The power of Amy Sherald and American Sublime at The BMA

It’s been an unprecedented and powerful exhibit at The Baltimore Museum of Art, as the Amy Sherald “American Sublime” experience has brought in art lovers from all over the world. Ann Mannix Brown shares her immense knowledge and Ron Cassie of Baltimore Magazine shows his art chops as Nestor welcomes some culture and the wisdom of a recovering and evolving art student at Gertrude’s at The BMA on the Maryland Crab Cake Tour to discuss the legend, lore and allure of longtime Baltimore resident Amy Sherald.

The conversation revolves around the popularity of the Amy Sherald exhibit at the Baltimore Museum of Art (BMA), which sold out tickets immediately and has been sold out since its opening. The exhibit, initially planned for the Smithsonian, was moved to Baltimore due to concerns about censorship. The BMA has the world’s largest public collection of Matisse, with over 1,600 works. Upcoming exhibitions include a collaboration with artist Louis Fortino and a rare book by Matisse. The BMA’s free general admission and ticketed exhibitions are highlighted, with the Amy Sherald exhibit breaking records for ticket sales. The discussion also touches on the museum’s role in the community and its accessibility.

• [ ] @Nestor Aparicio – Coordinate and arrange for artist Amy Sherrill to appear on the Baltimore Positive show, following up after the museum visit.
• [ ] @Nestor Aparicio – Promote the upcoming Baltimore Positive segment featuring Dan Roderick, Nick, and John Shields, including the planned discussion topics.

Amy Sherald’s Exhibit and Its Popularity

• Nestor Aparicio introduces Ann Mannix Brown from the BMA and discusses the difficulty of parking due to Amy Sherald’s exhibit.
• Ann Mannix Brown and Nestor Aparicio discuss the excitement and challenges of getting tickets for Amy Sherald’s exhibit, comparing it to a Taylor Swift concert.
• Ron Cassie shares his experiences with Amy Sherald, including seeing her work at the Creative Alliance and her striking presence in Patterson Park.
• Ron Cassie praises Amy Sherald’s art, comparing it to classic American realism and mentioning her portrait of Michelle Obama.

The Journey of Amy Sherald’s Exhibit to Baltimore

• Ann Mannix Brown explains how Amy Sherald canceled her exhibition at the National Portrait Gallery due to concerns about censorship.
• Asma Naim, a long-time acquaintance of Amy Sherald, reached out to bring the exhibit to Baltimore, which Amy agreed to.
• The exhibit was put together in two and a half months, which usually takes two to five years.
• The exhibit opened on November 2 and sold out immediately, breaking records for ticket sales.

BMA’s Role and Future Plans for Amy Sherald’s Exhibit

• Ann Mannix Brown explains that the exhibit will move to the High Museum in Atlanta, where Amy Sherald was born.
• Nestor Aparicio and Ann Mannix Brown discuss the popularity of the exhibit and the challenges of getting tickets.
• Ann Mannix Brown mentions that the BMA has free general admission but ticketed exhibitions, which often sell out.
• The exhibit has been sold out from the beginning, breaking records for recent exhibitions.

BMA as a Cultural Institution

• Nestor Aparicio praises the BMA as a cultural gem and a place for families to visit, especially on rainy days.
• Ann Mannix Brown and Nestor Aparicio discuss the affordability and accessibility of the BMA compared to other museums.
• Ron Cassie highlights the importance of the BMA as a community institution and mentions upcoming exhibitions.
• Nestor Aparicio shares his personal connection to the BMA through his art teacher, Joyce Bucci, and his experiences at the museum.

Upcoming Exhibitions and Matisse’s Legacy

• Ann Mannix Brown announces upcoming exhibitions on Matisse, including a collaboration with artist Louis Fortino.
• The BMA has the world’s largest public collection of Matisse, making it a crucial resource for exhibitions.
• Ann Mannix Brown describes the influence of Matisse’s work on Louis Fortino and the connection between their styles.
• The BMA will also show a rare book by Matisse, “Matisse and Martinique,” which has never been shown before.

Matisse’s Religious Works and Personal Stories

• Ann Mannix Brown discusses Matisse’s religious works, including a chapel in Vence and the Stations of the Cross.
• Matisse’s religious works are significant because they are rare in his oeuvre and show a serious, narrative aspect.
• Ron Cassie shares a documentary about Matisse designing the chapel with a nun, highlighting Matisse’s dedication to the project.
• The BMA’s collection includes over 1600 works by Matisse, showcasing his diverse and influential art.

Nestor Aparicio’s Personal Connection to Art

• Nestor Aparicio shares his personal story of being placed in an art appreciation class by his journalism teacher, Don Mueller.
• He recalls his experience with his art teacher, Joyce Bucci, and how she influenced his appreciation for art.
• Nestor Aparicio praises the BMA for its welcoming and accessible environment, especially for modern and contemporary art.
• He mentions his positive experiences at the BMA, including a memorable meal at Gertrude’s restaurant.

The Role of Art in Community Engagement

• Nestor Aparicio and Ann Mannix Brown discuss the importance of art in community engagement and education.
• The BMA offers a variety of art collections, including African, Asian, European, and South American works.
• Nestor Aparicio emphasizes the BMA’s role in providing accessible and enjoyable cultural experiences for everyone.
• The conversation highlights the BMA’s commitment to making art accessible and relevant to diverse audiences.

Final Thoughts and Future Plans

• Nestor Aparicio and Ron Cassie discuss their plans to visit the BMA’s upcoming exhibitions and events.
• Nestor Aparicio shares his excitement about future art tours and collaborations with Ron Cassie.
• The conversation ends with a light-hearted moment about a dad joke related to art theft.
• Nestor Aparicio thanks Ron Cassie for his insights and looks forward to future discussions about art and culture.

SUMMARY KEYWORDS

Amy Sherald, Baltimore Museum of Art, art exhibit, ticket sales, Matisse collection, creative Alliance, National Portrait Gallery, censorship, Michelle Obama portrait, Patterson Park, Smithsonian, High Museum, Gertrude’s restaurant, African art, European collection.

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SPEAKERS

Ann Mannix Brown, Nestor Aparicio, Ron Cassie

Nestor Aparicio  00:00

So come on in here. Anne’s here from the BMA. Just move your chair right on over here. We’re gonna put you in I’m not gonna, I’m I make friends here. This is a true small tomorrow moment, because you were coming over and I’m trying to get Cassie to wrap up and get him to stop talking about baseball. It’s probably like you stop and talking about Amy. She’s time of the year, I would think, right, how are you great? You know, I don’t know you well, but we know Joyce Bucci well, who was my art teacher in 10th grade, and she brought me here to see the cone sisters a million years ago, and down at the Walters, I’ve been back and forth. And you know, the art thing for me is I didn’t know that. You knew that this, but what gets me here is sports and art. But I came here today and I couldn’t park. I couldn’t get near the place this, Amy’s a

Ann Mannix Brown  00:51

big deal, huh? Right? Amy is a really, really big deal. When did all this

Nestor Aparicio  00:56

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happen and come together that like you were getting this rock star exhibit. There was a young lady here from Philadelphia sitting at the bar of me for lunch. She said I had tickets in New York, and it was on, and then it was off, and then there was a thing, and it wasn’t there, and then it was in Baltimore, I couldn’t get a ticket. And the girl over here says I couldn’t get tickets. I had to wait. And I then I found a ticket. It was like, like, like a stone show, or something like a Taylor Swift show, or something

Ann Mannix Brown  01:20

going on here. Yeah, we’re getting close to that kind of Yeah, and you know each other because of the Baltimore thing. Well, we, I met Ron when he worked for the Frederick news post.

Ron Cassie  01:28

Oh, yeah, if not the Baltimore examiner, and then the Baltimore first, first, and then the Frederick, um, Nestor

Nestor Aparicio  01:35

last century, yeah.

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Ron Cassie  01:37

But, I mean, I, I love baseball, but Anna’s like, I come here all the time. I love I was, I was painting and taking photographs before I was a writer. Like, I

Nestor Aparicio  01:48

know that I would have had you guys. I would have ended the baseball thing eight minutes.

Ron Cassie  01:51

Yeah. No, I saw Amy Cheryl when she was at the creative Alliance. They had an open studio tour, and I walked into her studio the little and you just like, I don’t stand a Patterson, yeah, creative Alliance. And you know, her work, she had developed this language, her own language and voice. And it’s almost like a mystery. You don’t know why is this person here at the creative alliance in the studio space, and not national wise? And it was a matter of time, essentially. But you know, it’s like when I saw why walk around Paris and park with her dog, if she’s a straight, tall, striking woman, and you couldn’t miss her, cuz I live by Patterson Park, I’d see you there and, and, yeah, I mean, it’s her, and see her extraordinary career take off, and Michelle Obama’s portrait. And I love the way she, you know, she talks about her art in a sense of, you know, right? Edward Hopper, Norman Rockwell, it kind of classic American realism. And I just, it’s beautiful. I mean, the show is just stunning. And we’re look well, you got

Nestor Aparicio  03:04

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here from DC. I’m here promoting Roderick staying and I had trouble. They just let me know, while I was here, I can come Sunday. So Dan’s gonna have me in on Sunday because I was gonna do the dress rehearsal. But I’m not. We want to, like, see the whole thing. I mean,

Ron Cassie  03:16

you know, the show was supposed to be the Smithsonian DC, right? That’s this.

Nestor Aparicio  03:19

I’ll tell you the story. Give me the whole story, because I do know it’s been missed.

Ron Cassie  03:24

What the whole Secret’s behind zeal, yeah, and how long

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Nestor Aparicio  03:27

it’s here, and whether there’s any line for people like me who may want to go or may know somebody. Somebody appears said, Well, I know someone here. That’s how I got tickets. And I’m like, Well, I know someone that knows someone here. John’s my cousin, for crying out loud, and I’m blowing him off for this segment. So tell me about how it all happened.

Ann Mannix Brown  03:43

Okay, so Amy decided to cancel her exhibition at the National Portrait Gallery in late July, Trump and yeah. So there was concern about censorship of the painting, transforming liberty, and she decided, no, this is not a painting that can be contextualized. It is perfect as it is. The exhibition needs to be presented in its entirety the way I envisioned it. And so when the cancelation artist exactly fierce, fierce stays true to her vision, I like that. And Asma Naim had meant, met Amy back in 2016 or maybe sooner, whenever she was still at the creative Alliance, she had submitted the portrait miss everything for the outwin Boucher prize. Asma was working as a National Portrait Gallery, so they’ve known each other a long time. The BMA acquired a painting by Amy in 2018 and then this is the most amazing thing we had already planned to honor Amy Sherrod at the BMA ball in November. That was decided around this time last year, long before there was any possibility of the exhibition coming here. So it was almost like kismet, you know. When this opportunity came available, Asma reached out to Amy right away and said, If I can use move mountains to bring the show to Baltimore, you know, would you be cool with that? And Amy was like, yes, and then

Nestor Aparicio  05:12

I want Amy on the show. Now, I got to get the whole thing here, so

Ann Mannix Brown  05:16

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we scrambled and put together this exhibition in two and a half months, what would normally have taken two to five years. And so it opened November 2. Everybody wanted it, right? Immediately, right, immediately. Every the tickets sold out. They’ve stayed sold out.

Nestor Aparicio  05:34

What is sold out? How many people is that? And someone said, I got a 30 minute time and, you know, and I bought tickets for these things. My wife’s been to the louver recently, just in a general sense, what? Well, the tech, when I think of the BMA, I come anytime I want, I just roll in. It’s family every this a little different right now,

Ann Mannix Brown  05:52

yeah, BMA has free general admission, but we do have ticketed exhibitions. On occasion, almost without fail, the last two weeks of any ticketed exhibition sell out. Okay, but this has been unusual, because it’s been sold out from the beginning, the middle and the end, breaking records of all recent exhibitions.

Nestor Aparicio  06:13

I would ask, Why is there an end? Then can we extend? Or no, you’re

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Ann Mannix Brown  06:16

not the first person to ask. Oh, see, I’m a real report. It’s going to Atlanta. It is. It’s going to The High Museum in Atlanta, which is where Amy was born. She was She grew up in Georgia. We claim her, though she’s a Baltimore girl. She lived here from 2001 I think till 2008 when does it leave? It closes April 5. It opens in Atlanta. May 15.

Nestor Aparicio  06:38

This is good for Ron, because anything focus on baseball, there you

Ann Mannix Brown  06:41

go. There’s no overlap.

Ron Cassie  06:44

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I’m back for the tease exhibitions that are opening up. Absolutely.

Nestor Aparicio  06:48

Let’s talk about the museum a little bit. Because, I mean, I come in and out, and John allows me to do the show here every three, four months, people like Ron come by, and I have guests. Your folks have been by to talk about things before him sure it was here, um, just in a general sense. I think this is one of the real gems. And I I felt that when I came here today and I smell the food and I come in and I think people down Baltimore and talk bad about Baltimore, I’m Baltimore positive. And I think to myself, Man, you want to kill a day and do nothing, you got nothing to do, and you think you’re bored and it’s raining out, or it’s cold out, like today is come over here Park. It’s centrally located, like the zoo. Not give the zoo love too, but like just these things that we have are institutional, either inexpensive and or free and easy. That you could bring kids, you could bring family, you could bring your mom, you could bring anyone, even if you don’t love art, walk around, be bored and laugh about it, but you’ll like what you see, you’ll like the people. It’s just when I come here, I feel like I’ve been somewhere. It feels like something I should have been doing more in my life. I think you

Ann Mannix Brown  07:49

should be a spokesman for the BMA. Well, I mean, you’re absolutely right. I feel the same way. Also, when it’s 90 degrees and you’re boiling outside, you come in here too, Baltimore,

Nestor Aparicio  08:01

you’ve written books. How many things can you really do for free in the Smithsonian’s free? And we all get spoiled by that. And a lot of the New York museums are free to like, we can be what few are, but you can be spoiled by being a Baltimore kid and going down to DC and never paying for anything, going places. And this is one of those things. It’s sort of like, I can’t think of a lot of things that are still like, you can just walk in that are as grand as this.

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Ron Cassie  08:28

Let me just say, Anna Max Brown is a tremendous spokesperson for the PMA wonderful and we couldn’t have a better ambassador. And with all due respect, Nestor, she does. She does an amazing job. Nothing. I’m not qualified. No, you’re absolutely right about about, you know, being such amazing Baltimore institution. And I’m, like, I said there’s like, three exhibitions coming up around Matisse. I’m already looking forward to them, like they’re new.

Nestor Aparicio  09:00

You was a bugger all the time. I’m here all the time. I love this place. Well, I do.

Ron Cassie  09:03

I sometimes, you know, the nature and art exhibitions that we saw, you know, the return to the earth was just, you know, tremendous bringing together. You know, concern for the environment and art. You know, across the globe, across cultures, it is, and sometimes I just will come it’s a rainy day to see my friends with digliani and Cesar and just sit and sink in and look. And I, I don’t have an education in art, but I lived in DC

Nestor Aparicio  09:36

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one semester with Joyce Bucci. I’m educated. No, I lived. I did the guy did puntulism.

Ron Cassie  09:40

We did it all. I lived in DC, and I was a bike master, bike messenger business there for five plus years. And what I would do on the weekends or with my daughter is we go the free museum to look around and just learn to just look. That’s all. Just look animate you. And it’s like listening to music. You don’t think you have to know something about music when you turn the ring. You on. You tap your toes right? If it moves you, you maybe you reflect a little bit. Why? Maybe it’s a little quieter experience, more akin maybe to reading, and, you think, to music, but it’s just that same thing. Does anything stir what is it? You look a little closely. I am ridiculous. I will put my nose close to a painting and see the texture of it, stuff like that, but

Ann Mannix Brown  10:18

set the alarm off. Yeah. I’ve been

Ron Cassie  10:22

asked to step back more than once, you know, stay classy, huh? It also is, I think what Nestor is getting to really, is, when you come here for Amy sherald or hip hop show, is another one, the crowds are just amazing. Among many exhibits, is I, when I see other people having the experience I’m having, it’s just really, you know, kind of swells the heart a little bit. You know, that other people are, are having a spiritual, kind of reflective, kind of moment, and communal moment, you know, moment, right? You’re a part of that. You’re seeing that a lot of happy people. We see

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Ann Mannix Brown  10:55

it a lot in the Amy Sherrill gallery, yeah, people are connecting on a different level, and just, it’s just a beautiful feeling. I’ve never experienced an exhibition that felt so joyous.

Nestor Aparicio  11:07

This has been a great couple months for the BMA, right? Yeah, for Gertrude, and for just every get get down here, if you get a chance, and pull some strings, get a ticket. If you know,

Ann Mannix Brown  11:17

weekdays are easier, if we if we have an opening on the weekdays, stop by. You never know if you’re in the area.

Nestor Aparicio  11:24

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You guys know Mark Steiner, yes, yeah, I know Mark too. He he had an art joke today on Facebook, and I read it to you, sure you may have heard it. It’s corny, is that? All right? It’s like, it’s a dad and I’m old. I’m 57 I could be I don’t have a dad bod, but I can give a dad joke. All right, why did the art thief’s van run out of gas as he drove away from the museum? Why you don’t like this already? You know, the answer

Ron Cassie  11:52

is a dad joke. I think already feels approved.

Nestor Aparicio  11:54

Why did the art thief’s van run out of gas as he drove away from the museum Batman because he had no Monet to buy the gas to make the Van Gogh. Yeah, I’ve been at a Van Gogh Museum. I have to escape Steiner a plug. That was it. You didn’t like that. It’s okay.

Ann Mannix Brown  12:22

Not my job. Let me tell you about Matisse. Yeah,

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Nestor Aparicio  12:25

we’re here. We did the Mati. So there we go.

Ann Mannix Brown  12:28

So many people don’t know the BMA has the world’s largest public collection of Matisse in the world, in the world. So nobody can do a Matisse exhibition without reaching out to us, and it gives us the opportunity to show lots

Nestor Aparicio  12:42

of so you loan and then they loan you something good back exactly, yeah, I’ve learned a little bit about this.

Ann Mannix Brown  12:48

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Yeah. And we’re so thrilled we have artist Louis fortino, a 2015, Micah grad, who’s going to be showing his paintings alongside Matisse, for the first time, and he came to the BMA a lot. You can see the influence of Matisse’s work. But where Matisse was looking at women, Lewis is looking at men. But there’s such a beautiful connection between, you know, the types of colors, they use, the lines, the forms, and they just look beautiful together in a very different ways. And then we have, later this March, we have Matisse and Martinique, a very rare opportunity to see a book that we’ve never shown before, where Matisse illustrated these poems about the Caribbean basically. Yeah, Mati

Nestor Aparicio  13:35

stuff you’ve never shown before. Yeah, that’s how much stuff you have.

Ann Mannix Brown  13:39

We have over 1600 works by Matisse. You could shut the

Nestor Aparicio  13:43

whole museum down. How many works do you have in the whole museum? We’re getting close to 100,000 Oh, that’s a lot. Okay, I’m thinking small things. I’m thinking little things, but that’s a lot.

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Ann Mannix Brown  13:52

Yeah, we have a lot. The last show is Matisse and Vance, which is a little town in the south of France, where he designed a chapel, a chapel of the Rosary for a Dominican community. And he created these three murals, and we have the last one. It’s the Stations of the Cross. He worked on this longer than any other project in his entire career. He created more drawings for this and Matisse, you know, when you look at his work, it looks so simple, but you see how he got to simple. He worked so hard. And he wasn’t, you know, he wasn’t. He was, I think he was baptized Catholic, but never really participated in any kind of religious ceremony or religious tradition. So he was learning this, and he was, you know, at the end of his life too. It’s just about three, four years before he passed, and he is not as best health. So he’s finding ways to work, finding ways to make this mural as intense as possible. You know, it’s, it shows Christ’s journey to Calvary. Not a happy time, right? And so Matisse went against what he usually does. He never does a narrative work. He never does any religious topics in any of his other works. And his works are generally really pretty, really beautiful. He goes against that because this is not a moment where you should be feeling like, oh, the beauty of art. This is a very serious subject I’m

Ron Cassie  15:25

really looking forward to. There’s a wonderful little documentary about him designing this chapel with a nun, small town with a nun. Yes, he’s, he’s overweight, mobility restricted at the age of end of his life. And he designs the chat which he’s doing, the architecture so the light shines in on the altar. I mean, he’s, yeah, unbelievable,

Ann Mannix Brown  15:43

absolutely everything for this child, everything in this

Nestor Aparicio  15:45

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channel, Renaissance man, you really are, yeah, I’m learning things about you. I did not know

Ron Cassie  15:52

the record exhibition was like, baseball goes, Oh, my God, that was the

Nestor Aparicio  15:56

art museum. Yeah, who’s baseball will come here? I got a fallback, yeah,

Ron Cassie  16:01

but no, that like I was saying deeper corn years ago was unbelievable, and I’m still looking forward to the instincts of the crosses exhibition. Like that chapel documentary is just like, yeah. I mean, it’s yeah, you can find on YouTube for free, yeah.

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Ann Mannix Brown  16:16

And it’s funny, because you know, you never think like Matisse with a nun, yeah, this woman had been a model for him and a nurse before she took her vows, and so when he moved to vonce, they became reacquainted. She she actually drew a little design for some stained glass. They were meeting in an old damp garage, and he looked at the designs like, Oh, that’s nice, you know?

Nestor Aparicio  16:39

Yeah. So the stories better every one of these pieces.

Ron Cassie  16:43

Well, time for Easter right season. Of course,

Ann Mannix Brown  16:47

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it opens during Lent right before. So

Nestor Aparicio  16:48

10th grade at Dundalk high, I was not put in my journalism class. Don Mueller was involved in this, and Don Moeller got me into my journalism class. But in order to do that, we had to change other classes, including typing, where I flunked out because I didn’t have a finger and, you know, so I got put into Joyce’s art class, art appreciation class. It was our she’ll have to tell you, I have to go get my I think she gave me a B, because I found the report card the other day. I found the report card boot. She had her name, the name then so I she gave me a B, but I do have it. And she was my teacher, and she’s put things together. And you were so wonderful when I did the show here a year and a half ago. You gave us space for Fayette Lee’s. I brought 50 people down for Roderick show for Baltimore. You have no idea, brought every friend in the world. So I got Dan’s offspring here, Nick I got John shields. They’re gonna come on. We’re gonna talk about the show. But you do wonderful stuff here, and I’m happy to do anything you want to do, anything you want to talk about. Teach me about Matisse. I’m here to learn about it. Awesome. You’ll be back. I always am back. And the thing that I hadn’t been here a long, long time before, a couple years ago, when I came in those pop art pieces where you sit on the they look like giant Legos. I don’t know exactly what they are, but they’re extremely colorful. And when I came into the lobby of this venerable museum that’s all stone and marble, and I thought I felt very welcome just coming in, because it didn’t feel hoity toity. It felt welcoming to like

Ann Mannix Brown  18:23

modern things, our job is done perfect.

Nestor Aparicio  18:26

Because, literally, there was a long time was the art gallery the Matisse in the together, what are they gonna have in there? For me, you can put a can of soup from Andy Warhol up some pop art. You know, I think that you feel that when you come in here, that this isn’t a place for 15th century Victor, but it might be, but it’s also it’s it’s modern and it’s accessible. We have

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Ann Mannix Brown  18:48

a lot of different types of art, and young people will dig into it. We have great African works, beautiful works from Asia. We have incredible European collection. We’ve just a lot anything

Nestor Aparicio  18:58

from South America. Yes, I just gave it away. Ron. All right, I gotta take a break. And thanks for coming out. I appreciate you. Thanks for having Cassie is here. I’m just doing just that was just a little breadcrump for you. That’s all.

Ron Cassie  19:10

That’s all. I appreciate it. Yeah, trying to figure out

Nestor Aparicio  19:13

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my travel plan. My wife is going to Italy. You have any Italian work here? Yes. All right, we do. She’s going to Italy for art. Well, come over to Hopkins campus. You got art over here? All she wants. We’re coming to Dan’s show on Sunday, and we love coming to Gertrude and thanks for making a little time and coming over and talking about what has become a superstar exhibit. And I was, I was aware of what a big deal it was, but then I came here to park, and I’m like, John told me it was packed every day, but I didn’t believe him.

Ron Cassie  19:41

So this is why we live in cities, because of stuff like this. It’s accessible, right?

Nestor Aparicio  19:46

I had the best meal of the year here John shields, and I’m going to talk to you about it. Do you know what I ordered? I didn’t order your grandma’s crab cakes. I didn’t order gerties. I went it involved the collard greens that are the greatest collar. Greens on earth that I had for lunch today right here at the bar. My thanks to Ron Cassie. He’s a senior editor of Baltimore magazine, bon vivant and Renaissance man and baseball aficionado too. So when baseball goes on strike, you and I are going to be we’re gonna do our art tour March 28 of next year, when you’re crying in your seams,

Ron Cassie  20:20

I’ll bring you over here. Great medicine to get you through winter.

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Nestor Aparicio  20:23

We’re trying to do some people use football or hockey, and thank you, and thanks to Joyce for being our mutual friend. And come back on the show. Let’s talk some art. Sometime soon, we’ll do bring the whole bring the whole gallery with you. John shields is coming on next. Dan Roderick, son Nick, who I barely met. We almost went fly fishing, 10 o’clock, two o’clock, 10 o’clock, two o’clock, I learned how to do that. We’re going to promote 1966 and we’re going to talk about catfish and grits and shrimp creole. My favorite Elvis movie was King Creole. Back for more right after this, we’re Baltimore positive. You.