October 25, 2024 • 30 mins
Nimene shares a brand new, Beastie Boys-inspired track about legendary street artist Keith Haring. Featuring an interview between contemporary artist/activist Shepard Fairey and a 10 year old artist named Eva.
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Episode Transcript
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Speaker 1 (00:01):
Hey listeners, niminy here, host of historical records, get ready
to hear about a historical hero through hip hop. Also,
parents and teachers, you can download a free activity related
to today's episode by visiting story pirates dot com. Slash
Historical Records, and now onto the show. After a few
(00:22):
words for the grownups. But hey, listeners, niminy here. Excuse
the insight voice, but you caught me smack in the
middle of a top secret mission. I'm making my way
to the even more top secret wing of the underground Bunker,
(00:44):
and I don't want anyone to see me. That's right,
My top secret underground Bunker has a room so even
more top secret that I'm the only one who knows
how to get there. First, I have to navigate this
elaborate laser maze hi. I made it, who good thing.
I did my stretching routine this morning. Next, I pulled
(01:07):
this lever, which activates that cute folder. Do you think
that since I know the lever is a booby tribe,
I wouldn't pull it. But what you don't know is
that pulling that lever is the only way to open
this secret door. Bet you thought that was an ordinary bookcase.
(01:29):
No worry, it happens to everyone. Now down the firefighter's pull.
At last, we're here at the triple layer security door.
Please enter the even more secret password. You got it,
robot boys, The password is password. I needn't let the
(01:54):
top secret mission think it.
Speaker 2 (02:00):
It's its historical records.
Speaker 3 (02:03):
You are now listening to Historical.
Speaker 1 (02:08):
To make history, you got to have struggles to make history.
You got to show poise. Cannot be quiet loud as
the riot. To make history, you gotta make some noise.
Welcome back to Historical Records, where we conduct highly experimental
experiments combining history and hip hop. Today's episode is about
(02:30):
the artist Keith Herring. But before we get to him,
I have to close the triple layer of security doors
so I can quickly conduct some very top secret business.
I'm telling you this wing is so even more top
secret that not even robot voice is allowed in here.
(02:50):
This is where I'm going to conduct Mike, Is it
more top secret experiment? Drug? Why? So even more top secret? Yeah? See.
The thing is I'm not an amazing artist like Keith Herring,
so I don't want people to know I'm drawing. That's
why I carry this This probably looks like an ordinary
(03:11):
bowl of pickled banana pudding to you. What surprise? Let
me reach inside, Donna. It's my secret hiding place for
my handy number two pitzel. Now that I'm alone, I
can safely draw embarrassment free. Who. No, someone's at the door.
(03:32):
Oh but I was so sneaky. Who could it be?
Oh man, it's Tina and the rest of the raccoons.
Go away. No, I will not let you in. This
area is even more top secret. That was a close one.
(03:53):
Back to the drawing board. Literally, Oh, I feel a
little bad chasing off Tina the raccoon.
Speaker 3 (04:02):
She's my friend.
Speaker 1 (04:03):
What I'm so insecure about my drawing. I don't want
anyone to see it, not even my bestie. Thankfully, am definitely,
absolutely entirely alone. Those raccoons just won't quit. Tina. I
thought I told you to go. Ah what, Oh you're.
Speaker 3 (04:26):
Not the raccoons. Nope, it's me Lee. But I was
scourge scratching at the door, just like a raccoon. Oh
why didn't you just knock sensitive knuckles?
Speaker 1 (04:37):
How did you even find the even more top secret
wing it's even more top secret.
Speaker 3 (04:43):
I followed you, of course, Well, technically, the raccoons followed you,
and I followed the raccoons. You know how I loved
being accurate.
Speaker 1 (04:51):
Ugh, better go back to even more top secret bunker
Editions depot and get a refund.
Speaker 3 (04:56):
I hope you don't have to go now, because I
am just burst at the seems to tell you about
Keith Haring. Although you look like you were busy with
that pencil and paper? Am I interrupting something?
Speaker 2 (05:08):
Oooo?
Speaker 3 (05:10):
Is that a drying Let me see not?
Speaker 1 (05:13):
These are nothing? Nothing at tall? I've never drawn in
my life. Who's stuff?
Speaker 3 (05:18):
Is this?
Speaker 1 (05:18):
What is a pencil? Let's talk Keith?
Speaker 3 (05:21):
You got it, niminy. Let's talk about cape Hare?
Speaker 1 (05:27):
Whoa that was impressively loud? Hey? Is that Phil the
hype man's bullhorn?
Speaker 3 (05:35):
I would never separate a hype man from his bullhorn.
This is my new history simulator. Keith Haring was not
only an artist, but also an activist, So I made
this week's simulator every activist's favorite tool.
Speaker 1 (05:50):
Keith Herring was an activist. Cool. I didn't know that.
Speaker 3 (05:54):
Oh, just you wait, there is so much more in store.
Let's fire this thing up and head off to nineteen eighties?
Speaker 1 (06:03):
How do we fire it up.
Speaker 3 (06:05):
How else would you start a bullhorn that's also a
history simulator besides a catchy chant.
Speaker 2 (06:12):
Brown Phil Flatbush, Little Haities kick us back to nineteen eighty.
Speaker 1 (06:18):
Here we okay, we are definitely in nineteen eighty. Just
look at that woman's bangs. But where are we?
Speaker 3 (06:34):
Welcome to the New York City subway, Nimini.
Speaker 1 (06:37):
Look at all the people in here, yep.
Speaker 3 (06:40):
From business people in suits to kids with backpacks, construction
workers to ballet dancers. The whole city's here.
Speaker 1 (06:47):
Everyone's moving a mile a minute.
Speaker 3 (06:49):
They all have somewhere to be. Look, even the rats
are in a hurry.
Speaker 1 (06:53):
Cute and gross. Look over there by that unused advertising panel.
That's guinea guy with the glasses is the only person
who doesn't seem to be going anywhere.
Speaker 3 (07:04):
That's the one and only Keith Haring holding his trademark
white chalk.
Speaker 1 (07:10):
He kind of stands out because he's not in a rush.
Speaker 3 (07:14):
That's because this subway station is exactly where he wants
to be. See how he's drawing on that black paper.
When there isn't a poster advertising a movie or a product,
the city covers the advertising panel in black paper, the
perfect canvas for Keith.
Speaker 4 (07:30):
This is way better than having my art in a museum.
Speaker 1 (07:33):
This art is for everybody. Is that music coming from Keith?
Speaker 3 (07:38):
Yes? Keith would often draw to music to help give
his art a sense of movement.
Speaker 1 (07:43):
He's drawing so fast, Oh look at him groove.
Speaker 3 (07:47):
He sometimes made forty drawings in one day.
Speaker 1 (07:51):
How is that even possible?
Speaker 3 (07:53):
Well, he didn't try to draw realistic looking art. That
would have taken too much time both to create and
to look.
Speaker 1 (07:59):
At my drawings. Don't try to imitate life. They try
to create life to invent it.
Speaker 3 (08:06):
Instead, he used bold symbols over and over that communicate meaning,
even if you only have a few seconds to look.
But this also meant that he created art without race, age,
or gender, so that everyone can see themselves in his work.
He made his art a wordless language, kind of like
Egyptian hieroglyphics. E.
Speaker 1 (08:26):
Yeah, now that you mention it. I see all kinds
of symbols in his art. Hearts, globes, barking dogs, and
is that a crawling baby? It sure is.
Speaker 3 (08:37):
That's the radiant baby. It's one of Keith's most recognizable drawings.
It appeared over and over in his work.
Speaker 1 (08:44):
Oh this really is better than being in a museum.
But I gotta ask, isn't this technically graffiti? Did Keith
ever get in trouble for drawing in public places?
Speaker 3 (08:55):
Great question and the perfect segue to our next style.
Speaker 2 (09:02):
Cobblestille concrete East Harlem bricks take us to nineteen eighty six.
Speaker 3 (09:08):
Yeah, easy, now we've made it to East Harlem, New
York City, nineteen eighty six.
Speaker 1 (09:17):
Why does this look like some kind of abandoned handball
court with a ball wall next to a freeway?
Speaker 3 (09:24):
Because it is an abandoned handball court with a ballwall
next to the freeway.
Speaker 1 (09:28):
Makes sense that it's abandoned. How could you even play here?
The ball would bounce right into the traffic on Harlem
River Drive exactly.
Speaker 3 (09:37):
That's why nobody is here yet.
Speaker 1 (09:41):
What do you mean it? Oooh, someone just parked a van.
It's Keith and he's unloading a big ladder and a
bunch of cans of fluorescent orange paint.
Speaker 3 (09:53):
Yeah, and he's about to paint that ballwall without permission. Technically,
this court is property of the Parks Department, so Keith
isn't allowed to make his art here. But what he's
planning isn't any old graffiti tag. His art is going
to have an important message.
Speaker 1 (10:10):
Hey, I just realized something. If he paints here, everybody
driving by on the highway is going to see it.
Speaker 3 (10:18):
Just like a billboard. It'll be seen by thousands of
people every day.
Speaker 1 (10:23):
Huh what's all that honking for?
Speaker 3 (10:26):
Oh?
Speaker 1 (10:26):
Are people mad?
Speaker 3 (10:27):
Nope, the opposite. In fact, people driving by recognize Keith
and they're honking to support him as he works on
his painting.
Speaker 1 (10:35):
Look, Keith is starting the mural. Wait, I don't see
Keith's usual fun pictures of hearts and radiant babies.
Speaker 3 (10:43):
Yeah, this isn't one of his happy fun images.
Speaker 1 (10:46):
There are skulls burning money, a giant snake.
Speaker 3 (10:52):
Check out what he's about to write.
Speaker 1 (10:54):
Crack is whack? Whoa intense? What does that mean?
Speaker 3 (10:59):
Well, is an addictive drug negatively impacting a ton of
young people in the city here in nineteen eighty six,
whack means messed up or uncool.
Speaker 1 (11:09):
Oh, so now every single person driving or walking by
will see this powerful message about how an addictive drug
is not cool, all thanks to Keith.
Speaker 3 (11:19):
Uh.
Speaker 1 (11:20):
Oh the police. Oh, he's gonna get in big trouble.
Speaker 3 (11:24):
He could face up to a year in jail, a
year just for drawing. Don't worry, Keith ends up only
having to pay a one hundred dollars fine.
Speaker 1 (11:33):
Ooh, well that's better than jail time. But still one
hundred dollars is a lot of money.
Speaker 3 (11:38):
Yeah, especially in the eighties. But for Keith it was
totally worth it. His crack as Whack mural goes on
to be one of his most famous paintings. It's still
up today, spreading his message.
Speaker 1 (11:50):
Wow. I can't believe Keith risked a year in jail
just to share his art with everyone who needs to
see it.
Speaker 3 (11:57):
Yep. He also used his activist art to make a
difference in his community. Wait till you see this.
Speaker 2 (12:05):
The East River is a tidal straight off we go
to nineteen eighty eight.
Speaker 1 (12:11):
Who lucky?
Speaker 3 (12:16):
Welcome to the Soho neighborhood of New York City nineteen
eighty eight.
Speaker 1 (12:21):
Hey, I know this neighborhood. Isn't this where all the
art galleries are?
Speaker 3 (12:26):
Right? Take a look through some of these windows.
Speaker 1 (12:29):
Huh? I see some artwork on the walls, but it's
hard to see from this far away.
Speaker 3 (12:34):
Want to go in?
Speaker 1 (12:35):
I don't know lots of these galleries only have a
few people inside, and the people look very serious. I'm
not sure i'd fit in.
Speaker 3 (12:43):
You know who felt the same way Keith Haring. Luckily
he did something about it. Check out this gallery.
Speaker 1 (12:51):
Whoa, look at that bright blue awning. It's so colorful
compared to all these other storefronts, it says pop shot.
Speaker 3 (13:01):
Recognize that symbol on the sign, that's Radian.
Speaker 1 (13:04):
Baby, you bet.
Speaker 3 (13:06):
Let's go inside. Look at this place.
Speaker 1 (13:10):
The walls, floor, even the ceiling are covered in drawings.
It's like a giant canvas.
Speaker 3 (13:16):
Yep, everything is completely covered by those thick black dancing
lines Keith likes to draw.
Speaker 1 (13:23):
It's like we've stepped into one of Keith's paintings, or
maybe even into his imagination. Do you think this is
what the inside of his brain looks like.
Speaker 3 (13:31):
I'm a historian, not a brains scientist, but probably What
else do you notice about this place, Niminy, anything else
different from those other galleries?
Speaker 1 (13:41):
Well? Yeah, there are all kinds of people, not just
fancy pants are collectors. But look, there are some tourists
looking at t shirts. Oh look at his bark and
dog shirt.
Speaker 3 (13:53):
Oh for cute?
Speaker 5 (13:55):
You think it comes in a medium.
Speaker 3 (13:56):
Burb and check out those teenagers from the Bronx looking
through the button.
Speaker 1 (14:00):
Yo, this button is button with the flavor. I'm gonna
buy it from my jacket. Oh no, Ley, there's no
way a teenager has enough money to buy art from
a famous artist.
Speaker 3 (14:10):
Are you sure about that? Fifty cents for the button? Please?
Speaker 1 (14:14):
Dope that can'd just bought an original Keith Haring piece
for fifty cents.
Speaker 3 (14:20):
Yep, And they can wear it on their jacket, which
means even more people will see it.
Speaker 1 (14:25):
Puzzles, magnets, baseball caps, patches. There's so much cool stuff here, oh,
with Keith's signature.
Speaker 3 (14:33):
Business is booming here at the pop shop. And he
guesses as to where all that money is going.
Speaker 1 (14:39):
Knowing what I know about Keith's herring, it's not going
to Keith.
Speaker 3 (14:43):
Right you are. He's donating that money to causes in
his community that he cares about, like helping children and
researching a cure for AIDS.
Speaker 1 (14:50):
Wow, Keith didn't just make art for everyone. He made
art for everyone.
Speaker 3 (14:57):
Oh.
Speaker 1 (14:58):
I love it, but.
Speaker 3 (14:59):
I'm gonna I need you to elaborate.
Speaker 1 (15:01):
Not only did Keith make art accessible for everyone to
see and enjoy, but he also made activist art that
did things for others, like raising money for people who
needed it.
Speaker 3 (15:12):
That's really well, said Nimini.
Speaker 1 (15:14):
H Yeah, I have a way with words. It's kind
of my whole thing, speaking of I'd better get back
to the bunker and get Keith's song ready. Crack may
be whack, but not this sick track.
Speaker 2 (15:26):
Okay, chat me home two four six, Hey, nim My
knees going home?
Speaker 1 (15:35):
Not all poetry? Yes, Okay, listeners, I'm back in the bunker. Hey, Tina,
can we chat for a second. Even though it was
kind of sketchy that you followed me in secret, I'm
sorry about kicking you out of the even more top
(15:57):
secret wing of the bunker. I was working on some
stuff that I wasn't ready to share. Me read nothing.
I was working on nothing or nothing that I'm ready
to talk about. But t and I switching topics entirely.
Did you know that Keith Herring loved to draw while
listening to music. Let's get a sick beat going and
(16:21):
make a song that Keith would have loved to draw to.
Speaker 2 (16:29):
You.
Speaker 1 (16:30):
Your sitting nineteen eighty subway station.
Speaker 3 (16:33):
Filled with babies, not like the real ones. The diapers
stopped their figures.
Speaker 4 (16:37):
That I drew out of the Harry. I like drawing,
and I like sharing art with people. Missed and lady
and see it, I say, I like drawing babies.
Speaker 1 (16:49):
He tried art school, did not complete me. Must preferred hit.
Speaker 4 (16:53):
I wanted something real and something speedy, not for the risk,
but for the.
Speaker 1 (16:58):
Poor and moller and artie and art for art's sake.
Speaker 4 (17:03):
I am about play, art about being gay, not for pay.
Speaker 1 (17:07):
Art that I would give away.
Speaker 4 (17:08):
One day in the train station to some shock and
begin creation, no real plan and no design, just simple lines,
frunk from my eyes, caring. But I like drawing, and
I like sharing art with people. Man and did I
say I like drawing babies?
Speaker 6 (17:27):
About his drawings, The folks were shat for Satin Island.
Speaker 1 (17:31):
Shooting beams to Flatfish Avenue.
Speaker 4 (17:34):
All the people like the way I made Ah, that
was the trigger I got bigger.
Speaker 1 (17:39):
Now there's a moving for him to consider, Like now
I'm meg, I'm higher up for more fall.
Speaker 3 (17:44):
Now that I'm pop, I'm.
Speaker 1 (17:45):
The art after Warhall.
Speaker 4 (17:46):
I'm friends with him now in John Michelle Bakiat.
Speaker 5 (17:49):
But wait, stop, there's no need to name job one
more though.
Speaker 1 (17:52):
If I can break my own code. I collapse with
Willie Smith tax episode Callaber's Collector. It's all complimentary under
their breath, they say his elementary haters, haten fake ers facing.
Speaker 4 (18:03):
What do I do?
Speaker 1 (18:04):
I keep maze carry warning ready.
Speaker 4 (18:08):
I like drawing and I like sharing art with people.
Man And did I say I like drawing?
Speaker 7 (18:14):
The Yeah, maybe he's aid already in Sceler's an already
in just a few other creature so sillious faceship shooting,
not nicking mouse killing up every art.
Speaker 4 (18:25):
Of a heart or a bus that would fark from
the prints of a dog that would bark, and the
pop bars art has movements, all about movements, group of mutants.
I dropping my amusements for school kids on the statue
of liberty.
Speaker 1 (18:37):
One day than the next, unble Libertine, not a mister Lee,
Yes to why he's making history nicking up from hate,
but in a way to deliver me and you the viewer,
to a childlife place of fun. I dropped babies because
we both used to be one. He died when he
was thirty one. I dropped babies because we both used
to be one.
Speaker 2 (18:55):
Peez see carrying, varning reading.
Speaker 4 (18:58):
I like drawing, and I like sharing art for people.
And did I say I liked drawing babies? I'm Keith
Herring born in Redding, but I liked drawing, and I
liked sharing art with people, men and ladies.
Speaker 1 (19:13):
And did I mention I liked drawing babies. We'll be
right back after a few words for the grown ups.
Oh what a song. It truly answers the question of
whether Keith Herring enjoyed drawing babies or not. Raccoons. We've
(19:34):
done it again, and I love sharing my music with
the world. So true, Tina, it is great making art
for everyone. Hey, wait a second. Keith's hearing was so
brave that he shared his drawings with everyone, even when
it was literally illegal. If he can do it, so
(19:56):
can I. This gives me an idea. Welcome everyone to
the even more top secret wing of the bunker for
my very first art show. My art is just behind
this triple layer security door, and in just a moment
(20:19):
I'll enter the even more top secret password. I just
want to say that, of course people can make art.
They never show anyone. There is value in art, no
matter what. But I don't want to hide my drawings
any longer.
Speaker 4 (20:34):
Oh yeah's probably an amazing visual artist.
Speaker 1 (20:38):
I bet geez percas so good. Ah, nice art, pun
Phil the hype Man. Thanks Nimmery. Hey did you just
hype a hype man? I definitely did.
Speaker 7 (20:53):
Oh Pheels BONDI is bord.
Speaker 1 (20:59):
Who Now time for the big reveal three two one password.
These drawings are amazing and I'm not just hype in.
Speaker 8 (21:15):
I am not programmed to be in emotion yet I
am moved to tears.
Speaker 1 (21:22):
Oh thanks everyone, Your support feels really good.
Speaker 3 (21:26):
These drawings are really amazing, Nimini, And this gallery space
is so offbeat and cool. It's very Keith Harring really.
Oh yeah, this is exactly the kind of space he'd
love to turn into art. Having your art here, warts
and all is as cool as painting a meaningful mural
on an abandoned handball court.
Speaker 1 (21:46):
Wow. I knew I was inspired by Keith? But who
knew I was inspired inspired by Keith?
Speaker 3 (21:53):
He's sneaky like that. M Oh, these miniature Keishas are
so good. Did you make these, Tina?
Speaker 1 (22:01):
Well, you'll have to share that old family recipe. These
are delicious. Yum em, I'll have another layer. Oh right,
now it's time to hop on today's interview can't have
an interview with a mouthful of cash. Today we're talking
to Eva, a ten year old from New Jersey and
Shepherd Fairy, who has been deeply influential in the street
(22:24):
art scene. He's also the founder of Obey Clothing. Hi, guys,
tell our listeners a little more about yourselves. Hi.
Speaker 8 (22:31):
I'm Eva Glassberg. I'm passionate about reading fantasy books, drawing anime,
and making Minecraft fan videos for YouTube. I also write
fan fiction stories.
Speaker 3 (22:40):
Hi.
Speaker 5 (22:41):
Nice to meet you. Eva. I'm Shepherd Fairy.
Speaker 9 (22:43):
I'm an artist and activist living in Los Angeles, California,
but I'm originally from Charleston, South Carolina.
Speaker 8 (22:51):
Thanks for talking to me today.
Speaker 5 (22:53):
It's really great to meet you.
Speaker 1 (22:54):
Let's get things going by learning a little about Shepherd's work. Eva,
do you want to start off with your first question?
Speaker 8 (23:00):
How does art change the world for you? And what
issues is your art trying to address right now?
Speaker 9 (23:06):
I think from a very basic standpoint, when people make art,
they have to think about what's meaningful to them and
they have to share it.
Speaker 5 (23:15):
Now.
Speaker 9 (23:16):
I take that idea and build on it by saying
to myself, Okay, if I can make a picture that
people want to look at how can I incorporate messages
that I think are important within that. And the issues
I care about are environmental justice. I want the planet
to be in good shape for people of your generation
and beyond. I care about equality for all people, and
(23:39):
I also want society to be more fair for people
that don't have a lot of.
Speaker 5 (23:44):
Power and money.
Speaker 9 (23:44):
So those are all things I'm addressing in my work
in one way or another. Eva, I'm passionate about all
of those things, and so I'm curious, what are you
excited about?
Speaker 8 (23:55):
Raising money for animal shelters and I donate money to
places that help animals and like where they live.
Speaker 5 (24:03):
That's great.
Speaker 9 (24:04):
I mean that ties in with respecting all of the
different creatures within the environment, and our ecosystems are very delicate,
so respecting animals is a big part.
Speaker 1 (24:15):
Eva, What questions do you have for Shepherd about Keith Herring?
Speaker 8 (24:18):
Shepherd, where did you first see Keith Haring's art and
how does it affect you.
Speaker 9 (24:23):
I first saw Herring's work when I was a junior
in high school going to an art summer program, and
I had a teacher who was sharing some of the
work he thought was exciting, and he shared Keith Haring
and Andy Warhol and.
Speaker 5 (24:40):
Julian Schnabel with me.
Speaker 9 (24:41):
I immediately liked Keith Herring's work because I think it's very
visually appealing. It's based on strong, simple mark making and pictograms,
characters of people, of animals. And I learned a little
bit of Keith's story, which was exciting to me, that
he stole in the streets. I wasn't a street artist yet,
(25:03):
but I liked the idea of something that was a
little bit rebellious. Those are some of the reasons I
like Keith Herring. But I'm curious what you like about him,
what you like about his art, what moves you.
Speaker 8 (25:15):
I think that his cartoon figures had so much power
because a lot of people can relate to what they show.
Speaker 5 (25:22):
Mm hm.
Speaker 8 (25:22):
But there's also like the differences that all of them have.
Speaker 1 (25:26):
We have time for a couple more questions, Eva, what
else would you like to ask Shepherd?
Speaker 8 (25:31):
What typically inspires your art.
Speaker 9 (25:33):
I'm inspired by a lot of things. I'm inspired by
things that I think are powerful.
Speaker 5 (25:38):
Visually or beautiful visually.
Speaker 9 (25:40):
Sometimes those things are the typical things you might see
in appealing art, like flowers and birds and clouds and
waves and sunsets, But a lot of times I'm inspired
by things that are challenging, like the architecture of a
factory that looks really cool but also pollutes the environment.
(26:01):
Some of my inspiration comes from music, so I have
lots and lots of different influences, but Keith Haring is
one of my biggest influences because he used his art
to say something important, and he also loved to work
while music was playing, so there's a rhythm. He liked
to dance and paint it at the same time, so
there's a natural rhythm to his mark making that you
(26:25):
can almost see the musical component to it.
Speaker 8 (26:28):
What sort of music usually inspires your art and is
there any sort of music that you would recommend to
like other artists.
Speaker 9 (26:36):
I like a lot of old school hip hop because
it's got really good beats, and there's a lot of
old school hip hop that has strong messages about equality,
groups like Public Enemy and I love Run DMC and
The Beastie Boys.
Speaker 5 (26:50):
I also like a lot of punk rock.
Speaker 9 (26:53):
My favorite punk rock band is The Clash because they
started off as doing what most people recognized as punk
rock as a style, but they evolved and they were
inspired by what was going on in New York City
with funk and disco. But the most important thing is
it just has to be music that you like to
listen to.
Speaker 5 (27:11):
What do you like?
Speaker 8 (27:13):
I like Taylor Swift.
Speaker 9 (27:15):
Yeah, Taylor Swift is very appealing. And Taylor Swift has
got plenty of clever lyrics about romances and everything else.
And you know, I think you have your whole life
in front of you to experience music, and I think
the important thing is to just have your eyes, your ears,
your mind open.
Speaker 8 (27:32):
Thank you for sharing your answers to my questions.
Speaker 5 (27:34):
You're very welcome. Eva.
Speaker 9 (27:36):
It's a pleasure to meet you and keep up the
great work with the animal charities and everything creative that
you're doing.
Speaker 8 (27:43):
Thank you, goodbye, Shepherd.
Speaker 5 (27:45):
Thanks Eva, it was great to talk to you.
Speaker 1 (27:50):
What an awesome interview. And Shepherd, if you love hip hop,
you were on the right podcast listeners, Thanks for joining
in today and for going on a journey with me
to lot learn about the great Keith Herring. And a
huge thanks to today's guests Shepherd and Eva and Jess
McKenna and Zach Reno. We'll be back next week with
(28:10):
another episode, another song, and another Hero. For now, It's
back to my not so top secret wing. Make it
art for everyone to see. Remember a parents and teachers.
You can download a free activity related to today's episode
by visiting story pirates dot com. Slash Historical Records. Until
(28:31):
next time, remember to make history, you gotta make some noise. Bye.
Speaker 6 (28:42):
Historical Records is produced in partnership with Story Pirate Studios,
Questlove's two and five Entertainment John Glickman and iHeart Podcasts
Executive produced by Emir Questlove Thompson, John Blickman, Le Overtree
and Benjamin Salga. Executive produced for iHeart Podcasts by Noel Brown.
(29:03):
Producers for Story Pirate Studios are Isabella Riccio, Sam Bear,
Eric Gerson, Andrew Miller, Lee Overtree, Peter McNerney, Denisa warton
By and niminy Ware. Producers for two one five are
Sean G. Britney, Benjamin and Sarah Zolman. Hosted by niminy Ware.
Our head writer is Duke Doyle. Our historians are Gabe
(29:24):
Pacheco and Lee Polos. Music supervision for two one five
by Stroe Elliott. Scoring and music supervision for Story Pirate
Studios by Eric Gerson sound designed and mixing by Sam
Bear at the Relic Room in New York City. Song
mastering by Josh Hahn. Theme song by Dan Foster and
Eric Gerson and produced by Eric Gerson. Production coordination by
(29:46):
Isabelle Riccio, Production management by Maggie Lee. The line producer
for Story Pired Studios is Glennis Brault. Pr for Story
Pirate Studios is provided by Naomi Shaw. Episode artwork by
Camilla Franklin. This episode was written by Alexis Simpson. The
song Keith Herring was written by Dan Foster and produced
by Eric Gerson. Vocal direction by Eric Gerson and Jack Mitchell.
(30:09):
Special guests Shepherd Ferry, Jessica McKenna, Zach Reno and Kid
Interviewer Eva. This episode features performances by Eric Austen, Andrew Barbado,
Peter McNerney, Megan O'Neil, Lee Overtree, and Lee Polas
Hey listeners, niminy here, host of historical records, get ready
to hear about a historical hero through hip hop. Also,
parents and teachers, you can download a free activity related
to today's episode by visiting story pirates dot com. Slash
Historical Records, and now onto the show. After a few
(00:22):
words for the grownups. But hey, listeners, niminy here. Excuse
the insight voice, but you caught me smack in the
middle of a top secret mission. I'm making my way
to the even more top secret wing of the underground Bunker,
(00:44):
and I don't want anyone to see me. That's right,
My top secret underground Bunker has a room so even
more top secret that I'm the only one who knows
how to get there. First, I have to navigate this
elaborate laser maze hi. I made it, who good thing.
I did my stretching routine this morning. Next, I pulled
(01:07):
this lever, which activates that cute folder. Do you think
that since I know the lever is a booby tribe,
I wouldn't pull it. But what you don't know is
that pulling that lever is the only way to open
this secret door. Bet you thought that was an ordinary bookcase.
(01:29):
No worry, it happens to everyone. Now down the firefighter's pull.
At last, we're here at the triple layer security door.
Please enter the even more secret password. You got it,
robot boys, The password is password. I needn't let the
(01:54):
top secret mission think it.
Speaker 2 (02:00):
It's its historical records.
Speaker 3 (02:03):
You are now listening to Historical.
Speaker 1 (02:08):
To make history, you got to have struggles to make history.
You got to show poise. Cannot be quiet loud as
the riot. To make history, you gotta make some noise.
Welcome back to Historical Records, where we conduct highly experimental
experiments combining history and hip hop. Today's episode is about
(02:30):
the artist Keith Herring. But before we get to him,
I have to close the triple layer of security doors
so I can quickly conduct some very top secret business.
I'm telling you this wing is so even more top
secret that not even robot voice is allowed in here.
(02:50):
This is where I'm going to conduct Mike, Is it
more top secret experiment? Drug? Why? So even more top secret? Yeah? See.
The thing is I'm not an amazing artist like Keith Herring,
so I don't want people to know I'm drawing. That's
why I carry this This probably looks like an ordinary
(03:11):
bowl of pickled banana pudding to you. What surprise? Let
me reach inside, Donna. It's my secret hiding place for
my handy number two pitzel. Now that I'm alone, I
can safely draw embarrassment free. Who. No, someone's at the door.
(03:32):
Oh but I was so sneaky. Who could it be?
Oh man, it's Tina and the rest of the raccoons.
Go away. No, I will not let you in. This
area is even more top secret. That was a close one.
(03:53):
Back to the drawing board. Literally, Oh, I feel a
little bad chasing off Tina the raccoon.
Speaker 3 (04:02):
She's my friend.
Speaker 1 (04:03):
What I'm so insecure about my drawing. I don't want
anyone to see it, not even my bestie. Thankfully, am definitely,
absolutely entirely alone. Those raccoons just won't quit. Tina. I
thought I told you to go. Ah what, Oh you're.
Speaker 3 (04:26):
Not the raccoons. Nope, it's me Lee. But I was
scourge scratching at the door, just like a raccoon. Oh
why didn't you just knock sensitive knuckles?
Speaker 1 (04:37):
How did you even find the even more top secret
wing it's even more top secret.
Speaker 3 (04:43):
I followed you, of course, Well, technically, the raccoons followed you,
and I followed the raccoons. You know how I loved
being accurate.
Speaker 1 (04:51):
Ugh, better go back to even more top secret bunker
Editions depot and get a refund.
Speaker 3 (04:56):
I hope you don't have to go now, because I
am just burst at the seems to tell you about
Keith Haring. Although you look like you were busy with
that pencil and paper? Am I interrupting something?
Speaker 2 (05:08):
Oooo?
Speaker 3 (05:10):
Is that a drying Let me see not?
Speaker 1 (05:13):
These are nothing? Nothing at tall? I've never drawn in
my life. Who's stuff?
Speaker 3 (05:18):
Is this?
Speaker 1 (05:18):
What is a pencil? Let's talk Keith?
Speaker 3 (05:21):
You got it, niminy. Let's talk about cape Hare?
Speaker 1 (05:27):
Whoa that was impressively loud? Hey? Is that Phil the
hype man's bullhorn?
Speaker 3 (05:35):
I would never separate a hype man from his bullhorn.
This is my new history simulator. Keith Haring was not
only an artist, but also an activist, So I made
this week's simulator every activist's favorite tool.
Speaker 1 (05:50):
Keith Herring was an activist. Cool. I didn't know that.
Speaker 3 (05:54):
Oh, just you wait, there is so much more in store.
Let's fire this thing up and head off to nineteen eighties?
Speaker 1 (06:03):
How do we fire it up.
Speaker 3 (06:05):
How else would you start a bullhorn that's also a
history simulator besides a catchy chant.
Speaker 2 (06:12):
Brown Phil Flatbush, Little Haities kick us back to nineteen eighty.
Speaker 1 (06:18):
Here we okay, we are definitely in nineteen eighty. Just
look at that woman's bangs. But where are we?
Speaker 3 (06:34):
Welcome to the New York City subway, Nimini.
Speaker 1 (06:37):
Look at all the people in here, yep.
Speaker 3 (06:40):
From business people in suits to kids with backpacks, construction
workers to ballet dancers. The whole city's here.
Speaker 1 (06:47):
Everyone's moving a mile a minute.
Speaker 3 (06:49):
They all have somewhere to be. Look, even the rats
are in a hurry.
Speaker 1 (06:53):
Cute and gross. Look over there by that unused advertising panel.
That's guinea guy with the glasses is the only person
who doesn't seem to be going anywhere.
Speaker 3 (07:04):
That's the one and only Keith Haring holding his trademark
white chalk.
Speaker 1 (07:10):
He kind of stands out because he's not in a rush.
Speaker 3 (07:14):
That's because this subway station is exactly where he wants
to be. See how he's drawing on that black paper.
When there isn't a poster advertising a movie or a product,
the city covers the advertising panel in black paper, the
perfect canvas for Keith.
Speaker 4 (07:30):
This is way better than having my art in a museum.
Speaker 1 (07:33):
This art is for everybody. Is that music coming from Keith?
Speaker 3 (07:38):
Yes? Keith would often draw to music to help give
his art a sense of movement.
Speaker 1 (07:43):
He's drawing so fast, Oh look at him groove.
Speaker 3 (07:47):
He sometimes made forty drawings in one day.
Speaker 1 (07:51):
How is that even possible?
Speaker 3 (07:53):
Well, he didn't try to draw realistic looking art. That
would have taken too much time both to create and
to look.
Speaker 1 (07:59):
At my drawings. Don't try to imitate life. They try
to create life to invent it.
Speaker 3 (08:06):
Instead, he used bold symbols over and over that communicate meaning,
even if you only have a few seconds to look.
But this also meant that he created art without race, age,
or gender, so that everyone can see themselves in his work.
He made his art a wordless language, kind of like
Egyptian hieroglyphics. E.
Speaker 1 (08:26):
Yeah, now that you mention it. I see all kinds
of symbols in his art. Hearts, globes, barking dogs, and
is that a crawling baby? It sure is.
Speaker 3 (08:37):
That's the radiant baby. It's one of Keith's most recognizable drawings.
It appeared over and over in his work.
Speaker 1 (08:44):
Oh this really is better than being in a museum.
But I gotta ask, isn't this technically graffiti? Did Keith
ever get in trouble for drawing in public places?
Speaker 3 (08:55):
Great question and the perfect segue to our next style.
Speaker 2 (09:02):
Cobblestille concrete East Harlem bricks take us to nineteen eighty six.
Speaker 3 (09:08):
Yeah, easy, now we've made it to East Harlem, New
York City, nineteen eighty six.
Speaker 1 (09:17):
Why does this look like some kind of abandoned handball
court with a ball wall next to a freeway?
Speaker 3 (09:24):
Because it is an abandoned handball court with a ballwall
next to the freeway.
Speaker 1 (09:28):
Makes sense that it's abandoned. How could you even play here?
The ball would bounce right into the traffic on Harlem
River Drive exactly.
Speaker 3 (09:37):
That's why nobody is here yet.
Speaker 1 (09:41):
What do you mean it? Oooh, someone just parked a van.
It's Keith and he's unloading a big ladder and a
bunch of cans of fluorescent orange paint.
Speaker 3 (09:53):
Yeah, and he's about to paint that ballwall without permission. Technically,
this court is property of the Parks Department, so Keith
isn't allowed to make his art here. But what he's
planning isn't any old graffiti tag. His art is going
to have an important message.
Speaker 1 (10:10):
Hey, I just realized something. If he paints here, everybody
driving by on the highway is going to see it.
Speaker 3 (10:18):
Just like a billboard. It'll be seen by thousands of
people every day.
Speaker 1 (10:23):
Huh what's all that honking for?
Speaker 3 (10:26):
Oh?
Speaker 1 (10:26):
Are people mad?
Speaker 3 (10:27):
Nope, the opposite. In fact, people driving by recognize Keith
and they're honking to support him as he works on
his painting.
Speaker 1 (10:35):
Look, Keith is starting the mural. Wait, I don't see
Keith's usual fun pictures of hearts and radiant babies.
Speaker 3 (10:43):
Yeah, this isn't one of his happy fun images.
Speaker 1 (10:46):
There are skulls burning money, a giant snake.
Speaker 3 (10:52):
Check out what he's about to write.
Speaker 1 (10:54):
Crack is whack? Whoa intense? What does that mean?
Speaker 3 (10:59):
Well, is an addictive drug negatively impacting a ton of
young people in the city here in nineteen eighty six,
whack means messed up or uncool.
Speaker 1 (11:09):
Oh, so now every single person driving or walking by
will see this powerful message about how an addictive drug
is not cool, all thanks to Keith.
Speaker 3 (11:19):
Uh.
Speaker 1 (11:20):
Oh the police. Oh, he's gonna get in big trouble.
Speaker 3 (11:24):
He could face up to a year in jail, a
year just for drawing. Don't worry, Keith ends up only
having to pay a one hundred dollars fine.
Speaker 1 (11:33):
Ooh, well that's better than jail time. But still one
hundred dollars is a lot of money.
Speaker 3 (11:38):
Yeah, especially in the eighties. But for Keith it was
totally worth it. His crack as Whack mural goes on
to be one of his most famous paintings. It's still
up today, spreading his message.
Speaker 1 (11:50):
Wow. I can't believe Keith risked a year in jail
just to share his art with everyone who needs to
see it.
Speaker 3 (11:57):
Yep. He also used his activist art to make a
difference in his community. Wait till you see this.
Speaker 2 (12:05):
The East River is a tidal straight off we go
to nineteen eighty eight.
Speaker 1 (12:11):
Who lucky?
Speaker 3 (12:16):
Welcome to the Soho neighborhood of New York City nineteen
eighty eight.
Speaker 1 (12:21):
Hey, I know this neighborhood. Isn't this where all the
art galleries are?
Speaker 3 (12:26):
Right? Take a look through some of these windows.
Speaker 1 (12:29):
Huh? I see some artwork on the walls, but it's
hard to see from this far away.
Speaker 3 (12:34):
Want to go in?
Speaker 1 (12:35):
I don't know lots of these galleries only have a
few people inside, and the people look very serious. I'm
not sure i'd fit in.
Speaker 3 (12:43):
You know who felt the same way Keith Haring. Luckily
he did something about it. Check out this gallery.
Speaker 1 (12:51):
Whoa, look at that bright blue awning. It's so colorful
compared to all these other storefronts, it says pop shot.
Speaker 3 (13:01):
Recognize that symbol on the sign, that's Radian.
Speaker 1 (13:04):
Baby, you bet.
Speaker 3 (13:06):
Let's go inside. Look at this place.
Speaker 1 (13:10):
The walls, floor, even the ceiling are covered in drawings.
It's like a giant canvas.
Speaker 3 (13:16):
Yep, everything is completely covered by those thick black dancing
lines Keith likes to draw.
Speaker 1 (13:23):
It's like we've stepped into one of Keith's paintings, or
maybe even into his imagination. Do you think this is
what the inside of his brain looks like.
Speaker 3 (13:31):
I'm a historian, not a brains scientist, but probably What
else do you notice about this place, Niminy, anything else
different from those other galleries?
Speaker 1 (13:41):
Well? Yeah, there are all kinds of people, not just
fancy pants are collectors. But look, there are some tourists
looking at t shirts. Oh look at his bark and
dog shirt.
Speaker 3 (13:53):
Oh for cute?
Speaker 5 (13:55):
You think it comes in a medium.
Speaker 3 (13:56):
Burb and check out those teenagers from the Bronx looking
through the button.
Speaker 1 (14:00):
Yo, this button is button with the flavor. I'm gonna
buy it from my jacket. Oh no, Ley, there's no
way a teenager has enough money to buy art from
a famous artist.
Speaker 3 (14:10):
Are you sure about that? Fifty cents for the button? Please?
Speaker 1 (14:14):
Dope that can'd just bought an original Keith Haring piece
for fifty cents.
Speaker 3 (14:20):
Yep, And they can wear it on their jacket, which
means even more people will see it.
Speaker 1 (14:25):
Puzzles, magnets, baseball caps, patches. There's so much cool stuff here, oh,
with Keith's signature.
Speaker 3 (14:33):
Business is booming here at the pop shop. And he
guesses as to where all that money is going.
Speaker 1 (14:39):
Knowing what I know about Keith's herring, it's not going
to Keith.
Speaker 3 (14:43):
Right you are. He's donating that money to causes in
his community that he cares about, like helping children and
researching a cure for AIDS.
Speaker 1 (14:50):
Wow, Keith didn't just make art for everyone. He made
art for everyone.
Speaker 3 (14:57):
Oh.
Speaker 1 (14:58):
I love it, but.
Speaker 3 (14:59):
I'm gonna I need you to elaborate.
Speaker 1 (15:01):
Not only did Keith make art accessible for everyone to
see and enjoy, but he also made activist art that
did things for others, like raising money for people who
needed it.
Speaker 3 (15:12):
That's really well, said Nimini.
Speaker 1 (15:14):
H Yeah, I have a way with words. It's kind
of my whole thing, speaking of I'd better get back
to the bunker and get Keith's song ready. Crack may
be whack, but not this sick track.
Speaker 2 (15:26):
Okay, chat me home two four six, Hey, nim My
knees going home?
Speaker 1 (15:35):
Not all poetry? Yes, Okay, listeners, I'm back in the bunker. Hey, Tina,
can we chat for a second. Even though it was
kind of sketchy that you followed me in secret, I'm
sorry about kicking you out of the even more top
(15:57):
secret wing of the bunker. I was working on some
stuff that I wasn't ready to share. Me read nothing.
I was working on nothing or nothing that I'm ready
to talk about. But t and I switching topics entirely.
Did you know that Keith Herring loved to draw while
listening to music. Let's get a sick beat going and
(16:21):
make a song that Keith would have loved to draw to.
Speaker 2 (16:29):
You.
Speaker 1 (16:30):
Your sitting nineteen eighty subway station.
Speaker 3 (16:33):
Filled with babies, not like the real ones. The diapers
stopped their figures.
Speaker 4 (16:37):
That I drew out of the Harry. I like drawing,
and I like sharing art with people. Missed and lady
and see it, I say, I like drawing babies.
Speaker 1 (16:49):
He tried art school, did not complete me. Must preferred hit.
Speaker 4 (16:53):
I wanted something real and something speedy, not for the risk,
but for the.
Speaker 1 (16:58):
Poor and moller and artie and art for art's sake.
Speaker 4 (17:03):
I am about play, art about being gay, not for pay.
Speaker 1 (17:07):
Art that I would give away.
Speaker 4 (17:08):
One day in the train station to some shock and
begin creation, no real plan and no design, just simple lines,
frunk from my eyes, caring. But I like drawing, and
I like sharing art with people. Man and did I
say I like drawing babies?
Speaker 6 (17:27):
About his drawings, The folks were shat for Satin Island.
Speaker 1 (17:31):
Shooting beams to Flatfish Avenue.
Speaker 4 (17:34):
All the people like the way I made Ah, that
was the trigger I got bigger.
Speaker 1 (17:39):
Now there's a moving for him to consider, Like now
I'm meg, I'm higher up for more fall.
Speaker 3 (17:44):
Now that I'm pop, I'm.
Speaker 1 (17:45):
The art after Warhall.
Speaker 4 (17:46):
I'm friends with him now in John Michelle Bakiat.
Speaker 5 (17:49):
But wait, stop, there's no need to name job one
more though.
Speaker 1 (17:52):
If I can break my own code. I collapse with
Willie Smith tax episode Callaber's Collector. It's all complimentary under
their breath, they say his elementary haters, haten fake ers facing.
Speaker 4 (18:03):
What do I do?
Speaker 1 (18:04):
I keep maze carry warning ready.
Speaker 4 (18:08):
I like drawing and I like sharing art with people.
Man And did I say I like drawing?
Speaker 7 (18:14):
The Yeah, maybe he's aid already in Sceler's an already
in just a few other creature so sillious faceship shooting,
not nicking mouse killing up every art.
Speaker 4 (18:25):
Of a heart or a bus that would fark from
the prints of a dog that would bark, and the
pop bars art has movements, all about movements, group of mutants.
I dropping my amusements for school kids on the statue
of liberty.
Speaker 1 (18:37):
One day than the next, unble Libertine, not a mister Lee,
Yes to why he's making history nicking up from hate,
but in a way to deliver me and you the viewer,
to a childlife place of fun. I dropped babies because
we both used to be one. He died when he
was thirty one. I dropped babies because we both used
to be one.
Speaker 2 (18:55):
Peez see carrying, varning reading.
Speaker 4 (18:58):
I like drawing, and I like sharing art for people.
And did I say I liked drawing babies? I'm Keith
Herring born in Redding, but I liked drawing, and I
liked sharing art with people, men and ladies.
Speaker 1 (19:13):
And did I mention I liked drawing babies. We'll be
right back after a few words for the grown ups.
Oh what a song. It truly answers the question of
whether Keith Herring enjoyed drawing babies or not. Raccoons. We've
(19:34):
done it again, and I love sharing my music with
the world. So true, Tina, it is great making art
for everyone. Hey, wait a second. Keith's hearing was so
brave that he shared his drawings with everyone, even when
it was literally illegal. If he can do it, so
(19:56):
can I. This gives me an idea. Welcome everyone to
the even more top secret wing of the bunker for
my very first art show. My art is just behind
this triple layer security door, and in just a moment
(20:19):
I'll enter the even more top secret password. I just
want to say that, of course people can make art.
They never show anyone. There is value in art, no
matter what. But I don't want to hide my drawings
any longer.
Speaker 4 (20:34):
Oh yeah's probably an amazing visual artist.
Speaker 1 (20:38):
I bet geez percas so good. Ah, nice art, pun
Phil the hype Man. Thanks Nimmery. Hey did you just
hype a hype man? I definitely did.
Speaker 7 (20:53):
Oh Pheels BONDI is bord.
Speaker 1 (20:59):
Who Now time for the big reveal three two one password.
These drawings are amazing and I'm not just hype in.
Speaker 8 (21:15):
I am not programmed to be in emotion yet I
am moved to tears.
Speaker 1 (21:22):
Oh thanks everyone, Your support feels really good.
Speaker 3 (21:26):
These drawings are really amazing, Nimini, And this gallery space
is so offbeat and cool. It's very Keith Harring really.
Oh yeah, this is exactly the kind of space he'd
love to turn into art. Having your art here, warts
and all is as cool as painting a meaningful mural
on an abandoned handball court.
Speaker 1 (21:46):
Wow. I knew I was inspired by Keith? But who
knew I was inspired inspired by Keith?
Speaker 3 (21:53):
He's sneaky like that. M Oh, these miniature Keishas are
so good. Did you make these, Tina?
Speaker 1 (22:01):
Well, you'll have to share that old family recipe. These
are delicious. Yum em, I'll have another layer. Oh right,
now it's time to hop on today's interview can't have
an interview with a mouthful of cash. Today we're talking
to Eva, a ten year old from New Jersey and
Shepherd Fairy, who has been deeply influential in the street
(22:24):
art scene. He's also the founder of Obey Clothing. Hi, guys,
tell our listeners a little more about yourselves. Hi.
Speaker 8 (22:31):
I'm Eva Glassberg. I'm passionate about reading fantasy books, drawing anime,
and making Minecraft fan videos for YouTube. I also write
fan fiction stories.
Speaker 3 (22:40):
Hi.
Speaker 5 (22:41):
Nice to meet you. Eva. I'm Shepherd Fairy.
Speaker 9 (22:43):
I'm an artist and activist living in Los Angeles, California,
but I'm originally from Charleston, South Carolina.
Speaker 8 (22:51):
Thanks for talking to me today.
Speaker 5 (22:53):
It's really great to meet you.
Speaker 1 (22:54):
Let's get things going by learning a little about Shepherd's work. Eva,
do you want to start off with your first question?
Speaker 8 (23:00):
How does art change the world for you? And what
issues is your art trying to address right now?
Speaker 9 (23:06):
I think from a very basic standpoint, when people make art,
they have to think about what's meaningful to them and
they have to share it.
Speaker 5 (23:15):
Now.
Speaker 9 (23:16):
I take that idea and build on it by saying
to myself, Okay, if I can make a picture that
people want to look at how can I incorporate messages
that I think are important within that. And the issues
I care about are environmental justice. I want the planet
to be in good shape for people of your generation
and beyond. I care about equality for all people, and
(23:39):
I also want society to be more fair for people
that don't have a lot of.
Speaker 5 (23:44):
Power and money.
Speaker 9 (23:44):
So those are all things I'm addressing in my work
in one way or another. Eva, I'm passionate about all
of those things, and so I'm curious, what are you
excited about?
Speaker 8 (23:55):
Raising money for animal shelters and I donate money to
places that help animals and like where they live.
Speaker 5 (24:03):
That's great.
Speaker 9 (24:04):
I mean that ties in with respecting all of the
different creatures within the environment, and our ecosystems are very delicate,
so respecting animals is a big part.
Speaker 1 (24:15):
Eva, What questions do you have for Shepherd about Keith Herring?
Speaker 8 (24:18):
Shepherd, where did you first see Keith Haring's art and
how does it affect you.
Speaker 9 (24:23):
I first saw Herring's work when I was a junior
in high school going to an art summer program, and
I had a teacher who was sharing some of the
work he thought was exciting, and he shared Keith Haring
and Andy Warhol and.
Speaker 5 (24:40):
Julian Schnabel with me.
Speaker 9 (24:41):
I immediately liked Keith Herring's work because I think it's very
visually appealing. It's based on strong, simple mark making and pictograms,
characters of people, of animals. And I learned a little
bit of Keith's story, which was exciting to me, that
he stole in the streets. I wasn't a street artist yet,
(25:03):
but I liked the idea of something that was a
little bit rebellious. Those are some of the reasons I
like Keith Herring. But I'm curious what you like about him,
what you like about his art, what moves you.
Speaker 8 (25:15):
I think that his cartoon figures had so much power
because a lot of people can relate to what they show.
Speaker 5 (25:22):
Mm hm.
Speaker 8 (25:22):
But there's also like the differences that all of them have.
Speaker 1 (25:26):
We have time for a couple more questions, Eva, what
else would you like to ask Shepherd?
Speaker 8 (25:31):
What typically inspires your art.
Speaker 9 (25:33):
I'm inspired by a lot of things. I'm inspired by
things that I think are powerful.
Speaker 5 (25:38):
Visually or beautiful visually.
Speaker 9 (25:40):
Sometimes those things are the typical things you might see
in appealing art, like flowers and birds and clouds and
waves and sunsets, But a lot of times I'm inspired
by things that are challenging, like the architecture of a
factory that looks really cool but also pollutes the environment.
(26:01):
Some of my inspiration comes from music, so I have
lots and lots of different influences, but Keith Haring is
one of my biggest influences because he used his art
to say something important, and he also loved to work
while music was playing, so there's a rhythm. He liked
to dance and paint it at the same time, so
there's a natural rhythm to his mark making that you
(26:25):
can almost see the musical component to it.
Speaker 8 (26:28):
What sort of music usually inspires your art and is
there any sort of music that you would recommend to
like other artists.
Speaker 9 (26:36):
I like a lot of old school hip hop because
it's got really good beats, and there's a lot of
old school hip hop that has strong messages about equality,
groups like Public Enemy and I love Run DMC and
The Beastie Boys.
Speaker 5 (26:50):
I also like a lot of punk rock.
Speaker 9 (26:53):
My favorite punk rock band is The Clash because they
started off as doing what most people recognized as punk
rock as a style, but they evolved and they were
inspired by what was going on in New York City
with funk and disco. But the most important thing is
it just has to be music that you like to
listen to.
Speaker 5 (27:11):
What do you like?
Speaker 8 (27:13):
I like Taylor Swift.
Speaker 9 (27:15):
Yeah, Taylor Swift is very appealing. And Taylor Swift has
got plenty of clever lyrics about romances and everything else.
And you know, I think you have your whole life
in front of you to experience music, and I think
the important thing is to just have your eyes, your ears,
your mind open.
Speaker 8 (27:32):
Thank you for sharing your answers to my questions.
Speaker 5 (27:34):
You're very welcome. Eva.
Speaker 9 (27:36):
It's a pleasure to meet you and keep up the
great work with the animal charities and everything creative that
you're doing.
Speaker 8 (27:43):
Thank you, goodbye, Shepherd.
Speaker 5 (27:45):
Thanks Eva, it was great to talk to you.
Speaker 1 (27:50):
What an awesome interview. And Shepherd, if you love hip hop,
you were on the right podcast listeners, Thanks for joining
in today and for going on a journey with me
to lot learn about the great Keith Herring. And a
huge thanks to today's guests Shepherd and Eva and Jess
McKenna and Zach Reno. We'll be back next week with
(28:10):
another episode, another song, and another Hero. For now, It's
back to my not so top secret wing. Make it
art for everyone to see. Remember a parents and teachers.
You can download a free activity related to today's episode
by visiting story pirates dot com. Slash Historical Records. Until
(28:31):
next time, remember to make history, you gotta make some noise. Bye.
Speaker 6 (28:42):
Historical Records is produced in partnership with Story Pirate Studios,
Questlove's two and five Entertainment John Glickman and iHeart Podcasts
Executive produced by Emir Questlove Thompson, John Blickman, Le Overtree
and Benjamin Salga. Executive produced for iHeart Podcasts by Noel Brown.
(29:03):
Producers for Story Pirate Studios are Isabella Riccio, Sam Bear,
Eric Gerson, Andrew Miller, Lee Overtree, Peter McNerney, Denisa warton
By and niminy Ware. Producers for two one five are
Sean G. Britney, Benjamin and Sarah Zolman. Hosted by niminy Ware.
Our head writer is Duke Doyle. Our historians are Gabe
(29:24):
Pacheco and Lee Polos. Music supervision for two one five
by Stroe Elliott. Scoring and music supervision for Story Pirate
Studios by Eric Gerson sound designed and mixing by Sam
Bear at the Relic Room in New York City. Song
mastering by Josh Hahn. Theme song by Dan Foster and
Eric Gerson and produced by Eric Gerson. Production coordination by
(29:46):
Isabelle Riccio, Production management by Maggie Lee. The line producer
for Story Pired Studios is Glennis Brault. Pr for Story
Pirate Studios is provided by Naomi Shaw. Episode artwork by
Camilla Franklin. This episode was written by Alexis Simpson. The
song Keith Herring was written by Dan Foster and produced
by Eric Gerson. Vocal direction by Eric Gerson and Jack Mitchell.
(30:09):
Special guests Shepherd Ferry, Jessica McKenna, Zach Reno and Kid
Interviewer Eva. This episode features performances by Eric Austen, Andrew Barbado,
Peter McNerney, Megan O'Neil, Lee Overtree, and Lee Polas
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