WEBVTT - Frida Kahlo: Painter, Icon, Genius

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<v Speaker 1>Hey, everyone, We're coming to Salt Lake City, Utah, and Phoenix,

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<v Speaker 1>Arizona this fall. Yeah, October, we're gonna be at Salt

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<v Speaker 1>Lake City's Grand Theater and then the next night October

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<v Speaker 1>will be in Phoenix. And we added a second show

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<v Speaker 1>to our Melbourne show, right, that's right, a second earlier

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<v Speaker 1>show in Melbourne. So you can get all the information

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<v Speaker 1>for all of these shows at s y s K

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<v Speaker 1>live dot com. Welcome to Stuff you should know from

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<v Speaker 1>how Stuff Works dot com. Hey, and welcome to the podcast.

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<v Speaker 1>I'm Josh Clark, and there's Charles W. Chuck Bryant, and

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<v Speaker 1>there's Jerry Rowland. This is going to be an interesting

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<v Speaker 1>one because I don't know how to say the ladies.

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<v Speaker 1>Last ning, Jerry's over there with her spider monkey on

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<v Speaker 1>her shoulder, a dead hummingbird hanging from her necklace, just

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<v Speaker 1>like any other day. We're here in Lakasa Azul, right,

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<v Speaker 1>and she's gotten ahold of some eyebrow pencil and filled

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<v Speaker 1>in between the two across the bridge of our nose.

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<v Speaker 1>So I'm excited about this. A because you said frieda

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<v Speaker 1>calo before we started recording freda Kalo, and B because

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<v Speaker 1>you know my family's fascination with this woman in her work. No,

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<v Speaker 1>we've talked about it before. That's okay. Though we've done

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<v Speaker 1>a thousand episodes. We have talked about it before. Yeah, okay,

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<v Speaker 1>well we'll get back into it. Yeah, we're way into Frieda.

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<v Speaker 1>Emily is borderline obsessed? Is she a freedom maniac? She is?

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<v Speaker 1>And my daughter loves her. You know, there's like Frieda

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<v Speaker 1>I hate to use the word, but kind of cults

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<v Speaker 1>devotional groups where um they basically dress up and and

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<v Speaker 1>are like Frieda. It's like channel Frieda Kalo. Yeah, because

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<v Speaker 1>as one of these articles that we sourced from points

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<v Speaker 1>out near the end um, not only does she draw

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<v Speaker 1>in people for her art, but she draws in uh

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<v Speaker 1>femineis and she draws in women who have suffered miscarriages

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<v Speaker 1>and and disabled people who have suffered great pain and

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<v Speaker 1>chronic pain in their life. So she through her life

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<v Speaker 1>she's able to um touch a lot of people because

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<v Speaker 1>of her life. And I'm sure with any artist where

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<v Speaker 1>if you know, the more you know about the artist,

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<v Speaker 1>the more you can appreciate their art. With freed to Klo,

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<v Speaker 1>it's almost like you gotta quit saying that Freda Calo Carlo. Carlo,

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<v Speaker 1>my whole life have been saying free to Kyla, and

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<v Speaker 1>I like it rules off the tongue. Yeah, but you know,

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<v Speaker 1>let's give her the due respect. Um the when did

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<v Speaker 1>we start doing that? I don't know. Okay, so um,

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<v Speaker 1>you almost you just almost can't fully appreciate any piece

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<v Speaker 1>of her work without knowing at least the basics of

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<v Speaker 1>her story. I think, well, yeah, and certainly once you

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<v Speaker 1>know the basics, you're like, oh right, that's where all

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<v Speaker 1>this comes from. It really makes sense. But she is

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<v Speaker 1>a great artist, for sure. I was going back and

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<v Speaker 1>looking at some of her art. You know, I'm familiar

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<v Speaker 1>with her, I know a little bit about her. Um,

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<v Speaker 1>but I definitely saw some pieces that I didn't realize before.

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<v Speaker 1>And just from researching this, I very much came to

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<v Speaker 1>appreciate her even more. Like she's a great artist. Just

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<v Speaker 1>the technique she used, the imagery she used, the symbolism,

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<v Speaker 1>I really dig it all. And it's like you can

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<v Speaker 1>appreciate it because it gives you a visceral reaction, but you,

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<v Speaker 1>the average person, can also get what she's feeling or

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<v Speaker 1>what she's saying without being like this means this, and

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<v Speaker 1>that means that she just kind of get it visually.

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<v Speaker 1>It's something that you can get and appreciate pretty easily. Yeah.

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<v Speaker 1>I mean we've we've seen her work in museums all

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<v Speaker 1>over the world. Basically every new city we go to,

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<v Speaker 1>we see, is there any free to color work there?

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<v Speaker 1>Have you been to Lakasa Zul? No, But that'll that's

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<v Speaker 1>that's gonna happen. Oh, I'm sure. I was gonna say

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<v Speaker 1>bucket list, but it's just on the list. I'm like,

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<v Speaker 1>I don't want to do it when I'm eighty, right

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<v Speaker 1>with with um Jack Nicholson or something. No, Morgan Freeman,

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<v Speaker 1>No, no no, No, we're gonna go down there for sure. Alright,

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<v Speaker 1>So let's let's start chronologically. Let's start at the beginning.

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<v Speaker 1>That makes sense. So Freeda kalo Um she was born

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<v Speaker 1>back in nineteen o seven, although she used to being

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<v Speaker 1>a revolutionary. She used to say that she was born

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<v Speaker 1>in nineteen ten, which was the year of the Mexican Revolution.

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<v Speaker 1>But she was born in a town which was very

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<v Speaker 1>freed to. Yeah, freed to call thing to do? Right. Um.

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<v Speaker 1>She was born in town called the Koyoa Khan which

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<v Speaker 1>is outside of Mexico City, and she was born in

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<v Speaker 1>that house Lacasa Zul the Blue House. Yeah, maybe maybe

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<v Speaker 1>not there. There's a lot of um parts of her

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<v Speaker 1>early life, like the year she was born where other

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<v Speaker 1>people say, like, man, she's actually born nearby, but she

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<v Speaker 1>says she was born there, so uh, like her birth

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<v Speaker 1>records indicated a different place, but it's we'll say she

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<v Speaker 1>was born there at the very least it was her

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<v Speaker 1>family's house, right, and she it was. It was in

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<v Speaker 1>her life for her whole life, so much so she

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<v Speaker 1>actually died in that house. Yeah. And it's a museum now,

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<v Speaker 1>yes it is. It's a national museum dedicated to free

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<v Speaker 1>to Carlo cret Cool. We can visit, right. So, um,

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<v Speaker 1>she was born in nineteen o seven they've figured out,

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<v Speaker 1>apparently you figured out. And her father was he German

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<v Speaker 1>or Hungarian? Because I saw both. Well, here's another little

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<v Speaker 1>thing where he was German. He was born in Germany,

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<v Speaker 1>but Freed always said that he was of Hungarian Jewish descent,

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<v Speaker 1>but that just doesn't appear to be true like ancestry

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<v Speaker 1>gen genealogy records. So was he like German Protestant or something?

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<v Speaker 1>Uh German? Um? Uh? What Lutheran? Lutheran? I think that's Protestant,

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<v Speaker 1>I think I think so, but I think I think

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<v Speaker 1>it was Lutheran. I can't remember. But his name, depending

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<v Speaker 1>on it was Carl Wilhelm. But when he traveled to

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<v Speaker 1>Mexico and the eight eighteen hundreds, he changed his name.

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<v Speaker 1>He took the translation. The Spanish translation was original German name,

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<v Speaker 1>which would have been Guillermo. Apparently it's a great name,

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<v Speaker 1>will though. Yeah, and then he became a Mexican citizen

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<v Speaker 1>and married her mother, Matilda Calderon, who was um American

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<v Speaker 1>Indian in Spanish. Yeah, and we should say Frieda. Frieda's

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<v Speaker 1>full name is Magdalena Carmen Frieda Calo. He called her

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<v Speaker 1>own great name. It is really there's a lot to

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<v Speaker 1>it there. Basically gives you everything you want, right, that's right.

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<v Speaker 1>So um, she was born in when someone else I

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<v Speaker 1>came to admire from researching her. As her father, he

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<v Speaker 1>seemed to have been a pretty cool cat. He was

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<v Speaker 1>a really good dad. Her mom was a little bit

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<v Speaker 1>religiously hysterical, I think, and very strict, But her dad

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<v Speaker 1>was a bit of a foil in that he raised Frieda.

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<v Speaker 1>He noticed something in freed To It seems that she

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<v Speaker 1>was different from her sisters, which she screamed, I mean

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<v Speaker 1>just like she dressed in men's suits and things like that.

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<v Speaker 1>She was definitely different than her sisters. But he saw

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<v Speaker 1>in her something very much different than her sisters, not

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<v Speaker 1>just in her outward behavior, and so he kind of

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<v Speaker 1>plucked her out of the path that his sisters were on,

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<v Speaker 1>which was, you know, go get married, or go being

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<v Speaker 1>educated into convent, Go get married, go be a wife,

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<v Speaker 1>and said, you you're going to go a different path.

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<v Speaker 1>Let's get you in a different school here. Yeah. He

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<v Speaker 1>was a photographer, so her first experiences with art were

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<v Speaker 1>accompanying him on photo shoots and being in the studio

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<v Speaker 1>with him. And like you said, he sent her to

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<v Speaker 1>the German College in Mexico City, where she was introduced

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<v Speaker 1>to European things, and um, very sadly she was sexually

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<v Speaker 1>abused there. Uh, and then ended up going to and

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<v Speaker 1>I think was one of the first, one of only

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<v Speaker 1>thirty five girls, young girls to go to the National

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<v Speaker 1>Preparatory School in Mexico because that was right around the

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<v Speaker 1>time in the Mexican Revolution. He said, maybe we should

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<v Speaker 1>start letting young women in here. Yeah. And then doctor, Yeah,

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<v Speaker 1>she excelled in in biology and some others and Moz

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<v Speaker 1>on a path to become a doctor actually. But one

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<v Speaker 1>of the other things that she discovered at the UM,

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<v Speaker 1>the Preparatory Academy of Mexico City was a real zeal

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<v Speaker 1>for the Mexican revolutionary spirit. Yeah. I mean, not only

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<v Speaker 1>did she learn about Europe, but she got really into

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<v Speaker 1>learning about her indigenous roots. Yeah. Um, that seems to

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<v Speaker 1>be something that fascinated her throughout her life, was her

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<v Speaker 1>her European and her Mexican roots and how they combined

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<v Speaker 1>in her and she explored them outwardly as well. She

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<v Speaker 1>even had a painting called roots. Oh yeah, kind of

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<v Speaker 1>on the nose, uh and roots were growing out of

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<v Speaker 1>her body even yeah, um we we kind of skipped

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<v Speaker 1>over one very important thing in her life. When she

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<v Speaker 1>was six, Um, she contracted polio and long recovery permanently

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<v Speaker 1>damaged one of her legs. She had a very one

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<v Speaker 1>of her legs was I think her right leg was

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<v Speaker 1>smaller and just very skinny, a little withered. Yeah, and

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<v Speaker 1>she had a permanent limp from that age, which was

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<v Speaker 1>a big deal. It was just the beginning of a

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<v Speaker 1>lifetime of pretty horrendous um physical disabilities. In pain. Yeah,

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<v Speaker 1>she was alive on the planet for forty seven years

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<v Speaker 1>and starting at age six. You say that's when polio,

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<v Speaker 1>She bet, that's when it began, at the at the

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<v Speaker 1>at the latest, it started at six and continued all

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<v Speaker 1>the way up to forty seven when she died. So

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<v Speaker 1>at the in this kind of revolutionary group that she joined, um,

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<v Speaker 1>the cachas, which means the caps are the hats, which

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<v Speaker 1>apparently today is Narco slang for cops. You know, kutchukas cachuchas.

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<v Speaker 1>It's hard to say, yeah, because of the two. Is

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<v Speaker 1>it's like Jason's coming or something. Um. She she fell

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<v Speaker 1>in love with kind of the leader of that group,

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<v Speaker 1>but really like she found herself as a revolutionary, right

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<v Speaker 1>and not just a Mexican revolutionary. She also became a

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<v Speaker 1>communist ideologist and was for life. That's one thing that

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<v Speaker 1>a lot of people don't realize is free to free

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<v Speaker 1>to Carlo, this pop culture icon, this patron saying of

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<v Speaker 1>of women, UM and feminists, was also very much a

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<v Speaker 1>fervent communist. Actually, she referred to her husband later Diego Rivera,

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<v Speaker 1>who you're about to mention um as nobody's husband. He

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<v Speaker 1>was a lousy husband, but he was a great comrade.

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<v Speaker 1>This is a great quote. Yeah. So that's when she

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<v Speaker 1>fell in love with Alejandro Gomez Eddias and uh they

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<v Speaker 1>were together for about five years. And we'll get to

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<v Speaker 1>kind of what happened toward the end of that relationship

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<v Speaker 1>in a sec but Ino and she was just fifteen.

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<v Speaker 1>She was at school, uh, at the preparatory school, and

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<v Speaker 1>Diego Rivera, who was very famous artist, a muralist at

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<v Speaker 1>the time, already this giant man, um like Alfred Molina's size,

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<v Speaker 1>that's who played him, Um, even bigger, I think. Yeah.

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<v Speaker 1>He was huge. Uh and you know, just tall and

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<v Speaker 1>rotund and just a big personality and everything. Sure. Yeah. Um.

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<v Speaker 1>He was painting a mural at her school called Creation

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<v Speaker 1>when she was just fifteen, and she would go out

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<v Speaker 1>there and just basically kind of stare at him and

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<v Speaker 1>while he was doing his work and sort of became

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<v Speaker 1>infatuated with him and the art. I get the picture

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<v Speaker 1>that it was all sort of intertwined, and uh, you know,

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<v Speaker 1>years later they would meet and marry and then remarry,

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<v Speaker 1>which we'll get into the ins and outs of their

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<v Speaker 1>relation chip, but it was it was an interesting love

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<v Speaker 1>story of sorts. Artists. You know, yeah, should we take

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<v Speaker 1>a break? All right, let's take a break, and we

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<v Speaker 1>will talk about the tragic events that befel her at

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<v Speaker 1>the age of eighteen. Okay, Chuck, So, like you said,

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<v Speaker 1>something really bad is about to happen to Frida. She's eighteen.

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<v Speaker 1>She's on a bus with a boyfriend who was the

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<v Speaker 1>leader of the Yeah, and um, the the bus was

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<v Speaker 1>struck by a trolley, or vice versa. She was on

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<v Speaker 1>a trolley struck by a bus, one of the two

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<v Speaker 1>in either way. It was a bad, bad scene for her. Yeah,

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<v Speaker 1>she was impaled by one of the handlebars. It went

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<v Speaker 1>through pelvis into her womb, That's how I saw it.

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<v Speaker 1>Put broke her spine. Um, she was in a bad way.

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<v Speaker 1>And supposedly her boyfriend walked away unharmed, which just makes

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<v Speaker 1>it even worse, you know, Yeah, I mean the way

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<v Speaker 1>I got it was that, you know, everyone was shaken

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<v Speaker 1>up pretty bad. But it was this sort of freak

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<v Speaker 1>thing that this rail impaled her hip that that she

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<v Speaker 1>got the worst of it. Now, this would go on

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<v Speaker 1>to be, in my opinion, the most significant event of

0:13:32.960 --> 0:13:37.520
<v Speaker 1>her entire life, because it would it changed everything. It

0:13:37.640 --> 0:13:40.400
<v Speaker 1>changed the course of everything. Remember, up to this point,

0:13:40.440 --> 0:13:44.320
<v Speaker 1>she's planning on becoming a doctor. Um, and she was

0:13:44.480 --> 0:13:47.600
<v Speaker 1>so laid up for so long and so immobilized that

0:13:47.679 --> 0:13:50.760
<v Speaker 1>she basically said, well, there goes my chance of being

0:13:50.760 --> 0:13:52.800
<v Speaker 1>a doctor. I'm not going to be able to catch up.

0:13:52.840 --> 0:13:54.280
<v Speaker 1>I'm not gonna be able to move. Who knows if

0:13:54.280 --> 0:13:58.200
<v Speaker 1>I'll be able to walk again. Um, And it just

0:13:58.520 --> 0:14:01.679
<v Speaker 1>shifted direction. Plus that whole womb thing is going to

0:14:01.800 --> 0:14:04.679
<v Speaker 1>come into play later on and that will definitely influence

0:14:04.679 --> 0:14:08.839
<v Speaker 1>her art for sure too. Yeah. So she's um, she's

0:14:08.960 --> 0:14:12.800
<v Speaker 1>bedridden for months. I think she had something like thirteen

0:14:12.880 --> 0:14:15.920
<v Speaker 1>or fifteen surgeries from that point on for the next

0:14:15.920 --> 0:14:21.160
<v Speaker 1>like thirty years. Um. And it turns out that she

0:14:21.360 --> 0:14:24.680
<v Speaker 1>was a great painter, which must have been something to

0:14:25.040 --> 0:14:28.680
<v Speaker 1>be like, well, I'm in this hospital bed that they're

0:14:28.720 --> 0:14:32.080
<v Speaker 1>equipping me with this special easel that I can use

0:14:32.120 --> 0:14:35.040
<v Speaker 1>in my full body cast lying down. They're gonna put

0:14:35.040 --> 0:14:38.960
<v Speaker 1>a mirror on on the ceiling above me so I

0:14:38.960 --> 0:14:41.840
<v Speaker 1>can be my own model. And she was very much

0:14:41.880 --> 0:14:46.120
<v Speaker 1>known for her self portraits. And she starts painting and

0:14:47.040 --> 0:14:50.600
<v Speaker 1>is amazingly talented. Yeah. And at first she she was saying, Okay,

0:14:50.600 --> 0:14:52.440
<v Speaker 1>well I can't be a doctor, and apparently I have

0:14:52.520 --> 0:14:55.520
<v Speaker 1>this knack for painting. Maybe I'll be a medical illustrator.

0:14:55.680 --> 0:14:57.640
<v Speaker 1>And once you hear that, when you see some of

0:14:57.680 --> 0:15:00.280
<v Speaker 1>her work, you're like, oh, yeah, she basically he was

0:15:00.360 --> 0:15:07.360
<v Speaker 1>a medical illustrator. Yeah, but in a exploring anatomy as

0:15:07.400 --> 0:15:11.400
<v Speaker 1>a metaphor for emotion. Yes, from what I understand, right, Yeah,

0:15:11.400 --> 0:15:15.480
<v Speaker 1>I mean, I don't know. I mean, this might be

0:15:15.600 --> 0:15:17.800
<v Speaker 1>hyperbolic to say this, but I don't know if any

0:15:17.920 --> 0:15:23.000
<v Speaker 1>artists that poured herself out on the canvas as much

0:15:23.040 --> 0:15:26.760
<v Speaker 1>as she did. Certainly not up to the point, especially

0:15:26.840 --> 0:15:30.560
<v Speaker 1>female artists. Yeah, absolutely, up to this point when when

0:15:30.760 --> 0:15:35.960
<v Speaker 1>Frieda Kello came along, like women were if you were emotional,

0:15:36.040 --> 0:15:39.600
<v Speaker 1>you were hysterical one. But you certainly weren't if you

0:15:39.640 --> 0:15:42.920
<v Speaker 1>were a woman artist, you certainly weren't expected to explore

0:15:43.360 --> 0:15:48.880
<v Speaker 1>emotions and grief and personhood and the self, and you

0:15:49.040 --> 0:15:51.520
<v Speaker 1>certainly weren't expected to do it in your paintings. And

0:15:51.600 --> 0:15:55.520
<v Speaker 1>she said her works showed that that was not the case.

0:15:55.720 --> 0:15:58.000
<v Speaker 1>It wasn't even like you shouldn't do this, it was

0:15:58.040 --> 0:16:00.960
<v Speaker 1>women can't do this. She him along and said, and

0:16:01.000 --> 0:16:03.720
<v Speaker 1>actually we can, because I'm living proof. Yeah. And if

0:16:03.720 --> 0:16:07.360
<v Speaker 1>you're a man, you're just a brooding artist. Yeah. If

0:16:07.400 --> 0:16:11.240
<v Speaker 1>you're a woman, you're hysterical. Um, you're depressed. And she

0:16:11.400 --> 0:16:15.200
<v Speaker 1>just man, she laid it out there as raw as

0:16:15.240 --> 0:16:18.560
<v Speaker 1>you can imagine, and especially for the time, it was

0:16:18.600 --> 0:16:21.920
<v Speaker 1>just off the charts, how radical it was so so

0:16:22.040 --> 0:16:24.160
<v Speaker 1>And she's able to do this because her family set

0:16:24.240 --> 0:16:27.120
<v Speaker 1>up a special easel in a mirror for her to

0:16:27.280 --> 0:16:30.720
<v Speaker 1>be her own model. Yes, right, yes, so this is that,

0:16:30.840 --> 0:16:32.440
<v Speaker 1>this is a big thing, like this is starting to

0:16:32.520 --> 0:16:36.080
<v Speaker 1>come along and she she um passes the time while

0:16:36.120 --> 0:16:39.040
<v Speaker 1>she's recuperating doing this, and she recovers enough that she

0:16:39.120 --> 0:16:41.120
<v Speaker 1>goes back to school and starts hanging out with her

0:16:41.560 --> 0:16:45.440
<v Speaker 1>old friends again. And from that re entry back into

0:16:45.520 --> 0:16:49.920
<v Speaker 1>the revolutionary slash communist world in Mexico at the time,

0:16:50.600 --> 0:16:54.520
<v Speaker 1>she ended up in the orbit of Diego Rivera again. Actually,

0:16:54.560 --> 0:16:57.320
<v Speaker 1>they ran across each other at a party. Yeah, and

0:16:57.360 --> 0:16:59.840
<v Speaker 1>this was it. Man. From that point forward, they would

0:16:59.840 --> 0:17:03.760
<v Speaker 1>be um. They would be tied to one another through

0:17:03.800 --> 0:17:08.320
<v Speaker 1>their work and through their multiple marriages to one another. Uh.

0:17:08.480 --> 0:17:12.719
<v Speaker 1>She was twenty two, he was twenty years older than her. Uh,

0:17:13.119 --> 0:17:16.000
<v Speaker 1>and he very much Um, he may he very much

0:17:16.080 --> 0:17:20.840
<v Speaker 1>encouraged her early on and champion her and was her

0:17:20.880 --> 0:17:23.320
<v Speaker 1>mentors and artists. Was She went up to him at

0:17:23.480 --> 0:17:25.720
<v Speaker 1>at this party and said, I want you to look

0:17:25.720 --> 0:17:28.280
<v Speaker 1>at my work and tell me should I pursue this?

0:17:28.359 --> 0:17:31.120
<v Speaker 1>To see this? Am I an artist? Or is this

0:17:31.400 --> 0:17:34.600
<v Speaker 1>just nothing? And he looked at her work and he said,

0:17:35.440 --> 0:17:38.600
<v Speaker 1>you were an artist. This is astounding, Like do you

0:17:38.680 --> 0:17:41.240
<v Speaker 1>have what it takes? And you should keep pursuing being

0:17:41.240 --> 0:17:44.200
<v Speaker 1>an artist in as a matter of fact, let's get married. Yeah.

0:17:44.240 --> 0:17:46.399
<v Speaker 1>I mean he was attracted to her, but um, I

0:17:46.400 --> 0:17:49.199
<v Speaker 1>haven't seen anything that that led me to believe that

0:17:49.240 --> 0:17:52.800
<v Speaker 1>any of his support of her work was not genuine

0:17:52.880 --> 0:17:55.359
<v Speaker 1>and because he wanted to like get her in the sack. No, no, no,

0:17:55.560 --> 0:17:57.600
<v Speaker 1>he wasn't that kind of guy. He would get anybody

0:17:57.640 --> 0:17:59.480
<v Speaker 1>in the sack. He certainly didn't have to marry you.

0:17:59.520 --> 0:18:00.960
<v Speaker 1>And he's said, we didn't have to tell you you

0:18:01.000 --> 0:18:03.880
<v Speaker 1>were a great artist. That is below him. I saw

0:18:03.920 --> 0:18:06.879
<v Speaker 1>a thing. Yeah, they both had multiple affairs. We'll talk

0:18:06.920 --> 0:18:10.440
<v Speaker 1>about that throughout their marriage. And you know, maybe or

0:18:10.480 --> 0:18:14.119
<v Speaker 1>maybe not so understanding of each other doing so. Um,

0:18:14.160 --> 0:18:17.480
<v Speaker 1>but I saw one point that he supposedly got his

0:18:17.560 --> 0:18:20.040
<v Speaker 1>doctor to write a note that said that he was

0:18:20.200 --> 0:18:26.439
<v Speaker 1>physically incapable of being faithful. Really, I don't know if

0:18:26.440 --> 0:18:28.920
<v Speaker 1>that's true or not. So he had I just want

0:18:28.960 --> 0:18:30.920
<v Speaker 1>to get this quote, and he had a great quote

0:18:30.960 --> 0:18:34.520
<v Speaker 1>about her um as an artist. He said that she

0:18:34.720 --> 0:18:38.159
<v Speaker 1>was a realist as far as her arts concerned. She

0:18:38.320 --> 0:18:40.639
<v Speaker 1>was quote the first woman in the history of art

0:18:40.720 --> 0:18:44.680
<v Speaker 1>to treat with absolute and uncompromising honesty. One might even

0:18:44.680 --> 0:18:50.200
<v Speaker 1>say cruelty those general and specific themes which exclusively affect women. Yeah,

0:18:50.359 --> 0:18:53.000
<v Speaker 1>like that's those are pretty strong words from a renowned

0:18:53.080 --> 0:18:55.679
<v Speaker 1>artist who I mean, Diego Rivera was well renowned by

0:18:55.720 --> 0:18:58.239
<v Speaker 1>this time already, So when he looked at her art

0:18:58.320 --> 0:19:00.159
<v Speaker 1>and had things like that to say about it, it

0:19:00.200 --> 0:19:02.680
<v Speaker 1>really meant something. She was. If she ever was an

0:19:02.680 --> 0:19:06.760
<v Speaker 1>outsider artist, she wasn't anymore. She was a genuine artist.

0:19:07.040 --> 0:19:10.880
<v Speaker 1>She'd been decreed as such by the cream of the crop. Yeah,

0:19:10.960 --> 0:19:13.960
<v Speaker 1>and she um. I think the article on her own

0:19:14.000 --> 0:19:18.200
<v Speaker 1>website down plays a little bit her successes during her life.

0:19:18.600 --> 0:19:21.800
<v Speaker 1>It's certainly nothing compared to what she got many many

0:19:21.880 --> 0:19:25.080
<v Speaker 1>years later, decades later after her death. Um. They weren't

0:19:25.119 --> 0:19:28.800
<v Speaker 1>freedom maniacs back then, but she wasn't she also was

0:19:28.840 --> 0:19:33.119
<v Speaker 1>not just completely unknown as an artist. I mean she

0:19:33.240 --> 0:19:36.879
<v Speaker 1>got some notoriety during her life. She got to know Picasso,

0:19:37.080 --> 0:19:38.960
<v Speaker 1>she got to know I mean, these were the circles

0:19:38.960 --> 0:19:43.120
<v Speaker 1>she traveled in, partially because of Diego Rivera. But um,

0:19:43.160 --> 0:19:47.119
<v Speaker 1>they started moving around, you know, starting in the nineteen thirties. Uh,

0:19:47.160 --> 0:19:49.240
<v Speaker 1>they didn't stay in Mexico. They lived in San Francisco

0:19:49.280 --> 0:19:51.879
<v Speaker 1>for a little while, Uh, depending on where the work was.

0:19:51.920 --> 0:19:54.119
<v Speaker 1>Because he was a muralist, right, so he had to

0:19:54.160 --> 0:19:56.399
<v Speaker 1>go to the place where he was doing that. Yeah, exactly.

0:19:56.400 --> 0:19:58.520
<v Speaker 1>He can't say I'm gonna send you a mural, just

0:19:58.680 --> 0:20:01.720
<v Speaker 1>tape tape it up. S me a wall. And he

0:20:01.880 --> 0:20:05.600
<v Speaker 1>had her in tow which I get the impression like

0:20:05.680 --> 0:20:08.480
<v Speaker 1>sometimes she was a willing accomplice and other times she

0:20:08.720 --> 0:20:12.200
<v Speaker 1>was very much homesick for Mexico. Yeah, she for sure

0:20:12.280 --> 0:20:16.480
<v Speaker 1>miss Mexico. I know she did enjoy her time in

0:20:16.520 --> 0:20:17.919
<v Speaker 1>like in New York and said, I don't know if

0:20:17.960 --> 0:20:21.719
<v Speaker 1>she loved Detroit. I don't know if he didn't. They

0:20:21.760 --> 0:20:24.080
<v Speaker 1>moved to Detroit while he worked for the Detroit Institute

0:20:24.080 --> 0:20:27.320
<v Speaker 1>for the Arts, but very famously in the nineteen thirties

0:20:27.320 --> 0:20:29.840
<v Speaker 1>they lived in New York City when Diego Rivero was

0:20:29.840 --> 0:20:32.880
<v Speaker 1>commissioned by Nelson Rockefeller, who in the movie The Great

0:20:32.880 --> 0:20:37.680
<v Speaker 1>Movie by Julie Taymore and Samahayak was played by Edward Norton.

0:20:38.240 --> 0:20:41.280
<v Speaker 1>Oh really, yeah, have you not seen that movie? Man?

0:20:41.320 --> 0:20:45.679
<v Speaker 1>It's good and once you hear the h especially with

0:20:45.720 --> 0:20:48.840
<v Speaker 1>the backstory now with the Weinstein stuff coming out. I mean,

0:20:48.920 --> 0:20:52.439
<v Speaker 1>this was her passion, Samahaiaks, passion project for her life,

0:20:53.000 --> 0:20:57.280
<v Speaker 1>and uh, he put her through a living hell. It's horrifying.

0:20:57.280 --> 0:20:58.639
<v Speaker 1>I think it was. It might have been in New

0:20:58.680 --> 0:21:00.600
<v Speaker 1>York or New York Times had a great iCal about it.

0:21:00.640 --> 0:21:04.000
<v Speaker 1>But um or that she wrote, I think, But um,

0:21:04.040 --> 0:21:05.800
<v Speaker 1>I think what got me on that was Edward Norton

0:21:06.400 --> 0:21:10.280
<v Speaker 1>was he rewrote the script for like for free because

0:21:10.280 --> 0:21:13.239
<v Speaker 1>basically one of the Harvey's pick things was like, I'm

0:21:13.240 --> 0:21:15.480
<v Speaker 1>not gonna give you any money for this, Like you

0:21:15.520 --> 0:21:18.320
<v Speaker 1>gotta do it for almost nothing. Everyone's gonna have to

0:21:18.320 --> 0:21:20.679
<v Speaker 1>work for free. So she got everyone to work for

0:21:20.680 --> 0:21:24.040
<v Speaker 1>free or you know scale Uh from Edward Norton to

0:21:24.160 --> 0:21:28.000
<v Speaker 1>Julie Taymore, the Great director, and um he he demanded

0:21:28.040 --> 0:21:33.760
<v Speaker 1>a lesbian sex scene like literally was like, I'm not

0:21:33.800 --> 0:21:37.080
<v Speaker 1>doing this unless you do that. And uh, she was bisexual,

0:21:37.160 --> 0:21:39.600
<v Speaker 1>so it wasn't like he created this out of thin air.

0:21:40.400 --> 0:21:42.880
<v Speaker 1>But he's like, I want to see this on screen. Um.

0:21:42.960 --> 0:21:46.439
<v Speaker 1>She supposedly had affairs with George O'Keefe and Josephine Baker

0:21:47.080 --> 0:21:50.920
<v Speaker 1>and all these famous female performers and artists, but she

0:21:51.240 --> 0:21:53.280
<v Speaker 1>did not do that. I think she. I think she

0:21:53.320 --> 0:21:55.480
<v Speaker 1>had a kissing scene with Ashley Judd at a party.

0:21:55.640 --> 0:21:58.159
<v Speaker 1>Who is actually Judd supposed to be? I can't remember.

0:21:59.560 --> 0:22:02.000
<v Speaker 1>I wou'd see it in a minute. Emily's mad that

0:22:02.040 --> 0:22:04.240
<v Speaker 1>she's not here right now. I told her about this

0:22:04.280 --> 0:22:05.800
<v Speaker 1>last night. She's like, why am I not on? It's

0:22:05.840 --> 0:22:09.800
<v Speaker 1>like we don't have guests. She's like, I'm a guest

0:22:09.800 --> 0:22:11.480
<v Speaker 1>on Movie Crush. I was like, well that's a different

0:22:11.800 --> 0:22:16.240
<v Speaker 1>podcast altogether. Yeah. Um, she will pick this apart, trust me.

0:22:16.680 --> 0:22:18.560
<v Speaker 1>But anyway, she had a devil of a time getting

0:22:18.560 --> 0:22:20.480
<v Speaker 1>that movie made. Uh, and it went on to great

0:22:20.480 --> 0:22:24.200
<v Speaker 1>success and I think still is the highest grossing art

0:22:24.240 --> 0:22:26.560
<v Speaker 1>based movie of all time. Yeah, that's what I saw.

0:22:27.720 --> 0:22:30.200
<v Speaker 1>So anyway, they were in New York City because Nelson

0:22:30.280 --> 0:22:34.720
<v Speaker 1>Rockefeller displayed Byward. Norton had commissioned Diego Rivera to paint

0:22:35.320 --> 0:22:38.800
<v Speaker 1>a mural at Rockefeller Center called Man at the Crossroads,

0:22:38.960 --> 0:22:43.119
<v Speaker 1>and in it it was one of these big um

0:22:43.400 --> 0:22:46.600
<v Speaker 1>almost looked like a Sergeant Pepper's cover, you know, people

0:22:46.640 --> 0:22:50.600
<v Speaker 1>all over the place. And Um, he snuck in Vladimir

0:22:50.680 --> 0:22:53.720
<v Speaker 1>Lenin in the painting. So I have a question about that.

0:22:53.800 --> 0:22:55.720
<v Speaker 1>Did he sneak it in and was caught or was

0:22:55.800 --> 0:22:58.119
<v Speaker 1>he like And also, by the way, I've included this

0:22:58.160 --> 0:23:03.040
<v Speaker 1>great man Lenin, he snuck it in um as a response. Uh,

0:23:03.520 --> 0:23:07.040
<v Speaker 1>it's a very pointed response to something. And I can't

0:23:07.040 --> 0:23:10.320
<v Speaker 1>remember exactly what it was, but it wasn't originally in

0:23:10.359 --> 0:23:11.600
<v Speaker 1>the plan and I don't know if it was in

0:23:11.600 --> 0:23:14.240
<v Speaker 1>the original sketch. I might be getting this slightly wrong,

0:23:14.440 --> 0:23:17.359
<v Speaker 1>but at any rate, he got linen in there, and

0:23:17.640 --> 0:23:20.960
<v Speaker 1>um Rockefeller was not happy. I mean, I think it

0:23:21.000 --> 0:23:23.679
<v Speaker 1>was more of his family, like he he stayed, his

0:23:23.760 --> 0:23:26.440
<v Speaker 1>friend wasn't like. He was like, I hate you your

0:23:26.480 --> 0:23:31.360
<v Speaker 1>big poopy bands go back to Mexico. But he stopped

0:23:31.400 --> 0:23:35.000
<v Speaker 1>the work. That painting was mural was removed and destroyed,

0:23:35.560 --> 0:23:42.080
<v Speaker 1>but eventually was it destroyed. Yeah, man, pretty sad, but

0:23:42.160 --> 0:23:47.840
<v Speaker 1>eventually um Rivera recreated that a little smaller in Mexico

0:23:47.920 --> 0:23:51.400
<v Speaker 1>City and changed the title to Man Controller of the Universe.

0:23:52.240 --> 0:23:56.720
<v Speaker 1>And then in parenthes he's up yours. Rockefeller maybe so,

0:23:56.800 --> 0:23:59.120
<v Speaker 1>but that just sort of puts a button on them.

0:23:59.200 --> 0:24:01.320
<v Speaker 1>Moving kind of all around the United States for a while.

0:24:01.359 --> 0:24:04.320
<v Speaker 1>And this is when she was being introduced to high

0:24:04.359 --> 0:24:08.800
<v Speaker 1>society and and uh everyone from like I said, Josephine

0:24:08.800 --> 0:24:12.640
<v Speaker 1>Baker too, to Trotsky and she was she was working

0:24:13.119 --> 0:24:15.000
<v Speaker 1>at the time to write It's what. It wasn't like

0:24:15.080 --> 0:24:17.360
<v Speaker 1>she was just hanging out. She was still And one

0:24:17.400 --> 0:24:21.440
<v Speaker 1>of the paintings she um did was UM the Suicide

0:24:21.440 --> 0:24:24.159
<v Speaker 1>of Dorothy Hale. Yeah, that was interesting. So she was

0:24:24.200 --> 0:24:29.840
<v Speaker 1>commissioned by Claire loose Booth little Deuce Coope. She was

0:24:29.920 --> 0:24:33.320
<v Speaker 1>the she was from the publishing family of Time. I

0:24:33.359 --> 0:24:36.080
<v Speaker 1>think she published Vanity Fair something like that. She's a

0:24:36.119 --> 0:24:39.920
<v Speaker 1>great publishing magnate. Um And this was back in the thirties,

0:24:40.320 --> 0:24:42.960
<v Speaker 1>and she was friends with Dorothy Hale, who was a

0:24:42.960 --> 0:24:46.679
<v Speaker 1>an actress, a well known actress who had hit on

0:24:46.760 --> 0:24:49.120
<v Speaker 1>hard times financially and was having to live on the

0:24:49.520 --> 0:24:52.480
<v Speaker 1>um generosity of her friends. And she climbed up to

0:24:52.560 --> 0:24:55.119
<v Speaker 1>the highest point of the high rise that she lived

0:24:55.119 --> 0:24:59.600
<v Speaker 1>off of inn jumped to her death and devastated Claire

0:25:00.440 --> 0:25:04.240
<v Speaker 1>booth Loose and I hope I get that right at

0:25:04.320 --> 0:25:07.160
<v Speaker 1>least somewhere, and who was her friend? And she commissioned

0:25:07.640 --> 0:25:11.040
<v Speaker 1>fred To Calo to Um to do a painting, which

0:25:11.040 --> 0:25:13.399
<v Speaker 1>she thought this would be a portrait to commemorate my

0:25:13.440 --> 0:25:17.320
<v Speaker 1>friend Dorothy. That's not at all what free to Callo did. Yeah,

0:25:17.320 --> 0:25:20.119
<v Speaker 1>I don't know she realized who she was commissioning, fully,

0:25:20.359 --> 0:25:24.040
<v Speaker 1>like have you seen her work? Right? So what freed

0:25:24.080 --> 0:25:26.439
<v Speaker 1>to Calo did was she took this assignment and and

0:25:26.760 --> 0:25:33.720
<v Speaker 1>commemorated not Dorothy Hale necessarily, but Dorothy Hail's death by suicide.

0:25:34.119 --> 0:25:37.439
<v Speaker 1>It's it's almost like a step by step diagram. It

0:25:37.520 --> 0:25:39.920
<v Speaker 1>shows her at the top of the building in mid air,

0:25:40.200 --> 0:25:43.560
<v Speaker 1>and then in the foreground. Largest of all is her broken,

0:25:43.680 --> 0:25:46.800
<v Speaker 1>bloody body on the ground. But it has this very

0:25:46.920 --> 0:25:52.399
<v Speaker 1>somber um text caption basically across the bottom in a

0:25:52.480 --> 0:25:56.080
<v Speaker 1>scroll that explains what this is and that's how sad

0:25:56.160 --> 0:25:59.280
<v Speaker 1>this is um and that it was the suicide of

0:25:59.320 --> 0:26:04.000
<v Speaker 1>Dorothy Hale, and so um. Apparently when Claire uh booth

0:26:04.080 --> 0:26:07.080
<v Speaker 1>Loose got got this, she unwrapped it and was like

0:26:07.560 --> 0:26:11.159
<v Speaker 1>what is this gag? And she was going to destroy

0:26:11.200 --> 0:26:13.120
<v Speaker 1>it and friends talked her out of it. So it's

0:26:13.160 --> 0:26:15.560
<v Speaker 1>still in existence today. From what I understand, I think

0:26:15.560 --> 0:26:20.080
<v Speaker 1>the booth or loose family has has the uh the

0:26:20.119 --> 0:26:23.199
<v Speaker 1>painting in their possession now. Yeah, and that's uh just

0:26:23.280 --> 0:26:29.960
<v Speaker 1>emblematic of Frieda's outlook, which was like she was no bs,

0:26:30.240 --> 0:26:32.960
<v Speaker 1>She's like, I'm gonna show you what's real. So let

0:26:32.960 --> 0:26:36.439
<v Speaker 1>me ask you this. You're the Frieda expert here between

0:26:36.440 --> 0:26:39.560
<v Speaker 1>the two of us. Was she doing that like like

0:26:39.680 --> 0:26:42.639
<v Speaker 1>I'm all in your face, Claire, this is the reality

0:26:42.680 --> 0:26:46.280
<v Speaker 1>of your friend's suicide? Or was it she this is

0:26:46.800 --> 0:26:50.560
<v Speaker 1>this was her expression of emotion that she thought Claire,

0:26:51.119 --> 0:26:54.600
<v Speaker 1>I'm not saying her last two names, would would would

0:26:54.720 --> 0:26:57.199
<v Speaker 1>kind of vibe on and like this would be the

0:26:57.240 --> 0:27:00.800
<v Speaker 1>greatest commemoration of her friend. Which one. Well, I don't

0:27:00.800 --> 0:27:02.600
<v Speaker 1>think it was all in your face. I think she

0:27:02.680 --> 0:27:05.480
<v Speaker 1>thought that was the honesty. I think she thought that

0:27:05.520 --> 0:27:09.160
<v Speaker 1>was the most honest work. But I'm not sure whether

0:27:09.280 --> 0:27:11.639
<v Speaker 1>or not she considered like, wait a minute, is she

0:27:11.680 --> 0:27:14.359
<v Speaker 1>gonna hate this? Okay, so she wasn't like it doesn't

0:27:14.400 --> 0:27:16.600
<v Speaker 1>matter she hates it. This is the This is the

0:27:16.640 --> 0:27:20.919
<v Speaker 1>most honest work. So even if this psychologically destroys her,

0:27:21.240 --> 0:27:24.200
<v Speaker 1>Claire needs it tough enough. I'm very curious. That's a

0:27:24.200 --> 0:27:26.240
<v Speaker 1>good question. I don't know. I understand a lot of

0:27:26.280 --> 0:27:29.000
<v Speaker 1>the symbolism and her paintings now, but I don't necessarily

0:27:29.040 --> 0:27:31.760
<v Speaker 1>I haven't hit upon her motivation or personality quite yet.

0:27:31.800 --> 0:27:33.679
<v Speaker 1>Family is gonna be so mad because she read her

0:27:33.720 --> 0:27:36.440
<v Speaker 1>eight page biography and she's probably like, oh, we'll read

0:27:36.440 --> 0:27:41.320
<v Speaker 1>page six, jerks, and that will explain at all. Sorry again, Emily,

0:27:41.720 --> 0:27:44.280
<v Speaker 1>that's right. You want to take a break, Yeah, let's

0:27:44.320 --> 0:28:07.840
<v Speaker 1>do okay, alright, Chuck. So one other thing, very big

0:28:07.880 --> 0:28:13.040
<v Speaker 1>thing happened to her in Detroit, actually, um, and she

0:28:13.080 --> 0:28:16.120
<v Speaker 1>has a painting that commemorates it, called henry Ford Hospital.

0:28:16.760 --> 0:28:21.840
<v Speaker 1>She had her second miscarriage, and this her miscarriages. I

0:28:21.840 --> 0:28:28.280
<v Speaker 1>believe she just head the two. Um. But that's all right. Um.

0:28:28.480 --> 0:28:32.840
<v Speaker 1>She those would affect and influence her work for the

0:28:32.960 --> 0:28:37.080
<v Speaker 1>rest of her life. They deeply impacted her, and not

0:28:37.240 --> 0:28:40.960
<v Speaker 1>just emotionally impacted her. But they were themed, she explored,

0:28:41.080 --> 0:28:42.920
<v Speaker 1>you know, like, can you still be a mother to

0:28:43.120 --> 0:28:46.320
<v Speaker 1>other things even if you don't bear your own children?

0:28:46.560 --> 0:28:49.560
<v Speaker 1>Can you, um, you know, like like how does it

0:28:49.600 --> 0:28:52.160
<v Speaker 1>affect your femininity? That's it's it's a theme that really

0:28:52.160 --> 0:28:56.640
<v Speaker 1>affected her and she explored and it really is just

0:28:56.960 --> 0:29:02.080
<v Speaker 1>right there in broad bold colors in henry Ford Hospital. Yeah.

0:29:02.080 --> 0:29:04.840
<v Speaker 1>I mean she she very famously had was a mother

0:29:04.920 --> 0:29:10.520
<v Speaker 1>too many animals. She had spider monkeys, she had dogs, cats, birds,

0:29:10.760 --> 0:29:14.360
<v Speaker 1>she had a pet deer um all at her at

0:29:14.360 --> 0:29:17.120
<v Speaker 1>her house. We have a great children's book called that

0:29:17.120 --> 0:29:20.640
<v Speaker 1>I recommend called Free to Calla and her animalitos. Uh

0:29:20.720 --> 0:29:24.240
<v Speaker 1>that's really really fun for kids, but um, and adults actually,

0:29:24.760 --> 0:29:27.200
<v Speaker 1>But yeah, she really wanted to be a mother and

0:29:27.240 --> 0:29:30.240
<v Speaker 1>it was devastating to her that she couldn't be. Uh.

0:29:30.280 --> 0:29:32.240
<v Speaker 1>And like you said, like with all her work so

0:29:32.360 --> 0:29:36.720
<v Speaker 1>raw and laid bare. Um and and I assume most

0:29:36.720 --> 0:29:39.200
<v Speaker 1>people have seen her work. Like we'll talk about some

0:29:39.240 --> 0:29:40.840
<v Speaker 1>of it a little bit. It wouldn't hurt to kind

0:29:40.880 --> 0:29:43.120
<v Speaker 1>of brush up on these if you have a couple

0:29:43.160 --> 0:29:46.160
<v Speaker 1>of tabs handy while we're talking. Yeah, but lots of blood,

0:29:46.480 --> 0:29:51.800
<v Speaker 1>lots of um exposed organs, blood vessels connecting her to things. Yeah,

0:29:51.880 --> 0:29:55.120
<v Speaker 1>it's just um, it's like you said, you don't have

0:29:55.160 --> 0:29:58.760
<v Speaker 1>to work hard to understand what she's getting at when

0:29:58.840 --> 0:30:01.800
<v Speaker 1>there's a painting of her with her like body cavity

0:30:01.840 --> 0:30:06.760
<v Speaker 1>split open and like a baby bunny where her womb is. Actually,

0:30:06.800 --> 0:30:08.320
<v Speaker 1>I think I just made that part. If that's a

0:30:08.400 --> 0:30:11.160
<v Speaker 1>great idea. I like that imagery. It wouldn't surprise me

0:30:11.200 --> 0:30:13.800
<v Speaker 1>if that was one of her paintings, you know. Um,

0:30:13.840 --> 0:30:18.240
<v Speaker 1>there was a lot of pain, physical pain depicted in

0:30:18.360 --> 0:30:21.800
<v Speaker 1>her paintings. And this is another huge theme or motif

0:30:21.960 --> 0:30:24.680
<v Speaker 1>or whatever you want to call it, um to where

0:30:24.680 --> 0:30:27.640
<v Speaker 1>her the physical pain depicted. And again, remember she's painting

0:30:27.640 --> 0:30:33.280
<v Speaker 1>herself almost exclusively here. Um. Her emotional pain is depicted

0:30:33.320 --> 0:30:35.840
<v Speaker 1>as physical pain, so like nails all over her body,

0:30:36.440 --> 0:30:40.120
<v Speaker 1>or she has a huge terror going uh vertically up

0:30:40.120 --> 0:30:42.800
<v Speaker 1>the middle of her body, and her spine is a

0:30:42.840 --> 0:30:48.000
<v Speaker 1>doric column that's crumbling. Just just physical imagery that it

0:30:48.040 --> 0:30:50.400
<v Speaker 1>did depict her physical pain too. She was always in

0:30:50.520 --> 0:30:53.400
<v Speaker 1>a lot of pain throughout her life physically, but she

0:30:53.440 --> 0:30:56.080
<v Speaker 1>also suffered a lot of emotional and psychic pain as well,

0:30:56.360 --> 0:31:00.160
<v Speaker 1>and all of it was combined as physical pain an

0:31:00.160 --> 0:31:04.520
<v Speaker 1>evisceration and being laid open in her paintings. Yeah, and uh,

0:31:04.640 --> 0:31:08.960
<v Speaker 1>eventually she would meet Andre U bet is it? Is

0:31:08.960 --> 0:31:13.880
<v Speaker 1>it Beton or Breton, the father of surrealism. Yeah, and

0:31:13.920 --> 0:31:17.360
<v Speaker 1>he is the one. Uh. She actually um in a

0:31:17.360 --> 0:31:20.280
<v Speaker 1>funny way, kind of said she never considered herself as

0:31:20.280 --> 0:31:23.720
<v Speaker 1>surrealist until Andre Breton came to Mexico and told me

0:31:23.760 --> 0:31:26.400
<v Speaker 1>I was one. Really, I do not know whether my

0:31:26.400 --> 0:31:28.600
<v Speaker 1>paintings are surrealist or not, but I do know that

0:31:28.640 --> 0:31:31.960
<v Speaker 1>they are the Frankist expression of myself. But she is.

0:31:33.120 --> 0:31:35.480
<v Speaker 1>If you want to classify or art wise, surrealism or

0:31:35.480 --> 0:31:39.160
<v Speaker 1>magic surrealism is uh, definitely categories that her. A lot

0:31:39.200 --> 0:31:41.640
<v Speaker 1>of her work fits under. So I saw a m

0:31:42.160 --> 0:31:44.200
<v Speaker 1>I mean, we used a lot of sites for this.

0:31:44.280 --> 0:31:46.200
<v Speaker 1>I can't remember which when it came from. But I

0:31:46.240 --> 0:31:49.840
<v Speaker 1>saw a description of her work as um that she

0:31:49.960 --> 0:31:54.680
<v Speaker 1>was an individualist, which means like she was her own thing.

0:31:54.880 --> 0:31:58.760
<v Speaker 1>She may have had influences, and she definitely had Mexican

0:31:58.800 --> 0:32:01.440
<v Speaker 1>indigenous art in fluence. It was a huge thing that

0:32:01.480 --> 0:32:05.920
<v Speaker 1>really drives like the visual um impact of her paintings.

0:32:05.960 --> 0:32:08.280
<v Speaker 1>But as far as like schools of art go or

0:32:08.360 --> 0:32:16.200
<v Speaker 1>movements she was, she tapped into primitivism, indigenism, magic realism, surrealism,

0:32:16.280 --> 0:32:20.760
<v Speaker 1>and um again, all of it combined to make her

0:32:20.800 --> 0:32:26.360
<v Speaker 1>an individualist artist. Well, yeah, you mentioned the her indigenous

0:32:26.400 --> 0:32:29.160
<v Speaker 1>roots and and she very much and and I think

0:32:29.360 --> 0:32:32.800
<v Speaker 1>Diego Rivera's one who really encouraged her to embrace that,

0:32:32.880 --> 0:32:36.280
<v Speaker 1>and she started she kind of I mean, she wore

0:32:36.280 --> 0:32:38.040
<v Speaker 1>suits and stuff sometimes since she was a kid, but

0:32:38.600 --> 0:32:41.720
<v Speaker 1>she wore more European style of clothing when she was younger,

0:32:42.080 --> 0:32:47.360
<v Speaker 1>and then really started wearing more Mexican indigenous stuff. Yeah,

0:32:47.400 --> 0:32:51.960
<v Speaker 1>really colorful stuff. And uh, most famously captured in maybe

0:32:52.000 --> 0:32:55.600
<v Speaker 1>her most famous painting, The Two Fridas in N. Nine.

0:32:55.600 --> 0:32:59.920
<v Speaker 1>It's the double self portrait that on one side shows

0:33:00.080 --> 0:33:03.560
<v Speaker 1>or in the more modern European clothing um and then

0:33:03.560 --> 0:33:07.480
<v Speaker 1>on the other side it's her in her more indigenous

0:33:07.560 --> 0:33:10.600
<v Speaker 1>Mexican clothing, and both of them have their hearts exposed.

0:33:10.920 --> 0:33:13.600
<v Speaker 1>I think on the European side, the arteries are severed

0:33:13.640 --> 0:33:18.120
<v Speaker 1>in things. On the Mexican side, it's intact, the heart

0:33:18.160 --> 0:33:22.480
<v Speaker 1>is intact. Really really pretty, it is very pretty. A

0:33:22.520 --> 0:33:25.080
<v Speaker 1>lot of her work was pretty. Some of it sometimes

0:33:25.120 --> 0:33:28.480
<v Speaker 1>it's like it looks very primitive, and then other times

0:33:28.560 --> 0:33:31.640
<v Speaker 1>they're in some details like the eyes of a cat

0:33:32.240 --> 0:33:34.560
<v Speaker 1>or something like that, you're like, wow, that's really it's

0:33:34.680 --> 0:33:38.720
<v Speaker 1>very like almost photo realistic. Yeah, so it's it's very

0:33:38.840 --> 0:33:42.840
<v Speaker 1>weird to me how her Um, I don't want to

0:33:42.840 --> 0:33:46.880
<v Speaker 1>say her talent, but her Yeah, her visual talents kind

0:33:46.880 --> 0:33:50.200
<v Speaker 1>of we're applied in some places and not not as

0:33:50.840 --> 0:33:53.960
<v Speaker 1>much in others. And I'm wondering what the details were

0:33:54.040 --> 0:33:56.960
<v Speaker 1>that that made her make those decisions. Yeah, she included

0:33:56.960 --> 0:33:58.600
<v Speaker 1>her pets and a lot of her paintings. I think

0:33:59.080 --> 0:34:02.080
<v Speaker 1>fifty five of her paintings featured her pets. Um some

0:34:02.200 --> 0:34:05.080
<v Speaker 1>very famous ones with her her spider monkeys and birds

0:34:05.080 --> 0:34:07.840
<v Speaker 1>on her shoulder. My favorite one is called What the

0:34:07.840 --> 0:34:12.040
<v Speaker 1>Water Gave Me, Um. It's a it's a oh, I guess.

0:34:12.080 --> 0:34:13.759
<v Speaker 1>This is a self portrait in a way of her

0:34:14.320 --> 0:34:16.560
<v Speaker 1>in a bathtub from her vantage point, so you just

0:34:16.600 --> 0:34:18.840
<v Speaker 1>see her her feet and toes sticking out at the

0:34:18.920 --> 0:34:21.360
<v Speaker 1>end of the tub, and then the water is just

0:34:21.480 --> 0:34:26.759
<v Speaker 1>full of all kinds of other stuff, Like it's really nice,

0:34:26.760 --> 0:34:29.160
<v Speaker 1>like there's a volcano with the Empire State building coming

0:34:29.160 --> 0:34:31.960
<v Speaker 1>out of the center of it, with like gangrenous lava

0:34:32.040 --> 0:34:35.000
<v Speaker 1>flowing over the sides. Because she would get gang green

0:34:35.120 --> 0:34:38.359
<v Speaker 1>later in life, just another physical malady and had one

0:34:38.360 --> 0:34:42.040
<v Speaker 1>of her legs amputated below the knee. Uh. There was

0:34:42.360 --> 0:34:46.720
<v Speaker 1>a dead bird, a one legged bird, um being pierced

0:34:46.760 --> 0:34:49.600
<v Speaker 1>by a tree. There's a nude woman floating next to

0:34:49.640 --> 0:34:53.279
<v Speaker 1>her dress looks like her parents on their wedding day.

0:34:53.680 --> 0:34:56.960
<v Speaker 1>And it's it's all like in the bathtub water um

0:34:56.960 --> 0:34:59.919
<v Speaker 1>with her feet and toes sticking out. One toe of course,

0:35:00.120 --> 0:35:03.800
<v Speaker 1>is is mangled and cracked and bloody. Um. There was

0:35:03.840 --> 0:35:07.000
<v Speaker 1>so much gruesome, so many grewesome aspects to so much

0:35:07.040 --> 0:35:10.319
<v Speaker 1>of her work. But um, it kind of punches you

0:35:10.360 --> 0:35:12.919
<v Speaker 1>in the gut very much like it's. To see these

0:35:12.920 --> 0:35:16.160
<v Speaker 1>things in person is like, especially if you're a fan

0:35:16.200 --> 0:35:18.120
<v Speaker 1>of her work, to actually stand in front of one

0:35:18.160 --> 0:35:21.319
<v Speaker 1>of them and put your nose six inches from it

0:35:21.400 --> 0:35:27.399
<v Speaker 1>is is really pretty pretty astounding. Do not sneeze, um,

0:35:27.440 --> 0:35:29.320
<v Speaker 1>do not sneeze on the art. They have signs everywhere

0:35:29.560 --> 0:35:33.359
<v Speaker 1>this This article our hows to works article points out

0:35:33.360 --> 0:35:37.640
<v Speaker 1>the Wounded Deer and My Birth both in the same paragraph. Here.

0:35:37.800 --> 0:35:40.200
<v Speaker 1>Those are two of my favorites. Actually, My birth is

0:35:40.280 --> 0:35:44.960
<v Speaker 1>so just just twisted, but it's also really simple and straightforward.

0:35:45.480 --> 0:35:48.800
<v Speaker 1>It's her mother, but you assume it's her mother. The

0:35:49.080 --> 0:35:52.319
<v Speaker 1>sheets actually placed over her mother's head, so you never

0:35:52.360 --> 0:35:54.960
<v Speaker 1>see her face, and you also kind of get the

0:35:55.000 --> 0:35:58.480
<v Speaker 1>impression that it could be freed to as well. Um,

0:35:58.520 --> 0:36:02.399
<v Speaker 1>but it's Frieda's head, grown up, freeda like coming out

0:36:02.400 --> 0:36:05.520
<v Speaker 1>of the birth canal, the womb as it were. I

0:36:05.560 --> 0:36:07.960
<v Speaker 1>feel like such like a nineteenth century like white guy

0:36:08.120 --> 0:36:11.600
<v Speaker 1>calling it a womb, you know, but um, yeah, it

0:36:11.680 --> 0:36:15.160
<v Speaker 1>is graphic, but it's also it looks it kind of

0:36:17.239 --> 0:36:20.360
<v Speaker 1>I don't know. I don't want to armchair critique it

0:36:20.480 --> 0:36:23.239
<v Speaker 1>or anything like that. I just like that one. Um,

0:36:23.320 --> 0:36:26.799
<v Speaker 1>and then uh, the wounded Deer I think is awesome too. Yeah,

0:36:26.840 --> 0:36:31.000
<v Speaker 1>we should probably apologize to every art historian and critic,

0:36:31.600 --> 0:36:33.600
<v Speaker 1>Like when it comes to art I love and I

0:36:33.640 --> 0:36:36.239
<v Speaker 1>know you do too, love going to museums, and you're

0:36:36.280 --> 0:36:39.759
<v Speaker 1>probably where I am, which is I just like what

0:36:39.880 --> 0:36:42.680
<v Speaker 1>I like, Like, you know, if it looks nice to me,

0:36:43.480 --> 0:36:46.160
<v Speaker 1>and nice doesn't mean oh that's pretty, but you know,

0:36:47.040 --> 0:36:48.840
<v Speaker 1>if if it touches me in some way, I'm like,

0:36:49.040 --> 0:36:52.719
<v Speaker 1>I like that. Sure, I don't supposed to do. I

0:36:52.800 --> 0:36:55.640
<v Speaker 1>enjoy reading the placards and then understanding a bit more

0:36:55.640 --> 0:36:59.200
<v Speaker 1>behind it. But I'm definitely not some art historian or

0:36:59.280 --> 0:37:03.560
<v Speaker 1>critic all I do appreciate being having art explained to

0:37:03.600 --> 0:37:06.120
<v Speaker 1>me by our historians and by people who know, like

0:37:06.200 --> 0:37:09.400
<v Speaker 1>Sister Wendy that whole series from the eighties or nineties.

0:37:10.320 --> 0:37:12.839
<v Speaker 1>Oh Man, I've told you about before. She's this nun

0:37:12.920 --> 0:37:15.279
<v Speaker 1>who understands art better than anybody in the world. And

0:37:15.320 --> 0:37:17.640
<v Speaker 1>she had like a little PBS series for a while

0:37:17.640 --> 0:37:20.600
<v Speaker 1>where she could just explain art and you just wanted

0:37:20.600 --> 0:37:23.359
<v Speaker 1>to watch the next episode so bad. But I think

0:37:23.400 --> 0:37:25.400
<v Speaker 1>the level that you and I are at that you

0:37:25.440 --> 0:37:28.800
<v Speaker 1>were characterizing is um. It was best captured on a

0:37:28.920 --> 0:37:33.680
<v Speaker 1>Simpsons where there was a museum audio tour that was

0:37:33.800 --> 0:37:37.200
<v Speaker 1>narrated by Melanie Griffith, and when they put it on

0:37:37.320 --> 0:37:40.000
<v Speaker 1>press play, She's like, Oh, let's see what's in this room. Oh,

0:37:40.080 --> 0:37:43.319
<v Speaker 1>this one's nice. I like this one. Oh look at

0:37:43.360 --> 0:37:46.359
<v Speaker 1>that one. What's in the next room. That's the level

0:37:46.400 --> 0:37:53.000
<v Speaker 1>we're at of understanding and appreciating art. Uh we We

0:37:53.120 --> 0:37:56.720
<v Speaker 1>briefly mentioned Leon Trotsky earlier, the exile communists and rival

0:37:56.760 --> 0:37:59.919
<v Speaker 1>to stalin Um. They were friends and and they host

0:38:00.040 --> 0:38:02.759
<v Speaker 1>did him. She and Diego Rivera at the Blue House

0:38:02.800 --> 0:38:08.040
<v Speaker 1>and supposedly had a brief affair Um. Although other people

0:38:08.040 --> 0:38:10.400
<v Speaker 1>have questioned whether or not was whether or not she

0:38:10.480 --> 0:38:14.520
<v Speaker 1>really did because of I think last year a lot

0:38:14.600 --> 0:38:19.080
<v Speaker 1>of her love letters to Diego were published. Yeah, and

0:38:19.080 --> 0:38:22.080
<v Speaker 1>it's really interesting their relationship. You know, they divorced in

0:38:22.160 --> 0:38:27.120
<v Speaker 1>nineteen thirty nine, um remarried the next year in nty

0:38:27.880 --> 0:38:31.319
<v Speaker 1>lived in separate houses. They both had their infidelities, but

0:38:31.520 --> 0:38:39.320
<v Speaker 1>UM a really interesting complex relationship um mentor student lovers, friends,

0:38:40.600 --> 0:38:46.120
<v Speaker 1>rivals as well in some cases. Uh, but it's hard

0:38:46.160 --> 0:38:50.839
<v Speaker 1>to obviously as an outsider encapsulated on a podcast, but

0:38:51.719 --> 0:38:57.000
<v Speaker 1>a very complex relationship full of respect and admiration on

0:38:57.040 --> 0:39:00.880
<v Speaker 1>some levels. But also uh, he was also that you know,

0:39:00.920 --> 0:39:04.400
<v Speaker 1>sort of of the time in Mexico and America, just

0:39:04.440 --> 0:39:09.440
<v Speaker 1>that male macho thing going on. I mean, for goodness sakes,

0:39:09.440 --> 0:39:11.040
<v Speaker 1>he tried to have his doctor write a note at

0:39:11.040 --> 0:39:15.399
<v Speaker 1>the city, was physically capable of being faithful. So let's

0:39:15.400 --> 0:39:19.239
<v Speaker 1>just say male dominant complex marriage and relationship. Well, I

0:39:19.280 --> 0:39:21.960
<v Speaker 1>also saw she could kind of, you know, put up

0:39:22.000 --> 0:39:24.799
<v Speaker 1>with his affairs and and she definitely had her own.

0:39:24.840 --> 0:39:29.080
<v Speaker 1>But supposedly he his affair with her younger sister like

0:39:29.320 --> 0:39:32.279
<v Speaker 1>really crushed her. Yeah, that that was I think led

0:39:32.320 --> 0:39:35.839
<v Speaker 1>directly to their divorce. Yeah, I could see that. Yeah,

0:39:35.920 --> 0:39:41.759
<v Speaker 1>that was uncool. Yeah, diego, Yeah, even with the doctor's note. Diego. Yeah.

0:39:41.800 --> 0:39:43.920
<v Speaker 1>And he died just a few years after her, I

0:39:43.960 --> 0:39:46.719
<v Speaker 1>believe right. I don't know when he died, actually, yeah,

0:39:46.719 --> 0:39:50.839
<v Speaker 1>I think he died three years after her. Um. By

0:39:51.000 --> 0:39:55.319
<v Speaker 1>the nineteen fifties, her health was really declining. She kept

0:39:55.320 --> 0:39:59.600
<v Speaker 1>having these surgeries, kept painting. Nineteen fifty three, she had

0:39:59.640 --> 0:40:03.759
<v Speaker 1>a so exhibition and man, she couldn't get around and

0:40:03.800 --> 0:40:06.799
<v Speaker 1>this is so great in the movie. They she wasn't

0:40:06.800 --> 0:40:08.239
<v Speaker 1>gonna go at all. And then they brought her in

0:40:08.280 --> 0:40:11.520
<v Speaker 1>by ambulance, brought in a four poster bed and that's

0:40:11.520 --> 0:40:13.360
<v Speaker 1>where she was in the gallery. She was laying in

0:40:13.400 --> 0:40:17.759
<v Speaker 1>bed like greeting people. Yeah, she received everyone while she

0:40:17.880 --> 0:40:23.000
<v Speaker 1>was in bed, bedridden. Pretty amazing. And she died a

0:40:23.080 --> 0:40:25.120
<v Speaker 1>couple of weeks later. I think, actually, I think the

0:40:25.239 --> 0:40:27.520
<v Speaker 1>last time she was seen in public she showed up

0:40:27.560 --> 0:40:31.839
<v Speaker 1>for a protest against the US back coup that overthrow

0:40:32.160 --> 0:40:35.799
<v Speaker 1>overthrew our bends in Guatemala. Yeah, Edward Burne's coming back

0:40:35.840 --> 0:40:40.560
<v Speaker 1>in right into the picture every time. Um. And she

0:40:40.560 --> 0:40:42.960
<v Speaker 1>she died again at age forty seven. Man, after a

0:40:43.000 --> 0:40:46.000
<v Speaker 1>life of pain, but a very very productive life of

0:40:46.040 --> 0:40:49.440
<v Speaker 1>pain too changed things quite a bit. Yeah, and with

0:40:49.480 --> 0:40:53.440
<v Speaker 1>her death, she um it's listed as pulmonary embolism, but

0:40:53.680 --> 0:40:57.320
<v Speaker 1>they never did an autopsy, and there it's generally believed

0:40:57.320 --> 0:41:02.240
<v Speaker 1>that she committed suicide by how pills her. Her personal

0:41:02.320 --> 0:41:07.600
<v Speaker 1>nurse said that she took twelve I think pain killers

0:41:08.440 --> 0:41:11.760
<v Speaker 1>when she knew that her max was seven, and earlier

0:41:11.800 --> 0:41:14.759
<v Speaker 1>that evening she had given Diego an anniversary present a

0:41:14.840 --> 0:41:18.520
<v Speaker 1>month early, which it all kind of adds up in

0:41:18.560 --> 0:41:23.080
<v Speaker 1>the chronic pain. And just you know, this was after polio,

0:41:23.320 --> 0:41:28.120
<v Speaker 1>after gang Green, after amputation, after pneumonia, after the bus accident,

0:41:28.200 --> 0:41:31.600
<v Speaker 1>after the bus accident, so um, yeah, she may have

0:41:31.680 --> 0:41:37.000
<v Speaker 1>just ended it understandably. So her when she died, like

0:41:37.040 --> 0:41:40.160
<v Speaker 1>you said, she was you know, fairly well known in

0:41:40.280 --> 0:41:43.680
<v Speaker 1>certain circles in the art world. But when she died,

0:41:43.680 --> 0:41:47.080
<v Speaker 1>her work kind of entered into obscurity. For a few decades,

0:41:47.280 --> 0:41:49.880
<v Speaker 1>it was dormant, and then yeah, it's well put and

0:41:49.920 --> 0:41:54.040
<v Speaker 1>then in the late seventies it was rediscovered. Um bye bye.

0:41:54.680 --> 0:41:58.520
<v Speaker 1>I guess nationalists you could call them art nationalists in

0:41:58.640 --> 0:42:03.120
<v Speaker 1>Mexico and she has been basically a pop icon ever since.

0:42:03.440 --> 0:42:07.440
<v Speaker 1>Once her story was really um established and built and

0:42:07.480 --> 0:42:11.120
<v Speaker 1>her work came back out. She's just never really left

0:42:11.400 --> 0:42:16.719
<v Speaker 1>the art scene. Since it's is pretty cool, very cool. Uh,

0:42:16.800 --> 0:42:19.239
<v Speaker 1>if she is in a museum near you go check

0:42:19.280 --> 0:42:21.080
<v Speaker 1>it out. Do you want to do you want to

0:42:21.080 --> 0:42:24.279
<v Speaker 1>talk about her famous eyebrow because I think this this

0:42:24.440 --> 0:42:28.240
<v Speaker 1>article did a really good job of addressing it. Yeah,

0:42:28.400 --> 0:42:32.439
<v Speaker 1>so she has she painted herself. She very famously had

0:42:32.520 --> 0:42:35.480
<v Speaker 1>what you would call a unibrow right, and she would

0:42:35.520 --> 0:42:38.440
<v Speaker 1>paint it a lot. But the article on how Stuff

0:42:38.480 --> 0:42:42.359
<v Speaker 1>Works quotes a um a book by Desmond Morris called

0:42:42.400 --> 0:42:45.040
<v Speaker 1>The Naked Woman a Study of the female body, and

0:42:45.120 --> 0:42:49.600
<v Speaker 1>he basically says Desmond Morris says that like women will

0:42:49.880 --> 0:42:56.680
<v Speaker 1>will pluck the their unibrow into nothingness like religiously, and

0:42:56.680 --> 0:42:59.839
<v Speaker 1>then it takes a woman who is above fashion too

0:43:00.800 --> 0:43:04.080
<v Speaker 1>to flaunt her unit brow. And that that perfectly that

0:43:04.080 --> 0:43:08.040
<v Speaker 1>that term above fashion perfectly encapsulates free to call o,

0:43:09.000 --> 0:43:11.440
<v Speaker 1>which I thought was a pretty cool thing because Desmond

0:43:11.480 --> 0:43:14.239
<v Speaker 1>Morris wasn't talking about free to callo. This article went

0:43:14.239 --> 0:43:15.879
<v Speaker 1>out of its way to go find that and bring

0:43:15.920 --> 0:43:19.400
<v Speaker 1>it in, and I think it analyzes her appreciation of

0:43:19.400 --> 0:43:22.520
<v Speaker 1>herself inside and out pretty well. Yeah, I mean, if

0:43:22.520 --> 0:43:24.400
<v Speaker 1>that was one thing that she did on her canvas

0:43:24.480 --> 0:43:28.200
<v Speaker 1>was say this is me in every single way, inside

0:43:28.200 --> 0:43:32.960
<v Speaker 1>and out and her her legacy in the art world,

0:43:33.040 --> 0:43:39.080
<v Speaker 1>especially among among women female artists, is like the the

0:43:39.080 --> 0:43:42.160
<v Speaker 1>one article we read City just can't overstate the importance

0:43:43.640 --> 0:43:49.560
<v Speaker 1>nice anything else. No, I apologize for all the mistakes. Yeah, sorry,

0:43:49.960 --> 0:43:52.279
<v Speaker 1>let's do Andy Warhol one. Next. I tried to do

0:43:52.360 --> 0:43:56.040
<v Speaker 1>right by this one. Okay, yeah, I was apologizing to

0:43:56.080 --> 0:44:00.960
<v Speaker 1>Emily specifically, right. Sorry. I'm uh. If you you want,

0:44:01.040 --> 0:44:02.920
<v Speaker 1>if you're not Emily and you want to know more

0:44:02.960 --> 0:44:07.200
<v Speaker 1>about free to call up. You can search her on

0:44:07.239 --> 0:44:09.560
<v Speaker 1>our website. There's actually a pretty decent little article, and

0:44:09.600 --> 0:44:11.520
<v Speaker 1>then there's tons of stuff. Go look at our art

0:44:11.560 --> 0:44:14.120
<v Speaker 1>all over the web and in person. And since I

0:44:14.160 --> 0:44:18.719
<v Speaker 1>said that's time for the listener mail, I'm gonna call

0:44:18.719 --> 0:44:22.520
<v Speaker 1>this mistakes in defense of us. Hey, guys, I'm sure

0:44:22.520 --> 0:44:24.120
<v Speaker 1>you get annoyed at the influx of emails you get

0:44:24.120 --> 0:44:26.480
<v Speaker 1>every time you make a mistake on your podcast. At

0:44:26.520 --> 0:44:29.000
<v Speaker 1>least that's what I gleaned from a few recent episodes,

0:44:29.480 --> 0:44:32.000
<v Speaker 1>where you anticipate people writing in and correcting you in

0:44:32.120 --> 0:44:36.440
<v Speaker 1>a fact how ironic. Um, I'm writing the counterbalance that

0:44:36.520 --> 0:44:39.120
<v Speaker 1>you guys do a fantastic job. I'm amazed that you

0:44:39.120 --> 0:44:41.239
<v Speaker 1>were able to cover topics in such detail, with such

0:44:41.480 --> 0:44:44.520
<v Speaker 1>high turnover rate, with how quickly produce episodes. I would

0:44:44.520 --> 0:44:47.760
<v Speaker 1>expect so many more mistakes or sloppy work. But not

0:44:47.760 --> 0:44:52.320
<v Speaker 1>not with you. Excuse me, no, not with you. I

0:44:52.600 --> 0:44:55.640
<v Speaker 1>like not not. UM. I'm starting my own podcast and

0:44:55.680 --> 0:44:58.840
<v Speaker 1>it's made me deeply appreciative how talented and gifted you

0:44:58.840 --> 0:45:00.840
<v Speaker 1>guys are as hosts. One day, I hope I'll be

0:45:00.840 --> 0:45:03.280
<v Speaker 1>as smooth and easy going as you are as always.

0:45:03.320 --> 0:45:06.040
<v Speaker 1>Please keep going with your work. You're my favorite podcast.

0:45:06.320 --> 0:45:08.080
<v Speaker 1>I also want to give a shout out, especially to

0:45:08.120 --> 0:45:11.160
<v Speaker 1>your Trail of Tears episodes. I recently went into the

0:45:11.239 --> 0:45:13.800
<v Speaker 1>archives and listened to those two. Uh. You told that

0:45:13.840 --> 0:45:16.160
<v Speaker 1>story beautifully. I think you really did it justice and

0:45:16.160 --> 0:45:18.480
<v Speaker 1>I would recommend that anyone who hasn't listened and go

0:45:18.560 --> 0:45:21.560
<v Speaker 1>back and listen anyway. Seriously, thank you for adding something

0:45:21.600 --> 0:45:25.880
<v Speaker 1>fun to my life. And that great name is from

0:45:25.960 --> 0:45:30.800
<v Speaker 1>uh Shelina Bathala or maybe Batala depending on how you

0:45:30.880 --> 0:45:33.920
<v Speaker 1>pronounce it. Uh. And she is the host, and I

0:45:33.960 --> 0:45:37.040
<v Speaker 1>asked her well you're a bad plugger of your own

0:45:37.040 --> 0:45:38.840
<v Speaker 1>work because I don't even know what your podcast is

0:45:38.840 --> 0:45:40.920
<v Speaker 1>going to be about. But it's coming soon. It's called

0:45:41.160 --> 0:45:46.359
<v Speaker 1>worth It. Yeah, good title. Yeah, everyone. That is how

0:45:46.400 --> 0:45:50.279
<v Speaker 1>you get your podcast plugged on stuff that's right. Whoa

0:45:50.280 --> 0:45:55.200
<v Speaker 1>whoa whoa breaking news. Yeah, came back to life. No.

0:45:55.360 --> 0:45:57.880
<v Speaker 1>I just got an email reply from Shelina and she said,

0:45:58.480 --> 0:46:01.480
<v Speaker 1>my podcast is about helping will create a life that

0:46:01.560 --> 0:46:03.960
<v Speaker 1>they're happy with. Nice. I think a lot of people

0:46:04.440 --> 0:46:07.600
<v Speaker 1>feel lost, don't feel connected to themselves, or feel scared

0:46:07.640 --> 0:46:09.720
<v Speaker 1>to do what they actually want to do, like pursue

0:46:09.719 --> 0:46:12.360
<v Speaker 1>a creative career or do something that makes far less money.

0:46:12.680 --> 0:46:14.680
<v Speaker 1>So I talked to people who have been there, who

0:46:14.760 --> 0:46:17.160
<v Speaker 1>are still there, and about their journey and what they

0:46:17.160 --> 0:46:19.160
<v Speaker 1>have done to create happiness in their life. It's gonna

0:46:19.160 --> 0:46:23.759
<v Speaker 1>be good. Yeah, good job. That sounds great. Yeah. Hurry up, Shelina. Yeah, okay,

0:46:23.960 --> 0:46:26.799
<v Speaker 1>best of luck. We're worth It coming soon to a

0:46:26.840 --> 0:46:31.440
<v Speaker 1>podcast distributors near gu wherever you find your podcast. All right, uh,

0:46:31.480 --> 0:46:33.279
<v Speaker 1>and if you want to get in touch with us,

0:46:33.360 --> 0:46:36.000
<v Speaker 1>you can tweet to us at s y s K podcast.

0:46:36.080 --> 0:46:38.880
<v Speaker 1>I'm at josh um Clark on Twitter and chuck that

0:46:38.920 --> 0:46:42.080
<v Speaker 1>movie crush on Twitter um. You can also hang out

0:46:42.080 --> 0:46:44.440
<v Speaker 1>with us on Facebook at Facebook dot com slash stuff

0:46:44.440 --> 0:46:47.160
<v Speaker 1>you Should Know or Facebook dot com slash Charles W.

0:46:47.280 --> 0:46:49.360
<v Speaker 1>Chok Bryant. You can send us all an email The

0:46:49.360 --> 0:46:51.759
<v Speaker 1>Stuff podcast at how stuff Works dot com, and there's

0:46:51.760 --> 0:46:54.120
<v Speaker 1>always joining Sutter home on the web Stuff you Should

0:46:54.160 --> 0:47:01.640
<v Speaker 1>Know dot com. For more miss and thousands of other topics,

0:47:01.800 --> 0:47:13.640
<v Speaker 1>visit how stuff Works dot com. M hm hm