Original subtitles

[Bad Horn Blowinglll

MIKE: Concrete donkey

ROBBIE: You could take that home.

MIKE: Okay, check out the truck.

Man, that's cool.

DAVID: '48 Ford. That was Dad's.

ROBBIE: 1948 Ford ‐ this is one of the most iconic

pickups that Ford ever built.

MIKE: So your dad was a music man

GRETCHEN: Big time.

MIKE: In 1970, this was state‐of‐the‐art.

GRETCHEN: These were his microphones.

These are the guys that‐

MIKE: Oh my god...

GRETCHEN: ‐he was the most proud of.

DAVID: This is a painting of my dad's actually.

MIKE: There's so many different pieces.

I mean, I'd love to buy them all.

MIKE: Oh look at that.

MIKE: I'm not an art guy, but I am a car guy.

And this is sexy.

This is good stuff.

MIKE: Is that Marilyn?

DAVID: Yes. Marilyn Monroe.

MIKE: Ugh! [whistles]

♪♪

MIKE: We just hit Sedona, what you got for us?

DANIELLE: I have something a little bit

different for you today.

I'm going to send you to see David.

Now David's father, John, was an artist.

And he's not just any artist, I mean, he did artwork

for the big names like Ford, Chrysler, Buick.

MIKE: He's got original artwork?

DANIELLE: He did advertising art, he did catalog work.

Well he's got originals and he's got prints.

MIKE: Nice!

DANIELLE: Well, I mean, I thought you guys

could use some culture, you know.

ROBBIE: Culture.

MIKE: [laughs]

ROBBIE: Well you couldn't ask for a better place, Sedona.

MIKE: Sedona, baby!

I've never been here before, it's cool.

It's very... [takes deep breath]

it's very spiritual.

ROBBIE: Yeah.

DANIELLE: Hey, I hear all those rocks out there are just

brimming with energy.

ROBBIE: Yeah, we can feel that.

MIKE: Yeah.

[group laughing]

DANIELLE: Alright guys. [laughing]

ROBBIE: I like what I'm seeing, but...

MIKE: Look at that, look at that, look at that,

that is insane.

ROBBIE: It's right here.

MIKE: Where are we at?

ROBBIE: Right here.

MIKE: Oh with the garage open?

ROBBIE: Yeah right there.

Yeah.

MIKE: Oh yeah, check out the truck!

You see the truck?

ROBBIE: I see it.

MIKE: Get a flyer.

ROBBIE: I got it.

[Door Shuts]

MIKE: Hey‐hey!

DAVID: Hey.

MIKE: How're you doing, man?

DAVID: I'm doing good.

MIKE: What are you doing, having a garage sale?

DAVID: Well, just organizing some antiques, my dad's art and

uh...

MIKE: Yeah, that's what Dani said, he was an artist.

Was he in Detroit?

DAVID: Yes.

DAVID: My father's John Mills.

And he was a car illustrator in the '50s and the '60s.

MIKE: Did you grow up in Detroit?

DAVID: I was born in Detroit.

MIKE: No kidding.

DAVID: Yeah. Motown, yeah.

MIKE: That's a great town.

Everybody's rooting for it now, man.

ROBBIE: Yeah.

MIKE: Detroit's the underdog.

ROBBIE: Here's some stuff we're looking for.

DAVID: So what are you guys looking for?

MIKE: First thing that caught our eye was the truck.

ROBBIE: Yeah.

MIKE: Man, that's cool.

DAVID: '48 Ford, that was Dad's.

ROBBIE: It's a 1948 Ford pickup truck.

3 years after World War II, industry as a whole across

the United States was revamping itself.

G.I. were home, they were wanting to spend money.

So Ford redesigned the entire truck.

Come on, it doesn't get any cooler than that.

MIKE: Is that a bullet hole?

DAVID: Would have been about‐ yes.

It happened on New Years Eve.

MIKE: Yeah? [laughs]

Is there a good story with that?

DAVID: it was parked‐ it was parked in front of my house

and I came home and that happened, so.

MIKE: Wow.

DAVID: The '48 Ford pickup that my dad bought,

I drove it my senior year of high.

A lot of good memories, a lot of good times.

MIKE: The first vehicle that you drive in high school is

something that stays with you the rest of your life.

It's like a coming‐of‐age moment that you never forget.

And David is beyond lucky that he still has

this vehicle in his life.

ROBBIE: So was this engine in here when

you were in high school?

DAVID: Yeah.

The 350 was the first‐ uh, he bought it in 1973,

and it had an old Oldsmobile...

ROBBIE: Rocket motor in it?

DAVID: It had a rocket motor in it.

ROBBIE: Wow.

DAVID: And that thing blew, and so around 1980‐ 81,

he dropped a 350 Chevy in it.

ROBBIE: Yeah.

MIKE: That's the way to go, it's low maintenance.

DAVID: Yeah, yeah.

ROBBIE: Yeah.

MIKE: Love it, absolutely love it.

And it's got the old whites on it.

DAVID: Oh white walls.

MIKE: Woo, triple pinstripe on the rims.

MIKE: Robbie's a truck nut.

He came out of the chute in a truck.

ROBBIE: I mean, I've seen these truck sell as high as 20 grand.

DAVID: Right.

ROBBIE: When they're...

DAVID: Nice.

ROBBIE: ...I mean, oh yeah, real nice.

DAVID: Right.

MIKE: He sees himself behind the wheel, he wants to get it

running, he wants to drive it around our old neighborhood

and have our neighbors wave at him and go,

"there goes Robbie in an old truck, look at Robbie,

there he goes, man he must be doing good."

MIKE: Was there anything wrong with it mechanical,

is that why you parked it?

DAVID: It had a blown head gasket.

ROBBIE: Had a blown head gasket on the motor.

DAVID: Yeah.

ROBBIE: So.

ROBBIE: David telling me that the head gasket blew

doesn't scare me.

What does scare me is the fact that it's been sitting in

Arizona for its entire life. It's the dry heat.

Dry heat's good for the body, but is it good for everything

else ‐ like the seals.

ROBBIE: I would probably be a player at 65 on it.

DAVID: Yeah, let me think about that...

ROBBIE: Okay.

DAVID: ...on the price, sit on it for a minute.

ROBBIE: This is one of those days that I got

to put my poker face on.

MIKE: I saw these boats.

What kind of age do these have?

DAVID: Yeah, they go back probably '70s, '60s.

MIKE: Jersey.

DAVID: I believe in the late '60s, early '70s,

he had developed an interest in painting ships.

MIKE: So these are kits.

DAVID: Yeah.

DAVID: He thought maybe if he built a boat, he could get

into the mind of the boat as he's painting it.

MIKE: They look like they've never been touched,

everything there, everything's there.

DAVID: Just one of those things that got put on the shelf,

he never got around to.

ROBBIE: The "Rattlesnake".

MIKE: They got some weight to them too.

You know, so they're made really well.

DAVID: Yep, yep.

MIKE: The quality of them is done well.

MIKE: These models are very elaborate, they're intricate,

they're detailed.

They're not made for a little kid.

MIKE: Obviously in order to display them...

DAVID: Someone's got to build it.

MIKE: [laughs] Yeah, you got to build it, yeah.

DAVID: Right.

MIKE: You weren't just gluing Part A to Part B, you weren't

assembling this, you had to build it.

These were made for somebody that was a very serious,

skilled model builder.

MIKE: I'd do like uh...

60 bucks apiece on them.

DAVID: So could you do 140 for both?

MIKE: I'd do 130.

DAVID: Okay.

MIKE: You want to do that?

DAVID: Yeah.

We'll do it, sold.

MIKE: Okay.

MIKE: They're in the original box, all the pieces are there,

the paperwork's there.

These are going to be easy to sell.

DAVID: This is a painting of my dad's, actually.

He was a car illustrator in Detroit.

MIKE: Oh wow!

DAVID: And then he did the frame...

MIKE: Yeah, super ‐charged Cord, man.

DAVID: He just loved painting cars.

MIKE: Man, I tell you what.

When you see a car like this, it just lights you up.

And he captured it brilliantly.

DAVID: Yeah.

MIKE: This is the first piece of artwork that I'm seeing of

his father's, and I'm blown away by it.

MIKE: I mean, it almost looks like a photograph.

ROBBIE: The shadowing, everything, I know.

DAVID: Yeah.

Yeah, that‐ that was his style ‐ photorealism.

DAVID: He can look at a photograph and

paint exactly what's there.

MIKE: The things that stand out to‐ the most to me on it...

DAVID: Um ‐hm. Right.

MIKE: ...is the chrome, with the wheels and everything.

I mean, it's... wow.

MIKE: The chrome actually looks like real chrome.

MIKE: Why would he paint something like this?

DAVID: Well he started out as a car man in Detroit

in the '50s and '60s.

He was an illustrator for GM product like Pontiac,

he did Corvette.

His work would be in ads in like Look Magazine and

Saturday Evening Post, and things like that,

national magazines.

And that kind of hit its peak around 1970.

DAVID: The industry shifted, so he had to shift as well.

And he started painting on a‐ on the side.

DAVID: And my dad, he was one of the lucky ones,

he was able to shift from being a‐ a corporate or

commercial artist, into the fine art realm.

MIKE: That‐ that‐ that's huge.

DAVID: That is huge.

And to be able to successfully kind of do that,

and still provide for his family.

MIKE: And you have a lot of this stuff.

DAVID: Yeah, yeah.

MIKE: Can we see more of it before we kind of

pull the trigger on something?

DAVID: Yeah absolutely, sure.

MIKE: I'm just excited to see it.

We've been really fortunate over the past few years

to across concept art and commercial art

for the automobile industry.

MIKE: No... way.

TONY: Very rare.

FRANK: Futuristic.

TONY: Yeah, this is Syd Mead.

MIKE: As years progressed, and a lot of this art gets older,

and it becomes harder to find, the price of it goes up.

MIKE: Is that Marilyn?

DAVID: That's Marilyn Monroe.

MIKE: Ugh! [whistles]

ROBBIE: She looks so real.

DAVID: My dad, he was in the Korean War.

My dad actually took that shot.

MIKE: Oh wow.

DAVID: So this is what he worked from.

MIKE: To capture a moment like that on film,

is really incredible.

But later on, to paint that scene so brilliantly, is epic.

MIKE: So was, was this ever on display?

DAVID: It was actually, yeah, it was hanging

at different galleries.

I think one in San Francisco, and one in New York for a while.

MIKE: How much was it back then?

DAVID: It was 10,000.

MIKE: Oh yeah, that was a lot of money back then.

DAVID: Yeah, it was, right.

MIKE: Man, it's a, it's a lot of beautiful work.

I mean, how do you even put a price on that?

And then the photographs here, and the story and everything.

ROBBIE: Yeah, yeah.

DAVID: Right, right. Exactly.

MIKE: It's so cool.

DAVID: His fine art career was just starting to kind of take

off, he had some galleries.

And then unfortunately, he got ill and he passed.

MIKE: Oh wow, look at this.

Look at this little easel.

DAVID: That was actually my little drawing board.

I used to paint alongside my dad.

This was his painting, his drawing board that he used.

MIKE: Okay.

DAVID: And so I would learn how to paint sitting

right next to him, I was 5, 6, 7, 8 years old.

MIKE: No kidding. DAVID: Yeah.

MIKE: Wow...

DAVID: So I want to show you guys the commercial art

my dad did, the car illustrations.

MIKE: Show us around.

ROBBIE: Ahh...

MIKE: Alright.

DAVID: So these are all the cars paintings he did.

DAVID: My dad, he loved cars.

He was always into cars.

MIKE: Oh look at that. Wow.

Corvette.

DAVID: As a child, I remember him telling me stories that when

he was a kid, he actually wanted to be a car designer.

MIKE: I'm not an art guy, but I am a car guy.

And this is sexy.

This is good stuff.

MIKE: So we have all this literature.

These are salesmen's books.

These would have been on the sales floor with the salesmen,

showing the prospective customer everything

and anything about the cars.

MIKE: If they didn't have that car on the showroom floor,

they would have to show you what it would look like and

get you excited enough to want it without even seeing it.

You know, and these books do do that.

MIKE: You know, this is all visual, you know, exciting,

turning the page, hey you know, these are the colors,

these are the options, and really like striking.

MIKE: These books were meant to pull the customer in,

and imagine themself behind the wheel of the 2‐tone seat,

what color do you want it, what color do you want the car.

MIKE: And this one's got the fabrics.

ROBBIE: Right.

MIKE: You're thinking to yourself,

"wow, they have like 20 different materials they

could choose from?"

I mean, it‐ it really gave them some skin in the game and

made them feel like they own the car before

they even got the car.

MIKE: So this one here, retail on this,

I'm thinking it's like 450.

Would you agree?

ROBBIE: Yeah.

That's about right.

MIKE: These...

you know, usually retail on these is like 250 bucks.

One of the reasons that I want these books is because

we're doing a 1947 Chevy dealership.

That's when it was built.

DAVID: Right.

ROBBIE: Yeah.

MIKE: And then it was in business throughout all

these years ‐ '57, '58, and '59.

So it would be neat to have this documentation in the dealership.

DAVID: Sure.

MIKE: That's my connection to it.

Um...

you know, at 250 retail on these, would you do uh...

like 170 bucks apiece on them, for these two?

The other one at 450 retail, uh...

I'd like to be at...

like 375.

715 bucks for these 3 books.

DAVID: It was‐ it was difficult 'cause it is a anthology

of his work in one place.

DAVID: Go 750?

DAVID: But I do have the newspaper ads of those works if

I ever want to look at, I can go back and look.

MIKE: I‐ I you know what, I would do that.

DAVID: Okay, okay.

MIKE: I want to keep them, I'm not going to flip them.

DAVID: Cool.

We got a deal.

MIKE: Alright, thank you, appreciate you.

MIKE: See that, Robbie?

DAVID: So I want to show you a portrait of my dad,

his self ‐portrait that he did.

And that's Dad.

MIKE: Oh wow.

So how old would he have been here?

DAVID: 50.

ROBBIE: There's no brushstrokes.

DAVID: Yeah.

It's amazing, his technique.

DAVID: My father did a self‐portrait and he hired

a photographer to come and do the shoot in the studio.

So that one, obviously I'm going to keep,

so that's going to stay in the family.

MIKE: [laughing] Who's this?

DAVID: So that's my grandfather, that was my mom's dad.

MIKE: Oh wow!

ROBBIE: He looks like he owns a football team.

DAVID: He does.

ROBBIE: I mean, he's smiling away there with a stogie...

DAVID: Got a cigar.

MIKE: Oh he has a stogie, yeah.

So where was he trained at?

Did he actually go to school for art?

DAVID: He uh, out of the army, he was in the Korean War

and he was a trumpet player.

MIKE: Oh wow.

DAVID: And uh, he wanted to be a jazz trumpet player.

And he realized he didn't have what it took, or what he thought

it would take to do that.

So he turned to art.

DAVID: My dad enrolled in art school in Detroit.

DAVID: He took a semester.

And from there, he got a job with a advertising agency...

MIKE: Just one semester? Wow.

DAVID: He took one semester and he got a job

and they made him a pencil boy.

MIKE: Yeah.

DAVID: Entry‐level job.

MIKE: Yeah, yeah, yeah.

DAVID: And he would sketch out the cars and then he'd give it

to the illustrator and they would continue to paint.

MIKE: Wow.

DAVID: So he got his training basically on the job.

So this was a painting called "Conductor".

And I actually took this photograph, I was 13.

So I'm actually pretty honored...

MIKE: Yeah, I was going to say.

DAVID: That he loved the photo so much that he

made a painting out of it.

MIKE: Brilliant.

So I'm glad to see this work, because you know,

I was just expecting to see his commercial work.

DAVID: One artist that he admired was Andrew Wyeth.

And so he kind of copied his style, kind of dreary skies

and barns and landscapes.

And from there he kind of developed his own style.

Ended doing a Victorian series, buildings from Eureka,

California, Petaluma, California.

DAVID: So that's Al Hirt, trumpet player.

DAVID: His last series was portraits of jazz musicians.

That brings the two loves together.

The love of music and his painting.

MIKE: Okay, that's definitely got to be yours.

DAVID: Yeah.

I was 7. [laughs]

MIKE: Look at that.

DAVID: It was a very creative life, and he always encouraged

creativity with myself and my sisters.

MIKE: So he kept a lot of his work from the industry.

DAVID: He did.

Most of it, when GM paid for, they owned it.

DAVID: Often in the car industry, when an illustrator

would do the work, they would use it for the ad and they

might hang onto it for a year or two as reference.

But ultimately at some point, they would just toss it out.

So there's not of it that survived.

MIKE: See that, Robbie?

Yeah.

ROBBIE: Oh a Cadillac.

Wow.

DAVID: So that's an original he got to keep, and...

MIKE: This is an original?

DAVID: Yeah, that's an original.

MIKE: That's a sled, man.

Imagine that on the Vegas Strip back then.

DAVID: Um‐hm.

MIKE: You look at it, and you‐

and you really think that it's a photograph.

MIKE: Look at that.

MIKE: It's a painting, it's a painting of a Cadillac.

MIKE: Oh wow, look at that.

The early Blazer stuff.

Ho‐ho‐ho...

ROBBIE: Oh yeah.

MIKE: Look at that, let me see this.

ROBBIE: Blazer Chevy.

That's one of my favorite cars of all time, right there.

MIKE: In the 1960s, photography is really what took down

this part of the industry.

It was seen as the future of advertising.

They stopped painting, they stopped drawing.

Photography was it.

MIKE: Did you see these, Robbie?

Look at this.

ROBBIE: I know, I saw that. SS.

MIKE: Chevy Super Sport...

'65 Impala.

ROBBIE: Yeah.

MIKE: I mean, think about it, all this stuff was done by hand.

It's beautiful!

It's from a time period that will never come again because

everything is computer ‐generated, but also,

it's a celebration of creativity!

MIKE: Alright, so I'm looking at like uh...

I like the Cadillac piece...

DAVID: Okay.

MIKE: I mean, it's really strong.

MIKE: Cadillac has always been collectable,

no matter what it is.

MIKE: You know, what are you thinking on something like that?

DAVID: I would say that's about 1,800.

MIKE: That's the retail number on it...

DAVID: Yeah, yeah.

MIKE: That's what you're talking about?

Okay, so if 1,800's retail, have you thought about like what

you need to get out of something like that?

DAVID: How about 14?

MIKE: 1,300 bucks.

DAVID: That works.

MIKE: You want to do that?

DAVID: Yeah, yeah.

MIKE: Okay.

MIKE: I totally understand what a big deal it is for

David to sell any of this artwork.

His father had his hands in all of it.

The fact that he's even letting me look at it

and he's pricing it, it's an honor.

MIKE: And now...

the Super Sport.

Alright, look at that, she's got the dog on her lap, she's going

to the, looks like the Kentucky Derby, she's got the hat on.

It's incredible, it's beautiful.

DAVID: Yeah.

MIKE: What's the retail on this one?

DAVID: Retail on something like that with, you know,

it's print ready ‐ 2,000.

MIKE: Okay, if this is 2,000...

DAVID: Um‐hm.

MIKE: Then what about the Corvair piece?

I mean, it's very similar as far as size...

DAVID: Similar.

MIKE: ...it's got the type ‐set on it. Yeah.

DAVID: I would say 1,800 for the Corvair.

MIKE: [sighs] I'm thinking like 1,300 on the Corvair, you know,

I mean, that's where I'd want to be on it.

You were at 2 grand on this, I'd do like uh...

[sighs] like 1,400.

DAVID: 14 and 13.

Yeah, we can do that.

MIKE: You want to do that?

DAVID: Yeah. That sounds good.

MIKE: Okay.

DAVID: I think as an artist, my father painted what

he knew and what he loved.

He loved cars, he painted them.

So I think that was a big motivator.

He wasn't just painting things to be commercial, per se,

it was something that he had a feeling, a deep feeling about...

that he loved.

ROBBIE: 1948 Ford.

This is one of the most iconic pickups that Ford ever built.

♪♪

I cannot keep my mind off this Ford.

ROBBIE: Hopefully David's still thinking about the number I gave

him, but I want to check the underneath of this thing,

make sure I'm covering my butt.

MIKE: I love this.

DAVID: The Blazer.

MIKE: Love the Blazer.

DAVID: Yeah.

MIKE: It directly connects, obviously, to this piece.

DAVID: Right.

MIKE: You know.

I love this...

DAVID: Um‐hm.

MIKE: ...just being a silhouette by itself.

DAVID: Right.

MIKE: And then he's got his color palette over here.

DAVID: Exactly.

I mean, there's no...

context, there's no ad, so you know,

it's a work of art on its own.

I would say, 700...

for something like that.

MIKE: And then what about this piece?

DAVID: In that, you know, it says "Blazer Chevrolet."

It's basically getting ready to be an ad.

I would say 1,000.

MIKE: About 17 on both.

MIKE: There's so many different pieces.

I mean, I'd love to buy them all,

but it's extremely expensive.

MIKE: I mean, like 13.

DAVID: Yeah, that's good.

MIKE: Alright, alright.

DAVID: We're good.

MIKE: So I'm trying to pick my battles and choose which ones

I really feel like we could sell pretty easily.

ROBBIE: Needs a little TLC.

♪♪

ROBBIE: Look at that.

MIKE: So this is a print right here.

DAVID: Yeah.

And he would, he was selling them.

MIKE: And where would he sell that at?

DAVID: Uh he ran ads in like car magazines.

DAVID: My dad's love of art actually came from his

grandmother, Lulu Austin.

Basically, his grandmother raised him,

and she was an amateur painter, and she was self‐taught.

So he observed that and I think that's probably when

he kind of dabbled with some painting.

MIKE: To me, this is a poster.

You know what I mean, you could see this was printed...

DAVID: Right, right.

MIKE: So that's a poster, and then this is the‐ the original.

DAVID: We have our favorite art pieces of my father's

that we love and love and But he did so much material,

there's not enough walls for one

to display it all property.

[knocking on car]

ROBBIE: After I looked the truck over, it's in great shape.

Underneath is clean as can be, the exhaust is a little loose,

gas tank looks like it's leaking.

You do the brakes, you make sure you boil out the radiator,

you put a little skunk piss down in where the spark plugs are ‐

it's a simple process.

This is something I can probably get in my shop

and have it running in a day.

David has had this truck since he was 14 years old.

It needs to get back out to the public and be driven.

MIKE: I think this is great.

I mean, these two together...

DAVID: Right.

MIKE: I mean, it's showing the whole process ‐

from sketch to finished product.

DAVID: The completed ad.

MIKE: Yeah, completed ad.

MIKE: The artwork to the ad, to have them both together like

this, is really awesome.

MIKE: I mean, all the value, obviously,

is the one in my left hand here.

DAVID: Right.

MIKE: What do you think the value on these is?

DAVID: Uh for the pair, 1,500.

MIKE: God, it's tough man, I mean...

...like 1,100 bucks?

DAVID: 11?

Yeah, we can do that, that's good.

MIKE: Alright, absolutely brilliant.

DAVID: Alright.

MIKE: I appreciate you.

MIKE: Even though this was commercial work,

it is fine art now.

And I am honored to own any of it.

DAVID: Thank you.

MIKE: Alright, let's go see how much trouble

my brother's gotten into.

DAVID: Right.

He probably got it running by now.

MIKE: [laughs]

MIKE: Robbie, did you discover anything different?

ROBBIE: No.

Overall, it's not bad, you know, it needs, needs a little TLC.

MIKE: I mean, to me, this is some of the biggest

work you're going to have to do.

Because you're going to have re‐skin this.

ROBBIE: Oh I know.

Now it just comes down to...

DAVID: Making a deal.

ROBBIE: You know, I told you before I‐ that I was at 65.

DAVID: Okay um...

I had this truck, I drove it in high school.

As long as I've known my wife, I had the truck.

So...

you know, I think a smart guy would probably go talk to her.

So...

MIKE: [laughs]

DAVID: If I can have a minute to kind of confer...

to get her opinion, so.

ROBBIE: I understand. Yeah, I understand. Yeah.

MIKE: Of course, yeah.

DAVID: Okay.

I'll be right back.

MIKE: Here's what you need to think about.

Once you remove all of this...

ROBBIE: Yeah.

MIKE: ...from this hood.

You're going to have to match that some, you know.

ROBBIE: Well that's not...

the fact that it's been...

MIKE: And you're going to also have, I mean, we're in Arizona,

so you're going to have 1,200 bucks in shipping it.

ROBBIE: Yeah.

That's...

I added it up in my head.

MIKE: So what do you think you can get

on the back end of it then?

ROBBIE: 10 to 12.

MIKE: I just don't want to end up in the situation where it's

like, we've had it for 5 months and we're going to make $1,500,

1,200 bucks on it.

ROBBIE: No, this‐ no, it's a '48.

MIKE: No I know what it is, I'm just saying if you want to get

this thing running and running well and dissecting it and

getting into it, then you got to get the paint done on it.

I mean, to be honest with you, I mean, you could see the tires

are like majorly checked, you know.

ROBBIE: Yeah, I know, I looked at all that.

MIKE: I'm just, you know, playing big brother.

ROBBIE: I know.

MIKE: I'm Robbie's older brother,

and I feel like I always have to protect him.

DAVID: Hey guys, this is my wife Jen.

ROBBIE: Hey.

The better half.

JEN: Hey, nice to meet you.

DAVID: The better half, the boss.

ROBBIE: So nice to meet you.

MIKE: Hey how are you, nice to meet you.

JEN: I hear you're having a good day today.

ROBBIE: Yes we have.

MIKE: Yeah, yeah, we've been looking at some cool stuff.

We appreciate you guys lettng us look around, you know.

JEN: Yeah.

Well, I hear there's an offer.

We've had this truck ever since I've known David, and uh...

and we've always wanted to fix it up,

but we just never got the chance.

MIKE: Yeah.

JEN: And um...

I think it's time, probably to let it find a new home.

DAVID: Okay.

Right.

MIKE: Were you driving it when the head gasket blew?

DAVID: Uh yeah, I mean, it actually would start

and would run, it was just loud.

ROBBIE: Just loud.

DAVID: It was just loud.

MIKE: Here's the good news.

DAVID: Um‐hm.

MIKE: He's a truck guy.

I'm‐ I'm a little bit of the bad news 'cause I'm like,

what can you make on the back end of this thing...

DAVID: Right, right.

MIKE: ...but he just, he‐ he‐ he wants to buy every truck

that he sees, you know.

DAVID: Right.

MIKE: And then, and I can appreciate that with him, 'cause

I'm that way with motorcycles.

DAVID: Right.

JEN: Um‐hm.

MIKE: You know, my um...

my eyes get real big and...

ROBBIE: Yeah.

MIKE: ... you know.

[group laughing]

MIKE: He's always been like this.

ROBBIE: Yeah.

MIKE: You know, he's such a truck nut, that he will pay too

much, I know he will!

And I'm his older brother, so I just want to step in.

You know, I could see him kind of going,

is he really going to step in right now.

ROBBIE: My number's still 6,500 range.

DAVID: Could you do 7?

MIKE: Would you split it with him?

So we're‐ you're at‐ you're at 7, you're at 65, Robbie.

DAVID: 6,750?

ROBBIE: 6,750.

DAVID: Got a deal.

MIKE: It's going to a good home.

ROBBIE: Yeah.

JEN: Yeah.

DAVID: I think the idea of selling it was more difficult

than actually doing it.

I'm more pleased that it's going to be driven and loved,

rather than sitting in my garage.

MIKE: Alright Robbie, you did it.

You bought a truck.

DAVID: You got a truck.

MIKE: David's dad was one of the unsung heroes of

the automotive industry.

MIKE: Alright...

got the boats.

MIKE: His artwork inspired us all.

ROBBIE: That's all the artwork right there.

DAVID: Usually when an artist passes, if they're known,

their prices skyrocket, 'cause they're not going to create

any more works of art.

MIKE: Woo!

We did it.

DAVID: Alright.

JEN: Yeah.

ROBBIE: Thank you so much.

DAVID: My father, unfortunately, passed before that opportunity

came to fruition.

He's kind of unknown, he never got the big show.

ROBBIE: Your dad, a very talented man.

DAVID: Thank you.

ROBBIE: Thank you so much for sharing that.

MIKE: Appreciate you.

DAVID: That's why I'm here today, is to fulfill this legacy

and his dream, to get his work out there.

[honks horn]

ROBBIE: Thank you!

DAVID: Alright, thank you.

JEN: [laughs] Okay.

MIKE: So your dad was a music man.

ROBBIE: Bullhead City.

MIKE: The last time I was in this town, was 1986, dude,

at Grandma's house.

Did you ever come here?

ROBBIE: I never came here.

MIKE: She moved here because she wanted to go across the river

and gamble in Laughlin, Nevada, that was the only reason

she moved to this town.

ROBBIE: Yeah.

MIKE: Oh my gosh, I love this town, dude.

I mean...

what are we doing, just pulling in.

ROBBIE: Right there, yep.

MIKE: Oh I like this.

There it is, baby.

Concrete donkey.

One on every porch in Bullhead City.

Hurry up, old man.

ROBBIE: I'm coming.

[knocking on door]

MIKE: What's her name?

ROBBIE: Gretchen. [knocking on door]

GRETCHEN: Hello.

MIKE: Hey, you Gretchen?

GRETCHEN: Hi I am.

MIKE: Hey I'm Mike.

GRETCHEN: Hi Mike.

Nice to meet you.

MIKE: Nice to meet you, my brother, Robbie.

ROBBIE: How're you doing, good to see you, good to see you.

MIKE: Give you a flyer.

Thanks for calling us.

GRETCHEN: Hi, you guys, thanks for coming.

MIKE: Yeah, you from this town?

GRETCHEN: Yes. 27 years.

MIKE: Okay, okay.

GRETCHEN: I know.

MIKE: Dani said your dad was a music man.

GRETCHEN: Big time.

Loved his music.

MIKE: So how old was he when he passed?

GRETCHEN: 89, just shy of his 90th birthday.

He would have been 90 last Sunday.

GRETCHEN: My pop, Norm, collected many things

‐ early radio, speakers, microphones ‐

anything music related.

GRETCHEN: He was born in 1930, grew up in the Depression, and

he would stand in a bread line and stare at the window at the

store that had all these beautiful radios and things.

And he loved music.

MIKE: Ugh!

GRETCHEN: Enjoy.

MIKE: He was an international man of music!

Look at this, McIntosh!

GRETCHEN: Those were his babies right there.

MIKE: Oh my gosh.

GRETCHEN: Those were his babies, the McIntosh.

MIKE: So he was firing these up?

GRETCHEN: Oh yeah.

MIKE: Look at the‐ just this one piece.

Record Compensator.

GRETCHEN: I know, he always talked about

one of them being a pre‐amp.

MIKE: Yeah, this is the pre ‐amp right here.

MIKE: In 1970, this was state‐of‐the‐art.

MIKE: So this stuff is big money.

I mean, any more, you know, now that vinyl's hot again,

and actually hi‐fi is coming back around.

People are looking for this brand.

I mean, this is it, this is the holy grail.

Like this piece right here, just this unit, if it works really

well and it's been gone through, this pre‐amp here,

this could be...

you know, as much as 1,200 bucks.

Something like this, you know, 400 bucks.

I think retail on something like this is around... 300.

Uh this piece...

uh like 750.

That's if everything works really well.

GRETCHEN: I know that they do, I know very recently he was,

you know, utilizing them.

ROBBIE: He was listening to them.

GRETCHEN: He just had those gone through maybe about 4 years ago.

He sent them out to a guy in Oregon.

MIKE: All of this, all of this?

GRETCHEN: Yeah.

MIKE: When I was growing up, the trend was,

you wanted to see the stereo.

You walk into a room, the speakers were massive,

they were a piece of furniture.

You had the amp, the equalizer, the turntable,

I mean, it was an event to listen to music.

GRETCHEN: So you're talking 2,650 retail for everything?

MIKE: For these 4 pieces, you know I think.

If everything works really well and you can

just plug it in and go.

GRETCHEN: Yes.

MIKE: Okay.

GRETCHEN: And I know I have the instruction manuals as well.

He's got a whole box full of all of them.

MIKE: Yeah.

How about for these 4 pieces...

1,950.

GRETCHEN: [exhales] You're probably going to

be buying some other stuff?

MIKE: Yeah, I would hope so.

I mean, I'm kind of just kind of taking it all.

GRETCHEN: Alright.

Round it up at 2?

MIKE: 2 grand?

GRETCHEN: Yeah.

MIKE: [sighs] And everything's been gone through.

It's ready to rock‐n‐ roll.

GRETCHEN: Yes.

I know that for a fact, I shipped them myself.

MIKE: But see the thing is, I'm going to pushing Runnin' with

the Devil through this stuff, like Van Halen, not you know,

Benny Goodman.

GRETCHEN: Well...

MIKE: I mean, can it‐ can it handle that?

GRETCHEN: Of course.

MIKE: Alright, then 2 grand. [laughs]

MIKE: Alright. GRETCHEN: Sold.

MIKE: Coo'! GRETCHEN: Awesome.

And uh...

MIKE: You're looking at two guys always spent our money on

when we were little kids, was our stereo and our bicycles.

GRETCHEN: Nice, nice, nice.

[laughs] Nice.

ROBBIE: That was it.

MIKE: Stereo and our bicycles.

ROBBIE: Speakers outside on a sunny afternoon.

GRETCHEN: Exactly

ROBBIE: The neighbors hated us.

ROBBIE: We would play hacky‐sack and crank Led Zeppelin live.

You can hear that stereo for a 3‐block radius.

ROBBIE: I mean, are these all for sale?

GRETCHEN: Everything is for sale.

ROBBIE: Everything's for sale.

So this aluminum.

This actually looks like it came out of the Bay Area,

like San Francisco.

GRETCHEN: It did, my‐ my pop was born and raised in

Oakland, California, in the Bay Area.

He was a co‐founder, president of California Historical Radio

Society in the Bay Area, and that was a big thing.

That was his passion, it was about early radio

preservation and restoration.

And they started having meets and then of course,

that's when his collection really started to build.

MIKE: This lithograph is like color over color...

ROBBIE: Yep.

MIKE: It's printed on aluminum.

ROBBIE: It's probably 1930s, 1940s.

MIKE: I love the record, Robbie.

ROBBIE: The whole thing, look at the guy,

he looks like Buddy Holly without glasses.

GRETCHEN: [laughs]

MIKE: I know, I know he does, right?

ROBBIE: Yeah.

It's advertising, you know, this is early, it's radio.

The one thing that I've always learned about advertising and

animals, anything that's got an animal on it,

actually brings the price up.

GRETCHEN: Yeah.

ROBBIE: I mean, if this thing was bigger on here,

it'd be worth a lot more.

GRETCHEN: Right.

ROBBIE: A cow, believe it or not, sheep, with the rooster...

MIKE: He collects cow signs.

ROBBIE: Yeah, I got cow signs.

MIKE: [laughs]

ROBBIE: But they're highly collectable!

GRETCHEN: Who does the sheep?

MIKE: No, I know, they're great, I'm just saying.

GRETCHEN: [laughs]

ROBBIE: Yeah.

It's just, you know, I mean, look at how they did that.

GRETCHEN: Yeah. ROBBIE: It's got the rooster singing in it.

My brother, he's busting my balls for collecting cow signs.

ROBBIE: Um...

I probably want to be around 375.

GRETCHEN: Alright.

ROBBIE: Deal?

GRETCHEN: Deal.

ROBBIE: Alright.

GRETCHEN: Thank you.

ROBBIE: Thank you.

MIKE: That's super cool.

ROBBIE: It is.

MIKE: It is.

Your dad had a great eye.

GRETCHEN: These were his microphones.

These were the guys that...

MIKE: Alright, I want‐ I've been wanting to look at this thing.

So obviously he thought a lot of this piece if it's sitting right

here in the living room.

GRETCHEN: Do you know what you're holding there?

MIKE: 1920s Western Electric.

GRETCHEN: It is.

MIKE: Very nice piece.

GRETCHEN: That was his favorite microphone.

That was his pride and joy.

MIKE: Look at that.

GRETCHEN: It's heavy.

MIKE: I know.

God, imagine the history of that piece.

GRETCHEN: I know...

I know.

MIKE: I know, right?

I mean, I just look at this stuff and I get so excited

'cause I'm a music person too.

I love music and so if you love music, man,

you got to get back into the roots of it.

Do you know what the value is?

GRETCHEN: 1,000, probably?

MIKE: See, I've seen them at like 7, 8, 1,000, you know.

What would you feel comfortable selling it at?

Sounds like you've done some research.

GRETCHEN: I have.

I know you got to make some money.

Um...

MIKE: [exhales]

GRETCHEN: Would you go 8? 800?

MIKE: I'm doing it.

GRETCHEN: Awesome.

MIKE: Alright, that's super cool.

[Robbie blowing into bugle]

MIKE: Look at that...

GRETCHEN: The bu‐ the bugle was my dad's.

That was my dad's.

ROBBIE: I can't, I can't...

MIKE: It's got to be like this.

[Mike & Robbie blowing into bugles very poorly]

MIKE: You just got to tickle your lips.

ROBBIE: No, no, not going to happen.

GRETCHEN: My dad, he would have loved Mike and Robbie,

absolutely, there is no doubt about it.

GRETCHEN: What'd you find in here?

MIKE: Well obviously, records.

GRETCHEN: [laughs] Yes.

GRETCHEN: My dad couldn't sing, he didn't play any instruments,

but he loved music.

Jazz, Dixieland, Big Band.

He would sit in his music room just for hours by himself.

That was his getaway time.

MIKE: Alright.

So what I'm finding here is a lot of Big Band stuff,

a lot of jazz.

GRETCHEN: Um‐hm.

MIKE: But most of the stuff I'm finding is like orchestra.

GRETCHEN: I would assume the majority might be

the Big Band and the orchestra.

MIKE: I mean...

I don't know what the market is on that stuff.

I mean, I grew up with Lawrence Welk.

I remember coming over to my granny's house

watching that, you know.

GRETCHEN: Right?

MIKE: She was real excited about it, I wasn't, but she was.

MIKE: But I can appreciate it 1,000%, I can appreciate it.

There's just so much of it.

GRETCHEN: I know.

MIKE: I could be overwhelming.

GRETCHEN: I don't think I realized the extent of his

collection until we started coming and looking

and trying to catalog and...

there's a lot of work involved and a lot of research,

and it's just very overwhelming.

MIKE: Yeah.

GRETCHEN: Well, this was his music room, um unfortunately

we dismantled it a little bit after he passed away.

These were his microphones.

MIKE: Oh my god...

ROBBIE: The pride and joy.

GRETCHEN: These are the guys that he was the most proud of,

absolutely.

These were always on display.

MIKE: Wow!

GRETCHEN: They were on display somewhere.

Absolutely.

MIKE: Robbie, look at this like, boom.

ROBBIE: I know.

MIKE: Look at the boom on this thing.

GRETCHEN: And it's heavy, it's...

ROBBIE: And it says "CBS" on it.

GRETCHEN: Um‐hm.

MIKE: I know, it's so brilliant!

MIKE: The microphone played a big part in our daily lives.

It delivered music, it delivered the news, a lot of people

collect them for those reasons, and then you've got the

audiophiles, the guys that still use them, that will rebuild them

and use them because they want a certain sound,

or using an old microphone inspires them.

MIKE: Oh my gosh...

GRETCHEN: And I'm pretty sure that the flag,

whatever you call it...

ROBBIE: Is all original?

GRETCHEN: Is all original, I'm sure.

ROBBIE: So the stand went up, Mike.

GRETCHEN: Yeah.

ROBBIE: You could have talked or sat down.

MIKE: Yeah, oh yeah of course, yeah.

This thing is completely adjustable.

GRETCHEN: Yeah.

ROBBIE: Yeah.

MIKE: This way, this way.

I mean, these are...

big money mics.

GRETCHEN: Right.

MIKE: You know.

GRETCHEN: Right.

MIKE: I mean, this one's great.

I mean, they're just amazing.

Do you have an idea, have you done any research on this stuff?

GRETCHEN: I have, and after we tried to start

categorizing and everything...

MIKE: Um‐hm.

GRETCHEN: It just became really overwhelming.

MIKE: Yeah, completely, I can understand that.

GRETCHEN: Yeah.

MIKE: I mean, I got to ask you, would you consider selling it?

GRETCHEN: As much as I would love to keep some of these

'cause they meant so much to my pop, I want somebody that can

appreciate them every day to have them, and they need to

be seen and appreciated.

MIKE: Okay, so let's test the waters here a little bit.

What about the um...

spring suspended carbon mic?

GRETCHEN: 450‐ish?

MIKE: Yeah, you're on it.

GRETCHEN: Am I?

MIKE: Okay.

ROBBIE: It doesn't have the original stand.

GRETCHEN: Right, right.

ROBBIE: Yeah.

MIKE: Alright, okay, so what about the uh, the pill mic here,

the CBS pill mic?

GRETCHEN: That's pretty valuable.

I'm going to say 2 grand.

That was one of my...

MIKE: Okay, you‐ you have done, you have done your research.

GRETCHEN: ...I have, I have.

MIKE: You're on it, you're on it.

GRETCHEN: These are my pops' babies here.

MIKE: Okay.

Here's the biggie, look at this one.

I'm not even going to try to move that, the base is so heavy.

GRETCHEN: Right.

MIKE: So we've got a left‐to‐right boom,

and then the CBS piece here.

This is awesome.

That's early.

GRETCHEN: It is.

MIKE: Have you done the research on the mic, what's the mic?

GRETCHEN: I have on‐ on the mic, 2,100...

MIKE: Yeah, I've seen them for like 22 on the mic.

GRETCHEN: ...2,300.

MIKE: So we're close on that.

GRETCHEN: Right.

MIKE: Yeah.

GRETCHEN: And I would assume the rest of it, the stand,

the banner, is another couple of hundred dollars, at least...

ROBBIE: 500.

MIKE: No, I think it's more than that.

GRETCHEN: No?

You think more, really?

ROBBIE: 4 for the...

MIKE: I think the stand is another like, I mean...

500 and this is...

this is 100.

GRETCHEN: Wow.

MIKE: You know.

So... what about this other...

what about this other uh spring suspended carbon mic,

these are you know, 450.

GRETCHEN: Right.

MIKE: You know so...

what does that total then?

GRETCHEN: All of them?

MIKE: Yeah.

GRETCHEN: 5,600.

MIKE: It's 5,600 for all of them.

Retail.

Let me process that...

GRETCHEN: Okay.

MIKE: That's a chunk of change.

GRETCHEN: I know, I know.

MIKE: And I can sell microphones, but people have

been calling us to use them for props...

GRETCHEN: Right, right.

MIKE: For shoots, you know.

'Cause we have a store in Nashville.

But you know, they want to rent this for a...

you know, 30 bucks for the day.

It takes a lot of that to add up to something.

ROBBIE: A lot... right.

GRETCHEN: Exactly.

MIKE: Let me think about it, 'cause uh there's other

stuff to look at here.

GRETCHEN: This is where all the real goodies a

MIKE: I see some more microphones over here.

GRETCHEN: They're everywhere.

MIKE: How about this mic?

The flag looks painted to me, that looks restored.

I mean, it's just perfect.

But if you look at the base, and the circular part here,

this looks like original nickel.

This is really the only piece that looks like

it's been restored.

So something like that should be like,

anywhere from 1,000 to 1,500 to the right guy.

GRETCHEN: Right, right.

MIKE: So I'm at uh...

7‐and‐a‐half.

GRETCHEN: I can do that.

MIKE: You want to do that?

GRETCHEN: I can do that.

MIKE: Okay.

Alright, we'll do that.

GRETCHEN: Thank you.

MIKE: How about these two?

GRETCHEN: 250, 350, is what I researched.

MIKE: Yeah, I mean, you're on it.

GRETCHEN: Right.

MIKE: Um, like 400 bucks.

GRETCHEN: You got to make some money too, I get it.

I'm good with them.

MIKE: I got to make a little bit of money...

GRETCHEN: I know.

MIKE: ...but I just‐ the thing is, I love this stuff.

GRETCHEN: I know.

MIKE: Robbie knows I do.

ROBBIE: Oh I know.

MIKE: I mean, I love the microphones.

ROBBIE: I think in a past life, my brother was

a radio announcer.

This is the stuff that gets him jazzed.

MIKE: Here's another great one, the flag on this has been

restored too, you can see.

I mean, it's super polished and the paint is absolutely perfect.

But it's still a great piece, it's like 7 to 800 retail.

Um...

500 bucks.

GRETCHEN: You go 550?

MIKE: I will, I will.

Alright!

Thank you very much.

GRETCHEN: Alright, we'll head out here to the garage

and this is where all the real goodies are.

MIKE: [laughs]

ROBBIE: The bulk?

GRETCHEN: The bulk, the bulk.

MIKE: Better than in the hou‐ wow...

ROBBIE: Whoa...

GRETCHEN: I know.

ROBBIE: Whoa!

GRETCHEN: It's just everywhere, it's everywhere.

ROBBIE: Holy cow...

MIKE: This is a like a workshop.

GRETCHEN: I know.

GRETCHEN: My dad was a carpenter by trade,

and he loved tinkering.

He was very proud that he was able to repair

and refurbish vintage radios.

MIKE: Wow...

GRETCHEN: He‐ he has a workshop area over in the

corner where he did a lot of his tinkering, and...

like I said, he liked to have everything on display.

GRETCHEN: He had a lot of parts and supplies and because he was

a carpenter, he loved the woodworking aspect of

refurbishing radio cabinets.

He knew the woods, stain colors, veneers ‐

that was his happy place.

ROBBIE: I got to ask about this.

It says it's the world's smallest record player.

GRETCHEN: Have you seen one?

ROBBIE: Oh they're so cool.

GRETCHEN: Oh it's amazing!

ROBBIE: Battery operated, but just think back in the '50s or

'60s, your kid would have taken this to the playground, said hey

let's get out, do a little sock hop action, they would have

flipped the little legs up, and there it was.

GRETCHEN: Nice.

ROBBIE: Sat right there.

And then this opened up,

and there your record sat right here...

right there on the spinner, and then there's your

little arm right here.

Boom, start it.

GRETCHEN: Right.

ROBBIE: So I've seen these...

I want to say tops would be like 160, 170.

GRETCHEN: Retail?

ROBBIE: Yeah, on the retail side.

The‐ the box is a plus always.

Um Wondergram is the brand name.

Condition's actually pretty dang nice.

I mean, this is really nice.

GRETCHEN: Right.

ROBBIE: I'd probably want to be around uh...

$80 for it.

GRETCHEN: Go 100?

ROBBIE: 90.

GRETCHEN: Alright, I'll do 90.

[chuckles] ROBBIE: Alright, thanks, appreciate it.

That's a good piece.

MIKE: Gretchen!

GRETCHEN: Yeah, Mike.

MIKE: 300 each.

GRETCHEN: Alright.

MIKE: Okay. Let's do that.

GRETCHEN: Deal.

MIKE: Alright.

ROBBIE: Check this one out.

GRETCHEN: Oh I know.

ROBBIE: Look at the mount. Brass on top.

ROBBIE: [sighs]

MIKE: I love the mount.

GRETCHEN: 450?

MIKE: I got to have it.

Alright.

Thank you.

GRETCHEN: [chuckles] Thank you.

MIKE: The hanging studio condenser mic...

GRETCHEN: Right.

And it has a 2‐part cylinder tube amplifier.

MIKE: Mm... look at you. You're on it.

GRETCHEN: I've done a little bit of research...

a little bit.

MIKE: Okay, so you know this is over 2 grand.

GRETCHEN: About 2,600.

MIKE: Yeah, yeah, yeah.

GRETCHEN: Um‐hm.

MIKE: [inhales] And they're so hard to find...

GRETCHEN: I know, I know.

MIKE: ...and they're so cool.

GRETCHEN: And it's gorgeous, isn't it?

MIKE: Imagine this hanging up somewhere back in the...

GRETCHEN: Um‐hm...

MIKE: ...display it properly.

GRETCHEN: Right?

MIKE: Uh...

it's beautiful.

So obviously the reason these hung is because they would be

isolated from vibration just like when we're

looking at the suspended mics.

GRETCHEN: Right, right.

MIKE: You know, they were trying to isolate them from vibration.

So to take this away from the floor, and to sit on anything

and just hang it from the ceiling, I mean, that's‐

that's what's cool about it to me.

MIKE: 1,900 bucks on that.

GRETCHEN: 2,000.

MIKE: Alright, I'll do it, 2,000 bucks.

GRETCHEN: Awesome, thank you.

MIKE: Okay, thank you very much.

GRETCHEN: Thank you.

MIKE: Alright.

Phooh!

I feel like we've been through a lot together today.

GRETCHEN: I know, it's all good, it's all good.

MIKE: Alright.

This...

is obviously to me, the most prominent

piece just because of the stand.

GRETCHEN: Right.

MIKE: I mean, the stand itself is brilliant.

GRETCHEN: Right.

MIKE: You know, when we talked last,

we were at 5,600 retail for all of them.

Um...

you know, I've been giving it some thought.

Have you given it any thought in regards to like,

what you feel you would have to have for this stuff?

GRETCHEN: I'd like to get at least 3,800.

MIKE: Well to be honest with you, I mean, I want a good

margin on them, but I also understand what

they mean to you guys.

And I mean...

this was like his...

GRETCHEN: These were his babies, yeah.

MIKE: ...this was‐ this was it for him, yeah I know,

and I get that.

GRETCHEN: Always on display.

MIKE: I'd do 4 grand.

GRETCHEN: Really?

MIKE: Yeah.

GRETCHEN: Thank you.

Thank you.

MIKE: Alright, well thank you for letting us

look at everything.

GRETCHEN: Absolutely.

MIKE: I'm just excited that you even put a number on them.

We come across a lot of stuff we can't buy

and today's not one of those days, so...

GRETCHEN: Right.

MIKE: ...it's beautiful stuff.

Thank you.

GRETCHEN: Well.

They'll greatly appreciate.

MIKE: Yeah.

GRETCHEN: My dad would have loved Mike and Robbie.

He would have just been beside himself to know that

somebody was so interested in his collection.

MIKE: Alright, that's the last of it.

GRETCHEN: I just want my pop to know

that somebody appreciated all of this stuff.

MIKE: Thank you.

Thanks for putting up with us.

GRETCHEN: Ohh...

thank you guys.

Thank you.

MIKE: Appreciate you.

Come to Nashville.

GRETCHEN: My pop will be so elated.

Thanks for...

ROBBIE: Hey, your dad was an amazing man, I can tell you.

GRETCHEN: Absolutely.

ROBBIE: Thank you.

GRETCHEN: I know he's just up there going,

baby you did good today. [laughs]

Because he knows that they appreciate all of it.

Which is great for me.

[honks horn]

MIKE: See you down the road!

GRETCHEN: Bye guys!

[Mike & Robbie blowing poorly into bugles]

ROBBIE: The KROW, he's crowing into the microphone.

Yeah.

GRETCHEN: I was going to say, is that a microphone.

I don't have my eyes on, so...

ROBBIE: Cock‐a‐doodle‐doo!

MIKE: So let me, let me, let me,

I'm just going to speculate here.

Do you think it was the morn‐ the morning show?

GRETCHEN: Oh, because of the rooster.

MIKE: Yeah.

GRETCHEN: Ahh...

ROBBIE: There you go.

MIKE: Yeah.

ROBBIE: See.

GRETCHEN: Okay, uh ‐huh, I got it.

Got it.

[off‐camera crew talking, group laughing]

GRETCHEN: 1 to 4pm!

[group laughing]