always stuck with me. The guy who delivers the letter is Count Floyd. Speaker 3 (41:17): It is Count Floyd. And he opens it up and it's this big letter from Doc informing him that he is now in 1885. And so Marty runs to 1955 Doc who has just seen Marty successfully off Back to the Future with the lightning strike. And we see his celebratory scene from the end of the first one. And he of course confuses him and he's like, I thought I just sent you back. And he is like, no, it's me. A different me and back again. And then that's the end of two and basically the start of three as well, when from 1955, they then go back to 1885. Speaker 2 (42:00): Yeah, yeah. Well, let's hop in our DeLorean then and go to 1885. Speaker 3 (42:06): Hopefully we won't run into a band of murderous Native Americans. Speaker 2 (42:12): No promises. So we're going to go back the way we came actually closer to two 11 where we just were to Gallery two 16. All right. So, Speaker 3 (42:34): Oh no, there is abandoned murders, native Americans. Speaker 2 (42:38): Oh, told you. So we're in front of roping fresh mounts. Speaker 3 (42:47): Guess they're not murderous. Speaker 2 (42:48): They're not. Yeah. They're just roping fresh mounts. That's Speaker 3 (42:50): All. Well, and really they could have been in the movie Roping Fresh mounts. Speaker 2 (42:55): It's true. He just kind of got in the way. Speaker 3 (42:57): I mean, I'd be surprised too if I was in 1885 roping some fresh mounts and a DeLorean came out in the middle of it. Speaker 2 (43:04): So this is by an artist named Charles Marian Russell. Speaker 3 (43:08): Oh yeah. Speaker 2 (43:09): Cool. As name dude. And yeah, that's actually probably my favorite part of Back to The Future Theory is the way he goes into the past is by going, they're at that drive-in theater, Speaker 3 (43:23): Drive-in theater Speaker 2 (43:24): That's all painted with Western stuff, Speaker 3 (43:26): Isn't it? Yeah. It's got this giant mural of a band of Native Americans on horses. Speaker 2 (43:31): Yeah. And so I think it's one of the more clever nods to the fact that that movie is more about Western movies than certainly it is about probably actual what the time Speaker 3 (43:48): It's Speaker 2 (43:48): About. It really just fills in all the cliched moments of a Western movie that you expect. And so the fact that it goes literally drives through the screen basically into a western movie Speaker 3 (44:05): In Speaker 2 (44:05): The most typical scene. Really Speaker 3 (44:08): Fun. And he's wearing this ridiculous 1955 conception of 1885 Western clothes. Speaker 2 (44:14): Yeah, that's Speaker 3 (44:15): Funny. He like Roy Rogers or somebody, he's pink shirt with a bunch of fringe on it Speaker 2 (44:22): That like Speaker 3 (44:23): Jean Autry about, Speaker 2 (44:26): There's like fringe involved. Isn't Speaker 3 (44:28): There? A lot of fringe? And I really, I'm almost positive shirt is pink, Speaker 2 (44:32): Like Speaker 3 (44:32): Bright pink? Speaker 2 (44:34): And he is like, yeah, definitely standing out in this very muddy world. Speaker 3 (44:38): I think there's even an exchange where Doc is in 1880 fives who dressed you in that? And he's like, you did. Speaker 2 (44:51): Yeah. I've never really thought about that too, that they are really thinking about a lot of westerns that were probably made in the fifties too, at least that that John Ford kind of, Speaker 3 (45:09): Yeah, they definitely have those landscapes and a lot of the tropes that were established in that period. But then you get also the spaghetti western stuff too. Yeah, that's true. I mean, not only does he choose the name Clint Eastwood, but in two, you have him come in when he confronts Biff in the alternate 1985 and he's watching the Clint Eastwood movie where he has the makeshift bulletproof vest on which he steals the idea of, Speaker 2 (45:35): So that look though of Western movies, this painting, it's hard not to think of it in cinematic terms, which is funny because it's from 1918, so it's Speaker 3 (45:49): Way Speaker 2 (45:49): Before that. And it's fact, this painting and the one kind of to our right here really actually kind of helped define that look of westerns in movies. So they predate that, but are really setting it up. Speaker 3 (46:08): Yeah. Well, it's pretty fascinating. I love the sky in Speaker 2 (46:13): This Speaker 3 (46:13): Painting. It's just almost an unnatural color. But if you've been out west and you've been in those deserts in the sunset at times, you do get those ridiculously brilliant colors. Speaker 2 (46:30): Yeah, it's a super colorful painting. I mean, even if you look at the things that are sort of in shadow, they're actually quite a lot of interesting sort of deep kind of plum colors and these, it's really hard to actually pick out, if you look at the plants, if you were to isolate the color of that bush, it's really like a blue. Yeah, Speaker 3 (46:55): I was going to say it's blue, almost turquoise. Speaker 2 (46:57): Yeah. Yeah. So I mean, it's one of those fun things where in the painting, in the context, it doesn't read that way because we know, oh, well, we're looking at a bush. It's probably some sort of greenish color, but it's really not. If you really look at the paint, it's just, Speaker 3 (47:15): Yeah, it's very blue Speaker 2 (47:17): And it's one of those, it's a great moment to really think about the relativity of color. Speaker 3 (47:23): It truly is. Speaker 2 (47:26): But things can read as other colors in context, in Speaker 3 (47:32): Context. Speaker 2 (47:35): If isolated would feel like one thing, and even that color, which might, if you were to take that color and then paint your walls with it, for instance, Speaker 3 (47:44): You would be shocked at how blue it is, I think. Right, Speaker 2 (47:46): Right. Yeah. You would be like, oh my gosh. Speaker 3 (47:48): Well, I mean, it's a very dusty scene in this because the horses are being rounded up and there's a lot of movement from the herd and there's a lot of dust, and we kind of just read it as dusty. But then you look at some of it, and especially on the left side of the painting, that's a really kind of vermilion orange almost. Yeah, Speaker 2 (48:09): Yeah, totally. In the dust you mean there? Speaker 3 (48:13): Yeah, because that figure on the horse to the left and kind of that dust near the ground near his feet, and it's really orange. I feel like if you compare that color with the fire on the other opposite end of the painting, Speaker 2 (48:26): They're really similar. Speaker 3 (48:26): They're very, actually similar colors. Speaker 2 (48:28): Yeah. Yeah. He's catching that sort of sense of that sunset hitting the dust, but definitely a little more exaggerated probably than it would really be. That pink light that's on the neck of the horse, the closest to us is just so intense. Speaker 3 (48:47): And Speaker 2 (48:48): Again, that horse has a lot of kind of blue and other colors in it that we don't think horses are blue, but Speaker 3 (48:55): We look at that and see a white horse. Speaker 2 (48:57): It's just maybe gray. Speaker 3 (48:58): It's Speaker 2 (48:58): Just like, is the dress and gold and golden white or black and blue? Black and blue? It's all that all over again. Was that from 2015? Speaker 3 (49:07): I was about say, I think that was 2015, let's say it was. It Speaker 2 (49:12): Might've been 2016. Yeah, I don't remember exactly, but I think it was, I feel like it was 2015. I don't know. Speaker 3 (49:18): Close enough Speaker 2 (49:20): Ire. We're going to go ahead and say it is. Speaker 3 (49:22): Yes. Speaker 2 (49:23): Okay. We can just alter, we went back. You're time and altered the timeline. Speaker 3 (49:27): Yeah, yeah. The newspapers are changing before your Eyes. People, the headlines change. Speaker 2 (49:35): Drisk now happened in 2015. It's a weird headline. Speaker 3 (49:42): I did actually see both. I did it once. Speaker 2 (49:47): Yeah. What was your initials? What Speaker 3 (49:51): Did you see? I saw a black and blue dress. Speaker 2 (49:53): Oh, see, I was always white and gold, Speaker 3 (49:55): But I looked at it a few times and I was able to see the white and gold before I saw black and blue again. Speaker 2 (50:03): And that was maybe my thing was that I could understand why people saw the blue, maybe because I understood, again, it felt like it was a white and gold dress in bluish light was how I read Speaker 3 (50:21): It. Speaker 2 (50:23): Context felt Speaker 3 (50:23): Black and blue and oh man, we're just rehashing this 2015 debate all Speaker 2 (50:29): Over it. It's really topical. That's what we do. But yeah, I remember it was a real fun day. It really Speaker 3 (50:38): Was. Speaker 2 (50:39): When we all just, Speaker 3 (50:41): Those pants computers got to work out. Speaker 2 (50:43): Can't get enough of how crazy. Well, any other thoughts? We really didn't talk at all about the plot of Back to the Future three, because I don't think you really need to. Speaker 3 (50:52): I mean, yeah, we chatted about this a little bit. The original idea for Back to the sequels of Back to the Future was one film in which the plots of both two and three were in one movie. And you see two is quite complicated and really hops around all over the place and the timelines. So I think that's why they split off and were like, oh, we'll make three completely separate. But there's honestly not a lot that happens because he literally just goes back to save Doc Brown from being the hell hole of the late 19th century. Speaker 2 (51:27): I think he figures out he dies. Oh, he Speaker 3 (51:29): Found the gravestone. Yep. Speaker 2 (51:31): Yeah. So he knows that he's going to die. And so he's, Speaker 3 (51:34): It's like five days after he got the letter or when the letter was dated. Speaker 2 (51:37): Exactly. So he gets a letter and then he does the research and realizes he's about to die. Speaker 3 (51:41): So Speaker 2 (51:41): He's going back to save Doc Brown from that, Speaker 3 (51:44): From Mad Dog, Speaker 2 (51:45): Mad Dog Tannin. And so yeah, all I remember is Mary Steenberg is lovely. She's very sweet and nice in that movie, and Speaker 3 (51:57): I feel like she's just kind of who she is and is just put in movies and television. Speaker 2 (52:03): She's doing that Mary Steam burgeon thing. She does just Speaker 3 (52:05): Charming. Speaker 2 (52:06): Yeah. But that's really it. Speaker 3 (52:08): They fall in love and they come back and so they're successful. They avert death a few times, pulls the Clint Eastwood trick, he comes back. So the DeLorean breaks though. Speaker 2 (52:22): That's right. Speaker 3 (52:23): And when he hides it in a cave, the fuel line breaks and there's no gas in 1885. So they're like, how do we get it up to the speed it needs to be? Speaker 2 (52:33): So they have to use the train. Train. Right. Speaker 3 (52:36): So, but because Mary Ste. Bergen, is that how you pronounce it? Speaker 2 (52:42): Bergen? I didn't say Steen. Speaker 3 (52:43): I Speaker 2 (52:43): Don't know if that's right though. But that's how I say when Mary and I get together, that's how I We Speaker 3 (52:49): Do lunch. Speaker 2 (52:50): Exactly. That's what I call Speaker 3 (52:52): Her. Good old Mary. She falls off the train by her skirt and Marty saves the day with the hoverboard. But Doc and Mary don't get on the DeLorean, so it's just, Marty goes back, but he goes back to 1985. Everything seems to be great. He's there with Jennifer two, Elizabeth Shu the electric Boogaloo, and then a flying train comes Speaker 2 (53:20): And Speaker 3 (53:21): It's Doc and Mary and their two kids, two kids, Speaker 2 (53:24): Jules, RN and ve. That's right. Speaker 3 (53:30): See, you get the real good facts on this pod. Speaker 2 (53:35): Yeah. About Jules and Vern. Yeah. And one of the kids, Jules or Verne, have you ever seen that internet clip where somebody, they just keep zooming in on the kid where he just keeps pointing at his crotch? No. Oh my gosh. It's so amazing. So he's pointing, it's so weird. They show it maybe three times. First, it's like the normal scene, and then it just keeps zooming in. And until finally you notice that this, he's pointing his crotch. He just does this weird thing that's really creepy. And I think they slow it down where he just, I feel like he taps, and then he's points a couple of times right at his groin Speaker 3 (54:16): Pod viewers. What you don't see is the look of utter disgust on my face. Speaker 2 (54:24): It's so amazing. Speaker 3 (54:28): Well, here's another fun fact about the kids and the sequels of Back to the Future, the tiny kids in the diner, the eighties diner in 2015. One of them is Elijah Wood in his very first movie role. Speaker 2 (54:42): Oh my gosh. Now I have to go back to watch Little Frodo. Little Frodo in the Ghost of the Future. Speaker 3 (54:49): Little Frodo telling him that since he has to use his hands on the video game, it's a game for babies. Speaker 2 (54:57): So he's one of the kids that's playing the, Speaker 3 (55:01): There's a cabinet arcade machine that they get to work and Marty from 85 goes over and it's like, let me show you how it's done. And smokes the guys. And it's a Western theme game as well. And the little kids are not impressed by his mad Speaker 2 (55:18): 85 Speaker 3 (55:19): Arcade skills and they're like, man, you had to use your hands for that to game babies. Like what? I guess we're supposed to assume that they have all sweet virtual reality. Just think about it. Speaker 2 (55:36): It's all power gloves. Speaker 3 (55:38): It's all power gloves. They still have CR TVs, but yeah. Speaker 2 (55:41): Right. Speaker 3 (55:43): Power glove. It's so bad. Speaker 2 (55:48): All right. Well thank you Danielle. I think it's time to get back. Speaker 3 (55:51): Thank you for having me get Speaker 2 (55:52): Back in our DeLorean and go back to, I don't know what the present is now, 1985 or 2017, whichever you choose to live in. Speaker 3 (56:01): Yeah, choose your poison. Speaker 2 (56:03): Alright, well thanks Danielle. Thank you for listening to Art Palace. We hope you'll be inspired to come visit the Cincinnati Art Museum and have conversations about the art yourself. General admission to the museum is always free, and we are Speaker 1 (56:23): Also excited to offer free parking, like I mentioned before, join the Mount Adams Civic Association for a free showing of Back to the Future two on June 22nd at season Good Pavilion in Eden Park featuring pre-fill music provided by sound, body jazz orchestra. The music starts at 7:00 PM and the movie starts at dusk. Special exhibitions on view right now are a shared legacy folk art in America, which just opened William KenRidge More Sweetly Play the Dance and Tiffany Glass Painting with color and light for program reservations and more information visits, Cincinnati art museum.org. You can follow us on Facebook, Twitter, Instagram, and Snapchat. Our theme song is a Frond Music Buyback Allow. If you liked our show, how about you rate and review us on iTunes. I'm Russell Eig, and this has been Art Palace produced by the Cincinnati Art Museum.