Episode 814 | Lynn Maderich, Paul J. Flick, Gabriel Douglas, Indigo & Snow, Nooky Jones

[drums, bass, & horns play funky
R & B] [music only; no vocals] [acoustic guitar plays softly] ♪
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♪ (Lynn Maderich)
When I was a little girl, I was downtown Minneapolis
with my mother, and in the window
of a shop we walked by was a beautiful porcelain statue
of a rearing Arabian. I fell in love. ♪
♪ I have drawn as far back
as I can remember. And I know early on
I was trying to draw horses. I would put horses
into school assignments. ♪
♪ Horses are graceful, they’re powerful,
they’re very expressive, and purely artistically, drawing a horse in summer coat is like drawing a human nude–
you have to get it right. You’ve got to find
the bone structure, overlay it
with the tendon and the muscle, and then get
the movement correct. ♪
♪ I’m one of those little girls
who loved horses and never got over it. I’m an artist
who wears several hats. One is traditional oil painter, one is teacher
of traditional oil and one is commercial designer. I’ve always loved the Arabian
more than other breeds, a number of artists do,
it’s an exotic-looking, beautiful and graceful animal. What my imaginative paintings
portray is the ancient desert heritage
of the Bedouin, the culture that bred
the Arabian horse. In the academic world, imaginative painting just means
you’re doing a painting of something you never saw
in front of you, and I have found a joy
in creating those ideas that I finally realized was like
being a 10-year-old again. A 10-year-old doesn’t need a
photograph to start drawing. Give him crayons
and a piece of white paper and they’re off to the races. As humans, we respond to images. Pictures work on a couple of
levels, one is the narrative, what is the subject about,
and the other is the elements that an artist thinks about
in value and movement and line. The light
in this desert painting is entirely about the brilliance
of the desert sun and the dark, cool interior
of the tent, and trying to find a balance
that I can still bring my viewer to the focal point
of the man’s extended hand and the mare reaching
for the date. What I am looking for first
after the subject is light. If you couldn’t see it,
you couldn’t paint it, so it has to be
about light first. [bass, keyboard, and acoustic
guitar play in bright rhythm] I was an art major in college,
but at the point I went through, the focus was very much
on contemporary forms. And I tried for a while,
to see if I might be excited by something less realistic. What I found out is, no, what
really gets my chimes ringing is trying to replicate nature,
so when I found The Atelier, it really was the answer
to a dream that I’d had all of my life, someone to give me genuine
instruction in realist work. ♪
♪ The Atelier is a wonderful
little jewel in Minneapolis that teaches
classic academic painting. They use the methods that
go back to the old masters to help current students learn how to portray nature
very accurately. When I graduated
from The Atelier, Cyd and Dale asked if I would
continue with them as an instructor,
and I have been teaching in one way or another
with them ever since. Okay, welcome to another
afternoon of figure study. If you’re still looking
to find form, to find her gesture,
find her proportions, and as soon as you’ve got
the basics working, then start bringing in
those shadow shapes, ’cause remember,
you’re painting light. From the first time
I walked into The Atelier, I loved that the critiquing
was individual. So as I’m going around the room,
I will give 10 different critiques if I have
10 different students, because each one needs
something else. By the time you get to
the shoulder blades, you’re wrapping away
from the light. The Atelier training completely changed the way
I look at a subject and begin to portray it. Think in terms of planes,
that you’ve got a plane of light coming out,
you’re moving into her waist. Before The Atelier, no one
ever walked up and said, I feel the subject
could step off the canvas, or you’re lighting is amazing,
and now they do. I thought
it was going to be mostly
about learning how to paint. What they really did was
teach me how to see. ♪
♪ When I get the chance
to look at horses, particularly beautiful Arabians
in person, I am more likely to be studying
the light on them, the colors. I can’t trust the camera to
catch it, I’d rather try to memorize
what I’m seeing in life. I just love nature, and if I can do a painting
where I have gotten a reasonable facsimile
of nature, I’m very happy. Cedar Ridge Arabians is one of the best breeding
facilities in the country. Are most
of your babies born April? They certainly start
like mid January. (Lynn) I was lucky enough to
meet Dick and Lollie and Lara approximately 38 years ago when I was first getting started
in equine art. Here you go Lynn. So this is the frame, oh. Look beautiful?
Fabulous choice. To be able to do a painting
of Lara on Matoi, a stallion
that was so special to her and so successful for the farm probably is the high point of
the work I’ve done for them. I can do a painting,
and when the frame goes on, it becomes better; it suddenly
has this presentation to it. I am incredibly lucky to be
doing what I’m doing because there isn’t a point that you reach the pinnacle,
and you stop. You constantly grow, you constantly try
to challenge yourself. And I still surprise myself at what I’m able to put on a canvas. The ability to do what I can
do now is such a joy. [soft russssh of the wind] [steady beat of the drum] [playing
in bright, syncopated rhythm] ♪ Now who breaks those promises
oathbreaker ♪ ♪ Who breaks
those promises oathbreaker ♪ ♪ Who breaks them down ♪ There’s nothin’ left
to be found ♪ ♪ Oh who breaks
those promises oathbreaker ♪ ♪ Who sneaks away so quick
oathbreaker ♪ ♪ Who sneaks away
so fast oathbreaker ♪ ♪ Yeah who sneaks away ♪ From the very game
she played ♪ ♪ Oh who always gets away
oathbreaker ♪ ♪ Who took off the coat
oathbreaker ♪ ♪ Who took it all off
oathbreaker ♪ ♪ Yeah who took it all ♪ And who carried all ♪ Yeah who’s still left to plow
oathbreaker ♪ ♪ Who picks it all up
oathkeeper ♪ ♪ Who picks it up
every time oathkeeper ♪ ♪ Yes who lives by his word ♪ From anyone is heard ♪ Oh who picks it all up
oathkeeper ♪ ♪ Who breaks
those promises oathbreaker ♪ ♪ Who breaks those promises
oathbreaker ♪ ♪ Yeah who breaks them down ♪ Till there’s nothin’ left
to be found ♪ ♪ Oh who breaks
those promises ♪ ♪ Oathbreaker [acoustic guitar plays softly] [Paul J. Flick laughs] Time to
get dressed? That-a girl. I was in the Marine Corps
from ’62 till ’66. Ready for your walk? ♪
♪ One day I was leaving
back on the hill and I could hear bullets
going over. I was waiting to be told
where to go and what to do but with the wind blowing
and dust up and all of that I seen a yellow butterfly
floating through the tree line like a conductor was playing,
and I could totally focus on the beauty of that yellow,
the beauty of the moment. ♪
♪ It was
an emotionally-charged event that hit literally
every sense in your body, which I think real art
does do for people, that it brings them
to another space and time, which is a step away
from the here and now, where they see the beauty
and can mentally and spiritually
interact with it. ♪
♪ Okay Sandy, let’s go. ♪
♪ When I was in the Marine Corps, we traveled quite a few places all over the world, Japan and the Philippines and Hong Kong, and wherever I went
I would hunt out the art museums and visit them. The availability of art
may have been one of the big blessings of
the Marine Corps! [laughs] [drum and tambourine play] After the Marine Corps, I went
to the University in Minnesota, then I discovered Joseph Cornell
who would make boxes, and that’s what I’ve been
working on since. [percussion
& vibraphone play syncopated
jazz; bright in rhythm] ♪
♪ ♪
♪ ♪
♪ The box I make, if you walk by
and you just glance at it, it’s a haiku, but if you stop and look at it,
it becomes a poem, and if you step up to it,
it becomes a novel. And I see it draw people in and creates a narrative
in the viewer and that the box really isn’t
a box as a container, it becomes part
of their universe too. [electric guitar plays
funky rhythm & blues] ♪
♪ ♪
♪ Oh Paul, good morning. Why don’t you show me
some of the new bones? Okay, yeah, I do have
some new skeletons. (Paul)
Inspiration for my work
can come in several ways. Usually it’s just by me closing
my eyes, but it also can come by discovering found objects
out in the wild or found objects in a place
as humble as a garage sale, even little stores on the corner
down on Minnehaha Avenue. [laughs] It seems like pieces just pop up
in strange ways, it’s like I can go by
8 or 9 different objects and they won’t interest me at
all, but another one will be oh, this will fit into
a panorama I’m building, or it’s almost intuitive
as opposed to deliberate. Hey thanks, I’ll see you later.
(man) Always good
to see you Paul. Okay. [flute plays] ♪
♪ ♪
♪ ♪
♪ My grandfather had been a
close friend of Jack London’s, and then as a child I would read
books that Jack London wrote. As I got older and reread
the same book, it would have a different impact
on my life depending on my own maturity
or experiences in life. And it would keep growing
as I grew as a person, and I took on the chore
of trying to do that with even the art
that I created. ♪
♪ ♪
♪ ♪
♪ Art is a rhythm that comes with
basically one’s heartbeat. Also the rising and setting
of the sun and it’s like a dance that people should actually be
feeling all the time in order to be connected
to life. ♪
♪ It’s like an extension of music, of even being
under the Milky Way at night and watching the colors. It’s an extension of just
setting on the ocean and listening to the waves
come in at night. They’re all interactive,
and all equally important, but some you can’t
put in boxes. [laughs] [drums, bass, & guitar
play rock music] ♪
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♪ [bass & drums play syncopated
rhythm & blues] ♪
♪ ♪ Oh people passing by ♪ Like any other day ♪
♪ ♪ Caught up
in the distractions ♪ ♪ On their way (Cameron Kinghorn)
Nooky Jones is soulful, but we also bring in
a lot of modern influences, there’s some hip hop influence
in what we’re doing, some jazz sensibilities. ♪ And suddenly ♪ She smiled at me (Cameron)
The look of the band is really
important to me. I like getting dressed up
and going out onstage. It kinda feels like you’re
putting on like a shield of armor
or something, you’re gonna go out there
and really do your thing. [bass, drums, & horns
play smooth jazz] (Reid Kennedy)
We have an album coming out. We spent a while
waiting to record because we just
wanted to
familiarize ourselves with the music. And sometimes that takes
a while. (Cameron)
So today we’re looking to get
a few extra touches to what we already have. (Reid)
Do we know what we’re doin’?
Let’s go to the end. (man) End? (Reid) Yeah.
(man) Sure. (Reid) Yeah,
let’s do the ad-libs. (Cameron)
The album is full of love songs. (male chorus)
♪ Baby let’s unwind (Cameron)
♪ Ooh let’s unwind. (male chorus)
♪ I can please your… (man) Cool.
(Reid) Thanks man. (Reid)
Come on in, take a listen.
(Cameron) Cool. (Reid)
For this record, I think
the music kinda came first and then the process
of writing lyrics involved Cameron and I
getting together and it would be, okay,
what story do we want to tell? We’ll do it just
like that again. (man) Right, yeah. Alright man,
you wanna take one from the top? (Reid) Let’s do it.
(man) Alright, here we go. ♪ Baby let’s unwind [keyboard plays softly] ♪ I can ease your mind ♪
♪ ♪ Gotta take my time ♪
♪ ♪ Tastin’ your sweet wine ♪
♪ ♪ Got me a fine Moet ♪
♪ ♪ But I haven’t
uncorked it yet ♪ ♪
♪ ♪ Tell you
what I’m ’bout to do ♪ ♪ Spend the whole night
givin’ you ♪ ♪ Something you won’t regret [quietly] ♪ Something that you
won’t regret won’t regret ♪ [horn solo] ♪
♪ ♪ So put it on me tonight ♪
♪ ♪ ‘Cause baby, baby
I’m gonna do you right ♪ ♪ Teasin’ you
with the tip of my tongue ♪ ♪ And you know there’s
more to come ♪ ♪ I think
I might try you twice ♪ ♪
♪ ♪ Pour a glass for me ♪ Top it up with ecstasy ♪ Tipsy and tastefully ♪ Drinkin’ in your fantasy ♪ Sippin’ steadily ♪ Servin’ up my specialty ♪ Time to let it go oh-oh ♪
♪ ♪ Baby let’s unwind ♪
♪ ♪ I can ease your mind ♪
♪ ♪ Gonna’ take my time ♪
♪ ♪ Tastin’ your sweet wine ♪
♪ [horn solo] ♪
♪ ♪
♪ ♪
♪ ♪ Kissin’ you real real slow ♪
♪ ♪ And workin’ my way down
down low ♪ ♪
♪ ♪ The way I feel
your body move ♪ ♪ It’s gonna go down
nice and slow ♪ ♪ Makin’ you overflow ♪ Oh overflow ♪ Pour a glass for me ♪ Top it up with ecstasy ♪ Tipsy and tastefully ♪ Drinkin’ in your fantasy ♪ Sippin’ steadily ♪ Servin’ up my specialty ♪ Pleasin’ you so skillfully ♪ Showin’ you
what sex should be ♪ ♪ Time to let it go-oh-oh ♪
♪ ♪ Baby let’s unwind ♪
♪ ♪ I can ease your mind ♪ Yes I can ♪
♪ ♪ Gonna take my time ♪ Goin’ to take my time ♪ Tastin’ your sweet wine ♪
♪ ♪ Baby let’s unwind ♪ Ooh let’s unwind ♪ I can ease your mind ♪ I can ease your mind if you
want me to, yes I can ♪ ♪ Gonna take my time ♪ Ah ah ah ah ah ♪ Tastin’ your sweet wine ♪ (woman) This program
is made possible by The State’s Arts
and Cultural Heritage Fund and the citizens of Minnesota. [synthesizer fanfare]

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