1 00:00:00,240 --> 00:00:02,960 Speaker 1: Hey, everyone, We're coming to Salt Lake City, Utah, and Phoenix, 2 00:00:03,000 --> 00:00:06,840 Speaker 1: Arizona this fall. Yeah, October, we're gonna be at Salt 3 00:00:06,920 --> 00:00:09,959 Speaker 1: Lake City's Grand Theater and then the next night October 4 00:00:10,600 --> 00:00:14,160 Speaker 1: will be in Phoenix. And we added a second show 5 00:00:14,240 --> 00:00:17,200 Speaker 1: to our Melbourne show, right, that's right, a second earlier 6 00:00:17,200 --> 00:00:19,840 Speaker 1: show in Melbourne. So you can get all the information 7 00:00:19,880 --> 00:00:22,200 Speaker 1: for all of these shows at s y s K 8 00:00:22,400 --> 00:00:27,560 Speaker 1: live dot com. Welcome to Stuff you should know from 9 00:00:27,560 --> 00:00:36,400 Speaker 1: how Stuff Works dot com. Hey, and welcome to the podcast. 10 00:00:36,440 --> 00:00:38,960 Speaker 1: I'm Josh Clark, and there's Charles W. Chuck Bryant, and 11 00:00:39,000 --> 00:00:42,800 Speaker 1: there's Jerry Rowland. This is going to be an interesting 12 00:00:42,840 --> 00:00:44,920 Speaker 1: one because I don't know how to say the ladies. 13 00:00:45,040 --> 00:00:48,400 Speaker 1: Last ning, Jerry's over there with her spider monkey on 14 00:00:48,440 --> 00:00:52,519 Speaker 1: her shoulder, a dead hummingbird hanging from her necklace, just 15 00:00:52,560 --> 00:00:56,400 Speaker 1: like any other day. We're here in Lakasa Azul, right, 16 00:00:56,480 --> 00:00:59,440 Speaker 1: and she's gotten ahold of some eyebrow pencil and filled 17 00:00:59,440 --> 00:01:02,080 Speaker 1: in between the two across the bridge of our nose. 18 00:01:02,720 --> 00:01:06,720 Speaker 1: So I'm excited about this. A because you said frieda 19 00:01:06,760 --> 00:01:12,720 Speaker 1: calo before we started recording freda Kalo, and B because 20 00:01:13,520 --> 00:01:17,480 Speaker 1: you know my family's fascination with this woman in her work. No, 21 00:01:18,520 --> 00:01:20,560 Speaker 1: we've talked about it before. That's okay. Though we've done 22 00:01:20,560 --> 00:01:24,480 Speaker 1: a thousand episodes. We have talked about it before. Yeah, okay, 23 00:01:24,480 --> 00:01:27,240 Speaker 1: well we'll get back into it. Yeah, we're way into Frieda. 24 00:01:27,319 --> 00:01:31,760 Speaker 1: Emily is borderline obsessed? Is she a freedom maniac? She is? 25 00:01:32,720 --> 00:01:35,720 Speaker 1: And my daughter loves her. You know, there's like Frieda 26 00:01:36,319 --> 00:01:38,440 Speaker 1: I hate to use the word, but kind of cults 27 00:01:39,160 --> 00:01:43,959 Speaker 1: devotional groups where um they basically dress up and and 28 00:01:44,560 --> 00:01:49,520 Speaker 1: are like Frieda. It's like channel Frieda Kalo. Yeah, because 29 00:01:50,080 --> 00:01:52,560 Speaker 1: as one of these articles that we sourced from points 30 00:01:52,560 --> 00:01:55,559 Speaker 1: out near the end um, not only does she draw 31 00:01:55,640 --> 00:01:59,560 Speaker 1: in people for her art, but she draws in uh 32 00:01:59,640 --> 00:02:04,520 Speaker 1: femineis and she draws in women who have suffered miscarriages 33 00:02:05,240 --> 00:02:09,680 Speaker 1: and and disabled people who have suffered great pain and 34 00:02:09,760 --> 00:02:13,160 Speaker 1: chronic pain in their life. So she through her life 35 00:02:14,000 --> 00:02:17,520 Speaker 1: she's able to um touch a lot of people because 36 00:02:17,560 --> 00:02:20,440 Speaker 1: of her life. And I'm sure with any artist where 37 00:02:20,760 --> 00:02:22,640 Speaker 1: if you know, the more you know about the artist, 38 00:02:22,680 --> 00:02:27,120 Speaker 1: the more you can appreciate their art. With freed to Klo, 39 00:02:27,200 --> 00:02:31,680 Speaker 1: it's almost like you gotta quit saying that Freda Calo Carlo. Carlo, 40 00:02:33,280 --> 00:02:35,560 Speaker 1: my whole life have been saying free to Kyla, and 41 00:02:35,560 --> 00:02:37,560 Speaker 1: I like it rules off the tongue. Yeah, but you know, 42 00:02:37,639 --> 00:02:41,320 Speaker 1: let's give her the due respect. Um the when did 43 00:02:41,320 --> 00:02:44,680 Speaker 1: we start doing that? I don't know. Okay, so um, 44 00:02:45,840 --> 00:02:50,040 Speaker 1: you almost you just almost can't fully appreciate any piece 45 00:02:50,040 --> 00:02:53,280 Speaker 1: of her work without knowing at least the basics of 46 00:02:53,280 --> 00:02:55,359 Speaker 1: her story. I think, well, yeah, and certainly once you 47 00:02:55,440 --> 00:02:59,000 Speaker 1: know the basics, you're like, oh right, that's where all 48 00:02:59,000 --> 00:03:02,600 Speaker 1: this comes from. It really makes sense. But she is 49 00:03:02,639 --> 00:03:04,960 Speaker 1: a great artist, for sure. I was going back and 50 00:03:05,040 --> 00:03:07,239 Speaker 1: looking at some of her art. You know, I'm familiar 51 00:03:07,280 --> 00:03:09,600 Speaker 1: with her, I know a little bit about her. Um, 52 00:03:09,720 --> 00:03:12,120 Speaker 1: but I definitely saw some pieces that I didn't realize before. 53 00:03:12,120 --> 00:03:14,800 Speaker 1: And just from researching this, I very much came to 54 00:03:14,840 --> 00:03:18,320 Speaker 1: appreciate her even more. Like she's a great artist. Just 55 00:03:18,400 --> 00:03:21,919 Speaker 1: the technique she used, the imagery she used, the symbolism, 56 00:03:21,919 --> 00:03:25,639 Speaker 1: I really dig it all. And it's like you can 57 00:03:25,680 --> 00:03:29,120 Speaker 1: appreciate it because it gives you a visceral reaction, but you, 58 00:03:30,360 --> 00:03:33,280 Speaker 1: the average person, can also get what she's feeling or 59 00:03:33,280 --> 00:03:35,880 Speaker 1: what she's saying without being like this means this, and 60 00:03:35,960 --> 00:03:38,840 Speaker 1: that means that she just kind of get it visually. 61 00:03:39,520 --> 00:03:43,839 Speaker 1: It's something that you can get and appreciate pretty easily. Yeah. 62 00:03:43,880 --> 00:03:47,080 Speaker 1: I mean we've we've seen her work in museums all 63 00:03:47,080 --> 00:03:49,680 Speaker 1: over the world. Basically every new city we go to, 64 00:03:49,840 --> 00:03:53,360 Speaker 1: we see, is there any free to color work there? 65 00:03:53,520 --> 00:03:56,440 Speaker 1: Have you been to Lakasa Zul? No, But that'll that's 66 00:03:56,560 --> 00:03:58,440 Speaker 1: that's gonna happen. Oh, I'm sure. I was gonna say 67 00:03:58,480 --> 00:04:01,080 Speaker 1: bucket list, but it's just on the list. I'm like, 68 00:04:01,160 --> 00:04:02,760 Speaker 1: I don't want to do it when I'm eighty, right 69 00:04:03,400 --> 00:04:06,800 Speaker 1: with with um Jack Nicholson or something. No, Morgan Freeman, 70 00:04:06,840 --> 00:04:09,080 Speaker 1: No, no no, No, we're gonna go down there for sure. Alright, 71 00:04:09,120 --> 00:04:12,360 Speaker 1: So let's let's start chronologically. Let's start at the beginning. 72 00:04:12,480 --> 00:04:16,599 Speaker 1: That makes sense. So Freeda kalo Um she was born 73 00:04:16,640 --> 00:04:19,320 Speaker 1: back in nineteen o seven, although she used to being 74 00:04:19,320 --> 00:04:21,680 Speaker 1: a revolutionary. She used to say that she was born 75 00:04:21,680 --> 00:04:24,200 Speaker 1: in nineteen ten, which was the year of the Mexican Revolution. 76 00:04:24,640 --> 00:04:26,640 Speaker 1: But she was born in a town which was very 77 00:04:26,640 --> 00:04:30,440 Speaker 1: freed to. Yeah, freed to call thing to do? Right. Um. 78 00:04:30,520 --> 00:04:34,040 Speaker 1: She was born in town called the Koyoa Khan which 79 00:04:34,080 --> 00:04:36,680 Speaker 1: is outside of Mexico City, and she was born in 80 00:04:36,680 --> 00:04:40,080 Speaker 1: that house Lacasa Zul the Blue House. Yeah, maybe maybe 81 00:04:40,080 --> 00:04:42,760 Speaker 1: not there. There's a lot of um parts of her 82 00:04:42,800 --> 00:04:45,720 Speaker 1: early life, like the year she was born where other 83 00:04:45,760 --> 00:04:48,960 Speaker 1: people say, like, man, she's actually born nearby, but she 84 00:04:49,040 --> 00:04:52,200 Speaker 1: says she was born there, so uh, like her birth 85 00:04:52,200 --> 00:04:56,359 Speaker 1: records indicated a different place, but it's we'll say she 86 00:04:56,440 --> 00:04:58,200 Speaker 1: was born there at the very least it was her 87 00:04:58,200 --> 00:05:02,000 Speaker 1: family's house, right, and she it was. It was in 88 00:05:02,080 --> 00:05:05,000 Speaker 1: her life for her whole life, so much so she 89 00:05:05,040 --> 00:05:08,200 Speaker 1: actually died in that house. Yeah. And it's a museum now, 90 00:05:08,320 --> 00:05:11,159 Speaker 1: yes it is. It's a national museum dedicated to free 91 00:05:11,160 --> 00:05:15,520 Speaker 1: to Carlo cret Cool. We can visit, right. So, um, 92 00:05:15,680 --> 00:05:18,080 Speaker 1: she was born in nineteen o seven they've figured out, 93 00:05:18,160 --> 00:05:20,760 Speaker 1: apparently you figured out. And her father was he German 94 00:05:20,839 --> 00:05:24,160 Speaker 1: or Hungarian? Because I saw both. Well, here's another little 95 00:05:24,200 --> 00:05:29,560 Speaker 1: thing where he was German. He was born in Germany, 96 00:05:30,120 --> 00:05:33,080 Speaker 1: but Freed always said that he was of Hungarian Jewish descent, 97 00:05:33,640 --> 00:05:37,000 Speaker 1: but that just doesn't appear to be true like ancestry 98 00:05:37,080 --> 00:05:40,960 Speaker 1: gen genealogy records. So was he like German Protestant or something? 99 00:05:41,600 --> 00:05:49,000 Speaker 1: Uh German? Um? Uh? What Lutheran? Lutheran? I think that's Protestant, 100 00:05:49,080 --> 00:05:51,280 Speaker 1: I think I think so, but I think I think 101 00:05:51,279 --> 00:05:55,760 Speaker 1: it was Lutheran. I can't remember. But his name, depending 102 00:05:55,800 --> 00:05:58,960 Speaker 1: on it was Carl Wilhelm. But when he traveled to 103 00:05:59,000 --> 00:06:02,880 Speaker 1: Mexico and the eight eighteen hundreds, he changed his name. 104 00:06:03,240 --> 00:06:07,360 Speaker 1: He took the translation. The Spanish translation was original German name, 105 00:06:07,360 --> 00:06:10,200 Speaker 1: which would have been Guillermo. Apparently it's a great name, 106 00:06:11,000 --> 00:06:15,799 Speaker 1: will though. Yeah, and then he became a Mexican citizen 107 00:06:15,920 --> 00:06:21,480 Speaker 1: and married her mother, Matilda Calderon, who was um American 108 00:06:21,520 --> 00:06:24,720 Speaker 1: Indian in Spanish. Yeah, and we should say Frieda. Frieda's 109 00:06:24,720 --> 00:06:28,280 Speaker 1: full name is Magdalena Carmen Frieda Calo. He called her 110 00:06:28,279 --> 00:06:31,680 Speaker 1: own great name. It is really there's a lot to 111 00:06:31,760 --> 00:06:35,760 Speaker 1: it there. Basically gives you everything you want, right, that's right. 112 00:06:36,040 --> 00:06:39,760 Speaker 1: So um, she was born in when someone else I 113 00:06:39,800 --> 00:06:42,440 Speaker 1: came to admire from researching her. As her father, he 114 00:06:42,440 --> 00:06:44,520 Speaker 1: seemed to have been a pretty cool cat. He was 115 00:06:44,560 --> 00:06:47,000 Speaker 1: a really good dad. Her mom was a little bit 116 00:06:48,760 --> 00:06:54,240 Speaker 1: religiously hysterical, I think, and very strict, But her dad 117 00:06:54,279 --> 00:06:58,200 Speaker 1: was a bit of a foil in that he raised Frieda. 118 00:06:58,800 --> 00:07:02,400 Speaker 1: He noticed something in freed To It seems that she 119 00:07:02,520 --> 00:07:05,480 Speaker 1: was different from her sisters, which she screamed, I mean 120 00:07:05,600 --> 00:07:08,040 Speaker 1: just like she dressed in men's suits and things like that. 121 00:07:08,080 --> 00:07:10,640 Speaker 1: She was definitely different than her sisters. But he saw 122 00:07:10,800 --> 00:07:13,120 Speaker 1: in her something very much different than her sisters, not 123 00:07:13,160 --> 00:07:16,400 Speaker 1: just in her outward behavior, and so he kind of 124 00:07:16,440 --> 00:07:21,080 Speaker 1: plucked her out of the path that his sisters were on, 125 00:07:21,120 --> 00:07:24,440 Speaker 1: which was, you know, go get married, or go being 126 00:07:24,840 --> 00:07:28,160 Speaker 1: educated into convent, Go get married, go be a wife, 127 00:07:28,520 --> 00:07:31,160 Speaker 1: and said, you you're going to go a different path. 128 00:07:31,680 --> 00:07:34,200 Speaker 1: Let's get you in a different school here. Yeah. He 129 00:07:34,240 --> 00:07:37,720 Speaker 1: was a photographer, so her first experiences with art were 130 00:07:38,600 --> 00:07:41,040 Speaker 1: accompanying him on photo shoots and being in the studio 131 00:07:41,040 --> 00:07:43,440 Speaker 1: with him. And like you said, he sent her to 132 00:07:43,560 --> 00:07:48,200 Speaker 1: the German College in Mexico City, where she was introduced 133 00:07:48,240 --> 00:07:53,679 Speaker 1: to European things, and um, very sadly she was sexually 134 00:07:53,680 --> 00:07:58,400 Speaker 1: abused there. Uh, and then ended up going to and 135 00:07:58,440 --> 00:08:00,560 Speaker 1: I think was one of the first, one of only 136 00:08:00,600 --> 00:08:05,040 Speaker 1: thirty five girls, young girls to go to the National 137 00:08:05,080 --> 00:08:08,960 Speaker 1: Preparatory School in Mexico because that was right around the 138 00:08:08,960 --> 00:08:11,200 Speaker 1: time in the Mexican Revolution. He said, maybe we should 139 00:08:11,200 --> 00:08:15,160 Speaker 1: start letting young women in here. Yeah. And then doctor, Yeah, 140 00:08:15,240 --> 00:08:18,040 Speaker 1: she excelled in in biology and some others and Moz 141 00:08:18,040 --> 00:08:20,560 Speaker 1: on a path to become a doctor actually. But one 142 00:08:20,640 --> 00:08:24,120 Speaker 1: of the other things that she discovered at the UM, 143 00:08:24,480 --> 00:08:29,160 Speaker 1: the Preparatory Academy of Mexico City was a real zeal 144 00:08:29,360 --> 00:08:34,400 Speaker 1: for the Mexican revolutionary spirit. Yeah. I mean, not only 145 00:08:34,880 --> 00:08:36,960 Speaker 1: did she learn about Europe, but she got really into 146 00:08:37,040 --> 00:08:40,480 Speaker 1: learning about her indigenous roots. Yeah. Um, that seems to 147 00:08:40,480 --> 00:08:43,600 Speaker 1: be something that fascinated her throughout her life, was her 148 00:08:43,800 --> 00:08:47,760 Speaker 1: her European and her Mexican roots and how they combined 149 00:08:47,800 --> 00:08:50,880 Speaker 1: in her and she explored them outwardly as well. She 150 00:08:50,960 --> 00:08:53,960 Speaker 1: even had a painting called roots. Oh yeah, kind of 151 00:08:54,000 --> 00:08:57,120 Speaker 1: on the nose, uh and roots were growing out of 152 00:08:57,120 --> 00:09:01,520 Speaker 1: her body even yeah, um we we kind of skipped 153 00:09:01,520 --> 00:09:04,040 Speaker 1: over one very important thing in her life. When she 154 00:09:04,120 --> 00:09:09,960 Speaker 1: was six, Um, she contracted polio and long recovery permanently 155 00:09:10,000 --> 00:09:12,080 Speaker 1: damaged one of her legs. She had a very one 156 00:09:12,120 --> 00:09:14,600 Speaker 1: of her legs was I think her right leg was 157 00:09:15,040 --> 00:09:18,320 Speaker 1: smaller and just very skinny, a little withered. Yeah, and 158 00:09:18,400 --> 00:09:21,760 Speaker 1: she had a permanent limp from that age, which was 159 00:09:21,800 --> 00:09:24,559 Speaker 1: a big deal. It was just the beginning of a 160 00:09:24,640 --> 00:09:31,160 Speaker 1: lifetime of pretty horrendous um physical disabilities. In pain. Yeah, 161 00:09:31,160 --> 00:09:33,600 Speaker 1: she was alive on the planet for forty seven years 162 00:09:34,320 --> 00:09:37,920 Speaker 1: and starting at age six. You say that's when polio, 163 00:09:38,360 --> 00:09:41,280 Speaker 1: She bet, that's when it began, at the at the 164 00:09:41,480 --> 00:09:44,600 Speaker 1: at the latest, it started at six and continued all 165 00:09:44,600 --> 00:09:47,440 Speaker 1: the way up to forty seven when she died. So 166 00:09:47,640 --> 00:09:51,600 Speaker 1: at the in this kind of revolutionary group that she joined, um, 167 00:09:51,760 --> 00:09:56,120 Speaker 1: the cachas, which means the caps are the hats, which 168 00:09:56,120 --> 00:10:02,400 Speaker 1: apparently today is Narco slang for cops. You know, kutchukas cachuchas. 169 00:10:02,840 --> 00:10:06,160 Speaker 1: It's hard to say, yeah, because of the two. Is 170 00:10:08,480 --> 00:10:13,520 Speaker 1: it's like Jason's coming or something. Um. She she fell 171 00:10:13,559 --> 00:10:15,440 Speaker 1: in love with kind of the leader of that group, 172 00:10:15,480 --> 00:10:19,400 Speaker 1: but really like she found herself as a revolutionary, right 173 00:10:20,200 --> 00:10:23,439 Speaker 1: and not just a Mexican revolutionary. She also became a 174 00:10:23,480 --> 00:10:27,000 Speaker 1: communist ideologist and was for life. That's one thing that 175 00:10:27,400 --> 00:10:29,400 Speaker 1: a lot of people don't realize is free to free 176 00:10:29,440 --> 00:10:33,800 Speaker 1: to Carlo, this pop culture icon, this patron saying of 177 00:10:33,800 --> 00:10:39,520 Speaker 1: of women, UM and feminists, was also very much a 178 00:10:39,640 --> 00:10:43,720 Speaker 1: fervent communist. Actually, she referred to her husband later Diego Rivera, 179 00:10:43,720 --> 00:10:47,640 Speaker 1: who you're about to mention um as nobody's husband. He 180 00:10:47,720 --> 00:10:49,800 Speaker 1: was a lousy husband, but he was a great comrade. 181 00:10:50,440 --> 00:10:54,160 Speaker 1: This is a great quote. Yeah. So that's when she 182 00:10:54,200 --> 00:10:58,800 Speaker 1: fell in love with Alejandro Gomez Eddias and uh they 183 00:10:58,840 --> 00:11:01,680 Speaker 1: were together for about five years. And we'll get to 184 00:11:02,559 --> 00:11:04,240 Speaker 1: kind of what happened toward the end of that relationship 185 00:11:04,280 --> 00:11:07,800 Speaker 1: in a sec but Ino and she was just fifteen. 186 00:11:07,840 --> 00:11:11,480 Speaker 1: She was at school, uh, at the preparatory school, and 187 00:11:11,520 --> 00:11:15,000 Speaker 1: Diego Rivera, who was very famous artist, a muralist at 188 00:11:15,000 --> 00:11:20,440 Speaker 1: the time, already this giant man, um like Alfred Molina's size, 189 00:11:20,800 --> 00:11:23,840 Speaker 1: that's who played him, Um, even bigger, I think. Yeah. 190 00:11:23,880 --> 00:11:26,560 Speaker 1: He was huge. Uh and you know, just tall and 191 00:11:26,679 --> 00:11:33,760 Speaker 1: rotund and just a big personality and everything. Sure. Yeah. Um. 192 00:11:33,840 --> 00:11:36,640 Speaker 1: He was painting a mural at her school called Creation 193 00:11:36,960 --> 00:11:38,760 Speaker 1: when she was just fifteen, and she would go out 194 00:11:38,760 --> 00:11:42,600 Speaker 1: there and just basically kind of stare at him and 195 00:11:42,679 --> 00:11:45,640 Speaker 1: while he was doing his work and sort of became 196 00:11:45,640 --> 00:11:50,120 Speaker 1: infatuated with him and the art. I get the picture 197 00:11:50,200 --> 00:11:54,040 Speaker 1: that it was all sort of intertwined, and uh, you know, 198 00:11:54,160 --> 00:11:56,880 Speaker 1: years later they would meet and marry and then remarry, 199 00:11:56,880 --> 00:11:59,560 Speaker 1: which we'll get into the ins and outs of their 200 00:11:59,600 --> 00:12:03,440 Speaker 1: relation chip, but it was it was an interesting love 201 00:12:03,520 --> 00:12:07,360 Speaker 1: story of sorts. Artists. You know, yeah, should we take 202 00:12:07,400 --> 00:12:10,000 Speaker 1: a break? All right, let's take a break, and we 203 00:12:10,040 --> 00:12:14,200 Speaker 1: will talk about the tragic events that befel her at 204 00:12:14,200 --> 00:12:36,960 Speaker 1: the age of eighteen. Okay, Chuck, So, like you said, 205 00:12:37,000 --> 00:12:39,960 Speaker 1: something really bad is about to happen to Frida. She's eighteen. 206 00:12:40,440 --> 00:12:42,240 Speaker 1: She's on a bus with a boyfriend who was the 207 00:12:42,320 --> 00:12:48,160 Speaker 1: leader of the Yeah, and um, the the bus was 208 00:12:48,280 --> 00:12:51,240 Speaker 1: struck by a trolley, or vice versa. She was on 209 00:12:51,280 --> 00:12:54,160 Speaker 1: a trolley struck by a bus, one of the two 210 00:12:54,520 --> 00:12:58,760 Speaker 1: in either way. It was a bad, bad scene for her. Yeah, 211 00:12:59,000 --> 00:13:02,120 Speaker 1: she was impaled by one of the handlebars. It went 212 00:13:02,120 --> 00:13:04,640 Speaker 1: through pelvis into her womb, That's how I saw it. 213 00:13:04,679 --> 00:13:09,440 Speaker 1: Put broke her spine. Um, she was in a bad way. 214 00:13:10,040 --> 00:13:14,080 Speaker 1: And supposedly her boyfriend walked away unharmed, which just makes 215 00:13:14,080 --> 00:13:16,480 Speaker 1: it even worse, you know, Yeah, I mean the way 216 00:13:16,520 --> 00:13:18,559 Speaker 1: I got it was that, you know, everyone was shaken 217 00:13:18,640 --> 00:13:21,600 Speaker 1: up pretty bad. But it was this sort of freak 218 00:13:21,720 --> 00:13:26,959 Speaker 1: thing that this rail impaled her hip that that she 219 00:13:27,080 --> 00:13:29,000 Speaker 1: got the worst of it. Now, this would go on 220 00:13:29,200 --> 00:13:32,920 Speaker 1: to be, in my opinion, the most significant event of 221 00:13:32,960 --> 00:13:37,520 Speaker 1: her entire life, because it would it changed everything. It 222 00:13:37,640 --> 00:13:40,400 Speaker 1: changed the course of everything. Remember, up to this point, 223 00:13:40,440 --> 00:13:44,320 Speaker 1: she's planning on becoming a doctor. Um, and she was 224 00:13:44,480 --> 00:13:47,600 Speaker 1: so laid up for so long and so immobilized that 225 00:13:47,679 --> 00:13:50,760 Speaker 1: she basically said, well, there goes my chance of being 226 00:13:50,760 --> 00:13:52,800 Speaker 1: a doctor. I'm not going to be able to catch up. 227 00:13:52,840 --> 00:13:54,280 Speaker 1: I'm not gonna be able to move. Who knows if 228 00:13:54,280 --> 00:13:58,200 Speaker 1: I'll be able to walk again. Um, And it just 229 00:13:58,520 --> 00:14:01,679 Speaker 1: shifted direction. Plus that whole womb thing is going to 230 00:14:01,800 --> 00:14:04,679 Speaker 1: come into play later on and that will definitely influence 231 00:14:04,679 --> 00:14:08,839 Speaker 1: her art for sure too. Yeah. So she's um, she's 232 00:14:08,960 --> 00:14:12,800 Speaker 1: bedridden for months. I think she had something like thirteen 233 00:14:12,880 --> 00:14:15,920 Speaker 1: or fifteen surgeries from that point on for the next 234 00:14:15,920 --> 00:14:21,160 Speaker 1: like thirty years. Um. And it turns out that she 235 00:14:21,360 --> 00:14:24,680 Speaker 1: was a great painter, which must have been something to 236 00:14:25,040 --> 00:14:28,680 Speaker 1: be like, well, I'm in this hospital bed that they're 237 00:14:28,720 --> 00:14:32,080 Speaker 1: equipping me with this special easel that I can use 238 00:14:32,120 --> 00:14:35,040 Speaker 1: in my full body cast lying down. They're gonna put 239 00:14:35,040 --> 00:14:38,960 Speaker 1: a mirror on on the ceiling above me so I 240 00:14:38,960 --> 00:14:41,840 Speaker 1: can be my own model. And she was very much 241 00:14:41,880 --> 00:14:46,120 Speaker 1: known for her self portraits. And she starts painting and 242 00:14:47,040 --> 00:14:50,600 Speaker 1: is amazingly talented. Yeah. And at first she she was saying, Okay, 243 00:14:50,600 --> 00:14:52,440 Speaker 1: well I can't be a doctor, and apparently I have 244 00:14:52,520 --> 00:14:55,520 Speaker 1: this knack for painting. Maybe I'll be a medical illustrator. 245 00:14:55,680 --> 00:14:57,640 Speaker 1: And once you hear that, when you see some of 246 00:14:57,680 --> 00:15:00,280 Speaker 1: her work, you're like, oh, yeah, she basically he was 247 00:15:00,360 --> 00:15:07,360 Speaker 1: a medical illustrator. Yeah, but in a exploring anatomy as 248 00:15:07,400 --> 00:15:11,400 Speaker 1: a metaphor for emotion. Yes, from what I understand, right, Yeah, 249 00:15:11,400 --> 00:15:15,480 Speaker 1: I mean, I don't know. I mean, this might be 250 00:15:15,600 --> 00:15:17,800 Speaker 1: hyperbolic to say this, but I don't know if any 251 00:15:17,920 --> 00:15:23,000 Speaker 1: artists that poured herself out on the canvas as much 252 00:15:23,040 --> 00:15:26,760 Speaker 1: as she did. Certainly not up to the point, especially 253 00:15:26,840 --> 00:15:30,560 Speaker 1: female artists. Yeah, absolutely, up to this point when when 254 00:15:30,760 --> 00:15:35,960 Speaker 1: Frieda Kello came along, like women were if you were emotional, 255 00:15:36,040 --> 00:15:39,600 Speaker 1: you were hysterical one. But you certainly weren't if you 256 00:15:39,640 --> 00:15:42,920 Speaker 1: were a woman artist, you certainly weren't expected to explore 257 00:15:43,360 --> 00:15:48,880 Speaker 1: emotions and grief and personhood and the self, and you 258 00:15:49,040 --> 00:15:51,520 Speaker 1: certainly weren't expected to do it in your paintings. And 259 00:15:51,600 --> 00:15:55,520 Speaker 1: she said her works showed that that was not the case. 260 00:15:55,720 --> 00:15:58,000 Speaker 1: It wasn't even like you shouldn't do this, it was 261 00:15:58,040 --> 00:16:00,960 Speaker 1: women can't do this. She him along and said, and 262 00:16:01,000 --> 00:16:03,720 Speaker 1: actually we can, because I'm living proof. Yeah. And if 263 00:16:03,720 --> 00:16:07,360 Speaker 1: you're a man, you're just a brooding artist. Yeah. If 264 00:16:07,400 --> 00:16:11,240 Speaker 1: you're a woman, you're hysterical. Um, you're depressed. And she 265 00:16:11,400 --> 00:16:15,200 Speaker 1: just man, she laid it out there as raw as 266 00:16:15,240 --> 00:16:18,560 Speaker 1: you can imagine, and especially for the time, it was 267 00:16:18,600 --> 00:16:21,920 Speaker 1: just off the charts, how radical it was so so 268 00:16:22,040 --> 00:16:24,160 Speaker 1: And she's able to do this because her family set 269 00:16:24,240 --> 00:16:27,120 Speaker 1: up a special easel in a mirror for her to 270 00:16:27,280 --> 00:16:30,720 Speaker 1: be her own model. Yes, right, yes, so this is that, 271 00:16:30,840 --> 00:16:32,440 Speaker 1: this is a big thing, like this is starting to 272 00:16:32,520 --> 00:16:36,080 Speaker 1: come along and she she um passes the time while 273 00:16:36,120 --> 00:16:39,040 Speaker 1: she's recuperating doing this, and she recovers enough that she 274 00:16:39,120 --> 00:16:41,120 Speaker 1: goes back to school and starts hanging out with her 275 00:16:41,560 --> 00:16:45,440 Speaker 1: old friends again. And from that re entry back into 276 00:16:45,520 --> 00:16:49,920 Speaker 1: the revolutionary slash communist world in Mexico at the time, 277 00:16:50,600 --> 00:16:54,520 Speaker 1: she ended up in the orbit of Diego Rivera again. Actually, 278 00:16:54,560 --> 00:16:57,320 Speaker 1: they ran across each other at a party. Yeah, and 279 00:16:57,360 --> 00:16:59,840 Speaker 1: this was it. Man. From that point forward, they would 280 00:16:59,840 --> 00:17:03,760 Speaker 1: be um. They would be tied to one another through 281 00:17:03,800 --> 00:17:08,320 Speaker 1: their work and through their multiple marriages to one another. Uh. 282 00:17:08,480 --> 00:17:12,719 Speaker 1: She was twenty two, he was twenty years older than her. Uh, 283 00:17:13,119 --> 00:17:16,000 Speaker 1: and he very much Um, he may he very much 284 00:17:16,080 --> 00:17:20,840 Speaker 1: encouraged her early on and champion her and was her 285 00:17:20,880 --> 00:17:23,320 Speaker 1: mentors and artists. Was She went up to him at 286 00:17:23,480 --> 00:17:25,720 Speaker 1: at this party and said, I want you to look 287 00:17:25,720 --> 00:17:28,280 Speaker 1: at my work and tell me should I pursue this? 288 00:17:28,359 --> 00:17:31,120 Speaker 1: To see this? Am I an artist? Or is this 289 00:17:31,400 --> 00:17:34,600 Speaker 1: just nothing? And he looked at her work and he said, 290 00:17:35,440 --> 00:17:38,600 Speaker 1: you were an artist. This is astounding, Like do you 291 00:17:38,680 --> 00:17:41,240 Speaker 1: have what it takes? And you should keep pursuing being 292 00:17:41,240 --> 00:17:44,200 Speaker 1: an artist in as a matter of fact, let's get married. Yeah. 293 00:17:44,240 --> 00:17:46,399 Speaker 1: I mean he was attracted to her, but um, I 294 00:17:46,400 --> 00:17:49,199 Speaker 1: haven't seen anything that that led me to believe that 295 00:17:49,240 --> 00:17:52,800 Speaker 1: any of his support of her work was not genuine 296 00:17:52,880 --> 00:17:55,359 Speaker 1: and because he wanted to like get her in the sack. No, no, no, 297 00:17:55,560 --> 00:17:57,600 Speaker 1: he wasn't that kind of guy. He would get anybody 298 00:17:57,640 --> 00:17:59,480 Speaker 1: in the sack. He certainly didn't have to marry you. 299 00:17:59,520 --> 00:18:00,960 Speaker 1: And he's said, we didn't have to tell you you 300 00:18:01,000 --> 00:18:03,880 Speaker 1: were a great artist. That is below him. I saw 301 00:18:03,920 --> 00:18:06,879 Speaker 1: a thing. Yeah, they both had multiple affairs. We'll talk 302 00:18:06,920 --> 00:18:10,440 Speaker 1: about that throughout their marriage. And you know, maybe or 303 00:18:10,480 --> 00:18:14,119 Speaker 1: maybe not so understanding of each other doing so. Um, 304 00:18:14,160 --> 00:18:17,480 Speaker 1: but I saw one point that he supposedly got his 305 00:18:17,560 --> 00:18:20,040 Speaker 1: doctor to write a note that said that he was 306 00:18:20,200 --> 00:18:26,439 Speaker 1: physically incapable of being faithful. Really, I don't know if 307 00:18:26,440 --> 00:18:28,920 Speaker 1: that's true or not. So he had I just want 308 00:18:28,960 --> 00:18:30,920 Speaker 1: to get this quote, and he had a great quote 309 00:18:30,960 --> 00:18:34,520 Speaker 1: about her um as an artist. He said that she 310 00:18:34,720 --> 00:18:38,159 Speaker 1: was a realist as far as her arts concerned. She 311 00:18:38,320 --> 00:18:40,639 Speaker 1: was quote the first woman in the history of art 312 00:18:40,720 --> 00:18:44,680 Speaker 1: to treat with absolute and uncompromising honesty. One might even 313 00:18:44,680 --> 00:18:50,200 Speaker 1: say cruelty those general and specific themes which exclusively affect women. Yeah, 314 00:18:50,359 --> 00:18:53,000 Speaker 1: like that's those are pretty strong words from a renowned 315 00:18:53,080 --> 00:18:55,679 Speaker 1: artist who I mean, Diego Rivera was well renowned by 316 00:18:55,720 --> 00:18:58,239 Speaker 1: this time already, So when he looked at her art 317 00:18:58,320 --> 00:19:00,159 Speaker 1: and had things like that to say about it, it 318 00:19:00,200 --> 00:19:02,680 Speaker 1: really meant something. She was. If she ever was an 319 00:19:02,680 --> 00:19:06,760 Speaker 1: outsider artist, she wasn't anymore. She was a genuine artist. 320 00:19:07,040 --> 00:19:10,880 Speaker 1: She'd been decreed as such by the cream of the crop. Yeah, 321 00:19:10,960 --> 00:19:13,960 Speaker 1: and she um. I think the article on her own 322 00:19:14,000 --> 00:19:18,200 Speaker 1: website down plays a little bit her successes during her life. 323 00:19:18,600 --> 00:19:21,800 Speaker 1: It's certainly nothing compared to what she got many many 324 00:19:21,880 --> 00:19:25,080 Speaker 1: years later, decades later after her death. Um. They weren't 325 00:19:25,119 --> 00:19:28,800 Speaker 1: freedom maniacs back then, but she wasn't she also was 326 00:19:28,840 --> 00:19:33,119 Speaker 1: not just completely unknown as an artist. I mean she 327 00:19:33,240 --> 00:19:36,879 Speaker 1: got some notoriety during her life. She got to know Picasso, 328 00:19:37,080 --> 00:19:38,960 Speaker 1: she got to know I mean, these were the circles 329 00:19:38,960 --> 00:19:43,120 Speaker 1: she traveled in, partially because of Diego Rivera. But um, 330 00:19:43,160 --> 00:19:47,119 Speaker 1: they started moving around, you know, starting in the nineteen thirties. Uh, 331 00:19:47,160 --> 00:19:49,240 Speaker 1: they didn't stay in Mexico. They lived in San Francisco 332 00:19:49,280 --> 00:19:51,879 Speaker 1: for a little while, Uh, depending on where the work was. 333 00:19:51,920 --> 00:19:54,119 Speaker 1: Because he was a muralist, right, so he had to 334 00:19:54,160 --> 00:19:56,399 Speaker 1: go to the place where he was doing that. Yeah, exactly. 335 00:19:56,400 --> 00:19:58,520 Speaker 1: He can't say I'm gonna send you a mural, just 336 00:19:58,680 --> 00:20:01,720 Speaker 1: tape tape it up. S me a wall. And he 337 00:20:01,880 --> 00:20:05,600 Speaker 1: had her in tow which I get the impression like 338 00:20:05,680 --> 00:20:08,480 Speaker 1: sometimes she was a willing accomplice and other times she 339 00:20:08,720 --> 00:20:12,200 Speaker 1: was very much homesick for Mexico. Yeah, she for sure 340 00:20:12,280 --> 00:20:16,480 Speaker 1: miss Mexico. I know she did enjoy her time in 341 00:20:16,520 --> 00:20:17,919 Speaker 1: like in New York and said, I don't know if 342 00:20:17,960 --> 00:20:21,719 Speaker 1: she loved Detroit. I don't know if he didn't. They 343 00:20:21,760 --> 00:20:24,080 Speaker 1: moved to Detroit while he worked for the Detroit Institute 344 00:20:24,080 --> 00:20:27,320 Speaker 1: for the Arts, but very famously in the nineteen thirties 345 00:20:27,320 --> 00:20:29,840 Speaker 1: they lived in New York City when Diego Rivero was 346 00:20:29,840 --> 00:20:32,880 Speaker 1: commissioned by Nelson Rockefeller, who in the movie The Great 347 00:20:32,880 --> 00:20:37,680 Speaker 1: Movie by Julie Taymore and Samahayak was played by Edward Norton. 348 00:20:38,240 --> 00:20:41,280 Speaker 1: Oh really, yeah, have you not seen that movie? Man? 349 00:20:41,320 --> 00:20:45,679 Speaker 1: It's good and once you hear the h especially with 350 00:20:45,720 --> 00:20:48,840 Speaker 1: the backstory now with the Weinstein stuff coming out. I mean, 351 00:20:48,920 --> 00:20:52,439 Speaker 1: this was her passion, Samahaiaks, passion project for her life, 352 00:20:53,000 --> 00:20:57,280 Speaker 1: and uh, he put her through a living hell. It's horrifying. 353 00:20:57,280 --> 00:20:58,639 Speaker 1: I think it was. It might have been in New 354 00:20:58,680 --> 00:21:00,600 Speaker 1: York or New York Times had a great iCal about it. 355 00:21:00,640 --> 00:21:04,000 Speaker 1: But um or that she wrote, I think, But um, 356 00:21:04,040 --> 00:21:05,800 Speaker 1: I think what got me on that was Edward Norton 357 00:21:06,400 --> 00:21:10,280 Speaker 1: was he rewrote the script for like for free because 358 00:21:10,280 --> 00:21:13,239 Speaker 1: basically one of the Harvey's pick things was like, I'm 359 00:21:13,240 --> 00:21:15,480 Speaker 1: not gonna give you any money for this, Like you 360 00:21:15,520 --> 00:21:18,320 Speaker 1: gotta do it for almost nothing. Everyone's gonna have to 361 00:21:18,320 --> 00:21:20,679 Speaker 1: work for free. So she got everyone to work for 362 00:21:20,680 --> 00:21:24,040 Speaker 1: free or you know scale Uh from Edward Norton to 363 00:21:24,160 --> 00:21:28,000 Speaker 1: Julie Taymore, the Great director, and um he he demanded 364 00:21:28,040 --> 00:21:33,760 Speaker 1: a lesbian sex scene like literally was like, I'm not 365 00:21:33,800 --> 00:21:37,080 Speaker 1: doing this unless you do that. And uh, she was bisexual, 366 00:21:37,160 --> 00:21:39,600 Speaker 1: so it wasn't like he created this out of thin air. 367 00:21:40,400 --> 00:21:42,880 Speaker 1: But he's like, I want to see this on screen. Um. 368 00:21:42,960 --> 00:21:46,439 Speaker 1: She supposedly had affairs with George O'Keefe and Josephine Baker 369 00:21:47,080 --> 00:21:50,920 Speaker 1: and all these famous female performers and artists, but she 370 00:21:51,240 --> 00:21:53,280 Speaker 1: did not do that. I think she. I think she 371 00:21:53,320 --> 00:21:55,480 Speaker 1: had a kissing scene with Ashley Judd at a party. 372 00:21:55,640 --> 00:21:58,159 Speaker 1: Who is actually Judd supposed to be? I can't remember. 373 00:21:59,560 --> 00:22:02,000 Speaker 1: I wou'd see it in a minute. Emily's mad that 374 00:22:02,040 --> 00:22:04,240 Speaker 1: she's not here right now. I told her about this 375 00:22:04,280 --> 00:22:05,800 Speaker 1: last night. She's like, why am I not on? It's 376 00:22:05,840 --> 00:22:09,800 Speaker 1: like we don't have guests. She's like, I'm a guest 377 00:22:09,800 --> 00:22:11,480 Speaker 1: on Movie Crush. I was like, well that's a different 378 00:22:11,800 --> 00:22:16,240 Speaker 1: podcast altogether. Yeah. Um, she will pick this apart, trust me. 379 00:22:16,680 --> 00:22:18,560 Speaker 1: But anyway, she had a devil of a time getting 380 00:22:18,560 --> 00:22:20,480 Speaker 1: that movie made. Uh, and it went on to great 381 00:22:20,480 --> 00:22:24,200 Speaker 1: success and I think still is the highest grossing art 382 00:22:24,240 --> 00:22:26,560 Speaker 1: based movie of all time. Yeah, that's what I saw. 383 00:22:27,720 --> 00:22:30,200 Speaker 1: So anyway, they were in New York City because Nelson 384 00:22:30,280 --> 00:22:34,720 Speaker 1: Rockefeller displayed Byward. Norton had commissioned Diego Rivera to paint 385 00:22:35,320 --> 00:22:38,800 Speaker 1: a mural at Rockefeller Center called Man at the Crossroads, 386 00:22:38,960 --> 00:22:43,119 Speaker 1: and in it it was one of these big um 387 00:22:43,400 --> 00:22:46,600 Speaker 1: almost looked like a Sergeant Pepper's cover, you know, people 388 00:22:46,640 --> 00:22:50,600 Speaker 1: all over the place. And Um, he snuck in Vladimir 389 00:22:50,680 --> 00:22:53,720 Speaker 1: Lenin in the painting. So I have a question about that. 390 00:22:53,800 --> 00:22:55,720 Speaker 1: Did he sneak it in and was caught or was 391 00:22:55,800 --> 00:22:58,119 Speaker 1: he like And also, by the way, I've included this 392 00:22:58,160 --> 00:23:03,040 Speaker 1: great man Lenin, he snuck it in um as a response. Uh, 393 00:23:03,520 --> 00:23:07,040 Speaker 1: it's a very pointed response to something. And I can't 394 00:23:07,040 --> 00:23:10,320 Speaker 1: remember exactly what it was, but it wasn't originally in 395 00:23:10,359 --> 00:23:11,600 Speaker 1: the plan and I don't know if it was in 396 00:23:11,600 --> 00:23:14,240 Speaker 1: the original sketch. I might be getting this slightly wrong, 397 00:23:14,440 --> 00:23:17,359 Speaker 1: but at any rate, he got linen in there, and 398 00:23:17,640 --> 00:23:20,960 Speaker 1: um Rockefeller was not happy. I mean, I think it 399 00:23:21,000 --> 00:23:23,679 Speaker 1: was more of his family, like he he stayed, his 400 00:23:23,760 --> 00:23:26,440 Speaker 1: friend wasn't like. He was like, I hate you your 401 00:23:26,480 --> 00:23:31,360 Speaker 1: big poopy bands go back to Mexico. But he stopped 402 00:23:31,400 --> 00:23:35,000 Speaker 1: the work. That painting was mural was removed and destroyed, 403 00:23:35,560 --> 00:23:42,080 Speaker 1: but eventually was it destroyed. Yeah, man, pretty sad, but 404 00:23:42,160 --> 00:23:47,840 Speaker 1: eventually um Rivera recreated that a little smaller in Mexico 405 00:23:47,920 --> 00:23:51,400 Speaker 1: City and changed the title to Man Controller of the Universe. 406 00:23:52,240 --> 00:23:56,720 Speaker 1: And then in parenthes he's up yours. Rockefeller maybe so, 407 00:23:56,800 --> 00:23:59,120 Speaker 1: but that just sort of puts a button on them. 408 00:23:59,200 --> 00:24:01,320 Speaker 1: Moving kind of all around the United States for a while. 409 00:24:01,359 --> 00:24:04,320 Speaker 1: And this is when she was being introduced to high 410 00:24:04,359 --> 00:24:08,800 Speaker 1: society and and uh everyone from like I said, Josephine 411 00:24:08,800 --> 00:24:12,640 Speaker 1: Baker too, to Trotsky and she was she was working 412 00:24:13,119 --> 00:24:15,000 Speaker 1: at the time to write It's what. It wasn't like 413 00:24:15,080 --> 00:24:17,360 Speaker 1: she was just hanging out. She was still And one 414 00:24:17,400 --> 00:24:21,440 Speaker 1: of the paintings she um did was UM the Suicide 415 00:24:21,440 --> 00:24:24,159 Speaker 1: of Dorothy Hale. Yeah, that was interesting. So she was 416 00:24:24,200 --> 00:24:29,840 Speaker 1: commissioned by Claire loose Booth little Deuce Coope. She was 417 00:24:29,920 --> 00:24:33,320 Speaker 1: the she was from the publishing family of Time. I 418 00:24:33,359 --> 00:24:36,080 Speaker 1: think she published Vanity Fair something like that. She's a 419 00:24:36,119 --> 00:24:39,920 Speaker 1: great publishing magnate. Um And this was back in the thirties, 420 00:24:40,320 --> 00:24:42,960 Speaker 1: and she was friends with Dorothy Hale, who was a 421 00:24:42,960 --> 00:24:46,679 Speaker 1: an actress, a well known actress who had hit on 422 00:24:46,760 --> 00:24:49,120 Speaker 1: hard times financially and was having to live on the 423 00:24:49,520 --> 00:24:52,480 Speaker 1: um generosity of her friends. And she climbed up to 424 00:24:52,560 --> 00:24:55,119 Speaker 1: the highest point of the high rise that she lived 425 00:24:55,119 --> 00:24:59,600 Speaker 1: off of inn jumped to her death and devastated Claire 426 00:25:00,440 --> 00:25:04,240 Speaker 1: booth Loose and I hope I get that right at 427 00:25:04,320 --> 00:25:07,160 Speaker 1: least somewhere, and who was her friend? And she commissioned 428 00:25:07,640 --> 00:25:11,040 Speaker 1: fred To Calo to Um to do a painting, which 429 00:25:11,040 --> 00:25:13,399 Speaker 1: she thought this would be a portrait to commemorate my 430 00:25:13,440 --> 00:25:17,320 Speaker 1: friend Dorothy. That's not at all what free to Callo did. Yeah, 431 00:25:17,320 --> 00:25:20,119 Speaker 1: I don't know she realized who she was commissioning, fully, 432 00:25:20,359 --> 00:25:24,040 Speaker 1: like have you seen her work? Right? So what freed 433 00:25:24,080 --> 00:25:26,439 Speaker 1: to Calo did was she took this assignment and and 434 00:25:26,760 --> 00:25:33,720 Speaker 1: commemorated not Dorothy Hale necessarily, but Dorothy Hail's death by suicide. 435 00:25:34,119 --> 00:25:37,439 Speaker 1: It's it's almost like a step by step diagram. It 436 00:25:37,520 --> 00:25:39,920 Speaker 1: shows her at the top of the building in mid air, 437 00:25:40,200 --> 00:25:43,560 Speaker 1: and then in the foreground. Largest of all is her broken, 438 00:25:43,680 --> 00:25:46,800 Speaker 1: bloody body on the ground. But it has this very 439 00:25:46,920 --> 00:25:52,399 Speaker 1: somber um text caption basically across the bottom in a 440 00:25:52,480 --> 00:25:56,080 Speaker 1: scroll that explains what this is and that's how sad 441 00:25:56,160 --> 00:25:59,280 Speaker 1: this is um and that it was the suicide of 442 00:25:59,320 --> 00:26:04,000 Speaker 1: Dorothy Hale, and so um. Apparently when Claire uh booth 443 00:26:04,080 --> 00:26:07,080 Speaker 1: Loose got got this, she unwrapped it and was like 444 00:26:07,560 --> 00:26:11,159 Speaker 1: what is this gag? And she was going to destroy 445 00:26:11,200 --> 00:26:13,120 Speaker 1: it and friends talked her out of it. So it's 446 00:26:13,160 --> 00:26:15,560 Speaker 1: still in existence today. From what I understand, I think 447 00:26:15,560 --> 00:26:20,080 Speaker 1: the booth or loose family has has the uh the 448 00:26:20,119 --> 00:26:23,199 Speaker 1: painting in their possession now. Yeah, and that's uh just 449 00:26:23,280 --> 00:26:29,960 Speaker 1: emblematic of Frieda's outlook, which was like she was no bs, 450 00:26:30,240 --> 00:26:32,960 Speaker 1: She's like, I'm gonna show you what's real. So let 451 00:26:32,960 --> 00:26:36,439 Speaker 1: me ask you this. You're the Frieda expert here between 452 00:26:36,440 --> 00:26:39,560 Speaker 1: the two of us. Was she doing that like like 453 00:26:39,680 --> 00:26:42,639 Speaker 1: I'm all in your face, Claire, this is the reality 454 00:26:42,680 --> 00:26:46,280 Speaker 1: of your friend's suicide? Or was it she this is 455 00:26:46,800 --> 00:26:50,560 Speaker 1: this was her expression of emotion that she thought Claire, 456 00:26:51,119 --> 00:26:54,600 Speaker 1: I'm not saying her last two names, would would would 457 00:26:54,720 --> 00:26:57,199 Speaker 1: kind of vibe on and like this would be the 458 00:26:57,240 --> 00:27:00,800 Speaker 1: greatest commemoration of her friend. Which one. Well, I don't 459 00:27:00,800 --> 00:27:02,600 Speaker 1: think it was all in your face. I think she 460 00:27:02,680 --> 00:27:05,480 Speaker 1: thought that was the honesty. I think she thought that 461 00:27:05,520 --> 00:27:09,160 Speaker 1: was the most honest work. But I'm not sure whether 462 00:27:09,280 --> 00:27:11,639 Speaker 1: or not she considered like, wait a minute, is she 463 00:27:11,680 --> 00:27:14,359 Speaker 1: gonna hate this? Okay, so she wasn't like it doesn't 464 00:27:14,400 --> 00:27:16,600 Speaker 1: matter she hates it. This is the This is the 465 00:27:16,640 --> 00:27:20,919 Speaker 1: most honest work. So even if this psychologically destroys her, 466 00:27:21,240 --> 00:27:24,200 Speaker 1: Claire needs it tough enough. I'm very curious. That's a 467 00:27:24,200 --> 00:27:26,240 Speaker 1: good question. I don't know. I understand a lot of 468 00:27:26,280 --> 00:27:29,000 Speaker 1: the symbolism and her paintings now, but I don't necessarily 469 00:27:29,040 --> 00:27:31,760 Speaker 1: I haven't hit upon her motivation or personality quite yet. 470 00:27:31,800 --> 00:27:33,679 Speaker 1: Family is gonna be so mad because she read her 471 00:27:33,720 --> 00:27:36,440 Speaker 1: eight page biography and she's probably like, oh, we'll read 472 00:27:36,440 --> 00:27:41,320 Speaker 1: page six, jerks, and that will explain at all. Sorry again, Emily, 473 00:27:41,720 --> 00:27:44,280 Speaker 1: that's right. You want to take a break, Yeah, let's 474 00:27:44,320 --> 00:28:07,840 Speaker 1: do okay, alright, Chuck. So one other thing, very big 475 00:28:07,880 --> 00:28:13,040 Speaker 1: thing happened to her in Detroit, actually, um, and she 476 00:28:13,080 --> 00:28:16,120 Speaker 1: has a painting that commemorates it, called henry Ford Hospital. 477 00:28:16,760 --> 00:28:21,840 Speaker 1: She had her second miscarriage, and this her miscarriages. I 478 00:28:21,840 --> 00:28:28,280 Speaker 1: believe she just head the two. Um. But that's all right. Um. 479 00:28:28,480 --> 00:28:32,840 Speaker 1: She those would affect and influence her work for the 480 00:28:32,960 --> 00:28:37,080 Speaker 1: rest of her life. They deeply impacted her, and not 481 00:28:37,240 --> 00:28:40,960 Speaker 1: just emotionally impacted her. But they were themed, she explored, 482 00:28:41,080 --> 00:28:42,920 Speaker 1: you know, like, can you still be a mother to 483 00:28:43,120 --> 00:28:46,320 Speaker 1: other things even if you don't bear your own children? 484 00:28:46,560 --> 00:28:49,560 Speaker 1: Can you, um, you know, like like how does it 485 00:28:49,600 --> 00:28:52,160 Speaker 1: affect your femininity? That's it's it's a theme that really 486 00:28:52,160 --> 00:28:56,640 Speaker 1: affected her and she explored and it really is just 487 00:28:56,960 --> 00:29:02,080 Speaker 1: right there in broad bold colors in henry Ford Hospital. Yeah. 488 00:29:02,080 --> 00:29:04,840 Speaker 1: I mean she she very famously had was a mother 489 00:29:04,920 --> 00:29:10,520 Speaker 1: too many animals. She had spider monkeys, she had dogs, cats, birds, 490 00:29:10,760 --> 00:29:14,360 Speaker 1: she had a pet deer um all at her at 491 00:29:14,360 --> 00:29:17,120 Speaker 1: her house. We have a great children's book called that 492 00:29:17,120 --> 00:29:20,640 Speaker 1: I recommend called Free to Calla and her animalitos. Uh 493 00:29:20,720 --> 00:29:24,240 Speaker 1: that's really really fun for kids, but um, and adults actually, 494 00:29:24,760 --> 00:29:27,200 Speaker 1: But yeah, she really wanted to be a mother and 495 00:29:27,240 --> 00:29:30,240 Speaker 1: it was devastating to her that she couldn't be. Uh. 496 00:29:30,280 --> 00:29:32,240 Speaker 1: And like you said, like with all her work so 497 00:29:32,360 --> 00:29:36,720 Speaker 1: raw and laid bare. Um and and I assume most 498 00:29:36,720 --> 00:29:39,200 Speaker 1: people have seen her work. Like we'll talk about some 499 00:29:39,240 --> 00:29:40,840 Speaker 1: of it a little bit. It wouldn't hurt to kind 500 00:29:40,880 --> 00:29:43,120 Speaker 1: of brush up on these if you have a couple 501 00:29:43,160 --> 00:29:46,160 Speaker 1: of tabs handy while we're talking. Yeah, but lots of blood, 502 00:29:46,480 --> 00:29:51,800 Speaker 1: lots of um exposed organs, blood vessels connecting her to things. Yeah, 503 00:29:51,880 --> 00:29:55,120 Speaker 1: it's just um, it's like you said, you don't have 504 00:29:55,160 --> 00:29:58,760 Speaker 1: to work hard to understand what she's getting at when 505 00:29:58,840 --> 00:30:01,800 Speaker 1: there's a painting of her with her like body cavity 506 00:30:01,840 --> 00:30:06,760 Speaker 1: split open and like a baby bunny where her womb is. Actually, 507 00:30:06,800 --> 00:30:08,320 Speaker 1: I think I just made that part. If that's a 508 00:30:08,400 --> 00:30:11,160 Speaker 1: great idea. I like that imagery. It wouldn't surprise me 509 00:30:11,200 --> 00:30:13,800 Speaker 1: if that was one of her paintings, you know. Um, 510 00:30:13,840 --> 00:30:18,240 Speaker 1: there was a lot of pain, physical pain depicted in 511 00:30:18,360 --> 00:30:21,800 Speaker 1: her paintings. And this is another huge theme or motif 512 00:30:21,960 --> 00:30:24,680 Speaker 1: or whatever you want to call it, um to where 513 00:30:24,680 --> 00:30:27,640 Speaker 1: her the physical pain depicted. And again, remember she's painting 514 00:30:27,640 --> 00:30:33,280 Speaker 1: herself almost exclusively here. Um. Her emotional pain is depicted 515 00:30:33,320 --> 00:30:35,840 Speaker 1: as physical pain, so like nails all over her body, 516 00:30:36,440 --> 00:30:40,120 Speaker 1: or she has a huge terror going uh vertically up 517 00:30:40,120 --> 00:30:42,800 Speaker 1: the middle of her body, and her spine is a 518 00:30:42,840 --> 00:30:48,000 Speaker 1: doric column that's crumbling. Just just physical imagery that it 519 00:30:48,040 --> 00:30:50,400 Speaker 1: did depict her physical pain too. She was always in 520 00:30:50,520 --> 00:30:53,400 Speaker 1: a lot of pain throughout her life physically, but she 521 00:30:53,440 --> 00:30:56,080 Speaker 1: also suffered a lot of emotional and psychic pain as well, 522 00:30:56,360 --> 00:31:00,160 Speaker 1: and all of it was combined as physical pain an 523 00:31:00,160 --> 00:31:04,520 Speaker 1: evisceration and being laid open in her paintings. Yeah, and uh, 524 00:31:04,640 --> 00:31:08,960 Speaker 1: eventually she would meet Andre U bet is it? Is 525 00:31:08,960 --> 00:31:13,880 Speaker 1: it Beton or Breton, the father of surrealism. Yeah, and 526 00:31:13,920 --> 00:31:17,360 Speaker 1: he is the one. Uh. She actually um in a 527 00:31:17,360 --> 00:31:20,280 Speaker 1: funny way, kind of said she never considered herself as 528 00:31:20,280 --> 00:31:23,720 Speaker 1: surrealist until Andre Breton came to Mexico and told me 529 00:31:23,760 --> 00:31:26,400 Speaker 1: I was one. Really, I do not know whether my 530 00:31:26,400 --> 00:31:28,600 Speaker 1: paintings are surrealist or not, but I do know that 531 00:31:28,640 --> 00:31:31,960 Speaker 1: they are the Frankist expression of myself. But she is. 532 00:31:33,120 --> 00:31:35,480 Speaker 1: If you want to classify or art wise, surrealism or 533 00:31:35,480 --> 00:31:39,160 Speaker 1: magic surrealism is uh, definitely categories that her. A lot 534 00:31:39,200 --> 00:31:41,640 Speaker 1: of her work fits under. So I saw a m 535 00:31:42,160 --> 00:31:44,200 Speaker 1: I mean, we used a lot of sites for this. 536 00:31:44,280 --> 00:31:46,200 Speaker 1: I can't remember which when it came from. But I 537 00:31:46,240 --> 00:31:49,840 Speaker 1: saw a description of her work as um that she 538 00:31:49,960 --> 00:31:54,680 Speaker 1: was an individualist, which means like she was her own thing. 539 00:31:54,880 --> 00:31:58,760 Speaker 1: She may have had influences, and she definitely had Mexican 540 00:31:58,800 --> 00:32:01,440 Speaker 1: indigenous art in fluence. It was a huge thing that 541 00:32:01,480 --> 00:32:05,920 Speaker 1: really drives like the visual um impact of her paintings. 542 00:32:05,960 --> 00:32:08,280 Speaker 1: But as far as like schools of art go or 543 00:32:08,360 --> 00:32:16,200 Speaker 1: movements she was, she tapped into primitivism, indigenism, magic realism, surrealism, 544 00:32:16,280 --> 00:32:20,760 Speaker 1: and um again, all of it combined to make her 545 00:32:20,800 --> 00:32:26,360 Speaker 1: an individualist artist. Well, yeah, you mentioned the her indigenous 546 00:32:26,400 --> 00:32:29,160 Speaker 1: roots and and she very much and and I think 547 00:32:29,360 --> 00:32:32,800 Speaker 1: Diego Rivera's one who really encouraged her to embrace that, 548 00:32:32,880 --> 00:32:36,280 Speaker 1: and she started she kind of I mean, she wore 549 00:32:36,280 --> 00:32:38,040 Speaker 1: suits and stuff sometimes since she was a kid, but 550 00:32:38,600 --> 00:32:41,720 Speaker 1: she wore more European style of clothing when she was younger, 551 00:32:42,080 --> 00:32:47,360 Speaker 1: and then really started wearing more Mexican indigenous stuff. Yeah, 552 00:32:47,400 --> 00:32:51,960 Speaker 1: really colorful stuff. And uh, most famously captured in maybe 553 00:32:52,000 --> 00:32:55,600 Speaker 1: her most famous painting, The Two Fridas in N. Nine. 554 00:32:55,600 --> 00:32:59,920 Speaker 1: It's the double self portrait that on one side shows 555 00:33:00,080 --> 00:33:03,560 Speaker 1: or in the more modern European clothing um and then 556 00:33:03,560 --> 00:33:07,480 Speaker 1: on the other side it's her in her more indigenous 557 00:33:07,560 --> 00:33:10,600 Speaker 1: Mexican clothing, and both of them have their hearts exposed. 558 00:33:10,920 --> 00:33:13,600 Speaker 1: I think on the European side, the arteries are severed 559 00:33:13,640 --> 00:33:18,120 Speaker 1: in things. On the Mexican side, it's intact, the heart 560 00:33:18,160 --> 00:33:22,480 Speaker 1: is intact. Really really pretty, it is very pretty. A 561 00:33:22,520 --> 00:33:25,080 Speaker 1: lot of her work was pretty. Some of it sometimes 562 00:33:25,120 --> 00:33:28,480 Speaker 1: it's like it looks very primitive, and then other times 563 00:33:28,560 --> 00:33:31,640 Speaker 1: they're in some details like the eyes of a cat 564 00:33:32,240 --> 00:33:34,560 Speaker 1: or something like that, you're like, wow, that's really it's 565 00:33:34,680 --> 00:33:38,720 Speaker 1: very like almost photo realistic. Yeah, so it's it's very 566 00:33:38,840 --> 00:33:42,840 Speaker 1: weird to me how her Um, I don't want to 567 00:33:42,840 --> 00:33:46,880 Speaker 1: say her talent, but her Yeah, her visual talents kind 568 00:33:46,880 --> 00:33:50,200 Speaker 1: of we're applied in some places and not not as 569 00:33:50,840 --> 00:33:53,960 Speaker 1: much in others. And I'm wondering what the details were 570 00:33:54,040 --> 00:33:56,960 Speaker 1: that that made her make those decisions. Yeah, she included 571 00:33:56,960 --> 00:33:58,600 Speaker 1: her pets and a lot of her paintings. I think 572 00:33:59,080 --> 00:34:02,080 Speaker 1: fifty five of her paintings featured her pets. Um some 573 00:34:02,200 --> 00:34:05,080 Speaker 1: very famous ones with her her spider monkeys and birds 574 00:34:05,080 --> 00:34:07,840 Speaker 1: on her shoulder. My favorite one is called What the 575 00:34:07,840 --> 00:34:12,040 Speaker 1: Water Gave Me, Um. It's a it's a oh, I guess. 576 00:34:12,080 --> 00:34:13,759 Speaker 1: This is a self portrait in a way of her 577 00:34:14,320 --> 00:34:16,560 Speaker 1: in a bathtub from her vantage point, so you just 578 00:34:16,600 --> 00:34:18,840 Speaker 1: see her her feet and toes sticking out at the 579 00:34:18,920 --> 00:34:21,360 Speaker 1: end of the tub, and then the water is just 580 00:34:21,480 --> 00:34:26,759 Speaker 1: full of all kinds of other stuff, Like it's really nice, 581 00:34:26,760 --> 00:34:29,160 Speaker 1: like there's a volcano with the Empire State building coming 582 00:34:29,160 --> 00:34:31,960 Speaker 1: out of the center of it, with like gangrenous lava 583 00:34:32,040 --> 00:34:35,000 Speaker 1: flowing over the sides. Because she would get gang green 584 00:34:35,120 --> 00:34:38,359 Speaker 1: later in life, just another physical malady and had one 585 00:34:38,360 --> 00:34:42,040 Speaker 1: of her legs amputated below the knee. Uh. There was 586 00:34:42,360 --> 00:34:46,720 Speaker 1: a dead bird, a one legged bird, um being pierced 587 00:34:46,760 --> 00:34:49,600 Speaker 1: by a tree. There's a nude woman floating next to 588 00:34:49,640 --> 00:34:53,279 Speaker 1: her dress looks like her parents on their wedding day. 589 00:34:53,680 --> 00:34:56,960 Speaker 1: And it's it's all like in the bathtub water um 590 00:34:56,960 --> 00:34:59,919 Speaker 1: with her feet and toes sticking out. One toe of course, 591 00:35:00,120 --> 00:35:03,800 Speaker 1: is is mangled and cracked and bloody. Um. There was 592 00:35:03,840 --> 00:35:07,000 Speaker 1: so much gruesome, so many grewesome aspects to so much 593 00:35:07,040 --> 00:35:10,319 Speaker 1: of her work. But um, it kind of punches you 594 00:35:10,360 --> 00:35:12,919 Speaker 1: in the gut very much like it's. To see these 595 00:35:12,920 --> 00:35:16,160 Speaker 1: things in person is like, especially if you're a fan 596 00:35:16,200 --> 00:35:18,120 Speaker 1: of her work, to actually stand in front of one 597 00:35:18,160 --> 00:35:21,319 Speaker 1: of them and put your nose six inches from it 598 00:35:21,400 --> 00:35:27,399 Speaker 1: is is really pretty pretty astounding. Do not sneeze, um, 599 00:35:27,440 --> 00:35:29,320 Speaker 1: do not sneeze on the art. They have signs everywhere 600 00:35:29,560 --> 00:35:33,359 Speaker 1: this This article our hows to works article points out 601 00:35:33,360 --> 00:35:37,640 Speaker 1: the Wounded Deer and My Birth both in the same paragraph. Here. 602 00:35:37,800 --> 00:35:40,200 Speaker 1: Those are two of my favorites. Actually, My birth is 603 00:35:40,280 --> 00:35:44,960 Speaker 1: so just just twisted, but it's also really simple and straightforward. 604 00:35:45,480 --> 00:35:48,800 Speaker 1: It's her mother, but you assume it's her mother. The 605 00:35:49,080 --> 00:35:52,319 Speaker 1: sheets actually placed over her mother's head, so you never 606 00:35:52,360 --> 00:35:54,960 Speaker 1: see her face, and you also kind of get the 607 00:35:55,000 --> 00:35:58,480 Speaker 1: impression that it could be freed to as well. Um, 608 00:35:58,520 --> 00:36:02,399 Speaker 1: but it's Frieda's head, grown up, freeda like coming out 609 00:36:02,400 --> 00:36:05,520 Speaker 1: of the birth canal, the womb as it were. I 610 00:36:05,560 --> 00:36:07,960 Speaker 1: feel like such like a nineteenth century like white guy 611 00:36:08,120 --> 00:36:11,600 Speaker 1: calling it a womb, you know, but um, yeah, it 612 00:36:11,680 --> 00:36:15,160 Speaker 1: is graphic, but it's also it looks it kind of 613 00:36:17,239 --> 00:36:20,360 Speaker 1: I don't know. I don't want to armchair critique it 614 00:36:20,480 --> 00:36:23,239 Speaker 1: or anything like that. I just like that one. Um, 615 00:36:23,320 --> 00:36:26,799 Speaker 1: and then uh, the wounded Deer I think is awesome too. Yeah, 616 00:36:26,840 --> 00:36:31,000 Speaker 1: we should probably apologize to every art historian and critic, 617 00:36:31,600 --> 00:36:33,600 Speaker 1: Like when it comes to art I love and I 618 00:36:33,640 --> 00:36:36,239 Speaker 1: know you do too, love going to museums, and you're 619 00:36:36,280 --> 00:36:39,759 Speaker 1: probably where I am, which is I just like what 620 00:36:39,880 --> 00:36:42,680 Speaker 1: I like, Like, you know, if it looks nice to me, 621 00:36:43,480 --> 00:36:46,160 Speaker 1: and nice doesn't mean oh that's pretty, but you know, 622 00:36:47,040 --> 00:36:48,840 Speaker 1: if if it touches me in some way, I'm like, 623 00:36:49,040 --> 00:36:52,719 Speaker 1: I like that. Sure, I don't supposed to do. I 624 00:36:52,800 --> 00:36:55,640 Speaker 1: enjoy reading the placards and then understanding a bit more 625 00:36:55,640 --> 00:36:59,200 Speaker 1: behind it. But I'm definitely not some art historian or 626 00:36:59,280 --> 00:37:03,560 Speaker 1: critic all I do appreciate being having art explained to 627 00:37:03,600 --> 00:37:06,120 Speaker 1: me by our historians and by people who know, like 628 00:37:06,200 --> 00:37:09,400 Speaker 1: Sister Wendy that whole series from the eighties or nineties. 629 00:37:10,320 --> 00:37:12,839 Speaker 1: Oh Man, I've told you about before. She's this nun 630 00:37:12,920 --> 00:37:15,279 Speaker 1: who understands art better than anybody in the world. And 631 00:37:15,320 --> 00:37:17,640 Speaker 1: she had like a little PBS series for a while 632 00:37:17,640 --> 00:37:20,600 Speaker 1: where she could just explain art and you just wanted 633 00:37:20,600 --> 00:37:23,359 Speaker 1: to watch the next episode so bad. But I think 634 00:37:23,400 --> 00:37:25,400 Speaker 1: the level that you and I are at that you 635 00:37:25,440 --> 00:37:28,800 Speaker 1: were characterizing is um. It was best captured on a 636 00:37:28,920 --> 00:37:33,680 Speaker 1: Simpsons where there was a museum audio tour that was 637 00:37:33,800 --> 00:37:37,200 Speaker 1: narrated by Melanie Griffith, and when they put it on 638 00:37:37,320 --> 00:37:40,000 Speaker 1: press play, She's like, Oh, let's see what's in this room. Oh, 639 00:37:40,080 --> 00:37:43,319 Speaker 1: this one's nice. I like this one. Oh look at 640 00:37:43,360 --> 00:37:46,359 Speaker 1: that one. What's in the next room. That's the level 641 00:37:46,400 --> 00:37:53,000 Speaker 1: we're at of understanding and appreciating art. Uh we We 642 00:37:53,120 --> 00:37:56,720 Speaker 1: briefly mentioned Leon Trotsky earlier, the exile communists and rival 643 00:37:56,760 --> 00:37:59,919 Speaker 1: to stalin Um. They were friends and and they host 644 00:38:00,040 --> 00:38:02,759 Speaker 1: did him. She and Diego Rivera at the Blue House 645 00:38:02,800 --> 00:38:08,040 Speaker 1: and supposedly had a brief affair Um. Although other people 646 00:38:08,040 --> 00:38:10,400 Speaker 1: have questioned whether or not was whether or not she 647 00:38:10,480 --> 00:38:14,520 Speaker 1: really did because of I think last year a lot 648 00:38:14,600 --> 00:38:19,080 Speaker 1: of her love letters to Diego were published. Yeah, and 649 00:38:19,080 --> 00:38:22,080 Speaker 1: it's really interesting their relationship. You know, they divorced in 650 00:38:22,160 --> 00:38:27,120 Speaker 1: nineteen thirty nine, um remarried the next year in nty 651 00:38:27,880 --> 00:38:31,319 Speaker 1: lived in separate houses. They both had their infidelities, but 652 00:38:31,520 --> 00:38:39,320 Speaker 1: UM a really interesting complex relationship um mentor student lovers, friends, 653 00:38:40,600 --> 00:38:46,120 Speaker 1: rivals as well in some cases. Uh, but it's hard 654 00:38:46,160 --> 00:38:50,839 Speaker 1: to obviously as an outsider encapsulated on a podcast, but 655 00:38:51,719 --> 00:38:57,000 Speaker 1: a very complex relationship full of respect and admiration on 656 00:38:57,040 --> 00:39:00,880 Speaker 1: some levels. But also uh, he was also that you know, 657 00:39:00,920 --> 00:39:04,400 Speaker 1: sort of of the time in Mexico and America, just 658 00:39:04,440 --> 00:39:09,440 Speaker 1: that male macho thing going on. I mean, for goodness sakes, 659 00:39:09,440 --> 00:39:11,040 Speaker 1: he tried to have his doctor write a note at 660 00:39:11,040 --> 00:39:15,399 Speaker 1: the city, was physically capable of being faithful. So let's 661 00:39:15,400 --> 00:39:19,239 Speaker 1: just say male dominant complex marriage and relationship. Well, I 662 00:39:19,280 --> 00:39:21,960 Speaker 1: also saw she could kind of, you know, put up 663 00:39:22,000 --> 00:39:24,799 Speaker 1: with his affairs and and she definitely had her own. 664 00:39:24,840 --> 00:39:29,080 Speaker 1: But supposedly he his affair with her younger sister like 665 00:39:29,320 --> 00:39:32,279 Speaker 1: really crushed her. Yeah, that that was I think led 666 00:39:32,320 --> 00:39:35,839 Speaker 1: directly to their divorce. Yeah, I could see that. Yeah, 667 00:39:35,920 --> 00:39:41,759 Speaker 1: that was uncool. Yeah, diego, Yeah, even with the doctor's note. Diego. Yeah. 668 00:39:41,800 --> 00:39:43,920 Speaker 1: And he died just a few years after her, I 669 00:39:43,960 --> 00:39:46,719 Speaker 1: believe right. I don't know when he died, actually, yeah, 670 00:39:46,719 --> 00:39:50,839 Speaker 1: I think he died three years after her. Um. By 671 00:39:51,000 --> 00:39:55,319 Speaker 1: the nineteen fifties, her health was really declining. She kept 672 00:39:55,320 --> 00:39:59,600 Speaker 1: having these surgeries, kept painting. Nineteen fifty three, she had 673 00:39:59,640 --> 00:40:03,759 Speaker 1: a so exhibition and man, she couldn't get around and 674 00:40:03,800 --> 00:40:06,799 Speaker 1: this is so great in the movie. They she wasn't 675 00:40:06,800 --> 00:40:08,239 Speaker 1: gonna go at all. And then they brought her in 676 00:40:08,280 --> 00:40:11,520 Speaker 1: by ambulance, brought in a four poster bed and that's 677 00:40:11,520 --> 00:40:13,360 Speaker 1: where she was in the gallery. She was laying in 678 00:40:13,400 --> 00:40:17,759 Speaker 1: bed like greeting people. Yeah, she received everyone while she 679 00:40:17,880 --> 00:40:23,000 Speaker 1: was in bed, bedridden. Pretty amazing. And she died a 680 00:40:23,080 --> 00:40:25,120 Speaker 1: couple of weeks later. I think, actually, I think the 681 00:40:25,239 --> 00:40:27,520 Speaker 1: last time she was seen in public she showed up 682 00:40:27,560 --> 00:40:31,839 Speaker 1: for a protest against the US back coup that overthrow 683 00:40:32,160 --> 00:40:35,799 Speaker 1: overthrew our bends in Guatemala. Yeah, Edward Burne's coming back 684 00:40:35,840 --> 00:40:40,560 Speaker 1: in right into the picture every time. Um. And she 685 00:40:40,560 --> 00:40:42,960 Speaker 1: she died again at age forty seven. Man, after a 686 00:40:43,000 --> 00:40:46,000 Speaker 1: life of pain, but a very very productive life of 687 00:40:46,040 --> 00:40:49,440 Speaker 1: pain too changed things quite a bit. Yeah, and with 688 00:40:49,480 --> 00:40:53,440 Speaker 1: her death, she um it's listed as pulmonary embolism, but 689 00:40:53,680 --> 00:40:57,320 Speaker 1: they never did an autopsy, and there it's generally believed 690 00:40:57,320 --> 00:41:02,240 Speaker 1: that she committed suicide by how pills her. Her personal 691 00:41:02,320 --> 00:41:07,600 Speaker 1: nurse said that she took twelve I think pain killers 692 00:41:08,440 --> 00:41:11,760 Speaker 1: when she knew that her max was seven, and earlier 693 00:41:11,800 --> 00:41:14,759 Speaker 1: that evening she had given Diego an anniversary present a 694 00:41:14,840 --> 00:41:18,520 Speaker 1: month early, which it all kind of adds up in 695 00:41:18,560 --> 00:41:23,080 Speaker 1: the chronic pain. And just you know, this was after polio, 696 00:41:23,320 --> 00:41:28,120 Speaker 1: after gang Green, after amputation, after pneumonia, after the bus accident, 697 00:41:28,200 --> 00:41:31,600 Speaker 1: after the bus accident, so um, yeah, she may have 698 00:41:31,680 --> 00:41:37,000 Speaker 1: just ended it understandably. So her when she died, like 699 00:41:37,040 --> 00:41:40,160 Speaker 1: you said, she was you know, fairly well known in 700 00:41:40,280 --> 00:41:43,680 Speaker 1: certain circles in the art world. But when she died, 701 00:41:43,680 --> 00:41:47,080 Speaker 1: her work kind of entered into obscurity. For a few decades, 702 00:41:47,280 --> 00:41:49,880 Speaker 1: it was dormant, and then yeah, it's well put and 703 00:41:49,920 --> 00:41:54,040 Speaker 1: then in the late seventies it was rediscovered. Um bye bye. 704 00:41:54,680 --> 00:41:58,520 Speaker 1: I guess nationalists you could call them art nationalists in 705 00:41:58,640 --> 00:42:03,120 Speaker 1: Mexico and she has been basically a pop icon ever since. 706 00:42:03,440 --> 00:42:07,440 Speaker 1: Once her story was really um established and built and 707 00:42:07,480 --> 00:42:11,120 Speaker 1: her work came back out. She's just never really left 708 00:42:11,400 --> 00:42:16,719 Speaker 1: the art scene. Since it's is pretty cool, very cool. Uh, 709 00:42:16,800 --> 00:42:19,239 Speaker 1: if she is in a museum near you go check 710 00:42:19,280 --> 00:42:21,080 Speaker 1: it out. Do you want to do you want to 711 00:42:21,080 --> 00:42:24,279 Speaker 1: talk about her famous eyebrow because I think this this 712 00:42:24,440 --> 00:42:28,240 Speaker 1: article did a really good job of addressing it. Yeah, 713 00:42:28,400 --> 00:42:32,439 Speaker 1: so she has she painted herself. She very famously had 714 00:42:32,520 --> 00:42:35,480 Speaker 1: what you would call a unibrow right, and she would 715 00:42:35,520 --> 00:42:38,440 Speaker 1: paint it a lot. But the article on how Stuff 716 00:42:38,480 --> 00:42:42,359 Speaker 1: Works quotes a um a book by Desmond Morris called 717 00:42:42,400 --> 00:42:45,040 Speaker 1: The Naked Woman a Study of the female body, and 718 00:42:45,120 --> 00:42:49,600 Speaker 1: he basically says Desmond Morris says that like women will 719 00:42:49,880 --> 00:42:56,680 Speaker 1: will pluck the their unibrow into nothingness like religiously, and 720 00:42:56,680 --> 00:42:59,839 Speaker 1: then it takes a woman who is above fashion too 721 00:43:00,800 --> 00:43:04,080 Speaker 1: to flaunt her unit brow. And that that perfectly that 722 00:43:04,080 --> 00:43:08,040 Speaker 1: that term above fashion perfectly encapsulates free to call o, 723 00:43:09,000 --> 00:43:11,440 Speaker 1: which I thought was a pretty cool thing because Desmond 724 00:43:11,480 --> 00:43:14,239 Speaker 1: Morris wasn't talking about free to callo. This article went 725 00:43:14,239 --> 00:43:15,879 Speaker 1: out of its way to go find that and bring 726 00:43:15,920 --> 00:43:19,400 Speaker 1: it in, and I think it analyzes her appreciation of 727 00:43:19,400 --> 00:43:22,520 Speaker 1: herself inside and out pretty well. Yeah, I mean, if 728 00:43:22,520 --> 00:43:24,400 Speaker 1: that was one thing that she did on her canvas 729 00:43:24,480 --> 00:43:28,200 Speaker 1: was say this is me in every single way, inside 730 00:43:28,200 --> 00:43:32,960 Speaker 1: and out and her her legacy in the art world, 731 00:43:33,040 --> 00:43:39,080 Speaker 1: especially among among women female artists, is like the the 732 00:43:39,080 --> 00:43:42,160 Speaker 1: one article we read City just can't overstate the importance 733 00:43:43,640 --> 00:43:49,560 Speaker 1: nice anything else. No, I apologize for all the mistakes. Yeah, sorry, 734 00:43:49,960 --> 00:43:52,279 Speaker 1: let's do Andy Warhol one. Next. I tried to do 735 00:43:52,360 --> 00:43:56,040 Speaker 1: right by this one. Okay, yeah, I was apologizing to 736 00:43:56,080 --> 00:44:00,960 Speaker 1: Emily specifically, right. Sorry. I'm uh. If you you want, 737 00:44:01,040 --> 00:44:02,920 Speaker 1: if you're not Emily and you want to know more 738 00:44:02,960 --> 00:44:07,200 Speaker 1: about free to call up. You can search her on 739 00:44:07,239 --> 00:44:09,560 Speaker 1: our website. There's actually a pretty decent little article, and 740 00:44:09,600 --> 00:44:11,520 Speaker 1: then there's tons of stuff. Go look at our art 741 00:44:11,560 --> 00:44:14,120 Speaker 1: all over the web and in person. And since I 742 00:44:14,160 --> 00:44:18,719 Speaker 1: said that's time for the listener mail, I'm gonna call 743 00:44:18,719 --> 00:44:22,520 Speaker 1: this mistakes in defense of us. Hey, guys, I'm sure 744 00:44:22,520 --> 00:44:24,120 Speaker 1: you get annoyed at the influx of emails you get 745 00:44:24,120 --> 00:44:26,480 Speaker 1: every time you make a mistake on your podcast. At 746 00:44:26,520 --> 00:44:29,000 Speaker 1: least that's what I gleaned from a few recent episodes, 747 00:44:29,480 --> 00:44:32,000 Speaker 1: where you anticipate people writing in and correcting you in 748 00:44:32,120 --> 00:44:36,440 Speaker 1: a fact how ironic. Um, I'm writing the counterbalance that 749 00:44:36,520 --> 00:44:39,120 Speaker 1: you guys do a fantastic job. I'm amazed that you 750 00:44:39,120 --> 00:44:41,239 Speaker 1: were able to cover topics in such detail, with such 751 00:44:41,480 --> 00:44:44,520 Speaker 1: high turnover rate, with how quickly produce episodes. I would 752 00:44:44,520 --> 00:44:47,760 Speaker 1: expect so many more mistakes or sloppy work. But not 753 00:44:47,760 --> 00:44:52,320 Speaker 1: not with you. Excuse me, no, not with you. I 754 00:44:52,600 --> 00:44:55,640 Speaker 1: like not not. UM. I'm starting my own podcast and 755 00:44:55,680 --> 00:44:58,840 Speaker 1: it's made me deeply appreciative how talented and gifted you 756 00:44:58,840 --> 00:45:00,840 Speaker 1: guys are as hosts. One day, I hope I'll be 757 00:45:00,840 --> 00:45:03,280 Speaker 1: as smooth and easy going as you are as always. 758 00:45:03,320 --> 00:45:06,040 Speaker 1: Please keep going with your work. You're my favorite podcast. 759 00:45:06,320 --> 00:45:08,080 Speaker 1: I also want to give a shout out, especially to 760 00:45:08,120 --> 00:45:11,160 Speaker 1: your Trail of Tears episodes. I recently went into the 761 00:45:11,239 --> 00:45:13,800 Speaker 1: archives and listened to those two. Uh. You told that 762 00:45:13,840 --> 00:45:16,160 Speaker 1: story beautifully. I think you really did it justice and 763 00:45:16,160 --> 00:45:18,480 Speaker 1: I would recommend that anyone who hasn't listened and go 764 00:45:18,560 --> 00:45:21,560 Speaker 1: back and listen anyway. Seriously, thank you for adding something 765 00:45:21,600 --> 00:45:25,880 Speaker 1: fun to my life. And that great name is from 766 00:45:25,960 --> 00:45:30,800 Speaker 1: uh Shelina Bathala or maybe Batala depending on how you 767 00:45:30,880 --> 00:45:33,920 Speaker 1: pronounce it. Uh. And she is the host, and I 768 00:45:33,960 --> 00:45:37,040 Speaker 1: asked her well you're a bad plugger of your own 769 00:45:37,040 --> 00:45:38,840 Speaker 1: work because I don't even know what your podcast is 770 00:45:38,840 --> 00:45:40,920 Speaker 1: going to be about. But it's coming soon. It's called 771 00:45:41,160 --> 00:45:46,359 Speaker 1: worth It. Yeah, good title. Yeah, everyone. That is how 772 00:45:46,400 --> 00:45:50,279 Speaker 1: you get your podcast plugged on stuff that's right. Whoa 773 00:45:50,280 --> 00:45:55,200 Speaker 1: whoa whoa breaking news. Yeah, came back to life. No. 774 00:45:55,360 --> 00:45:57,880 Speaker 1: I just got an email reply from Shelina and she said, 775 00:45:58,480 --> 00:46:01,480 Speaker 1: my podcast is about helping will create a life that 776 00:46:01,560 --> 00:46:03,960 Speaker 1: they're happy with. Nice. I think a lot of people 777 00:46:04,440 --> 00:46:07,600 Speaker 1: feel lost, don't feel connected to themselves, or feel scared 778 00:46:07,640 --> 00:46:09,720 Speaker 1: to do what they actually want to do, like pursue 779 00:46:09,719 --> 00:46:12,360 Speaker 1: a creative career or do something that makes far less money. 780 00:46:12,680 --> 00:46:14,680 Speaker 1: So I talked to people who have been there, who 781 00:46:14,760 --> 00:46:17,160 Speaker 1: are still there, and about their journey and what they 782 00:46:17,160 --> 00:46:19,160 Speaker 1: have done to create happiness in their life. It's gonna 783 00:46:19,160 --> 00:46:23,759 Speaker 1: be good. Yeah, good job. That sounds great. Yeah. Hurry up, Shelina. Yeah, okay, 784 00:46:23,960 --> 00:46:26,799 Speaker 1: best of luck. We're worth It coming soon to a 785 00:46:26,840 --> 00:46:31,440 Speaker 1: podcast distributors near gu wherever you find your podcast. All right, uh, 786 00:46:31,480 --> 00:46:33,279 Speaker 1: and if you want to get in touch with us, 787 00:46:33,360 --> 00:46:36,000 Speaker 1: you can tweet to us at s y s K podcast. 788 00:46:36,080 --> 00:46:38,880 Speaker 1: I'm at josh um Clark on Twitter and chuck that 789 00:46:38,920 --> 00:46:42,080 Speaker 1: movie crush on Twitter um. You can also hang out 790 00:46:42,080 --> 00:46:44,440 Speaker 1: with us on Facebook at Facebook dot com slash stuff 791 00:46:44,440 --> 00:46:47,160 Speaker 1: you Should Know or Facebook dot com slash Charles W. 792 00:46:47,280 --> 00:46:49,360 Speaker 1: Chok Bryant. You can send us all an email The 793 00:46:49,360 --> 00:46:51,759 Speaker 1: Stuff podcast at how stuff Works dot com, and there's 794 00:46:51,760 --> 00:46:54,120 Speaker 1: always joining Sutter home on the web Stuff you Should 795 00:46:54,160 --> 00:47:01,640 Speaker 1: Know dot com. For more miss and thousands of other topics, 796 00:47:01,800 --> 00:47:13,640 Speaker 1: visit how stuff Works dot com. M hm hm