WEBVTT - Part 1: Inside Australia's secretive crocodile skin industry

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<v Speaker 1>Yeah, every part on the bag is this is different.

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<v Speaker 1>This one is called a millionaire.

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<v Speaker 2>Yeah, it's called a millionaire for a reason.

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<v Speaker 1>Yeah. This story starts in the sunshine of Paris Fashion

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<v Speaker 1>Week in twenty twenty three, and.

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<v Speaker 3>This was when this pudgy yellow handbag was worn by

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<v Speaker 3>the musician for El Williams and he designed this handbag

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<v Speaker 3>for Louie Viton. It was called the Millionaire Speedy.

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<v Speaker 1>Yeah, well it comes with millionaires.

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<v Speaker 4>Oh and every bit of the every bit of the

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<v Speaker 4>bag is like the zipper, the zipper, the teeth on.

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<v Speaker 5>The zipper is going.

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<v Speaker 1>All the hardware, every rivit.

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<v Speaker 4>This is gold.

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<v Speaker 5>This is gold. Obviously, this chain is real.

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<v Speaker 1>The bag for all designed was made from the soft

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<v Speaker 1>skins of three or four young crocodiles, and.

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<v Speaker 3>It made a real splash among the fashion elite. It

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<v Speaker 3>was championed in Vogue and it served to upstage the

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<v Speaker 3>Ames Burken crocodile skin bag, which had this elite waiting list.

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<v Speaker 5>It was available only.

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<v Speaker 3>By invitation and it carried a million dollar price tag.

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<v Speaker 3>Celebrities across the globe were clambering for them.

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<v Speaker 5>The real housewives of everywhere.

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<v Speaker 3>Were wearing them, and so were figures like Kim Kardashian,

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<v Speaker 3>Martha Stewart and Beyonce and on TikTok Rihanna gushed about

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<v Speaker 3>the millionaire Speedy and she said, I would sell all

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<v Speaker 3>my purses to get this one.

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<v Speaker 4>You know what I really want in my closet, Like

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<v Speaker 4>I would sell all my purses just for this one.

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<v Speaker 6>It's the little Speedy crop Alvy monoground bag.

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<v Speaker 5>Ah amazing.

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<v Speaker 6>Somebody need get the crocodile skins that supply Louis Veton

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<v Speaker 6>and Amez and most of the luxury fashion houses come

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<v Speaker 6>mostly from Australia.

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<v Speaker 3>Australia supplies most of the world's croc skins for luxury

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<v Speaker 3>goods and most crop factory farms are in Darwin.

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<v Speaker 1>Catherine Wilson is an award winning journalist. As she started

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<v Speaker 1>to look into the crocodile skin industry, she knew that

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<v Speaker 1>she had to visit Darwin and what she found when

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<v Speaker 1>she went was a booming one hundred million dollar industry

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<v Speaker 1>with a troubling underbelly.

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<v Speaker 5>I'm Ruby Jones and you're listening to seven.

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<v Speaker 1>AM today Catherine Wilson on crop farming, conservation claims, and

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<v Speaker 1>the true cost of luxury fashion. It's Tuesday, August nineteenth,

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<v Speaker 1>and this is part one of a.

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<v Speaker 5>Two part series.

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<v Speaker 1>So, cath you recently went to Darwin to learn more

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<v Speaker 1>about these crocodile farms. Can you tell me what you

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<v Speaker 1>discovered about the way they operate and the types of

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<v Speaker 1>conditions that the crocodile's are living in.

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<v Speaker 3>Yeah, it's lucky to have my trips sponsored by an

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<v Speaker 3>outfit called World Animal Protection through another Melbourne based organization

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<v Speaker 3>called Collective Fashion Justice, which advocates for ethical practices in

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<v Speaker 3>the fashion industry. Both these outfits have for years been

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<v Speaker 3>really keen to have media come and view the untold

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<v Speaker 3>conditions on these farms. So these facilities are called farms,

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<v Speaker 3>but it's probably a misnomer.

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<v Speaker 5>When we think of farms.

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<v Speaker 3>We might think of pastoral scenes or rural idols, but

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<v Speaker 3>these facilities are more akin to manufacturing plants and production

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<v Speaker 3>lines of crocs.

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<v Speaker 5>They wear house.

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<v Speaker 3>About one hundred and thirty thousand crops in the territory alone,

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<v Speaker 3>and they're huge castlele places with maximum security, so they're

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<v Speaker 3>really quite like prisons. And one of the first things

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<v Speaker 3>you notice outside these facilities is this weird, dank smell.

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<v Speaker 3>But it's probably best to discribe what you can see

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<v Speaker 3>in whistle blow of footage.

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<v Speaker 5>And this is footage taken partly.

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<v Speaker 3>By workers within these farms and also by animal activist investigators.

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<v Speaker 5>And what the footage shows are crocs that.

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<v Speaker 3>Are each housed in cages that are submerged in these

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<v Speaker 3>fast concrete channels or sumps where.

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<v Speaker 5>They're kept alive for two years.

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<v Speaker 1>Okay, so tell me a bit about how this one

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<v Speaker 1>hundred million dollar industry developed. How we got to this

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<v Speaker 1>point that Darwin is supplying these crocodile skins in such

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<v Speaker 1>a large scale.

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<v Speaker 3>Yeah, well, of course crocodiles have coexisted with indigenous people

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<v Speaker 3>in the territory for millennia, but they were feared by

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<v Speaker 3>settlers and by the nineteen seventies saltwater crops were hunted

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<v Speaker 3>almost to extinction.

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<v Speaker 4>The club is quite an ingenious a beat a rope

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<v Speaker 4>for the heavy log attached to it runs through a

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<v Speaker 4>polyblog to the running nood oh father. This is carefully

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<v Speaker 4>buried in the mud so the crocodile will not disturb it,

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<v Speaker 4>but put his head and shoulders through the loop to

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<v Speaker 4>reach the beak.

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<v Speaker 3>But then in seventy one, hunting was banned in the Territory,

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<v Speaker 3>and slightly later in Queensland and kroc populations started rapidly rebounding,

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<v Speaker 3>and then you had farming introduced from the nineteen eighties.

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<v Speaker 3>Now farming relies on collecting eggs from the wild and

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<v Speaker 3>bringing them back to farms.

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<v Speaker 4>Considering the great size of a crocodile, the eggs are

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<v Speaker 4>not so large as one might expect, being not such

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<v Speaker 4>a greatly larger than an ordinary hedn's egg. Both ends

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<v Speaker 4>of the egg are similar, there is no point at

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<v Speaker 4>end many.

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<v Speaker 3>Of the eggs have and farmers really needed social license

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<v Speaker 3>to extract these eggs from wild populations. So from the

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<v Speaker 3>nineteen eighties croc farmers identified as conservationists. They promoted their

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<v Speaker 3>trade as a profitable way to reduce pressure on wild populations.

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<v Speaker 7>And I think it just makes a lot of economic sense,

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<v Speaker 7>and it makes a lot of sense also for the

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<v Speaker 7>conservation of the animal.

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<v Speaker 3>This was a little bit of tricky messaging because the

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<v Speaker 3>eggs they extracted were on this one way ticket to

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<v Speaker 3>factory farms. The hatchlings were raised in the factories for

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<v Speaker 3>profit and never made it back into the wild. But

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<v Speaker 3>the industry's been kind of told another story.

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<v Speaker 7>This is a potentially dangerous, unloved animal, but if you

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<v Speaker 7>can make him worth money, people will tolerate him around.

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<v Speaker 3>Farmers and industry figures insisted that monetized incentives to collect

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<v Speaker 3>these eggs would help people accept crocs, and that the

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<v Speaker 3>conservation success story was achieved not by protecting crocs, but

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<v Speaker 3>by making crocs a financial.

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<v Speaker 5>Asset to local people.

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<v Speaker 3>This leief persists that croc skin commerce is responsible for

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<v Speaker 3>protecting and increasing crocodile numbers, but it recently came to

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<v Speaker 3>light that almost all of the positive messaging and research

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<v Speaker 3>cited to support crop farming arises either from the industry

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<v Speaker 3>itself or from government officials and advocates associated with this industry.

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<v Speaker 1>Coming up inside a crocodile cage path, you spoke to whistleblowers,

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<v Speaker 1>people who'd worked in these farms. Can you tell me

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<v Speaker 1>a bit about what they said to you about the

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<v Speaker 1>conditions and the way that things operate.

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<v Speaker 5>Yeah.

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<v Speaker 3>The whistleblowers have so far documented four crop factories in

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<v Speaker 3>the Darwin regions, and the conditions they've documented are pretty shocking.

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<v Speaker 5>But these conditions.

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<v Speaker 3>Can't be legally challenged because they're within standards set by

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<v Speaker 3>the federal government's Code of practice, So this code allows

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<v Speaker 3>a quarter to half a square meter of cage space

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<v Speaker 3>per crocodile, in which they typically can't fully extend their

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<v Speaker 3>bodies once they market ready.

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<v Speaker 2>My name is Donnie in Belong. My family's jiro So

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<v Speaker 2>from about three and a half hours south of here.

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<v Speaker 3>One of the former indigenous workers in these farms, Donnie

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<v Speaker 3>in Belong, described how his work involved this production line

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<v Speaker 3>scenario where his coworker was electrocuting each croc to stun them,

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<v Speaker 3>and Donny had to drag them out and ductate their

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<v Speaker 3>snouts shutge.

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<v Speaker 2>So I had to job was to flip around if

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<v Speaker 2>the croc has been difficult, had to try and get

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<v Speaker 2>him out to the end with the opening, and once

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<v Speaker 2>I got him there the off side, I would zap

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<v Speaker 2>him for about ten seconds stun it, and then I'd

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<v Speaker 2>have to open the cage door and tape the mouth

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<v Speaker 2>and eyes shut and then flip it up belly up

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<v Speaker 2>on the top of the cage, and then the boss

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<v Speaker 2>would come around and inspect the belly between the front

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<v Speaker 2>and hind legs. That was the most valuable part of

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<v Speaker 2>the body.

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<v Speaker 3>And they're waiting these cages for slaughter, which was a

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<v Speaker 3>terribly drawn out process that involves a practice called pissing,

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<v Speaker 3>in which a worker has to force a steel rod

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<v Speaker 3>into the croc's brain to scramble it. So you can

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<v Speaker 3>imagine the impact not just on the croc, but on

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<v Speaker 3>the workers having to perform this work.

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<v Speaker 5>And Donny describes.

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<v Speaker 3>How he felt the croc's spirit had been crushed.

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<v Speaker 2>Would get a bit of a lump in my throat

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<v Speaker 2>doing it and sort of seeing the state of them,

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<v Speaker 2>and felt like the spirit was crushed or defeated in

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<v Speaker 2>a way like you've seeing these animals reduced to yeah,

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<v Speaker 2>just yeah.

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<v Speaker 3>And we have to remember that the crocodile is a

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<v Speaker 3>sacred totem species for many Aboriginal people in North and.

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<v Speaker 2>Australia, and it does feel very colonial still. It's like,

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<v Speaker 2>you know, the colony providing the resources for the mother country.

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<v Speaker 2>It is a very colonial industry.

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<v Speaker 3>I also spoke with elders and traditional owners and an

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<v Speaker 3>ex croc farmer who said farmers were ripping off ranchers

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<v Speaker 3>and ranches are the people on the ground collecting eggs,

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<v Speaker 3>often indigenous communities. Each of these eggs is sold to

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<v Speaker 3>farms for around twenty five bucks.

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<v Speaker 5>So you can see there's this million.

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<v Speaker 3>Dollar handbag at the high end, and on the ground,

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<v Speaker 3>on the other hand, ranchers risking their lives mucking around

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<v Speaker 3>in these sludgy swampness to find eggs that might get

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<v Speaker 3>them twenty five bucks each. And that's only if the

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<v Speaker 3>croc farmer deemed some viable.

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<v Speaker 1>And so As more information about these farms and the

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<v Speaker 1>way the industry works comes to light, is the fashion

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<v Speaker 1>industry responding of people's understandings changing.

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<v Speaker 5>Yeah.

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<v Speaker 3>Look, animal advocates are becoming a huge force, and they

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<v Speaker 3>have among them some luminaries like Chris Darwin, who is

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<v Speaker 3>Charles Darwin's great great grandson. And by last year groups

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<v Speaker 3>like Collective Fashion Justice and Defend the Wild and Peter

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<v Speaker 3>had successfully lobbied fashion weeks in London, in Berlin, Copenhagen,

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<v Speaker 3>Amsterdam and Melbourne to ban wild skins of armies.

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<v Speaker 8>Suppliers in the US and Africa found there for every

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<v Speaker 8>army's watchband or broken bags, crocodiles and alligators suffered miserable lives.

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<v Speaker 3>And this was following very graphic catwalk disruptions around the

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<v Speaker 3>world in which placards showed the conditions on these farms

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<v Speaker 3>and many luxury brands, including Chanelle and Vivian Westwood, have

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<v Speaker 3>now resolved to divest from animal skins.

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<v Speaker 1>Victoria, Chanell, Vivian Westwood, all of these brands have already

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<v Speaker 1>brown exotic skins, and the Clemans doesn't do it soon,

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<v Speaker 1>they will be left behind.

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<v Speaker 3>In Australia, David Jones has also committed to phasing out

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<v Speaker 3>skins by twenty twenty six.

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<v Speaker 1>And at the heart of the story PATHA the crocodiles themselves.

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<v Speaker 1>So tell me about the research into what these animals

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<v Speaker 1>are like and what you learned about them as a species.

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<v Speaker 3>Yeah, crocodiles get really bad press, but they're really astonishing creatures.

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<v Speaker 3>They've been billed as evolution's greatest survivors as they're pretty

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<v Speaker 3>much the same as their Triassic ancestors, which existed, as

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<v Speaker 3>you'd know, well before dinosaur extinction. And in recent years

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<v Speaker 3>scientists have found them to be emotive and creative and

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<v Speaker 3>playful and curios. They have language, they use tools. For example,

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<v Speaker 3>they've been observed coordinating a complex.

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<v Speaker 5>Of sticks as lures to.

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<v Speaker 3>Entrap nesting birds, and by many measures, they're more sentient,

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<v Speaker 3>or at least more sensitive than us because they have

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<v Speaker 3>these unique perceptive systems.

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<v Speaker 5>These little organs embedded.

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<v Speaker 3>In nodules across their bodies of very same anatomies as

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<v Speaker 3>their deep time ancestors, and so, for example, when crocodiles

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<v Speaker 3>are submerged, their little nerve fibers can detect these signature vibrations.

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<v Speaker 5>Of other animals.

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<v Speaker 3>And the reason we know about all this is partly

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<v Speaker 3>because of the work of two Darwin based scientists, one

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<v Speaker 3>Graham Web and the other named Adam Britten, whose research

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<v Speaker 3>is now under a huge cloud.

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<v Speaker 1>This was part one of a two part series. In

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<v Speaker 1>the next episode, kath Wilson finds out how the scientific

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<v Speaker 1>work of a criminal animal abuser underpins the claims of

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<v Speaker 1>conservation at the heart of the crocodile skin industry. It's

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<v Speaker 1>called Part two, Crocodiles, Crimes and Conservation Claims, and it's

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<v Speaker 1>in your feed right now.