November 21, 2025 • 25 mins
At the young age of 10, Michael Enns got his artistic start from Bean Backus. Taking his talent with guidance from Backus, landscape painting jumped on Enns' canvas during a commissioned work. He fell in love. What Backus had told him all along prevailed.
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Episode Transcript
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Speaker 1 (00:13):
And we're back with Ralph Nathan Oko on Arbit and
Zoys Radio show.
Speaker 2 (00:16):
And with us with Cindy of course, Cindy Schwartz my
right hand per literally my right other right hand, my producer,
and Susan Harris of Jetson's. During the break we were
talking to Michael and we deferred the question that Susan
brought up, which is unbelievably interesting.
Speaker 3 (00:34):
Susan, you wanted to My question for Michael is, Michael,
you went there when you were about ten years of age?
Speaker 1 (00:40):
And when did the hot were you aware of the highwaymen?
Speaker 3 (00:43):
And when did they start coming in to being back
as his gallery and Fort Pierce.
Speaker 4 (00:49):
They you know, they would come in and uh once
in a while, one with paint in the studio with Bean,
and I wasn't Alfred, because Alfred would come in and
he was pretty glamorous, you know, because he was like
making his money and he had game, you know, he
(01:12):
had the ladies and which ultimately got him in trouble.
And but he was like a very exciting person, you know,
uh to be around, you know, because he really was
like a celebrity. And so the other ones, you know,
(01:35):
like I can't remember all their all their times and stuff.
They came in, but they were very you know, caught
very shy, very you know, and there was uh, you know,
Being had his manager, Don Brown, and John was like,
you know, from Alabama, and I think they got a
little intimidated by you know, the Alabama accent and and
(02:00):
it was but it was, you know, it was it
was interesting. I mean, I am being just loved him,
you know, and he would, uh, especially if he'd been drinking,
he'd start kissing them he was drunk.
Speaker 3 (02:23):
So tell me the ones who were shy And you
said you thought you remembered somebody painting. Who do you
think it might be or can you describe him in
your mind's eye?
Speaker 4 (02:34):
I think it was the one that lived in Gifford.
Speaker 1 (02:40):
Was he short? Was he real tall?
Speaker 4 (02:42):
No? He was a big guy, big.
Speaker 1 (02:44):
Guy George Buckner, Ellis Buckner.
Speaker 4 (02:48):
Yeah, it was probably you know, one of them, George.
You know, I mean I thought, really good with names
and really good with faces, so I'm kind of handicapped.
Speaker 2 (03:00):
Did you get close to any one of the what
eventually became the High Woman.
Speaker 4 (03:07):
No, I mean there were like other artists around back
of thos, you know, and that I was like really
really close to you know, there's like Michael Setis was
always there painting, and uh, you know Paige Ogden and uh,
you know, there was just a slew of slew of people.
(03:28):
You know, that's Jackie Shindahetti.
Speaker 1 (03:30):
And you're never quiet, there was it.
Speaker 4 (03:35):
Yes, it was an eerily, eerily quiet sometimes and I
almost felt because you know, and Bean would be alone
and I felt really, you know, kind of sad for him.
So you know, so that's why, you know, I would
just hang out just with him, and you know, we
(03:56):
talk and.
Speaker 1 (03:56):
Talk and what did he have to say to a
ten year old? Did it change over the years you
were with him?
Speaker 4 (04:02):
You know, he never talked down to anybody. No, it
never it never changed.
Speaker 5 (04:08):
You know.
Speaker 4 (04:08):
He would always excuse himself for using a cuss word
or something, and I said, oh please, my younger sister
uses worse.
Speaker 1 (04:16):
Right, this is the one who took your Haitian sculpture.
Speaker 4 (04:20):
Eh, yeah, she's the one. And so you know, he
was He never ever talked down to a child. And
I didn't even think of myself as a child. As
a matter of fact, I think when I was twelve
years old, my best friend was twenty two.
Speaker 2 (04:40):
Well, wow, Michael, this is a little off track, but
I you have to stand. I've got a Beaniebeckers on
a pedestal to me, he met a woman and he
married her, and unfortunately, within five years she passes away,
and magically it breaks his heart. Were you in post
(05:03):
Pierce during that period when he was married and with
that young lady.
Speaker 4 (05:09):
No, I didn't. She died in nineteen I think fifty
six October third, nineteen fifty five.
Speaker 5 (05:18):
Oh, I didn't know that. Yeah, I thought it was
way later than that.
Speaker 4 (05:22):
Yeah, bean was like married her when I think he
was forty and she died, like, you know, just a
few years later.
Speaker 2 (05:31):
Yeah, because Beanie passed away in nineteen ninety. So that's
why I kind of assumed that he was married sixties
or seventies or whatever for five years. Okay, it really
affected him, That's what I From what I understand, whatever
bad abage he had, they got worse afterwards. But let's
go back to the professionalism. When you were working with
(05:53):
him and he's your protegen and he's teaching you. Were
you painting with brushes and or palette knife? And at
what point, like today, I think that from when I
see you kind of adhere to you like palette knife.
Would that be correct?
Speaker 4 (06:13):
Yeah, But I didn't do palette knife. Not then I mixed.
I just you know, mixed paint with the palette knife.
I didn't really use it as a tool. And honestly,
at that time, Bean was only using palette knife towards
the end of his paintings, you know, to put highlights
and stuff in. So, you know, by the time I
(06:36):
was around, you know, his if you see his paintings
got less and pasto less. What impact pasto which means
like build up like a you know, like heavy paint.
Speaker 2 (06:52):
Which I I adore the heavy paint. I'm sorry if
he gives me the three D effect, so I enjoy that.
Speaker 4 (06:58):
Yeah, yeah, it's it's it's you know, it's a great effect.
I just was at the Frick Museum in New York
and I saw this painting and I'd like, oh my god,
look at how you know, it's a very old painting too,
because they always didn't want to show, you know, any
sort of brushstroke or anything in this one kind of
(07:20):
landscape was like it had all this imposto and it
I was like, oh my god, like took out my
phone and I took a picture, and I got in
trouble at any photos, and the frick.
Speaker 1 (07:35):
What do they do when you do something like that?
Speaker 4 (07:38):
They admonish you.
Speaker 1 (07:40):
Oh did they make you or anything?
Speaker 4 (07:43):
No? No, no, no, Actually I only got like the
sort of the because I thought there could be a problem,
so I was trying to act nonchalantly. I can't and uh,
and so I got it from the side, so it's like,
you know, so I could see that, so you could
(08:04):
really see the thickness of the pain.
Speaker 2 (08:08):
You bring up a very very very legitimate point because
quite often when I go visiting galleries or museums emphatically,
you see signs no photographic equipment, no photos allowed, And
our customers that come to our gallery, sometimes very politely
(08:30):
out of respect, ask us, may we take a picture
of this or that we don't know where we want
to put in our house. In other words, they're not
trying to do anything wrong. They're just trying to place it.
Speaker 6 (08:42):
In there.
Speaker 2 (08:44):
The phone, go home and kind of figure out where
are we going to put it or would it fit
where we're thinking of. But the point is, and this
is my advice to all our listeners who are enthusiasts
of the arts. Is it's always respectful to say may
I is it okay? Because sometimes the gallery or owners
(09:06):
would say no. Then then too bad that you asked,
because now you can't do it. Forgive me for saying this.
But sometimes it's easier to say I'm sorry and ask
for forgiveness, then ask for permission beforehand. Anyway, So Michael, now,
how long did you live in New York?
Speaker 4 (09:24):
Fifteen years?
Speaker 2 (09:25):
From when to when? About?
Speaker 5 (09:27):
Uh?
Speaker 4 (09:28):
I guess from seventy seven to when? Was it ninety three,
ninety four? Something like that?
Speaker 2 (09:40):
Yeah, okay, So you were in New York when Beanie
passed away in nineteen ninety.
Speaker 4 (09:45):
Well, yeah, it was your heart, Oh my god. Well,
you know the thing was, I always kind of knew
that it was going to happen. And then we had
a really close friend, Arthur Podorf, and he died like
(10:05):
before you know, preceded being in death. And he was
only like fifty years old when he died, and we
were all like so broken up about. We called him
potty potty going away and we were just and he
was like such a life force in that whole studio
(10:29):
scene and being really went downhill from there and I knew,
you know, like you know, being was just like too devastated.
Speaker 2 (10:40):
When you were still in Fourth Pierce before you went
to New York.
Speaker 5 (10:45):
How would you.
Speaker 2 (10:46):
Describe Beanie's personality when a group of people he knows
that it doesn't know as compared to when not many
people in the house and it was just maybe you
and a couple other people were the variances of personalities Beanie.
Speaker 3 (11:04):
But you know he was saying earlier that there were
many different sides of Beanie that he and his brother
Greg Ens went over to Jamaica with him for an
extended vacation to paint, and he really got into the light,
into the water, into the people. They had a grand time.
They were over there for three weeks to a month.
(11:26):
And it wasn't just he, it was his brother and
Michael brother. I'm sorry, Greg Ends as well, who does
the magazine.
Speaker 5 (11:36):
Yes, everybody, we're going to take out break. We'll be
right back.
Speaker 2 (11:39):
This our Veterans Voice Radio, especially today the Highwayman, Michael
Ens and Beanie Backers.
Speaker 5 (11:45):
We'll be right back.
Speaker 7 (11:46):
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Speaker 5 (12:49):
Hey, did you hear the latest about our Florida High Woman?
Speaker 4 (12:52):
No?
Speaker 6 (12:52):
What?
Speaker 5 (12:53):
There's a new High Woman art gallery and viol Beach
Really where eighteen seventy two commer seven you wow? It
open seven days a.
Speaker 2 (13:01):
Week called nine five four five five seven six two
two six for an appointment.
Speaker 5 (13:06):
Any time, no kidding, Just call for your appointment ninety
five four five five seven six.
Speaker 2 (13:11):
Two two six, and then go to eighteen seventy two
commerce an you Wow, that's good news.
Speaker 5 (13:16):
A member of the Itex trading community.
Speaker 7 (13:18):
Your text dollars are welcome.
Speaker 8 (13:25):
And we're back on our redom Swie Radio showing Ralph
David Elco.
Speaker 2 (13:29):
And Susan Harris of Jetson's Cindy Schwartz of our veteran's voice,
and you truly Ralph Foco. And by the way, thank
you everybody. You know, when I read the study and
look at how many hits we have in a podcast,
I'm very, very grateful to all of you for being
so loyal to us. You know, we've grown up together
over the years. Yeah, some of you for longer, something less.
(13:51):
All I can tell you is this is an honor
for me to be able to do the show for
as long as I have and as long as I can,
thank God willing, it's gonna be a long time. So, Michael,
are you with us, Yes, we lost you for a
couple of seconds and we were talking talking. Susan brought
up when you and your brother Gregory Greg went with
(14:13):
Beanie to Jamaica.
Speaker 5 (14:15):
But I want to focus now more.
Speaker 2 (14:17):
I was telling Susan, you know, I'm going in a
circle up to where I get to the literally the
focal point of the target, and that's you. I want
to talk about Michael Ends and his art because when
I look at your paintings, everybody looks at paintings a
different way. I am enamored with obviously palm trees and
(14:37):
palette knife. And when I see your palette knife, palm
trees and the green greenery at the bottom of your
painting to the right, or your clouds, I see Beanie backus.
And when people come into the gallery next week on
the thirteenth of December and they meet you and they
(14:59):
see your pain and they'll see your artists, your arts,
They're gonna understand what I'm talking about. So tell us
about Michael Ends and Michael's art and how what does
Michael like to do, What does Michael try to paint,
and what does how do you share your art with
the public.
Speaker 4 (15:19):
Well, God, that's a loaded question, yes, yeah, really good.
Speaker 1 (15:27):
Well you know, Michael, what you said to me.
Speaker 4 (15:30):
I didn't I didn't even make you know, do landscapes
or anything like that. As a matter of fact, I
was like, I wanted nothing to really do with that whatsoever.
And so I made all this other kind of art
and a lot of you know, three D stuff and everything,
(15:51):
but you know, as uh life, you know, life lessons
and stuff, I wasn't selling. And then I got this
commission in Atlanta to uh do this lady's dining room.
And she wanted a like a Corow style uh dining room,
(16:14):
you know Corow the painter and some fabulous with the
fabulous are you know landscape painter from and uh and
so uh I started painting, painting it, and I'm just like,
oh my god, I love this. I love doing this
landscape stuff. And I'm really good at it because you know,
(16:38):
being I listened to him all the time, so I
knew just what to do, and I knew how to
make color and you know, and it just really came
to me very sweetly, and you know, like a like
a beautiful mistress you.
Speaker 2 (17:01):
Were going to ask.
Speaker 3 (17:01):
Yeah, so I started to because Michael and I had
talked earlier about some of these things. And I remember,
now you you know, you surprised me when you were
saying that you didn't do landscapes when backs when you
were in back as a studio. I would have thought,
because he's doing a lot of landscapes, that you would have.
But what did you paint back then when you were
in his studio?
Speaker 4 (17:23):
Oh my god, I used to I used to my
self portraits because I loved myself.
Speaker 1 (17:27):
So much, that's honest, You're good.
Speaker 4 (17:33):
And I did a lot of you know, paintings of
artichokes and uh cars, and you know, just like uh,
I mean, I'm trying to think of some of the stuff.
But I used to do like kind of up close
like plants stuff. I was really into crotons and philodendrons,
(17:57):
and I used to, you know, do these like very designing,
kind of mysterious sort of paintings.
Speaker 2 (18:06):
Of plants and portrait of Beanie?
Speaker 4 (18:13):
No, oh yeah, yeah, that's Michael Sters.
Speaker 2 (18:19):
Okay, let's go back a step, because you maybe write
a note for myself when you were.
Speaker 5 (18:26):
Learning to paint.
Speaker 2 (18:27):
From everything I've spoken to all the high women, part
of the art of painting is mixing colors, and I'm colorblind,
so I'm the wrong one.
Speaker 5 (18:40):
But did Beanie have an.
Speaker 2 (18:42):
Influence with you as far as learning how to mix colors,
which colors with which to derive what color, you know,
to obtain what purpose?
Speaker 4 (18:53):
You know? He did. But I mean because you know,
like sometimes when you see like, oh, the the color
needs darker and you add black, well, you know the black,
it just turns it to like kind of a dead color.
And what you do is like, instead of using black,
(19:16):
you use this compliment.
Speaker 2 (19:18):
You know.
Speaker 4 (19:18):
So you're painting green and you want to darken it,
put a little red in there and see what happens.
But he said, a really good thing. He said, you know,
it's like cooking, you know, you like, put a little
spice in there, you taste it taste pretty good. Well,
I'll put a little bit more in there. And he said, oh,
well you know what else will compliment it is maybe
(19:39):
like a little you know, touch of cardamen or something.
You know. But so everything was, you know, by osmosis,
and being used that word a lot, and he always
told me that I always learned by osmosis.
Speaker 1 (19:59):
Did you just you or other students?
Speaker 4 (20:03):
Well there were other There were always you know, other
some other painters or something they around, you know that
wanted to do stuff.
Speaker 3 (20:11):
Do they learn by osmosis? That's what I was trying
to say. Or is it just you that you were
bright enough to do that?
Speaker 4 (20:17):
Well, I just remember him saying that to me. I
don't know if you know he said that to other people.
I mean, I know Michael Seteris was a very very
gifted painter and at a very young age and so
he he had osmosis from God.
Speaker 1 (20:38):
You know, is he around now or.
Speaker 4 (20:44):
Yes, yeah, he's He became a Greek Orthodox priest and
he and he lives in California.
Speaker 2 (20:51):
Interesting.
Speaker 4 (20:52):
Yeah, he's still painting, so, I mean he does now.
He does paintings of.
Speaker 1 (20:57):
Uh yeah, saints, which is.
Speaker 4 (21:01):
A bubble wrap?
Speaker 5 (21:05):
How does that come with religion? So, Michael, let me
ask you a question.
Speaker 2 (21:10):
We're almost at the end of the conversation. H My
question for you is do you have any message to
our listeners because many of our listeners because a local H.
What do you have a message for them for next
week when you're at the gallery at eighteen seventy two
Commerce Avenue in Vera Beach.
Speaker 4 (21:32):
Oh that you know, come with open mind, you know,
and you can and that would be and tell people
love my work. And that's what you should do.
Speaker 5 (21:49):
Susan you have a question.
Speaker 3 (21:50):
Yes, I wanted to say that many people like me
have loved bacus and have always dreamed of getting one.
I'm sure, and now they can get a Michael Ends
and they are on beautiful. You are swimming in the
Indian River. You're seeing the boats can buy a palm tree.
You're seeing the light hit the Dumbo limbo, You're seeing
(22:12):
the light hit the water. It is magic. So definitely
come to Michael Ends at Ralph's Gallery, the High Women
Gallery on Commerce in Verreau Beach.
Speaker 2 (22:23):
Michael get Well, We'll talk to you during the week
and we'll see you next week on the thirteenth of December.
Speaker 4 (22:30):
All right, cheers to everyone, lots of.
Speaker 2 (22:35):
At this point, we want to remind everybody the Vendance
Voice for Radio has sponsors. One of the sponsors is
the High Women Art Gallery in eighteen seventy two Commerce Avenue.
We're going literally barring no expense to bring Michael Enz
for you for next week. So we will see you
(22:55):
then and thank you for your loyalty.
Speaker 1 (23:06):
Charles Dana Peterson, Army Vietnam. Joseph A. Bergamino, Junior Air Force.
Speaker 2 (23:15):
Addison Jay Marvin, Junior Air Force Vietnam.
Speaker 1 (23:20):
Lani Eugene Ledford, Senior Marine Corps.
Speaker 8 (23:25):
Doctor Norman Browner Army First Responder.
Speaker 5 (23:30):
Terrence Terry Ward Lions.
Speaker 1 (23:33):
Army Doctor Ralph E. Baker, First Responder, Earl. V.
Speaker 8 (23:41):
Rivenburg First Responder, Terry Mashcow Deputy Terry Mashcow twenty five
years of service.
Speaker 1 (23:54):
Indian River County Sheriff's Department.
Speaker 2 (23:57):
Very tragic event, de vere beach. Our hearts. Our hearts
go to all our veterans and all their families, and
especially today to the sheriff Department of Indian River County.
We mourn with you. We've lost a gem and all
of our other fallen heroes. Yours and our brothers and sisters.
(24:20):
Thank you, Thank you for your service. We proudly salute you.
Rest in peace
Speaker 5 (24:28):
Forever
And we're back with Ralph Nathan Oko on Arbit and
Zoys Radio show.
Speaker 2 (00:16):
And with us with Cindy of course, Cindy Schwartz my
right hand per literally my right other right hand, my producer,
and Susan Harris of Jetson's. During the break we were
talking to Michael and we deferred the question that Susan
brought up, which is unbelievably interesting.
Speaker 3 (00:34):
Susan, you wanted to My question for Michael is, Michael,
you went there when you were about ten years of age?
Speaker 1 (00:40):
And when did the hot were you aware of the highwaymen?
Speaker 3 (00:43):
And when did they start coming in to being back
as his gallery and Fort Pierce.
Speaker 4 (00:49):
They you know, they would come in and uh once
in a while, one with paint in the studio with Bean,
and I wasn't Alfred, because Alfred would come in and
he was pretty glamorous, you know, because he was like
making his money and he had game, you know, he
(01:12):
had the ladies and which ultimately got him in trouble.
And but he was like a very exciting person, you know,
uh to be around, you know, because he really was
like a celebrity. And so the other ones, you know,
(01:35):
like I can't remember all their all their times and stuff.
They came in, but they were very you know, caught
very shy, very you know, and there was uh, you know,
Being had his manager, Don Brown, and John was like,
you know, from Alabama, and I think they got a
little intimidated by you know, the Alabama accent and and
(02:00):
it was but it was, you know, it was it
was interesting. I mean, I am being just loved him,
you know, and he would, uh, especially if he'd been drinking,
he'd start kissing them he was drunk.
Speaker 3 (02:23):
So tell me the ones who were shy And you
said you thought you remembered somebody painting. Who do you
think it might be or can you describe him in
your mind's eye?
Speaker 4 (02:34):
I think it was the one that lived in Gifford.
Speaker 1 (02:40):
Was he short? Was he real tall?
Speaker 4 (02:42):
No? He was a big guy, big.
Speaker 1 (02:44):
Guy George Buckner, Ellis Buckner.
Speaker 4 (02:48):
Yeah, it was probably you know, one of them, George.
You know, I mean I thought, really good with names
and really good with faces, so I'm kind of handicapped.
Speaker 2 (03:00):
Did you get close to any one of the what
eventually became the High Woman.
Speaker 4 (03:07):
No, I mean there were like other artists around back
of thos, you know, and that I was like really
really close to you know, there's like Michael Setis was
always there painting, and uh, you know Paige Ogden and uh,
you know, there was just a slew of slew of people.
(03:28):
You know, that's Jackie Shindahetti.
Speaker 1 (03:30):
And you're never quiet, there was it.
Speaker 4 (03:35):
Yes, it was an eerily, eerily quiet sometimes and I
almost felt because you know, and Bean would be alone
and I felt really, you know, kind of sad for him.
So you know, so that's why, you know, I would
just hang out just with him, and you know, we
(03:56):
talk and.
Speaker 1 (03:56):
Talk and what did he have to say to a
ten year old? Did it change over the years you
were with him?
Speaker 4 (04:02):
You know, he never talked down to anybody. No, it
never it never changed.
Speaker 5 (04:08):
You know.
Speaker 4 (04:08):
He would always excuse himself for using a cuss word
or something, and I said, oh please, my younger sister
uses worse.
Speaker 1 (04:16):
Right, this is the one who took your Haitian sculpture.
Speaker 4 (04:20):
Eh, yeah, she's the one. And so you know, he
was He never ever talked down to a child. And
I didn't even think of myself as a child. As
a matter of fact, I think when I was twelve
years old, my best friend was twenty two.
Speaker 2 (04:40):
Well, wow, Michael, this is a little off track, but
I you have to stand. I've got a Beaniebeckers on
a pedestal to me, he met a woman and he
married her, and unfortunately, within five years she passes away,
and magically it breaks his heart. Were you in post
(05:03):
Pierce during that period when he was married and with
that young lady.
Speaker 4 (05:09):
No, I didn't. She died in nineteen I think fifty
six October third, nineteen fifty five.
Speaker 5 (05:18):
Oh, I didn't know that. Yeah, I thought it was
way later than that.
Speaker 4 (05:22):
Yeah, bean was like married her when I think he
was forty and she died, like, you know, just a
few years later.
Speaker 2 (05:31):
Yeah, because Beanie passed away in nineteen ninety. So that's
why I kind of assumed that he was married sixties
or seventies or whatever for five years. Okay, it really
affected him, That's what I From what I understand, whatever
bad abage he had, they got worse afterwards. But let's
go back to the professionalism. When you were working with
(05:53):
him and he's your protegen and he's teaching you. Were
you painting with brushes and or palette knife? And at
what point, like today, I think that from when I
see you kind of adhere to you like palette knife.
Would that be correct?
Speaker 4 (06:13):
Yeah, But I didn't do palette knife. Not then I mixed.
I just you know, mixed paint with the palette knife.
I didn't really use it as a tool. And honestly,
at that time, Bean was only using palette knife towards
the end of his paintings, you know, to put highlights
and stuff in. So, you know, by the time I
(06:36):
was around, you know, his if you see his paintings
got less and pasto less. What impact pasto which means
like build up like a you know, like heavy paint.
Speaker 2 (06:52):
Which I I adore the heavy paint. I'm sorry if
he gives me the three D effect, so I enjoy that.
Speaker 4 (06:58):
Yeah, yeah, it's it's it's you know, it's a great effect.
I just was at the Frick Museum in New York
and I saw this painting and I'd like, oh my god,
look at how you know, it's a very old painting too,
because they always didn't want to show, you know, any
sort of brushstroke or anything in this one kind of
(07:20):
landscape was like it had all this imposto and it
I was like, oh my god, like took out my
phone and I took a picture, and I got in
trouble at any photos, and the frick.
Speaker 1 (07:35):
What do they do when you do something like that?
Speaker 4 (07:38):
They admonish you.
Speaker 1 (07:40):
Oh did they make you or anything?
Speaker 4 (07:43):
No? No, no, no, Actually I only got like the
sort of the because I thought there could be a problem,
so I was trying to act nonchalantly. I can't and uh,
and so I got it from the side, so it's like,
you know, so I could see that, so you could
(08:04):
really see the thickness of the pain.
Speaker 2 (08:08):
You bring up a very very very legitimate point because
quite often when I go visiting galleries or museums emphatically,
you see signs no photographic equipment, no photos allowed, And
our customers that come to our gallery, sometimes very politely
(08:30):
out of respect, ask us, may we take a picture
of this or that we don't know where we want
to put in our house. In other words, they're not
trying to do anything wrong. They're just trying to place it.
Speaker 6 (08:42):
In there.
Speaker 2 (08:44):
The phone, go home and kind of figure out where
are we going to put it or would it fit
where we're thinking of. But the point is, and this
is my advice to all our listeners who are enthusiasts
of the arts. Is it's always respectful to say may
I is it okay? Because sometimes the gallery or owners
(09:06):
would say no. Then then too bad that you asked,
because now you can't do it. Forgive me for saying this.
But sometimes it's easier to say I'm sorry and ask
for forgiveness, then ask for permission beforehand. Anyway, So Michael, now,
how long did you live in New York?
Speaker 4 (09:24):
Fifteen years?
Speaker 2 (09:25):
From when to when? About?
Speaker 5 (09:27):
Uh?
Speaker 4 (09:28):
I guess from seventy seven to when? Was it ninety three,
ninety four? Something like that?
Speaker 2 (09:40):
Yeah, okay, So you were in New York when Beanie
passed away in nineteen ninety.
Speaker 4 (09:45):
Well, yeah, it was your heart, Oh my god. Well,
you know the thing was, I always kind of knew
that it was going to happen. And then we had
a really close friend, Arthur Podorf, and he died like
(10:05):
before you know, preceded being in death. And he was
only like fifty years old when he died, and we
were all like so broken up about. We called him
potty potty going away and we were just and he
was like such a life force in that whole studio
(10:29):
scene and being really went downhill from there and I knew,
you know, like you know, being was just like too devastated.
Speaker 2 (10:40):
When you were still in Fourth Pierce before you went
to New York.
Speaker 5 (10:45):
How would you.
Speaker 2 (10:46):
Describe Beanie's personality when a group of people he knows
that it doesn't know as compared to when not many
people in the house and it was just maybe you
and a couple other people were the variances of personalities Beanie.
Speaker 3 (11:04):
But you know he was saying earlier that there were
many different sides of Beanie that he and his brother
Greg Ens went over to Jamaica with him for an
extended vacation to paint, and he really got into the light,
into the water, into the people. They had a grand time.
They were over there for three weeks to a month.
(11:26):
And it wasn't just he, it was his brother and
Michael brother. I'm sorry, Greg Ends as well, who does
the magazine.
Speaker 5 (11:36):
Yes, everybody, we're going to take out break. We'll be
right back.
Speaker 2 (11:39):
This our Veterans Voice Radio, especially today the Highwayman, Michael
Ens and Beanie Backers.
Speaker 5 (11:45):
We'll be right back.
Speaker 7 (11:46):
I'm doctor Tim Iinitas at Treasure Coast Dermatology. At Treasure
Coast Dermatology, we believe in the prevention and early detection
of skin cancer. We are medical doctors and we focus
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(12:07):
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Speaker 5 (12:19):
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Are you ready to experience truly exceptional patient care Florida
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Speaker 5 (12:49):
Hey, did you hear the latest about our Florida High Woman?
Speaker 4 (12:52):
No?
Speaker 6 (12:52):
What?
Speaker 5 (12:53):
There's a new High Woman art gallery and viol Beach
Really where eighteen seventy two commer seven you wow? It
open seven days a.
Speaker 2 (13:01):
Week called nine five four five five seven six two
two six for an appointment.
Speaker 5 (13:06):
Any time, no kidding, Just call for your appointment ninety
five four five five seven six.
Speaker 2 (13:11):
Two two six, and then go to eighteen seventy two
commerce an you Wow, that's good news.
Speaker 5 (13:16):
A member of the Itex trading community.
Speaker 7 (13:18):
Your text dollars are welcome.
Speaker 8 (13:25):
And we're back on our redom Swie Radio showing Ralph
David Elco.
Speaker 2 (13:29):
And Susan Harris of Jetson's Cindy Schwartz of our veteran's voice,
and you truly Ralph Foco. And by the way, thank
you everybody. You know, when I read the study and
look at how many hits we have in a podcast,
I'm very, very grateful to all of you for being
so loyal to us. You know, we've grown up together
over the years. Yeah, some of you for longer, something less.
(13:51):
All I can tell you is this is an honor
for me to be able to do the show for
as long as I have and as long as I can,
thank God willing, it's gonna be a long time. So, Michael,
are you with us, Yes, we lost you for a
couple of seconds and we were talking talking. Susan brought
up when you and your brother Gregory Greg went with
(14:13):
Beanie to Jamaica.
Speaker 5 (14:15):
But I want to focus now more.
Speaker 2 (14:17):
I was telling Susan, you know, I'm going in a
circle up to where I get to the literally the
focal point of the target, and that's you. I want
to talk about Michael Ends and his art because when
I look at your paintings, everybody looks at paintings a
different way. I am enamored with obviously palm trees and
(14:37):
palette knife. And when I see your palette knife, palm
trees and the green greenery at the bottom of your
painting to the right, or your clouds, I see Beanie backus.
And when people come into the gallery next week on
the thirteenth of December and they meet you and they
(14:59):
see your pain and they'll see your artists, your arts,
They're gonna understand what I'm talking about. So tell us
about Michael Ends and Michael's art and how what does
Michael like to do, What does Michael try to paint,
and what does how do you share your art with
the public.
Speaker 4 (15:19):
Well, God, that's a loaded question, yes, yeah, really good.
Speaker 1 (15:27):
Well you know, Michael, what you said to me.
Speaker 4 (15:30):
I didn't I didn't even make you know, do landscapes
or anything like that. As a matter of fact, I
was like, I wanted nothing to really do with that whatsoever.
And so I made all this other kind of art
and a lot of you know, three D stuff and everything,
(15:51):
but you know, as uh life, you know, life lessons
and stuff, I wasn't selling. And then I got this
commission in Atlanta to uh do this lady's dining room.
And she wanted a like a Corow style uh dining room,
(16:14):
you know Corow the painter and some fabulous with the
fabulous are you know landscape painter from and uh and
so uh I started painting, painting it, and I'm just like,
oh my god, I love this. I love doing this
landscape stuff. And I'm really good at it because you know,
(16:38):
being I listened to him all the time, so I
knew just what to do, and I knew how to
make color and you know, and it just really came
to me very sweetly, and you know, like a like
a beautiful mistress you.
Speaker 2 (17:01):
Were going to ask.
Speaker 3 (17:01):
Yeah, so I started to because Michael and I had
talked earlier about some of these things. And I remember,
now you you know, you surprised me when you were
saying that you didn't do landscapes when backs when you
were in back as a studio. I would have thought,
because he's doing a lot of landscapes, that you would have.
But what did you paint back then when you were
in his studio?
Speaker 4 (17:23):
Oh my god, I used to I used to my
self portraits because I loved myself.
Speaker 1 (17:27):
So much, that's honest, You're good.
Speaker 4 (17:33):
And I did a lot of you know, paintings of
artichokes and uh cars, and you know, just like uh,
I mean, I'm trying to think of some of the stuff.
But I used to do like kind of up close
like plants stuff. I was really into crotons and philodendrons,
(17:57):
and I used to, you know, do these like very designing,
kind of mysterious sort of paintings.
Speaker 2 (18:06):
Of plants and portrait of Beanie?
Speaker 4 (18:13):
No, oh yeah, yeah, that's Michael Sters.
Speaker 2 (18:19):
Okay, let's go back a step, because you maybe write
a note for myself when you were.
Speaker 5 (18:26):
Learning to paint.
Speaker 2 (18:27):
From everything I've spoken to all the high women, part
of the art of painting is mixing colors, and I'm colorblind,
so I'm the wrong one.
Speaker 5 (18:40):
But did Beanie have an.
Speaker 2 (18:42):
Influence with you as far as learning how to mix colors,
which colors with which to derive what color, you know,
to obtain what purpose?
Speaker 4 (18:53):
You know? He did. But I mean because you know,
like sometimes when you see like, oh, the the color
needs darker and you add black, well, you know the black,
it just turns it to like kind of a dead color.
And what you do is like, instead of using black,
(19:16):
you use this compliment.
Speaker 2 (19:18):
You know.
Speaker 4 (19:18):
So you're painting green and you want to darken it,
put a little red in there and see what happens.
But he said, a really good thing. He said, you know,
it's like cooking, you know, you like, put a little
spice in there, you taste it taste pretty good. Well,
I'll put a little bit more in there. And he said, oh,
well you know what else will compliment it is maybe
(19:39):
like a little you know, touch of cardamen or something.
You know. But so everything was, you know, by osmosis,
and being used that word a lot, and he always
told me that I always learned by osmosis.
Speaker 1 (19:59):
Did you just you or other students?
Speaker 4 (20:03):
Well there were other There were always you know, other
some other painters or something they around, you know that
wanted to do stuff.
Speaker 3 (20:11):
Do they learn by osmosis? That's what I was trying
to say. Or is it just you that you were
bright enough to do that?
Speaker 4 (20:17):
Well, I just remember him saying that to me. I
don't know if you know he said that to other people.
I mean, I know Michael Seteris was a very very
gifted painter and at a very young age and so
he he had osmosis from God.
Speaker 1 (20:38):
You know, is he around now or.
Speaker 4 (20:44):
Yes, yeah, he's He became a Greek Orthodox priest and
he and he lives in California.
Speaker 2 (20:51):
Interesting.
Speaker 4 (20:52):
Yeah, he's still painting, so, I mean he does now.
He does paintings of.
Speaker 1 (20:57):
Uh yeah, saints, which is.
Speaker 4 (21:01):
A bubble wrap?
Speaker 5 (21:05):
How does that come with religion? So, Michael, let me
ask you a question.
Speaker 2 (21:10):
We're almost at the end of the conversation. H My
question for you is do you have any message to
our listeners because many of our listeners because a local H.
What do you have a message for them for next
week when you're at the gallery at eighteen seventy two
Commerce Avenue in Vera Beach.
Speaker 4 (21:32):
Oh that you know, come with open mind, you know,
and you can and that would be and tell people
love my work. And that's what you should do.
Speaker 5 (21:49):
Susan you have a question.
Speaker 3 (21:50):
Yes, I wanted to say that many people like me
have loved bacus and have always dreamed of getting one.
I'm sure, and now they can get a Michael Ends
and they are on beautiful. You are swimming in the
Indian River. You're seeing the boats can buy a palm tree.
You're seeing the light hit the Dumbo limbo, You're seeing
(22:12):
the light hit the water. It is magic. So definitely
come to Michael Ends at Ralph's Gallery, the High Women
Gallery on Commerce in Verreau Beach.
Speaker 2 (22:23):
Michael get Well, We'll talk to you during the week
and we'll see you next week on the thirteenth of December.
Speaker 4 (22:30):
All right, cheers to everyone, lots of.
Speaker 2 (22:35):
At this point, we want to remind everybody the Vendance
Voice for Radio has sponsors. One of the sponsors is
the High Women Art Gallery in eighteen seventy two Commerce Avenue.
We're going literally barring no expense to bring Michael Enz
for you for next week. So we will see you
(22:55):
then and thank you for your loyalty.
Speaker 1 (23:06):
Charles Dana Peterson, Army Vietnam. Joseph A. Bergamino, Junior Air Force.
Speaker 2 (23:15):
Addison Jay Marvin, Junior Air Force Vietnam.
Speaker 1 (23:20):
Lani Eugene Ledford, Senior Marine Corps.
Speaker 8 (23:25):
Doctor Norman Browner Army First Responder.
Speaker 5 (23:30):
Terrence Terry Ward Lions.
Speaker 1 (23:33):
Army Doctor Ralph E. Baker, First Responder, Earl. V.
Speaker 8 (23:41):
Rivenburg First Responder, Terry Mashcow Deputy Terry Mashcow twenty five
years of service.
Speaker 1 (23:54):
Indian River County Sheriff's Department.
Speaker 2 (23:57):
Very tragic event, de vere beach. Our hearts. Our hearts
go to all our veterans and all their families, and
especially today to the sheriff Department of Indian River County.
We mourn with you. We've lost a gem and all
of our other fallen heroes. Yours and our brothers and sisters.
(24:20):
Thank you, Thank you for your service. We proudly salute you.
Rest in peace
Speaker 5 (24:28):
Forever
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