JERSEY JON: What! ROBBIE: Jersey.
MIKE: It's amazing, it's incredible!
JERSEY JON: Oh, yeah. I love that, it's so cool.
DONICK: There's no telling what we'll find in here.
ROBBIE: Mom? Yeah, I'm in Detroit now, okay.
MIKE: Simpsons, man.
DONICK: I was there Season 7 to 11.
Here's what's gonna blow your mind.
DONICK: These are pencil sketches.
MIKE: So this is original art. Wow!
DONICK: These are storyboards.
MIKE: These are epic!
DONICK: What would you be interested in?
MIKE: Oh, my gosh, I'm just blown away.
(upbeat music)
(phone ringing)
MIKE: Dani D, what am I doing in this neighborhood?
There's no junkyards, no alleys to pick through.
What you got, girl?
DANIELLE: So I've been in contact
with this dude by the name of Donick Cary.
Donick has been in TV pretty much his entire life.
He's a writer for TV, and I'm talking about some pretty big shows.
This dude wrote for New Girl, the Simpsons,
for freakin' Letterman, man.
MIKE: No kidding?!
DANIELLE: This dude has insane
entertainment memorabilia,
punk and ska, like really good stuff.
MIKE: Okay, so let me guess,
I'm just going to throw something out there,
you want me to pick up something for you.
DANIELLE: Yes indeed.
In fact, he has a really cool piece
of rock 'n roll memorabilia, and the even better news
is that it's already paid for. I just need you to pick it up.
But, he also has a ton of other really cool stuff to look at.
MIKE: So is this a lead for us or what's going on?
DANIELLE: Okay, I'm going to say probable lead,
it's kind of more of a friend-of-a-friend-of-a-friend situation,
but you're also helping out a friend.
MIKE: So it's a friend-of-a-friend,
it's your cousin's hairdresser's kid, possible lead.
DANIELLE: You're going to be blown away, this dude has amazing killer stuff.
MIKE: Alright, send me the address.
DANIELLE: Thank you, thank you, thank you.
You are so good to me and I appreciate you so much.
I love Mike Wolfe.
I'm so excited! Thank you.
MIKE: Bye. DANIELLE: Love you, bye.
MIKE: I love digging around LA.
This has always been the epicenter for creativity.
So much of the stuff out here is directly connected
to the entertainment industry,
whether it was what they were doing for a living,
or what they were collecting to inspire them.
MIKE: Hey, you Donick?
DONICK: Hey. Yeah. MIKE: Hey, I'm Mike.
DONICK: Mike, nice to meet you. MIKE: You talked to Dani?
DONICK: Dani, right, right. MIKE: I'm gonna hit you
with one of these, I mean, just because
she said you had other stuff.
DONICK: Absolutely. Love it, yeah. Punk rock posters,
all sorts of stuff. MIKE: Yeah. So what's up, Simpsons, man?
DONICK: Simpsons, great run of the Simpsons. Super fun.
MIKE: No kidding, how many years?
DONICK: I was there Season 7 to 11. So almost five years.
MIKE: Get outta here.
DONICK: I'm a writer-producer-director
working in Hollywood.
I've done a little bit of everything, you know,
I got my start on the David Letterman Show,
worked there for a long time; then I went to the Simpsons,
worked on shows like Parks & Recreation, New Girl,
Silicon Valley, Bored to Death. So a little bit of everything.
DONICK: It's super fun. I love music of all kinds,
I love art and rock posters
is where it all sort of collides. And so...
I got a bit of a situation here. A lot of art prints.
MIKE: So this looks like one of those gas station
setups in Tijuana.
DONICK: Yes exactly. Or some sort of weird
magic trick I'm about to do.
Um, a lot of these were on the wall of my last office,
and we took those down. And I don't have room for all this stuff. So...
MIKE: Yeah, I'd say. DONICK: A lot of art prints here.
MIKE: You a Raiders fan, huh. Where's this from, what's this?
DONICK: So this is the Banana Disco Teque.
I found a guy in Koreatown.
I was like, that's crazy, what is that?
(Mike laughs) DONICK: He's like, if you want it, take it.
MIKE: Really. DONICK: Yeah, I think I want it.
DONICK: I like finding weird things that you didn't know existed.
Design and art are exciting.
It's fun to have things that you love.
So I collect all sorts of stuff.
MIKE: What did Dani buy from ya?
DONICK: So she let me know she's a huge fan
of the Flaming Lips band from Oklahoma.
DONICK: Great albums, love the Flaming Lips.
I have a handwritten copy of the lyrics to
"Do You Realize??" one of their amazing songs.
Handwritten by Wayne Coyne, lead singer.
MIKE: Wow. DONICK: I love it,
but she was like, look I'll do you right.
DONICK: Get you some money. MIKE: Okay. So she's already
paid you and everything. DONICK: Yes.
DONICK: The Flaming Lips are like this really interesting
indy rock band. "Do You Realize??"
is a timeless song about the meaning of it all.
The lyrics are, "everyone you know,
someday, will die." But it's not a sad song,
it's a joyous song about, once you realize that,
what do you do with that? It's undeniably a great song.
DONICK: Wayne signed it, he wrote it all out.
There you go. MIKE: Very cool.
MIKE: For as long as I've known Danielle,
she's always been a punk rock chick.
I'm talking cranking Dead Kennedys,
skateboarding downtown, roller derby,
all her wild beautiful dreams with her businesses.
I could totally see how her and Donick connected.
MIKE: Alright, so this is what I'm picking up.
DONICK: You're picking that up. MIKE: Okay.
DONICK: Yeah, anything else you're interested in too,
like just, just shout. MIKE: Well, she was saying that...
DONICK: There's all sorts of stuff.
MIKE: Okay wow, look at that.
DONICK: So this is this guy, Frank Kozik,
who made a lot of poster art in the late '80s
through the '90s, he made graphics in this style.
DONICK: This is an original Frank Kozik painting.
MIKE: No way. DONICK: A friend of mine ran a gallery
and showed a bunch of his stuff.
DONICK: And then donated a few of these for us to sell
for our charity. So that's here...
MIKE: So what charity are you talking about?
DONICK: So this is, it's called Musack. M-U-S-A-C-K-dot-org.
DONICK: We support kids music programs. And it came out of,
I grew up in a small town. A lot of teen suicide there,
a lot of desperation, a lot of kids not sure what to do.
And we found that the music program was under-funded,
so we started this program that originally started funding
that program, but then spread quickly to go like,
oh, all these public schools--
MIKE: So it's something that can be plugged in anywhere.
DONICK: It can be plugged in anywhere.
MIKE: Okay. DONICK: Could be instruments, could be extra hours
for teachers, could be whatever.
DONICK: And then a lot of people, you know,
have come and done shows for us. Rancid has placed here,
Childish Gambino's played here. MIKE: Really.
DONICK: Weird Al Yankovic has played here.
MIKE: No kidding... DONICK: And then these artists
also donate, like our friend
who had this piece was like,
if you want to sell Frank's pieces for charity,
like, great. MIKE: Yeah.
MIKE: Donick has obviously done well for himself.
And he's paying it forward with this charity.
And in the end, that's what it's all about.
I mean, we're all here to take care of each other.
MIKE: Look at this. Pennsylvania.
DONICK: Oh, that Dickie Bird, isn't that weird?
MIKE: That's cool. Is this a period piece?
DONICK: Yeah, that's vintage. Late '60s, I think.
DONICK: I've always been fascinated by Richard Nixon
and how weird that moment in American history was.
Dick Nixon was so corrupt and breaking in and doing this,
but he's also like, a Quaker,
and he's paranoid and he's got three TVs in his office
so he can watch football games. Like, he's the weirdest character.
MIKE: I like it. DONICK: Oh, yeah.
MIKE: For as long as there's been politicians in America,
there's been political satire.
I love this poster because he's sitting on a motorcycle.
And it's satire. It all ties in.
MIKE: What are you thinking on that?
DONICK: Oh, it's got to be around 100, 150,
something like that? It's... MIKE: Yeah, it's framed,
so that adds value to it. DONICK: Oh, yeah, I probably...
I forgot about that, I probably spent 100 bucks on framing.
DONICK: I'm going to say 150 and it all goes to charity.
MIKE: Alright, let's do it. DONICK: Alright.
You got yourself a Dick Nixon on a motorcycle.
MIKE: And on his knuckles, "Love Dick."
(laughs) MIKE: Thank you, my friend.
(upbeat music)
DANIELLE: You guys be careful out there, have fun.
ROBBIE: Thank you, Dani D... JERSEY JON: Thank you.
ROBBIE: Appreciate ya. DANIELLE: Bye.
ROBBIE: Jersey and I are on our way
to see a guy named Tony.
He just inherited a massive collection from his Uncle Mac.
And now he's trying to clear it out.
It sounds like he's got a lot of good stuff.
JERSEY JON: Get a flyer. Ooh. Hey.
TONY: Hey. ROBBIE: You Tony?
TONY: Hey guys, yes sir. JERSEY JON: How are ya?
ROBBIE: Talked to Danielle on the phone?
TONY: I did. JERSEY JON: I'm Jon.
TONY: Jon, thank you for coming.
JERSEY JON: This is stuff we're looking for.
You talked to Dani, right? TONY: I did, yeah.
Okay, I think we got some of this stuff right inside.
ROBBIE: Radios? TONY: Yeah.
ROBBIE: Transmitters? JERSEY JON: Got any old motorcycles?
TONY: Uh no, probably not, but we got radios.
JERSEY JON: Radios? Okay cool. ROBBIE: Alright.
TONY: You guys want to take a look--
JERSEY JON: Wait, wait ,wait, I want... this chair.
What's going on with this thing? You're taking this thing out?
TONY: Yeah, I was just moving some of the stuff out so we have a pathway.
JERSEY JON: You wanna sell this chair? TONY: Absolutely.
JERSEY JON: Mid-century modern chair. This is cool.
JERSEY JON: This is a really great mid-century chair.
You know, mid-century furniture is really hot now.
It's the perfect furniture for industrial interior design.
It's a really nice piece.
JERSEY JON: 50 bucks. TONY: Sold.
JERSEY JON: Sold? Beautiful. TONY: Yeah.
JERSEY JON: I'm on it, man. Thank you so much.
Alrighty.
ROBBIE: What's up with the tube stuff?
TONY: My Uncle Mac worked on electronics equipment.
JERSEY JON: What time period are we talking about?
TONY: After he graduated high school, he went to work
in Fort Bragg, and he worked on electronics for the army.
ROBBIE: Wow. TONY: He was working on it
in the mid-'50s up until 1988
when he retired as a civil servant.
JERSEY JON: Oh, look at these, Robbie, tubes.
You got more of these? TONY: Yeah, there's plenty more of those,
in the building or in the house there's more.
It's all for sale, you know. ROBBIE: Yeah?
JERSEY JON: Show us around, man. TONY: Absolutely.
JERSEY JON: Let's see what you got going on here,
because you got some cool stuff out here, you gotta have cool stuff in there.
TONY: Come on in. JERSEY JON: So this was a repair shack or this was...?
TONY: This was his shack where he did repairing,
also has a recording studio.
JERSEY JON: Wow, this is cool. Oh, yeah.
ROBBIE: Man, you got some stuff in here.
TONY: Uncle Mac was a collector
of just about anything old and unique.
He was a civil servant,
so he had a nice long retirement till 87 when he passed.
So, he really had time to work on electronics.
He was always tinkering for sure
on a TV, a radio.
If he had a spare moment, he wanted to be constructive.
ROBBIE: This was called The Shack?
TONY: Yeah. ROBBIE: Look at that.
TONY: There you go, it lights up.
JERSEY JON: Oh!
JERSEY JON: This shack is amazing.
It looks like the back room
of a Radio Shack from the '50s
when they were bringing stuff in there and repairing it.
I'm going wild right away, I mean, my eyes see
all kinds of electronic equipment.
ROBBIE: Oh, look at this, Jersey.
JERSEY JON: Oh, that's cool. ROBBIE: Microphone.
JERSEY JON: That got a stand, Robbie?
ROBBIE: These microphones, they're the early days of recording.
JERSEY JON: Whoa, how many you got in there, Robbie?
ROBBIE: There's a whole pile of them, dude.
TONY: I didn't even know those were there.
JERSEY JON: This is cool. Look at that,
that's like Buck Rogers, you know.
ROBBIE: Look at that one, wow.
JERSEY JON: These microphones, they're amazing things.
Some are from the '30s, some are from the '40s,
some are from the '50s.
The early ones are really fascinating,
'cause they have that art deco case on them.
JERSEY JON: I just love the design of these things.
JERSEY JON: There's something about an art deco microphone
that just evokes, you know, Elvis Presley
sitting at Sun Studios, man, and cutting a record.
Or Hank Williams, like, singing into this thing
and pouring his heart out.
You know, it all went through these microphones.
JERSEY JON: So this is cool he must have been repairing
these microphones. I mean... TONY: That's Uncle Mac.
Whenever he bought one, if he was using them,
he would buy three or four and have spares, right?
JERSEY JON: I'd be interested in buying this as a lot,
you know. The heads, they're exciting to me,
I love them, they're a wonderful piece of art deco history.
But the thing is, we have to buy these things as relics.
It's a decorator item. It's sitting on a shelf because--
TONY: Sure. JERSEY JON: ...these are probably empty shells.
I don't think there's any electronics in them anymore.
And if they are, they're not working.
For the lot of them, I'm thinking like 350.
The winners are up top there, I love these things.
I mean, I love those aluminum castings on them,
it's got the art deco look. TONY: Right.
JERSEY JON: But these three,
I think are worth more than these three.
TONY: 475? JERSEY JON: Um...
how about 400?
TONY: Okay. JERSEY JON: You'll do 400?
TONY: Yep. JERSEY JON: That's appreciated. I love it.
ROBBIE: I'm gonna get in the rest of these cabinets here.
JERSEY JON: I'm liking your Uncle, man.
This guy has got it going on.
TONY: Oh, yeah, he was one-of-a-kind, that's for sure.
MIKE: So this was all in your office.
DONICK: Oh, yeah. One of my favorite bands ever.
When I was 16, I heard the Specials.
MIKE: Oh, man, I know, me too.
DONICK: I got to know Horace Panter,
the bass player for the Specials.
He makes these prints.
He made a limited edition of their cassette.
MIKE: Oh, wow... DONICK: Music for me is super important.
Bands like the Specials and the Clash,
and the Foo Fighters saved my life over and over.
And their songs, they're there for you like,
we'll get through this.
So, it's always meant a lot to me.
DONICK: This is another one of his,
this is a piece he did with Nan Coffey.
She does this sort of like... MIKE: Oh, wow...
Oh, the Clash... DONICK: ...graffiti stuff around the edges.
MIKE: Dang. Love the Clash.
DONICK: It's hard in this world, right?
Like how do we all connect?
MIKE: Oh, that's a Ramones.
DONICK: I think there's something about finding
shared things that we enjoy.
That's a cool thing.
And the more obscure they are, the more special it is,
that you're like, "Oh, my God, you know that band too!"
You know, it's great. MIKE: Remember King Biscuit Flower Hour?
DONICK: Yeah. MIKE: Listening to that late at night.
One of the bands I heard on there
that was epic for me back then
was, the Tubes, the Tubes live. DONICK: Tubes, right, yeah.
MIKE: You would sit there and just wait for it
to come on and hit record, you know.
DONICK: Yeah, right, right, right.
DONICK: You're like, how else would you find these bands?
MIKE: Oh, never. DONICK: The Specials were like that,
Madness was like that... MIKE: Yeah, yeah. Gang of Four.
DONICK: Gang of Four, yeah, yeah, yeah.
MIKE: It's insane.
MIKE: This is all taking me back to 1979
when I was a freshman in high school,
riding in my friend's jacked up Nova,
cranking the crap out of the Clash and Devo.
I can remember there was a small radio station,
and late at night, the DJ would play music
we have never heard before. And it resonated with you,
and then it was gone. And then you went on a quest
to find that album, searching out these bands.
And that was the journey with this music,
I mean, that's what was special then.
Now I can find music on the internet,
but back then, it was so epic.
DONICK: We got a music room in here, and...
let me show you some guitars. MIKE: Okay.
DONICK: Yeah. Um... MIKE: Oh, yeah,
it's got a good vibe to it.
DONICK: We got lots of stuff in here,
a lot of signed guitars.
MIKE: Wow... gosh...
MIKE: There's walls full of art,
the ceiling is full of art, there's guitars everywhere.
DONICK: Ceiling is this guy Steve Keen, he painted these.
He did some album covers,
and I would buy these panels from him.
DONICK: I'm like, oh, that's cool, a Pavement album, a Modern Lovers album.
MIKE: And all of a sudden, you had this many.
DONICK: Yeah. MIKE: Very cool, man.
MIKE: This room is obviously inspirational to him.
I mean, Donick is a music guy just like I'm a motorcycle guy.
When you walk into my house, I've got you know,
12 motorcycles are in the foyer,
they're in the dining room, they're everywhere,
because that's what feeds my soul.
MIKE: Love that Clash album. DONICK: Isn't that great?
MIKE: Yeah, man. DONICK: Yeah.
MIKE: Sandinista! That was one of my favorite albums.
I mean, the Clash really flexed that creative muscle there.
They were more than just a punk band.
Mick Jones, Joe Strummer.
This was their opus, man, this was it.
DONICK: So yes, some great signed guitars on the walls.
DONICK: This is like one of my favorite things.
MIKE: No way, Mick Jones? DONICK: Mick Jones from the Clash there.
MIKE: Ah! DONICK: Elvis Costello here.
MIKE: Oh, wow... DONICK: This is one of my prized pieces,
I did a cartoon called Lil' Bush,
where we shrank George Bush down.
DONICK: And... Iggy Pop played the voice of Little Rumsfeld,
so Iggy would either fly out here,
I'd go down to Miami and record with him.
And he graciously signed a guitar for me.
MIKE: "Throw them to the lions..." Oh, my gosh, man.
DONICK: Let me pull this out for you.
MIKE: Yeah, what do you got here?
DONICK: This is-- MIKE: This must be the best one,
you got it in a glass case. DONICK: This is a John Lee Hooker guitar, signed.
MIKE: No kidding. DONICK: He signed this,
he passed away probably 15 years ago,
I'm not even sure. But, I luckily
stumbled upon this at one point.
DONICK: John Lee Hooker was a blues legend,
songs like "Boom Boom". They're part of the DNA
of every rock song that came after it.
This is a replica of the guitar he played by Epiphone.
So the guitar's not super valuable itself,
but the fact that he signed it is great.
MIKE: Would you sell that?
DONICK: That's one... I could let go for sure.
MIKE: No kidding.
MIKE: You don't need to know the complete history
of Blues to know names like B.B. King,
Robert Johnson, and John Lee Hooker.
This really isn't about the quality of the guitar,
it's more about the signature and the way it's presented.
MIKE: So what are you thinking on that?
DONICK: I assume something like this is around 1,500 bucks.
DONICK: You know, like at auction
and you find the right fan for it.
MIKE: Mm-hmm. DONICK: Would you do like,
$1,000- 1,200 or something on something like this or...
I mean, I'd love for it to have a good home.
MIKE: We have a store in Nashville. This would obviously
be something easy to sell there.
We're also close enough to Memphis.
DONICK: Yeah. MIKE: Where a lot of people
are traveling the Americana Music Triangle, you know...
MIKE: So they'll hit all of that. So...
I'll tell you what, I mean, if it's going
towards a charity, if you do... 1,200 on it, I'd do it.
DONICK: Great. I'll do it. MIKE: Alright, thank you.
DONICK: Alright. Find a good home, John Lee.
MIKE: So, so cool.
DONICK: As much as I love that,
I've enjoyed it, and I have 25 other guitars now
that I've accumulated. So he'll find a good home
for it, all good. I got plenty to share.
MIKE: Would it be weird if I asked if you had
anything at all that's Simpsons-related?
You know what I mean, like anything--
DONICK: It's not weird. You know--
MIKE: Even the toys, the toys that were limited edition,
you know, back then.
MIKE: We're getting to know each other a little bit,
we've got a rapport. I've been wanting to ask,
can I see some Simpsons stuff?
DONICK: I do in the basement, there's a couple of boxes
of like old scripts and storyboards and stuff that,
I, like, I honestly haven't looked at.
MIKE: Can I see any of that stuff?
DONICK: Yeah, we could dig some out.
DONICK: Why not? See if I can find you a box.
TONY: I'll take you over to the pool house,
and we'll go check out some more stuff.
JERSEY JON: The pool house? TONY: Yeah, used to have
an above-ground pool over here with a picnic area.
ROBBIE: Really. TONY: And he also had a basketball court here.
He had it for the community, these.
JON: How cool. ROBBIE: So kids would just come
by here and play basketball? TONY: Yeah, they could flip the lights on,
pay a quarter per hour and...
JERSEY JON: He would charge a quarter per hour?
ROBBIE: And people actually paid?
TONY: Hey, that was pretty reasonable.
JERSEY JON: What, they flicked the lights off
when your quarter's up? TONY: Actually, you got
a warning light, flick, flick.
ROBBIE: Oh, you got 10 minutes left.
TONY: You have 10 minutes left, the lights are going out.
JERSEY JON: I love that, it's so cool.
JERSEY JON: There's no vending machine for light.
And Uncle Mac figured it out.
TONY: To the right is the old house that
used to sit out by the highway.
Uncle Mac had it moved
just to avoid paying city taxes when he got annexed.
JERSEY JON: What? TONY: Yeah.
JERSEY JON: So he moved it 100 feet to avoid the taxes?
TONY: Yes. (group laughing)
JERSEY JON: Like how much taxes did he save?
TONY: The big issue though is... when he set it back down,
the termites got in it and it's really... fallen...
JERSEY JON: So that's what happened, it started dilapidating.
TONY: Yeah. TONY: So it's kind of falling down.
ROBBIE: Yeah. TONY: So we can come inside
and take a peek. There's some other things to look at in here.
JERSEY JON: Oh, yeah. ROBBIE: Look at that.
ROBBIE: There's a room full of Victrolas.
TONY: Some of this was moved from the house,
because the house was getting in such bad shape.
JERSEY JON: Wow.
JERSEY JON: These are all wind-up phonographs,
spring-wound like a clock.
Way before electricity was used in a phonograph,
you would wind them up and listen to an album,
a 78 on it.
TONY: I don't what his interest in these were.
He didn't leave any specific information about them.
JERSEY JON: These things are inside horn Victrolas.
That's a horn for an outside horn Victrola.
There's not one of those here that I can see.
ROBBIE: I don't see one here.
JERSEY JON: These are later Victors. This is from...
That would be from 1909, 1910, '11.
And then you get into these things. This is like later,
this is in the '20s.
And the reason why you could tell, is like,
this is where the speaker is. And that's not outside horn,
it's inside horn. These are more valuable
than what these are.
I mean, if you had an outside horn one, you're looking at,
you know, a grand, maybe 1,500.
The inside horn ones, it's just like,
maybe 150 to $200 thing. ROBBIE: Yeah.
JERSEY JON: I mean, these are really cool.
I wouldn't really be interested in any of the inside horn Victrolas.
But I could hook you up with guys you can contact
to do something with. They're beautiful cabinets.
ROBBIE: Oh, yeah. JERSEY JON: I'm a furniture guy
and I love all the veneers, I mean, this is gorgeous stuff.
And you know, I'm hopeful this all is going to come back.
TONY: Okay.
TONY: It's been a little overwhelming
to deal with Uncle Mac's stuff.
It's something you don't want to have to do,
so I was pleasantly surprised
with Jersey's points about the phonographs.
We'll do something with them.
ROBBIE: I got to ask... JERSEY JON: Whoa...
TONY: There might be coins in that.
ROBBIE: This is a payphone.
I grew up in a time where I used a payphone.
We didn't have cellphones. That's how I called my mom,
to tell her where I was.
ROBBIE: Mom, yeah, I'm in Detroit now, okay.
I remember trying to call her.
ROBBIE: Payphone in general have gone to the wayside.
But they are so cool.
And there's guys out there that will want these.
JERSEY JON: Pretty cool, Robbie. ROBBIE: Is this something you wanna sell?
TONY: Yeah. ROBBIE: 125 bucks.
TONY: I'll take 175.
ROBBIE: 160 bucks.
TONY: Deal. ROBBIE: That works.
ROBBIE: Shake his hand, Jersey. JERSEY JON: Thank you.
ROBBIE: I'll tell you what they're gonna do with this,
they rewire them so they actually can work again.
TONY: Oh, yeah? JERSEY JON: You can put them on a landline.
TONY: What about this? It's kind of...
ROBBIE: Oh, that's cool. JERSEY JON: Oh, yeah, that's cool.
TONY: Yeah? He loved radios.
JERSEY JON: Yeah, let me see that thing. Yeah.
JERSEY JON: That's got the look. ROBBIE: Actually,
you got a great look to it, Jersey.
JERSEY JON: Radios like this have a really great visual impact.
I love this kind of stuff.
I mean, your basic mid-century radio.
And what's cool about these things
is that you can take the tube set out of it
very carefully, and you can put a Bluetooth speaker in it
and you have a really cool radio on your table
with sound coming out of it.
TONY: Here's another... modern color looking anyway.
ROBBIE: Oh, yeah. JERSEY JON: Wow.
That's something like I Love Lucy.
(laughs) ROBBIE: I Love Lucy.
TONY: Motorola. ROBBIE: Oh, yeah.
Even the back's still on it. These are always broken.
JERSEY JON: 75 bucks for both of them.
TONY: Ooh... JERSEY JON: Yeah.
This is a plastic case radio.
They're not super valuable, but they do have the look.
And this has got that mid-century look,
this has got the mid-century look as well.
TONY: Uh... okay. I'll take it.
JERSEY JON: You'll take it? Thanks, buddy.
TONY: Yeah. ROBBIE: Alright. See, I'm plugging this thing in.
JERSEY JON: Yeah no, don't plug them in, dude.
They're not going to work. The color is really cool on that, I mean...
JERSEY JON: Robin's egg blue is...
ROBBIE: Yeah. JERSEY JON: ...it's neat. Thank you.
DONICK: This is the library. MIKE: Oh, man...
DONICK: There's lots of fun stuff--
MIKE: You got a Lambretta in your library!
DONICK: And enjoy the Lambretta.
MIKE: TV-175, nice.
MIKE: I love the fact that Donick has his scooter
in the house. It shows that he's looking at it
as a piece of art. That's the way I look at it too.
DONICK: '63, I think.
MIKE: Did you have this restored?
DONICK: No. You know, this is one of those
Vietnamese like... project.
MIKE: Oh, you bought this overseas? DONICK: Oh, yeah.
MIKE: So did you commission this?
DONICK: No, that was on there. MIKE: No kidding, they did that.
DONICK: I was like, that's coming back to LA.
It used to be a daily rider, I'd ride it all the time.
MIKE: Oh, my-- Really. DONICK: Done with mirrors like Quadrophenia-style.
MIKE: Yeah, yeah, that's what I was gonna ask, you if you were into that.
Dude, that was my album. That was my jam.
MIKE: Quadrophenia. So this is a great scooter,
the 175, man. That thing will haul ass.
DONICK: Well, don't even try to buy that.
MIKE: Dude, it's so cool! DONICK: It found a place
to park in our house and for now, it's here.
MIKE: Oh, my God, no, it's perfect, it's brilliant.
DONICK: One day, I'll ride it again.
I got some Simpsons stuff. This is the box,
got a couple of them, let's see what this is.
MIKE: Okay, it looks like it, yeah.
DONICK: I was there Season 7 through 11.
MIKE: Wow. DONICK: So, this is a long time ago.
So this is what, for whatever reason, I ended up with
having leftover from the Simpsons.
MIKE: Everybody knows the Simpsons.
It is one of the longest running cartoons of all time.
Bart Simpson is definitely up there with Mickey Mouse.
I'm talking cartoon royalty.
MIKE: "Production script number 5F03, Bart's Star."
DONICK: Yeah, so Bart's Star, that's an episode I wrote.
Joe Namath made an appearance in that one.
This is based on, actually, in high school,
I was on the football team, loved playing football.
Our coach made his son the quarterback.
And we're all kind of like...
you're making Scott the quarterback?
DONICK: Scott would agree.
And I thought, what a great idea
for Homer, making Bart...
DONICK: He's like, Bart's the quarterback,
even though Nelson's really good.
DONICK: And so we did an episode about that.
MIKE: It's so cool to see that Donick was plugging things
from his life into the show. That's what creative people do.
DONICK: There's one other thing, I didn't really
plow through this, but this is like,
one more box of a few of these things.
DONICK: But these are storyboards.
MIKE: Wow! These are epic!
ROBBIE: So, I got to ask, I see a door.
TONY: Oh, yeah, that's the other room,
so let's take a peek and see what's in there.
JERSEY JON: Ah cool. ROBBIE: Wow.
Some record-- Holy cow, did he have records.
This must have been his record room.
JERSEY JON: A lot of records. TONY: Yeah, he was a lover
of music, and he would just sit and listen to that.
JERSEY JON: Wow, that's so cool. Look at this, Robbie.
Turntable. Dude, it's a Marantz! That's good.
JERSEY JON: This is like the holy grail of turntables.
It's a Marantz direct drive turntable.
JERSEY JON: There's no belts in this thing, the motor goes
right into the turntable and powers it.
That's a very cool piece.
Some guys will spend the moon for turntables.
JERSEY JON: There's nothing better than listening
to an old album on a vintage turntable.
I mean, it's a huge resurgence in vintage vinyl.
It's hot now. I mean, they're repressing records
and remastering originals, Led Zeppelin, Eagles records.
I mean, it's amazing what's available.
You can put an old Led Zeppelin album back
on this thing, and there you are, man, listening to "Kashmir"
on the original turntable that we had in 1973. Really cool.
JERSEY JON: Power button on...
Ugh. It's not working. (sighs)
So, I mean, it's a really cool piece.
But the thing's broken.
JERSEY JON: Obviously, this has got a motor issue
right off the bat.
They're not a simple thing to fix.
I mean, I've fixed turntables before,
they got to be recapped, there's all kinds of issues
that go with these things.
And it's expensive to do.
But this thing is totally worth saving.
JERSEY JON: Um... man, I've seen these Marantz's
go for $1,000. But it's going to need work.
TONY: Can you get motors? JERSEY JON: Oh, yeah, no,
these things are well supported. You can find anything for these turntables.
But all that stuff's going to cost money.
For me to take a chance on it, I'd go 200 bucks.
If it was working, yeah I know it'd be a whole different story.
TONY: Oh, yeah, yeah. JERSEY JON: You know, but... I could sell it for parts,
like some guy might need the turn arm, the platter...
TONY: Mm-hmm. JERSEY JON: So, if anything I could sell the parts
for the darn thing for 3 or 400 bucks.
TONY: Can you go 225.
JERSEY JON: Um... yep, absolutely, man.
TONY: Deal. JERSEY JON: I'm in love with it.
(Tony laughs) JERSEY JON: You know, I haven't seen one.
TONY: I'm not gonna do anything with it.
JERSEY JON: Thank you, man. ROBBIE: I gotta ask, though,
this is an early gas globe.
Milk glass body. I mean, I'm a gas-and-oil guy.
Oh, it's broke. JERSEY JON: Oh, it's busted!
ROBBIE: Broke in the back. But the lens actually is in good shape.
Oh, wait a second, there's that crack right through there.
It's probably 650 without the cracks. 200 bucks.
TONY: I'm not even going to argue with you about that.
JERSEY JON: Cool, dude, thank you.
TONY: Those 45s, did you go through those?
ROBBIE: Grab a stack. That's the only way
you're going to look through these,
there's a lot of them here.
ROBBIE: Over the years, I've bought boxes
and boxes of 45s.
It's all about the subject matter.
JERSEY JON: "Beer Barrel Polka."
ROBBIE: There's probably 200 records,
very specific to your uncle.
JERSEY JON: "Orchids in the Moonlight."
ROBBIE: Hey, it's not that I don't like his music taste.
(overlapping chatter) ROBBIE: There's some days
that I do that. That's about three times a year.
(group laughing)
ROBBIE: 125 bucks.
I might find two records in there,
I might use them on my jukebox.
TONY: I'll take it. ROBBIE: Alright.
Thank you, thank you. JERSEY JON: Awesome.
MIKE: Wow... these are epic!
DONICK: Here's storyboards. But you can really see
how the artists, they get the script
and they go frame by frame... MIKE: Holy crap...
DONICK: ...showing you how the jokes are going to play.
MIKE: And this is the episode you wrote.
DONICK: That's one I wrote, yep. MIKE: Wow.
DONICK: The working materials, the scripts, the storyboards.
I put them in a box and filed them away.
And I haven't really thought about them in 20 years.
This is history that's fun to share.
It's fun to look into that stuff,
it definitely is time traveling.
MIKE: To see it broken down like this is incredible.
MIKE: What I love about this stuff is it's his.
I mean, people know him as a writer for the Simpsons.
So even the storyboard alone has the notes on it,
changing things. I mean, they're very personalized,
which is incredible.
DONICK: Here's what's gonna blow your mind,
now I'm seeing this. MIKE: Okay, what is it?
DONICK: These are pencil sketches.
MIKE: These are actual sketches, not copies.
DONICK: Yes. MIKE: Oh, wow...
DONICK: And you could see there's a few--
MIKE: So this is original art. DONICK: Yeah.
This is a scene they gave me afterwards,
because at the time, I was big into collecting
pre-Columbian art. And this is Homer,
the joke was, eBay was a new thing,
and he was buying lots of pre-Columbian art off of eBay.
MIKE: Yeah, yeah. DONICK: Which is like, the craziest thing.
DONICK: It was what I was doing...
(Mike laughing) DONICK: They were making fun of me for it,
'cause I was like, I just got luck--
You could actually see a few of these pre-Columbian vases here.
I had 100 of these.
And everybody on the Simpsons was making fun of me for it.
We wrote a scene where Homer was like,
"I'm gonna be rich!
I'm spending every cent on eBay buying pre-Columbian art!"
DONICK: They're like, you know it's all fake.
So Homer went broke. That's how he lost his money.
MIKE: There's Marge. DONICK: Marge is like,
"Homer, all of that's a scam, you know." So this--
MIKE: So this, look, you lay over it where she's like, looking at him.
DONICK: So you start to get a sense of the spacing of the scene.
And this is literally based on my wife's reaction
to me buying pre-Columbian art.
MIKE: He's like, "Oh, my gosh, I made a bad mistake."
DONICK: Yeah. We ended up cutting that scene,
so this is like the remnant of...
MIKE: Wow. DONICK: That's his pre-Columbian vase.
MIKE: So... would you sell any of this?
MIKE: Here I am, holding some of the original
drawings for a series I've watched for decades.
DONICK: It's pretty cool, it really is.
MIKE: It's amazing, it's incredible!
DONICK: Like, what would you be interested in?
MIKE: Oh, my gosh, I mean, anything that's hand-drawn,
a storyboard, a script.
I mean, come on, I mean, it's like I'm blown away.
MIKE: This stuff is highly collectable.
It's very sought after. And to be standing here
with the guy that wrote for the Simpsons,
takes you over the top, man.
DONICK: Um... the only, like, literally here's the only thing
I'm thinking about. My son loves the Simpsons.
DONICK: This is like one of those areas where I'm like,
I'd love to have him get a shot at some of this stuff
and go like, what's meaningful to him.
MIKE: Oh, my gosh, yeah, this was your work.
MIKE: This is a major part of your life's work.
DONICK: Yes. So it's not like,
oh, I want to sell the box of stuff, but...
let's put together like a nice packet.
Like, I think you could take a storyboards for an episode.
This is epic to have.
MIKE: So this is Act 1, Act 2, Act 3.
MIKE: And this is for "The Itchy & Scratchy & Poochie Show."
DONICK: Oh, it's one of the best episodes.
MIKE: Oh, is it? DONICK: It's so good.
This is a legendary episode. And it is the writer's room
making fun of the process of TV and what executives want
and why it's all gone wrong. They introduce a character
called Poochie to try and hip up everything.
(Mike laughs) DONICK: So a surfing dog
with sunglasses and a baseball cap
and that's Poochie. So this is a big one
in Simpsons lore and history. MIKE: Okay.
MIKE: And then you have the script for Itchy-Scratchy-Poochie?
DONICK: I don't have a script, I was looking for that script,
'cause I was trying to put them together for you,
but best I could do is like, here's a "Bart's Star".
If it helps having my name and the notes in it,
then that's fun. MIKE: Oh, my gosh.
MIKE: Wow. DONICK: We got a couple drawings
from this insane episode
that's really just a burn on me
of using Homer to make fun of me.
DONICK: But that's like a little bit
of Simpson history for you to share it with Simpsons world.
MIKE: Are you kidding me? Oh, my gosh.
So what are you thinking on this?
TONY: We can step back to the recording studio,
watch your head. Hehe.
JERSEY JON: Yeah. That door is crazy,
wonder why he did that. Was he a short guy?
TONY: He was about 5'3".
JERSEY JON: Okay, so he fit right through here.
TONY: Yeah. ROBBIE: Oh, wow. What!
JERSEY JON: Ha. TONY: The Shack was the place
Uncle Mac could record people in the community.
He grew up with my grandmother and my grandfather
living in the house there.
And it was his way to get out of the house
and do what he liked.
ROBBIE: What kind of stuff was he recording here?
TONY: Local recording, gospel music.
JERSEY JON: Oh, sure. JERSEY JON: Oh, yeah, a lot of churches around here.
TONY: Absolutely. JERSEY JON: Yeah.
JERSEY JON: Absolutely. ROBBIE: Can you imagine it
back in the day, they're belting out gospel music,
Tony's uncle standing on the other side.
You feel it when you walk in that room.
JERSEY JON: What's that stuff, Robbie?
TONY: So that's uniforms,
came from a softball team. It's local to the community.
ROBBIE: Right here, look at that. Early.
JERSEY JON: Those are wool. ROBBIE: Yeah, these are wool.
JERSEY JON: They're not synthetic.
ROBBIE: Can you imagine playing in the day?
TONY: Yeah. JERSEY JON: That's cool.
ROBBIE: These wool baseball uniforms in here,
they are so cool.
They're probably from like the 1930s, 1940s.
Well, can you imagine? You're in North Carolina.
It's 115 degrees out.
It's a wool suit. Come on.
ROBBIE: How much is that bad boy?
TONY: Hmm, well actually there's a Bladenboro
Historical Society,
and there's been some interest shown on these.
JERSEY JON: Absolutely. ROBBIE: Oh, yeah.
TONY: Those would be a good fit for that. Yeah.
JERSEY JON: Absolutely, it belongs in a historical society,
part of local history.
ROBBIE: I love the fact that Tony
wants to keep these. I mean,
this is a piece of history from the town.
And getting them to the local historical society
is absolutely perfect.
ROBBIE: Jersey. JERSEY JON: I know.
I spotted that too, Robbie. Wow. ROBBIE: Ah! Wow!
ROBBIE: I see this gigantic neon sign.
JERSEY JON: That's cool. ROBBIE: See now you've piqued my interest,
because I'm an advertising freak.
JERSEY JON: Yeah. TONY: Oh, yeah.
ROBBIE: This is a GE Appliance sign.
It's in great shape, it's porcelain.
And the cool thing about it is, it exists.
Most of the time when they took these signs down,
they got crunched. They didn't care about it.
I mean, this thing survived.
It's like the gods are looking down upon me right now.
ROBBIE: I'm trying to see it, the privilege panel underneath here.
Something Corporation, it says.
Do you know anything about this place?
TONY: It was a hardware-slash-grocery store
that had appliances on the top level.
JERSEY JON: This was hanging out in front of it?
TONY: Down in on the side of the building, downtown.
They took it down and Uncle Mac wanted it, that's exactly...
JERSEY JON: That's a big commitment.
ROBBIE: Tony's uncle was not only just the radio guy,
he was saving items from the town.
When guys took these signs down,
they were pretty much going to the scrapyard.
They were replacing it with something else.
Uncle Mac saved this piece.
It's just cool to see it in its setting.
ROBBIE: I have a really early GE piece in my shop
that talks about the 10 best servants.
The 10 best servants in the day were the products that GE made.
TONY: Oh, absolutely. ROBBIE: From the dishwasher,
believe it or not.
ROBBIE: The 10 best home servants,
from your stove to your refrigerator,
your washer and your vacuum cleaners,
to an oil furnace, to radios, to clothes iron,
lamps, dishwashers, water heaters.
Back in the day, GE was basically
in every home in America.
TONY: So I take it you have interest.
ROBBIE: Yeah, I mean, is this something that you're
going to relight it up, you're going to clean it up?
TONY: Oh, no, I'm not. ROBBIE: Yeah.
TONY: No, I don't think there's any opportunity for that.
ROBBIE: The one side here, all the glass is broken.
I was just looking at the overall condition...
JERSEY JON: Oh, yeah. TONY: Oh, my gracious.
ROBBIE: There's a broken tube over here,
there's actually two. This side, this is all milked,
this side got the sun baked on it.
And the other side didn't. This side looks beautiful.
The neat thing I love the most about it,
it's got the privilege panel on it.
And you know what the key to this is? Is this.
JERSEY JON: The can. ROBBIE: Everything's here.
ROBBIE: That's called the bullnose on it.
ROBBIE: It's a double-sided.
This sign hasn't been jacked with.
ROBBIE: This thing fixed up,
working, polished up,
five grand. But it's going to take some money
to get it there. You're gonna spend at least
$1,600 on the neon tubes.
ROBBIE: $2,800.
TONY: Hmm...
Could you go an even 3?
200 more, right?
I think Uncle Mac would like that.
ROBBIE: I'm so damn sentimental. (Tony laughs)
ROBBIE: I am, when you threw that in, Tony,
I think Uncle Mike would like that.
TONY: Ah, I appreciate it. ROBBIE: You got me right there.
ROBBIE: I love projects like this.
This is what makes me get up in the morning, right here.
TONY: It's definitely one-of-a-kind.
You don't see them every day. That's for sure.
ROBBIE: I won't make a ton on this.
I wanted to give Tony as much as I could.
Some days, it's just about saving the piece of history.
TONY: There's no telling what we will find in here.
ROBBIE: I know, that's why I'm just like, so amazed. It's cool.
TONY: That's Uncle Mac. I've looked through some stuff,
but a lot of times I'm not even aware of what I'm looking at.
JERSEY JON: Uncle Mac was my kind of guy.
I mean, he was interested in audio and electronics
from the '50s and '60s. This guy was inspired.
JERSEY JON: Oh, yeah, it's an old reel-to-reel.
JERSEY JON: This is a different era of electronics.
Back then, there was different romance to it.
JERSEY JON: Look at this, Robbie. It's a Fisher. That's early.
JERSEY JON: The Fisher Company made really
high quality audio stuff.
JERSEY JON: It's a switcher. It's a fader. That's cool.
JERSEY JON: This is not for listening to music,
it's for making music. It's for mixing
and processing sound. This is professional recording equipment.
And it just has that rich warm-bodied sound
that can't be matched by solid-state electronics.
JERSEY JON: Fisher was doing audiophile stuff.
ROBBIE: Like this? JERSEY JON: Yes, that's cool too.
ROBBIE: ..."loudness, bass, treble."
JERSEY JON: So that would be like an early equalizer.
Tubes in the back? Oh, yeah. This is '60s.
ROBBIE: Look at the jewels on that, Jersey.
JERSEY JON: It's beautifully made.
And look how they did everything. It was really nice quality.
This has got a wonderful maple case around it.
TONY: Again, that was Uncle Mac.
He dealt with high-end stuff.
JERSEY JON: And he's got some nice Fisher pieces here,
which I'm definitely interested in.
So, this piece here, retail on this
is probably like 2-and-a-quarter...
if it works. And I've got to buy it as a relic.
I got to go through it, I got to recap it,
I got to change the potentiometers.
So something like this, I'd do like 100-and-a-quarter.
JERSEY JON: And that piece there, it's got some damage
on the knobs, I don't know what's going on with that,
it's not just dirt. ROBBIE: It's... mold.
TONY: So there's moisture been in the...
JERSEY JON: And that's a big problem.
TONY: Yeah. JERSEY JON: You see there's capacitors in there
and it gets swollen like a fat tick.
And then you got to take all that out,
you got to replace all that stuff.
And that's money. But that piece is actually
really good. Retail on that thing,
with good condition, maybe an $800 piece.
JERSEY JON & ROBBIE: If it works.
JERSEY JON: For me, I gotta look at it a whole different story.
'Cause I got to put the time and effort into the darn thing,
or somebody does. TONY: Right.
JERSEY JON: So for me, this thing is worth $200.
TONY: Ooh. JERSEY JON: That's it, dude.
TONY: Really? ROBBIE: Honestly, we're taking a chance on it.
JERSEY JON: We're taking a big chance on it.
ROBBIE: Because of this.
JERSEY JON: That mold is really scary.
TONY: Yeah? ROBBIE: That's...
JERSEY JON: That means there's water somewhere
with moisture, something. TONY: Well definitely moisture.
JERSEY JON: Moisture and electronics do not mix.
TONY: Absolutely. JERSEY JON: So, for both pieces,
3-and-a-quarter.
TONY: What about 400?
JERSEY JON: Um...
Well, I really like 'em.
I'll tell you what, remember the box of tubes
you had outside in that cardboard box?
TONY: Oh, yeah. JERSEY JON: Throw them in,
and I'll make it 375.
JERSEY JON: Tubes are really great.
Vacuum tubes, I mean,
they put them in amplifiers. There's vacuum tubes
in all this vintage audiophile stuff.
The restoration of this kind of equipment takes tubes.
And there's a box of tubes in that truck I want.
TONY: 380. It's 5 bucks.
JERSEY JON: 380. TONY: Alright.
JERSEY JON: Alright. TONY: Thank you.
JERSEY JON: Yeah, I appreciate it, man. Thank you.
ROBBIE: You get into electronics, it's tough.
Electronics are like car parts,
they're very specific to a certain model.
Thank God I got Jersey with me, 'cause he's the only
guy I know that can work on a 1910 Harley,
or fix a 1972 RCA color television.
He's the guru.
JERSEY JON: That's an amp. Probably out of something.
Maybe even out of an early TV.
JERSEY JON: This is a GE amplifier.
It's an exposed piece.
And that's the attractive part of it.
I like to see how it works.
The glowing tubes, it brings a different level
of excitement to processing sound.
JERSEY JON: With something like this, who knows if it even works,
but it's got a good look to it. 75 bucks.
TONY: That sounds good to me. JERSEY JON: Thank you, buddy.
TONY: Yeah. Thank you. JERSEY JON: Very cool.
Whoa, whoa-whoa-whoa! TONY: Look at that!
JERSEY JON: Vacuum tubes. TONY: Wow, look at that.
JERSEY JON: It's full, Robbie.
JERSEY JON: Vacuum tubes are designed
to manipulate electrical energy to amplify sounds.
They're like the gas pedal for electrical current
which allows manipulation of volume and power level.
JERSEY JON: My idea with these things to buy them as a group.
I'm taking a chance on what tubes are good,
what tube are not good, I'm not testing these. 125 bucks.
TONY: I'll take it. JERSEY JON: Alright, thank you,
thank you, thank you, Tony, appreciate it.
MIKE: So... what are you thinking on this?
DONICK: Well, I'm wondering... You know, I really
don't know the Simpsons collectables world and fan...
I know it's big and I know they love stuff.
You know, part of what I'm doing is whatever
you paid for these, taking some of that money,
putting it back into Musack... MIKE: To charity.
DONICK: Turning it into guitars and stuff for kids.
So, I'll throw a big number out, how about like 3,000 bucks?
MIKE: I mean, the documentation behind any show
that is successful and has run as long as the Simpsons,
is epic, because it's touched generations.
DONICK: Yeah, yeah, yeah. MIKE: You know.
I'd love to bring this out into the collector hobby, man.
I'm not even gonna try to talk you down.
DONICK: I love it. MIKE: If you could sign the acts,
Act 1, Act 2, Act 3. DONICK: Sure.
MIKE: That would be epic. DONICK: 3,500. No, I'm kidding.
MIKE: Yeah. (laughs)
DONICK: I know there's a huge Simpsons fanbase out there
that loves this stuff. I'm one of them.
So I know some fans would love these.
Let's just put it all to Musack
and make good things happen with it.
DONICK: You want just a little signature on here?
MIKE: Yeah, hell yeah.
MIKE: Donick is a collector of pop culture,
but he's also somebody that created it.
And this is a major part of his legacy.
But he understands pushing it out into the world
is about all of us, not just him.
MIKE: What a life, man. DONICK: Ah.
MIKE: Hey, I love the way you're living, buddy.
MIKE: There are a lot of creative people that haven't
had the opportunity that Donick has had.
And he has taken his success,
and turned it into so much more.
I love the idea of this charity,
and how it's touched so many lives.
MIKE: Thank you, buddy. DONICK: Mike's great.
He didn't walk around in bare feet
and put his feet on the table. No, he's got a sense of humor,
he's passionate about lots of different things,
and he's the kind of people you want to hang out with.
(honks horn) MIKE: See ya, buddy!
DONICK: See ya later, man!
(upbeat music)
JERSEY JON: There's a lot here to digest.
TONY: Yeah. JERSEY JON: A lot.
What about these microphones?
TONY: Oh, yeah, they're for sale.
JERSEY JON: Now these got stands on them and everything.
JERSEY JON: Everything. 1, 2, 3, 4. 6-and-a-quarter?
TONY: I'll take it. JERSEY JON: Alright. You got it, dude.
TONY: Thank you. JERSEY JON: More microphones.
JERSEY JON: We're finding microphones all over the place.
They're jumping out of every hole in this spot.
JERSEY JON: They're loose, they're shaking in there.
100 bucks, both heads.
TONY: 125 and you take them.
JERSEY JON: 110 bucks. TONY: Alright, I'll take it.
(laughs) JERSEY JON: Thank you, brother.
JERSEY JON: It's always a good thing to find microphones,
because they do sell well.
ROBBIE: 150 for the pair on these.
TONY: 100 apiece.
ROBBIE: I'm easier, Jersey, you noticed that?
JERSEY JON: Yeah right. TONY: Thanks, sir.
TONY: I was shocked with the number of microphones
that were in the building.
TONY: Not interested? JERSEY JON: You know what I'm noticing here, heh,
elephant in the room. Look at this...
Is that the match to that chair I bought?
TONY: I think so. That's the loveseat, yeah.
JERSEY JON: That is cool... I don't know why I didn't see this.
(Tony laughs) JERSEY JON: That's cool.
Look at that, Robbie. ROBBIE: Ohh...
ROBBIE: It doesn't matter where we go,
Jersey is always going to find
some type of furniture to buy.
JERSEY JON: Mid-century modern is cool.
JERSEY JON: 1960s. I mean, the cushions need new foam,
but the covers are still great.
JERSEY JON: It's just got the look, you know. I like it.
JERSEY JON: This piece is really in nice condition.
I mean, it's got some scratches and some missing finish,
and some touch-ups need to be done.
But what's really cool, is that the fabric is there.
I mean, the fabric is not ripped,
I mean, it's good quality furniture.
JERSEY JON: It's got to be cleaned up and finished a little bit.
You got a lot of wear on the arms.
TONY: Yeah, but there's not chunks not there.
JERSEY JON: No, there's not chunks knocked out.
I'd go 150 bucks.
TONY: Hoo, well you gave me 50 for just the chair.
JERSEY JON: Right. TONY: I think it's worth 250, right?
JERSEY JON: Ahh... 200. TONY: 200, ugh.
JERSEY JON: I mean, end-of-the-rainbow thing,
I'm probably going to turn this around
after I clean it, put new foam in it.
I may get 800 bucks for the whole set or something like that.
TONY: Oh, wow. So that makes it... Huh?
JERSEY JON: But you gotta clean it, you gotta do the work,
I gotta get it home. TONY: Yeah, yeah, yeah, yeah.
JERSEY JON: I'm a furniture refinisher-restorer for 43 years, dude.
TONY: 225.
ROBBIE: He's got ya. TONY: Alright.
(laughing) JERSEY JON: I like it, man. I like the color.
This green color is super cool.
TONY: Oh, that's vintage what year?
(laughs) JERSEY JON: It's just got the look.
JERSEY JON: What I like about this piece is the restoration
is going to be fairly easy. It's gonna be an easy
thing to clean up and retail.
ROBBIE: All right, grab that, Tony.
JERSEY JON: Tony is so cool.
He's taken his uncle's legacy,
and he's honoring his memory.
He's not throwing everything in a dumpster.
He's making sure that he's giving things
the proper respect and treatment.
I'm glad that we could show Tony what he's got,
because we could find homes for a lot of these items.
JERSEY JON: Dude, those cushions don't even match!
(Robbie laughs) JERSEY JON: What the heck did I just do?
ROBBIE: That's up to you. TONY: That's how it works, man.
ROBBIE: You don't pay attention or what?
JERSEY JON: (sighs) It's still cool though.
TONY: There's no returns. JERSEY JON: But I'm never gonna match that fabric.
TONY: As-is. ROBBIE: Thank you, buddy.
JERSEY JON: Thank you, man, it's been a pleasure.
TONY: Yeah, my pleasure too. JERSEY JON: Real pleasure.
TONY: I was pleasantly surprised, yeah,
those guys did a pretty good job in covering everything
that they thought might have some value in.
I think Uncle Mac's looking down, smiling, saying,
"I knew I kept that stuff for a reason."
(laughs) Right?
JERSEY JON: Yo, happy picking!
(honks horn) TONY: Thank you.
MIKE: Hey, this is Tom Waits, man,
I heard you wanted to do a cover of my old 55.
ROBBIE: Here, hold my hand. Please?
JERSEY JON: What? DONICK: This is a...
MIKE: Dang, this is sick. DONICK: ...'63 Buick Electra.
Whoa! MIKE: Okay!
(laughs) CAMERAMAN: Ah, (bleep!)
(laughing)