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Speaker 1: Hey listeners, niminy here, host of historical records, get ready

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Speaker 1: to hear about a historical hero through hip hop. Also,

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Speaker 1: parents and teachers, you can download a free activity related

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Speaker 1: to today's episode by visiting story pirates dot com. Slash

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Speaker 1: Historical Records, and now onto the show. After a few

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Speaker 1: words for the grownups. But hey, listeners, niminy here. Excuse

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Speaker 1: the insight voice, but you caught me smack in the

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Speaker 1: middle of a top secret mission. I'm making my way

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Speaker 1: to the even more top secret wing of the underground Bunker,

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Speaker 1: and I don't want anyone to see me. That's right,

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Speaker 1: My top secret underground Bunker has a room so even

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Speaker 1: more top secret that I'm the only one who knows

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Speaker 1: how to get there. First, I have to navigate this

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Speaker 1: elaborate laser maze hi. I made it, who good thing.

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Speaker 1: I did my stretching routine this morning. Next, I pulled

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Speaker 1: this lever, which activates that cute folder. Do you think

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Speaker 1: that since I know the lever is a booby tribe,

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Speaker 1: I wouldn't pull it. But what you don't know is

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Speaker 1: that pulling that lever is the only way to open

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Speaker 1: this secret door. Bet you thought that was an ordinary bookcase.

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Speaker 1: No worry, it happens to everyone. Now down the firefighter's pull.

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Speaker 1: At last, we're here at the triple layer security door.

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Speaker 1: Please enter the even more secret password. You got it,

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Speaker 1: robot boys, The password is password. I needn't let the

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Speaker 1: top secret mission think it.

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Speaker 2: It's its historical records.

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Speaker 3: You are now listening to Historical.

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Speaker 1: To make history, you got to have struggles to make history.

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Speaker 1: You got to show poise. Cannot be quiet loud as

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Speaker 1: the riot. To make history, you gotta make some noise.

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Speaker 1: Welcome back to Historical Records, where we conduct highly experimental

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Speaker 1: experiments combining history and hip hop. Today's episode is about

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Speaker 1: the artist Keith Herring. But before we get to him,

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Speaker 1: I have to close the triple layer of security doors

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Speaker 1: so I can quickly conduct some very top secret business.

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Speaker 1: I'm telling you this wing is so even more top

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Speaker 1: secret that not even robot voice is allowed in here.

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Speaker 1: This is where I'm going to conduct Mike, Is it

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Speaker 1: more top secret experiment? Drug? Why? So even more top secret? Yeah? See.

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Speaker 1: The thing is I'm not an amazing artist like Keith Herring,

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Speaker 1: so I don't want people to know I'm drawing. That's

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Speaker 1: why I carry this This probably looks like an ordinary

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Speaker 1: bowl of pickled banana pudding to you. What surprise? Let

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Speaker 1: me reach inside, Donna. It's my secret hiding place for

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Speaker 1: my handy number two pitzel. Now that I'm alone, I

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Speaker 1: can safely draw embarrassment free. Who. No, someone's at the door.

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Speaker 1: Oh but I was so sneaky. Who could it be?

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Speaker 1: Oh man, it's Tina and the rest of the raccoons.

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Speaker 1: Go away. No, I will not let you in. This

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Speaker 1: area is even more top secret. That was a close one.

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Speaker 1: Back to the drawing board. Literally, Oh, I feel a

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Speaker 1: little bad chasing off Tina the raccoon.

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Speaker 3: She's my friend.

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Speaker 1: What I'm so insecure about my drawing. I don't want

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Speaker 1: anyone to see it, not even my bestie. Thankfully, am definitely,

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Speaker 1: absolutely entirely alone. Those raccoons just won't quit. Tina. I

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Speaker 1: thought I told you to go. Ah what, Oh you're.

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Speaker 3: Not the raccoons. Nope, it's me Lee. But I was

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Speaker 3: scourge scratching at the door, just like a raccoon. Oh

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Speaker 3: why didn't you just knock sensitive knuckles?

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Speaker 1: How did you even find the even more top secret

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Speaker 1: wing it's even more top secret.

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Speaker 3: I followed you, of course, Well, technically, the raccoons followed you,

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Speaker 3: and I followed the raccoons. You know how I loved

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Speaker 3: being accurate.

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Speaker 1: Ugh, better go back to even more top secret bunker

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Speaker 1: Editions depot and get a refund.

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Speaker 3: I hope you don't have to go now, because I

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Speaker 3: am just burst at the seems to tell you about

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Speaker 3: Keith Haring. Although you look like you were busy with

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Speaker 3: that pencil and paper? Am I interrupting something?

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Speaker 2: Oooo?

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Speaker 3: Is that a drying Let me see not?

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Speaker 1: These are nothing? Nothing at tall? I've never drawn in

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Speaker 1: my life. Who's stuff?

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Speaker 3: Is this?

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Speaker 1: What is a pencil? Let's talk Keith?

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Speaker 3: You got it, niminy. Let's talk about cape Hare?

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Speaker 1: Whoa that was impressively loud? Hey? Is that Phil the

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Speaker 1: hype man's bullhorn?

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Speaker 3: I would never separate a hype man from his bullhorn.

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Speaker 3: This is my new history simulator. Keith Haring was not

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Speaker 3: only an artist, but also an activist, So I made

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Speaker 3: this week's simulator every activist's favorite tool.

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Speaker 1: Keith Herring was an activist. Cool. I didn't know that.

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Speaker 3: Oh, just you wait, there is so much more in store.

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Speaker 3: Let's fire this thing up and head off to nineteen eighties?

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Speaker 1: How do we fire it up.

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Speaker 3: How else would you start a bullhorn that's also a

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Speaker 3: history simulator besides a catchy chant.

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Speaker 2: Brown Phil Flatbush, Little Haities kick us back to nineteen eighty.

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Speaker 1: Here we okay, we are definitely in nineteen eighty. Just

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Speaker 1: look at that woman's bangs. But where are we?

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Speaker 3: Welcome to the New York City subway, Nimini.

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Speaker 1: Look at all the people in here, yep.

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Speaker 3: From business people in suits to kids with backpacks, construction

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Speaker 3: workers to ballet dancers. The whole city's here.

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Speaker 1: Everyone's moving a mile a minute.

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Speaker 3: They all have somewhere to be. Look, even the rats

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Speaker 3: are in a hurry.

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Speaker 1: Cute and gross. Look over there by that unused advertising panel.

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Speaker 1: That's guinea guy with the glasses is the only person

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Speaker 1: who doesn't seem to be going anywhere.

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Speaker 3: That's the one and only Keith Haring holding his trademark

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Speaker 3: white chalk.

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Speaker 1: He kind of stands out because he's not in a rush.

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Speaker 3: That's because this subway station is exactly where he wants

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Speaker 3: to be. See how he's drawing on that black paper.

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Speaker 3: When there isn't a poster advertising a movie or a product,

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Speaker 3: the city covers the advertising panel in black paper, the

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Speaker 3: perfect canvas for Keith.

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Speaker 4: This is way better than having my art in a museum.

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Speaker 1: This art is for everybody. Is that music coming from Keith?

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Speaker 3: Yes? Keith would often draw to music to help give

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Speaker 3: his art a sense of movement.

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Speaker 1: He's drawing so fast, Oh look at him groove.

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Speaker 3: He sometimes made forty drawings in one day.

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Speaker 1: How is that even possible?

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Speaker 3: Well, he didn't try to draw realistic looking art. That

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Speaker 3: would have taken too much time both to create and

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Speaker 3: to look.

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Speaker 1: At my drawings. Don't try to imitate life. They try

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Speaker 1: to create life to invent it.

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Speaker 3: Instead, he used bold symbols over and over that communicate meaning,

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Speaker 3: even if you only have a few seconds to look.

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Speaker 3: But this also meant that he created art without race, age,

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Speaker 3: or gender, so that everyone can see themselves in his work.

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Speaker 3: He made his art a wordless language, kind of like

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Speaker 3: Egyptian hieroglyphics. E.

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Speaker 1: Yeah, now that you mention it. I see all kinds

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Speaker 1: of symbols in his art. Hearts, globes, barking dogs, and

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Speaker 1: is that a crawling baby? It sure is.

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Speaker 3: That's the radiant baby. It's one of Keith's most recognizable drawings.

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Speaker 3: It appeared over and over in his work.

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Speaker 1: Oh this really is better than being in a museum.

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Speaker 1: But I gotta ask, isn't this technically graffiti? Did Keith

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Speaker 1: ever get in trouble for drawing in public places?

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Speaker 3: Great question and the perfect segue to our next style.

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Speaker 2: Cobblestille concrete East Harlem bricks take us to nineteen eighty six.

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Speaker 3: Yeah, easy, now we've made it to East Harlem, New

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Speaker 3: York City, nineteen eighty six.

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Speaker 1: Why does this look like some kind of abandoned handball

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Speaker 1: court with a ball wall next to a freeway?

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Speaker 3: Because it is an abandoned handball court with a ballwall

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Speaker 3: next to the freeway.

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Speaker 1: Makes sense that it's abandoned. How could you even play here?

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Speaker 1: The ball would bounce right into the traffic on Harlem

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Speaker 1: River Drive exactly.

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Speaker 3: That's why nobody is here yet.

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Speaker 1: What do you mean it? Oooh, someone just parked a van.

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Speaker 1: It's Keith and he's unloading a big ladder and a

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Speaker 1: bunch of cans of fluorescent orange paint.

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Speaker 3: Yeah, and he's about to paint that ballwall without permission. Technically,

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Speaker 3: this court is property of the Parks Department, so Keith

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Speaker 3: isn't allowed to make his art here. But what he's

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Speaker 3: planning isn't any old graffiti tag. His art is going

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Speaker 3: to have an important message.

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Speaker 1: Hey, I just realized something. If he paints here, everybody

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Speaker 1: driving by on the highway is going to see it.

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Speaker 3: Just like a billboard. It'll be seen by thousands of

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Speaker 3: people every day.

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Speaker 1: Huh what's all that honking for?

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Speaker 3: Oh?

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Speaker 1: Are people mad?

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Speaker 3: Nope, the opposite. In fact, people driving by recognize Keith

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Speaker 3: and they're honking to support him as he works on

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Speaker 3: his painting.

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Speaker 1: Look, Keith is starting the mural. Wait, I don't see

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Speaker 1: Keith's usual fun pictures of hearts and radiant babies.

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Speaker 3: Yeah, this isn't one of his happy fun images.

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Speaker 1: There are skulls burning money, a giant snake.

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Speaker 3: Check out what he's about to write.

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Speaker 1: Crack is whack? Whoa intense? What does that mean?

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Speaker 3: Well, is an addictive drug negatively impacting a ton of

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Speaker 3: young people in the city here in nineteen eighty six,

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Speaker 3: whack means messed up or uncool.

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Speaker 1: Oh, so now every single person driving or walking by

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Speaker 1: will see this powerful message about how an addictive drug

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Speaker 1: is not cool, all thanks to Keith.

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Speaker 3: Uh.

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Speaker 1: Oh the police. Oh, he's gonna get in big trouble.

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Speaker 3: He could face up to a year in jail, a

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Speaker 3: year just for drawing. Don't worry, Keith ends up only

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Speaker 3: having to pay a one hundred dollars fine.

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Speaker 1: Ooh, well that's better than jail time. But still one

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Speaker 1: hundred dollars is a lot of money.

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Speaker 3: Yeah, especially in the eighties. But for Keith it was

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Speaker 3: totally worth it. His crack as Whack mural goes on

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Speaker 3: to be one of his most famous paintings. It's still

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Speaker 3: up today, spreading his message.

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Speaker 1: Wow. I can't believe Keith risked a year in jail

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Speaker 1: just to share his art with everyone who needs to

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Speaker 1: see it.

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Speaker 3: Yep. He also used his activist art to make a

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Speaker 3: difference in his community. Wait till you see this.

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Speaker 2: The East River is a tidal straight off we go

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Speaker 2: to nineteen eighty eight.

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Speaker 1: Who lucky?

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Speaker 3: Welcome to the Soho neighborhood of New York City nineteen

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Speaker 3: eighty eight.

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Speaker 1: Hey, I know this neighborhood. Isn't this where all the

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Speaker 1: art galleries are?

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Speaker 3: Right? Take a look through some of these windows.

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Speaker 1: Huh? I see some artwork on the walls, but it's

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Speaker 1: hard to see from this far away.

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Speaker 3: Want to go in?

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Speaker 1: I don't know lots of these galleries only have a

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Speaker 1: few people inside, and the people look very serious. I'm

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Speaker 1: not sure i'd fit in.

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Speaker 3: You know who felt the same way Keith Haring. Luckily

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Speaker 3: he did something about it. Check out this gallery.

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Speaker 1: Whoa, look at that bright blue awning. It's so colorful

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Speaker 1: compared to all these other storefronts, it says pop shot.

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Speaker 3: Recognize that symbol on the sign, that's Radian.

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Speaker 1: Baby, you bet.

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Speaker 3: Let's go inside. Look at this place.

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Speaker 1: The walls, floor, even the ceiling are covered in drawings.

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Speaker 1: It's like a giant canvas.

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Speaker 3: Yep, everything is completely covered by those thick black dancing

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Speaker 3: lines Keith likes to draw.

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Speaker 1: It's like we've stepped into one of Keith's paintings, or

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Speaker 1: maybe even into his imagination. Do you think this is

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Speaker 1: what the inside of his brain looks like.

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Speaker 3: I'm a historian, not a brains scientist, but probably What

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Speaker 3: else do you notice about this place, Niminy, anything else

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Speaker 3: different from those other galleries?

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Speaker 1: Well? Yeah, there are all kinds of people, not just

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Speaker 1: fancy pants are collectors. But look, there are some tourists

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Speaker 1: looking at t shirts. Oh look at his bark and

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Speaker 1: dog shirt.

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Speaker 3: Oh for cute?

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Speaker 5: You think it comes in a medium.

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Speaker 3: Burb and check out those teenagers from the Bronx looking

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Speaker 3: through the button.

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Speaker 1: Yo, this button is button with the flavor. I'm gonna

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Speaker 1: buy it from my jacket. Oh no, Ley, there's no

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Speaker 1: way a teenager has enough money to buy art from

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Speaker 1: a famous artist.

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Speaker 3: Are you sure about that? Fifty cents for the button? Please?

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Speaker 1: Dope that can'd just bought an original Keith Haring piece

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Speaker 1: for fifty cents.

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Speaker 3: Yep, And they can wear it on their jacket, which

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Speaker 3: means even more people will see it.

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Speaker 1: Puzzles, magnets, baseball caps, patches. There's so much cool stuff here, oh,

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Speaker 1: with Keith's signature.

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Speaker 3: Business is booming here at the pop shop. And he

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Speaker 3: guesses as to where all that money is going.

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Speaker 1: Knowing what I know about Keith's herring, it's not going

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Speaker 1: to Keith.

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Speaker 3: Right you are. He's donating that money to causes in

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Speaker 3: his community that he cares about, like helping children and

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Speaker 3: researching a cure for AIDS.

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Speaker 1: Wow, Keith didn't just make art for everyone. He made

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Speaker 1: art for everyone.

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Speaker 3: Oh.

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Speaker 1: I love it, but.

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Speaker 3: I'm gonna I need you to elaborate.

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Speaker 1: Not only did Keith make art accessible for everyone to

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Speaker 1: see and enjoy, but he also made activist art that

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Speaker 1: did things for others, like raising money for people who

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Speaker 1: needed it.

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Speaker 3: That's really well, said Nimini.

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Speaker 1: H Yeah, I have a way with words. It's kind

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Speaker 1: of my whole thing, speaking of I'd better get back

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Speaker 1: to the bunker and get Keith's song ready. Crack may

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Speaker 1: be whack, but not this sick track.

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Speaker 2: Okay, chat me home two four six, Hey, nim My

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Speaker 2: knees going home?

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Speaker 1: Not all poetry? Yes, Okay, listeners, I'm back in the bunker. Hey, Tina,

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Speaker 1: can we chat for a second. Even though it was

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Speaker 1: kind of sketchy that you followed me in secret, I'm

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Speaker 1: sorry about kicking you out of the even more top

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Speaker 1: secret wing of the bunker. I was working on some

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Speaker 1: stuff that I wasn't ready to share. Me read nothing.

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Speaker 1: I was working on nothing or nothing that I'm ready

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Speaker 1: to talk about. But t and I switching topics entirely.

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Speaker 1: Did you know that Keith Herring loved to draw while

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Speaker 1: listening to music. Let's get a sick beat going and

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Speaker 1: make a song that Keith would have loved to draw to.

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Speaker 2: You.

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Speaker 1: Your sitting nineteen eighty subway station.

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Speaker 3: Filled with babies, not like the real ones. The diapers

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Speaker 3: stopped their figures.

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Speaker 4: That I drew out of the Harry. I like drawing,

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Speaker 4: and I like sharing art with people. Missed and lady

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Speaker 4: and see it, I say, I like drawing babies.

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Speaker 1: He tried art school, did not complete me. Must preferred hit.

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Speaker 4: I wanted something real and something speedy, not for the risk,

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Speaker 4: but for the.

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Speaker 1: Poor and moller and artie and art for art's sake.

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Speaker 4: I am about play, art about being gay, not for pay.

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Speaker 1: Art that I would give away.

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Speaker 4: One day in the train station to some shock and

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Speaker 4: begin creation, no real plan and no design, just simple lines,

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Speaker 4: frunk from my eyes, caring. But I like drawing, and

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Speaker 4: I like sharing art with people. Man and did I

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Speaker 4: say I like drawing babies?

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Speaker 6: About his drawings, The folks were shat for Satin Island.

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Speaker 1: Shooting beams to Flatfish Avenue.

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Speaker 4: All the people like the way I made Ah, that

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Speaker 4: was the trigger I got bigger.

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Speaker 1: Now there's a moving for him to consider, Like now

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Speaker 1: I'm meg, I'm higher up for more fall.

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Speaker 3: Now that I'm pop, I'm.

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Speaker 1: The art after Warhall.

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Speaker 4: I'm friends with him now in John Michelle Bakiat.

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Speaker 5: But wait, stop, there's no need to name job one

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Speaker 5: more though.

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Speaker 1: If I can break my own code. I collapse with

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Speaker 1: Willie Smith tax episode Callaber's Collector. It's all complimentary under

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Speaker 1: their breath, they say his elementary haters, haten fake ers facing.

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Speaker 4: What do I do?

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Speaker 1: I keep maze carry warning ready.

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Speaker 4: I like drawing and I like sharing art with people.

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Speaker 4: Man And did I say I like drawing?

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Speaker 7: The Yeah, maybe he's aid already in Sceler's an already

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Speaker 7: in just a few other creature so sillious faceship shooting,

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Speaker 7: not nicking mouse killing up every art.

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Speaker 4: Of a heart or a bus that would fark from

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Speaker 4: the prints of a dog that would bark, and the

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Speaker 4: pop bars art has movements, all about movements, group of mutants.

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Speaker 4: I dropping my amusements for school kids on the statue

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Speaker 4: of liberty.

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Speaker 1: One day than the next, unble Libertine, not a mister Lee,

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Speaker 1: Yes to why he's making history nicking up from hate,

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Speaker 1: but in a way to deliver me and you the viewer,

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Speaker 1: to a childlife place of fun. I dropped babies because

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Speaker 1: we both used to be one. He died when he

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Speaker 1: was thirty one. I dropped babies because we both used

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Speaker 1: to be one.

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Speaker 2: Peez see carrying, varning reading.

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Speaker 4: I like drawing, and I like sharing art for people.

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Speaker 4: And did I say I liked drawing babies? I'm Keith

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Speaker 4: Herring born in Redding, but I liked drawing, and I

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Speaker 4: liked sharing art with people, men and ladies.

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Speaker 1: And did I mention I liked drawing babies. We'll be

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Speaker 1: right back after a few words for the grown ups.

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Speaker 1: Oh what a song. It truly answers the question of

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Speaker 1: whether Keith Herring enjoyed drawing babies or not. Raccoons. We've

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Speaker 1: done it again, and I love sharing my music with

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Speaker 1: the world. So true, Tina, it is great making art

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Speaker 1: for everyone. Hey, wait a second. Keith's hearing was so

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Speaker 1: brave that he shared his drawings with everyone, even when

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Speaker 1: it was literally illegal. If he can do it, so

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Speaker 1: can I. This gives me an idea. Welcome everyone to

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Speaker 1: the even more top secret wing of the bunker for

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Speaker 1: my very first art show. My art is just behind

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Speaker 1: this triple layer security door, and in just a moment

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Speaker 1: I'll enter the even more top secret password. I just

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Speaker 1: want to say that, of course people can make art.

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Speaker 1: They never show anyone. There is value in art, no

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Speaker 1: matter what. But I don't want to hide my drawings

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Speaker 1: any longer.

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Speaker 4: Oh yeah's probably an amazing visual artist.

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Speaker 1: I bet geez percas so good. Ah, nice art, pun

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Speaker 1: Phil the hype Man. Thanks Nimmery. Hey did you just

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Speaker 1: hype a hype man? I definitely did.

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Speaker 7: Oh Pheels BONDI is bord.

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Speaker 1: Who Now time for the big reveal three two one password.

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Speaker 1: These drawings are amazing and I'm not just hype in.

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Speaker 8: I am not programmed to be in emotion yet I

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Speaker 8: am moved to tears.

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Speaker 1: Oh thanks everyone, Your support feels really good.

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Speaker 3: These drawings are really amazing, Nimini, And this gallery space

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Speaker 3: is so offbeat and cool. It's very Keith Harring really.

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Speaker 3: Oh yeah, this is exactly the kind of space he'd

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Speaker 3: love to turn into art. Having your art here, warts

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Speaker 3: and all is as cool as painting a meaningful mural

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Speaker 3: on an abandoned handball court.

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Speaker 1: Wow. I knew I was inspired by Keith? But who

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Speaker 1: knew I was inspired inspired by Keith?

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Speaker 3: He's sneaky like that. M Oh, these miniature Keishas are

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Speaker 3: so good. Did you make these, Tina?

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Speaker 1: Well, you'll have to share that old family recipe. These

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Speaker 1: are delicious. Yum em, I'll have another layer. Oh right,

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Speaker 1: now it's time to hop on today's interview can't have

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Speaker 1: an interview with a mouthful of cash. Today we're talking

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Speaker 1: to Eva, a ten year old from New Jersey and

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Speaker 1: Shepherd Fairy, who has been deeply influential in the street

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Speaker 1: art scene. He's also the founder of Obey Clothing. Hi, guys,

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Speaker 1: tell our listeners a little more about yourselves. Hi.

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Speaker 8: I'm Eva Glassberg. I'm passionate about reading fantasy books, drawing anime,

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Speaker 8: and making Minecraft fan videos for YouTube. I also write

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Speaker 8: fan fiction stories.

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Speaker 3: Hi.

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Speaker 5: Nice to meet you. Eva. I'm Shepherd Fairy.

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Speaker 9: I'm an artist and activist living in Los Angeles, California,

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Speaker 9: but I'm originally from Charleston, South Carolina.

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Speaker 8: Thanks for talking to me today.

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Speaker 5: It's really great to meet you.

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Speaker 1: Let's get things going by learning a little about Shepherd's work. Eva,

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Speaker 1: do you want to start off with your first question?

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Speaker 8: How does art change the world for you? And what

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Speaker 8: issues is your art trying to address right now?

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Speaker 9: I think from a very basic standpoint, when people make art,

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Speaker 9: they have to think about what's meaningful to them and

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Speaker 9: they have to share it.

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Speaker 5: Now.

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Speaker 9: I take that idea and build on it by saying

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Speaker 9: to myself, Okay, if I can make a picture that

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Speaker 9: people want to look at how can I incorporate messages

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Speaker 9: that I think are important within that. And the issues

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Speaker 9: I care about are environmental justice. I want the planet

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Speaker 9: to be in good shape for people of your generation

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Speaker 9: and beyond. I care about equality for all people, and

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Speaker 9: I also want society to be more fair for people

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Speaker 9: that don't have a lot of.

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Speaker 5: Power and money.

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Speaker 9: So those are all things I'm addressing in my work

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Speaker 9: in one way or another. Eva, I'm passionate about all

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Speaker 9: of those things, and so I'm curious, what are you

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Speaker 9: excited about?

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Speaker 8: Raising money for animal shelters and I donate money to

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Speaker 8: places that help animals and like where they live.

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Speaker 5: That's great.

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Speaker 9: I mean that ties in with respecting all of the

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Speaker 9: different creatures within the environment, and our ecosystems are very delicate,

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Speaker 9: so respecting animals is a big part.

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Speaker 1: Eva, What questions do you have for Shepherd about Keith Herring?

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Speaker 8: Shepherd, where did you first see Keith Haring's art and

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Speaker 8: how does it affect you.

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Speaker 9: I first saw Herring's work when I was a junior

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Speaker 9: in high school going to an art summer program, and

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Speaker 9: I had a teacher who was sharing some of the

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Speaker 9: work he thought was exciting, and he shared Keith Haring

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Speaker 9: and Andy Warhol and.

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Speaker 5: Julian Schnabel with me.

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Speaker 9: I immediately liked Keith Herring's work because I think it's very

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Speaker 9: visually appealing. It's based on strong, simple mark making and pictograms,

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Speaker 9: characters of people, of animals. And I learned a little

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Speaker 9: bit of Keith's story, which was exciting to me, that

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Speaker 9: he stole in the streets. I wasn't a street artist yet,

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Speaker 9: but I liked the idea of something that was a

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Speaker 9: little bit rebellious. Those are some of the reasons I

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Speaker 9: like Keith Herring. But I'm curious what you like about him,

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Speaker 9: what you like about his art, what moves you.

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Speaker 8: I think that his cartoon figures had so much power

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Speaker 8: because a lot of people can relate to what they show.

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Speaker 5: Mm hm.

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Speaker 8: But there's also like the differences that all of them have.

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Speaker 1: We have time for a couple more questions, Eva, what

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Speaker 1: else would you like to ask Shepherd?

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Speaker 8: What typically inspires your art.

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Speaker 9: I'm inspired by a lot of things. I'm inspired by

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Speaker 9: things that I think are powerful.

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Speaker 5: Visually or beautiful visually.

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Speaker 9: Sometimes those things are the typical things you might see

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Speaker 9: in appealing art, like flowers and birds and clouds and

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Speaker 9: waves and sunsets, But a lot of times I'm inspired

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Speaker 9: by things that are challenging, like the architecture of a

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Speaker 9: factory that looks really cool but also pollutes the environment.

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Speaker 9: Some of my inspiration comes from music, so I have

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Speaker 9: lots and lots of different influences, but Keith Haring is

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Speaker 9: one of my biggest influences because he used his art

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Speaker 9: to say something important, and he also loved to work

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Speaker 9: while music was playing, so there's a rhythm. He liked

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Speaker 9: to dance and paint it at the same time, so

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Speaker 9: there's a natural rhythm to his mark making that you

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Speaker 9: can almost see the musical component to it.

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Speaker 8: What sort of music usually inspires your art and is

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Speaker 8: there any sort of music that you would recommend to

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Speaker 8: like other artists.

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Speaker 9: I like a lot of old school hip hop because

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Speaker 9: it's got really good beats, and there's a lot of

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Speaker 9: old school hip hop that has strong messages about equality,

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Speaker 9: groups like Public Enemy and I love Run DMC and

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Speaker 9: The Beastie Boys.

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Speaker 5: I also like a lot of punk rock.

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Speaker 9: My favorite punk rock band is The Clash because they

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Speaker 9: started off as doing what most people recognized as punk

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Speaker 9: rock as a style, but they evolved and they were

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Speaker 9: inspired by what was going on in New York City

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Speaker 9: with funk and disco. But the most important thing is

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Speaker 9: it just has to be music that you like to

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Speaker 9: listen to.

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Speaker 5: What do you like?

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Speaker 8: I like Taylor Swift.

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Speaker 9: Yeah, Taylor Swift is very appealing. And Taylor Swift has

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00:27:18,600 --> 00:27:22,399
Speaker 9: got plenty of clever lyrics about romances and everything else.

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Speaker 9: And you know, I think you have your whole life

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Speaker 9: in front of you to experience music, and I think

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Speaker 9: the important thing is to just have your eyes, your ears,

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Speaker 9: your mind open.

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Speaker 8: Thank you for sharing your answers to my questions.

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Speaker 5: You're very welcome. Eva.

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Speaker 9: It's a pleasure to meet you and keep up the

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00:27:38,880 --> 00:27:43,199
Speaker 9: great work with the animal charities and everything creative that

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Speaker 9: you're doing.

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Speaker 8: Thank you, goodbye, Shepherd.

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Speaker 5: Thanks Eva, it was great to talk to you.

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Speaker 1: What an awesome interview. And Shepherd, if you love hip hop,

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Speaker 1: you were on the right podcast listeners, Thanks for joining

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Speaker 1: in today and for going on a journey with me

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00:27:59,760 --> 00:28:03,159
Speaker 1: to lot learn about the great Keith Herring. And a

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00:28:03,320 --> 00:28:07,400
Speaker 1: huge thanks to today's guests Shepherd and Eva and Jess

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00:28:07,480 --> 00:28:10,480
Speaker 1: McKenna and Zach Reno. We'll be back next week with

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Speaker 1: another episode, another song, and another Hero. For now, It's

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00:28:14,920 --> 00:28:17,919
Speaker 1: back to my not so top secret wing. Make it

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00:28:18,119 --> 00:28:21,840
Speaker 1: art for everyone to see. Remember a parents and teachers.

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00:28:22,080 --> 00:28:25,680
Speaker 1: You can download a free activity related to today's episode

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00:28:25,720 --> 00:28:31,000
Speaker 1: by visiting story pirates dot com. Slash Historical Records. Until

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00:28:31,000 --> 00:28:41,160
Speaker 1: next time, remember to make history, you gotta make some noise. Bye.

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00:28:42,720 --> 00:28:47,000
Speaker 6: Historical Records is produced in partnership with Story Pirate Studios,

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00:28:47,200 --> 00:28:52,320
Speaker 6: Questlove's two and five Entertainment John Glickman and iHeart Podcasts

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00:28:52,880 --> 00:28:58,040
Speaker 6: Executive produced by Emir Questlove Thompson, John Blickman, Le Overtree

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00:28:58,240 --> 00:29:03,040
Speaker 6: and Benjamin Salga. Executive produced for iHeart Podcasts by Noel Brown.

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00:29:03,400 --> 00:29:07,480
Speaker 6: Producers for Story Pirate Studios are Isabella Riccio, Sam Bear,

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00:29:07,920 --> 00:29:12,240
Speaker 6: Eric Gerson, Andrew Miller, Lee Overtree, Peter McNerney, Denisa warton

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00:29:12,320 --> 00:29:15,680
Speaker 6: By and niminy Ware. Producers for two one five are

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00:29:15,760 --> 00:29:20,440
Speaker 6: Sean G. Britney, Benjamin and Sarah Zolman. Hosted by niminy Ware.

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00:29:20,680 --> 00:29:24,240
Speaker 6: Our head writer is Duke Doyle. Our historians are Gabe

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00:29:24,240 --> 00:29:28,200
Speaker 6: Pacheco and Lee Polos. Music supervision for two one five

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00:29:28,320 --> 00:29:32,120
Speaker 6: by Stroe Elliott. Scoring and music supervision for Story Pirate

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00:29:32,160 --> 00:29:35,800
Speaker 6: Studios by Eric Gerson sound designed and mixing by Sam

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00:29:35,800 --> 00:29:38,400
Speaker 6: Bear at the Relic Room in New York City. Song

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00:29:38,520 --> 00:29:42,040
Speaker 6: mastering by Josh Hahn. Theme song by Dan Foster and

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00:29:42,160 --> 00:29:46,120
Speaker 6: Eric Gerson and produced by Eric Gerson. Production coordination by

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00:29:46,160 --> 00:29:50,560
Speaker 6: Isabelle Riccio, Production management by Maggie Lee. The line producer

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00:29:50,560 --> 00:29:54,040
Speaker 6: for Story Pired Studios is Glennis Brault. Pr for Story

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00:29:54,040 --> 00:29:57,960
Speaker 6: Pirate Studios is provided by Naomi Shaw. Episode artwork by

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00:29:57,960 --> 00:30:02,000
Speaker 6: Camilla Franklin. This episode was written by Alexis Simpson. The

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00:30:02,040 --> 00:30:05,160
Speaker 6: song Keith Herring was written by Dan Foster and produced

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00:30:05,160 --> 00:30:09,040
Speaker 6: by Eric Gerson. Vocal direction by Eric Gerson and Jack Mitchell.

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Speaker 6: Special guests Shepherd Ferry, Jessica McKenna, Zach Reno and Kid

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00:30:13,520 --> 00:30:18,680
Speaker 6: Interviewer Eva. This episode features performances by Eric Austen, Andrew Barbado,

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00:30:18,840 --> 00:30:38,560
Speaker 6: Peter McNerney, Megan O'Neil, Lee Overtree, and Lee Polas