WEBVTT - Part 1: The true cost of crocodile skin

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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. Yeah, it's called a

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<v Speaker 1>millionaire for a reason.

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<v Speaker 2>Yeah.

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<v Speaker 3>This story starts in the sunshine of Paris Fashion Week

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<v Speaker 3>in twenty twenty three.

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<v Speaker 4>And this was when this pudgy yellow handbag was worn

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<v Speaker 4>by the musician for El Williams and he designed this

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<v Speaker 4>handbag for Louie Viton.

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<v Speaker 5>It was called the Millionaire Speedy.

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<v Speaker 1>Yeah, well it comes with millionaires. Oh and every bit

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<v Speaker 1>of the every bit of the bag is like the zipper,

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<v Speaker 1>the zipper, the teeth on.

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<v Speaker 6>The zippers going, all the hardware.

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<v Speaker 1>Every rivit. This is gold.

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<v Speaker 4>This is gold.

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<v Speaker 1>Obviously, this chain is real. Peel.

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<v Speaker 3>The bag for all designed was made from the soft

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<v Speaker 3>skins of three or four young crocodiles.

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<v Speaker 4>And it made a real splash among the fashion elite.

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<v Speaker 4>It was championed in Vogue and it served to upstage

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<v Speaker 4>the Ameres Burken crocodile skin bag, which had this elite

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<v Speaker 4>waiting list. It was available only by invitation and it

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<v Speaker 4>carried a million dollar price tag. Celebrities across the globe

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<v Speaker 4>were clambering for them.

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<v Speaker 5>The real housewives of everywhere.

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<v Speaker 4>Were wearing them, and so were figures like Kim Kardashian,

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<v Speaker 4>Martha Stewart and Beyonce and on TikTok Rihanna gushed about

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<v Speaker 4>the millionaire Speedy and she said, I would sell all

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<v Speaker 4>my purses to get this one.

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<v Speaker 1>You know what I really want in my closet, Like,

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<v Speaker 1>I would sell all my purses just for this one.

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<v Speaker 1>It's the lot speedy, crap alvy monoground bag.

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<v Speaker 5>Ah amazing.

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<v Speaker 7>Somebody need to get the crocodile skins that supply Louis

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<v Speaker 7>Veton and Amez and most of the luxury fashion houses

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<v Speaker 7>come mostly from Australia.

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<v Speaker 4>Australia supplies most of the world's croc skins for luxury

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<v Speaker 4>goods and most crop factory.

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<v Speaker 5>Farms are in Darwin.

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<v Speaker 3>Catherine Wilson is an award winning journalist. As she started

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<v Speaker 3>to look into the crocodile skin industry, she knew that

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<v Speaker 3>she had to visit Darwin and what she found when

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<v Speaker 3>she went was a booming, one hundred million dollar industry

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<v Speaker 3>with a troubling underbelly. I'm Ruby Jones and you're listening

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<v Speaker 3>to seven AM today Katherine Wilson on crop farming, conservation claims,

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<v Speaker 3>and the true cost of Luxury Fashion. It's Friday, January nine,

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<v Speaker 3>and this is part one of a two part series

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<v Speaker 3>which was originally published in August.

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<v Speaker 5>So, cath you.

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<v Speaker 3>Recently went to Darwin to learn more about these crocodile farms.

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<v Speaker 3>Can you tell me what you discovered about the way

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<v Speaker 3>they operate and the types of conditions that the crocodile's.

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<v Speaker 8>Are living in.

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<v Speaker 4>Yet, I was lucky to have my trip sponsored by

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<v Speaker 4>an outfit called World Animal Protection through another Melbourne based

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<v Speaker 4>organization called Collective Fashion Justice, which advocates for ethical practices

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<v Speaker 4>in the fashion industry. Both these outfits have for years

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<v Speaker 4>been really keen to have media come and view the

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<v Speaker 4>untold conditions on these farms. So these facilities are called farms,

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<v Speaker 4>but it's probably a misnomer.

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<v Speaker 5>When we think of.

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<v Speaker 4>Farms, we might think of pastoral scenes or rural idols,

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<v Speaker 4>but these facilities are more akin to manufacturing plants and

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<v Speaker 4>production lines of crocs.

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<v Speaker 5>They wear house.

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<v Speaker 4>About one hundred and thirty thousand crocs in the territory alone,

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<v Speaker 4>and they're huge castoral places with maximum security, so they're

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<v Speaker 4>really quite like prisons. And one of the first things

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<v Speaker 4>you notice outside these facilities.

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<v Speaker 5>Is this weird dank smell.

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<v Speaker 4>But it's probably best to describe what you can see

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<v Speaker 4>in whistle blow of footage, and this is footage taken

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<v Speaker 4>partly by workers within these farms and also by animal

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<v Speaker 4>activist investigators.

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

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<v Speaker 5>housed in cages that are.

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<v Speaker 4>Submerged in these 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 3>Okay, so tell me a bit about how this one

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<v Speaker 3>hundred million dollar industry developed. How we got to this

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<v Speaker 3>point that Darwin is supplying these crocodile skins in such

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<v Speaker 3>a large scale.

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<v Speaker 4>Yeah, well, of course crocodiles have coexisted with indigenous people

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<v Speaker 4>in the territory for millennia, but they were feared by

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<v Speaker 4>settlers and by the nineteen seventies saltwater crops were hunted

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<v Speaker 4>almost to extinction.

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<v Speaker 9>The club is quite an ingenious affair. A rope for

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<v Speaker 9>the heavy log attached to it runs through a polyblog

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<v Speaker 9>to the running ned. The lower part of this is

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<v Speaker 9>have me buried in the mud so the crocodile will

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<v Speaker 9>not disturb it, but put his head and shoulders through

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<v Speaker 9>the loop to reach the beak.

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<v Speaker 4>But then in seventy one, hunting was banned in the

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<v Speaker 4>territory and slightly later in Queensland, and kroc populations started

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<v Speaker 4>rapidly rebounding.

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<v Speaker 5>And then you have.

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<v Speaker 4>Farming introduced from the nineteen eighties. Now farming relies on

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<v Speaker 4>collecting eggs from the wild and bringing them back to farms.

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<v Speaker 9>Contendering the great size of a crocodile. The eggs are

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<v Speaker 9>not so large as one might expect, being not such

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<v Speaker 9>a greatly larger than an ordinary hen's egg. Both ends

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<v Speaker 9>of the egg are similar, there is no point at

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<v Speaker 9>end many of the eggs.

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<v Speaker 4>And farmers really needed social license to extract these eggs

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<v Speaker 4>from wild populations. So from the nineteen eighties croc farmers

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<v Speaker 4>identified as conservationists. They promoted their trade as a profitable

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<v Speaker 4>way to reduce pressure on wild populations.

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<v Speaker 10>And I think it just makes a lot of economic sense,

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<v Speaker 10>and it makes a lot of sense also for the

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<v Speaker 10>conservation of the animal.

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<v Speaker 4>This was a little bit of tricky messaging because the

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<v Speaker 4>eggs they extracted were on this one way ticket to

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<v Speaker 4>factory farms. The hatchlings were raised in the factories for

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<v Speaker 4>profit and never made it back into the wild. But

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<v Speaker 4>the industry's been kind of told another story.

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<v Speaker 10>This is a potentially dangerous, unloved animal, but if you

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<v Speaker 10>can make him worth money, people will tolerate him around.

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<v Speaker 4>Farmers and industry figures insisted that monetized incentives to collect

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<v Speaker 4>these eggs would help people accept crocs, and that the

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<v Speaker 4>conservation success story was achieved not by protecting crocs, but

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<v Speaker 4>by making crocs a financial.

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<v Speaker 5>Asset to local people.

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<v Speaker 4>So this belief persists that croc skin commerce is responsible

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<v Speaker 4>for protecting and increasing crocodile numbers.

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<v Speaker 5>But it recently came to.

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<v Speaker 4>Light that almost all of the positive messaging and research

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<v Speaker 4>cited to support crop farming arises either from the industry

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<v Speaker 4>itself or from government officials and advocates associated with this industry.

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<v Speaker 3>Coming up inside a crocodile cage path. You spoke to whistleblowers,

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<v Speaker 3>people who'd worked in these farms. Can you tell me

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<v Speaker 3>a bit about what they said to you about the

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<v Speaker 3>conditions and the way that things operate. Yeah.

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<v Speaker 4>The whistleblowers have so far documented four crop factories in

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<v Speaker 4>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 4>Can't be legal challenged because they're within standards set by

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<v Speaker 4>the federal government's Code of Practice.

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<v Speaker 5>So this code allows a quarter to half.

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<v Speaker 4>A square meter of cage space per crocodile, in which

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<v Speaker 4>they typically can't fully extend their bodies once they market ready.

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<v Speaker 6>My name is Donnie in Belong. My family's jiro So

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<v Speaker 6>from about three and a half hours south of here.

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<v Speaker 4>One of the former indigenous workers in these farms, Donnie

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<v Speaker 4>in Belong, described how his work involved this production line

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<v Speaker 4>scenario where his coworker was electrocuting each croc to stun them,

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<v Speaker 4>and Donny had to drag them out and ductate their

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<v Speaker 4>snouts shute.

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<v Speaker 6>So I had to job was to flip around. If

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<v Speaker 6>the croc was been difficult, had to try and get

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<v Speaker 6>him out to the end with the opening, and once

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<v Speaker 6>I got him there the off side, I would zap

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<v Speaker 6>him for about ten seconds stun it, and then I'd

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<v Speaker 6>have to open the cage door and tape the mouth

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<v Speaker 6>and I show and then flip it up belly up

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<v Speaker 6>on the top of the cage, and then the boss

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<v Speaker 6>would come around and inspect the belly between the front

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<v Speaker 6>and hind legs. That was the most valuable part of

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<v Speaker 6>the body.

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<v Speaker 4>And they're waiting these cages for slaughter, which was a

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<v Speaker 4>terribly drawn out process that involves a practice called pissing

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<v Speaker 4>in which a worker has to force a steel rod

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<v Speaker 4>into the croc's brain to scramble it. So you can

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<v Speaker 4>imagine the impact not just on the croc, but on

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<v Speaker 4>the workers having to perform this work.

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<v Speaker 5>And Donny describes.

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<v Speaker 4>How he felt the croc's spirit had been crushed.

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<v Speaker 6>Would get a bit of a lump in a throat

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<v Speaker 6>doing it and sort of seeing the state of them,

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<v Speaker 6>and felt like the spirit was crushed or defeated in

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<v Speaker 6>a way like you've seeing these animals reduced to yeah,

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<v Speaker 6>just yeah.

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<v Speaker 4>And we have to remember that the crocodile is a

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<v Speaker 4>sacred totem species for many Aboriginal people in Northern Australia.

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<v Speaker 6>And it does feel very colonial still. It's like, you know,

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<v Speaker 6>the colony providing the resources for the mother country. It

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<v Speaker 6>is a very colonial industry.

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<v Speaker 4>I also spoke with elders and traditional owners and an

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<v Speaker 4>ex croc farmer who said farmers were ripping off ranches

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<v Speaker 4>and ranches are the people on the ground collecting eggs,

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<v Speaker 4>often indigenous communities. Each of these eggs is sold to

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<v Speaker 4>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 8>Dollar handbag at the high end, and on the ground,

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<v Speaker 8>on the other hand, ranchers risking their lives mucking around

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<v Speaker 8>in these sludgy swampness to find.

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<v Speaker 5>Eggs that might get them twenty five bucks each. And

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<v Speaker 5>that's only if the croc farmer deems them viable.

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<v Speaker 3>And so as more information about these farms and the

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<v Speaker 3>way the industry works comes to light, is the fashion

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<v Speaker 3>industry responding of people's understandings changing.

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<v Speaker 5>Yeah.

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<v Speaker 4>Look, animal advocates are becoming a huge force, and they

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<v Speaker 4>have among them some luminaries like Chris Darwin, who is

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<v Speaker 4>Charles Darwin's great great grandson. And by last year, groups

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<v Speaker 4>like Collective Fashion Justice and Defend the Wild and Peter

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<v Speaker 4>had successfully lobbied Fashion Weeks in London, in Berlin, Copenhagen,

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<v Speaker 4>Amsterdam and Melbourne to ban wild skins of armies.

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<v Speaker 2>Suppliers in the US and Africa found there for every

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<v Speaker 2>army's watchband or broken bag, crocodiles and alligators suffered miserable lives.

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<v Speaker 4>And this was following very graphic catwalk disruptions around the

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<v Speaker 4>world in which placards showed the conditions on these farms,

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<v Speaker 4>and many luxury brands, including Chanelle and v and Westwood

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<v Speaker 4>have now resolved to divest from animal skins.

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<v Speaker 2>Victoriaew Bibian, Westwood, all of these brands have already brows

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<v Speaker 2>exotic skins.

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<v Speaker 3>And a Clemans doesn't do it soon, they will be

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<v Speaker 3>left behind.

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<v Speaker 4>In Australia, David Jones has also committed to phasing out

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<v Speaker 4>skins by twenty twenty six.

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<v Speaker 3>And at the heart of the story PATHA the crocodiles themselves.

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<v Speaker 3>So tell me about the research into what these animals

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<v Speaker 3>are like and what you learned about them as a species.

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<v Speaker 4>Yeah, crocodiles get really bad press, but they're really astonishing creatures.

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<v Speaker 4>They've been billed as evolution's greatest survivors as they're pretty

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<v Speaker 4>much the same as their Triassic ancestors, which existed, as

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<v Speaker 4>you'd know, well before dinosaur extinction. And in recent years

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<v Speaker 4>scientists have found them to be emotive and creative and

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<v Speaker 4>playful and curious. They have language, they use tools. For example,

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<v Speaker 4>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 4>Entrap nesting birds, and by many measures, they're more sentient

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<v Speaker 4>or at least more sensitive than us because they have

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<v Speaker 4>these unique perceptive systems.

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<v Speaker 5>These little organs embedded in.

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<v Speaker 4>Nodules across their bodies of very same anatomies as their

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<v Speaker 4>deep time ancestors, and so, for example, when crocodiles are submerged,

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<v Speaker 4>their little nerve fibers can detect these signative vibrations.

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<v Speaker 5>Of other animals. And the reason we know about all this.

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<v Speaker 4>Is partly because of the work of two Darwin based scientists,

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<v Speaker 4>one Graham Web and the other named Adam Britschen, whose

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<v Speaker 4>research is now under a huge cloud.

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<v Speaker 3>This was part one of a two part series. In

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<v Speaker 3>the next episode, cath Wilson finds out how the scientific

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<v Speaker 3>work of a criminal animal abuser underpins the claims of

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<v Speaker 3>conservation at the heart of the crocodile skin industry. It's

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<v Speaker 3>called Part two, Crocodiles and Criminals, and it's in your

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<v Speaker 3>feed right now.