Do Go On - Do Go On Presents: Arty Facts - The Keith Haring Mural

Episode Date: August 21, 2022

One day back in 1984, American artist Keith Haring went to work painting a mural at a Melbourne school. And decades later, the mural still stands today. Dave Warneke tells the story of Keith Haring's Melbourne mural in this episode of 'Do Go On Presents: Arty Facts'.Watch the video of this podcast: https://youtu.be/spfghk_RNco 'Do Go On Presents: Arty Facts' is a joint production from Stupid Old Studios and the Do Go On podcast.Do Go On are Dave Warneke, Jess Perkins and Matt Stewart.Stupid Old Studios is an independent production house based in Melbourne Australia who specialise in making fine, handcrafted nonsense.Twitter: http://twitter.com/stupidoldInstagram: http://instagram.com/stupidoldFacebook: http://facebook.com/stupidoldstudiosThis production was made possible with support from the Community Broadcasting Foundation. Find out more at http://cbf.org.auREFERENCES AND FURTHER READING:https://www.ngv.vic.gov.au/essay/fragile-memories-keith-haring-and-the-water-window-mural-at-the-national-gallery-of-victoria/ https://melbourneharingmural.com.au/buckleyhttps://www.haring.com/!/about-haring/transitionshttps://www.broadsheet.com.au/melbourne/art-and-design/article/keith-haring-painted-iconic-mural-collingwood-1984-now-its-come-out-hiding https://www.ngv.vic.gov.au/keith-haring-mural-is-restored/ Hosted on Acast. See acast.com/privacy for more information.

Just jumping in really quickly at the start of today's episode to tell you about some upcoming opportunities to see us live in the flesh. And you can see us live at the Melbourne International Comedy Festival 2024. We are doing three live podcasts on Sundays at 3.30 at Basement Comedy Club, April 7, 14 and 21. You can get tickets at dogo1pod.com. Matt, you're also doing some shows around the country. That's right. I'm doing shows with Saren Jayamana, who's been on the show before. We're going to be in Perth in January, Adelaide in February, Melbourne through the festival in April, and then Brisbane after that. I'm also doing Who Knew It's in Perth and Adelaide. Details for all that stuff at mattstuartcomedy.com.

You can get anything you need with Uber Eats. Well, almost, almost anything. So no, you can't get snowballs on Uber Eats. But meatballs and mozzarella balls, yes, we can deliver that. Uber Eats, get almost, almost anything. Order now. Product availability may vary by region. See app for details. We can wait for clean water solutions. Or we can engineer access to clean water.

We can acknowledge indigenous cultures. Or we can learn from indigenous voices. We can demand more from the earth. Or we can learn from Indigenous voices. We can demand more from the earth. Or we can demand more from ourselves. At York University, we work together to create positive change for a better tomorrow. Join us at yorku.ca slash write the future. You're listening to Artifacts, a show that dives into the fascinating history of famous artworks and painters broadcast on c31 stupid old studios youtube channel and the community radio network

every now and then an artist comes along whose work connects so much with the public that they seem to just explode they're on tv shows they're on the cover of magazines, their art is just everywhere. And in the 1980s that artist was Keith Haring. In 1984, just as everything was kicking off for him, he came right here to a school in Melbourne. Hello and welcome to Arty Facts. My name is Dave Warnicke and I'm here with Matt Stewart and Jess Perkins and today we're at the 1984 Keith Haring mural. 84, a good year. What a great year. One of the best, I would say. Say some things that happened that year. People were born, people died. Really? You know what I mean? Keith came here.

Keith came here? I think he's got to be one of the coolest Keats. Obviously second only to Cool Keith. Yes. Cool Keith. Yeah, that just popped into my mind. There's not that many Cool Keats, except for Cool Keith, Keith Haring, maybe Keith Richards gets a mention. Ooh, Keith Richards third. Interesting.

Yeah, can't think of another Keith. Can't think of a single Keith. Keith Urban. Keith Urban. Keith Urban. He's definitely fourth. My cousin Keith. Cousin Keith? Yep. Just think of a single Keith. Keith Urban. Keith Urban. He's definitely fourth. My cousin Keith. Cousin Keith? Just bumps Urban down one. Keith Flint from The Prodigy. Okay. All right. He's got to be on the podium somewhere. Yeah, the Keith podium. Anyway, we're here in front of

the 1984 Keith Haring mural and we've got to acknowledge that sadly for the first time in three years we've been told that overnight it was tagged by some graffiti artists. Well I wouldn't really call them artists. To be honest, not their best work. But that's not part of the original work, this blue bit. Okay. So ignore the blue bits if you can't imagine that. Ignore that and you know if those graffiti artists are out there watching this I'm gonna find you. What are you gonna do when you find them? Probably just go... Oh. You know? You don't want that? No, I don't want that. Well I definitely didn't do it then. Yeah, I think it hurts. To learn more about Keith Herring's awesome mural, I'm here with Wendy. Hey, Wendy. Hey. How's it going? It's good, thanks. How are you? Yeah, really good. How did you get involved with the mural?

I first came upon the mural in about 2009. I was rolling down the street, just came upon this Herring mural out of nowhere. And I questioned whether it was a Keith Herring mural, because it was in such a horrible, dilapidated state. It was overgrown with vines, there was cracks and water damage at the bottom and it just looked neglected like no one had paid any attention to it at all for decades. I contacted his former assistant Julia Gruen and she said you know what there's another person in Melbourne who has just sent me an email and asked me the same question and her name is Hannah Matthews and she's a curator.

So she gave me her information and Hannah and I met and we decided, look, let's do something. Let's get the mural back to its former glory. We were very lucky to have the voice of the Keith Haring Foundation and Julia Gruen. So she was very supportive of us and we basically were following their advice. They were firmly of the opinion that it should be repainted in a very empathetic way,

taking into consideration the breast strokes, this kind of thing. Just as had been done in Pisa in Italy and other places with Keith Haring's murals throughout the world and we wanted to give back the intent of the message that Keith put out there. The vibrant green, the vibrant red and the energy of the dancing figures and this giant computer worm forecasting the doom of the future of the computer world. Do you guys know much about the second coolest Keith, Keith Haring? I don't actually. I've been seeing his very distinctive style on a lot of clothing and merch,

especially very recently. Seems to be having a bit of a resurgence. Yeah, I don't know. I don't know a lot, actually. I assumed he was a tote bag brand. Well, let me tell you about him. Keith Haring was born on May the 4th 1958 in Redding, Pennsylvania. He began drawing at a young age with his father teaching him basic cartoon skills.

And young Haring took further inspiration from Disney and Dr. Seuss illustrations. After high school, he dropped out of the Ivy School of Professional Art in Pittsburgh and moved to New York City, where he enrolled in the School of Visual Arts all the while working on his own work having his first solo exhibition in Pittsburgh in 1978. Was that an Ivy League school or they just cleverly marketed themselves by naming themselves Ivy? I also thought the same thing I think it is just the name. That's smart. They've taken the league out.

Yeah. Just so they can be like, huh? Yeah. Cool. Should we start a university and call it Harvard? Oh, that's pretty good. So he moved to New York and at the time New York was vibrant. The East Village particularly was exploding with ideas, fresh music and art.

Artists from all over the USA flocked to the city where their work responded to urban street culture of the 1980s and a full community developed outside of the traditional gallery or museum system. They were doing their own thing. Right. They were working in downtown streets, in subways, in punk clubs and former dance halls. Cool. He formed many friendships including with fellow artists Kenny Scharf and Jean-Michel Basquiat,

another famous artist of his generation. Kenny and Keith, that's a power duo. Yeah, that's a good duo. Cool as Kenny. Yeah, cool as Kenny. Ooh, Kenny Callender. Oh, okay. It's got to be Kenny Callender. Kenny Loggins.

Kenny Loggins, yes. Kenny Rogers. Kenny Rogers. But that's really because he was associated with Dolly yeah he did nothing rule by association yeah Kenny is the publican at my

favourite bar okay Kingly's Throne in Brisbane we're really scrubbing the barrel now my favourite bar

in the world is scrubbing the barrel come on mate fucker now come here this morning to be disrespected. You are ridiculous Dave. With apologies to Kenny.

Thank you. So he's young, he's part of a thriving art scene and he decided to dedicate his career to creating public art. And in 1980 found a medium to connect with the people of NYC. Tote bags. Tote bags. Everyone needs a bag. Yeah how are you going to carry your vegetables? Huh?

Just in your hands? Great question. Like an idiot? What's your favourite art medium? Mine's tote bags. Mine's magnets. Oh yeah. The big two.

Yeah. Fantastic. He went with something a little less common. Oh, okay. That's classic heroin. That's a bold choice. That's what I'm giving to, no? He noticed that unused advertising boards in the subway were often covered over by black paper when they're not being used.

So he started to draw on them with white chalk, drawing simple line figures that would become his trademark. This sort of stuff we can see behind us right now. He drew hundreds of these subway drawings over the next five years, doing as many as 40 in a single day. These unauthorised images quickly created a following for the young artist amongst New York commuters hundreds of these subway drawings over the next five years, doing as many as 40 in a single day. These unauthorised images quickly created a following for the young artist amongst New York commuters who would often strike up conversation with him as he was working.

He soon discovered that he liked drawing in front of people, liked a crowd. He was a real exhibitionist. Except when he was being arrested, but you know. Yeah, okay, yeah. But apparently some of the police that stopped him were like, he was like, oh no, and they were like, no I just wanted to say I'm a big fan. I didn't know who was doing this. Keith was happy to chat to anyone about his work and Subway is in New

York when he was doing his works people always used to come up to him say what are you doing? Is this an ad? What does this mean? And eventually he went out and got thousands of buttons or badges printed up so he could hand them out to people. He wanted his art to be accessible to everyone. In his own diary, Haring wrote, I am interested in making art to be experienced and explored by as many individuals as possible with as many individual ideas about the given piece with no final meaning attached. The viewer creates the reality, the meaning, the conception of the piece. I am merely a middle man trying to bring ideas together.

I like that. Because sometimes when you're looking at art in a gallery or whatever and you're sort of like, I don't know what the meaning here is, but I don't know, it feels like the artist is like, this is what this means, and you go, yeah, sure, I get that, sure. But here he's like, you make it up. What do you think sure I get that sure but here he's like you make it up yeah what do you think I reckon it's an aerial view of a mass suicide I was going to say a music festival so that's a very interesting kind of vibe we're picking up

yeah like chalk outlines oh I see they look like they're dancing having a good time well they were okay They were moments earlier. Okay. But danced till they died. That's a hell of a music festival. What a way to go. Yeah. Sort of like, you know, the dance...

Dancing Plague? Yeah. Yeah, you know what I'm talking about. Yeah. Keith Moon? Keith Moon! Big shout out. Haring soon began to have his own art shows in New York and around the place and started

to receive real media attention. From here his rise was meteoric and pretty soon he was on the cover of Vanity Fair magazine. That's when you know you've made it. Yeah absolutely. He still wanted to draw on the subway but by 1984 his drawings were being stolen quickly after he did them only to be soon up for sale. Oh shit. Because you know there was suddenly an art market because he was quite a famous young artist. Oh, how'd they steal them? Because they're on the black paper.

They're just on a piece of paper, so you can just grab them down. And he put them up there knowing that they wouldn't last forever, but he didn't expect people to nick them within minutes and then sell them. Yeah, and make a profit. On the equivalent of 80s eBay.

Yeah. That's pretty gross. What was 80s eBay? The street? Yeah, I was like, hey, what do you think of this? And he's like, I just did that. Trading post. Trading post. Trading post. I got six Keith Haring's.

600 bucks or near a softball. No time wasters. No time wasters. No tire kickers. So what brought Keith to Australia? John Buckley. The plane. Is he right? I believe he travelled by plane. It was the 1980s, not the 1880s. Yeah, well done Matty. Possibly on an ANSET flight. ANSET was still around? Yeah, that's how that's all this thing is. John Buckley was the inaugural director of the Centre for Contemporary Art, which is later known as the Australian Centre for Contemporary Art, or ACCA. He was the one who was instrumental in getting Keith to come to Australia. Buckley had first seen Keith's work in the subway in New York in the early 80s. It had instantly grabbed his attention and he soon learned that Haring was responsible.

After following to art exhibitions across the world, Buckley was able to meet and convince Haring to come to Australia. Oh, he followed, like you just followed him around for a bit. And that sort of shows how hot he was in the art world. At 23, he was already being invited around the world to exhibit and do murals and things like that. That's really cool. John Buckley had to sort of follow him, eventually meeting him at a party and was like, hey,

you should come to Australia. And he was like, sick, sounds great. Yeah. But it still took two years from that point to get him to actually come right planes are really slow but yeah they traveled on the ocean they were sail planes at the way for the right breeze the young artist spent about a month in Australia between February and March 1984 visiting Sydney and Melbourne he painted an angel mural at Glamorgan School, which

is now Geelong Grammar in Toorak, because Keith was staying there at the time. That's good that a grammar school got a bit of free process art. I think that feels right. Because he was staying at the school, he was given a key to the classrooms and at night apparently would pop in and draw images on the blackboards for the kids to find in the morning. Oh, okay. Because I was the whole time going, sure, let him stay at the school, why give him a key in the classrooms? That feels unnecessary and a bit weird.

Like the funny old teachers coming in and being like, righto, righto, who's been responsible for this? Wiping off a now priceless piece of work. Yeah, what he should have been doing is just chopping out that bit of blackboard, putting a frame on it. Herring also painted in more traditional art spaces, painting a huge mural in the Sydney Art Gallery. And the large 7 metre high glass water wall of the front of the National Gallery of Victoria, painting directly onto the glass. Oh, cool!

Well, that would have washed away straight away. Well. Depends on what kind of paint. Waterproof paint, mate. He used watercolours. That's not how that works. He was given a scissor lift for the first time in his career, which he later used to paint many of his murals.

He was like, huh. He was given a scissor lift? Yeah, they were like, take this. Apparently within a- That's not going to fit in checked luggage, is it? Mate, if you're travelling first class, which I assume he was. Then you can take a scissor lift on board. How do you think he got onto the plane?

Move these stairs, I've got my own. I've got it from here, thanks very much. He'd spend a lot of his time in oversized baggage collection. Worth it though, worth it. Yeah, that's true. Apparently within a few hours he'd mastered it and he was just loving it. Loving the freedom. You kind of weigh that up mate, you go yeah I have to spend a lot of time in oversized baggage

but also then like otherwise I'd have to hire one everywhere I go. And long term, it's a better investment. Yeah, that's true, it's a saving. Yeah, it's a big saving there. That's right, it's a lot up front but yeah, it works out, works out. So he's painting onto the glass water wall and just just like in the subway, he freestyled it all. He didn't use a plan or a guide or work from sketches. He just went in cold using white, red, and black tins of SignWriter paint,

doing all the white, then the black, and finally the red, and it all came together with astonishing precision lining up perfectly across the seven panels. Cool. Red, black, and white. Love those colours. You can get anything you need with Uber Eats. Well, almost, almost anything.

So no, you can't get snowballs on Uber Eats. But meatballs and mozzarella balls, yes, we can deliver that. Uber Eats. Get almost, almost anything. Order now. Product availability may vary by region. See app for details. We can wait for clean water solutions.

Or we can engineer access to clean details. We can wait for clean water solutions. Or we can engineer access to clean water. We can acknowledge indigenous cultures. Or we can learn from indigenous voices. We can demand more from the earth. Or we can demand more from ourselves. At York University, we work together to create

positive change for a better tomorrow. Join us at yorku.ca slash write the future. When later asked about how he's able to pull off massive murals without any plans, he replied, it's probably 20% intuition, 20% experience and maybe 60% chance.

Wow. Maybe he's just being humble, which is cool. I think being humble is cool. Watching interviews with him, he was a really humble guy. Oh, that's cool. Honestly, yeah. Was a humble guy. This has got a sad ending, this story.

We'll get to that. Oh. Music was also part of the routine. An old ABC report from 1984 says, he constantly works to music, emanating from what he calls his ghetto blaster. Okay. Which is a... A little stereo. A little stereo. Sure. Which his friend had painted.

Looks really cool. Oh. He spent two days painting the water wall of the NGV with thousands passing by as he worked watching him through the glass. Either side you could see him. As always. Isn't it crazy how glass works? I love glass. I think glass is the real art. Because if you think about this, if he was painting this, even if you were inside, you couldn't see him. Couldn't see him. You wouldn't know. You've got to be standing right here. There's a second side of this painting that we'll never get to experience. But on that water whirl. Water whirl? Yeah. That Kevin Costner movie. Water whirl. That Oasis song about the Kevin Costner movie.

That Oasis song about the Kevin Costner movie. It was really crossing a few art mediums together. As always he was incredibly accessible whilst painting the NGV, frequently stopping the painting to talk to groups of school kids or to draw small sketches to new fans before going back to the work. Was he charging as he went? No, apparently kids just go out with books and he'd go, there's a little sketch for you. Oh man, that's awesome. Haring was stoked with how it came together, but tragically it only lasted a few weeks as someone threw a brick through one of the panes of glass. Sadly, replacing that bit meant the whole mural had to be taken down earlier than planned.

Oh, that sucks. What a dick move. Threw a brick? Threw a brick. Gallery director Patrick McCaw here at the time described the mural as, quote, is positively rich with rebirth imagery. Can't you see the phallic symbols all over the jolly place? My God, if you can't see them, I'm too embarrassed to point them out. For these days the entity... And was he a fan?

Yeah, is that a good thing? He loved it, but he was just pointing it out. My God. It sounds like he was a wowser, but he was loving it. He was one of the ones giving him permission to do it. A positive wowser. We didn't discuss these wangs. But these days the NGV itself disputes that reading from the old director. It writes on its website, Despite McCaw his phallic reading, the NGV mural in fact contained no images of sexual activity.

That was quite deliberate. While Harring had drawn erotic images from his very early days as an art student, he never placed erotic or homoerotic motifs in his New York subway drawings out of his love and respect for the innocence of children. But the old director's like, check it out, there's penises everywhere! There's dicks everywhere! Look at them! I'm not showing you where they are! But if you look you'll see them! He's very enthusiastic, he really wants people to see dicks. Am I the only one seeing this? Come on people, use your eyes to see the dicks! The Mona Lisa, it's just dicks, dicks, dicks. The dick follows you around the room, the one eye.

Yeah it's funny that he thinks that, you know, he wouldn't want kids to see any drawings of dicks, like kids aren't the biggest dick drawers there are. Yeah, that's right. We do want to give him further inspiration. One of the last pieces Haring completed on what was to be his only trip to Australia is the outdoor mural behind us. At the time, this was part of Collingwood Technical College.

The mural was painted on the 6th of March, 1984, and it was all completed in a single day. The students from the college excitedly gathered and watched as Haring painted on a ladder. No scissor lift this time. Okay, left the scissor lift at home. Gave the scissor lift a day off. Which I guess is why it's got a cap there. If he'd had maybe a cherry picker, he could have gone all the way up that brick wall. Oh yeah.

John Buckley, who I remember was his host, didn't have any discussion with Keith about what he planned to paint. He simply organised the space, grabbed some Dulux paints from up the road and let him have a go. Cool. The kids didn't actually do any of the painting. They did dance moves, they were doing breakdancing and talking to Keith about music because, of course, he always had his ghetto blaster.

He rocked it out in about a day. I mean some hours like four to six hours and Keith was never very precious about his murals on the street. Before Melbourne actually he had done a lot of pieces on paper but this was one of the first big large-scale murals that he'd done on a wall that was to be permanent and he was really excited about it. He wrote in his journals, I'm so excited because I finally did this piece and it's a permanent site. This was one of the first paintings Haring ever did where beforehand it was agreed that it would become a permanent work. When it started in the subway, it was accepted that the work had a limited life. But this would hopefully stand the test of time.

Wow, that extra pressure. Yeah, well here we are a few decades later. Yeah, it's still there. In the piece you can see a computer which was taking off in the early 80s, computers obviously. People are seen riding a monster attached, others can be falling down. Is this technology out of control? Oh, yeah, I see. Well, he later wrote of his time in Australia

and the themes of this painting in his diary. He said, quote, Pure intellect without feelings is dangerous, i.e. the computer in the hands of those who wish to control. The problem facing modern man now, the reconciliation of intellect and feeling slash brain and heart slash rational and irrational slash mind and spiritual, is compounded by the increasing power of technology and its misuse by those in power who wish only to control so that's his own his own reading but honestly who are we to

put any meaning because remember in keith's own words he said often i am drawing in the subway in new york city an observer will patiently stand by and watch until I finish drawing and then quickly as I attempt to walk away will shout, but what does it mean? I usually answer, that's your part, I only do the drawings. I really like that. Yeah, it could mean anything you want it to mean. And again, I think music festival and they're all having a great time. Yeah, great time. And nobody dies, Matthew. Yeah, I hadn't looked up actually actually genuinely hadn't seen the big human centipede at the top. I mean human centipede being ridden by humans then the computer that changes it a lot. Changes a lot. But you said who is he to put meaning on I reckon he's probably. He can yes but he would say to you that's not up to me.

Yeah. No. It's up to the viewer. Yeah. Yeah, no, I reckon it's people falling off the computer monster. Falling off? Dancing off. Dancing off. Oh, they're doing a dance off with the computer monster for the fate of humanity. Who's going to win? Well, I mean, we're still here, aren't we, Dave?

See any computer monsters around? I don't think so. Haring continued to paint around the world throughout the rest of the 1980s and his star only continued to rise. In 1986 alone he was the subject of more than 40 newspaper and magazine articles. Wow. People loved him. He also collaborated with many famous people including Madonna, Grace Jones, Yoko Ono and Andy Warhol. Wow. In 1986 Haring also opened a retail store called The Pop Shop in New York where he sold his works as well as items of clothing like t-shirts and badges, possibly tote

bags. Surely. No confirmation. Surely there were some tote bags in there. He began to feel his work had become expensive in the art market and was only accessible to people with lots and lots of money. The Pop Shop meant anyone was able to see and also to buy a piece of his work, whether it be an original or a t-shirt. Yeah, cool. I hope all the t-shirts were originals. They weren't prints. He wasn't screen printing the t-shirts, was he? Oh, you think he's like there with the... Yeah, just freehanding.

Hmm, what will I do with this one? Well, if anyone had the energy, it was him. He'd practice in the subway for hours on end. He was ready to go. Yeah. I reckon that would be the only way to do it. As well as knitting the T-shirts himself. Yeah, yeah, yeah. Is that how you make a T-shirt?

Yeah, you knit them. You knit them. T-shirts, famously a knitted product. Very comfy. Yeah. Tragically for Herring, in 1988 he was diagnosed with AIDS, a condition that had already deprived New York City and the art world of many of his friends and colleagues.

He was very open and candid about his diagnosis and worked to raise AIDS awareness, establishing the Keith Haring Foundation in 1989, its mandate being to provide funding and imagery to AIDS organisations and children's programs and to expand the audience for Haring's work through exhibitions, publications and the licensing of his images. Keith Haring died of AIDS related complications on February 16 1990, tragically he was only 31 years old.

But since his death his renown has only grown as he's been the subject of many international retrospectives. Having painted 51 murals in his short lifetime, 31 of those still exist and of those 31 this is considered one of the best and most intact anywhere in the world. Cool. Very lucky to have it. Very lucky. But being an outdoor mural the piece behind us is subject to the elements and painted with dual luxe house paint was not really suitable for outdoor exposure. Right. Over the years the work suffered significant damage. In 2004, the mural was added to the Victorian Heritage Register

and in 2013, internationally renowned conservator Antonio Rava was contracted to carry out restoration work. Oh, this is some of Rava's work. This is Rava. I didn't realise Rava had been done. You didn't get a feel of Rava? Yeah, no, now that you've said it. That's got Rava's prints all over it.

You can see the Rava influences. Look how conserved it is. So conserved. Wow, that's cool. Is this, so is it a good ad for Dulux or not? It's funny that they know the brand of paint. Yeah. Well, they just should have gone

for the outdoor Dulux range. Yes. In 2020, a new arts precinct was formed around the painting known now as Collingwood Yards. It includes artist studios, a radio station, galleries, offices and performance spaces. And the mural lives on, as does Haring's work. His iconic images can still be seen on t-shirts and other bits of clothing. I'm sure many people don't even know who the artist is, but he's still connecting with people 30 years after his death.

And how great that we have one of his biggest and most intact murals right here in an inner suburb of Melbourne that anyone just can come and look at for free. Yeah that's really cool. It's great he wanted his art to be accessible to everyone and it still is. Yeah amazing. I mean yeah I would have seen this hundreds of times and I did not know who he was. There you go well now you know the story behind the piece. But yeah I really thought it was I just I thought it was a brand or something. Pretty embarrassing. Well, I mean, you know, in a way. I'm trying to help you out here, but yeah.

When something becomes that iconic and recognisable, it's very instantly recognisable. Simple but very recognisable, sort of becomes a brand, yeah. Yeah, we should go buy tote bags. Yeah. Matching tote bags. Oh, that'd be so cute! I feel like he would want us to steal them.

Oh yeah, he would want us to steal the tote bags, yeah. And it should be noted that we're also directly behind the Tote Hotel. Yeah, so it actually feels right. That's why Tote's here. Yeah, okay, that makes sense. Yeah, it makes sense now. Yeah, that's another two icons of Melbourne right next to each other. So cool. You ever play at the Tote, Dave?

A few times actually, yeah. Oh, sick. You're so fucking cool. If your name was Keith, you'd be number one. Cut that cool, Keith. Do Go On Presents Artifacts has been made with the support of the Community Broadcasting Foundation and is available nationwide on the Community Radio Network. Thank you. We'll see you next time. Almost almost anything. Order now. Product availability may vary by region. See app for details. We can wait for clean water solutions or we can engineer access to clean water. We can acknowledge indigenous cultures or we can learn from indigenous voices. We can demand more from the earth or we can demand more from ourselves.

At York University, we work together to create positive change for a better tomorrow. Join us at yorku.ca slash write the future. York University, we work together to create positive change for a better tomorrow. Join us at yorku.ca slash write the future.