1 00:00:00,320 --> 00:00:02,760 Speaker 1: Thirty push ups, and the whole shipbanks thirty push ups. 2 00:00:03,000 --> 00:00:04,920 Speaker 1: We have to do thirty pushups. 3 00:00:09,200 --> 00:00:11,800 Speaker 2: From the Australian. This is the weekend edition of the Front. 4 00:00:11,880 --> 00:00:15,840 Speaker 2: I'm Claire Harvey. We get to do the craziest things 5 00:00:15,840 --> 00:00:20,439 Speaker 2: in journalism, fly around in helicopters, meet incredible people. It 6 00:00:20,520 --> 00:00:23,120 Speaker 2: makes up for all the times we get doors slammed 7 00:00:23,160 --> 00:00:26,360 Speaker 2: in our faces, which, if I'm being honest, is all 8 00:00:26,400 --> 00:00:30,760 Speaker 2: part of the adventure too. Today our chief Culture Correspondent, 9 00:00:30,920 --> 00:00:33,640 Speaker 2: Tim Douglas is here to tell us all about one 10 00:00:33,720 --> 00:00:42,120 Speaker 2: of those great adventures. Tim Douglas is the Australian's chief 11 00:00:42,159 --> 00:00:45,319 Speaker 2: Culture correspondent, and of course that means he's a night now. 12 00:00:45,720 --> 00:00:47,559 Speaker 2: He has to go to premieres and all sorts of 13 00:00:47,640 --> 00:00:49,160 Speaker 2: dazzling events late at night. 14 00:00:49,560 --> 00:00:51,080 Speaker 3: Tim, You're not the kind of guy I. 15 00:00:51,000 --> 00:00:52,920 Speaker 2: Would expect to be getting up at three o'clock on 16 00:00:52,960 --> 00:00:55,440 Speaker 2: a Friday morning for any kind of cultural event. 17 00:00:55,920 --> 00:00:57,400 Speaker 3: What was going on last Friday? 18 00:00:57,560 --> 00:00:59,960 Speaker 1: It's a tough job sometimes, Claire. Look, I got the 19 00:01:00,080 --> 00:01:02,400 Speaker 1: three in the morning to get an into the city. 20 00:01:02,440 --> 00:01:05,160 Speaker 1: I live down the South Coast and I came into 21 00:01:05,200 --> 00:01:08,880 Speaker 1: the city to the Opera House to meet Australian Chamber 22 00:01:09,000 --> 00:01:13,399 Speaker 1: orchestras artistic director and maestro Richard Tognetti, and we met 23 00:01:13,400 --> 00:01:15,640 Speaker 1: at stage door because we were there to climb the 24 00:01:15,680 --> 00:01:17,399 Speaker 1: sales of the Sydney Opera House. 25 00:01:17,840 --> 00:01:20,200 Speaker 2: I'm dying to know about the climb, but first I've 26 00:01:20,200 --> 00:01:22,360 Speaker 2: got to say, this must be the luckiest uber driver 27 00:01:22,440 --> 00:01:24,320 Speaker 2: in Australia. This must have been a hell of an 28 00:01:24,360 --> 00:01:24,919 Speaker 2: uber bill. 29 00:01:25,000 --> 00:01:27,800 Speaker 1: All of an uber bill. Don't tell the managing editor, 30 00:01:27,840 --> 00:01:35,600 Speaker 1: he'll find out soon enough. So Richard Tongnedti, of course, 31 00:01:35,760 --> 00:01:41,880 Speaker 1: is our most celebrated classical musician, internationally lauded superstar violinist. 32 00:01:42,160 --> 00:01:44,640 Speaker 1: He is the artistic director of the Australian Chamber Orchestra. 33 00:01:45,040 --> 00:01:47,120 Speaker 1: He has made a name for himself as someone who 34 00:01:47,160 --> 00:01:49,720 Speaker 1: has had one of the longest arts tenor ships in 35 00:01:49,760 --> 00:01:52,320 Speaker 1: the world. He has been for thirty five years the 36 00:01:52,360 --> 00:01:56,240 Speaker 1: boss of that orchestra and started at very humble beginnings 37 00:01:56,360 --> 00:01:59,480 Speaker 1: as a boyfriend Wollongong who played his first gig at 38 00:01:59,480 --> 00:02:11,040 Speaker 1: the Opera House at the age of eleven. So the 39 00:02:11,080 --> 00:02:13,960 Speaker 1: plan was, let's get Richard up on top of the 40 00:02:13,960 --> 00:02:18,400 Speaker 1: sales playing his seventeen forty three Gwinery violin worth fifteen 41 00:02:18,400 --> 00:02:22,200 Speaker 1: million dollars at dawn as the sun rises. We shoot 42 00:02:22,240 --> 00:02:24,239 Speaker 1: it with a drone. We shoot it with a videographer. 43 00:02:24,680 --> 00:02:28,400 Speaker 1: I asked him some pretty tough questions and we have 44 00:02:28,440 --> 00:02:33,720 Speaker 1: a great time up there. Obviously, we weren't allowed to 45 00:02:33,760 --> 00:02:36,680 Speaker 1: take that violin. It's a very special instrument, not only 46 00:02:36,720 --> 00:02:38,800 Speaker 1: to Richard but to the world, and it's one of 47 00:02:38,800 --> 00:02:43,000 Speaker 1: the world's rarest and most important violins. We took to 48 00:02:43,080 --> 00:02:45,400 Speaker 1: the top of the sales what Richard called a cheapie, 49 00:02:45,720 --> 00:02:47,919 Speaker 1: which was still being strung in the border of the 50 00:02:48,000 --> 00:02:50,600 Speaker 1: opera house when we had our safety briefing on our 51 00:02:50,639 --> 00:02:52,240 Speaker 1: way up. In fact, we had to do a ninety 52 00:02:52,240 --> 00:02:55,520 Speaker 1: minute stress test the week before at an opera house 53 00:02:55,840 --> 00:02:58,959 Speaker 1: nominated physio in the city, which was actually more intense 54 00:02:59,000 --> 00:03:01,480 Speaker 1: than it probably sound, certainly more intense than the climb 55 00:03:01,560 --> 00:03:02,040 Speaker 1: was itself. 56 00:03:02,520 --> 00:03:05,160 Speaker 2: And so the stress test, just pausing was to make 57 00:03:05,200 --> 00:03:07,239 Speaker 2: sure you weren't going to have a heart attack up there, 58 00:03:07,440 --> 00:03:08,639 Speaker 2: I suspect. 59 00:03:08,200 --> 00:03:08,839 Speaker 3: So yes. 60 00:03:08,960 --> 00:03:12,760 Speaker 1: We had to squeeze ourselves through various obstacles and do 61 00:03:12,760 --> 00:03:15,440 Speaker 1: a jump test and a two minute squat test, and 62 00:03:15,560 --> 00:03:18,040 Speaker 1: thirty push ups, and the whole she banks thirty push ups. 63 00:03:18,280 --> 00:03:21,280 Speaker 1: We had to do thirty that I do it on 64 00:03:21,320 --> 00:03:23,360 Speaker 1: your knees, Well, you could do it on your knees. 65 00:03:23,440 --> 00:03:25,960 Speaker 1: I mean we got through it, and I mean Richard 66 00:03:26,000 --> 00:03:28,520 Speaker 1: of course is well known for his surfing, so he 67 00:03:28,560 --> 00:03:30,760 Speaker 1: has no problem with these sort of things. He's turned 68 00:03:30,800 --> 00:03:34,440 Speaker 1: sixty in August. But of course he's super fit, super energetic. 69 00:03:34,680 --> 00:03:37,560 Speaker 1: I was happy he said yes, because he's the perfect 70 00:03:38,240 --> 00:03:40,560 Speaker 1: candidate for that big operation. 71 00:03:46,680 --> 00:03:49,560 Speaker 2: The Opera House is, of course, our most famous cultural 72 00:03:49,600 --> 00:03:52,760 Speaker 2: institution in terms of buildings. I presume you got to 73 00:03:52,760 --> 00:03:55,680 Speaker 2: see all sorts of cool back corridors and stairwells that 74 00:03:55,720 --> 00:03:57,880 Speaker 2: the general public doesn't usually get to see. 75 00:03:58,000 --> 00:04:01,120 Speaker 1: Yeah, that's right. The walk itself is well, it's not 76 00:04:01,200 --> 00:04:03,840 Speaker 1: a walk so much as it is a crawl. At points. 77 00:04:04,400 --> 00:04:07,680 Speaker 1: You enter through these clandeston doors somewhere in the Opera 78 00:04:07,680 --> 00:04:10,920 Speaker 1: House and literally kind of pull ourselves into this dark cavern. 79 00:04:11,080 --> 00:04:13,720 Speaker 1: And as we crawled in there, Richard said, once more 80 00:04:13,760 --> 00:04:17,200 Speaker 1: onto the death cave. You know. He dragged himself into 81 00:04:17,240 --> 00:04:20,440 Speaker 1: this hole and disappeared, and we passed the violin through 82 00:04:20,560 --> 00:04:27,080 Speaker 1: and followed him up. It's quite a serious climb, especially 83 00:04:27,080 --> 00:04:28,960 Speaker 1: when we get to the A one sale, which is 84 00:04:28,960 --> 00:04:32,320 Speaker 1: the highest one sixty seven meters above sea level, the 85 00:04:32,440 --> 00:04:34,960 Speaker 1: equivalent of twenty two stories, and you go through all 86 00:04:34,960 --> 00:04:37,799 Speaker 1: these tight little crawl spaces and then there's probably thirty 87 00:04:37,839 --> 00:04:41,400 Speaker 1: odd meters of ladders straight up that you pull yourself up, 88 00:04:41,440 --> 00:04:45,880 Speaker 1: and you arrive at a concrete ceiling in this sort 89 00:04:45,920 --> 00:04:49,640 Speaker 1: of tombed area, and Dean, the operations manager, hauls open 90 00:04:49,680 --> 00:04:53,239 Speaker 1: the hatch and air and light streams into this area 91 00:04:53,279 --> 00:04:56,839 Speaker 1: and it's like a freshly discovered Egyptian You know, these 92 00:04:56,880 --> 00:04:59,480 Speaker 1: scrawls appear on the walls of the Opera House of 93 00:04:59,560 --> 00:05:01,960 Speaker 1: those who come before, the people that built this thing, 94 00:05:02,520 --> 00:05:06,200 Speaker 1: you know, was here. Dazza and Shazza had a special 95 00:05:06,200 --> 00:05:08,600 Speaker 1: moment up there, according to the walls, you know, these 96 00:05:08,640 --> 00:05:09,840 Speaker 1: phallic hieroglyphs. 97 00:05:10,200 --> 00:05:11,240 Speaker 3: You sent me a photo of that. 98 00:05:11,640 --> 00:05:13,440 Speaker 2: What is it with Australians They have to draw a 99 00:05:13,480 --> 00:05:15,440 Speaker 2: penis on any sort of flat surface. 100 00:05:16,160 --> 00:05:18,200 Speaker 1: Well, I think it's really interesting, Claire, because it's the 101 00:05:18,520 --> 00:05:22,280 Speaker 1: apotheosis of cultural endeavor in this country, the opera House 102 00:05:22,279 --> 00:05:24,359 Speaker 1: to play there, to be there, and yet it was 103 00:05:24,400 --> 00:05:27,880 Speaker 1: built by working class Australians, and so I think it's 104 00:05:27,880 --> 00:05:30,200 Speaker 1: a really special part of that building that what we 105 00:05:30,240 --> 00:05:34,120 Speaker 1: see is this great, beautiful symbol of the arts, and 106 00:05:34,200 --> 00:05:36,800 Speaker 1: yet inside we see who built it and what care 107 00:05:37,240 --> 00:05:39,279 Speaker 1: and what love those people had for it too. 108 00:05:40,080 --> 00:05:43,040 Speaker 3: Did you feel a sense of vertigo or that you 109 00:05:43,080 --> 00:05:44,040 Speaker 3: were up very high? 110 00:05:44,080 --> 00:05:46,120 Speaker 1: That's funny. I didn't feel it until I saw the 111 00:05:46,160 --> 00:05:49,640 Speaker 1: drone footage, which is just incredible because we look like 112 00:05:49,720 --> 00:05:53,000 Speaker 1: ants on top of these huge shells overlooking the harbor. 113 00:05:53,320 --> 00:05:55,720 Speaker 1: At the time, I mean to be honest, You're there 114 00:05:55,720 --> 00:05:58,200 Speaker 1: with Richard and he's got this violin and he's playing 115 00:05:58,240 --> 00:06:01,480 Speaker 1: this bark partita note perfect. 116 00:06:01,880 --> 00:06:02,080 Speaker 2: You know. 117 00:06:02,120 --> 00:06:05,279 Speaker 1: The really interesting thing too, was that as Richard played 118 00:06:05,320 --> 00:06:10,279 Speaker 1: these notes, these are runners in lurid budget smugglers were 119 00:06:10,279 --> 00:06:12,720 Speaker 1: going around the base of the opera house and one 120 00:06:12,760 --> 00:06:16,520 Speaker 1: of them seemed to hear what was happening and kind 121 00:06:16,560 --> 00:06:19,159 Speaker 1: of looked up and clocked Richard standing at the apex 122 00:06:19,200 --> 00:06:22,200 Speaker 1: of this sale. And you know, Richard continued to play it. 123 00:06:22,240 --> 00:06:24,400 Speaker 1: And Richard said, at the time, there's no possible way 124 00:06:24,440 --> 00:06:27,560 Speaker 1: they can hear. It is a southeaster blowing and just 125 00:06:27,640 --> 00:06:31,279 Speaker 1: the physics of it. Surely they couldn't hear him playing 126 00:06:31,279 --> 00:06:33,240 Speaker 1: from there. But we spoke to people afterwards and they 127 00:06:33,240 --> 00:06:35,760 Speaker 1: could hear, and they were listening, and so I thought 128 00:06:35,760 --> 00:06:39,839 Speaker 1: that was a really interesting moment that, you know, Richard's 129 00:06:39,839 --> 00:06:42,600 Speaker 1: had a forty nine year personal relationship with that building 130 00:06:42,880 --> 00:06:47,560 Speaker 1: as one of the most democratic, working class rooted musicians 131 00:06:47,560 --> 00:06:48,960 Speaker 1: in this country. I thought it was just a lovely 132 00:06:49,000 --> 00:06:50,960 Speaker 1: thing for him to be playing for the people, which 133 00:06:50,960 --> 00:06:51,840 Speaker 1: is what he loves to do. 134 00:06:56,120 --> 00:06:56,880 Speaker 3: It is amazing. 135 00:06:56,960 --> 00:07:00,440 Speaker 2: I mean that building is full of hidden joys and miracles. 136 00:07:00,480 --> 00:07:03,040 Speaker 2: And if one of them is that the child surfaces 137 00:07:03,279 --> 00:07:07,320 Speaker 2: reflect music downwards from on top of the sales, I mean. 138 00:07:07,520 --> 00:07:08,240 Speaker 3: How magical. 139 00:07:08,480 --> 00:07:09,640 Speaker 1: Quite magical. 140 00:07:16,040 --> 00:07:16,560 Speaker 3: Coming up. 141 00:07:16,720 --> 00:07:20,720 Speaker 2: Why the Australian Chamber Orchestra is so important and so different? 142 00:07:51,000 --> 00:07:52,920 Speaker 2: For this episode of the Front, our friends at the 143 00:07:52,960 --> 00:07:56,320 Speaker 2: Australian Chamber Orchestra gave us permission to play you some 144 00:07:56,360 --> 00:07:59,720 Speaker 2: of their music. This is Richard Tonietti and the ACO 145 00:07:59,800 --> 00:08:04,680 Speaker 2: forming Beethoven's Violin Concerto third Movement in a just released 146 00:08:04,760 --> 00:08:14,600 Speaker 2: track from the forthcoming album Brahms and Beethoven. The Australian 147 00:08:14,680 --> 00:08:18,600 Speaker 2: Chamber Orchestra is a fine arts institution that crosses. 148 00:08:18,200 --> 00:08:19,600 Speaker 3: Over to popular culture. 149 00:08:19,960 --> 00:08:24,200 Speaker 2: Wichard Tonietti and the ACO have won seven ARIA Awards. 150 00:08:30,760 --> 00:08:33,760 Speaker 1: It was founded in nineteen seventy five by John Painter Cellist, 151 00:08:34,280 --> 00:08:38,240 Speaker 1: very well regarded musician at the time, and was created 152 00:08:38,320 --> 00:08:40,959 Speaker 1: against the backdrop of the Whitlam government and that great 153 00:08:41,040 --> 00:08:44,240 Speaker 1: push in the early seventies to focus on arts. You know, 154 00:08:44,280 --> 00:08:48,200 Speaker 1: of course blue Poles coming to existence. John Belle at 155 00:08:48,280 --> 00:08:52,480 Speaker 1: Nimrod Theater started making new and interesting artistic works. It 156 00:08:52,559 --> 00:08:55,640 Speaker 1: was so much happening in the cultural scene. Television had 157 00:08:55,679 --> 00:09:00,439 Speaker 1: begun to really make inroads into the Australian culture sector, 158 00:09:00,440 --> 00:09:03,400 Speaker 1: into Australian homes and into our lives, and so this 159 00:09:03,480 --> 00:09:06,360 Speaker 1: was an opportunity to build a different kind of orchestra 160 00:09:06,800 --> 00:09:10,800 Speaker 1: to the you know, the huge symphonic, philharmonic sort of 161 00:09:10,880 --> 00:09:21,599 Speaker 1: orchestras that most countries had. Its first concert happened on 162 00:09:21,800 --> 00:09:24,560 Speaker 1: November twenty one, nineteen seventy five, and there was a 163 00:09:24,960 --> 00:09:27,679 Speaker 1: heading on a review in the Sydney Morning Herald the 164 00:09:27,679 --> 00:09:31,959 Speaker 1: following day that said welcome to whatever it is, which 165 00:09:32,080 --> 00:09:35,400 Speaker 1: basically said we don't know what this is, and so 166 00:09:36,000 --> 00:09:40,120 Speaker 1: it had a kind of a nervous and cautious gestation 167 00:09:40,360 --> 00:09:46,920 Speaker 1: in this country. Richard Tonnetti at the time was ten 168 00:09:47,000 --> 00:09:49,400 Speaker 1: years old. A year later he would perform his first 169 00:09:49,440 --> 00:09:52,240 Speaker 1: show at the Sydney Opera House at an a Stedford playing 170 00:09:52,240 --> 00:09:55,800 Speaker 1: a Corelli number that he says in our Piece on 171 00:09:55,840 --> 00:09:59,400 Speaker 1: the Weekend was probably not very good. Five years after that, 172 00:09:59,440 --> 00:10:01,600 Speaker 1: as a six year old, he made his first casual 173 00:10:01,600 --> 00:10:04,480 Speaker 1: appearance with the Australian Chamber Orchestra. An amazing sort of 174 00:10:04,480 --> 00:10:07,800 Speaker 1: ascendency for a young man. He has spent a career 175 00:10:08,600 --> 00:10:13,280 Speaker 1: engaging and collaborating with rock stars and dance companies and 176 00:10:14,000 --> 00:10:17,920 Speaker 1: comedians and very diverse areas of the cultural scene, and 177 00:10:17,920 --> 00:10:19,640 Speaker 1: I think that's what makes it so interesting. In the 178 00:10:19,720 --> 00:10:24,199 Speaker 1: last few years they've really ventured into big budget filmmaking, 179 00:10:25,520 --> 00:10:29,600 Speaker 1: The Mountain and the Reef. Jennifer Peden directed films One 180 00:10:29,640 --> 00:10:34,200 Speaker 1: of the Mountain narrated by Willem Dafoe, a company with 181 00:10:34,600 --> 00:10:37,920 Speaker 1: chamber music, and it's that radical notion that's at the 182 00:10:37,960 --> 00:10:41,040 Speaker 1: heart of what Tanietti and this amazing orchestra does. 183 00:10:51,280 --> 00:10:53,480 Speaker 2: He taught Russell Crowe to play the violin for one 184 00:10:53,520 --> 00:10:55,760 Speaker 2: of my favorite films. This is a bit cheesy, but 185 00:10:55,880 --> 00:11:06,160 Speaker 2: I do love it. 186 00:11:06,160 --> 00:11:07,360 Speaker 3: It's Master and Commander. 187 00:11:07,520 --> 00:11:10,040 Speaker 2: The Far Side of the World, directed by Peter Weier, 188 00:11:10,440 --> 00:11:13,959 Speaker 2: an adaptation of the famous books by Patrick O'Brien and 189 00:11:14,160 --> 00:11:17,959 Speaker 2: Russell Crowe plays the swashbuckling naval commander who plays the 190 00:11:18,040 --> 00:11:22,280 Speaker 2: violin with his friend. It's a beautiful moment. Toniette's clearly 191 00:11:22,320 --> 00:11:25,960 Speaker 2: an evangelist for the violin. He's obviously a gifted teacher. 192 00:11:26,320 --> 00:11:28,800 Speaker 2: I mean, you know who knew Russell grow could play. 193 00:11:29,280 --> 00:11:32,000 Speaker 2: He's also managed to make sure that the aco is 194 00:11:32,000 --> 00:11:35,440 Speaker 2: not reliant on government funding, hasn't He He's very conscious 195 00:11:35,480 --> 00:11:38,920 Speaker 2: of the need for it to sell tickets. That's right. 196 00:11:38,960 --> 00:11:40,600 Speaker 1: I mean I would say he would like more funding, 197 00:11:40,800 --> 00:11:43,400 Speaker 1: and he would like more political investment in what they 198 00:11:43,480 --> 00:11:46,120 Speaker 1: do and more acknowledgment. But yeah, you're right. I mean 199 00:11:46,320 --> 00:11:50,320 Speaker 1: only nine percent of their overall operating budget comes from 200 00:11:50,440 --> 00:11:54,640 Speaker 1: government funding. This is a company that raises ten to 201 00:11:54,720 --> 00:11:57,480 Speaker 1: eleven million dollars in ticket sales every year. The rest 202 00:11:57,559 --> 00:12:01,960 Speaker 1: is from sponsorship and philanthropic endeavor, which is a pretty 203 00:12:02,000 --> 00:12:05,880 Speaker 1: remarkable number for a pretty small in the scheme of 204 00:12:05,920 --> 00:12:07,800 Speaker 1: things cultural organization. 205 00:12:20,520 --> 00:12:22,320 Speaker 2: Now, I don't want you to give away any secrets, 206 00:12:22,360 --> 00:12:24,800 Speaker 2: but if I climbed the opera house this week, would 207 00:12:24,800 --> 00:12:28,320 Speaker 2: I find the initials TD or it scrawled on a 208 00:12:28,320 --> 00:12:28,960 Speaker 2: wall somewhere? 209 00:12:29,160 --> 00:12:33,000 Speaker 1: Well, I would say I would never be so sacrilegious 210 00:12:33,000 --> 00:12:35,880 Speaker 1: as to put my poultry initials inside one of the 211 00:12:35,880 --> 00:12:39,960 Speaker 1: great cultural landmarks of the world. Richard, from what I saw, 212 00:12:40,040 --> 00:12:42,760 Speaker 1: didn't go there either, but there was a great line 213 00:12:42,880 --> 00:12:45,880 Speaker 1: on you spoke about Master and Commander, and of course 214 00:12:46,160 --> 00:12:48,880 Speaker 1: Tonetti wrote the score for that film, among many others. 215 00:12:49,120 --> 00:12:51,400 Speaker 1: But just before we exited the hatch, there was a 216 00:12:52,600 --> 00:12:55,800 Speaker 1: note from a Felicity and she was invoking a Leonard 217 00:12:55,800 --> 00:12:58,760 Speaker 1: Cohen quote from one of his poems that says, if 218 00:12:58,760 --> 00:13:01,520 Speaker 1: you don't become the ocean, you'll be seasick every day. 219 00:13:01,800 --> 00:13:04,679 Speaker 1: And he's spoken a little bit about how music and 220 00:13:04,720 --> 00:13:09,160 Speaker 1: the ocean a similar musical phrasing say is similar to 221 00:13:09,200 --> 00:13:13,000 Speaker 1: the swell of the ocean. So he's very conscious. I 222 00:13:13,000 --> 00:13:14,840 Speaker 1: think of I'm not sounding like too much of a 223 00:13:14,840 --> 00:13:19,440 Speaker 1: tox when it comes to his inspirations, but certainly the 224 00:13:19,480 --> 00:13:21,160 Speaker 1: ocean is a really important part of his life. 225 00:13:26,360 --> 00:13:30,760 Speaker 2: Tim Douglas is The Australian's chief culture correspondent. Culture in 226 00:13:30,800 --> 00:13:33,000 Speaker 2: the Weekend Australian is the home of all the best 227 00:13:33,080 --> 00:13:35,520 Speaker 2: journalism about the arts and entertainment. 228 00:13:35,920 --> 00:13:37,040 Speaker 3: Pick up the paper at. 229 00:13:36,880 --> 00:13:39,400 Speaker 2: Your local shop for the touchy feely joy of a 230 00:13:39,480 --> 00:13:43,679 Speaker 2: purely analog experience, or check out all our experts anytime 231 00:13:43,800 --> 00:13:48,480 Speaker 2: at the Australian dot com dot au slash culture. This 232 00:13:48,559 --> 00:13:50,840 Speaker 2: episode of the Front was produced and presented by me 233 00:13:51,000 --> 00:13:54,440 Speaker 2: Claire Harvey and edited by Tiffany Dimack. Thanks for joining 234 00:13:54,520 --> 00:13:56,960 Speaker 2: us on the Front this week. Our team also includes 235 00:13:57,040 --> 00:14:01,360 Speaker 2: Kristin Amiot, Lea Semagloo, Josh Burton, Stephanie Kombs and Jasper Leek, 236 00:14:01,480 --> 00:14:03,800 Speaker 2: who wrote and performed are theme music.