Latest / Petty and Unbothered / #20 - Graffiti VS. Street Art
Transcript
- Tita Lors: we're recording... 3, 2, 1, go! Robin Axline: Hey! No. Tita Lors: We are never going to get through an episode without having to... sing something. Robin Axline: Yeah, it's a musical podcast. Tita Lors: This is! Did people not know that that's what they were signing up for? I Robin Axline: Yeah, seriously. Tita Lors: feel like they should have known that at some point, right? Like, that's an important... We say it. Robin Axline: Yeah, I mean, it's pretty important. We might just burst out into song and you wouldn't even be expecting it. Yeah, you've been giving a warning. Tita Lors: Okay, what's up Robin? Robin Axline: Yo. Just chillin' with my smoothie. It's got a homemade kefir. It's got a lot of frozen bananas, cranberries, and pomegranate seeds. Tita Lors: I have a love-hate relationship with smoothies. Cause Robin Axline: Hmm, do tell. Tita Lors: I... When I was younger I drank one and the fruit wasn't completely like mixed in so it had this mushy texture and I drank it through a straw and I was like... blended there we go there's the words real words it will be completely blended and I Robin Axline: You don't want a surprise in your straw. Tita Lors: exactly yeah Robin Axline: I'll make you one. You'll like it. I hope. Tita Lors: yeah I know I will Robin Axline: yeah, I don't know if I mentioned, I got rid of some strawberries in the fridge too. Yeah, good stuff. Tita Lors: Ooh yummy! Yay! We have a whole bunch of frozen fruits that we gotta get rid of. Or maybe just throw away, because I don't know how long they've been there. Robin Axline: you Tita Lors: But I had a... I put it in my head the idea was that I was going to start making smoothies for me and the girls, because we're gonna be a healthy family! No. I did not. We even got, I got the individual like blenders. Yes, and it was, it's gonna be whole thing. This is how I was gonna get them to get more fiber in their diet and be healthier. And we're gonna be like more granola. Granola? Granola. Oh my God. Granola. Vanilla granola, yeah. Robin Axline: Granola? Vanilla granola? No. Tita Lors: Yeah, it didn't happen, so... what is it, it's t- Yeah, Robin Axline: Hey, you never know, just keep manifesting it. Tita Lors: eventually. Someday, I'll get there. Some days I do it. Other days, you know... They get fed. Robin Axline: Anywho. Tita Lors: you man, okay. So I have a question for you. Do you currently or have you ever had any long-standing grudges? Robin Axline: Okay, I have one. This is kind of crazy. It goes back to college where one of our assignments was to come in with a monologue. And Tita Lors: Okay. Robin Axline: I had been tossing around some different ones and talking to other students in my dorm situation. And I brought one up and this one gal who I was... new but not super well but was in my class was like, ooh, I love that monologue. That sounds really good. And on I hadn't really decided on one, but it really got to me when her day to bring in the monologue was before mine and she picked one of the ones that I brought up. And Tita Lors: Wow. Robin Axline: I was like, are you serious? Like I literally, there's no way it just, wow. no. And so I was like, I guess on the bright side that narrows it down, which one I'm going to pick to work on. But, luckily we didn't have to have it memorized. It was more just like, which one are you going to do? But. For a long time, I was just like, man, how dare she steal my idea? Tita Lors: Yeah. Robin Axline: What if I started memorizing it? just, I don't know. I'm kind of over it now, but it does come up every once in a while. I'm just like, really? Wow. Like to steal my idea and have the nerve to come into class and present it. It's just. Tita Lors: Yeah, or not even to be like, hey, you know, is this one of the one, is this the one that you're going to choose? Because I actually I'm starting to really grow fond of it. I'm thinking it's what I'm going to do. Is that OK with you? Robin Axline: Yeah, I mean that seems like the adult way to handle it, but... Tita Lors: Yeah. Robin Axline: I guess not. Tita Lors: Yeah, or even while she's doing it, even like a, oh, I got this idea from Robin. Sorry. Thank you so much for letting me steal this from you. My bad. Yes. Robin Axline: right? Yeah, I guess I just really wanted the... yes, that's the word. So it just caused me to have kind of a... it was really hard for me to see past that. When I'd see her in the halls, I'd be like... Tita Lors: you Robin Axline: Monologue Stealer! Tita Lors: Peace. Robin Axline: And it just, I guess it bothered me too is because like when she ended up doing it, she was like all like, I'm so good at this monologue and she got pretty good praise for it. so was like, man, could have been me. That's just one that really popped into my mind just now. What about you? Tita Lors: Yeah. That's jerk. my goodness. Nice. Yeah, so in college, I had made a friend, like one of the first friends that I made out there. And... like we ended up living together at some point in college and I thought she was a close friend and I did my best to like really show up for her and I, I thought I was showing up for her. I obviously they, she didn't. But like they, for her birthday, me and one of our other roommates, we like threw her a party. We invited people from the collective club that we were in. We kept her from getting like seriously ill drunk, which she was actually pissed about because she was wasted and we're like, maybe you should stop. And so I just started giving her water. Just making sure she was safe. Right. And that like that made her mad. And then there was so it was. You know, so just things like that and like there's a lot going on with me and expectations from my parents of like whether or not I was supposed to be driving home every weekend and just a lot of different things and a lot of different things within just our family dynamics. And it just got to a point where this person was like calling me out for, guess, not being a good friend. And also like they were finding themselves in this kind of relationship where it was so obvious he just wasn't that into her. And I was like trying to kindly. say that without saying it, you know? Like, I don't know if you want to put all your eggs in that basket. The way he's treating you doesn't seem like this is going where you want it to go. kind of situation, she didn't like that. So anyways, eventually she called me out and was like, you're patronizing and you're just not a good friend, you don't ask about my day, you don't ask me about this or that or whatever. And I was like, the fudge monkeys are you talking about? Not only do I drive you to and from school whenever you ask me to or to college, right? to campus whenever you ask me to whenever you need to like who do you talk to about this stuff I take you I take Robin Axline: my gosh. Tita Lors: you shopping to find a dress for the event that we were going to like doing all these things with you and I'm trying to drive home and I'm trying to go to school and like all of these things I never see you when was the last time you asked me about my life and what I'm doing And anyways, our lease ended and I found out that on, what is it, like live journal or whatever some blog thing? Zenga! my god! It was Zenga! Yes! Robin Axline: Zangar, what else? Dang. Tita Lors: She had written a goodbye to all of her roommates and to me, she basically just called me a bitch. Robin Axline: Goodbye. Tita Lors: Yeah. Yeah. Oh no, she was like, I don't know, I just felt like you always used me. For the fuck, why? What did you offer me? How the f- use you? That line? I honestly, I was okay with her. I was like, okay, you know what? This is just a friendship that's run its course. It is what it is. Whatever. We're still in the same club. We still have to see each other. We're on campus. We have similar friends. It's fine. And then I read that line. Honestly, just felt like you used me. Lost it. I lost it after that. Yeah. Robin Axline: Man, that's like a self-aware-wolf situation. She's like talking about herself. Tita Lors: Yeah, so from then on, just like people that we would be around all collectively knew that I couldn't stand her. Like they would say her name and I'd roll my eyes. And I'd be like, or like heavy sigh or whatever. And even now to this day, if I hang out with anybody from college days and I, they say her name or they, you know, mention her or whatever, I'm just like, God, her. Robin Axline: So it's still a heavy grudge. Tita Lors: but yeah it's not a heavy grudge it's now to this point it's just like it's kind of funny it's a little petty too that just reminded me of like a petty thing that happened so I'm like I don't care you do not live rent-free in my head if I don't have to think about you I don't ever And one of our mutual friends, she was getting married, so she had a bridal shower, and we were both there. And I was saying hi to all these people that I hadn't seen since college, and I was ready to say hi to her, and she completely ignored me. Yeah, I was like gonna walk up to her and I was like saying hi to somebody next to her and I was gonna be like, hey, how are you? And, um, ignored me, walked away. Nothing. And I was like, oh, okay. I guess I'm not the only one holding a grudge. I don't know why you would have a grudge against me. What did I ever do to you? Except literally drive you everywhere. NBD. But like, whatevs. Robin Axline: I guess she was really serious about the goodbye note. Yeah, that's crazy. Tita Lors: Yeah, I don't actually know if that's what she said to them, but it was very like kiss ass to the other two. And then it was like mid for the my who's now like my really good friend. And then it was you just used me. Robin Axline: That's crazy. And I can see why that would be, that's definitely grudge worthy. Tita Lors: Now it's just kind of funny. It's funny to me that you would think that way when you literally had nothing to offer me. You had no advice to offer me. You had no empathy that you offered me. You didn't have a car. You didn't have time. You had nothing to offer Robin Axline: True. Tita Lors: me. So at this point, it's just a funny story that I get to talk about now. Robin Axline: Yeah, totally. Oh man. Yeah, I didn't have to deal with cars or anything Tita Lors: Anyways, Robin Axline: like that. Or family things, because I went across the country from California to New York for college, I didn't have to drive. I didn't have to do any of that stuff. Tita Lors: that's right. Robin Axline: Anywho. wow, so it's not too bad. Tita Lors: Yeah, it would it not too bad. Yeah. From what do you know? Like because you're you're in NorCal, right? That's where you're from. Robin Axline: Yeah, I'm very familiar. I lived in LA, so yeah. Tita Lors: Okay, yeah, so it'd be like driving from like the Torrance South Bay area to Riverside. Yeah. Yeah, and all of the 91, 15, 215 and all that. Yeah, with lot of traffic. bring you the life and times of Banksy. Robin Axline: Okay. Tita Lors: But, you know, the rabbit takes you where you follow. And we... We arrived at a grudge. Or not a grudge, a feud, I guess. So the rabbit and I, arrived at a feud. And it's Banksy versus King Robo. And there was an article that I read and it was like, what was it called? It was called, I wrote it down somewhere. Oh, The Battle for the Soul of Street Art. Yeah, so good. So it's the battle for the soul of street art. And in order for me to get into all of that, we are going to have to do a part one. Robin Axline: Ooh, two-parter. Sounds good. Tita Lors: Yes, a two parter. I've got to set the scene and talk about graffiti culture and the history of graffiti culture so that we can get to the point where we talk about their feud and their rivalry and where that came from. Yeah, because there's so many things that I didn't realize about graffiti culture or that subculture of like street art versus graffiti and all of that stuff. Let's crack into it. Let's do it. Robin Axline: Yeah. Let's go. Tita Lors: So I like, honestly, the etymology of different words. I think it gives you a different understanding of the words oftentimes, so it's really fun. This one, graffiti is a term that comes from the Greek graphion. I don't know if I'm saying these right, sorry, I didn't look it up. And it means to scratch, draw, or write, and then in Italian, graffiare, I don't know, to scribble. Yeah, thanks. I try. Let's all pretend. So these terms are used by, were used by archaeologists, are? I'm sorry, you guys. I didn't get a lot of sleep, so it's gonna be a rough one. These terms are used by archaeologists to describe the inscriptions found on ancient ruins, primarily in Pompeii circa 1851. Robin Axline: I think it's like Sotheby. Yeah, don't know. I'm just now I'm just guessing. I think that's what it is. Tita Lors: Yeah, so they did an article on the evolution of street art and how it has like changed the landscape of cities. And both are really great. So in ancient historic times, people used writings on walls and freight trains. Did I say ancient? In recent historic times, people used writings on walls and freight trains to communicate with one another while traveling through the country. These markings were a code providing crucial information for those in need about work and safety. It was a language created by folks who were likely not allowed to and therefore unable to read and write. most of time it's because they weren't allowed to. So these markings, they created essentially their own language. So it's not illiterate because you can understand these scripts and these symbols. So that's in its own way a language and in its own way reading and writing. So I didn't feel like saying illiterate was proper in this sense. of teenager whose name I didn't write down, but he went by the name of Cornbread. He was the first to tag his name rather than a gang name or symbol. And this was in Philadelphia. He got notoriety because he had a crush and he was riding all over Philadelphia. Cornbread loves whoever this is. And that story in that story, it has a happy ending. He got the girl. Yay him. Go, Cornbread. So by him and his friends, his crew, because they did that, Graph City says, this act took graffiti out of gang hands and in the streets. So with time, artists began to recognize each other's work, turning the art form competitive. And in New York City, the practice of bombing became prevalent, where artists were competing to see who could tag the most trains. Do you see this still in New York? Robin Axline: I still do see some, yeah. Not as much as it used to be, but yeah. Tita Lors: Yeah. So people started doing, stopped doing that. And then in 1980, hip hop made its way to the UK and along with hip hop and culture and DJing and break dancing and all of that also came graffiti. And then in that time, spray paint was more graffiti friendly and there were new techniques being used like stickers and stencils. So this made it easier and faster for artists to create without getting caught. Yeah, does that stickers and stencils, does that remind you of any specific artist? Robin Axline: Let me think. Tita Lors: And then side note, did you know that there was a difference between graffiti writers and graffiti artists? I didn't either. I was reading through stuff and I was like, this says writers, but this says artists. And what's the difference? or yourself or whatever. So it's more seen as illegal. then artists are typically more stylized images and murals. And because of that, it's seen as less illegal, more legal-ish status. Robin Axline: That's a hard one. Because I kind of, I mean, now over time I've seen them as kind of melded together in a way. Because I see it all kind of as art. I'd say like the tagging of it all, some of it, when it's... on top of something that is nice and they're kind of destroying something it's kind of a bummer but I don't know I was wondering if the graffiting was like the tagging where it's like a real quick thing and the art is Tita Lors: Mm-hmm. Robin Axline: more of a picture I don't know Tita Lors: Yeah, I think it's getting, I feel the same. It's getting pretty muddled because, and we'll get into this a little bit, like graffiti has now gone, gotten more commercialized. I. I'm thinking there's something more in the culture of it, which we'll get into next week. But there's a difference in the commercial of it, where street art is more the commercial of it. my God. Brain, why are you not working today? Street art, it's not even just for the streets anymore, because it's being commercialized, right? People are getting paid now to do this. Exactly. Whereas graffiti is there, still a subculture of like, of anonymity and not getting paid and doing it for the... commentary or doing it because it's just art. You're not doing it because you're getting paid kind of thing. Anyways, so evolutionaries, the evolution of street art by the Sotheby article that I talked about earlier. They, I didn't feel like paraphrasing, so I'm just gonna quote. Although the terms are often used interchangeably, graffiti and street art are distinct forms of urban expression. Graffiti typically focuses on stylized lettering, symbols or tags emphasizing the artist's identity or crew affiliation. It often employs spray paint or markers and prioritizes visibility and placement. In contrast, street art encompasses a broader range of visual expressions, including murals, stencils, wheat paste posters, and even installations. Street art often aims to engage with the public on social or political themes, sometimes with the artist's consent from property owners. And then, yeah, thoughts. Agree, disagree? Robin Axline: Yeah, I mean, that makes sense. I just, yeah, I still think it's funny because it seems like it's kind of blurring into each other at this moment. Tita Lors: Yeah. Yeah, for sure. So, though Banksy is probably the most well-known street artist, he was definitely not the first to commercialize the art. Jean-Michel Basquiat? B-A-Basquiat, Robin Axline: Basquiat? Tita Lors: there we go. Hey! I was like, Basquiat, Basquiat. That was my second guess. I was gonna get there. Robin Axline: It's Basquiat, yeah. Tita Lors: Okay, you say the full name. Robin Axline: Jean-Michel Basquiat. Everyone just calls him Basquiat though. Tita Lors: Yeah, well he began his artistic career tagging buildings in East Village and Soho under the pseudonym... Do you know? Robin Axline: is it King or something? I don't remember. Tita Lors: Sammo! Robin Axline: Sam- how could I forget? I've seen like all Tita Lors: Yes. Robin Axline: the biopics and whatnot anyway. Tita Lors: Yeah, so it stands for same old shit. Robin Axline: Nice. Tita Lors: Yeah. So through his collaboration collaborations with artists like Andy Warhol, he was able to bring street art into galleries and museums. then, you know, tell us, tell us what you know. I didn't do Robin Axline: no. No. Tita Lors: the research on this guy. So tell us info. You know stuff. Robin Axline: well, I'm not gonna go crazy on it, but yeah, I mean, it just, it kind of changed what he was about. And so I feel like some, sometimes he had a hard time with that. delineation between doing it for the streets and then actually being in a gallery and also he had he just had a lot of ideas that he wanted to get out and I feel like he felt a lot of pressure and he unfortunately had gotten into drugs at the same time so that wasn't great anywho Tita Lors: Yeah. Anywho, another notable person is artist is Keith Haring. So they brought street art into the mainstream consciousness in the 1980s. His art was a form of activism, bringing awareness to AIDS, apartheid and the LGBTQ plus rights. So yeah. Robin Axline: Yep, love me some Keith Haring. Well, recently there was a art exhibit that he had some of his artwork painted on buses. And I know it came here. I don't, not sure if it's still in New York at this time of recording, but it looked pretty cool. And a lot of his artwork was political, especially because it was happening during a lot of the AIDS crisis. And... Tita Lors: Yeah. OK. Final quote, because it just got to a point where my brain stopped working and didn't want to paraphrase anymore. Still from the Sotheby article, it's the state of graffiti and street art today. Today, graffiti and street art coexist as influential components of urban culture. While graffiti continues to thrive as a subculture movement, often resisting commercialization, street art has increasingly gained mainstream acceptance. Cities around the world have been Actually both of these articles were really good and fast reads. I learned a lot and I'm really grateful that they exist. I think that the So The Bee article seemed a little bit uppity. I don't know. I'll let you know. Robin Axline: I would say just real quick, one of the best graffiti spots is no longer here in New York. It was called Five Points. And if anybody had gotten to see that, it was pretty spectacular. Just like really old school work. Really bright, beautiful colors. And also, if y'all are ever in Miami, check out the Wynwood District. There's some really great street art just on the walls. Wynwood Walls. Check it out. Tita Lors: now gone. It was in this parking lot where I did like a, because I thought I was going to be a fashionista type of person at some point. And I did like a little mini photo shoot with a friend there and it's, there's just, there was a lot of great street art that has since been taken down from Long Beach because it's getting gentrified. And they're, they only want commissioned art and they don't want the other stuff. So that's kind of sucky, but the art is still amazing. and it's beautiful and I'm glad that they're working with artists now to do that. Yeah, that's my backstory stuff. And then next time in part two, we'll get into the feud and the back and forth between King Robo and Banksy. Okay. Yeah, what'd think? Robin Axline: I love that story. think that was really cool, informative. I'm really interested in that topic. So I think it's pretty cool. Great, yeah, I think that's part of the fun of us creating this together is the learning of it all. Tita Lors: Mm-hmm. Yeah, yeah. So, I have a sort of controversial Reddit story. that'll, it'll be fun. Yeah, well, Robin Axline: Ooh, controversy. Okay. Tita Lors: I, this person, I, to me, this person is taking a controversial stand. I think people could be like either on one side or the other of this. So it'll be interesting. to get your take and to get everyone else's take once they've heard it. So it's from r slash change my view and it's by keys to the moon. Yeah. And they say, right, graffiti artists and taggers are petty assholes. huh. Okay. So this week the internet exploded with outrage at that stupid asshat who left her shitty art all over our national parks. do you know about that? Because I don't. Yeah, I was like, when did that happen? When was this? Allegedly 12 years ago. Presumably, I would have known about that, but. Robin Axline: Yeah, when was this post? my goodness. Yeah, I don't think so. It's not coming up in my memory. Tita Lors: and clean up your bullshit, where people just have to put up with their neighborhoods being covered in stupid tags. My stance. If you draw on something that doesn't belong to you, you're a dick. And maybe a dick is not a good thing. And being a dick is not a good thing. Therefore, people should stop being dicks. Therefore, people should stop drawing on things that don't belong to them. So that's that. And then there's a couple edits afterwards. Robin Axline: Okay. Tita Lors: That's opinions. Robin Axline: What a, what a like, hmm, hmm, Tita Lors: It's so facto. Robin Axline: Yeah, yeah, exactly. Yeah, yeah. Tita Lors: my goodness, what do you think about their stance? Robin Axline: I think it's a little one note, to be honest, like a blanket statement because there's different layers to art and they're not seeing it as art clearly. can like, okay, tagging somebody's garage is not cool. Tita Lors: No, I agree with that, yeah. Especially in a random neighborhood. I just don't... Like in the suburbs, I don't see how that would be. It doesn't make sense. It fit. Yeah. Robin Axline: Yeah. Yeah, that's not cool. Like, because that's that is somebody's property that they're paying for. It's a little different, but. I don't there's certain things I don't mind, like I've seen, I mean. Some of it is not visually so great, but I have seen some really marvelous artwork on like UPS and, or not UPS, USPS trucks and subways. So I'm a little biased perhaps. Tita Lors: Mm-hmm. Yeah. Excuse me. Okay. So, that kind of goes into their first edit. Right off the bat, people seem to want to cite Banksy or some beautiful mural that a graffiti artist made as if that's the standard. As if that's representative of graffiti art. It's not. Graffiti art is mainly ugly scribblings and tags. You can conduct a field test for yourself if you'd like to prove this to yourself. Here's how. Walk down the street and count the instances of graffiti and categorize it into one of two categories. Stupid tags and scribblings or something with an iota of merit. I have done this several times on a few different streets in my city. It's something like 90, like a 90 to one ratio of stupid tags and scribblings to something with an iota of merit. And I was being generous. Pro graffiti folks, you love to cite the best graffiti when you debate about the merits of graffiti, but pretty murals and beautification projects are simply not representative of the true quality of what's out there. It's overwhelmingly eyesores. Yeah, I kinda wanna know where you live. Yeah, why is this so... Robin Axline: Yeah, bro, where do you live? Tell us. Tita Lors: It would be really frustrating to me to have to clean my garage a lot or like paint over my garage all the time, especially because like random tags, like I said earlier, when we're talking about like the history of graffiti, it had probably want to know who they are and be like, hey, what else can you do? Yeah, so I mean, I get I get a little bit of their point, but they seem to be really generalizing and mean. Robin Axline: Yeah, just like the mean vibe is what is getting me a little bit. Funny, funny. This comes up is because yesterday in my neighborhood, there was a it's just a regular business like a bakery. And I saw a man out there painting over some graffiti. And it was like the kind of one where it's just like a tag that you wouldn't be able to read per se. And I did kind of feel a little bit bad for that because it was like an independent business. And it was like the front of the business. They had to go buy paint. So there is that as well. Tita Lors: There it is. Yeah, right? And some people are doing it as a form of like true real vandalism or like bullying, right? Like kids will spray paint the houses of people that they don't like or whatever. So I see their point, but I don't think that they're being open minded or very kind. Robin Axline: Yeah, it's like they don't, they're just having one opinion and they didn't really have any backing behind it. Tita Lors: Yeah, their final edit isn't any nicer. Just okay. I don't know, it's cause of the comments. Robin Axline: Why do they keep editing this? Tita Lors: People keep coming for them in the comments. Yeah, so the final edit. Robin Axline: Okay, got you, got you. I'm like, why do they just keep editing their posts? Tita Lors: okay, my view hasn't changed, but I will clarify it. The vast overwhelming majority of graffiti artists are assholes. I misspoke when I generalize. If you're a graffiti artist, you're most likely an entitled dickhead. Don't draw on stuff that's not yours. First graders understand that. Why can't graffiti artists? First of all, first graders don't understand that. Robin Axline: I was literally just thinking that. I was like, I don't think they do. Tita Lors: They don't. So, yeah, you can see people on one end or the other of that spectrum, it feels controversial. Mm-hmm. Mm-hmm. Yeah. All right. Well, that's all I've got. Do you have anything else before we get into the glimmers? Any thoughts, feelings, responses? Robin Axline: but I'm really excited about this topic. think it's really fun. Tita Lors: Yeah, me too. My little tease for next week. Where did I write it? I'm going to take you down the rabbit hole of a longstanding few that ended in death. which is a total... Robin Axline: That wasn't a tease. Damn. Tita Lors: Disclaimer, it's a total over-exaggeration, leading you to think that something happened that didn't. Robin Axline: Hmm. Tita Lors: It's total clickbait. Robin Axline: That's just, wow. I still wanna listen. I hope you all do too. Tita Lors: Yeah! Me too! Alright, so what's your Glimmer for this week? Robin Axline: Okay, this might come up. I'm not trying to do a weird flex here. That's Tita Lors: Flex. Robin Axline: not I'm not this isn't that's not the point of this story Tita Lors: You should flex. cares? Listen, honestly, wait before Robin Axline: But this, yeah. Tita Lors: you do this, this is why I'm telling you to flex. Flex. Do it. Be proud because I don't think that we're proud enough. We do not give ourselves enough opportunities to be proud. Like, why are we ashamed of being proud of ourselves? Why are we ashamed of being proud of ourselves? You have every right to be proud of yourself. So flex, flex hard, flex loudly, please. Robin Axline: You heard Laura, everybody. Flex hard. Tita Lors: You Robin Axline: Flex loudly. Okay, but that's still not the point of the story. I'm flexing, okay? So, this week I had a pickleball game and I've been trying to practice and get better at it and my glimmer is realizing the fact that I think not enough people express something outward, like vocally to somebody enough. And it just takes a little compliment to make somebody stay. I'd usually try to do that, but this was a nice reminder because I was playing and I was doing quite well. That's my flex. But. Tita Lors: Yeah, you were. Robin Axline: I had like, like more than one person come up to me and they're just like, wow, Robin, you are really improving. Like that was a impressive game you did. And it's, it was hard for me to take that in, but it also made me feel really encouraged. And I think some people might think that in their head, but they don't always say it out loud. And so it just felt like really nice because it came across as like very genuine. And then to hear it from multiple people, I was like, all right, yeah, I guess I am doing well. And so, yeah, but yeah, so it was just like a nice little pep in my step for this week. I was like, all right, my practice is starting to show. Tita Lors: further proves my point. Like, we should be proud of ourselves. That's something to be proud of that you're improving, that you're working so hard and you're practicing to be good at this skill. Why not be proud of yourself? There's no reason for you to minimize that. break like why we I don't what happened in culture that we said you're not allowed to be proud of yourself anymore you're not allowed to say this out loud like low-key I'm really this or whatever like high-key that shit like Robin Axline: Yeah, yeah, I mean, even I felt instantly to go like, no, I'm not or but I just I just said, well, you know, I've been working on it. Thank you. Kind of thing. I still tried to keep it, you know, not like, yes, I'm great. But it did. Inside, I was celebrating. Tita Lors: Yeah, yeah. Well, I mean, I say this, I say this as someone who struggled also to take compliments too, like where somebody would give a compliment and I would immediately deflect it and be like, no, gross. And then, and then it became like a, I believe you. I believe that you believe that's true. I don't, but you do. So we'll stick with that. Robin Axline: Mmm, yes, yes. Tita Lors: Like I feel like I now owe you a compliment, but when I give a compliment, I don't expect to have one back. I say it because I genuinely believe this about this person. And so I'm like, okay, well, if I can believe that where I can give a compliment without wanting one back, then people can give compliments without needing one back also. So that's where I am in the compliment thing of just saying thank you and moving on with my day and not having to give one back. It's like, thank you. And then immediately in my head, shut up, shut up, shut shut shut up. Robin Axline: I there, don't I? Yeah, I'm somewhere between all those steps. Yeah, it's fluid. So what about you? What's your glimmer this week? Tita Lors: values through that as well and turning it into this intrinsic thing that you just want to do for yourself. So I've been like playing around with how I wanted to do that and they hadn't been old enough until now my big she knows how to read and she knows how to count and she's starting to understand the concept of money. And so I have her on an employment contract. I have like my friends kids are staying with us right now and I love them it's great whenever all four of the kids are together it's great because they just entertain each other so yesterday they cleaned but then they ran out of stuff to clean in the 15 minutes and I was like the walls need to be cleaned Robin Axline: Great. Tita Lors: Exactly. So they tidied what they could tidy. One of them vacuumed, and then the rest of them scrubbed the walls. They didn't do the best job, but they did better than it was. Scrubbed the walls. My house was so clean until they started playing again. But it was so cool. Robin Axline: That's really great. Wow. Hmm. Yeah, that sounds like a really nicely organized idea and hopefully... I mean, it sounds like they're getting it, so... At least the big. But, um... Well, it's pretty cool. Yeah. Tita Lors: Yeah, we'll see in practice. So far it's been working mostly. So far, but it's only been two weeks. So let's see how consistent we can be. Yeah, I know. I mean, I was taught in theory, but not in practice and definitely and not in what I saw happening. Yeah, it was not modeled, right? Yeah. So I'm like breaking it down. It's like a spend, save, share situation. And then the spending is like a wants versus needs situation. Robin Axline: Yay, I love that glimmer. Yeah, fingers crossed. Yes, just shower us in glimmers. think that would be incredible. And I know, send us your favorite graffiti or street artist. Let us know who it is. Maybe we can go look for them someday. us. Art crawl, street art crawl. Tita Lors: street art crawl, a find, what's it called? Robin Axline: Where's Waldo? No. I spy. Tita Lors: my god, it's like, the tip of my tongue. Kind of? You send kids on a something hunt. Robin Axline: Treasure hunt? Tita Lors: Yes! Is it a treasure hunt? We're gonna call it treasure hunt. Whatever. Yeah, something. Yeah, we'll figure it out. Just send it. My brain. Robin Axline: Yeah. Or we can, yeah, make a bingo card or sluts we could do. Yeah. Just send us. Let us, let us know who your faves are. That would be awesome. Tita Lors: would be. Okay, anything else? Robin Axline: No, I think that just about wraps it up. Tita Lors: It does. Alright. As we've said, that wraps it up. If you've enjoyed hanging out with us today, please please subscribe on Apple Podcasts, Spotify or Deezer so you don't miss our next. Robin Axline: think it was five stars. Tita Lors: yeah. Yeah, so subscribe so you don't miss our next episode. And until next time, fuck it. Robin Axline: Stay petty. Tita Lors: Bye. Robin Axline: Bye. No, it's not gonna be that crazy.