In today’s episode, we’re thrilled to welcome Carmen Acosta, also known as Jane Dope, back to the podcast. The experienced LA artist and curator will soon assume her new role as host of the unscripted home design television show “Arthouse.” Produced by Crewest Studio and supported by the nonprofit Arterial, NOT REAL ART’s fiscal sponsor, “Arthouse” aims to bridge the gap between talented artists and everyday people, redefining how art is experienced in personal spaces. With a mission to democratize art, “Arthouse” empowers viewers to curate authentic artwork that aligns with their tastes without straining their budgets. The show's concept centers on eliminating intimidation in art collecting, providing local artists with a platform to showcase their work directly to buyers.

To support this vision, “Arthouse” is launching a crowdfunding campaign with a goal of raising $150,000 to produce a full-length pilot episode. Set in Chicago, the pilot will follow an individual or family as they explore local art scenes, visit artist studios, and make informed purchasing decisions with help from Carmen. The campaign, running from June 10 to July 25, 2025, on Indiegogo, offers a unique opportunity for art lovers to contribute to a project that aims to transform the way we perceive and appreciate art in our daily lives.

Scott “Sourdough” Power, the creator of “Arthouse” and NOT REAL ART, as well as the visionary behind the nonprofit arts media platform Arterial, emphasizes that the show is more than just a way to sell art—it's about cultivating emotional connections between artists, buyers, and viewers. As Carmen steps into her role, she’s eager to lead this movement that celebrates creativity and makes art accessible for all. Don’t miss her insights on how “Arthouse” aims to reshape the way we engage with art and artists alike.

Links mentioned in this episode: 

Arterial

Arthouse

ArtsvilleUSA

Carmen Acosta

Carmen Acosta on Instagram

Carmen Acosta on NOT REAL ART

Crewest Studio

First Friday Exhibitions

NOT REAL ART

NOT REAL ART Podcast

Remote Video Series

Scott “Sourdough” Power

For more information, please visit https://notrealart.com/arthouse-host-carmen-acosta

The Not Real Art podcast is intended for creative audiences only.

The Not Real Art podcast celebrates creativity and creative culture worldwide.

It contains material that is fresh, fun and inspiring and is not suitable for boring old art snobs.

Now let's get started and enjoy the show.

Greetings and salutations, my creative brothers and sisters.

Welcome to Not Real Art, the podcast where we talk to the world's most creative people.

I am your host.

Faithful, trusty, loyal, tireless, relentless host.

Sourdough coming at you from Crew West Studio in Los Angeles.

Man, do we have a great show for you today.

A dope show for you today because the one and only Jane Dope, AKA Carmen Acosta, is in the house again today, returning Champion to the show.

But today she's here to talk about her new role as host of the show Art House.

The TV show Art House about real people, meaning real artists to buy real art, real without breaking the bank.

And so this is a very exciting project that Carmen is involved in.

I'm going to tell you more about it in one second, but before I do, I want to thank our sponsor, Arturial, our fiscal sponsor, Arturial.

Arturial is an arts nonprofit that exists to amplify art in the world.

It's a media platform for shows like ours.

So thank you, Arturo, for supporting us.

Of course, I want to ask you to support arterial and who will support us.

And any support you give will be tax deductible.

So thank you.

Thank you so much for considering that.

As always, I want to thank you for tuning in.

We do this for you.

It's all about you and we appreciate your loyalty so much.

Thanks for showing up.

And of course, I want to encourage you to go to notrelart.com and check out all the good, healthy stuff we've got for you there.

Nutritious, organic, free range, no preservatives, gluten free, amazing stories and artworks about artists and art and everything in between.

Things like first Friday's online gallery exhibitions.

First Friday of every month, we've got the Remote series with Badir McCleary celebrating public art around the world.

That is new seasons dropping this month.

So look for that on and on and on.

So many great things@naralart.com go check it out.

Okay, as I said, the one and only Jane Dope, AKA Carmen Acosta, AKA Carmen Acosta, AKA Jane Dope.

She's back.

And why is she back?

Well, she's back to talk about her new role, exciting new role as host of the show Art House, a new TV Unscripted show Art House about real people meeting real artists to buy real art without breaking the bank.

And this is a project actually that yours truly developed and came up with a few years ago we've been working on through my company, Crew West Studio.

And we are just so excited about this project because we think it's going to be a game changer for how artists get eyes on their work.

It's going to be a game changer for how people learn about art and how to buy art and feeling confident in their taste and their choice for aesthetics.

And so Art House is this project that we've been developing and Carmen is here to talk about her role as host and how excited she is.

And I'm going to talk about how excited I am about her being the host of the show.

And so stay tuned for that.

And also, you know, we're going to talk about the crowdfunding campaign that we've launched to help fund the production of the pilot episode we want to make.

We want to get Carmen in front of the camera.

We want to create the first pilot episode, which is the prototype of this for the series.

We'll use the pilot episode as a way of raising more money for additional episodes and or selling the show to PBS or to Netflix or one of the other media companies.

Maybe we'll do it independent, maybe we'll just do it on YouTube.

We don't know.

But we do know that we need to raise $150,000 to shoot the pilot episode in Chicago this summer.

30 minute episode.

So we've launched a crowdfunding campaign.

Please consider supporting.

Check the show notes for links and all the information you need to learn more and support us.

You can always go to arthouse tv show.com that'll direct you to the crowdfunding campaign.

But I'm just thrilled about this and I think you'll really appreciate what we're trying to do with Art House.

And I know you'll appreciate Carmen Acosta and her role as host.

So without further ado, get into this and remember Carmen.

I should give her a proper introduction.

I mean, Carmen is fantastic.

She's an artist, she's a creative director, she's a designer, she's a curator.

She's been in the contemporary art game here in Los Angeles for years and very well respected, very highly regarded arts expert here in LA working with fantastic artists.

And so she's the perfect host for Art House.

And we're just so thrilled that she is taking this on.

So without further ado, let's get into this fantastic conversation with the one and only Carmen Jane Dope Acosta.

Carmen Acosta, welcome to the show.

Welcome back.

You should say welcome back.

You're like the returning champion.

You know what's amazing about that is that the last time I was on here, we talked about voiceover, and then I said, you know what?

I might be doing some on camera work soon.

Who knows?

And here we are.

And you're.

And you're like a psychic and, like, clairvoyant.

No, come on.

I have an eight ball.

A magic eight ball.

Oh, hey, clarify eight balls.

You know, from Toys R Us.

Okay.

When I was a kid.

Okay, good, good, good, good.

The Magic 8 Ball.

Yeah, relax.

I know some of our listeners are, you know, perked up.

Eight ball.

No, no.

Get your.

Get your head off the plate.

Come on, Seriously.

We're here to talk about art.

Get the straw down and pay attention.

Oh, my God.

All right, this is a family show.

Let's.

We digress quickly.

Well, Carmen Acosta, welcome back to the show.

But of course, you know, we've got.

We've got.

We're going to have you on the.

On the podcast, which you have been on multiple times, but this interview will also air on the new podcast we're creating for Art House.

The Art House podcast.

How fun.

And how great is that, right?

Am I the first guest?

Well, I guess we'll have to talk about that.

Will you be the first guest?

You certainly could be the first guest.

So we'll.

We'll.

We'll.

We'll discuss scheduling.

Okay.

Off.

Off.

Mike, as it were.

Nobody cares about how the sausage gets made.

Right?

I just meant, is this.

I just meant, is this that first podcast?

Like, is this the.

You know, it is not the first podcast.

It will.

It will probably be the second, actually.

Got it.

But any who.

I am just so glad that you took time out of your busy schedule to come back and talk about Art House and talk about your new exciting role on Art House as the one and only host.

The host with the most.

Carmen Acosta on Art House.

Yeah.

Yeah.

My new favorite show.

Your new favorite show.

About to be everybody's new favorite show.

And I'm.

I'm.

I'm so grateful that you're here for all kinds of reasons, but not the least of which is I know you're so super busy with multiple things going on.

Not the least of which you have a really awesome, great show opening tomorrow.

I know you've got your head down and getting that show hung and coordinating with all the artists because it's a group show and so many moving pieces.

I mean, before we get into the main event here, how are you feeling?

How are you holding up?

Because I know it's stressful.

I do a thing where I make sure that the day before is very light.

So I'm able to do the podcast today because I was there very late last night.

Today should just be wiping things down, hanging labels, you know, finishing touches, and all those things that I thought I might not have time for.

I do them today.

Tomorrow is all about getting them nails did, you know, walking the dog to the park.

The hair did.

Get the nails did.

Relaxy mode.

I love it.

Yeah, it's like, you know, you're getting.

You're getting ready for like a, you know, the.

The main event, the.

The heavyweight championship bout here.

Yeah.

I want to feel done.

I want to feel done when I go to bed tonight, you know?

Right, right, right, right, right.

Done and ready to.

Ready to celebrate and.

And have a good time tomorrow night.

Yeah, well, tell.

I mean, not.

I mean, just.

I know we want to talk about other stuff, but for the listener's sake, tell us about the show that's opening tomorrow night that you've curated.

So for the last 15 years, I've been curating shows with my partner, Jessica Yost.

And in the last year, Shout Out Jessica, in the last year, we decided to call ourselves Howdy Artner, and we are the creative duo that is back after six years of not curating together.

So this is our first show back together.

So that's fun to have.

Have coming out of retirement, people.

Yeah.

And so the show has a bit of a sustainability component.

We provided services for artists to paint and customize, so pieces from old movie sets and, you know, things we found on the side of the road.

So it's been really exciting seeing those things come back.

And it's also a bit of a whimsical funeral theme because we are resurrecting these items.

So we've asked everyone to wear black.

It's gonna be really fun.

DJs, food, drinks, you name it, I'm coming.

I'm attending.

Nice.

So do I need to wear black?

Is that.

Yeah, everybody's wearing black.

Okay.

All right.

The flyer reads, funeral attire encouraged.

So you don't have to, but it'd be cool.

We're gonna.

I wanna go upstairs and look down.

You've been to my studio.

Look down and see just everyone in black partying.

Love that.

Love it, Love it.

Well, so if you outlive me and you Likely will.

I want you to curate my funeral.

Will you do that?

Yeah.

Yes, please.

All right.

I want to make sure everybody is properly attired, but I want them to make sure they're having fun and partying and I know you can pull that off.

Speaking of, you came by during setup and there was that funeral procession.

How amazing was that?

I couldn't take my eyes off of it.

And it just kept going and going and going.

I filmed the whole thing.

I posted on my Facebook page.

It was crazy.

I'm like, I don't know who this dude or woman was, but clearly they were loved and clearly they love cars.

It was so beautiful.

That car club was off the charts.

It was, I don't know, over 100 cars.

I don't even know.

It was amazing.

It went on for like 30 minutes.

Yeah, vintage.

Vintage Cadillacs, lowriders.

I mean, just a crowd, mostly vintage Cadillacs, but some of them were, Were, were dropped down.

But yeah.

Yeah, that was super great.

That was very cool.

So, yes.

So curate my funeral.

Bring the, Bring that procession.

You got it.

And have a great show tomorrow night.

I cannot wait to check it out.

It's going to be so fun.

It's coordinated with the art walk, right?

Yes.

So what time.

What time are people welcome to come?

Doors open at 6 and it goes pretty late.

Yeah.

All right.

Yeah.

Well, good, good.

Good to know.

Well, this is actually an interesting segue into kind of our main conversation here today, which is really about celebrating and honoring the fact that you are officially the new host of the unscripted reality show Art House coming out hopefully in theaters near you very soon.

When I say theaters, I mean your smartphones and laptops and everything else.

But we are, are very excited about this project.

Art House being a show about real people meeting real artists to buy real art without breaking the bank.

And we are going to not focus on major metropolitan areas, so called major markets.

We're concentrating on the.

On the Clevelands and the Toledo's and the Madisons and the Wichitas and the.

And the Albuquerques of the country.

I love that aspect of it.

I mean, when we do travel, because it will get picked up and it will get funded.

When we do travel, it will be so cool to dig into these tiny little cities and meet not just artists, but just the community and people and how.

See how they function and see what inspires them.

What I love about the show is that it's an opportunity to expand people's consciousness around what art really, truly is.

And I say this because with your show Tomorrow night, like, you have just hit the nail on the head.

It's like, no, no, no.

By the way, that discarded object, whatever that object could be, you know, in the hands of an artist, in the hands of the right creative, can turn that discarded thing into a super cool piece of art that can then hang on your wall and make your place an expression of one's personality and character.

And that's what artists do, and that' art does.

And this is what Art House is all about.

And you're the host.

I'm so excited to be the host.

Oh, my gosh.

Are you ready for me to be this host?

Because I don't know.

I don't know.

I'm not going to be your typical host, Scott.

Like, I don't want that.

I'm coming from a background of speaking art.

I guess I speak that language.

And even with my shows and curating shows and connecting artists with buyers, they are the star.

You know, like, help me help you.

I always say to them, you know, without them, there's no show.

So that goes for Art House as well, and that goes for all the shows that I curate.

So I want them to be happy, I want them to be represented properly, and I want people to not just see it as a strikingly visual piece of art on their wall, but I want them to hear their stories and hear the inspiration behind what motivates them to create.

There's gonna be.

My hope is that you not only learn what you love about art and how to choose art for your home, but the process and what goes into the making of some of these works.

Baked into everything you just said is our ethos for the show.

And that ethos sort of is, you know, not to be reductive, but it sort of distills down into a couple of, you know, key phrases that we.

That we say a lot when we talk about Art House and we say that, you know, on Art House, beauty is in the eye of the beholder and home is where the art is.

And those two little statements truly get to.

What you and I both love about Art House and what with the show is about is giving people, empowering people to embrace their own agency and trust their own taste and gut.

You know, it's like, okay, you don't like red?

Well, guess what?

Don't get art.

That's red.

You know, I don't care what.

I don't care what, you know, certain fancy people might say about red.

If you don't like red, don't have.

Don't buy red.

Yeah, And.

And the.

The reverse is true if you love red.

Well, God damn it.

Find some art that's red and hang it in your house and it'll make you happy.

Yes.

But also learning that, you know, red, maybe a subtle addition of red would be nice in your kitchen, but do you really want a giant red piece of art?

You know, looks like pasta sauce got splashed on your refrigerator, you know, we'll learn those things along the way, you know?

Totally.

Totally.

And then, you know, so.

So this idea of beauty and not being in the eye of the beholder and, you know, empowering people to trust their gut and their instincts and their tastes and giving themselves permission, right.

To make aesthetic choices, because most people feel like, I think, that they have to go to Target or go, you know, somewhere and buy some mass produced thing that everybody else is buying because they feel like they can't trust their own tast.

And I think a show like Art House ultimately will empower people to trust their gut and trust their taste.

And that's why we say beauty is truly in the eye of the beholder.

And I think Art House is great for that.

But then also, that other little catchphrase, home is where the art is.

I mean, you and I both know, because we live with art every day in our homes.

Original art from many no name artists, so to speak.

Right.

Artists that we love that maybe the rest of the world doesn't know.

And that's fine.

Yeah.

Because that's the other thing, too.

It's like, the point is, is to have art in your home that.

That stirs your soul, that feeds your soul, that makes your heart happy, and it makes a home.

A home.

Yes.

And you and I know that that art does that.

Like, think about what a different show it would be if we were like, today we're visiting a home with the Basquiat, you know, and it's like.

It's like, yeah, I know.

Everyone's heard the name, everyone's seen it, we love it.

But also, how much more exciting and interesting is it gonna be to find out that Joe Smith in Toledo makes these incredible pieces out of his childhood quilts or whatever the case may be.

You know what I mean?

I'm excited to learn about that, and I think that the viewers will, too.

Absolutely.

Well, you know, artists are these mystical, magical creatures.

Right.

That it seems oftentimes people, you know, can be intimid and that the other part of this show, I think, is about humanizing artists and demystifying this whole world so that people are empowered and comfortable talking to artists, going to artist studios.

Because if we can, it can bridge that gap.

If Art House can really truly make viewers, you know, excited about meeting artists and feeling comfortable going to artist studios.

And if we could do that at scale, you know, across the country, you know, with perhaps, you know, I'm going to say it, millions of viewers.

Yes.

I mean, that will be a fundamental shift, I think, in how art is, you know, enjoyed and purchased and at scale over a couple of seasons, I think artists are going to enjoy more sales as a result of that because people watching the show will realize, oh wait, yeah, I got artists in my community, I can go buy from them.

Yes.

And the process might be as easy as you going into, you know, I don't want to say the name of a shop, but like a home decor shop that has these mass produced prints.

Like, I know that's easy to put that in your cart, but so is going to an art show and saying, I want to know more about this piece and then, you know, it's not a scary thing and we're going to show you what that means.

That's right.

That's right.

And, and no, no, no, no offense, you know, to the home decor industry.

I mean, we, we love, we love that industry if for no other reason that it employs a bunch of artists.

Right?

I mean, yes, even mass produced work, there are artists and creatives and designers making that work that then gets mass produced.

So it is a great industry for employment for artists.

So that's wonderful.

But that category, that so called home decor category is a seven, almost a $7 billion category.

And I just think that, you know, and that's great, but a show like Art House could help empower people and inspire people to shift some of that money away from, you know, big companies and corporate companies to, you know, real artists working in their communities, 100% plus.

You know, the soul that comes with original art.

And you've said this before, you love seeing the hand work.

You love seeing a person's hand in painting.

Whether that's a very 3D form of, you know, layers of paint or if that's unconventional materials.

Like, I love that too.

And it's like, oh, your brain, which we cannot see, took all of those thoughts and gave the world this tangible object to look at and in some cases touch.

Not always, but I think that's what's missing from the mass produced work.

And I want people to sort of learn that and understand that when people come into their home, you're going to want to show this off.

You know, it's not going to be something that they already saw or that they might also have, you know, a phrase or something above their, you know, kitchen.

Or it's that soul that they're going to grow to love and understand that live.

Live love, laugh.

Yes, Live, love, laugh.

And please buy some art.

Please buy original art.

Dance like no one's watching.

Exactly.

Sing like no one's listening.

Wine o' clock the rest of your life.

Well, and, you know, one of the things that gets me excited is that, you know, as the show evolves and develops, of course, you know, we'll be facing interesting little challenges, right?

I mean, you know, we'll go to some, you know, some town somewhere, and the good old US of A.

And you're going to meet a.

You're going to meet a family or a couple or a person who's got 100 bucks, right?

They've got a hundred bucks to spend, and they really, really want a piece of original art or they want art on their wall.

And you're going to be challenged to help them find something that they love that fits their budget.

Because that's the whole thing about the show.

Without breaking the bank, everybody's on a budget, whether it's 100 bucks or 10,000 bucks.

And of course, we'll have a few people, a few shows here and there where Maybe somebody's got 5,000 bucks or 10,000 bucks to spend.

But.

But this challenge of, of.

Because you are exactly.

One of the reasons why I love you as the host for the show is because you are the perfect person to take that would be buyer to the flea market.

Right?

Yeah.

And.

And go treasure hunting.

Right.

And yes.

Find something super special.

Well, not only that, you know, I have this group show tomorrow.

There's people that are like, can you help me price my art?

And I'm like, well, you talk to me.

What were you thinking?

I want to hear that number first.

And some people will go that low.

Some people will go very low.

And I'll say to them, that is not at all what I was thinking.

I was thinking more of this, like, way higher.

And they're like, yeah, but.

Yeah, but I want it to sell.

I would love to walk out going, I sold a piece of art.

So there's, there's tiers and there's ranges.

And I want people to understand that, you know, and that person who priced their.

Their work low might think that they're either new to the game or shouldn't be pricing it too high because they haven't shown very much, but someone is going to walk in tomorrow night to my show and the lowest priced piece is going to be their favorite piece.

Not because of the price, but because it spoke to them.

So the connection can still happen.

You can still buy an incredible piece for that price.

It again, we're going to learn what people like.

We're going to show them that it doesn't have to be scary to purchase and within your budget.

There's just going to be this like, wild range for us to play with and discover so well.

And you and I both know, and this goes back to this idea of beauty being in the eye of the beholder that you can imagine that as, you know, viewers of Art House, you know, become more comfortable, become more empowered and become a little more knowledgeable, a little, a little more confident in their taste and in their judgment.

You know, I, I, success for me is when I think about that is like, okay, imagine five years, you know, from now, or even a year from now, whatever, you know, that person, that viewer is at the flea market by themselves, you know, and they just see something that they know is just really interesting.

Like it's an object that is unique or special or interesting.

It speaks to them on some level.

And they, they, they realize, you know what?

This is something special and unique.

And I want this.

I'm bringing my home, I'm gonna put a new frame on it and they're gonna hang on a wall and they're gonna love it.

And they got it for 50 bucks.

Yes.

And even if it's an object that they hang as a piece of art that wasn't intended to be a piece, like, we're gonna open their minds to those things and I hope that they hear me in their ear with some fun quotes from the show when they do it.

Absolutely right.

Carmen says.

Oh, yeah, that's right.

What would Carmen do?

This is, this is what we have to, we have to create a whole thing.

The mystique of.

Okay, just think to yourself.

Channel, Channel.

Carmen, think to yourself.

What would Carmen do?

What would Carmen say?

What would Carmen think?

What would she say about this rusty spot in the corner?

She would love it.

She would embrace it.

Amazing.

Amazing.

Do I need a catchphrase, Scott?

Well, you're going to have a catchphrase.

Maybe not by the end of this podcast, but certainly by the, by the end of the, by the end of the first season, I think, you know, and not only just a catchphrase.

I, I think we have a radio show.

I think we have like, all kinds of things.

Like ask Carmen, call Carmen.

Call carmen.com do's and don'ts.

Yes, yes.

Well, then again, I mean, that's one of the reasons why I was so grateful that you're the host of the show, because you have so many different tools in your toolbox as an artist, as a creative.

And, you know, yes, you can.

Yes, you're an artist as you make art.

Yes, you, you know, you can guide people in that world, but you're, you know, more broadly, you know, you're also a creative director and a designer, and you are trained to kind of look holistically at something and within context.

And so you'll be able to help people think about, well, how's that going to look in your space?

And what about the color of the wall?

Maybe you should think about painting that wall.

Or what about the frame?

Or what about the lighting?

You know, guys, maybe you should put a lamp next to it or put a new light, you know, that kind of thing.

Yeah.

Or things that work well with natural light.

You know, all of those things.

We're going to look at your space differently, and hopefully the viewers will as well.

That's one of the things that I love about you being the host of the show, is that you'll be able to think.

You'll be able to help people think holistically as well about, you know, the.

What that work's going to look like in their home and how do they.

How do they, you know, maybe adjust things in such a way to help that work really shine in their home?

I love a challenge.

I'm going to.

I'm going to really enjoy the moments where it's like, well, we're out of wall space because of X, Y and Z.

Or we have a lot of windows in here.

What are we gonna do?

Or we have this tiny nook, and we need this.

You know, I'm gonna thoroughly enjoy those parts where I get to go, okay, you know.

Have you ever seen Half Baked with Dave Chappelle?

Yeah, a long time ago.

I think it's like.

I think it's Stephen Baldwin.

They, like, present him with a challenge.

I won't go into what it is, but he's like, okay, give me an apple, a toilet roll, and some foil.

You know, like, he's got all these, like, ways to MacGyver a situation.

I always feel that way when someone's like, I need help.

I can't figure this out.

I'm like, okay, give me five minutes, a teacup and some glue.

I don't know.

I'm, I'm gonna, I'm gonna, I'm gonna.

Three rubber bands, some duct tape, and a blender.

I can fix it.

Exactly.

I cannot wait.

That's gonna be so fun and unscripted, man.

It's on.

I cannot wait.

Like, just bring all those challenges, bring all of the, you know, unknown, and we're just gonna roll with it and we're gonna be there to guide them and whatever happens, happens.

But in the end, people are gonna have an incredible piece of art in their home.

I hope that they involve me in the group hug at the end like they did to you in the group hug is key.

That's gotta be one of the things, man.

Big group hug.

Cuddle puddle.

Cuddle puddle on the.

Yes.

On the floor on install day.

So.

Well, look, I mean, you know, everything we're talking about right now, at least for the last few minutes, has been about what a, what a value art house is going to be for the viewer and for the would be buyer.

But you know, there's this other side of the, of art house and the value of art house in terms of how it benefits artists.

Right, because the, in their kind of different nuances to it.

I mean, on one hand, obviously, the three artists that are featured on the show, they all win because they're on this show.

They're getting exposure nationally and potentially internationally that they wouldn't be getting otherwise, right?

Because they're on the show and whether they get picked by the would be buyer.

And you know, just for people who maybe don't know, the concept of the show is that, you know, we find a family, a couple, a person in somewhere in middle America, call it Kansas City, Kansas, and they want to buy art.

They don't really know what to do.

They're a little intimidated.

They've never maybe done this before.

And so they've got 500 bucks or 1,000 bucks or 200 bucks.

And so they want to buy or they don't know what to do.

So they call Art house.

They call Carmen.

Carmen, the expert, affable host, shows up, meets the people, meets the family, gets to know them, understands their, their how they're living, their taste, their budget, their vibe, their energy.

And then based on all those inputs, Carmen then takes them to meet three working artists in their studios.

And we learn about art making, we learn about artistic process and practice, we learn about these artists, and these artists are getting really wonderful.

You know, this word can be a dirty word sometimes in the art world, but they're getting a Wonderful exposure.

Eyes on their work.

I like to say, eyes on the work, by the way.

Love that.

Eyes on the work.

And, you know, and.

And so.

And so, you know, we.

We're humanizing the artists.

We're demystifying these magical creatures, right?

We're pulling the veil back, and we're getting to see and learn, and our consciousness is expanding.

And then.

So then the couple or the buyer then has to make a choice as to, oh, you know, I really like them, and they were really nice, but I didn't really dig their work.

But, like, that artist.

Oh, yeah, I really love that one artist.

And, you know, okay, we're gonna go with.

With.

With, you know, artist number two.

And so you and I both know that the artists that aren't necessarily chosen are gonna feel so happy for the artist that was chosen, because artists are in.

Creatures are not competitive in that way.

They're going to be super happy for that artist because artists really want people just to find art they love, and hopefully it's them.

But if not, just go find art you love, support other artists.

Right?

I can see people watching the show and pausing and being like, who is this?

Whether they want or not, and looking them up and following them and becoming a collector, you know, like, again, totally eyes on the work.

Totally.

And, you know, and that's the exciting part, right?

Like how a show like this could create almost a new marketplace for how artists and art gets, you know, gets traded, you know, with buyers and how buyers, potential buyers, learn about art and artists.

And.

And so.

And so the point being is that the.

Then.

Then once that artist is chosen, it's exciting because then that artist has to place their work in the home.

And so there's this exciting kind of scary moment where the buyer doesn't necessarily know because the buyer isn't picking the work, they're picking the artist.

The artist gets to pick the work.

And so a little bit of drama, a little bit of mystery, a little bit.

And we'll.

We'll.

It'll be.

It'll be a entertaining moment.

That's another thing.

I mean, this is not a diss at all to buying a piece at a gallery.

You absolutely should 100% do that.

But in terms of our show, you know, you could walk into a gallery, tell the gallerist, I want this, or the curator, you buy it, it gets shipped or whatever to your home, you might not ever meet that artist.

So that's gonna be really exciting for them to not only see the studio, hear their process, but see them be A part of the installation as well, which is pretty rare.

Yeah.

That human connection.

Yes.

And the word humanize is a word I've used a lot about this project over the years.

Humanize and demystify.

Because you know, the first world of art, God bless them, they've done a fantastic job of positioning art and art objects in artists as a very exclusive thing.

And that art should be acqu.

To, you know, for no other reason, because it's going to potentially appreciate in, in, in value, et cetera, et cetera, et cetera.

And okay, fine, that, that's great.

But guess what?

That's just one business model that all that doesn't serve 99.9% of artists.

And you know, so what we need is we need some innovation, we need some new business models that are really meant to serve artists better and help put more money in artists pockets.

And this idea of, no offense, galleries, because I had a gallery once and was in love.

Galleries buy art from galleries.

But you know, at the end of the day, you know, if you, if, if you don't need a middleman, then don't go through a middleman.

Go, go right to the source.

And what.

That's what Art House is going to do.

We're going to go right to the source.

Yeah, exactly.

Or more just don't be afraid to go to the source.

Right, right.

Because you, you are going to find times where you're like, I love this artist so much.

What do I do?

How do I.

And if you do contact them and they do respond and you do meet them, you might still have to go through the gallery.

But that's right.

How great that you stepped out of your comfort zone.

And we're like, I'm going to reach out.

You know, Art House said that this was cool and you know, it's going to connect me to this person and I'll become a collector and just whatever I got to do.

Gallery.

No gallery.

Yeah, it's going to be great.

Yeah, I could even see again.

I love to, I love imagining like what we do in season two and season three.

Right.

Because the show will have to evolve.

Right.

And we have to come up with like new scenarios and new things and this idea where you get stumped, you know, you can't find the right artist or you're really looking for the right artist.

Maybe the artist is not exactly in the community and you have to go on Instagram and you're like, oh, I found the perfect artist on Instagram.

I'm going to DM them.

And then you know, and then they're going to get right back to you.

And then people are going to.

The viewers are going to say, wait, wait, I can DM an artist on Instagram, and they're going to DM me back.

And.

Yeah, no, it's that.

It can work like that, too.

Yes, maybe.

Right.

Maybe.

Lots of avenues.

Oh, my gosh.

Yes, we love our artists, but artists aren't necessarily the best communicators in the world.

Side note, there's a really fun thing that we do at our shows that you'll see tomorrow.

If you see anyone wearing a Dearly Discarded, which is the name of the show, Dearly Discarded button.

They're an artist, and we encourage people to say, oh, which one's your piece?

And not only that, we told the artists when they dropped off their work and we gave them their button.

It's a sparkly, fun button.

It's really cute to ask other artists that you don't know, you know?

So, again, I've just always been a connector.

I'm so excited to do it on a whole new level.

You'll get a little taste tomorrow.

Scott, what was the best and worst part of the casting process for you?

You and two other candidates had the same screen test.

We gave all three candidates the same screen test so that we could, you know, compare apples to apples, so to speak.

What was the best and worst part of the casting process for you?

The best part was that when the task came through email, which was find a couple quickly, shoot something on your phone, I knew exactly where I was going.

My friend Kelly, I was her nanny for many years for her two babies.

She and I are super close now.

I'm close with the kids still.

They're out of college.

It's amazing.

I just aged myself.

But she's got an incredible collection, and I'm like, let me go there.

They're not necessarily buying art, but I wanted to talk about, like, what it meant to them to purchase art as a couple.

They're newly married and they don't have any artwork together.

So it's like, there's gonna be moments like that where it's like, how do we combine, you know, the taste of two very different people?

So I enjoyed filming that with people that I love and who love art.

And the worst part was waiting to hear whether or not I got it.

In fact, you called me and I was like, yes.

Where were you?

Where were you exactly when you got the news, Carmen?

I was taking a eucalyptus bath because I was so stressed out waiting to hear And I thought, if Scott calls me, it's bad news.

If the producer, Laura, calls me, it's good news.

And it was Scott.

And I'm like, hello?

And you're like, what is wrong with you?

I'm like, nothing, just tell me.

And you're like, you got it.

And I was like, splashing around.

No, I'm kidding.

I was so happy.

But I heard, I heard some water splash.

I did, but waiting around right now.

But the waiting was, I, I wanted it so bad.

I'm like, this is perfect for me.

This is what I do.

Please, oh my God, give it to me.

Um, but I'm sure the other two candidates were great, but I was born for this.

And I cannot wait for you to call Acton.

Yeah, yeah, yeah, me too.

Well, look, I mean, shout out to the other candidates.

I mean, they were fantastic, you know, and also, to be clear, not only did I call you to give you the good news, I called them to give them the bad news.

And that's just the least I could do, right?

And as the, it's the right thing to do, by the way.

I've always been a big believer in if there's bad news to delay deliver.

I'm, you know, human enough to do it, you know, professional enough to do it, you know, as hard as it is.

And, and, and you know, I could hear the disappointment, trust me, I could hear the shock and disappointment in both the other candidates voices.

But they also appreciated hearing it from me.

And they be hearing it directly and honestly and candidly.

And they were, you know, while they didn't necessarily at the time know that you were the candidate that won, but they were happy for the winner.

They were.

And so anyway, it was, it was, it was wonderful to hear your excitement splashing around in the bathtub and your little rubber ducky floating by, I'm sure.

Oh, God, stop.

Hilarious.

How many bath toys you really have.

The rubber duckies you have, you have finger paints in the bathtub.

It's relaxing in there.

It's eyes closed, meditative music on until my phone rings and it's Scott giving you good news.

Yes, yes, yes, yes.

And it is good news on multiple levels.

It's been something I've been developing ever since.

And I mean it when I say that I want the show to come to life and be successful number one, because I believe wholeheartedly that it is, it is a Good would be and will be a game changer for artists in terms of getting eyes on their work.

And it will be a game changer for how people learn about art.

Yeah, 100%.

And on that note, I wanted to actually thank you because I'm not just the host.

I've been involved heavily in a lot of these conversations, and there's just something about, you know, I would not attach myself to something regarding art if it wasn't done well.

And you take my notes and you have just been great in the collaborative process.

And it's gonna be, you know, there's a really good team.

Oh, my gosh.

Everyone involved is just incredible.

I just, I just know people are gonna love it and just want to support this project the more they hear about it.

Right on.

Well, thanks for that.

And yes, we do have a great team and.

But that's.

That's what it takes, right?

You know, whether people realize it or not, at least in my view, to the extent that I've ever had any success in life or with any project, with anything.

I mean, it's ultimately about the people you surround yourself with, the people that you collaborate with, and hopefully they're smarter than you.

And 10 more talented.

God knows, you know, everybody's smarter than me, but it's like, it's wonderful.

That's what you want, right?

You want to find experts that are, you know, killer and pro at what they do and believe in the project.

That's the other thing.

Not only is everybody like really pro at what they do, but everybody believes in this project in a really deep way.

It's not just some gig for them.

They really, really, really believe in that energy comes through.

And then, you know, and then when you came along, you know, it was it.

That was that extra benefit, I mean, of.

Of all the tools, you know, in your toolbox.

The fact that you are a designer and a creative director.

It quickly, I quickly realized, maybe you even said it to me.

I forget exactly how, how this came to be, but it was like, wait a minute, Carmen can actually now help us with the look and feel of the show and the creative direction of the show.

And that was just a real epiphany.

And I was just so grate and you know, because, I mean, initially, I mean, for a long time I was saying, ah, you know, we're not gonna.

I don't want a host driven show necessarily.

I don't want the show to be built around the host.

I want the show to be built around the artists and the art.

And I will still say that the true celebrity of the show, the true star of the show are the artists and the art.

But you are the kind of host that actually could, can drive the show and you know, because of all the tools in your toolbox, can add value in so many interesting and important ways.

Well, thank you for that.

That's nice to hear.

But now I feel pressure to say yes to all your notes.

Now that you said that, you know, I'm on record.

You've said you've said no to some of my notes and then I show you and you, you know, I gotta make sense.

People need to see yes to everything.

It's true.

That's true.

That's true.

That's.

But you're badass.

So the good news is, you know, usually your ideas are.

I mean, well, not even usually.

Most of the time, nine times out of 10, it seems your ideas are spot on.

Dead.

Dead nuts, I think they say.

Dead nuts.

I've never heard Dead nuts.

You just made that up.

Well, you heard it now right here.

But okay, so, so the question is, you know, how do we get from here to there?

Because, you know, the show unfortunately has to, has to get, get made.

And to make it, you gotta have money.

You gotta pay for shit.

We are, you know, you gotta pay your bills, you gotta pay, pay for good help and whatnot.

And we've budgeted the show and again, I mean, for people to understand, you know, in the spirit transparency here we talk about a world class team.

Let's, well, let's celebrate them for a second before I get into the money aspect, because Laura Patterson, our director, I mean she was, you know, joined the directors guild her 20s.

She has done what, 15 plus years of house hunters for HGTV.

So cool.

She's done multiple seasons or episodes and seasons of Unsolved Mysteries and Laura Patterson's been all over this country doing episodes for House Hunters.

I mean, she knows how to make the donuts.

Yeah, she knows how to do this.

And she's just so cool and fun and smart and strong and tough.

Don't piss her off.

I love that I made that mistake.

And.

But that's what you want, right?

I mean, you want somebody that, with the courage of their convictions and the, and the, and the experience enough to, to, to have faith in, in their opinions and faith in their, in their, you know, in their learnings and their, in their, you know, what have you.

And so Laura is just world class and she's our director and she, again, like we said, she really believes in this project, on a deep level, this isn't just a gig for her.

I love Laura so much.

Speaking of notes, anytime she gives a note, I'm like, yes.

I'll like, side chat her and be like, yes, I was thinking that too.

Yeah.

So that's gonna be really fun.

That's great.

Well, and then.

And again, I mean, how do we know Laura?

Well, we know Laura through one of our producers.

Producers, Wendy Marabella.

And Wendy's been, you know, Wendy, you know, she used to be at IMAX and did development for imax and.

And then she got into event production.

And she's done all kinds of interesting events for fancy people and fancy companies like Disney and ABC and what have you.

But.

But Wendy, who I've known for a long time, 10, well, 15 years maybe now.

10, who knows?

Lost track time.

But anyway, Wendy introduced me to Laura because they go back.

Oh, okay, okay.

And because I had.

Because when I, you know, obviously Wendy and I talked a lot during the pandemic and, and I shared this idea with her.

She's like, oh, my God, that's really great.

She's like, my friend Laura, you know, probably be great for this.

And so that's how Laura and I met.

And Laura had been, you know, such a wonderful thought partner and collaborator, you know, for free, by the way.

Like, I would just call her and she would talk and give her time and just such a generous spirit.

And then when the time came, we, you know, to shoot the Proof of Concept video in Chicago, she brought her people to the table.

I mean, she brought her director of photography, Brian, out of Chicago from Bada Bing Productions.

He was our DP and his crew.

She's worked with them on multiple episodes of House Hunters.

When it came to casting, she brought her friend Dana, who helped us cast, you know, the couple and all of that.

And so this is what happens, right?

When you are lucky enough and smart enough to work with people smarter than you, they bring other smart people, right?

And so Laura just opened this door to all these amazing humans who helped us get here.

And then when the time came to find somebody who could really run the show, AKA a showrunner, and this is a person who is like, almost like, for lack of a better example, like the contractor of a house or a big building.

When you're building a big structure, right, you need a contract, you need a manager, a boss that's making it all happen, right?

Because it's high stakes, it's dangerous, it's expensive, it's fast.

You got a deadline, you got A budget.

And.

And so these people in Hollywood are called showrunners.

And it's a very high stress job.

It's a very complicated gig.

And Stacy Schneider, who was good friends with Laura and they met 20 some years ago, I think actually Stacy hired Laura and brought Laura on to House Hunters.

A little fun fact.

And since then, Stacy, I think, has been a showrunner on five different series and over 300 episodes for HGTV.

She's been on House Hunter, she's been on Designer's Challenge.

She may have even been on Unsolved Myst.

But, but she's again, just world class.

And again, all of these people are so kind and sweet and generous and just good people.

You just want to hang out with them.

Yeah, I've been enjoying hanging out with them, actually.

Such a dope crew, 100% enjoying the whole process.

And we haven't even gotten started yet.

Well, we haven't gotten started.

And so what are we waiting on?

People are wondering, well, what are you waiting on?

We're waiting on money.

You got money?

Give us money.

How much money do we need?

A lot.

We need a lot.

How much?

Well, okay, let's talk about that.

How do you eat?

Do you know how you eat an elephant?

Karma.

Yes.

One bite at a time.

One bite at a time.

And you've, you've heard me say my favorite phrase many times, which is crawl.

Well, I have many favorite phrases, but one of them is crawl, walk, run.

Yeah.

And so you combine this idea of eating an elephant one bite at a time and this idea of crawl, crawling, before you walk, before you run.

It's sort of like, okay, we gotta break this down and, and, and figure out how we can make the show.

And by the way, make it even independently if we have to.

Right.

Because Hollywood is a mess right now.

It's imploding.

I happen to be friends with a guy who's been the manager for Dolly parton for like 40 years.

Okay.

And I had breakfast with him not too long ago.

Wonderful guy.

And he was telling me that Dolly Parton, his client, was having a very hard time finding money for her projects right now in Hollywood.

And I thought to myself, oh, my God, if Dolly Parton is having a hard time, what chances do we have?

Right?

So we have to be prepared to go independent, but we also have to be prepared to kind of of, you know, go out and try to sell the show if we want to do it that way.

And so because what maybe people don't understand, it's like, you know, classically Conventionally, traditionally, what happens is independent producers like us get a great idea.

You go out to Hollywood, try to pitch it and sell it to Netflix or Hulu or ABC or NBC or what have you.

And that was always difficult in the best of times, always challenging.

But these aren't the best of times anymore.

It's even, you know, probably 10,000 times more challenging now.

Yeah.

Because of the economics of the business changing and, you know, and of course, the impact of things like streaming and YouTube and, and consumer behaviors changing.

I mean, people, you know, the cool kids these days aren't watching cable television.

They're not what they may not have the money for multiple streaming platforms.

They're watching on YouTube is what they're doing.

So more TikTok tock.

But so we want to create a show that is obviously very high quality, high production value, which requires, you know, a lot more money than if we were just going to be shooting something on YouTube maybe.

Right.

Because, you know, it's two different.

Two different animals, so to speak.

Right.

And, and so we want our show to look great because we want the artists to look great, we want the art to look great.

We want to honor that.

And we feel like, you know, you need a certain production value to do that.

That.

And so because we want to, you know, for the show to look great and there's great and then there's greater and then there's.

There's good.

What was it good, better, best.

Right.

So the initial inspiration for Art House was Chef's Table on Netflix.

Love.

And Chef's Table was gorgeous to watch, award winning for Netflix, but as I understand it, economically not profitable because it costs way too much money to make the show.

They poured millions of dollars into that because that's why it looks so beautiful.

But it was a lost leader.

They wanted it to be.

They wanted it to do something beautiful.

They didn't work.

They weren't worried about money because they wanted to win awards.

They wanted to build their brand around this.

And so I was like, okay, well, you know, if Chef's Table's the inspiration, great, but we don't.

We're not going to maybe have that kind of money.

Then of course, being a fan of shows like shows like House Hunters and what have you was like, okay, well, how do you take that DNA of House Hunters and take the DNA of something like Chef's Table and, you know, create a show for art and artists and, you know, a budget for an episode of Chef's Tables, you know, millions of dollars.

Okay.

An episode, a budget for episode of House Hunters is probably like 300,000 bucks or a couple hundred thousand bucks, you know.

Yeah.

And.

But I don't necessarily want it to look like House Hunters.

I want to look better than House Hunter.

So it's like, okay.

Right.

And so because we have Laura and Stacy and Dana, you know, we were able to put together a budget.

And long story short, you know, we're looking at about $300,000 an episode.

Okay.

We're looking at about.

And if you're making one episode at a time, it's going to cost you more than if you're in production on a full season of making eight episodes at once, so to speak.

Because you're getting economies of scale.

Like when you're, when you're producing eight episodes at once, you're a well oiled machine.

You're just making the shows.

And so you can save money that way.

So we've sort of budgeted 2.5 million for eight episodes, which is actually, as a show like this goes, as Hollywood productions go, is a bargain.

It's like not.

That's not bad at all.

And we know the show's gonna look great.

So ultimately we're gonna have to find $2.5 million to make a full season.

And I do believe we're gonna get there, of course, otherwise I wouldn't be doing this.

But where are we at right now?

What are we doing right now?

What do you and I want to do right now?

Well, what we want to do is we want to make the pilot episode featuring you as the host.

Yeah, baby.

And we want to do that for all kinds of reasons.

And one of those reasons is because once we have the pilot, we have an exact prototype of the show that we want to make.

And then we can show it to people, say, this is what we're doing.

This is the show we want to make.

And that will help us find more money, help us sell the show, help us raise more money to make more episodes.

And so this pilot episode, really, this prototype, if you will, is critically important.

And so we're in this phase where we're raising money for the prototype, we're raising money for the pilot 30 minute pilot episode featuring you as the host.

And right now we are about to launch, as of, I think today or tomorrow when this podcast drops, a crowdfunding campaign to raise $150,000 to fund the pilot.

Now, why only 150,000?

Because I just said it cost 300,000.

Well, well, the good news is that we actually have been working on this For a while.

We have a lot of footage in the can already.

We don't have to shoot.

We did our proof of concept video in Chicago.

We're going to go back to Chicago.

We.

We know the people there.

We've already been there.

We got a bunch of stuff.

Footage, you know, already in the can.

We've already done a lot of work.

So we're.

So there's some cost savings there.

We can do it for $150,000.

And so that's exciting.

And this crowdfunding campaign will, you know, be the answer to our question here, you know, finding the money to do the pilot so we can, you know, raise the rest of the money for the show.

And either way, we'll.

We'll be able to go.

We'll be able to do it independently or we'll, you know, potentially be able to sell to one of the streamers.

So that's what we're going to do.

We're going to launch a crowdfunding campaign to raise $150,000.

So.

So those of you listening, please consider supporting this amazing project.

You should also know, by the way, that.

And I'm on a rant right now.

I fully re.

I should shut up and let you talk, shouldn't I?

I'm just going to keep going.

I just want to say this.

I'll shut up.

That.

Because we have a fiscal sponsorship partnership with Arterial, a 501c3 nonprofit arts nonprofit.

All of the donations are tax deductible.

And so whether or not somebody gives us 10 bucks or 10,000 bucks, they can write it off on their taxes because of our fiscal sponsorship with Arturial.

And so that's pretty cool.

Love that.

What was I going to say about that?

If we're going to talk about all the.

I know what you're going to talk about.

You were going to talk about all the cool rewards and incentives that we're offering in addition to.

I mean, there's tax benefits, there's art, there's experiences, there's.

You can nominate artist in your town to be on the show.

You can nominate yourself to be one of the buyers.

You can receive executive producer credit.

There's so many things that I can't even think about right now, but you.

Hit all the highlights.

You hit all the highlights.

Oh, good.

Yes.

Good, good, good.

You hit the coolest ones.

Yes, people, you too can be an executive producer.

The low, low price of $25,000.

I am not worried about it.

I have such a good feeling about it.

We're going to Be in Chicago before you know it.

Calling action.

I'm gonna be like, in my trailer.

Stylus, baby makeup, you know, someone fanning me and feeding me grapes is gonna be dope.

You're like, okay, hey, I'm happy to feed you grapes if that's what I have to do.

So, yes, we have producers credits for people who really want to get behind this and have the means to do so.

Wonderful.

If you have.

If you on the.

On the other side of that, you know, for 30 bucks, you can nominate an artist you know to be on the show.

For 30 bucks, you can nominate your town.

Maybe we can come to your town.

For 150 bucks, we're going to have these limited edition art prints that all these amazing artists are going to create for you.

We have for a thousand bucks, you could get special thanks at the credits.

Shout out the credits.

What else?

I mean, on and on and on.

Oh, by the way, one of the coolest.

What perks and rewards that I'm excited about is not just your show poster, by the way, which I need an image of just letting you know.

Okay, okay.

One of the cool.

And there is an official show poster people that you can get.

I think it's for 30 bucks.

Not to mention the official tote bag, which is super cool that you all that Carmen also designed.

But one of the cool things is that our.

Our dear friend front of the show, you know, fellow artist, musician, dj, the one and only Connie Price, AKA DJ Constantine, has curated three hours of music that essentially is the official music playlist of Art House.

So cool.

And you can download that playlist for, I think, I think the donations for 30 bucks.

So you get three hours of music for 30 bucks.

That is the official playlist for the Art House show, pilot show.

And I mean, just so many fantastic, relevant rewards and incentives.

Like you said, interesting art, cultural experiences and fun things like producers credits.

So dope.

Jane Dope.

Jane Dope in the house, people.

What if I just.

What if we.

What if I use Jane Dope as my name on the show?

Hey, everyone.

Welcome to Art House.

I'm Jane Dope.

Just kidding.

Don't worry, Scott, we'll keep.

By the way, you raise an interesting point.

I mean, I'd be amenable.

I'd be amenable to having that conversation.

I mean, what's gonna resonate, right, really with people the most?

You've seen all the promos for this art show that I'm doing.

I feel like a lot of people know me as Jane Dope or just through the art scene.

It started out as my roller derby name and I curated shows for that organization and that's how that happen happened.

So it kind of stuck.

But I now go, hey, I'm Carmen Jane Dope Acosta.

Which is lengthy.

I get it, it's wordy.

But people know me as Jane Dope or Jane Dopeness on the Internet and that's never going to change.

Scott.

Don't make me try and change it for television.

I would never.

Don't go change it and try to please me, Carmen Jane Dope Acosta.

Well, I mean, it's a, it's a, it's a.

It's an embarrassment of riches, right?

Because obviously Jane Dope is.

Is the dopest name, but Carmen Acosta is actually quite beautiful as well.

So, you know, we can't, we can't.

Carmen Acosta.

Carmen Acosta Art house.

Coming to a theater near you.

I'd say if we're going highbrow, we do Carmen Acosta.

If we go low brow, it's Jane Dope.

Well, how about in the credits, it reads Carmen quotes Jane Dope a Costa.

Carmen.

Carmen.

I've always liked the name Carmen.

It's like Carmen.

It's very like, just be.

Hi, I'm Carmen.

Like the opera.

Yes, yes.

So I don't know.

I think we have a lot of fun things to play with and levers to pull and dials to turn and buttons to push.

And it's all because of you, Carmen Jane Dopacosta.

You tell.

It's gonna be great.

Our future's bright.

So bright.

I gotta wear shades.

Where are my shades?

I mean, that's a classic.

It's classic dating myself.

I turned 55 the other day, Carmen.

Oh, yeah, I turned 50 in two days.

Whoa.

That's right.

We have to celebrate.

Cut that out.

We need the young viewers to think I'm cool.

If they don't know you're cool in spite of your age, well, then, you know, then they need, you know, I don't respect them.

That's really what it was.

I don't care.

All right, well, happy birthday.

Ahead of time, we have to figure out how to celebrate.

Thank you.

You and I want to thank you for coming through today.

You took time out of your busy schedule to come in and chop it up a little old me.

And this is going to be, of course, released on the not real art podcast, but will also be released on the new art house podcast.

And I was thinking about the show, like, we'll talk more, but I think The.

The art.

The.

The Art House podcast.

There's some interesting opportunities for us to.

To.

To compliment the show and unpack the show and add the kind of, you know, behind the scenes kind of.

Of stories, and we'll talk more about where that goes.

But I'm excited about it.

I got a vision for it, too.

We'll talk.

Yes.

Vision.

Without a vision, people.

Perish.

Get a vision, people.

Okay, I'll see you there.

Bring your checkbook.

See me there, like it or not.

Yeah.

What do I want for my birthday?

I want you to buy art at my show.

Buy art?

Art indeed.

Well, I mean, what about Venmo?

I'm into Venmo these days.

Oh, yeah?

Can I do Venmo?

Yep.

Okay.

Okay.

We're doing something.

Crypto.

Are we doing crypto?

No, no, no, no.

We're doing a thing where we don't take.

Are you on crypto?

Do you own crypto?

No, I never got into it.

NFTs were a thing during COVID NFTs blew up.

Did you play that game at all?

Nope.

Nope.

Okay.

Smart, smart.

Neither did I.

Be.

Yeah.

All right, on that note.

Okay, well, we're gonna sign off here, people.

Carmen Jane Dopacasa, you're the best.

Thanks for coming through.

Can't wait to invade your homes.

Lock your refrigerator, hide your valuables.

All right, thanks for having me.

You gotta come back anytime.

Peace.

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