May 22, 2025 • 39 mins
What transforms a fashion industry professional into a respected crypto artist? In this candid conversation with Jules, we explore the fascinating intersection of traditional art backgrounds and Web3 innovation.
Jules opens up about his creative evolution that began alongside major fashion designers, where he absorbed the art of vision execution before developing his own voice through photography and digital creation. His refreshingly positive outlook on work—from managing an ice cream shop at 14 to selling "flowers" in Northern California—reveals how gratitude shapes both his art and his approach to the crypto space.
"We are all so lucky," Jules reminds us, highlighting how privileged we are to participate in this innovative ecosystem regardless of market conditions. This perspective extends to his thoughtful approach to creating digital art, where he considers whether each piece deserves to "live forever" on the blockchain before minting it.
The conversation takes fascinating turns through discussions of supply dynamics, comparing approaches from artists like Jack Butcher and Joe Pease, while Jules shares his own philosophy of creating deliberately and with reverence for blockchain permanence. His insights on editions versus one-of-ones offer valuable perspective for both creators and collectors navigating the space.
Perhaps most valuable is Jules' advice to fellow artists: "Don't forget to live life, because what happens outside of making art is what informs the art." This reminder to maintain balance and draw inspiration from diverse experiences resonates as essential wisdom for creative sustainability in any medium.
Join us for this heartfelt discussion about finding your people, creating with intention, and approaching each day with positivity in the evolving landscape of digital art. Want more conversations with innovative creators shaping the future of Web3? Subscribe to NorCal and Shill wherever you get your podcasts.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Jules (00:00):
Who is this?
Who is this guy?
NorCal Guy (00:02):
Who is this guy?
Who is this guy?
Who is this guy?
Jules (00:06):
Who is this guy?
Norcal guy.
Norcal guy.
Norcal guy, norcal guy, norcalguy, norcal guy.
Norcal guy.
Norcal guy, norcal and chillpodcast.
So it's chill time, norcal andchill podcast.
What the sh?
What the sh?
Norcal and Shill Podcast.
What the sh what the sh NorCaland Shill Podcast.
(00:27):
So it's Shill time, norcal andShill Podcast.
NorCal Guy (00:30):
What the sh-.
What the sh hey, everyone,welcome back to another episode
of NorCal and Shill.
Today we have the pleasure ofchatting with the incredibly
talented Jules, an artist with afascinating journey from the
fashion industry to the dynamicrealm of crypto art.
Join us as Jules shares hisinitial impressions of the
(00:53):
digital art space, theimportance of gratitude and his
approach to creativity andcontinuous improvement.
We'll delve into his uniqueperspectives on editions and
one-of-one artworks, the futureof digital art and the inspiring
support within the innovativecommunity.
Plus, you'll hear somedelightful banter about animals,
(01:15):
foodie favorites and much more.
Tune in for an insightful andheartwarming conversation that
celebrates the vibrant world ofcrypto art and the individuals
who shape it.
Everybody, please welcome Jules.
Hey, jules, welcome to thepodcast.
How are you doing today?
Jules (01:34):
I'm doing well.
Thanks for having me, NorCalguy.
NorCal Guy (01:38):
Man, I will just say that you are one of my faves in
the space ever since I met youand actually got to know you
Because I didn't really know youbefore that and every time we
meet in person I'm just like man.
I want to just hang out withthis guy more and more often.
(02:00):
It's true.
Jules (02:03):
Those are kind words, I don't take them lightly.
Um, super enjoyed getting toknow.
You need to get to know youmore you know we have.
I think we have a lot of sharedcommon interests, so looking
forward to this chat and manymore in the future.
Thanks, man.
I appreciate that.
Favorite in the space man.
NorCal Guy (02:20):
High praise, high praise man, we just it's just
like very chill, like I enjoypeople I can just like chill
with, have a drink and just likeshoot the shit or talk about
something you know and not haveto like worry about it being
like I don't know, getting intosome sort of argument about
(02:41):
something stupid.
Jules (02:44):
Yeah, we can do that too.
That's always on the table Ifyou want to do that.
It's really a testament to likecrypto world at large.
I think it's attracteddifferent minded people, but
like-minded people, and so youget these different groups of
people and over the last fewyears, things have shifted and
now we found each other, whichis, you know the end, all but no
(03:06):
I.
I'm always surprised.
It's like I'm meeting mylifelong friends.
It's amazing, yeah it's beenawesome.
NorCal Guy (03:13):
So what were your first thoughts when you heard
about this crypto art space?
Jules (03:20):
my first thoughts when I heard about the crypto art space
.
I think it was, you know, itwas a long time ago.
At the time, you know, I hadfriends that were, you know,
kind of involved in the firstnifty gateway drops.
And so a little, a little shock, like, wow, this is, this is
(03:43):
nuts, you know.
But um, I think, quickly afterthat realized like it makes a
lot of sense, this is where myart and practice can live, and,
uh, I better get to work.
That's kind of my yeah, mythought, my thought, my thinking
train, this is crazy.
Holy shit, this makes a lot ofsense.
I have a lot of work to do, Ilike it, I like it.
(04:13):
So what brought you to art?
How did you choose art?
It's such a big question, Ithink.
In my late teens I had anopportunity to work a lot in the
fashion industry and I got towork alongside big, big
productions with great you knowgreats in that field, great
designers, and kind of foundthat I think that was a really
(04:36):
my big introduction to art,although at the time I don't
know if I saw it as, like youknow, I'm a part of this art
project, but every time afashion shoot happens or a show
happens, like these are artprojects and there's some
creative that's executing theirvision, and I got to be a small
part of that vision along theway.
Um, but for me, like I, I wanted, I wanted more from that and so
(05:00):
I thought how I could, uh, makemy own visions, and the segue
for me was photography andtaking photos and kind of
conceptualizing things through alens, and then just
experimentation and iterationuntil I was just kind of making
weird GIFs on the Internet anddifferent tools and videos and
storytelling and kind of endedup in this path here where you
(05:23):
know I'd say largely it's justit's crypto art or art that fits
really well in this.
You know, in this crypto space,say, late teens, it's kind of
seen.
Seen that, which was awesome.
Lots of learnings along the wayI love that.
NorCal Guy (05:37):
So what jobs have you done along the way?
Jules (05:42):
from that I mean like I, like you know, like in high
school even like oh man, I usedto scrub the floors.
NorCal Guy (05:49):
It sucked.
But yeah, like, where have youcome from?
Jules (05:57):
I was the youngest shift manager at cold stone creamery,
which is something I still holdwith pride.
So I I got a job at 14.
We needed money at the time.
Some of my family was just outof work.
So I got a job at 14, worked atCold Stone Creamery.
I had a side business at a ColdStone Creamery where I sold
flowers even back then Differentflowers at the time, but
(06:20):
flowers out of Cold StoneCreamery, I can't say anything
was a bad job.
Like I loved working there.
It was so much fun.
And then worked at a streetwearum streetwear shop for a long
time and you know I was big intoskating and streetwear and kind
of kept my side business goinguntil I was about 18 and then I
(06:40):
stopped selling flowers and andmoved to new york and I, you
know I was.
I worked in a gym for a littlebit and kind of fumbled my way
in some fashion gig.
I was a photo assistant foryears.
I don't have a shitty jobexperience.
I enjoy working, I like beingvaluable and whether it was
serving scoops or lacing uppeople's shoes, I've enjoyed all
(07:01):
of it.
No shitty experience.
NorCal Guy (07:04):
Oh man, that's awesome, that is a great
attitude.
Like I think some of that uh isall in like the attitude and
how you approach it and, um, youknow something like I I work
with my kids about like how youapproach your day, like you can
decide if it's going to be agood day or not.
(07:25):
You can approach things whereyou just make the best out of it
and have a positive attitudeand not approach it with this
negative attitude.
And I think that just showsbecause I think of you as this
super positive guy and it justshows from your work history
there you just approacheverything like with this like
(07:48):
let's go get it attitude Mayflatten flattery today.
Jules (07:50):
It's good, I think it's a good thing to instill in
anybody right, like there's twoways to look at anything, you
know.
But the reality is for most ofus, anyone that's going to watch
this, anyone that's on Twittertrading coins, is we are so
lucky.
We are all so lucky.
If you are an artist that isnot selling, you're super lucky
(08:12):
to have the opportunity to.
If you're a collector whosebags are down bad, you know
you're.
You're lucky to have had thatopportunity to collect.
It's like across the board andagain, it's bad days are bad.
Days come and you can.
You know you can feel shittyabout stuff, but we're all so
lucky to work out.
Let's be real I did, I got to.
(08:32):
I got to serve scoops man, Igot free ice cream.
You know that was awesome youknow how many smiles I got to.
It's funny.
That was like a blip, an eightmonth job, but that was great.
It's a lucky job.
I love it, love it, uh, but no,I I think it's good, like, yeah
, good, good, good on you, goodpops man, you choose, you choose
your day yeah, it's true.
NorCal Guy (08:52):
So what are the best things about web three today?
Jules (08:59):
the people.
I think it's the people.
Um, I get to meet folks all thetime and, um, kind of what's
what I said earlier, it's likeyou get, you know you, I really
feel like I'm meeting lifelongfriends here and that's a huge,
a huge plus.
I think you know it's.
(09:23):
It's the kind of people thereare.
There are people that aretrying to innovate here.
There are artists trying topush to the max of their craft.
Um, there are patrons of bothof those things, whether you
know it's, it's technical,technological innovation, or you
know someone supporting anartist, and so there's this
wonderful storm of people.
(09:44):
That is the best.
I think it's the best.
I mean, don't get me wrong,there's shit out there, but I
think if you put out the goodstuff, so it's for other people.
NorCal Guy (09:54):
Yeah, so where do you see this digital art space
in five years and do you haveany concerns as it expands?
Jules (10:06):
I'd be lying if I told you I had a thought about it in
five years.
I'm so focused on what I'mworking on and trying to put out
the best work that I've everdone, and thinking about where I
see my living in this space andshould probably be looking
forward to where the space isgoing, but largely living within
(10:29):
.
You know, how can I, how can Icontrol those things, and so
I'll be the best contributorthat I can to this space.
I don't I think it's still thejury's still out on where it
goes.
I think largely it goes it.
You know it leans, positive andproductive.
(10:54):
What would you like to see moreof in this crypto art space?
What would I like to see moreof in this crypto art space?
I think that there's a reallygreat opportunity to to bet on
more people and bet on morecompanies and brands, and I
think that a lot of what you seeare things that are siloed
(11:17):
either into, you know, chosenwinners or like high speculation
assets, and I think thatthere's this opportunity in the
middle, where there are, youknow, proven products or brands
that could be supported.
Um, or you know other artiststhat might be, you know, putting
(11:37):
out good work that that don'tget a look.
Um, so I think you know again,it's not something I sit and
complain about.
I'm just trying to get assuccessful as I can so I can do
that myself.
Right, that's the, that's thegoal, but I'd like to see more
of it, and so I'll try to bethat.
Be that change, right For sure,for sure.
NorCal Guy (11:55):
So does one ETH equal one ETH.
Jules (12:01):
Not to me, not to me, no to me, no, does it equal
one-eighth to you?
No, yeah, no, everything isbound, everything is constructed
against some other anchor.
You could say the same about anartist like is is one x copy
(12:28):
equal one x copy?
Uh, not always, right, rightright, it's true you know
nothing.
There's no one-to-ones out here, so one car equal one car, no
so does supply matter for me orjust at large for you or at
(12:49):
large I guess you do, let's doboth like.
NorCal Guy (12:51):
Do you approach supply like with a certain uh
approach, and then do you thinkothers should approach it
differently, or that I meaneveryone, I guess, will
ultimately have their own waybut.
But like what's your your ideason supply?
Jules (13:08):
I think, I believe that the that you know, supply and
demand exists, even in thisspace.
I think that can look verydifferent for every, every
artist.
I think it largely depends onhow you distribute work.
Is a large supply supply a partof your craft?
I use Jack Butcher as anexample.
(13:29):
I think he's done an incrediblejob making supply like this,
non, this silly point.
I don't think we worry aboutJack Butcher oversupply.
He's like creating tons oftokens and they all have a place
and they make a lot of sense.
I think, on the opposite ofthat, you look at like a joe
pease who has been super tightwith supply and has this, this
(13:52):
different, different path withhow he distributes work.
Um, and for me, as someone who Ilean into the to the lower
supply not because I'm against,like you know, putting out tons
of tokens and putting out tonsof art.
I create and take my time veryslowly and spend a lot of time
(14:16):
with the work and I'm thinkingabout this like a building as
slowly as it takes me to createand I just don't.
I'm not in any rush to havemillions of artworks out there.
That doesn't mean I make them.
I'm also super precious withthe blockchain, like I think
(14:42):
that you should.
I bought into the permanence ofcrypto art.
Like you're putting yourdigital work on a chain that's
going to to live forever, and Itreat that with a certain
respect where I don't want toput shit on there, right, so
that's that's where my supplycomes in.
Like is this does this deserveto live forever?
Ah?
NorCal Guy (14:55):
okay, all right, that's a good approach.
I like that approach a lot.
That's a good way.
So what are your thoughts onadditions and one-on-ones and
how you can work with themtogether?
Jules (15:16):
You know, I think, from a creative standpoint, like you
treat, I treat everything thesame.
I give everything the sameamount of love.
If I'm collecting work, I'mlooking at additions as like a
you know, a support.
Along the way, ones become thiskind of special bond between
this create, this output, andthis artist and the collector,
(15:37):
and I think that's unique, rightthat that closed loop is pretty
unique, um, and if you arecreating and you would like to
create more of those uniqueclosed loops, put out more one
at once.
If you would like a networkeffect at large and have more
people, then put out moreadditions.
If you want a little bit ofboth, you know, I think there's
there's room to sprinkle thosein as well, all right all right.
NorCal Guy (15:58):
So if you were an animal, what would you be and
why?
Jules (16:06):
what would I be?
Um, I you know, I think we'dall wish we could be a dog.
Maybe, I don't know.
I'd probably somewhere betweena dog and a penguin or something
.
NorCal Guy (16:17):
I don't know why.
Jules (16:19):
A penguin just because you know what animal would you
be.
Markel, I go with octopus.
Ooh, smart, smart.
That's a fun one.
That's a smart animal.
I don't know on one it's asmart animal, I don't know.
I think I'd like to be.
(16:39):
I'd like to believe that Icould be a dog, because they're
such a pure animal, but I'mprobably probably not, you know
all right, all right, fair, fair.
NorCal Guy (16:48):
I'm trying to think it's like an animal that, like,
could do jokes, cause I feellike you, you like to have fun
and jokes, and the first thingthat comes to mind is like a
Raven or something.
Jules (17:02):
Ooh, a chimp.
Chimps play jokes on each other.
Oh, yeah, yeah, ravens, crows,yeah Well, crows are scary a
little bit.
A murder of crows, scary thingdo you have?
NorCal Guy (17:18):
I do like to have fun though.
Yeah, yeah, you do.
You do so.
Do you have a favorite food?
Jules (17:27):
yeah, no, I.
I eat everything.
I'm definitely a foodie I.
My favorite food of all time isprobably your biscuits.
I had to pick one thing, suresure sure, sure they come.
(17:48):
They're delicious, they're madewith love and they come with
great company like what else canyou ask for that's?
True, and that's that's.
That's a pretty, it's a prettymagical, that's a magical sauce
in those biscuits fair, fair,all right, all right.
NorCal Guy (18:03):
So what's?
What's the best piece of adviceyou've been given, or do you
have like a mantra that you kindof live by?
Jules (18:17):
I don't have a no, I don't have like a set of words.
You know, I think little bitsthat you hear along the way.
You know, 1% better every dayFrom a creative approach.
You know, I'm not waiting forinspiration to come.
Sometimes it's just sittingdown and doing the work, you
(18:39):
know?
Yeah, like, so I think I don'thave this, I don't have a very
clear mantra, but just trying to, you know, trying to do the
best with the time that we have,really that's, that's, that's
my MO.
NorCal Guy (18:54):
Do you have advice for artists joining this crypto
art space?
Jules (19:03):
Yeah, I think, if I my advice for any artists and
artists joining the crypto artspace maybe, maybe in particular
, is like just you know, don'tforget.
I mean the crypto art spacemaybe in particular, is like,
just you know, don't forget tolive life, because what happens
outside of making art and tryingto find homes for art is what
(19:25):
informs the art, and so don'tlose sight of all of the things
around you in life.
That will ultimately, I think,push your creative.
You know your creative outputs,your creative process, yeah,
and I'm guilty of that.
Like I look back at the last fewyears where I've been so sucked
in to to this, you know, tocrypto twitter, and it reflects
(19:48):
in the art that I make, which Ilike right now.
But you know I make.
I feel like I a lot of my workwas reflective of crypto and
crypto art, because when Istarted to put stuff on chain, I
was like, okay, you know I'mmaking this here to live.
You know, on Ethereum, in this,you know in most use cases, and
so how can I make that a partof the, a part of the output?
(20:10):
But you got to go and live lifeand make, learn, get other
stories so that you can makeother art.
NorCal Guy (20:17):
Yeah, so if you could live or move anywhere,
where would you live and why?
Jules (20:31):
I love living where I live right now.
I lived in New York for a longtime and I do miss living in new
york.
I think, um, if I could have adifferent home base, it'd be new
york city because of the umthere's, there's these you, you
(20:52):
get more interactions withpeople, I get a lot of energy
from people and you get thesereally wonderful interactions
from people from all differentwalks of life, from all
different ages, just when youtake the subway and you don't
get that in a lot of othercities because you're in a car
and kind of maneuvering aroundto a specific place that might
have, you know, people that arein a similar walk of life as you
(21:14):
, and in New York, or you knowother cities that have, I guess,
great, you know great transitsystems.
It's like you jump into thesubway and there's a
seven-year-old driving a subwayand like a 12-year-old kid and
you know 18-year-old breakdancing over there and a
homeless person on the train andyou're just in the car, and so
there's this wonderful kind ofamalgamation of people and I I
(21:35):
feed off of that energetically,and so I'd probably probably
move their home base out ofthere okay, okay, so do you have
any questions for me?
yeah, if you could interview oneperson, dead or alive, who
would it be?
NorCal Guy (21:57):
oh, dead or alive, who would it be?
I mean, I don't know, man,that's like a tough one.
I feel like I like, I feel likeJesus would probably be like
the most interesting person tokind of interview, just because
(22:17):
I mean like God on earth.
So what would you ask?
I don't even know, I don't evenknow.
That's the thing I mean.
I feel like that would be aconversation where you just be
like would have your mind blownCause you just go down rabbit
holes and he would have all theanswers, would have your mind
(22:38):
blown because you just go downrabbit holes and he would have
all the answers.
But I feel like I should narrowthe question, though, to people
that are alive, maybe, and eventhen that still makes it hard.
Who would I interview that isalive?
That I feel like would beinteresting, and that's that's a
(22:59):
hard one.
I feel like it would be someonelike oh, who would be I don't
know.
There's so many people that Ifind interesting, so many people
that I find interesting, like,even just from like, uh, so
(23:22):
recently what's been on my mindis like uh, this guy on youtube,
ben ben I think it starts withan s.
I forget his name right now,but he's been, he like dives
into, like doing like justdifferent weird things and I
think it's really fascinatingand interesting.
Um, it'd be cool to just pickhis brain about stuff, about
(23:44):
different things currently, withwhat I'm thinking about or what
I'm screwing around with hereand there.
Um, so that's currently what I,what I would maybe say, like I
don't care about interviewinganyone famous or presidents.
Jules (24:00):
I don't care about those people.
Let me frame it.
Let me put a different lens onthe question.
Your podcasts are largely withCryptoWeb3 community.
If you were to tap into adifferent community somewhere
else, what would that be for?
For an interview series?
What?
What's other?
What's NorCal's other hobbiesand interests that you would
want to get deep in like that?
NorCal Guy (24:24):
Man, I don't have time for anything else.
Man, I got kids.
I got three kids.
Jules (24:31):
That's true, maybe, maybe , not you must, though, all
right, another.
NorCal Guy (24:35):
That's true, maybe, maybe not.
Uh, you must, though, all rightum another.
It'd probably just be likeoutside of web3, I.
I think photographers would beinteresting to interview them,
not that it'd be more to.
It'd have to like refocus it tolike get their get stories.
Um, not like so.
(24:55):
It wouldn't be about techniquesor anything, it'd just be about
stories, like read up on themand then like get their insights
, or or like hey, you know, Iheard this rumor about this
thing that happened like whatreally happened there, and get
like these funny stories out ofthem, or something like that,
something like that who are someof your favorite photographers
(25:16):
oh man, well, that's the problemat large, not just that's the
problem.
Like I, I currently should onlyknow like web3 people.
Uh, for the most part like I, Iknow other names and stuff out
there like, and those are allfrom like youtube as well.
Like I think that paulie b, hedoes street photography in new
(25:40):
york and he has his own likewalkie-talkie series on youtube
which is fascinating, um,because he just like walks and
talks with other streetphotographers and gets their
opinions on things.
I think that's a really welldone like really fun interview
thing that he does.
That'd be fun.
(26:01):
I think he is in Web3, but hedoes a lot of, I think, ty
Leckie, he's like he's our ageand he's, but he like lives in
Patagonia like all year long,almost all year long, and I
think he'd be cool to likefollow around and like, cause
(26:23):
I'm sure he's got a ton of thecool stories, cause he's all
it's like in Patagonia 24 seven.
So I think he'd have a lot ofcool stories.
Um.
Jules (26:40):
I mean lot of cool stories.
Um, I mean, ansel adams wouldbe cool to interview, but he's,
he's gone.
So yeah, that's, that's notgonna happen.
Well, maybe if we you know anai version of him I don't know
if there's enough data out thereto train, but maybe right,
right, but but but a lot of likenature photographers, except
for the one street photographer,it sounds like yeah, well, I
mean, it's just people I thinkwould be interesting.
NorCal Guy (26:59):
Um, not so.
I mean I'm sure like naturephotographers probably have some
fun.
I mean, there's a thing likeyou either get funny stories
from nature like oh man, I likedid this, or I had to do this
thing and I like didn't havethis equipment, or I ran into
this animal and like chased me,or something like that.
But then street photography islike man, I got knocked the F
(27:21):
out by this one dude that.
So it'd just be funny stories.
It's just different, different,uh, different things that they
interact with.
Jules (27:33):
I think photo journalism is going to have the best
stories.
People that have done liketapped in, you know, either
touring or done, you know, orNat Geo going to crazy parts of
the world.
Oh yeah, it's going to havesome good stories.
Got another question for youwhat is your favorite photo that
you've ever taken?
NorCal Guy (27:56):
dude, that is a hard question.
Like I have some of my kids Ireally love and that's like
photo, that's like familyrelated.
But then I have like a cut likea triptych that I took in
Phoenix once randomly I've neverposted them but that I really
(28:22):
liked of like this like artthing on top of a parking garage
.
That I went up to the park LikeI just saw it and I was like
what is that up there?
And I went up there and I tookthese like photos that I really
like.
But yeah, something like eitherthose.
Jules (28:37):
Those are like the two things do you have your work
printed up around your house?
No, you live with it around youat all.
No, no I mean it's a tough.
NorCal Guy (28:49):
Thing soon I could, because I got you finally have
some screens and I got to putthe mounts in my house, so yeah,
Hell yeah.
Jules (28:57):
What else can I ask you, norco?
I should have been moreprepared.
Whatever you want, man, I hadtime to.
That's good.
I like that you opened it up.
I also don't want to ask thingsthat might have already been
asked, but like, who, what isyour?
NorCal Guy (29:15):
I know that you guys , as as click create, have a
very bullish ethos on additions,but, like as a collector, what
is the different approach youtake to additions, and one of
ones, uh, so I guess you canlook at it through a couple
different lenses, um, I mean,the one of one is like the
(29:35):
ultimate, like grail type thing,but as an artist or as a space
progresses, they becomeincreasingly out of reach for
majority of people.
So, beyond that, it's additions, and additions are like the
(29:56):
best way to get a communityaround you, um, especially if
you're interactive with them.
And like I don't and that's theone thing I don't think and
maybe jack I I don't follow jackbutcher stuff because I like
got lost, I like didn't even payattention and lost, and so I
(30:17):
don't know exactly what he'sdoing.
So I don't know what he's doingwith his, his whole community,
with the additions and whatnot.
But I feel like it hasn't beendiscovered the best way to get
this like group of people aroundyou supporting you, um, like a,
(30:41):
an artist, with theirsupporters, you know their solid
100 or solid 1000 followersthat you know are willing to
pick up every edition or willingto do this like just the dieh
hard, and I don't feel likethere's a good way that's been
(31:06):
discovered to either communicatewith those 100 to a thousand
people you know, to update them,because, I mean, everyone
thought it was discord for alittle bit.
Everyone thought it was twitter, dms and those all suck.
So I don't know if it's anemail thing you like, where you
just email your fans.
Jules (31:22):
I don't know, maybe it's just simple you know there's
nothing wrong with web2 tools.
You know, right, right, there'slike this whole like anti, like
oh, let's stay away.
But you know, there's like allthese artists, subscription
services.
I think when you have thesetrue supporters that work really
well, like you know, yousubscribe and you get, you know,
a thing a month, right, um, orwhatever.
(31:43):
That's your shit, that's yourthing, yeah, I mean so both?
NorCal Guy (31:47):
yeah, I think, like just reuben woo, recently he did
an edition type thing.
It was a print.
It was a print and he only sentit through an email and I and I
saw well, I just didn't openthe email in time, it sold out,
(32:07):
um, and he posted about itonline and I was like, oh, I
think I saw that email come in,I just never got to it yet it's
also like the drainer, likethat's where you're, that's
where your wallet hacks.
Jules (32:19):
It's always through the email, right?
It's a little scary to beconnecting a wallet through
that's right oh yeah shit.
I got more questions, but Idon't have them at the at the
top.
I feel like it's a missedopportunity to not to not ask
you.
Well, I will ask you a personalquestion.
Yeah, you're familiar with someof my work, right?
Yeah, some of it.
I'll ask you a personalquestion.
Yeah, you're familiar with someof my work, right?
Yeah, some of it.
I'll ask you a personalquestion.
What's your favorite piece thatyou've seen in life?
(32:40):
Oh, my goodness.
NorCal Guy (32:43):
Okay, so I don't like.
It seems like you don't havethat many like, do you only have
?
It's like you have 40 or fewerflowers.
Jules (32:54):
There's 50 flowers.
Yeah, there's only 50.
NorCal Guy (32:56):
Right, and there's 50 flowers?
Yeah, there's only 50.
There's only 50.
Right?
Do you continually slowly?
Not continually, but I guessslowly continually add to that
number?
Jules (33:08):
or is it 50 and that's it ?
No, that's it.
Okay, that was it.
That was launched long beforethe Manifold.
Tie-in that's just the contract.
It's closed.
There's the 50 tokens, okay,all right.
Tie-in.
So that's just the contract.
It's closed.
There's the 50.
50 tokens, uh, okay, yeah, allright, it's a bummer, because I
couldn't even give those thingsaway, like when I first minted
them, I sold some for 100 bucksand then I couldn't eat, like I
was.
Like I gave them away and youknow now that they've found
(33:32):
great collectors at, you know, areally incredible, uh, price
point.
But it's all secondary stuff.
You know, it's like I wish Ihad a, I wish I had a bouquet in
my back pocket, but I don't.
It's funny.
NorCal Guy (33:45):
It's funny that that was your side hustle, and then
that's also what you're gettingknown for now well, I say
flowers, but I was in northerncalifornia selling flowers, so
take that I see, I see okaythey're different flowers I see
the high school kids.
Okay, okay, all right, awesomewell yeah, I'll have to.
Jules (34:13):
I'll have to get.
I have to ask you some morequestions.
I have to to do a round two.
I should have been moreprepared.
NorCal Guy (34:19):
I know I have a couple of your additions, but
I'm blanking on them right now.
Jules (34:26):
You supported some additions.
I appreciate that it's awesome.
You like the flowers?
Do you think the flowers are a?
NorCal Guy (34:33):
photography project no.
No, maybe start it off as aphotography thing.
Yeah, I so I think like, so,like ruben woo, he considers
himself just an artist.
He doesn't want to be like putinto that photography box.
And I feel like and this is, Ithink this is a funny thing, I
(34:57):
think when cameras came out andfilm and all that photography
like became its own thing in theart, the whole like art thing,
and it's never left that likeyou have painters but they
consider themselves artists, youhave carvers or anyone that's.
Jules (35:25):
Yeah, somebody that does claymation, or sculptors and
artists.
Sculptors, yeah.
NorCal Guy (35:29):
But photographers always say I'm a photographer,
they never go with I'm an artist, which I think is interesting.
They're no, they never go withI'm an artist, which I think is
interesting, and I don't.
And maybe that's been to thedetriment of them being
classified in photography as anartist, or I mean they are an
artist, but like, I don't know,I think it's kind of funny.
Um, but I guess when you sayphotography, it has that
(35:53):
definite feel to it, to me, likeit it should be still, like
still image of some sort.
Yeah, um, and you can play withthat however you want, but it
definitely feels like it shouldbe a still image.
Um, then, like, when you getinto changing the colors and
animating it and whatnot, thenyou're like going to artist
(36:15):
territory.
Jules (36:18):
Well, sure, we're all in artist territory.
I hear you, I know, I know, Iknow.
NorCal Guy (36:22):
But it's just because I mean, I think, because
I feel like photographers, youknow, have always been like kind
of like a black sheep-ish inthe art community In crypto.
In the art community in the barcommunity yeah, and then you
got videographers and peopledon't even care about them.
(36:42):
So the video artist like sovideo art, I think, is lost like
never had respect and uh, butslowly I think it's coming
around for video artists andthen photographers as well.
Jules (37:01):
Yes, it's, uh, it's coming, I think, to all, all
arts for sure, but it's like youknow, again we just have the
ways to consume it now.
But interesting, yeah Well,what else you got, what you got
some some quick.
Am I going to get into a hotseat?
NorCal Guy (37:15):
here and give you my opinions on stuff no we already
did that we're going into.
What projects are you workingon and what, what, uh, what
things do you have in the works?
Jules (37:27):
about you.
Oh, there's no like opinionopinion, hot, take opinion stuff
.
Uh, I'm um, I'm working on.
This is the show section.
Huh, uh, I'm working on.
This is the shill section I'mworking on.
I'm working on a new body ofwork.
It is the holding title rightnow.
(37:47):
Is everything all together?
Now?
Eton?
It is.
It's been.
I mean, I started this Novemberand I've been kind of wrestling
with it ever since and reallyjust recently have found what
feels like a really cleardirection.
(38:07):
So I'm working on that and I'llkeep tinkering until I feel
really good about it.
And outside of that, you know Ihave notebooks of storyboards
and ideas that I'd like toexecute and it's really just
about being able to find thetime, and you know, potentially,
the little bit of capital thatit takes to make them happen.
So always creating largelyfocused on this next body of
(38:31):
work, which will be a smallcollection of one-on-ones with
some interesting dynamicsinvolved.
Nice, I'm happy to show you atsome point we get screen share
and I can show you sweet.
NorCal Guy (38:45):
Well, jules, um thank you so much for your time
today and um it was really niceto chat with you and get to know
you a little better, and umappreciate it.
Jules (38:59):
thank you for coming on the pod thank you, I want to run
it back.
I it flew by, it was a quick,it was a quick podcast it was,
it was no but no.
Thank you again, like seriously.
It's such an opportunity to tobe able to talk about anything
and to have a spotlight fromNorCal guys here, so I do
appreciate it.
Thank you, guy, norco, guy,norco, guy, norco and chill
(39:22):
podcast.
So it's chill time, norco andchill podcast.
(39:42):
What the sh what the sh Norcoand chill podcast.
So it's chill time, norco andchill podcast.
What the sh what the sh-.
Who is this?
Who is this guy?
NorCal Guy (00:02):
Who is this guy?
Who is this guy?
Who is this guy?
Jules (00:06):
Who is this guy?
Norcal guy.
Norcal guy.
Norcal guy, norcal guy, norcalguy, norcal guy.
Norcal guy.
Norcal guy, norcal and chillpodcast.
So it's chill time, norcal andchill podcast.
What the sh?
What the sh?
Norcal and Shill Podcast.
What the sh what the sh NorCaland Shill Podcast.
(00:27):
So it's Shill time, norcal andShill Podcast.
NorCal Guy (00:30):
What the sh-.
What the sh hey, everyone,welcome back to another episode
of NorCal and Shill.
Today we have the pleasure ofchatting with the incredibly
talented Jules, an artist with afascinating journey from the
fashion industry to the dynamicrealm of crypto art.
Join us as Jules shares hisinitial impressions of the
(00:53):
digital art space, theimportance of gratitude and his
approach to creativity andcontinuous improvement.
We'll delve into his uniqueperspectives on editions and
one-of-one artworks, the futureof digital art and the inspiring
support within the innovativecommunity.
Plus, you'll hear somedelightful banter about animals,
(01:15):
foodie favorites and much more.
Tune in for an insightful andheartwarming conversation that
celebrates the vibrant world ofcrypto art and the individuals
who shape it.
Everybody, please welcome Jules.
Hey, jules, welcome to thepodcast.
How are you doing today?
Jules (01:34):
I'm doing well.
Thanks for having me, NorCalguy.
NorCal Guy (01:38):
Man, I will just say that you are one of my faves in
the space ever since I met youand actually got to know you
Because I didn't really know youbefore that and every time we
meet in person I'm just like man.
I want to just hang out withthis guy more and more often.
(02:00):
It's true.
Jules (02:03):
Those are kind words, I don't take them lightly.
Um, super enjoyed getting toknow.
You need to get to know youmore you know we have.
I think we have a lot of sharedcommon interests, so looking
forward to this chat and manymore in the future.
Thanks, man.
I appreciate that.
Favorite in the space man.
NorCal Guy (02:20):
High praise, high praise man, we just it's just
like very chill, like I enjoypeople I can just like chill
with, have a drink and just likeshoot the shit or talk about
something you know and not haveto like worry about it being
like I don't know, getting intosome sort of argument about
(02:41):
something stupid.
Jules (02:44):
Yeah, we can do that too.
That's always on the table Ifyou want to do that.
It's really a testament to likecrypto world at large.
I think it's attracteddifferent minded people, but
like-minded people, and so youget these different groups of
people and over the last fewyears, things have shifted and
now we found each other, whichis, you know the end, all but no
(03:06):
I.
I'm always surprised.
It's like I'm meeting mylifelong friends.
It's amazing, yeah it's beenawesome.
NorCal Guy (03:13):
So what were your first thoughts when you heard
about this crypto art space?
Jules (03:20):
my first thoughts when I heard about the crypto art space
.
I think it was, you know, itwas a long time ago.
At the time, you know, I hadfriends that were, you know,
kind of involved in the firstnifty gateway drops.
And so a little, a little shock, like, wow, this is, this is
(03:43):
nuts, you know.
But um, I think, quickly afterthat realized like it makes a
lot of sense, this is where myart and practice can live, and,
uh, I better get to work.
That's kind of my yeah, mythought, my thought, my thinking
train, this is crazy.
Holy shit, this makes a lot ofsense.
I have a lot of work to do, Ilike it, I like it.
(04:13):
So what brought you to art?
How did you choose art?
It's such a big question, Ithink.
In my late teens I had anopportunity to work a lot in the
fashion industry and I got towork alongside big, big
productions with great you knowgreats in that field, great
designers, and kind of foundthat I think that was a really
(04:36):
my big introduction to art,although at the time I don't
know if I saw it as, like youknow, I'm a part of this art
project, but every time afashion shoot happens or a show
happens, like these are artprojects and there's some
creative that's executing theirvision, and I got to be a small
part of that vision along theway.
Um, but for me, like I, I wanted, I wanted more from that and so
(05:00):
I thought how I could, uh, makemy own visions, and the segue
for me was photography andtaking photos and kind of
conceptualizing things through alens, and then just
experimentation and iterationuntil I was just kind of making
weird GIFs on the Internet anddifferent tools and videos and
storytelling and kind of endedup in this path here where you
(05:23):
know I'd say largely it's justit's crypto art or art that fits
really well in this.
You know, in this crypto space,say, late teens, it's kind of
seen.
Seen that, which was awesome.
Lots of learnings along the wayI love that.
NorCal Guy (05:37):
So what jobs have you done along the way?
Jules (05:42):
from that I mean like I, like you know, like in high
school even like oh man, I usedto scrub the floors.
NorCal Guy (05:49):
It sucked.
But yeah, like, where have youcome from?
Jules (05:57):
I was the youngest shift manager at cold stone creamery,
which is something I still holdwith pride.
So I I got a job at 14.
We needed money at the time.
Some of my family was just outof work.
So I got a job at 14, worked atCold Stone Creamery.
I had a side business at a ColdStone Creamery where I sold
flowers even back then Differentflowers at the time, but
(06:20):
flowers out of Cold StoneCreamery, I can't say anything
was a bad job.
Like I loved working there.
It was so much fun.
And then worked at a streetwearum streetwear shop for a long
time and you know I was big intoskating and streetwear and kind
of kept my side business goinguntil I was about 18 and then I
(06:40):
stopped selling flowers and andmoved to new york and I, you
know I was.
I worked in a gym for a littlebit and kind of fumbled my way
in some fashion gig.
I was a photo assistant foryears.
I don't have a shitty jobexperience.
I enjoy working, I like beingvaluable and whether it was
serving scoops or lacing uppeople's shoes, I've enjoyed all
(07:01):
of it.
No shitty experience.
NorCal Guy (07:04):
Oh man, that's awesome, that is a great
attitude.
Like I think some of that uh isall in like the attitude and
how you approach it and, um, youknow something like I I work
with my kids about like how youapproach your day, like you can
decide if it's going to be agood day or not.
(07:25):
You can approach things whereyou just make the best out of it
and have a positive attitudeand not approach it with this
negative attitude.
And I think that just showsbecause I think of you as this
super positive guy and it justshows from your work history
there you just approacheverything like with this like
(07:48):
let's go get it attitude Mayflatten flattery today.
Jules (07:50):
It's good, I think it's a good thing to instill in
anybody right, like there's twoways to look at anything, you
know.
But the reality is for most ofus, anyone that's going to watch
this, anyone that's on Twittertrading coins, is we are so
lucky.
We are all so lucky.
If you are an artist that isnot selling, you're super lucky
(08:12):
to have the opportunity to.
If you're a collector whosebags are down bad, you know
you're.
You're lucky to have had thatopportunity to collect.
It's like across the board andagain, it's bad days are bad.
Days come and you can.
You know you can feel shittyabout stuff, but we're all so
lucky to work out.
Let's be real I did, I got to.
(08:32):
I got to serve scoops man, Igot free ice cream.
You know that was awesome youknow how many smiles I got to.
It's funny.
That was like a blip, an eightmonth job, but that was great.
It's a lucky job.
I love it, love it, uh, but no,I I think it's good, like, yeah
, good, good, good on you, goodpops man, you choose, you choose
your day yeah, it's true.
NorCal Guy (08:52):
So what are the best things about web three today?
Jules (08:59):
the people.
I think it's the people.
Um, I get to meet folks all thetime and, um, kind of what's
what I said earlier, it's likeyou get, you know you, I really
feel like I'm meeting lifelongfriends here and that's a huge,
a huge plus.
I think you know it's.
(09:23):
It's the kind of people thereare.
There are people that aretrying to innovate here.
There are artists trying topush to the max of their craft.
Um, there are patrons of bothof those things, whether you
know it's, it's technical,technological innovation, or you
know someone supporting anartist, and so there's this
wonderful storm of people.
(09:44):
That is the best.
I think it's the best.
I mean, don't get me wrong,there's shit out there, but I
think if you put out the goodstuff, so it's for other people.
NorCal Guy (09:54):
Yeah, so where do you see this digital art space
in five years and do you haveany concerns as it expands?
Jules (10:06):
I'd be lying if I told you I had a thought about it in
five years.
I'm so focused on what I'mworking on and trying to put out
the best work that I've everdone, and thinking about where I
see my living in this space andshould probably be looking
forward to where the space isgoing, but largely living within
(10:29):
.
You know, how can I, how can Icontrol those things, and so
I'll be the best contributorthat I can to this space.
I don't I think it's still thejury's still out on where it
goes.
I think largely it goes it.
You know it leans, positive andproductive.
(10:54):
What would you like to see moreof in this crypto art space?
What would I like to see moreof in this crypto art space?
I think that there's a reallygreat opportunity to to bet on
more people and bet on morecompanies and brands, and I
think that a lot of what you seeare things that are siloed
(11:17):
either into, you know, chosenwinners or like high speculation
assets, and I think thatthere's this opportunity in the
middle, where there are, youknow, proven products or brands
that could be supported.
Um, or you know other artiststhat might be, you know, putting
(11:37):
out good work that that don'tget a look.
Um, so I think you know again,it's not something I sit and
complain about.
I'm just trying to get assuccessful as I can so I can do
that myself.
Right, that's the, that's thegoal, but I'd like to see more
of it, and so I'll try to bethat.
Be that change, right For sure,for sure.
NorCal Guy (11:55):
So does one ETH equal one ETH.
Jules (12:01):
Not to me, not to me, no to me, no, does it equal
one-eighth to you?
No, yeah, no, everything isbound, everything is constructed
against some other anchor.
You could say the same about anartist like is is one x copy
(12:28):
equal one x copy?
Uh, not always, right, rightright, it's true you know
nothing.
There's no one-to-ones out here, so one car equal one car, no
so does supply matter for me orjust at large for you or at
(12:49):
large I guess you do, let's doboth like.
NorCal Guy (12:51):
Do you approach supply like with a certain uh
approach, and then do you thinkothers should approach it
differently, or that I meaneveryone, I guess, will
ultimately have their own waybut.
But like what's your your ideason supply?
Jules (13:08):
I think, I believe that the that you know, supply and
demand exists, even in thisspace.
I think that can look verydifferent for every, every
artist.
I think it largely depends onhow you distribute work.
Is a large supply supply a partof your craft?
I use Jack Butcher as anexample.
(13:29):
I think he's done an incrediblejob making supply like this,
non, this silly point.
I don't think we worry aboutJack Butcher oversupply.
He's like creating tons oftokens and they all have a place
and they make a lot of sense.
I think, on the opposite ofthat, you look at like a joe
pease who has been super tightwith supply and has this, this
(13:52):
different, different path withhow he distributes work.
Um, and for me, as someone who Ilean into the to the lower
supply not because I'm against,like you know, putting out tons
of tokens and putting out tonsof art.
I create and take my time veryslowly and spend a lot of time
(14:16):
with the work and I'm thinkingabout this like a building as
slowly as it takes me to createand I just don't.
I'm not in any rush to havemillions of artworks out there.
That doesn't mean I make them.
I'm also super precious withthe blockchain, like I think
(14:42):
that you should.
I bought into the permanence ofcrypto art.
Like you're putting yourdigital work on a chain that's
going to to live forever, and Itreat that with a certain
respect where I don't want toput shit on there, right, so
that's that's where my supplycomes in.
Like is this does this deserveto live forever?
Ah?
NorCal Guy (14:55):
okay, all right, that's a good approach.
I like that approach a lot.
That's a good way.
So what are your thoughts onadditions and one-on-ones and
how you can work with themtogether?
Jules (15:16):
You know, I think, from a creative standpoint, like you
treat, I treat everything thesame.
I give everything the sameamount of love.
If I'm collecting work, I'mlooking at additions as like a
you know, a support.
Along the way, ones become thiskind of special bond between
this create, this output, andthis artist and the collector,
(15:37):
and I think that's unique, rightthat that closed loop is pretty
unique, um, and if you arecreating and you would like to
create more of those uniqueclosed loops, put out more one
at once.
If you would like a networkeffect at large and have more
people, then put out moreadditions.
If you want a little bit ofboth, you know, I think there's
there's room to sprinkle thosein as well, all right all right.
NorCal Guy (15:58):
So if you were an animal, what would you be and
why?
Jules (16:06):
what would I be?
Um, I you know, I think we'dall wish we could be a dog.
Maybe, I don't know.
I'd probably somewhere betweena dog and a penguin or something
.
NorCal Guy (16:17):
I don't know why.
Jules (16:19):
A penguin just because you know what animal would you
be.
Markel, I go with octopus.
Ooh, smart, smart.
That's a fun one.
That's a smart animal.
I don't know on one it's asmart animal, I don't know.
I think I'd like to be.
(16:39):
I'd like to believe that Icould be a dog, because they're
such a pure animal, but I'mprobably probably not, you know
all right, all right, fair, fair.
NorCal Guy (16:48):
I'm trying to think it's like an animal that, like,
could do jokes, cause I feellike you, you like to have fun
and jokes, and the first thingthat comes to mind is like a
Raven or something.
Jules (17:02):
Ooh, a chimp.
Chimps play jokes on each other.
Oh, yeah, yeah, ravens, crows,yeah Well, crows are scary a
little bit.
A murder of crows, scary thingdo you have?
NorCal Guy (17:18):
I do like to have fun though.
Yeah, yeah, you do.
You do so.
Do you have a favorite food?
Jules (17:27):
yeah, no, I.
I eat everything.
I'm definitely a foodie I.
My favorite food of all time isprobably your biscuits.
I had to pick one thing, suresure sure, sure they come.
(17:48):
They're delicious, they're madewith love and they come with
great company like what else canyou ask for that's?
True, and that's that's.
That's a pretty, it's a prettymagical, that's a magical sauce
in those biscuits fair, fair,all right, all right.
NorCal Guy (18:03):
So what's?
What's the best piece of adviceyou've been given, or do you
have like a mantra that you kindof live by?
Jules (18:17):
I don't have a no, I don't have like a set of words.
You know, I think little bitsthat you hear along the way.
You know, 1% better every dayFrom a creative approach.
You know, I'm not waiting forinspiration to come.
Sometimes it's just sittingdown and doing the work, you
(18:39):
know?
Yeah, like, so I think I don'thave this, I don't have a very
clear mantra, but just trying to, you know, trying to do the
best with the time that we have,really that's, that's, that's
my MO.
NorCal Guy (18:54):
Do you have advice for artists joining this crypto
art space?
Jules (19:03):
Yeah, I think, if I my advice for any artists and
artists joining the crypto artspace maybe, maybe in particular
, is like just you know, don'tforget.
I mean the crypto art spacemaybe in particular, is like,
just you know, don't forget tolive life, because what happens
outside of making art and tryingto find homes for art is what
(19:25):
informs the art, and so don'tlose sight of all of the things
around you in life.
That will ultimately, I think,push your creative.
You know your creative outputs,your creative process, yeah,
and I'm guilty of that.
Like I look back at the last fewyears where I've been so sucked
in to to this, you know, tocrypto twitter, and it reflects
(19:48):
in the art that I make, which Ilike right now.
But you know I make.
I feel like I a lot of my workwas reflective of crypto and
crypto art, because when Istarted to put stuff on chain, I
was like, okay, you know I'mmaking this here to live.
You know, on Ethereum, in this,you know in most use cases, and
so how can I make that a partof the, a part of the output?
(20:10):
But you got to go and live lifeand make, learn, get other
stories so that you can makeother art.
NorCal Guy (20:17):
Yeah, so if you could live or move anywhere,
where would you live and why?
Jules (20:31):
I love living where I live right now.
I lived in New York for a longtime and I do miss living in new
york.
I think, um, if I could have adifferent home base, it'd be new
york city because of the umthere's, there's these you, you
(20:52):
get more interactions withpeople, I get a lot of energy
from people and you get thesereally wonderful interactions
from people from all differentwalks of life, from all
different ages, just when youtake the subway and you don't
get that in a lot of othercities because you're in a car
and kind of maneuvering aroundto a specific place that might
have, you know, people that arein a similar walk of life as you
(21:14):
, and in New York, or you knowother cities that have, I guess,
great, you know great transitsystems.
It's like you jump into thesubway and there's a
seven-year-old driving a subwayand like a 12-year-old kid and
you know 18-year-old breakdancing over there and a
homeless person on the train andyou're just in the car, and so
there's this wonderful kind ofamalgamation of people and I I
(21:35):
feed off of that energetically,and so I'd probably probably
move their home base out ofthere okay, okay, so do you have
any questions for me?
yeah, if you could interview oneperson, dead or alive, who
would it be?
NorCal Guy (21:57):
oh, dead or alive, who would it be?
I mean, I don't know, man,that's like a tough one.
I feel like I like, I feel likeJesus would probably be like
the most interesting person tokind of interview, just because
(22:17):
I mean like God on earth.
So what would you ask?
I don't even know, I don't evenknow.
That's the thing I mean.
I feel like that would be aconversation where you just be
like would have your mind blownCause you just go down rabbit
holes and he would have all theanswers, would have your mind
(22:38):
blown because you just go downrabbit holes and he would have
all the answers.
But I feel like I should narrowthe question, though, to people
that are alive, maybe, and eventhen that still makes it hard.
Who would I interview that isalive?
That I feel like would beinteresting, and that's that's a
(22:59):
hard one.
I feel like it would be someonelike oh, who would be I don't
know.
There's so many people that Ifind interesting, so many people
that I find interesting, like,even just from like, uh, so
(23:22):
recently what's been on my mindis like uh, this guy on youtube,
ben ben I think it starts withan s.
I forget his name right now,but he's been, he like dives
into, like doing like justdifferent weird things and I
think it's really fascinatingand interesting.
Um, it'd be cool to just pickhis brain about stuff, about
(23:44):
different things currently, withwhat I'm thinking about or what
I'm screwing around with hereand there.
Um, so that's currently what I,what I would maybe say, like I
don't care about interviewinganyone famous or presidents.
Jules (24:00):
I don't care about those people.
Let me frame it.
Let me put a different lens onthe question.
Your podcasts are largely withCryptoWeb3 community.
If you were to tap into adifferent community somewhere
else, what would that be for?
For an interview series?
What?
What's other?
What's NorCal's other hobbiesand interests that you would
want to get deep in like that?
NorCal Guy (24:24):
Man, I don't have time for anything else.
Man, I got kids.
I got three kids.
Jules (24:31):
That's true, maybe, maybe , not you must, though, all
right, another.
NorCal Guy (24:35):
That's true, maybe, maybe not.
Uh, you must, though, all rightum another.
It'd probably just be likeoutside of web3, I.
I think photographers would beinteresting to interview them,
not that it'd be more to.
It'd have to like refocus it tolike get their get stories.
Um, not like so.
(24:55):
It wouldn't be about techniquesor anything, it'd just be about
stories, like read up on themand then like get their insights
, or or like hey, you know, Iheard this rumor about this
thing that happened like whatreally happened there, and get
like these funny stories out ofthem, or something like that,
something like that who are someof your favorite photographers
(25:16):
oh man, well, that's the problemat large, not just that's the
problem.
Like I, I currently should onlyknow like web3 people.
Uh, for the most part like I, Iknow other names and stuff out
there like, and those are allfrom like youtube as well.
Like I think that paulie b, hedoes street photography in new
(25:40):
york and he has his own likewalkie-talkie series on youtube
which is fascinating, um,because he just like walks and
talks with other streetphotographers and gets their
opinions on things.
I think that's a really welldone like really fun interview
thing that he does.
That'd be fun.
(26:01):
I think he is in Web3, but hedoes a lot of, I think, ty
Leckie, he's like he's our ageand he's, but he like lives in
Patagonia like all year long,almost all year long, and I
think he'd be cool to likefollow around and like, cause
(26:23):
I'm sure he's got a ton of thecool stories, cause he's all
it's like in Patagonia 24 seven.
So I think he'd have a lot ofcool stories.
Um.
Jules (26:40):
I mean lot of cool stories.
Um, I mean, ansel adams wouldbe cool to interview, but he's,
he's gone.
So yeah, that's, that's notgonna happen.
Well, maybe if we you know anai version of him I don't know
if there's enough data out thereto train, but maybe right,
right, but but but a lot of likenature photographers, except
for the one street photographer,it sounds like yeah, well, I
mean, it's just people I thinkwould be interesting.
NorCal Guy (26:59):
Um, not so.
I mean I'm sure like naturephotographers probably have some
fun.
I mean, there's a thing likeyou either get funny stories
from nature like oh man, I likedid this, or I had to do this
thing and I like didn't havethis equipment, or I ran into
this animal and like chased me,or something like that.
But then street photography islike man, I got knocked the F
(27:21):
out by this one dude that.
So it'd just be funny stories.
It's just different, different,uh, different things that they
interact with.
Jules (27:33):
I think photo journalism is going to have the best
stories.
People that have done liketapped in, you know, either
touring or done, you know, orNat Geo going to crazy parts of
the world.
Oh yeah, it's going to havesome good stories.
Got another question for youwhat is your favorite photo that
you've ever taken?
NorCal Guy (27:56):
dude, that is a hard question.
Like I have some of my kids Ireally love and that's like
photo, that's like familyrelated.
But then I have like a cut likea triptych that I took in
Phoenix once randomly I've neverposted them but that I really
(28:22):
liked of like this like artthing on top of a parking garage
.
That I went up to the park LikeI just saw it and I was like
what is that up there?
And I went up there and I tookthese like photos that I really
like.
But yeah, something like eitherthose.
Jules (28:37):
Those are like the two things do you have your work
printed up around your house?
No, you live with it around youat all.
No, no I mean it's a tough.
NorCal Guy (28:49):
Thing soon I could, because I got you finally have
some screens and I got to putthe mounts in my house, so yeah,
Hell yeah.
Jules (28:57):
What else can I ask you, norco?
I should have been moreprepared.
Whatever you want, man, I hadtime to.
That's good.
I like that you opened it up.
I also don't want to ask thingsthat might have already been
asked, but like, who, what isyour?
NorCal Guy (29:15):
I know that you guys , as as click create, have a
very bullish ethos on additions,but, like as a collector, what
is the different approach youtake to additions, and one of
ones, uh, so I guess you canlook at it through a couple
different lenses, um, I mean,the one of one is like the
(29:35):
ultimate, like grail type thing,but as an artist or as a space
progresses, they becomeincreasingly out of reach for
majority of people.
So, beyond that, it's additions, and additions are like the
(29:56):
best way to get a communityaround you, um, especially if
you're interactive with them.
And like I don't and that's theone thing I don't think and
maybe jack I I don't follow jackbutcher stuff because I like
got lost, I like didn't even payattention and lost, and so I
(30:17):
don't know exactly what he'sdoing.
So I don't know what he's doingwith his, his whole community,
with the additions and whatnot.
But I feel like it hasn't beendiscovered the best way to get
this like group of people aroundyou supporting you, um, like a,
(30:41):
an artist, with theirsupporters, you know their solid
100 or solid 1000 followersthat you know are willing to
pick up every edition or willingto do this like just the dieh
hard, and I don't feel likethere's a good way that's been
(31:06):
discovered to either communicatewith those 100 to a thousand
people you know, to update them,because, I mean, everyone
thought it was discord for alittle bit.
Everyone thought it was twitter, dms and those all suck.
So I don't know if it's anemail thing you like, where you
just email your fans.
Jules (31:22):
I don't know, maybe it's just simple you know there's
nothing wrong with web2 tools.
You know, right, right, there'slike this whole like anti, like
oh, let's stay away.
But you know, there's like allthese artists, subscription
services.
I think when you have thesetrue supporters that work really
well, like you know, yousubscribe and you get, you know,
a thing a month, right, um, orwhatever.
(31:43):
That's your shit, that's yourthing, yeah, I mean so both?
NorCal Guy (31:47):
yeah, I think, like just reuben woo, recently he did
an edition type thing.
It was a print.
It was a print and he only sentit through an email and I and I
saw well, I just didn't openthe email in time, it sold out,
(32:07):
um, and he posted about itonline and I was like, oh, I
think I saw that email come in,I just never got to it yet it's
also like the drainer, likethat's where you're, that's
where your wallet hacks.
Jules (32:19):
It's always through the email, right?
It's a little scary to beconnecting a wallet through
that's right oh yeah shit.
I got more questions, but Idon't have them at the at the
top.
I feel like it's a missedopportunity to not to not ask
you.
Well, I will ask you a personalquestion.
Yeah, you're familiar with someof my work, right?
Yeah, some of it.
I'll ask you a personalquestion.
Yeah, you're familiar with someof my work, right?
Yeah, some of it.
I'll ask you a personalquestion.
What's your favorite piece thatyou've seen in life?
(32:40):
Oh, my goodness.
NorCal Guy (32:43):
Okay, so I don't like.
It seems like you don't havethat many like, do you only have
?
It's like you have 40 or fewerflowers.
Jules (32:54):
There's 50 flowers.
Yeah, there's only 50.
NorCal Guy (32:56):
Right, and there's 50 flowers?
Yeah, there's only 50.
There's only 50.
Right?
Do you continually slowly?
Not continually, but I guessslowly continually add to that
number?
Jules (33:08):
or is it 50 and that's it ?
No, that's it.
Okay, that was it.
That was launched long beforethe Manifold.
Tie-in that's just the contract.
It's closed.
There's the 50 tokens, okay,all right.
Tie-in.
So that's just the contract.
It's closed.
There's the 50.
50 tokens, uh, okay, yeah, allright, it's a bummer, because I
couldn't even give those thingsaway, like when I first minted
them, I sold some for 100 bucksand then I couldn't eat, like I
was.
Like I gave them away and youknow now that they've found
(33:32):
great collectors at, you know, areally incredible, uh, price
point.
But it's all secondary stuff.
You know, it's like I wish Ihad a, I wish I had a bouquet in
my back pocket, but I don't.
It's funny.
NorCal Guy (33:45):
It's funny that that was your side hustle, and then
that's also what you're gettingknown for now well, I say
flowers, but I was in northerncalifornia selling flowers, so
take that I see, I see okaythey're different flowers I see
the high school kids.
Okay, okay, all right, awesomewell yeah, I'll have to.
Jules (34:13):
I'll have to get.
I have to ask you some morequestions.
I have to to do a round two.
I should have been moreprepared.
NorCal Guy (34:19):
I know I have a couple of your additions, but
I'm blanking on them right now.
Jules (34:26):
You supported some additions.
I appreciate that it's awesome.
You like the flowers?
Do you think the flowers are a?
NorCal Guy (34:33):
photography project no.
No, maybe start it off as aphotography thing.
Yeah, I so I think like, so,like ruben woo, he considers
himself just an artist.
He doesn't want to be like putinto that photography box.
And I feel like and this is, Ithink this is a funny thing, I
(34:57):
think when cameras came out andfilm and all that photography
like became its own thing in theart, the whole like art thing,
and it's never left that likeyou have painters but they
consider themselves artists, youhave carvers or anyone that's.
Jules (35:25):
Yeah, somebody that does claymation, or sculptors and
artists.
Sculptors, yeah.
NorCal Guy (35:29):
But photographers always say I'm a photographer,
they never go with I'm an artist, which I think is interesting.
They're no, they never go withI'm an artist, which I think is
interesting, and I don't.
And maybe that's been to thedetriment of them being
classified in photography as anartist, or I mean they are an
artist, but like, I don't know,I think it's kind of funny.
Um, but I guess when you sayphotography, it has that
(35:53):
definite feel to it, to me, likeit it should be still, like
still image of some sort.
Yeah, um, and you can play withthat however you want, but it
definitely feels like it shouldbe a still image.
Um, then, like, when you getinto changing the colors and
animating it and whatnot, thenyou're like going to artist
(36:15):
territory.
Jules (36:18):
Well, sure, we're all in artist territory.
I hear you, I know, I know, Iknow.
NorCal Guy (36:22):
But it's just because I mean, I think, because
I feel like photographers, youknow, have always been like kind
of like a black sheep-ish inthe art community In crypto.
In the art community in the barcommunity yeah, and then you
got videographers and peopledon't even care about them.
(36:42):
So the video artist like sovideo art, I think, is lost like
never had respect and uh, butslowly I think it's coming
around for video artists andthen photographers as well.
Jules (37:01):
Yes, it's, uh, it's coming, I think, to all, all
arts for sure, but it's like youknow, again we just have the
ways to consume it now.
But interesting, yeah Well,what else you got, what you got
some some quick.
Am I going to get into a hotseat?
NorCal Guy (37:15):
here and give you my opinions on stuff no we already
did that we're going into.
What projects are you workingon and what, what, uh, what
things do you have in the works?
Jules (37:27):
about you.
Oh, there's no like opinionopinion, hot, take opinion stuff
.
Uh, I'm um, I'm working on.
This is the show section.
Huh, uh, I'm working on.
This is the shill section I'mworking on.
I'm working on a new body ofwork.
It is the holding title rightnow.
(37:47):
Is everything all together?
Now?
Eton?
It is.
It's been.
I mean, I started this Novemberand I've been kind of wrestling
with it ever since and reallyjust recently have found what
feels like a really cleardirection.
(38:07):
So I'm working on that and I'llkeep tinkering until I feel
really good about it.
And outside of that, you know Ihave notebooks of storyboards
and ideas that I'd like toexecute and it's really just
about being able to find thetime, and you know, potentially,
the little bit of capital thatit takes to make them happen.
So always creating largelyfocused on this next body of
(38:31):
work, which will be a smallcollection of one-on-ones with
some interesting dynamicsinvolved.
Nice, I'm happy to show you atsome point we get screen share
and I can show you sweet.
NorCal Guy (38:45):
Well, jules, um thank you so much for your time
today and um it was really niceto chat with you and get to know
you a little better, and umappreciate it.
Jules (38:59):
thank you for coming on the pod thank you, I want to run
it back.
I it flew by, it was a quick,it was a quick podcast it was,
it was no but no.
Thank you again, like seriously.
It's such an opportunity to tobe able to talk about anything
and to have a spotlight fromNorCal guys here, so I do
appreciate it.
Thank you, guy, norco, guy,norco, guy, norco and chill
(39:22):
podcast.
So it's chill time, norco andchill podcast.
(39:42):
What the sh what the sh Norcoand chill podcast.
So it's chill time, norco andchill podcast.
What the sh what the sh-.
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