My First Million
00:59:38 · Shaan Puri, Sam Parr, Bill Perkins
[00:59:38] S1: Not at all. I do like... I did have a commute at one point where I was biking and walking to work. I think that's the only part I miss is like the habit of getting up in the morning and getting outside and walking or biking. But now I just do that with my kids' school drop off. That scratches that itch for me. I never I never wanna go to an office again. I like having a dope home office, and I have one or two people that will come over and work from here. And then and then they get out of here halfway through the day, and then I'm just back at home. You know? I'm not looking to go into an office. You love that, Sam. You you love going into an office. [01:00:14] S2: I I do I do like it. So I go to my office three days a week. I'm at I'm at my office here. And so I I live in Manhattan, and so it's nice to have the separation because, like, we don't have, like, Texas sized houses here. But, like, I... There is something that I like about getting dressed up and, like, I like laying out my work clothes the night before. I kinda like that routine. I know it sounds [01:00:36] S0: like My daughter [01:00:37] S1: loves that too. [01:00:37] S2: Dude, I'm kind of a square in that regard. I I like the routine of, like, getting here and going home. There's something about it that I enjoy, but I do find myself significantly more productive at home.
01:00:37 · Sam Parr, Bill Perkins
[01:00:37] S2: Dude, I'm kind of a square in that regard. I I like the routine of, like, getting here and going home. There's something about it that I enjoy, but I do find myself significantly more productive at home. [01:00:48] S0: Yeah. I mean, you know, when I talk to people about, like, offices are going with it, you know, when we deconstruct it, it's like, well, I like the people, and I like spending time with people, and I like, you know, the walkie or whatever. And I'm like, you can do that without having the office. You can actually take those people out to dinner and spend more quality time as opposed to right next to them while they're doing this and you're doing this. You can actually just take a walk to Central Park and back and forth and make that part of your routine. You know? You can actually have them have a walking, working thing and walk around the track and work with the phones and devices. You can reconstruct it and it might be better, but some people, you know, whatever whatever your value systems are, you
01:00:48 · Bill Perkins, Sam Parr
[01:00:48] S0: Yeah. I mean, you know, when I talk to people about, like, offices are going with it, you know, when we deconstruct it, it's like, well, I like the people, and I like spending time with people, and I like, you know, the walkie or whatever. And I'm like, you can do that without having the office. You can actually take those people out to dinner and spend more quality time as opposed to right next to them while they're doing this and you're doing this. You can actually just take a walk to Central Park and back and forth and make that part of your routine. You know? You can actually have them have a walking, working thing and walk around the track and work with the phones and devices. You can reconstruct it and it might be better, but some people, you know, whatever whatever your value systems are, you [01:01:26] S2: do I think it's better for young people, though. And so one of the reasons it might come up that we have an office is I remember I was talking to... We were... One of our employees was in Manhattan. I was Zooming her when she was in her shitty apartment, and I'm like, this is a horrible existence. Are you miserable? She goes, I hate this. I was like, we gotta get an office. Like, this... It it it was it was not particularly fun, I think, for a 22 year old to be working from home. I think it's a lot more fun when you have children or when you're the boss.
01:01:26 · Sam Parr, Bill Perkins, Shaan Puri
[01:01:26] S2: do I think it's better for young people, though. And so one of the reasons it might come up that we have an office is I remember I was talking to... We were... One of our employees was in Manhattan. I was Zooming her when she was in her shitty apartment, and I'm like, this is a horrible existence. Are you miserable? She goes, I hate this. I was like, we gotta get an office. Like, this... It it it was it was not particularly fun, I think, for a 22 year old to be working from home. I think it's a lot more fun when you have children or when you're the boss. [01:01:49] S0: Yes. I I would agree with that. Like, I think we need to help the younger generation connect with other humans because there's so many devices that are actually disconnecting them from other humans. It's the illusion of connection with social media. The in person mixing and hanging out and discussions and meeting, that art is being lost amongst younger generations. So I do... I am a proponent of that. [01:02:15] S2: Shaan, did you see this story about this painting that he just bought? It was it was... They they did a good job of... I I think it was on The Wall Street Journal, covered this painting bill that you got. I think it was called Sugar Shack. Have you seen this, Shaan? [01:02:27] S1: I saw this a long time ago. It's a YouTube video. Right? You spent some ungodly amount of money on this painting. What's the I
01:02:35 · Bill Perkins
[01:02:35] S0: mean, it's a it's a very unique piece in in American art, particularly because one, you know, when you say like, well, who was the African American da Vinci or or whatever? And the answer is no one because they were slaves. And so it wasn't until after slavery and the formation of families, and they started growing up where people can actually afford paintbrushes and have the time to actually paint. And so you kind of get your first generation of, like, masters, African American masters, and the narratives that they would paint about born in, like, the forties or fifties or second generation, depending on what you use is, 1910, nineteen twenties, and then forties. And so this artist was a football player. He was an artist in an athlete's body and started painting, and he was painting... And this particular painting was about a sugar shack, which he had passed growing up in the South. It's like a party house about black joy in the South during segregation, which is a uniquely American theme. Right? Like, you can still lay ice ice rink or whatever, but it's uniquely American. And not not necessarily from like, oh my gosh, slavery was bad or segregation was bad, but just like, you're just not gonna get that narrative. Right? It's like jazz is the the only original American art form. Like, this painting is very, very unique culturally by, like, the first or second generation masters, and it was featured on Marvin Marvin Gaye's album that won a Grammy, and it was on the opening or outro of Good Times, which Norman Lear was like kind of the first producer to put stories of young black families on TV back in the seventies. And so this is very culturally relevant, very historically significant, a narrative that's not going to be painted in China or anywhere else, etcetera, so it's uniquely American, and I was in love with it. I had seen it since I was a kid, and any black person in my age range knows about this painting, has seen this painting and other works by Barnes. And when it came up, John Arnold messaged me, sent me an email. He goes, hey. Isn't this the painting you've been looking for? Okay. I've been looking for it because there's two copies of it. One, it was painted. It was in the back of the artist's car. Marvin Gaye sees the painting, freaks out. He's like, can I have this? I must have this for my album.
01:04:55 · Bill Perkins, Sam Parr, Shaan Puri
And when the biggest music star of the time asks you for a painting and you're a struggling artist, you do what he says. So he changed the painting and painted on, you know, Marvin Gaye's thing, and it's on it's on, I think, his album called After the Dance. But that wasn't what... It wasn't about that. Right? So he went and made another copy of it. Okay? He painted another exact copy of it for what the painting was really about. And so I tried to buy that piece from Eddie Murphy and basically got crickets, you know, like, wouldn't wouldn't respond. And then I... John called me and goes, this is up, and I almost cried when I heard about it. And I was like, okay. I'm not gonna telephone auction this thing because what if the telephone goes down? Like, had all this nervousness. I'm gonna fly. It was the first live auction I've ever been to, and I flew to Sotheby's, and I stole that painting. You know? So, like, a lot of people focus on the price, and they're just like, oh, you paid this much. There was a one of four Warhol that went for a $100,000,000. [01:05:59] S2: What did you pay? I I don't know what you paid. [01:06:00] S0: Yeah. The total price was 15,000,000. [01:06:03] S1: Describe the auction battle.