AV Geeks Lunch 7-20-2022

foreign foreign hi everybody let me turn off this and turn this on and I got so sucked into watching all the footage at summer camp I can't Klondike that uh I missed turned on my light and turning off my sound um I'm skip Alzheimer welcome to the AV Geeks lunchtime streaming show where we watch old 16 millimeter films and comment on them and that last film actually came from a collector uh who had a variety of different uh films that we've watched Craig Baldwin from San Francisco uh and that was some home movie beautiful Kodachrome home movie footage of uh sleep away camp um and um I think there still are Sleepaway camps I certainly went to a couple when I was a kid and they were wonderful and scary and it was all a good time so behind me we have we have a telesini and so here we've got our good friend McGruff um talking about drugs enjoy [Music] gives you energy to play juice quenches your thirst most things you eat and drink are good for you they give you strength help you grow and make you healthy and strong but some things can make you very sick hurt your body and sometimes even kill you these are poisons some are marked as poisons and kept away from people you know sometimes they have a skull and crossbones on the package but some don't then you have to be alert to see the warning signs that a poison is a poison [Music] Lisa where are you Lisa Lisa where are you where'd you get off to this time [Music] no no no no no [Music] yes I can hurt you that's right a poison can be deadly they are dangerous chemicals they can burn and hurt your body and your brain that's why they're often marked like this now every babysitter an older brother or sister knows to keep a baby away from marked poisons but sometimes they're not marked and not so easy to spot then it's up to you to take action foreign what are these no I thought I'd gotten rid of these what are they they were your grandfather's heart pills it was ages ago I thought I'd thrown them out they're really strong so we're gonna have to look around for any others to think of an accident that could really hurt someone poisons can be tricky like I said some are marked but some have no marks and even though doctors can use chemicals to make pills and medicines that help sick people the same medicines given to the wrong people are in bigger amounts can actually hurt that's why doctors have to carefully write instructions and see that only their patient uses that medicine and only in the amount ordered because otherwise it's dangerous and could even kill you one way to know if a medicine or drug can hurt you is is if it's illegal that means no one has the right to give it to others illegal drugs can't even be given by doctors they're so poisonous that it would be easy for someone who didn't know what they were to hurt themselves badly or even die that's why they're called illegal drugs and that sure is one way you know that they're bad for you [Music] hey guess what you know Zach this big sixth grader no he's over there with all those guys but guess what he's got a big bag with some drugs in it what do you mean what kind of drugs where did he get them I don't know some high school kids sold them to him he can get in trouble he doesn't care he's showing off to everyone look let's go see no I don't want to come on nothing's gonna happen it's no big deal let's go no what's the matter chicken listen I'll do what I want to okay so if you don't like it you can just leave me alone [Music] well you have quite a problem there what are you gonna do I'm a girl I don't know what to do I can't just tell on them I don't want to get anybody in trouble but Bobby could get hurt I don't know I mean if the older guys think listen you take a drug that could hurt you just because somebody else did it no of course not but what what people do take stuff that's bad for them what about alcohol yeah you're right alcohol is a drug too but even if alcohol is taken by grown-ups sometimes still alcohol in any form is unhealthy for children it's bad for you period a poison can hurt you and but what about Bobby what am I gonna do if an unmarked medicine from a doctor can be dangerous think how dangerous an unmarked powerful chemical could be to take any would be as crazy as uh is stepping off the curb in front of a car if a few older kids aren't smart enough to know that an illegal drug can hurt you that doesn't mean you also have to become a member of the stupid Club stay away from illegal drugs but if you are friends if you see someone hurting themselves with a drug it's okay to tell them to stop that's being a good friend if you see an older person trying to give drugs to kids it's okay to tell someone you trust so that that can be stopped health and safety come first you and your friends have a whole life to live I guess I have to do something I mean at least Bobby shouldn't get hurt just because the sixth grader is stupid you're right poison is poison it's okay to tell him that come on [Music] hey come on let's play some ball what's wrong can I talk to you for a second yeah come on [Music] [Applause] grab you know it's natural to be healthy strong and happy like you guys but a poison can hurt you no matter whether you find it by accident or even worse if someone gives it to you a person like that doesn't care about your health or even your life someone who uses drugs or gives you drugs is dangerous to you even deadly Hey look remember kids it's up to you to say no to drugs like I say users are losers and winners don't use you only have one body keep it as healthy and as strong as you can kids protect yourselves and you'll be helping me to pick up bite out of crime what bye [Music] oh my Gruff um it was great to see how some some of you were shocked to see someone in a McGruff costume since most of the PSAs that the Ad Council did had McGruff animated and you know the trench the kind of raincoat trench coat that he was wearing is very seemed like it was a Colombo ripoff although The Voice yeah I don't know but uh yeah um yeah talking dog talk talking to you about drugs um makes me think of Son of Sam who um it was uh is it Berkowitz I can't remember his last name but basically he said a dog was telling him what to do so there's a cautionary tale there I think um let's learn about energy and work enjoy [Music] foreign ever happened to you one morning that you wake up feeling full of energy if you are full of energy you don't sit around the house you get out and move around and work off your energy mowing the lawn is work but this is work too the word work in science means using energy to make something move or to make something it takes energy to do the work of moving the propeller and winding up the rubber band foreign foreign it takes energy to do the work of moving the plane through the air where is that energy coming from it comes from the energy you use to do the work of winding up the rubber band but you did that seven hours ago nevertheless that same energy is being used now to do the work of making the airplane fly foreign it takes energy to do the work of turning the propeller and winding up the rubber band but now some of that energy is stored in the Twisted rubber band it can remain stored there as long as you like until you want to put it to use to do work [Applause] there are many ways to store energy for example it takes energy to do the work foreign [Applause] [Music] there is potential energy in this gasoline ready and waiting to do work [Music] it's easy to move this kind of stored energy from one place to another the potential energy stored in the gasoline will be put to work when the gasoline is burned in the engine thank you potential energy stored in the gasoline is being used now to do work some of the energy it takes to do this is carried by the moving ball to the other end of the alley where it does work [Music] there is energy in all moving objects the energy and moving objects is called kinetic energy the word kinetic comes from a Greek word Connecticut which means to move foreign ergy kinetic energy the energy and moving objects can do work the energy that is in moving objects is very apparent in moving water men of lawn put this energy to work the kinetic and potential energy of the moving water does the work of turning the water wheel foreign the energy to do the work of turning the grindstone comes from the kinetic and potential energy of moving water foreign men use the energy of moving water to turn electric generators in huge power dams the energy of the moving water does the work of turning these generators which produce electric energy oh electric energy is like any other kind of energy it can do work making the drill spin is work [Applause] it takes energy to do the work of pulling this wrecking ball back kind of energy is in the ball now potential energy what's that it's energy stored in something ready to do work when I let go it'll do the work of moving the ball where did the potential energy come from it's part of the energy I used to do the work of pulling the ball back what kind of energy does the ball have now kinetic energy what's that it's the kind of energy that moving objects have can it do work sure energy can always do work foreign [Music] why are you so confident can you tell why foreign [Music] yeah just that Wrecking Ball at your face um yeah that series is is really interesting so in doing uh a lot of the um Encyclopedia Britannica films that we've been scanning for Peter Britannica from our collection I've been noticing some Styles uh of different periods and there are some of these Concepts especially the science Concepts and biology Concepts that kind of come up in different series and so they tend to be made by the same production company and they have different elements of kind of playfulness or silliness or and this one seemed kind of kind of fun uh in that regard okay so uh it doesn't happen often but sometimes when we hear somebody passing away we have a film about them that uh probably nobody's ever seen and this is the case with the artist sculptor Klaus Oldenburg who I'm a big fan of I loved his work I love how much fun uh his work was and uh interesting and there was this kind of a sense of humor and oh the scanner just dropped the pop the uh the tape hold on a sec anyways uh so I have on the film scanner a film about Klaus Goldenberg made in made for net television which is National educational television and in 1966 so we're gonna watch that uh it's it's interesting even if you don't like art it's kind of interesting to see what he chooses as his subject and if you don't know anything about him uh maybe you'll pick up something um anyway so here is Klaus Oldenburg enjoy [Music] [Music] well I start every time I start a show I start as if I never made a show before and um absolutely from nothing it doesn't appear that way at this time but it did appear that way last summer and it's very frightening and uh I don't know if this is good or bad but this just means that you repeat your mistakes or whether this is a very good way of saving your innocence because it is very important to be innocent I think to approach to approach a show Without Really knowing what's going to happen and just to have the confidence that it will happen this is the way that I approach the happenings too I I think it's terrifying to do it this way but it's always a great pleasure if it works and it hasn't failed entirely so far there have been some things that have been disappointing some things I haven't been able to bring off but on the whole I've I've met my obligations or my deadlines what I when I develop a show everything usually hangs together that's uh that is after after a while the the uh uh one form sort of leads to another form and there's a kind of consistency in the form so maybe two or three forms that dominate the soul in different uh in different guises so there's kind of consistency in form and you could say almost that every show uh has a has two or three themes and variations on the themes I find it helpful to work that way there's a I think I strive for a consistency which is something that's almost never noticed in a by a reviewer it's noticed I suppose by people who see this show but no one ever mentions that the shows itself is a composition foreign Oldenburg is one of those artists for whose work the pace and texture of urban life are necessary conditions Warren Stockholm he grew up in Chicago where his father was formerly the Swedish consul it's hard to think of another artist who is more American in his Outlook and in his perception of the details of contemporary life Oldenburg came to New York in the late 50s now he and his wife Pat live and work in immense Loft on the Lower East Side along with several others Oldenburg was one of the first to explore the Vain and Contemporary Art which later was to be called pop and he was one of The Originators the new kind of artist theater called happenings in this film we see him working and preparing for a major exhibition of his new work Last Summer I went through about two months of which Michael inspiring myself of priming Myself by reading and buying hundreds of magazines and walking the streets of New York and and um I even I took off 40 pounds I gave up smoking I um I did all kinds of things to myself to to to get myself stimulated or started in some Direction and um then I I went through my notes which is always a good stimulation the notes from the past have many pieces that I've been intending to make but I never get around to making and so on and finally uh I sat down or as I would say finalists as a beginning I sat down and made a list of about 50 things I would like to make uh just uh what came into my mind as a result of this office self-priming but um gradually as I go along the list gets shorter I knock out things that don't seem to be particularly important or that can be saved for later or that seem just plain silly and the list gets shorter and shorter and shorter and more and more realistic everything progresses from the wildest dreams to what can actually be done surprising how little one can do really you know when you get right down to it but it's it's enough I found that I had more than enough for this show and I have as a residue from from thinking about all the things I could do I have maybe a hundred ideas here for future shows which I don't know if I'd ever get around to um it accumulates there's an awful lot of paper lying around the studio a lot of sketches that will never be realized but you know all it's all you care about is that there should be maybe out of all of this stuff maybe there should be uh 50 good ideas because you can really work a Lifetime on one good idea I write every day and um I feel very unsure about what I write and as a matter of fact I have a suspicion that I write them to get them out of my system I some of them are certainly um an honest attempt to explain what I'm doing to myself but many of them are very uh frivolous and and nasty that not a lot of nasty remarks and really that kind of um a way of getting the stuff out of my system so they don't serve as a guide to my work necessarily they're quite tricky that way and I think they're also rather badly written but it's a compulsive thing uh the need to touch the typewriter and to uh to make the words appear on the White Page it's something um among other things which makes the day go by I think it's very hard to be an artist because there's nothing going on in your life I mean unless you're working with something a Monumental like carving marble uh your day goes by and you you have to find all kinds of different ways to engage your senses you know something with the hands or or I mean I read about poets constantly drinking tea and so on and you have to um because I work all day long I don't stop for lunch or anything like that I just get up in the morning and I I wand around my studio all day long and sometimes the half the night you know until something happens so typing is a way of relieving the the boredom of the studio Sometimes some rather nice things come out and I try so I try after a show to go through the material and select out what what seems valuable and true but I'm a very poor critic of my own writing and I I really don't want to be a writer I I feel I'm much more honest in expressing myself through plastic form I I should have started becoming an artist much sooner because I was always very interested in art and drawing but as it turned out I didn't become professionally involved with art until after I had been to college and after I'd worked a year and a half after college uh in as a an apprentice newspaper reporter it would seem like a um a dead end and I I then took the leap into art and full time studying Arts if I studied mostly on my own I didn't I had already gone to college so I didn't feel like going through that again so um more or less I worked out the problems myself I did go to a few classes and met some people some other artists and talked about the problems of being an artist but it was really what I did what I've done has been a result of my own analysis of what what I think the thing called Art is it's mainly been through going into myself and finding a what I mean rooting expression in my own daily life of my perception of Nature and and a process over a number of years of sort of digging into myself and finding the form for what I what I discovered in myself in the work of Klaus Oldenburg the inanimate objects in the world around us assume an almost terrifying intensity and vitality enormously enlarged in size expressively exaggerated in texture and brilliantly colored with shiny paint his art is a kind of unprecedented sculpture to which he brings the sensibility of a painter and the passion of someone who loves sensation oldenburg's early pieces were mostly about food he made pies beyond the glutton's wildest dreams ice cream to tempt the oldest child hamburger is his biggest tents at first these objects were all made of plaster and painted with enamel later as the scale became even larger Oldenburg worked out a technique of sewing the pieces in cloth and stuffing them his interest in the most immediate and direct experience of familiar objects eventually led him from food to clothing and ordinary household things Oldenburg gave to objects a new personality particularly in the softness the later sewn pieces we begin to feel a sinuosity sometimes indolent sometimes threatening sometimes sexual which breaks down our custom Assurance at the distinction between animate and inanimate occasionally Oldenburg has turned to other materials like wooden plastic one of his most extraordinary Ventures was the furniture Ensemble called bedroom like the rest of his work Larger than Life the bedroom is one of the rooms of the house and in the first room that I I tried the second one day in the bathroom and um I suppose we wanted to start with the um the rooms where there was most physical contact or sensuousness but many people have interpreted this as a as a funeral bedroom or as a handtime sensuous bedroom or as the death of sensuousness and there must be that element in the two there is a kind of uh of formality about the bedroom which is frightening especially the geometric forms [Music] so as in most of my work there is a there are two contradictory uh interpretations and impulses and you have to make up your mind which one you want to follow or you can follow one a little bit and then come back on the other one so it's very hard to sum it up and say it's any one thing I like to look at this room I like to pass it it's kind of an oasis and a loft and here things don't change you know outside everything is flying around and in here protected by this plastic there's a kind of like an aquarium atmosphere then I got involved also with the automobile I don't exactly know why I got involved with the automobile but this was a new theme and probably some very deep reasons that I don't can't put my hands on at the moment why and then suddenly the airflow floated into view and and everything came together in in that area my Curious coincidence it happened that the airflow Chrysler an advanced car of the 30s wholly appropriate in its forms to the spirit of his work was conceived by the father of oldenburg's friend the sculptor and filmmaker Robert Breer Oldenburg photographed and sketched a restored airflow owned by Mr Breer kind of um it's like an exploded view and it's all types of pieces or kinds of pieces of the car uh of different size models and different type models also within the airflow scheme and each each part is is treated differently uh there's some are on the floor and some are hung from the ceiling and some lie in the corner and we expect uh we expect to keep making these parts and to work on this thing for a rather long period of time you start composing a symphony uh compared to a shorter piece and um it's it's quite a job it may be too much for us but even if we don't complete it we still will have a lot of stuff if we work on on the idea for about another year and we're going to have another show um next year in which the airflow idea will dominate just as the bathroom dominated this show uh this year and uh I expect many things to come out of it there's quite a lot of freedom and quite a lot of possibilities you could make many different models I I'm right now working with six models and six uh sizes of which one is a full scale in a sense oldenburg's loft is a factory where he works out the problems of handling new materials in new ways with the help of his wife Pat and other assistants foreign sculpture uh using the canvas or the vinyl uh we're working with a medium that's very exploratory and there are other ways to join the parts for example heat sealing but I think sewing is uh is more involving and complex and and therefore more satisfying it's also sewing is very much like drawing and also uh this is like a translation of flat into round as I make a pattern and then I give it we trace it and she sews it together so that then it turns into a round of sculptural object I I get a great little pleasure out of involving other people in my work and this is particularly strong in Pat's case and her sewing is also something very special it's very aesthetic and the pieces on which he works on become very much a collaboration pieces Oldenburg explores the formal problems raised in these objects by first making corrugated cardboard models and then developing patterns for the shapes to be sewn well it's necessary it is necessary if you have set your mind to making something out of vinyl it's necessary to make a very clear pattern to be followed in the sewing so I started using cardboard and I I keep using it and cut it very easily and if I have an idea I can very quickly make a model out of it through cardboard and that's followed by taking the pattern and making it into canvas and if that works that's followed by a vinyl I think though that the the models have a kind of directness which people appreciate I mean the models in I exhibit the models the canvas pieces uh they um they're originally served a function of working out the sewing problem but then they seem to be um something in themselves very different from the vinyl pieces for example they seem to uh proletarian in relation to the vinyl pieces or they seemed austere or they seemed more spiritual less sensuous um or they see well I call them ghosts because they I painted them white and they see there they had they had a kind of a double up existence like the the um the thought behind you know like the platonic idea uh behind the sensuous actuality so uh there are many people who prefer the canvas pieces to the vinyl pieces for one reason or another and usually the canvas pieces are sold for Less so there are all kinds of uh I you know you could work up all kinds of feelings about one as opposed to the other oldenburg's art often utilizes humor and untrammeled fantasy some of the best examples of these attributes are his drawings of schemes for monuments to be built in New York City and look what look at these I mean there's no such thing as a as an honest Monument I don't know of any if I say put a hot dog on Ellis Island which I've proposed a giant Frankfurter then um it's only because the giant Frankfurter is one of my personal objects and I feel that in that position in relation to the Bay it would be a very well located so um see that would be a very good instance of how you could get in trouble by bringing the Two Worlds together the world of Art and the world of the people outside a monument gets you into trouble right away I just made my things and called them out and but that's because I was I I was brought up to believe that um uh one should try to reach people and one should try to some uh to sum up what people are feeling and uh want to try to make people all into one and so on and even though I know it doesn't work I keep doing it the bathroom is the second room of the home which I started doing uh uh a couple of years ago I started with a bedroom and now it's time for the bathroom the that is tied in with the idea that um the the home is full of sculpture-like objects such as the sink the toilet or the tub or the appliances that you use the toaster the orange squeezer and the can opener objects that are sculpture and concert they stand in space it's also the the fact of porcelain or enamel that it looks so much like a patent vinyl and it's possible to make something out of vinyl that looks like soft porcelain that had a lot to do with this choice but it's it's really to develop the theme of the home the next step would be the living room and I've already dealt with parts of the kitchen but I might deal with an entire kitchen using a stove and maybe a washing machine or a dryer something like that I prefer a material and a subject that suggests change and Flow which is for example why I choose ice cream and the representation of ice cream and plaster and here I I'm using a soft cloth soft vinyl fabric um to suggest the possibilities of change uh in relation to an object that is in the soft version of the sink it's possible to see the sink from above and from beside and from the front at the same time because the front of it falls down in the soft version and also there are changes in meaning or changes in subject matter and changes in an image that happen as a result of the softness the uh what is uh identifiable as a sink takes all kinds of different forms and can be identified in many different ways if the material is changed into soft material the whole thing is that I I start I say this is a sink and from there it can be almost anything depending on who's looking at it you can always go back and say it's a sync that it's defined as a sink but I wouldn't want to set any limits to where the the image can go after that people will see their own images or whatever they want to see in general my Approach is to set a limit a general limit and within that limit let things have a life of their own take their own form and that's what happens with the cloth and that's what happens when I do a a performance a happening I set very general limits within which people develop themselves in relation to the objects that I give them I don't know why the toilet should be offensive to people as a subject it um it has never hit me that way at all that is I'm not sure I've not chosen a subject that a delivery to shock anybody I've just assumed that that's one of the sculptures of the home and um it's such an important and obvious part of the home that I just have accepted it it's a highly idealized version of a of a common toilet else also magnified in scale it's placed up on a pedestal and everything is done to make it uh to emphasize it's uh its existence as a sculpture object to to remove the uh the association I think just to have to make you see the thing as itself but as I say there are many people who simply cannot see beyond subject matter my work is always having this trouble it's a kind of a deliberate obstacle that I make for people because I choose a uh a very simple uh subject which is usually very close to people's or experience and that might give them the idea that they they can dispose of the whole thing simply by referring to their experience but that's only the starting point and uh oh it's um to say it is an obstacle for many people uh well I was watching TV or sometimes reading the newspapers and I see the uh kind of general public view reflected uh general public view of what I'm doing and um it's very puzzling because it is very different from what I think I'm doing and what a few people are know that I'm doing so that uh well if I was say an artist who was removed from the objects of the world who was uh say uh say I was an abstract artist then perhaps this would be pretty consistent I mean this uh sense of being a finding the general opinion strange but because I deal with things that enter into everybody's lives it seems that they the general public should also see what I'm doing the way a few people see and the way I see of course they don't and I I have to accept that the the problem is that you have to um in order to to get an honest piece of work you have to um follow your own feelings and uh you can't listen to other people's telling you what to do uh if at the same time you have a desire to do things for other people let's say a moral purpose in making your art which I do then it might it does get confusing now I don't know of any way to make art other than following my own my own feelings and Notions and um the fact that I do use subject matter uh indicates that it's not just for myself it's uh it's for other people to ponder to be led into and it's kind of a traditional notion of Art is that if people can be fastened by the subject matter they can be led into the deeper areas of the thing which is really problems of form and balance and Grace and Order and you know the Finer Things of life I mean my thinking is very traditional along those lines but I find that instead of instead of having this work for me I find that my my I'm stepping on all kinds of toes and I'm not being taken seriously and people are not seeing what's there and perhaps they're being led away rather than let into and I'm becoming more and more isolated rather than more and more at one with them that's something that I always hope over a period of time will change but in my heart I know it really doesn't work you know but I keep trying and uh however I mean I must say that there are a lot of people who love my work and they tell me so and a lot of people who see it perhaps you know a comforting amount of people I mean more than I would expect who see something in it and who like it is I didn't give her the plan I had no idea that took so long to make plans like so many others who explore new ground Oldenburg worries about the loneliness of his path particularly because the flavor and intensity of his work disturbs some sensibilities the justification comes when his exhibition opens when people arrive design to confirm his special unique accomplishment the openness and extravagant intensity of oldenburg's objects mean more than pleasure for our senses he likes some of his contemporaries insist that we examine our familiar surroundings with a fresh eye that we discover new ways of seeing and feeling to enlarge the meaning and significance of everyday life art for Oldenburg can no longer be separated from life he shares the optimism which has become a keynote of Contemporary American art I haven't made there's six possible models because you only have two little ones here yeah then there's one bigger one number two and then the parts the insides come from other models number five and number six well is this big card does it open up does it have an engine in it or is it like no it would be will it be more the outside of course the inside this is the inside even like the toilet opens up and you got inside you don't have enough to go to the car well I don't know sir it's very difficult to make a car I mean and then you don't even ask yourself this is you really want to make a car you know or do you want to make I mean I'm just using the car as a subject and it's not going to be a club like one maybe split this way the other split the other way you know I was surprised to see the engine this is net the national educational television network um happy national hot dog day everybody uh that is one of two of my favorite um films about hot dogs that we have in the AV Geeks collection the other one of course is pride on Parade which is a Oscar Meyer film about high school marching bands or is it um so that last film was by Lockheed Aviation and um it's part of like a series that they did a series of of kind of these still uh images with this narration over it where young people talk about their various drug experiences and how it messes them up um and uh this one is is so good now is this Pro LSD or anti-lsd I can't tell can't tell but uh thanks for tuning in today uh as always it's uh great to show you films and I love the comments uh you can support us by hitting the like button the Thumbs Up Button uh hitting the notification button all those little icons and gigas um surrounding this uh this video uh this rectangle that you have on your screen um you can also go to avgeeks.com where we have DVDs for sale and also we are uh have been playing with this 24 hour seven day a week uh 16 millimeter Channel where we're showing stuff including lunch previous lunchtime streaming shows uh some stuff that you've never seen before uh and there's also a home Movie Channel where it's just home movies silent home movies um which can be very um meditative I often sit and just drink coffee in the morning and watch these home movies um it's kind of fun but uh thanks for tuning in today as always please rewind and love each other and we will see you again tomorrow everybody take care