All language subtitles for American Pickers - 21x21_track3_eng

[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]