ep05 – Michael Polsinelli

Michael Polsinelli is the top artist for Davines, producing nearly 100 cutting and creative collections globally. He has been pushing the creative boundaries in our industry for over 20 years. His creative designs have influenced hairdressers all over the world and has set trends followed by hairdressers today.

This week’s Headcase is one of the best avant garde artists I know. We discuss creativity, hard work, and how far you can really push yourself.

  • Michael discusses his background and how he got into the industry.
  • ‘Right place at the right time’. Working backstage with Trevor Sorbie.
  • ‘You’ve got to fail your way to the top’
  • Michael talks about how far you can push your creativity and still be tasteful.
  • Chris and Michael take a look back at his work and how he did it.
  • The difficulty of doing avant-garde shows with so many moving parts.
  • How far can you really push yourself?

Complete Transcript

Chris Baran 0:00
You know, when I was working my way up, I always wish that I had the chance to be able to have a little chat with the people that I looked up to the ones that I saw on stage and really wish that I could be like, Well, my name is Chris Baran. And I have been around probably about 40 plus years now, a couple of hair awards behind me. And I figured I’ve got the opportunity that I can bring to you, the hair heroes that we look up to and admire, and let you have and listen in while we have a conversation and find out their mistakes. Find out what they did right and wrong. Welcome to Chris barons head cases.

I couldn’t be more excited about this week’s episode. And here’s why. I have on here a gentleman that I would describe as one of the most creative individuals when it comes to the art of the avant garde. And here’s the other part is that I found he’s also been the backbone of several manufacturers. A is one of the most brilliant artists that I know. And, you know, from a side note, one of the most humble individuals I’ve ever met. So this week’s about my friend, Michael POLSINELLI. So let’s get into this week’s hedge case. Michael, as a lover of the avant garde, and that’s, I know what some of your specialty is. I must admit that I’m honoured and a little bit starstruck by just having you on here. So welcome. And it’s great to have you on head cases. And we always say head cases, because I think if you do what we do, we it’s a little bit of edge case. Yeah, absolutely. You but I also we’re understand we’re fellow clinical heads, right?

Michael Polsinelli 1:56
Yes, we are. Yeah, yeah. from Toronto. Yes. And, yeah, I was born there. And, you know, my, my background is Italian, as you can tell from my last name. And then yeah, just born in you know, I was born in the industry, because my mum and dad were both hairdressers. So they had a salon and, you know, the rest is kind of history, I guess, you know, work there. And on my days off and summer holidays, you know, all that kind of stuff. So

Chris Baran 2:26
other stuff. Did you like, Did you always want to be was it? Like, I didn’t notice I wasn’t necessarily want to be hairdresser. I just sort of fell into it. That’s what was your path?

Michael Polsinelli 2:36
I mean, you know, I was a huge hockey fan and a soccer fan. So I was really big into that. And, you know, you know, exhausted all my avenues there. And, and then eventually, you know, I came I was I went to Europe to go and play back when I was 18 years old. And I came, yeah, I came home and I played played third division there in Europe. And then when I came home, I was like, I finished the rest of my high school. And I was like, Well, I’m gonna get my hairdressing licence as well, you know, just, it’s just a habit. And yeah, kind of, you know, kind of slowly, slowly got into it again that way.

Chris Baran 3:12
Yeah, that’s, that’s wild. So you were telling me about, like, I want to know how the Robert allow the Michael from Toronto transitioned? And what was the path? Like, did you how did you get into, I’m going to use the term education, because that’s just what it’s kind of labelled as whether we call ourselves educators, artists, shares, whatever, but what? How did like did How long were you in that game of hairdressing behind the chair? Before you got the bug? To do it? What did somebody pull you in? Did you want to do it mask? What was it?

Michael Polsinelli 3:48
Yeah, you know, I mean, I get this question all the time, in the sense, where it’s like, well, how did you end up being who you aren’t doing what you’re doing? And honestly, this is, you know, there’s no formula to it, you know, you know, I mean, I think that I always say that you got to be ready, when you’re presented an opportunity. And you’ve got to be willing to jump into the fire and get burned and just kind of like, you know, work your way through it. But at the same time, you know, I really telling you this if you don’t have a little bit of luck to I mean, I don’t care who you are, I don’t care how good you are, I don’t care how famous you are, you don’t get somewhere without kind of like being at the right place at the right time somebody seeing something in you. And you know, there’s a little bit of luck there as well. So it’s kind of like it’s all those it’s all those things kind of put into one but I you know, there’s a couple of people that I have to kind of think and I always do. One is my my ex partner that we kind of had a salon together. That’s Maria Moser and then another one was the owner of Metro Beauty Supply. And that’s Frank Mariah Oh, Oh, so you know, these two, these two people in my life were catalysts in kind of pushing me into it, you know? So Frank kind of said, hey, you know what I think you do? I think, you know, you’d be great going to trial for Sebastian and, and I did you know and and that’s where it kind of all started to be honest with you but it was really somebody else seeing the potential in me and giving me an opportunity, honestly. And then I just took it and ran. Yeah.

Chris Baran 5:29
It’s interesting. I don’t I don’t think you know, I’ll bet most people in industry don’t really realise their own potential. I think it takes somebody else to recognise it and to push you and give that that little shove. You know, you know, you walk out sometimes you walk up to the edge, but they need to push you over.

Michael Polsinelli 5:49
Yeah, absolutely. Like I said, you can’t be afraid of being uncomfortable, you know, is an uncomfortable person in my 20s. I was, I was never comfortable in my own skin. And that was with everything that I was doing. You know, I, the one thing I will say is that I always felt it inside, I always felt something inside me. And I always felt like I’m supposed to be doing something. I just didn’t know.

Chris Baran 6:16
What was that? When you say that? Like, did you mean artistically or something out there? Did you

Michael Polsinelli 6:23
be doing something more? Yeah, I don’t want to say better or greater. I just felt like I’m supposed to be doing something more with myself. And I could just feel it in me. And I don’t know if I just willed it to happen or what but I knew that there was this art, this sort of like this artistic person that was inside me, but honestly, because I didn’t know how the hell I was going to do it, or how in God’s name I was gonna get there. I had no idea. I had no idea. I’m telling you, it’s like, we’re such a small percentage of Lucky fools to get to where we got, you know, at a certain level. And, you know, that’s that, you know, that’s it, you know. But then once again, the next person that kind of took me under their wing was none other than Mr. Roberto betta. in need, I say more. And I always tell a lot of a lot of younger people out there that don’t know this name. You know, they need to look him up. And I always say, you know, look up, you know, Trevor Sorbie, Robert urbanna, the Athens and all of them the world. You know, all these people the Eugene’s Gredos all these guys, you know, they are the pioneers of exceptionalism at you know, pushing what a fibre of hair could do you know what I mean? So, but he took me under his wing once again, he saw something in me he saw potential in me and

Chris Baran 7:52
how did before you go, I want to how did you guys even meet it was that through Sebastian was because that wasn’t the was that jerk is NZ?

Michael Polsinelli 8:01
Yeah, that was that was just at the end of those days of Jerry. And before we had been taken over by somebody else. But it was right there at that tail end, John and Jerry and I was basically transferred to LA from Toronto, because I wanted to take this opportunity of living there. And he, I was working, I was working actually, at Sebastian, we had a salon there called the eyes on at the time, and I was doing my work and doing my clients and stuff like that. And Rob is very good at kind of camouflaging into a wall. And he would just kind of, he would just kind of look, he would just he said, you know, basically, I’ll just watch you work and see how you interact and the way he moved your hands and what the final outcome was. And I was like, you know, you know, I’m gonna give this kid a shot. You know, he already had a team and all like that, you know, everybody had a team of amazing hairdressers, but he’s just basically said, hey, you know, what was going to take you on board, you’re going to come and assist, and then we’ll see what happens. You know, that’s how it started. That’s how it really started. And that’s where my, my learning curve started. I mean, that’s where I really, I always say, you know, your AI is only as good as what it’s trained to see. Yeah, exactly. And everybody knows that, that that that no evolves as an artist or as a hairdresser, and then basically, man, he just rip my eyeballs out of my head and back in again. So he, I, you know, I learned a lot. I learned a lot from him. I learned, you know, how to kind of, you know, see things that I’ve never seen before or even my hands are even capable of doing. So.

Chris Baran 9:54
You know, it’s I remember working the show one time When I was working backstage with, with Trevor, Trevor Sorbie, and I just was just by chance. It’s not like he went, Hey, Chris, why don’t you come and work with me? That was nothing that we had. Prestigious, it was just that, you know, they he said he needed some people. And I put my name in there and happened to do it. But I’ll tell you, I just about, I’m gonna say, Well, if I would have had anything in my balls, it would have been keeping me from falling forward. Yeah, because we kept coming standing beside me and looking over my shoulder, over my shoulder as I was, I’ll never forget, he was doing it. That’s the first time I ever saw when he would take a tick to crocodile irons, you know, you’d put them in the oven. And then he would just make to turn like Two turns If the iron out and let it sit there. And then he would take just one more strand of hair. And then he would put that through that, like a little eye hook. And what I just went, where do you come up with this? And then he said, Okay, good hair just said you do it. And he gave it to me and walked away. And then he came back to watch me. And I just had to say to him, Look at Trevor, would you? Either, if I’m doing something wrong, please tell me because I feel like I’ve got eyes burning in the back of my head. And not that he was because he was so gracious. But the point was, is when you have your hair, God’s small g, staring over your shoulder, and you’re insecure and what you do, I can only imagine at the beginning what it must have been like with Robert, and let me ask you this. Did you know actually who Robert was before you got involved?

Michael Polsinelli 11:34
Yeah, definitely. Because he was he was basically he basically Walker, he basically, you know, float around Sebastian, you know, give me a walk. He just kind of floated down the hallway. But everybody in the world knew Robert was. And I was just lucky to come in, in the heyday. Yeah, again, lucky to be at the right place at the right time, you know, and I’m a Christian, I’m a very level headed person. I don’t I don’t get starstruck and I don’t. I take things I take things, you know, at face value. So, you know, I just kind of I just kind of did what I was supposed to do. You know, I made myself invisible. I didn’t get in the way. When I was assisting at that point in time. And

Chris Baran 12:30
the smartest thing you ever did, yeah,

Michael Polsinelli 12:33
pretty much I there was a lot of people ahead of me, you know, so I didn’t want to get their way either. Because, as you know, you know, back in those days, it was a hierarchy. You know, you did not overstep your boundaries in those days. It’s not like today, you know, everybody has, you know, everybody has a lot of hutzpah today, everybody, everybody has, you know, self belief a lot more than we did back in the day when we were younger. So you just basically, you kind of just, you know, say, you know, you spoke when spoken to and that’s just the way it was. But Robert was, Robert was, he’s a busy guy. So he was like, you know, if he gave you two minutes of his time, and it was like, well, he gave me two minutes at this time. But he gravitated towards me more as, like a person. Yeah. So him and I, we just gravitated towards each other because we had a lot of, of the same interests and likes and,

Chris Baran 13:36
and I thought was that what was that just that because I just want to for the people that are listening and watching, I want them to get what, you know, the whole point behind some of this is if people can listen to some of the nuances of where, where the industry leaders were, and how that can still apply to people now. So what was that that that gravitational pull? What do you think it was?

Michael Polsinelli 13:58
Well, okay, first of all, I’m the type of person that studies I study, I studied him. I studied his mannerisms. I, you know, I knew when he was kind of, you know, certain about something I knew, and he was uncertain about something I knew, and he was, you know, upset. I knew and II just wasn’t, you know, sure about something. My god I just studied him. I just studied him because it was easier to understand and icon and, like, know, when to say something, when not to say something nicknames, kind of like just just, you know, do the right thing at the right time, you know? And he understood that subliminally and subconsciously he understood that I took the time to understand him. And I think that he was very gracious. He was very gracious about that, and I don’t think anybody I ever did that with him. And I think that that’s why he kind of, he had this soft spot for me. And he let me in. Robert is a very complicated individual. He has many personalities. And in a sense, where he’s a very guarded individual, because when you’re when you’re those people when you’re those icons, it’s like being, you know, movie star or rock star, people just want to be in because you’re, you’re the, you’re the, you’re the guy, you know, and they just want as much energy as possible. And he realised that I didn’t want anything. Yeah, I didn’t want a thing. The only thing that I was was just gracious, and thankful that I got to breathe the same air as he did. And he was he loved that about me. And then he realised that this guy is more than just an assistant. Yeah, he’s an actual, he’s a decent, he’s a decent human being. He just, he just, he just wants to learn. And so that was my end. That was my end. And and just the fact that I studied him, and I just enjoyed who he was. The Good, The Good, the Bad, and The Ugly. Because we all have those insights, you know?

Chris Baran 16:24
Yeah. I think that’s, that’s such a remarkable trait to have. Because if people would just understand that people of his ilk are, they’re human beings, first and foremost. And they have their good and or bad days, they have their ugly days, they have the days that they don’t know what the hell’s going on, and they’re going, and you’re standing there going, you know, WTF, what’s going on here, just the same time, same thing as everybody else. And you know what, I think that, you know, I know you, you go through this as well as I do, and not maybe not from the level that that our hair, all of our hair heroes go through it. But it’s, sometimes you just have to let something go in order for the idea to manifest itself later. And I think when people think that you’re creative all the time, and you’re just creative on the spot, we had a friend that just decided, a friend of ours, that she just thought I was funny, for whatever reason. And they were good friends of ours. And we went over to their house, and I walked in the door. And she said, this is Chris, this guy’s talking about this. And she looked at me said, Chris, be funny.

You can’t be any more funny on the spot, and you can be creative on the spot. You know, it’s, it’s a process. And sometimes it’s there. And sometimes it’s not. And sometimes your universe have to give you a little bit of push. Because I know, like, even in the last things that we were just doing. You know, we just said, Look, we just gotta let this alone because it’s just not coming right now. And but even know that will come to you if you just let it alone. You know, and there’s this whole thing about that, if your mind if you can be like, I believe it’s the Indian culture, they Excuse me. Our indigenous people from here, call it a quiet mind, if you can just have a quiet mind. And just think nothing. The universe will give you an idea. And it’s when you get so busy and in your head. Yeah, that you’re trying so hard to come up with something you just can’t and, and getting back to Robert, that’s where he was like is I’m imagining that when you’re in your head, you can’t have that creative moment anymore. And you can be funny at opponents moment’s notice.

Michael Polsinelli 18:47
He was a very hard man to please. Yeah. And that’s in all honesty in him, you know, him and I talk about this, you know, 20 years later, you know, in our after our heyday together, and he was just a very hard person to please. And I just think it’s only because his acceptance of what was acceptable was on a completely different level. Yeah. So trying to get there was almost damn near impossible. Yeah. So, you know, if it was this, it had to be here. If it was here, it had to be there. If it was this great. It had to be this great. If it was this great. It’s like, okay, we could take it to another level. And it was just that understanding of, he would push you to the point of, like, breaking. Yeah. Because his, you know, like his level of excellence was just on another plateau. And it was. It was just, he was tiresome. Yeah. But he also gave me the bill. Liddy, and he allowed me to find myself. He allowed me to, to have that quiet time to really understand who I was, and where and how I had to structure myself into being compartmentalised. And that’s a very hard thing to do is to compartmentalise your brain. But he gave me the time to kind of like understand is like, Okay, I learned how to shut my creativity off. And then reignited again, was incredible. Because

Chris Baran 20:46
I’m gonna stop gonna stop you there on that because it for people that are listening and watching right now is, is there. I mean, I’m sure it’s nothing that you can say in two words that here’s how I disconnect from that and move into that. But is there a is there a something that you do that you know, now that you didn’t know before? That if anybody else, the layperson listening would go, Oh, my God, that’s an incredible way that I could move forward in my creativity of shutting it down. So I could think

Michael Polsinelli 21:19
I think the only thing that allowed me to understand that was being comfortable with shutting down. I think a lot of people get scared of shutting down. You know, you think of like a rock band, or, you know, they’ll crank out for seven years. And man, it’s like, hit after hit, you know, album after album and then Zero Dark 30. Where, as you know, Robert, always kind of like, always said to me, it’s like we had a period that we are exceptional, and then we just fizzle out. And that scared the bejesus out of me. Yeah, it really scared me. So what it did was it made me think, okay, I need to make sure that I learn to, you know, just put it in HYDrive when I need to, but then also at the same time, I need to relax my mind, because if I don’t I burn out. You know, and I’ve been doing this now for 20 You know, you know, you know, creating stuff for like 23 years now. And am I doing as much as I used to know, because I have a family. I have children of small little girls, you know, and my time now has become even more compartmentalise because now I have to make time for being a dad, and a husband, and you know, salon work all these things, you know, going out and educating and teaching out on the road. So it’s become more difficult, I’m not going to lie. But learning how to control my thoughts and control my anxiety, if you will, face to get anxious to get anxious about oh my god. What’s the next thing I’m going to create? And you and what happens is you put yourself on an under so much duress, so much pressure, that that’s when nothing comes,

Chris Baran 23:31
especially when you ever hit like when you hit something and everybody goes cuckoo for Cocoa Puffs over? Yes. And then you’re thinking yourself, oh, how the hell am I going to come up with something better than that,

Michael Polsinelli 23:42
that’s the thing. And that’s the thing I kind of pride myself on because I will do one medium and then all of a sudden I will do something completely different. Yeah. And then I’m work with that meeting for a little bit and I exhausted to a certain point, then I’m like, I’m gonna jump right back over here now and do something pletely different. So I kind of pride myself on on the fact that I just like to move around. You know, and and I think that, you know, quieting the mind allows me to do that, you know, and being able to learn how to kind of not be so scared of not creating the next best thing. Yeah, you know, if that makes sense at all. No,

Chris Baran 24:23
it does. It makes perfect sense. And in the I think the thing is that I find so many times nowadays when I talk to people and I don’t want to get into that mode where people think that I’m you know, the new people that are coming along and you know, then I’d have to start seeing whippersnapper and stuff like that

Unknown Speaker 24:42
well if that dad jokes

Chris Baran 24:47
but you know one thing I wish I could I wish for for some of the younger generation now know wherever they’re at, I mean, and I think they’ve got it right on some of the stuff that they do because they saying I’m want peace of mind? I want quality of life. I want this. But I, you know, I would the only thing that I question is that feeling of accomplishment. When you I heard you with Robert and and you know, some of us will may never get to that, where we get that degree of mentorship and something somebody’s pushing you and that that’s called a theory of perturbation when you can push somebody, or something so hard that it changes for the better, and never can go back just like, like, wood goes to Cold and cold goes to diamonds, just under pressure. And because it gets really crazy chaos in it till it comes to a breaking point. And then it comes down. And it gets better and it never can change back. And that’s what, that’s what Robert did to you and probably hundreds of other people. And, and I that mentorship is what I it’s not I don’t know if it’s missing. I’m not it’s not a fair thing to say, but I just feel that maybe people aren’t looking for it, or it’s not available or it’s not out there. And that’s why places like like, the beauty changes lives I think are so important to me because of you know, how they try to provide for mentorship with for young kids and students that, you know, they can change the way that that people really think by getting a mentor behind you and really making you think about stuff. You know,

Michael Polsinelli 26:31
I agree with it. You know, here’s the thing about you, right, I do agree that you know, the younger generation is, is much better at sort of equalising things, if you will. But at the same time, at the same time, having said that, you miss out, yeah, in the sense that you miss out on the possibility of the what if, and I don’t know how to explain this properly. But when you are at those points of like, pushing yourself to the point where it’s like, it’s just, it’s a lot, it’s heavy, it’s all those things, then only then do you truly understand your potential, then and only then you truly understand who you are, as a creative being. And you really can’t understand that unless you really push yourself to that point. So I understand that the balance in life is super important. But I also believe in that if you want to be something or someone or you know, super creative, you’ve got to be willing to take that journey. And you’ve got to be willing to like, you’ve got to be willing to like, you know, I don’t like to say the word fail, but you’ve got to be willing to pass that threshold, that learning curve of understanding is like, this doesn’t work, this works, this doesn’t work, let’s push it over here. That’s not quite where I want to be, you need to push it over there. And in doing so, you really learn the process of your own methodology. And that’s because, you know, you said, you know, how you get from point A to point B and and it’s, it’s, it’s only by like taking that walk that you truly understand what it takes to beat you. And what it takes to, you know, it’s like, every time I do something, I have to learn a different methodology. Yeah, learn something new. Yeah. Because otherwise it becomes repetitive, it becomes mundane. So, you know, I’ve had to learn how to crochet. I never know, I don’t even know how to crochet check. Right? I had to learn how to, you know, weave and all those kinds. I know, I had to learn how to use a sewing machine. I had no idea. My wife bought me a sewing machine. You know? So it’s like everybody says, Well, how did you learn how to do that? I was like, I didn’t know how to do that. I could have a bloody hell of what the hell I was doing. Yeah, yeah, I had to find my way. I had to learn a new methodology for me for myself. Now, having said that, once you kind of like constantly go down to all these different avenues, all of a sudden you realise, whoa. There’s so much more than I that I can do. There’s so much more that then I can explore. There’s so much more than I learned about myself that I had no idea that I could actually even be that person. So going back to the original thought that the only way that you can actually, you know, become something greater than your mind actually thought that you could be is to push it, you’ve got it, you’ve got to push it.

Chris Baran 30:13
Yeah, you know, you said that you said an interesting word back in there that some words that most people don’t like. And it’s it was that word fail. And for people that have been listening to the podcasts here will have heard me say it many times. But, you know, whatever degree of top is that I, that I met or attained is I did it by failing my way there. You know, and I just say, my model is you’ve got to fail your way to the top of whatever your top is. And I think that, that it’s when I just think our, our society is so messed up. Because we we view failing as failure. And it’s not failing is just, you did something wrong. And now you’ve got to learn how to correct it, and then you do it better the next time. But when we have a society that’s based purely on judging you, because when you do something wrong, that you’re seen as lower, and if you don’t get if you don’t make a mistake, then you make your way up the ladder. That’s why we see so many people when they’re so successful, that they love them on the climb up, but they get there, and then everybody hates them, because they don’t seem to be doing anything wrong, and they can’t identify with them. Whereas, you know, if people would just learn to accept that people have to fail to be successful. And I really am happy to hear that. And I don’t mean happy that you failed, happy that you you recognise the struggle that you gotta go and you have to be comfortable with the discomfort of failing, so that you can get to the other side. Think that

Michael Polsinelli 31:51
you know, I think failure failures only when you quit,

Chris Baran 32:01
yeah, Bingo. Bingo. There’s another word that I use a lot that you’ll know, I’m old. Didn’t go get off my lawn. young whippersnapper? You know,

Michael Polsinelli 32:16
I just think that, you know, failure is only when you quit, yes, it’s where it’s okay to fail and quit at something and have the understanding that that, you know, that it’s it at this point in time in my life. It’s unattainable, unattainable, or it’s, it’s unachievable at this point in my life, because let’s face it, you know, I think that all of us, as human beings, we can only get so far. It’s just the way we’re made, it’s just, you know, it’s just the way we’re developed, all of us can only get so far, and then some human beings are just, you know, they just, they just don’t stop. You know, I think that at some point, we all have a cap of limit, you know, and that’s just the way it is. But if you, you know, there’s, there’s times when I have started a project, and then I lost the feeling for it. So, you know, instead of kind of like beating my head against the wall, I just kind of know that now is not the time. And I just set it aside, and I leave it, and then I’ll come back to it, when all of a sudden, it just feels right, I might go start something else. Because my intuition is telling me to do something else, leave this alone right now, and go over here. And then I might pick it up, you know, I might pick it up in six months, I might pick it up in a year, I might pick it up in five years, and I’ve done it many times. But failure to me is when you’re unwilling to find yourself, right? Because now you’re just you’re just quitting. It’s, it’s like you don’t want to give it the effort, you know? So there’s a difference between, you know, failing and failing, you know, failing. So, you know, I don’t know if that makes sense or not.

Chris Baran 34:23
I think everybody gets the context of that one. Or maybe you and I, because we failed so much that we just get it.

Michael Polsinelli 34:29
I tell my team, my team, just like you know, I’ll be working on something two weeks in and it’s like it’s halfway done. And it’s excruciatingly long and because there’s things that take me a month, and sometimes there’s things that take me three months to create and make and you know, I’ll be two weeks in and I’m like, they’re thrown in the garbage and they just hope what

Chris Baran 34:49
Yeah, yeah, sometimes. I mean, I think I’m glad you said that. Because there’s some times when, you know, there’s things that mean either you don’t have the feel for it anymore or It just it just is not going to work. I remember. And I tell people a lot that if you want to truly find yourself, the way that you you have to learn at first is by copying others the same way cover bands, cover something. And then then you can go on. You’ve got the ideas, the know how now you can go and mix it up, you know,

Michael Polsinelli 35:21
but that’s fine again. methodologists. Finance. Yeah. Perspective on. Yeah,

Chris Baran 35:27
I remember and I can’t remember who did it I believe I can’t remember was Eugene. I think it was Eugene Solomon. He did. He made this wig, I’m assuming. And it looked like a halfway between a moth and those dogs that you see that look like mob?

Michael Polsinelli 35:45
I remember that collection. It was colourful it was? Yes.

Chris Baran 35:50
I mean, it blew my mind. Yes. And I try. I still don’t know how to do it. But I tried to, you know how somebody can come up with something that that’s clever that is that clever. And I hope to God, that least he some of his apprentices know how to do that. Because they’re, I’m afraid that a lot of the stuff that the industry greats are going to do in some of the avant garde that I get it, some people go well, where the hell you’re gonna wear that? And that’s not the point is you never gonna wear it anywhere. It just how far can you push your creativity, and still keep it tasteful? I mean, that’s the, one of the keys that I I’ve, I’ve got via osmosis from me watching some of my hair Heroes is that how far you can push something. So it doesn’t look so far that it’s just, I don’t want to label it. But so you’re keeping it tasteful. And I think that’s the true thing that I’m kind of worried about that some of our industry is gonna lose how to do that?

Michael Polsinelli 36:55
Well, I always say, you know, there’s fantasy here. Yeah. And then resolve on guard here. Yeah. And unfortunately, I still think that we’ve got it wrong. In the sense we combined the two together. Yeah. It’s a completely different category. Yeah. So, but yeah, you’re right. I mean, the, you know, the, the, I think the advantages of like somebody like Guido or Eugene have is the, the exposure to that level of like, you know, fashion designers and how they think and also the material that through that they are able to get that we cannot get? Yeah. So. So I think that that’s a great advantage. Because when you’re working with material that is that much more beautiful. I think that it sparks the brain to think in a completely different ways way.

Chris Baran 37:56
Yeah, do so let me ask you that, do you when you create some of your stuff? Do you ever go outside the realm of hair? And to make it look like hair? Or?

Michael Polsinelli 38:10
So, I mean, yes, yes. And no, you know, I kind of I mean, if anybody kind of sees my kind of work, that they’ll know, there’s a simplicity about my work. I try to make things look very simplistic, even though you know, it takes me forever to make. But I, I love to, I love to combine other mellow elements with hair. You know, so I love to work with like, you know, the combination of, you know, you know, wool or leather or wood, or resin. I love working with resin, and shellacking hair and all that kind of stuff. So, I’ve always been fascinated with the combination of things. And my education is called Fusion methodology. So I’ve always been somebody that has kind of looked outside the industry, to inspire me in the industry. So

Chris Baran 39:14
I’d like to, I want to pause there for a second because what you said was, I think truly profound. And that I don’t want I don’t want to let it go. What what you said was, I look for things outside of our industry, so it can help me and grow me inside the business. And I know I’m paraphrasing, but I think that’s that’s profound because I think that when people get caught up in their creativity, or what they, they, they think that they’re not and that’s always one thing that bugs the heck out of me is when people say about I’m not creative, in different subject, but I think that sometimes you just have to go to outside areas to get some influence or a thought or a material or something and bring that back.

Michael Polsinelli 39:59
Yeah. Um, I mean, there’s been collections where it was I missed by bourbon and Chris, I can’t see that it’s one thing, I really, I really can’t, it’s just, you know, it to me, it’s like, everything’s like a picture, right picture encapsulates a moment in time. And when I’m creating something, it to me, it’s like a picture. It’s, it’s, it’s capturing what I was feeling, as a human being as an artist at that moment in time. And it does, it could be something dark, and it could be something that’s light and powerful. All of its powerful. So I can’t say there’s one thing that kind of turns me on, or turns me off. I mean, sometimes, you know, a story going back to Robert one time, one day, I was in the studio, and I, his little head pops in his little British accent is head pops in, and he goes, chops and shuts the door and walks away. So it can be anything from words, to fabric, to, you know, movement to be anything, you know, and anything kind of sets me off, you know, anything sets me off, and I just, I just go with it, and I feel I feel my way through stuff. You know, I just feel my way through things. And it, you know, good, bad or indifferent, whatever it is, that is, you know, but it people think that there’s this formula. Yeah. And, you know, I’ve had to do things where I’ve had to systemize something or give it some kind of method so that at least other hairdressers can kind of follow it or a template, if you will. But I would be a liar. If I said I followed that template 100% of the time. Right. Is that’s not true. Yeah. I mean, sometimes they start at the end, and then work my way backwards. Yeah. Sometimes I start in the middle, and I go to the end, and then I go, Oh, damn, I gotta, I’ve gotta, I’ve gotta kind of work this part of it out. And that’s kind of like the, the beginning of it, you know? And then sometimes, what’s the blue moon? You start at the beginning? And it actually works out? Yeah. Which is seldomly happens.

Chris Baran 42:26
Yeah. Yeah. That’s the part I think that if people would, can get that, they’ll see somebody like you that and they just think right away that everything, I mean, creativity just shoots out of your backside. And in the morning, you can get up and have a cup of coffee and go to the bathroom. And it just there is this beautiful work of art. And it just comes out of all of our offices or offices that you have, but it just don’t realise how long some of this stuff takes. And sometimes it’s a complete flop. And other times it’s you, you just have absolutely astound yourself.

Michael Polsinelli 43:04
Yeah, and those are like those rare moments. Yeah, very, in a in a creative versus life, you know, lifespan of doing that kind of stuff. But you something that you said we’re in a sense, where it’s like, it’s in the beginning, you have to copy paste. Yeah. And then you find yourself you find your feet, and then you kind of realise, oh, okay, this is kind of making me think like this, I’m going to use and then, you know, and then you realise that in this and that’s the thing I always want to translate to somebody that wants to do that kind of work, is that you know, creativity is an action. You know, creating it’s a verb. And the only way it’s, the something like that happens is if you actually act upon it, and it doesn’t matter if it’s good or bad, or you just have to act upon that. Something treat anything. I mean, it could be, you know, whatever the hell that is. It’s just do something. And that will set the wheels in motion. And what it does is it slowly slowly slowly brings down that sort of guarded understanding of, you know, I can do this I know I can, you know, so just, I always say just start just do something.

Chris Baran 44:34
Yeah. Yeah. Are you like when you’re when you are in are getting into that collaborative mode? Are you a, when you’re into that creative mode? Are you a collaborator, or are you if somebody is talking to you, or single mine, do you sometimes some people like I need to follow this through from beginning to end on my own? And I know other people that to say, I work better when I’m dealing with somebody else. And I can ask question to say, what do you think about this? And so on? Where are you?

Michael Polsinelli 45:09
I’m both actually. Yeah. Yeah. You know,

Chris Baran 45:12
firstly, when or what you which parts? Well, first of all,

Michael Polsinelli 45:16
you know, getting that euphoric sort of state of mind where it’s just coming out of you, my wife knows not to come in the studio, because those are, those are moments that are just rare. Yeah. And it’s spectacular. But there’s times when I am very adamant about a certain idea. And then I will push it right through. And then there’s moments where my team, I just go to my team, it’s like, Okay, I’ve exhausted this sort of idea. As far as I think that I can physically push it. And then I pass the baton and say, okay, where would you? Where would you Where would you guys push it from here? How would How do you see what it is I’m doing? And how would you, you know, what’s your perspective on this? So? You know, it’s I don’t know, I think that when I feel strongly about something, I want to try and push it as far as I possibly can. And then I’m kind of like, okay. Okay, every one. What do you think? Yeah, yeah. And I like to kind of take it from there. And then they kind of just like, hey, you know, Michael, what about, you know, maybe just kind of pushing that over there? Or maybe, you know, wrapping this over here? And I’m kind of like, okay, okay, you know, and then it kind of evolves into this into this collaborative effort. But I can’t say, Chris, like, you know, you know, it’s going to be this way today. And only this way. I, I’m kind of like, I don’t like being I don’t mind being massaged into something, you know, I don’t mind kind of like somebody saying, hey, you know, what, do it this way, try it this way. I love that actually. Because, you know, that’s what the team is for. I always say to my teams, like, you know, what’s the, what’s the point of you being on this team? If you can’t bring something to the table, then I might just do it all myself. You know,

Chris Baran 47:29
if you’re both doing the same thing, one of you is not necessary.

Michael Polsinelli 47:31
Right? Yeah. So but there’s a lot of quiet time that they get to myself, when my team is not around. I will start a project and I go for it. And as I will always stop as I’m working through something, and send pictures of my team is not able to be there. And then I will get their opinions. And they will say yea or nay. So I’m very open to criticism. You know, I’m very open to criticism, hey, listen, when you put something out there, you know, out on social media, you are opening yourself, you’re your vulnerability, you’re putting, you know, you’ve got it, you’ve got to be able to be you know, show that vulnerability. But you know, that side of you and say, oh, yeah, man, I just got I just got I just get lambasted, you know,

Chris Baran 48:27
what’s true? That’s, that’s what that’s the hardest part. Unfortunately, I guess that’s the good and the bad part of it. Yeah. And I just want to give some context to what you said earlier, which I thought is so brilliant when you’re working on something, and you get that feeling of euphoria, you know, when you’re in the zone, and, and if people would just recognise that and to give that some context. It’s like, if people just thought about the time when they were doing something, you know, a head of hair, a, you know, a painting a, whatever that might be, and you just weren’t even thinking it was just, you’re not even thinking it’s going great. You’re just into it. And then if somebody come up and said something to you, you go, what if they said, What did you do? What are you doing? Or how do you do that? And you go, I really don’t know. I, you know, it’s those kinds of things that when you’re in that state of mind, you’re just doing, and it’s just coming out of you. But the moment that somebody breaks you out of it. Yeah. It’s it’s held to get back into, you know, you’re trying to get back then. And now you’re trying to think what did I do? How did this go? And it’ll actually break you out of it. And you can’t get back into that mode again, until maybe later. But

Michael Polsinelli 49:44
it’s pretty cool. She’s got like, when she opens the door, and she sees me that I’m in it. And obviously a baby. Not now. Yeah, you know, unless there’s something that’s overwhelming and we might shoulder something up and then you just stop you

Chris Baran 50:00
Now listen, it doesn’t matter that my child’s arm has gone. Listen. Yeah,

Michael Polsinelli 50:03
don’t worry, you know, just pick it up off the floor. Right back up again. But know that that euphoric feeling is magic. And when, when, when, when you’re in it, you’ve just got to make sure that you can just, you know, enjoy it and just go for it. But, yeah, I mean, you know, I think, you know, as you know, I, I don’t get too attached to my work that we’re doing. Yeah. You know,

Chris Baran 50:34
I mean, I don’t I, and when you say your work, do you mean, your work as in the hair in its totality? Or do you mean, I made a piece, and I don’t get too attached to that I can.

Michael Polsinelli 50:45
I can I, you know, I guess the whole fall of it, I guess, you know, I can separate myself, you know, I kind of I’ve learned how to, you know, just kind of detached myself from all of it. Because it can be very overwhelming. And creating a collection, whether it’s, you know, avant garde pieces, usually I do three or five, I always do the odd, you know, see the, you know, and I think once I’ve given birth to it, I enjoy it for what it is. Yeah. And then I let it go. Yeah,

Chris Baran 51:22
yeah, I think you have to adults. I just think that if you get attached to something like that, then I just think you’re, and I’m not gonna say that your brain is only this big. I think you’re you can come up with amazing ideas. But if you I can remember, I remember people that in particularly in the 80s and 90s, when we were cutting hair, and everything was there was this shape. That was like, shit hot at the time. Yeah. And, and you got somebody, and those were both Canadian. So I know, we probably could go back to the 80s. And we’ll probably know people who are talking about, but they were the ones winning all the awards. And they were just they had this look down. It was unbelievable. Nobody could touch him. But it couldn’t let it go. Right. It’s not that that’s all they could do. But everything that they tried to do was a spin off on that. And consequently, and they tried to keep it a guarded secret. And then consequently, the universe wouldn’t give you another idea. And I really think that if you are truly creative, and you just will do something and let it go and get it out of your brain, then the universe will give you another idea. But if it’s so compacted with other stuff, it’s a nightfall.

Michael Polsinelli 52:40
Yeah. And that’s, and that’s so true. And that’s, you know, that’s that that’s funny, you know, because it was kind of like what I said before, I don’t want to get stuck doing one thing. I think that’s my biggest fear. Yeah. You know what I mean? I think that that’s my biggest fear. I think anybody that that’s been doing this, as long as we have, I think, you know, the two fears is like, oh, is the world just gonna run dry one day, and that’s it. And the other thing is, for me, it’s like, Oh, my God, I don’t want to be stuck doing this thing over and over again. You know what I mean? It’s just like, those are the two things that kind of freaked me out a little bit, you know. But, yeah, I think that, you know, being afraid to kind of jump out of something that was that has been so good to you. Is kind of can can be the death of you. You know what I mean? They get a like you said it could just, you know, freeze up your brain. And that’s it and you just get stuck there. And is that forever? You know?

Chris Baran 53:42
Because you said that you did like I was reading a little bit on you beforehand. And I was reading on one thing that you that I don’t know if it’s right now, but at one time you were doing up to 100 Do you get that right? You’re doing up to 100 collections a year?

Michael Polsinelli 53:59
Wasn’t a year I think I think my whole career I’ve done maybe about 100 in a year. There’s no way I would I

Chris Baran 54:08
was gonna go that’s two. That’s two a week how the hell you do? No, no, hell was it I wanted to know what your diet was. Yeah, right.

Michael Polsinelli 54:15
Exactly. No, I think probably my whole career I now probably at about 115 120 things that I’ve kind of created over the years, you know, like collections. Each collection it’s like, you know, anywhere between like, three to like eight things, you know,

Chris Baran 54:34
have you ever thought of just a book well, yeah,

Michael Polsinelli 54:38
yeah, I have it you know, I want Robert to do one first. But I have my you know, what, if my, one of my my, my biggest dreams aspirations would be to Do an art gallery if all they’ve done and, and, you know, kind of team up with an amazing designer. And, and just put it all together one day, that would be probably my biggest dream ever. But I gotta tell you, there’s things that I created back in the day that I don’t know about you, Chris, but I kind of go. How the hell did I do that?

Chris Baran 55:27
Oh, yeah.

Michael Polsinelli 55:29
Does that ever happen to us? Oh, yeah. You know, I look at stuff that I’ve done maybe 15 years ago, and I’m like, Oh my God, I don’t even remember how I did that. Like, how, what the hell was I thinking?

Chris Baran 55:39
What do you see you look back at your work, and you go, how in the hell did I do that? And I look back at my my work. Some of my workers are what the hell did I do? Please tell me, I’m not the only one. I look back at some of the work that I did back in the 70s. Yeah,

Unknown Speaker 55:55
it happens to all of us. You know?

Chris Baran 55:58
What, the hills?

Michael Polsinelli 56:01
Once again, it was a sign of the times, you know, it was cool at that point in time, and now not so much.

Chris Baran 56:08
Yeah, all I had to do is look at pictures of myself. What was I thinking? You know, short, blonde hair? No.

Michael Polsinelli 56:18
But we’ve all been there. Yeah. Yeah. Yeah, that was the biggest dream. But anyway,

Chris Baran 56:23
tell me about it. Because you you’ve done some pretty amazing shows, et cetera. What were like some of the shows that you did that. I was called them. I always call them the you know, the ones when you say, Well, if I had to, if this is the one I was gonna go out on, you know what I mean, by going out, this is the one that I, you know, like, you always wish that you see some artists, they, they sort of fade away into oblivion. And that’s kind of my fear. But I figured if that was, that show was spectacular. Maybe this is the one that if you ever had to hang it up, not that you want to but you say after that, that’s the one I should have. Because that was a spectacular one.

Michael Polsinelli 57:06
I don’t know. You know, you know, once again, it even shows from your like moments in time. Yeah. It because once again, it was it was what we were feeling at that point, like how many symposiums have you done? You know what I mean? Yeah. And once again, you know, every symposium is kind of it kind of, it’s, it stands up for itself. You know, what I mean? It really does, because the amount of work that goes into each one of those those events is just mind boggling. And, and to not give it the each one the respect that it deserves for its own entity would be a disservice, you know, what I mean? Through you know, I mean, I’ve seen I’ve gone to, you know, read canon seen the symposiums, you know, they’re spectacular, they’re ginormous, they’re elaborate, they’re, you know, they’re entertaining. They’re, they’re, you know, inspiring all these things. And I think that once again, it’s, it encapsulates who you were at that moment in time, and to not really give it the, you know, the credit, you know, is is, is not right, I don’t know what I mean. So, for me, I think I’ve done a lot of big shows. But I have to say one of the biggest ones I ever did was the seven deadly sins with Robert lobera. And that was at the, at that time was called the Kodak Theatre and now it’s called the Dolby Theatre, I believe it is. Yeah, it’s when they do the Academy Awards and all that kind of stuff. So that that that place was jammed up to the rafters. I mean, it was so big. I mean, it was so many it was so huge, it was just like, standing, I felt like a little little peanut on stage. But I think that that was a very difficult show, because I had six teams of five hairdressers. And I created every single look for that show. And it was over 32 looks. And each one of them was an avant garde piece. Wow. And that, you know, that was that was incredible. That was that was something Robert told me he’s like, you’re not gonna be able to do this. And this is just so big for one person to come up with all the ideas for every single look. And I said, I’m going to do this. Yeah, I’m going to do I’m going to do this if it if it kills me. So that was basically my my biggest problem. Jack, I would say to be able to come up with that many locks and have that many people be able to create what I give them and to be able to kind of follow through and I did all of them, and then I would let teams kind of work on them and finish them, what you’d have to do what you’d have to do, because I can’t,

Chris Baran 1:00:16
I don’t want to give again, I want to give some context to this, to the people listening and watching is that when it’s one thing, I think it’s one thing to have five, or six commercial segments, because they’re commercial, and it’s, you know, everything in its commerciality, the, you know, nuances of change can really make commercial looks different, you know, a change in length, you know, a, you know, the same look with a dramatic colour a, those things like that, not necessarily nuances, but they can make a massive amount of impact on the eye, so that you see differences in the album in the look. But when you do an avant garde piece, and the piece itself is spectacular. And then you’ve got to create another piece that’s equally or even more spectacular. It’s that it’s, I don’t know, if people understand how hard that is to do. Because sometimes coming up with one or two or three, avant garde looks is it’s hellish, you know, because one can overpower one so much that the other two don’t even aren’t even noticeable. But when you can do that many and have a spectacular show. I, you know,

Michael Polsinelli 1:01:37
that was that was very difficult. But I once again, I was related to kind of like an album, you know, you’ve got, you know, maybe there’s 10 songs on the album. You know, two are spectacular. Three, the third one is really good, you know, but to do and amazing songs on one album. Well, that’s Michael Jackson status. Yeah. Yeah. So, you know, that’s that, you know, that that is very difficult to do. And I don’t think I’ve ever done that. But I mean, it is it is difficult. It is really, really difficult. And I’ve done like a lot of great beautiful, like spectacular shows with Sebastian and then I didn’t, I did a beautiful show. And he was I was told in, I was in Reykjavik about three years ago, and I was I did, the theatre was just ridiculously spectacular. And it was so many people there. And it was just, I did a good show. I felt good about it. You know, I did everything right. And, and I think people really enjoyed that one. And so you know, like they see right, you’re only as good as the last thing you did, right?

Because it’s like, you have so much such a huge organ. It’s like, oh, yeah, the last thing you did? Yeah. Yeah,

Chris Baran 1:03:01
I think it Yeah. I don’t know if I always go along with that one. Because I think that just what you’re also remembered as now you evolve in what you do. Now, but but I want to give you ask you a couple questions here. So excuse me. If you know you’ve been you’ve been through it, it’s so much so as well. But I’d like to ask this as we start to wrap up the show is that if there’s so many people out there for everything you’ve seen, if you could tell somebody that was out there, that what was the thing, that if they let go of? Or if they stopped doing that they would be a better in their craft? What would that be?

Michael Polsinelli 1:03:50
Fear a fear has guided me and misguided me in so many ways. You know, it’s it’s, I think that I grew up a kid that didn’t have a lot of self belief. And for one reason or another. That was kind of like my detriment in my earlier in my earlier. Earlier life, shall we say? And I think that it’s something that I had to overcome, you know, so it’s something that I had to work you know, so much on is to get over my own self doubt and my own fear and that’s just being honest. My insecurities were so overpowering that it inhibited my, my progress, realised that in order for me to become the person that I wanted to become, I had to I had to I had to you know, I had to, like, take care of those things first. And that was probably those are some of the things that you know, I constantly fight on on a daily basis. I mean, we all have our insecurities, we all have our self doubt we all have, you know, the things that kind of make us second guess our decisions and ourselves and who we are as humans, and our abilities, and you know, and all that kind of stuff. So that was something that I really had to learn how to understand that part of myself and conquer it. I use fear now. Yeah, if you want to use that, that that word fear, I use fear now to propel myself to constantly push myself. So it was it was something that stopped me from growing, and now it’s something that I use to keep myself growing.

Unknown Speaker 1:06:00
Do you know what I mean?

Chris Baran 1:06:01
There’s no, that makes

Unknown Speaker 1:06:02
any sense. But there is.

Michael Polsinelli 1:06:05
Yeah, so now I use? No, no, I use it to kind of make sure that hey, you know, Psych, you know, just use that fear to kind of push yourself and and sort of keep that keep that flame ignited. Stagnation is the worst thing? Yeah, it’s the worst thing that can happen to us. And, you know, I learned something from Robert and Robert said to me, he goes, always leave 25% to chance. And I was like, What do you mean by that? And what he meant by that is like, you’re never going to completely figure something out, leave that, leave that percentage leave that little bit to chance, because that’s where the epiphany is. That’s where the, that’s where the off tower moment lives. And that’s the that’s the that’s the icing on the cake. Wow. And that is with everything that I do. I never completely finish a thought until I get there. And then I let it guide me into where it wants to push me. And when I let that happen organically, my end result is so much better. Yeah, something that has been completely forced all the way through. Yeah. So I have allowed that I’ve really taken that on board. And that’s how I am as a creative person. I never want to finish everything from beginning to end. I want that. That discovery along the way to kind of happen to go, Oh, damn, I never thought that I never thought this isn’t where I thought it was gonna go. Oh, my God, it’s so much better than what I thought it was going to be. Yeah. So I let that happen. And I do that on stage to Chris, I know, I’m a bit of a masochist, I’m not gonna lie. There are times when I get up on stage in front of 2000 4000 5000 people. And I’m going to tell you, I might get on stage. And I’m like, I don’t really know where I’m gonna go with this. Yeah. But I love that fear. Yeah. What if that just scares the bejesus out of me. And what it does is it heightens my senses. To like a point where I can’t do it on my own in a studio by myself, it can only happen in front of the possibility of feeling in front of 5000 people that my sense is in scope. Yeah, and that’s,

Unknown Speaker 1:08:47
and I don’t suggest, I don’t suggest that. To do that, you know, I don’t suggest

Chris Baran 1:08:52
don’t do this. And the security of your own home though.

Michael Polsinelli 1:08:55
Exactly. Don’t do this. But I feel that sometimes I just need to surprise myself. It’s like, how good are you really? Yeah, you know, how far can you really push yourself? Do you think you could do this and just leave that little bit onstage to kind of just figure it out when you’re up there and just live in the moment and feeling you know,

Chris Baran 1:09:19
so the art piece has to talk to you absolutely have to talk at it? Well, Michael, I tell you, this has been just an absolute honour. And you know, I know we’ve known of one another we’ve sort of seen each other in passing but you know, it’s fun. It’s finally you know, it’s funny when you meet and have a conversation with somebody how you feel like you’re, you know, brothers and kind and I really feel like I’ve got a new friend as well a new creative person to bounce off of so

Michael Polsinelli 1:09:50
then because I am so honoured to be able to the given the opportunity to actually have this conversation with you. So I mean, listen, this is coming from this is coming from a then that has a resume cut as long as I scroll.

Chris Baran 1:10:06
That’s when I first started hairdressing. That’s all we used. It’s just, you know, if it was red dirt off the wall, you know? No, listen, it was it was absolutely a pleasure. And, Robert, you know, I don’t think there’s anything that I would like more than one day, just to get you and Robert on here together and tell more stories. And I think that would be just a real gas, you know, to talk about stuff from the past and where he’s at now and so on. So we,

Michael Polsinelli 1:10:35
we, we have a great relationship. And we we can we can kind of go at each other pretty good. So we’re pretty funny. He’s just, he’s just an interesting cat. interesting character. I mean, you know, there’s no way that you could ever, ever find out all the things about Robert. It’s just, it’s just impossible.

Chris Baran 1:10:58
No, no, we sure as hell couldn’t do that in an hour. You know?

Michael Polsinelli 1:11:02
No, no, no, no, no, no, God, no, you’d have to, you’d have to have like a 20 part series. For God’s sake, you have to have a frickin Netflix series.

Chris Baran 1:11:10
Well, let me write that time.

Unknown Speaker 1:11:13
Exactly. There you go.

Chris Baran 1:11:16
Michael, thank you so much. It is been just an absolute pleasure and to your family. I know that as I’m gonna do. Right after this is done. I’m gonna have a little toast to your success. And I want to say this one more time that for everybody who’s listening out there if you’re listening, Lee, can you bring up just bring up his his? How can people get a hold of you? And how can they follow your work? It’s there. Right now for the people are watching. There’s a QR code that’s up there. If you do go to that will take right to Michael’s site, and I want you to look at his work. What is your Instagram title for those listening?

Michael Polsinelli 1:12:01
It is Michael dot POLSINELLI. And that’s p o LVOL. s i n e l li very Irish yet.

Chris Baran 1:12:15
Because you just gotta go and check out his work because it is truly phenomenal.

Michael Polsinelli 1:12:18
And it’s a work in progress. Because unfortunately, my Instagram was hacked. Oh, no. So a lot of my work isn’t on there. Still, I’m just kind of putting it back on there slowly, a little bit at a time and I’m just kind of rebuilding

Chris Baran 1:12:34
all the more all the more reason that they should go on there and watch it as a progressive. So Michael, thank you so much. Thank you. I can’t thank you. Thank you for everything that you do. Thank you for your creativity. Thank you for just the inspiration that you create with our, with our community. Thank you for the creative thoughts that you give to people and thank you for being on with us here. I just can’t thank you enough.

Michael Polsinelli 1:12:57
Thank you for everything that you do all the connections and all the inspiration that you do and bringing the community together like you will always do and you always do with such class.

Transcribed by https://otter.ai

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