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Speaker 1: Ridiculous Crime is a production of iHeartRadio zero.

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Speaker 2: Elizabeth. How you doing, I've done pretty well. I'm missing you.

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Speaker 3: Yeah, I know, it's been like twenty minutes.

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Speaker 2: I know. I was like, hey, I went outside, I

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Speaker 2: forgot who you are. I walked back in, Elizabeth.

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Speaker 3: It happens all the time, Yeah, all the time. Do

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Speaker 3: you know what's ridiculous?

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Speaker 2: Yes? I do, Elizabeth, Oh do sure? Yeah. Do you

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Speaker 2: ever heard of a little drink called gator load gator load? Yeah?

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Speaker 3: You know, I know, gator raid.

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Speaker 2: Oh yeah, you're familiar. Gator raid also used to make

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Speaker 2: a thing called gator load.

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Speaker 3: Oh yeah, it's this, okay.

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Speaker 2: Gator load two to eighty.

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Speaker 3: So.

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Speaker 2: Gatorload is a quote specially formulated to supply the body

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Speaker 2: with useful carbohydrates, which the body converts to glycogen without

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Speaker 2: the bulk of large quantities of pasta. And it is

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Speaker 2: this extra supply of glycogen prior to a strenuous athletic

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Speaker 2: event that helps you perform at your peak for longer

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Speaker 2: periods of time. Gator load is available in a convenient,

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Speaker 2: easy to use twelve ounce singles BA ba blah. Carbo

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Speaker 2: loading because carbo loading as a drink. Right. Yeah, Well,

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Speaker 2: there's a funny little bit, which is do you know

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Speaker 2: much about the Chicago Bulls, Michael Jordan Utah Jazz, I

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Speaker 2: told you a little bit about them recently.

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Speaker 3: Enough to be dangerous.

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Speaker 2: You go, remember in the trains you loft trains, I

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Speaker 2: told you about the trains the Great Air during train heist,

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Speaker 2: I mentioned them shoes and they were sold in the

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Speaker 2: Utah Jazz the finals with the balls in that series

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Speaker 2: during when there was the flu game in nineteen ninety seven. Well,

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Speaker 2: in back in nineteen eighty eight, Gatoraded invented this thing

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Speaker 2: called Gator Load, and they hadn't really you know, popularized it,

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Speaker 2: but it was basically spaghetti in a bottle.

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Speaker 3: It's like a thing of insured.

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Speaker 2: Yes, it's the opposite of what you want before a game.

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Speaker 2: So the equipment manager before well yeah, maybe or even

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Speaker 2: two days before. So flash forward at this point, we're

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Speaker 2: in nineteen ninety seven the NBA Finals Salt Lake City.

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Speaker 2: The equipment manager for the Bulls accidentally got Gator Load

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Speaker 2: instead of Gator Rays and the players were like having

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Speaker 2: cramps and their stomachs were bloated distended. It was one

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Speaker 2: of the worst fails of all time. Yeah, because gator.

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Speaker 3: Load that both teams are just the bulls.

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Speaker 2: One trainer said, just the bulls. The trainer said it

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Speaker 2: was like eating baked potatoes.

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Speaker 3: Oh god, that's like, that's like the episode of the

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Speaker 3: Office where Michael Scott carbo loads like five minutes before

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Speaker 3: running a race with you know exactly.

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Speaker 2: So the Bulls ended up losing seventy eight seventy three.

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Speaker 2: If you hear the point totals, you're like, the bulls,

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Speaker 2: What that's crazy? Here we go?

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Speaker 3: Why close?

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Speaker 2: Yeah, but they came back to win the series Go Bulls.

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Speaker 3: Yeah it is. You know what else is ridiculous? Elizabeth

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Speaker 3: mass Appeal counterculture.

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Speaker 2: I like that.

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Speaker 4: Huh.

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Speaker 3: This is ridiculous crime A podcast about absurd and outrageous capers, heists,

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Speaker 3: and cons. It's always ninety nine percent murder free and

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Speaker 3: one hundred percent ridiculous.

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Speaker 4: You damn right right right?

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Speaker 3: Hell saren Are you familiar with Banksy the Tagger graffiti artist? Yes,

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Speaker 3: let me woman explain to you please. I love that

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Speaker 3: banks He's a pseudonym. What so it's not it's not

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Speaker 3: a real name, like, it's not I know, the government

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Speaker 3: name English. He's an English artist, like we said, a

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Speaker 3: graffiti artist, but not in the sense of taggers or

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Speaker 3: like those who just scribble on things.

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Speaker 2: Yeah. Now he throws pieces up and does like real art.

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Speaker 3: Yeah, the art, it's actually very much in the tradition

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Speaker 3: of Italian graffiti art, like the o Grafiti. Yeah, that's

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Speaker 3: very visually striking and political. So like use of negative space,

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Speaker 3: monochromatic palettes, really bold color as highlights. It's very there's

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Speaker 3: immediacy to it, accessibility in the imagery, and he primarily used.

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Speaker 2: For him this is great, so welcome.

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Speaker 3: He primarily uses stencil.

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Speaker 2: Base in the sense that's why I think of the

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Speaker 2: Italians as the stencil Yeah.

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Speaker 3: Yeah, exactly, And so it's quick to pull off, it's

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Speaker 3: visually sharp, and that technique also aligns with earlier sweet

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Speaker 3: artists like Bleack Lorat, you have heard of him.

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Speaker 2: And also it also conforms with the hyper consumer and

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Speaker 2: the mass production aspects of our culture.

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Speaker 3: So Black Lorat was really the one who pioneered stencil

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Speaker 3: graffiti in the eighties in France. But and Banksy rather

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Speaker 3: than aligns with him, you could go so far as

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Speaker 3: to say he ripped him off steals. Yeah, And so

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Speaker 3: Black Lorat started in nineteen eighty six there was a

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Speaker 3: general strike by students and workers that just ground France

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Speaker 3: to a halt. That's when we started seeing these things

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Speaker 3: a lot of visual and thematic similarities. But Banksy also

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Speaker 3: does installations mixed media. I'm going to put this into

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Speaker 3: art speak for you. Banksy's uvre is rich in political

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Speaker 3: and social critique. So basically he confronts themes like capitalism, consumerism, war, authoritarianism, surveillance,

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Speaker 3: and it's satirical work, thought provoking, and it blends like

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Speaker 3: dark humor with this powerful imagery.

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Speaker 2: Yeah, like making light of domination or subjugation.

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Speaker 3: Right, And let me give you a brief history. So

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Speaker 3: in the nineties, Banksy emerged as part of the underground

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Speaker 3: graffiti scene in Bristol, England. Ah Yes, and then moved

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Speaker 3: to London in the early two thousands, and that's where

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Speaker 3: his stencil based stuff got, you know, war recognition. He

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Speaker 3: starts satirizing politics, consumerism, war like targeting the powerful. In

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Speaker 3: two thousand and four, Banksy released Banksy's Die Faced to

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Speaker 3: like to face but a fake ten pound note featuring

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Speaker 3: Princess Diane. He in two thousand and five, painted on

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Speaker 3: the West Bank barrier in Palestine doing this really powerful

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Speaker 3: anti war.

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Speaker 2: Imagery lift up the Wall.

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Speaker 3: Yeah.

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Speaker 2: Yes.

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Speaker 3: Two thousand and six created Barely Legal, which was an

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Speaker 3: LA art show that had a live spray painted elephant.

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Speaker 2: Oh.

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Speaker 3: Frintique Global Poverty twenty ten Directed Exit through the Gift Shop. Yes,

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Speaker 3: great documentary, Yeah me too, about street art commercialization of

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Speaker 3: the art world. Nominated for an Academy Award.

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Speaker 2: I bet he did not attend.

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Speaker 3: Yeah no, well we don't know, Thank you, Elizabeth. Twenty thirteen.

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Speaker 3: I did like a one month residency in New York

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Speaker 3: and left Newark all over the city each day. Twenty

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Speaker 3: twenty did a COVID nineteen themed graffiti in the London underground.

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Speaker 2: I remember that.

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Speaker 3: Twenty twenty two painted murals in UK during the war

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Speaker 3: depicting like the resilience and the defiance of the people. Yeah.

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Speaker 3: So Banksy was originally very counterculture, and then people like

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Speaker 3: Brad Pitt started buying pieces and other artists started to

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Speaker 3: bite the style, and it kind of has gone a

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Speaker 3: little out of fashion. It's not edgy, Yeah, I.

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Speaker 2: Would say that it's become like so much so that

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Speaker 2: it's canon. It's like museum.

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Speaker 3: Yes, yeah, most definitely So you know, Banksy is widely

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Speaker 3: celebrated and that runs counter to the counter culture origin.

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Speaker 3: But there are a lot of criticisms. So there's accusations

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Speaker 3: of commercialism and hypocrisy. You know, he's supposed to be

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Speaker 3: all anti capitalist and anti establishment, but then the pieces

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Speaker 3: sell for millions of dollars at auction.

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Speaker 2: I thought you were down for ad Busters, man.

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Speaker 3: Every time there's an accusation of exploitation of street art culture,

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Speaker 3: other graffiti La the other graffiti, or to see Banksy

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Speaker 3: is like profiting off of this culture that's criminalized for others.

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Speaker 3: People talk about that issue of originality. You know, it's

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Speaker 3: highly derivative about you know, the Italians and Bla Clarat.

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Speaker 3: So are you a fan?

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Speaker 2: You like, I've been a fan. I wouldn't say that.

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Speaker 2: I'm like, I still love Bosquiote, like like you'll always

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Speaker 2: hear me love, even though he's become very much a

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Speaker 2: mainstream artist that people are now like Dutch's biting, but

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Speaker 2: it's become like a language of visual language, so it's

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Speaker 2: lost a lot of its hits.

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Speaker 3: But with Bosquiot, it's almost as if people have an

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Speaker 3: idea of what the work is, but they're not familiar

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Speaker 3: with his work itself.

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Speaker 2: Yeah, because there's so many pieces I never ever see,

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Speaker 2: like the Joe Lewis stuff that so like, I really

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Speaker 2: like his stuff a lot, and that hasn't happened the

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Speaker 2: way that it has a Banksy where it's been almost

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Speaker 2: drained of its meaning and value for me as a

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Speaker 2: as a witness to it or as you know, even

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Speaker 2: as a participant when it's its street art.

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Speaker 3: They're not particularly challenging the Banksy pieces.

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Speaker 2: And the critique is a little bit uh wan at

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Speaker 2: this point.

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Speaker 3: I feel like they harkened back to that early two

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Speaker 3: thousands when people were really starting to share images online

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Speaker 3: and use them as like avatars.

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Speaker 2: It feels very George W. Bush, like a rock war

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Speaker 2: kind of like what's protest this like? And then carry

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Speaker 2: out to like all that World Trade Organization protest that

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Speaker 2: energy had. He's like on top of that wave surface.

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Speaker 3: You had online image sharing for the first time, so

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Speaker 3: like you could make statements with pictures more than an

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Speaker 3: other means of communication, and you could really you could

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Speaker 3: suddenly save images really easily. So yeah, full Tumblr. We

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Speaker 3: hearted picturist aspect the internet, you know, now we're like

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Speaker 3: oversaturated with it.

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Speaker 2: There's a gift for everything post social media.

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Speaker 3: Don't get me started on AI art, but like Banksy

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Speaker 3: to me, represents that time where those striking, powerful images

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Speaker 3: were harder to come by and anyway, so.

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Speaker 2: It was also so easy to commodify things and to

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Speaker 2: claim them. Now you know, like not that it was

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Speaker 2: always easy just right click, but I mean, like it

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Speaker 2: was not the on demand.

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Speaker 3: Stuff too, because you when I was looking up examples

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Speaker 3: of banks the art you can have like it's printed

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Speaker 3: on all shower curtains and like it just.

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Speaker 2: Raw covers fans for your room.

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Speaker 3: Bizarre. So, like I said, Banksy's real identity is not known.

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Speaker 3: We don't know. Still, there are all sorts of theories

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Speaker 3: though let me give you some of my favorites. The

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Speaker 3: most popular theory is that Banksy is actually Robin Gunningham,

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Speaker 3: a British artist. He was born in Bristol in nineteen

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Speaker 3: seventy three. Alliance with Banksy's known connections to that street

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Speaker 3: art scene. In two thousand and eight, The Mail on

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Speaker 3: Sunday conducted an investigation linking Banksy to Gunningham. Based on

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Speaker 3: interviews with former classmates acquaintances. They found all these old

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Speaker 3: photos where Gunningham has like a spray paint stencil kit

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Speaker 3: that's like similar to the banks style.

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Speaker 2: Sure.

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Speaker 3: In twenty sixteen, this is so crazy, scientists at Queen

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Speaker 3: Mary University of London used geographic profiling like you do

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Speaker 3: with serial killers, to analyze the locations of Banksy's artwork,

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Speaker 3: and then the study found that Banksy's pieces were often

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Speaker 3: created near places linked to Gunningham's past residences and social activities.

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Speaker 3: And then after like the rise to fame, Gunningham like

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Speaker 3: pretty much disappeared from public records and like, so there's

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Speaker 3: all the speculation like he's laying though. Another theory, one

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Speaker 3: that I like is that Banksy is Robert del Naya

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Speaker 3: of Massive Attack.

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Speaker 2: This is the one I've heard.

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Speaker 3: And I don't say that just because I'm a huge

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Speaker 3: huge massive attack, I mean like huge, but it's there's

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Speaker 3: a good argument to be made. So before becoming a musician,

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Speaker 3: del Naya he was a well known graffiti artist from Bristol.

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Speaker 3: He was part of the Wild Bunch crew and that

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Speaker 3: was like they were the pioneers of Bristol's street art

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Speaker 3: scene eighties. Yeah, even Banksy himself has credited del Naya

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Speaker 3: as an influence so right. Journalist Craig Williams he noticed

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Speaker 3: a pattern between Massive Attacks tour dates and the appearance

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Speaker 3: of new Banksy artworks. Ooh, like you can connect them

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Speaker 3: all through these various places. They both have very similar

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Speaker 3: strong anti establishment views reflected in their work. Banksy wrote

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Speaker 3: the forward to a book about del Naya's artwork in

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Speaker 3: twenty thirteen. Banksy's month long New York residency was rumored

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Speaker 3: to be inspired by Massive Attacks album one hundredth Window,

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Speaker 3: and then when they asked him directly Delnaya, he denied it.

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Speaker 3: But it's like, yeah, but I know him.

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Speaker 2: Huh. So.

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Speaker 3: Another theory is.

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Speaker 2: The other theories actually got more.

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Speaker 3: Another theory is that Banksy is Jamie Hewlett, the co

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Speaker 3: creator of Gorillas. Oh yeah, okay, yeah, there are big

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Speaker 3: similarities in like the artistic style and the sames. But

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Speaker 3: it's not like supported by evidence.

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Speaker 2: Yeah, I would say that one matches like wonder wat

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Speaker 2: it just sounds fun. Yeah, I think Robert from Massive

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Speaker 2: Attacks much more.

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Speaker 3: The theory of what I really believe is the case, oh,

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Speaker 3: is that Banksy isn't one person but rather a collective Ah.

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Speaker 2: Of course that makes the most sense.

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Speaker 3: Some people think that banks he's a group of artists

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Speaker 3: together rather than a single person. That explains like the

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Speaker 3: large scale and rapid production of work all over the.

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Speaker 2: World, okay, and also the travel.

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Speaker 3: The travel, yeah, because like multiple pieces appear in multiple

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Speaker 3: countries within a short time period. Uh huh, So it's

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Speaker 3: really unlikely that one person can do that. He also

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Speaker 3: has these large installations dismal land Waldoff Hotel that require

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Speaker 3: really significant manpower and logistics and resources. So like a

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Speaker 3: group of artists working under the Banksy name that makes

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Speaker 3: it feasible.

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Speaker 2: Could it be like a dread pirate Robert situation where

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Speaker 2: there was a bank see, and then he hired a

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Speaker 2: new banks to be his assistant, and then he let

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Speaker 2: him become the banks and he's retired, and then that

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Speaker 2: one has found a new assistant and let him become Banksy. Yeah,

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Speaker 2: or like Manudo.

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Speaker 3: Yeah, or technically double O seven or yeah exactly.

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Speaker 2: Yeah.

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Speaker 3: I think it's like they got together and thought, let's

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Speaker 3: call it Banksy.

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Speaker 2: I like that. That's actually interesting. And a bank of artists.

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Speaker 3: Because that's the other thing. Okay, So you have all

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Speaker 3: these diverse artistic styles and media. There are some stylistic

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Speaker 3: differences from one piece to the next. Yeah, so that

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Speaker 3: suggests multiple contributors.

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Speaker 2: This is the most fascinating.

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Speaker 3: I know, it really is. Remember, in twenty sixteen, Queen

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Speaker 3: Mary University did the serial killer profiling, mentioned that it

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Speaker 3: found that Banksy's works were concentrated in certain areas, right,

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Speaker 3: but that new ones were appearing worldwide at the same.

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Speaker 2: Time, so he couldn't be Yeah, there's this.

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Speaker 3: It would be absolutely impossible. Now it's not. Maybe. So

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Speaker 3: some compare Banksy to other anonymous or like semi anonymous

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Speaker 3: artist collectives like the Gorilla Girls female art activists woo ming.

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Speaker 3: That's those are those Italian authors who published under a

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Speaker 3: show right, I was mystery novel, right, Yeah, it was

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Speaker 3: like as a woman.

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Speaker 2: A woman won awards for it, and they're like, what

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Speaker 2: do we do?

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Speaker 3: Corpus Delecti is a French street art group, so it's

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Speaker 3: been done before. But then thanks to Reddit, there's my

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Speaker 3: new favorite theory. Banks he's a woman. And it's not

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Speaker 3: my favorite theory because I believe it.

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Speaker 2: I'm kind of embarrassed as sex assigned. I didn't never

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Speaker 2: consider that.

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Speaker 3: It's not a good theory. There there's this user Bobolon

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Speaker 3: who posted onto the subreddit pop culture chat not too

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Speaker 3: long ago, the super in depth argument that Banksy is

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Speaker 3: not only a woman, but a very specific woman. This

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Speaker 3: is actually what gave me the idea to talk about

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Speaker 3: banks Yeah, so Bob in Law came in hot with

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Speaker 3: the theory, super aggressive, like out of nowhere. To the

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Speaker 3: it appeared to be to the puzzle of the people

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Speaker 3: who post on there, it was so entertaining. So Bobylon

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Speaker 3: Babylon was sort of combative, like I said, and they

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Speaker 3: felt really passionate about the matter. It's like they kicked

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Speaker 3: down the door to the library's like what exactly? So anyway,

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Speaker 3: they think that Banksy is actually Scottish artist Lucy Mackenzie

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Speaker 3: hm a good Glasswegian. So I would try and explain

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00:16:35,280 --> 00:16:38,400
Speaker 3: the theory as presented in the Reddit post, but it's

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Speaker 3: very long and convoluted. It was two parts. I only

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Speaker 3: read part one. It involves analyzing the backgrounds of photos

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00:16:45,520 --> 00:16:50,440
Speaker 3: and like knowing the layouts of buildings and interpreting interpersonal relationships.

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Speaker 2: It's a lot like JFK conspiracy, for like comparing a

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Speaker 2: photo and an outline of a head.

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Speaker 3: Like from what angle would that see the street? And

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Speaker 3: I found the whole thing cross posted on the Banksy

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Speaker 3: suburb it and the top comment there kind of sums

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Speaker 3: it up. TikTok drop Top wrote quote, I think what

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Speaker 3: is more likely is you have an obsession with this

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Speaker 3: Lucy McKenzie girl. Your theories hold absolutely no water. They're

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Speaker 3: all ham fisted ramblings that make no sense at all

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Speaker 3: when looked at through any logical lens like ouch wow.

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Speaker 3: So no matter who they really are.

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Speaker 2: About coming in hot, I mean hot, hot.

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Speaker 3: Hot, well Peter Tosh for you, So it doesn't matter

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Speaker 3: who Banksy really is. Banksy's making serious coin on the

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Speaker 3: art real.

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Speaker 4: Yeah.

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Speaker 3: And you know what happens when you have art and

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Speaker 3: you have money? Oh yes, yes, crime there it is crime.

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Speaker 3: Banksies get stolen, even the ones stenciled on buildings.

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Speaker 2: Yeah.

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Speaker 3: So I want to tell you about some of these today,

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Speaker 3: but first we need to pause for some ads the

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Speaker 3: rich Feast that keeps us available to the people for Freeze,

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Speaker 3: and when we return, Banksy zaren bgsy. First off, did

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Speaker 3: you hear about anything cool that you wanted to buy

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00:18:26,160 --> 00:18:27,520
Speaker 3: and or know about in those ads?

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Speaker 2: I wasn't listening. I was playing with the interns.

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Speaker 3: Okay, great, because I was listening and I want it all.

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Speaker 2: You're much more than I am.

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Speaker 3: I am, So it's fantastic bags. His art is expensive,

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00:18:41,359 --> 00:18:44,040
Speaker 3: so it makes sense that it'd be ripe for theft,

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Speaker 3: except for the fact that most of them are on

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Speaker 3: walls of very large and movable building.

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Speaker 2: That's on wondering are you taking it down brick by brick?

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Speaker 2: How are you doing that?

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Speaker 3: Not all the art is on the walls. Most of

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Speaker 3: it is. There are sculptures, oh right, and they aren't small,

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Speaker 3: but they aren't a three story building.

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Speaker 2: Yeah, it's not like having to take a wall down.

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Speaker 4: Yeah.

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Speaker 3: March two thousand and four, Banksy illegally installed a ten

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Speaker 3: foot tall statue in a small square near Shaftesbury Avenue

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Speaker 3: in London. And the statue is called the Drinker and

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Speaker 3: so it was modeled after rodinand's the thinker, sure, but

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Speaker 3: like a sloppier version. And he had a traffic cone

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Speaker 3: on his head. And that hearkens to a very famous

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Speaker 3: statue in Glasgow, which is which is the Duke of

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Speaker 3: Wellington statue there. It was put up in eighteen forty four.

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Speaker 3: It's in front of the Gallery of Modern Art, and

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Speaker 3: the good people of Glasgow make sure that he is

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Speaker 3: always wearing a traffic cone on his head.

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Speaker 2: Really.

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00:19:39,840 --> 00:19:43,640
Speaker 3: Yeah, he's on a horse, Duke of Wellington horse four

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00:19:43,680 --> 00:19:47,400
Speaker 3: feet down and like people scale up. It's a big statue. Huh,

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Speaker 3: always has a traffic cone on his head.

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Speaker 2: Guy who beat Napoleon.

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Speaker 3: Yeah, sometime in the eighties it started and so the

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Speaker 3: city has asked people to not keep replacing it every

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Speaker 3: time it comes down. But you can't tell them nothing.

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Speaker 2: Does it mean anything to that it's fun.

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Speaker 3: So twenty thirteen there was a proposal to raise the

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Speaker 3: plinth the base of the statue to make people couldn't

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Speaker 3: get out here impossible for drunkers to scale it and

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Speaker 3: put the cone on the head.

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Speaker 2: Oh, they don't heave it up. They actually get time up. Wow.

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Speaker 3: And so the city was like, look, it cost us

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Speaker 3: one hundred pounds per call out to take it down

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Speaker 3: and we're running about ten grand a year entertainment. But

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00:20:23,160 --> 00:20:26,760
Speaker 3: the people they rallied the plan got ditched. It's now

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00:20:26,840 --> 00:20:29,479
Speaker 3: it's become a part of the fabric of Glasgow. So

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00:20:29,560 --> 00:20:34,160
Speaker 3: during the twenty twelve someone took the normal safety orange

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00:20:34,200 --> 00:20:36,600
Speaker 3: cone and swapped it with a gold one for the

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Speaker 3: Olympics to celebrate Scotland's contribution to the record number of

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Speaker 3: gold medals won by Team Green Britain. Oh twenty fourteen,

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Speaker 3: when the Scots were voting on independence, someone put a

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00:20:46,680 --> 00:20:51,200
Speaker 3: yes cone on the head It's Glasgow. On Brexit Day

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Speaker 3: thirty first of January twenty twenty, pro European supporters again

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00:20:56,200 --> 00:20:59,600
Speaker 3: It's Glasgow placed a cone painted to represent the EU

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00:20:59,680 --> 00:21:04,040
Speaker 3: flag on the statue. During COVID nineteen, someone put a

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00:21:04,080 --> 00:21:07,600
Speaker 3: blue surgical mask around the ears. Shout out to the

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00:21:07,640 --> 00:21:11,960
Speaker 3: lockdown March of twenty twenty two in support of Ukraine

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Speaker 3: and then as a protest against Russia's invasion of it,

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00:21:15,359 --> 00:21:18,159
Speaker 3: they put a cone with the colors of the Ukrainian flag.

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Speaker 3: Cool and then keeping on topic, in June of twenty

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Speaker 3: twenty three, to promote his exhibition at the Gallery of

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Speaker 3: Modern Art in Glasgow, they put Banks up there, you

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Speaker 3: know Banks. He declared that the statue was his favorite

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Speaker 3: work of art in the UK really because of the cone.

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Speaker 2: I figure that because also the participatory in nature the

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Speaker 2: street as it's playful.

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Speaker 3: It's playful and it is like you know changing, yeah,

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Speaker 3: and it's I've seen so many I've first of all,

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Speaker 3: I walked by it a ton of times when I

401
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Speaker 3: live there. But like I've seen people putting it back

402
00:21:53,400 --> 00:21:55,439
Speaker 3: up after like it blows down in a storm like

403
00:21:56,480 --> 00:21:58,040
Speaker 3: I did not, but I've seen them. And then there

404
00:21:58,040 --> 00:22:00,880
Speaker 3: are great pictures of people's scale it to put it back.

405
00:22:00,960 --> 00:22:02,800
Speaker 2: Yeah yeah, imagine people are like cheering and stuff.

406
00:22:02,800 --> 00:22:06,000
Speaker 3: Oh yeah yeah. So back to March two thousand and

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00:22:06,000 --> 00:22:08,760
Speaker 3: four the Drinker Ah Yes. A few days after it

408
00:22:08,760 --> 00:22:11,480
Speaker 3: got put up, a group of masked thieves known as

409
00:22:11,640 --> 00:22:15,960
Speaker 3: art Kaida, led by a self professor give you that one,

410
00:22:16,000 --> 00:22:18,040
Speaker 3: thank you, don't give it to me, led by a

411
00:22:18,080 --> 00:22:21,880
Speaker 3: self professed quote art terrorist named Andy Link. He called

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Speaker 3: himself AK forty seven. They stole it. So the thing

413
00:22:25,680 --> 00:22:29,000
Speaker 3: is six feet tall, super heavy. They stole it in

414
00:22:29,040 --> 00:22:31,840
Speaker 3: broad daylight. They just loaded it onto a flatbed truck.

415
00:22:32,480 --> 00:22:35,119
Speaker 3: It's not it's not a sanctioned piece of public arts

416
00:22:35,119 --> 00:22:35,840
Speaker 3: like all's fair.

417
00:22:36,000 --> 00:22:38,280
Speaker 2: I suppose, basically trash.

418
00:22:38,400 --> 00:22:40,679
Speaker 3: So he said he quote kidnapped it, and then he

419
00:22:40,760 --> 00:22:44,080
Speaker 3: registered this quote find as he said with the police,

420
00:22:44,840 --> 00:22:48,480
Speaker 3: like look what I found. And so then he reaches

421
00:22:48,520 --> 00:22:50,800
Speaker 3: out to the press. He sent a ransom note to

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Speaker 3: a reporter demanding five thousand pounds in exchange for the

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00:22:54,760 --> 00:22:55,520
Speaker 3: safe return of.

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00:22:55,440 --> 00:22:57,080
Speaker 2: The sculpture, that's all five thousand.

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00:22:57,160 --> 00:22:59,879
Speaker 3: Yeah. So this drums up a lot of coverage.

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00:23:00,160 --> 00:23:00,520
Speaker 2: Banks.

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00:23:00,560 --> 00:23:04,320
Speaker 3: He speaks up banks, He's like, I hear you. I

428
00:23:04,359 --> 00:23:07,240
Speaker 3: will give you two quid towards a can of petrol

429
00:23:07,760 --> 00:23:10,960
Speaker 3: to set it on fire. Yeah, it's like whatever. So

430
00:23:11,119 --> 00:23:13,320
Speaker 3: Link he just keeps it in his garden. It's got

431
00:23:13,320 --> 00:23:13,920
Speaker 3: in his yard.

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00:23:14,080 --> 00:23:16,880
Speaker 2: It's like, well he disowns. Yeah.

433
00:23:17,040 --> 00:23:19,159
Speaker 3: So then three years goes by, he's like, do you

434
00:23:19,240 --> 00:23:22,960
Speaker 3: want to get famous off this? Try again? Three years

435
00:23:23,000 --> 00:23:26,399
Speaker 3: goes by. Then someone broke into Link's yard while he

436
00:23:26,480 --> 00:23:27,760
Speaker 3: was away and stole.

437
00:23:27,480 --> 00:23:28,040
Speaker 2: It from him.

438
00:23:28,119 --> 00:23:30,959
Speaker 3: Yeah, because all's fair. Of course Link didn't think all

439
00:23:31,119 --> 00:23:33,520
Speaker 3: was fair. He went to the police to report the stuff.

440
00:23:33,880 --> 00:23:35,600
Speaker 2: If he's stolen, good yeah, Art.

441
00:23:35,520 --> 00:23:37,800
Speaker 3: Kaida Ak forty seven went.

442
00:23:37,640 --> 00:23:39,240
Speaker 2: To the police.

443
00:23:43,000 --> 00:23:46,960
Speaker 3: Yeah right. Twelve years goes by my stuff. Yeah, he's

444
00:23:47,000 --> 00:23:49,359
Speaker 3: like a cab until it's.

445
00:23:48,760 --> 00:23:50,480
Speaker 2: Funny, until it's my stolen statue.

446
00:23:51,240 --> 00:23:55,280
Speaker 3: Twelve years goes by, world keeps turning. Twenty nineteen, the

447
00:23:55,320 --> 00:24:00,159
Speaker 3: statue reappeared. Not in someone's yard, No, it showed up

448
00:24:00,520 --> 00:24:06,440
Speaker 3: in the Southeby's auction catalog or the contemporary curative estimated

449
00:24:06,480 --> 00:24:09,320
Speaker 3: sale price of seven hundred and fifty thousand pounds to

450
00:24:09,359 --> 00:24:10,320
Speaker 3: one million pounds.

451
00:24:10,359 --> 00:24:11,680
Speaker 2: Okay, that's why I thought it'd be like a lull

452
00:24:11,720 --> 00:24:12,120
Speaker 2: over one.

453
00:24:12,200 --> 00:24:14,680
Speaker 3: Yeah, it was like, by far the priceiest item in

454
00:24:14,760 --> 00:24:18,240
Speaker 3: the lot. So when asked about selling stolen goods, Southeby

455
00:24:18,400 --> 00:24:21,240
Speaker 3: said it was totally satisfied that the seller had a

456
00:24:21,320 --> 00:24:24,520
Speaker 3: legal right to put Peace up for auction, and they said,

457
00:24:24,560 --> 00:24:27,960
Speaker 3: we consulted both the Metropolitan Police and the Art Loss Register,

458
00:24:28,720 --> 00:24:32,560
Speaker 3: and so Southeby's sale notes say the work was quote retrieved.

459
00:24:33,240 --> 00:24:37,120
Speaker 3: So this basically means that Banksy stole it back from link. Yeah,

460
00:24:37,560 --> 00:24:42,040
Speaker 3: and according to Southeby's and the seller quote, the work

461
00:24:42,119 --> 00:24:45,359
Speaker 3: was mysteriously retrieved from Art Kaida's lock up in an

462
00:24:45,400 --> 00:24:49,359
Speaker 3: anonymous heist which left AK forty seven with nothing but

463
00:24:49,400 --> 00:24:53,399
Speaker 3: the abandoned traffic cone from atop the drinker's head that's

464
00:24:53,400 --> 00:24:54,920
Speaker 3: in the catalog for the auction.

465
00:24:55,160 --> 00:24:58,159
Speaker 2: That's amazing. Can you imagine that if Banksy, if it

466
00:24:58,240 --> 00:25:01,119
Speaker 2: is one person like I say, it's Robert and actually

467
00:25:01,320 --> 00:25:03,680
Speaker 2: was involved in the heights that I came in another

468
00:25:03,720 --> 00:25:06,760
Speaker 2: person and he got caught trying to steal a bank

469
00:25:07,280 --> 00:25:11,520
Speaker 2: and identity banking because he's trying to steal a banks

470
00:25:11,840 --> 00:25:13,160
Speaker 2: and he doesn't say he's not him.

471
00:25:13,280 --> 00:25:17,400
Speaker 3: Well, how do you prove your banks right? So when

472
00:25:17,480 --> 00:25:20,520
Speaker 3: Banksy items are sold at auction, they're only seen as

473
00:25:20,600 --> 00:25:24,359
Speaker 3: authentic if they carry a certificate of authenticity from quote

474
00:25:24,440 --> 00:25:29,520
Speaker 3: Pest Control. And that's this like shadowy organization that handles

475
00:25:29,560 --> 00:25:33,280
Speaker 3: all of the inquiries for Banksy. And so Banksy and

476
00:25:33,440 --> 00:25:36,919
Speaker 3: or representatives declined to comment on the matter of the drinker.

477
00:25:37,520 --> 00:25:39,119
Speaker 2: If you want to contact Bill Murray have to call

478
00:25:39,160 --> 00:25:39,680
Speaker 2: a payphone.

479
00:25:39,800 --> 00:25:42,920
Speaker 3: Yes, exactly, so link so that according to the law,

480
00:25:43,040 --> 00:25:46,040
Speaker 3: since the statue wasn't legally installed, it was in essence

481
00:25:46,119 --> 00:25:50,119
Speaker 3: abandoned property. And he quote found it and reported that

482
00:25:50,160 --> 00:25:53,080
Speaker 3: to the police, registering it and that banks he never

483
00:25:53,119 --> 00:25:55,359
Speaker 3: filed the police reporter asked for it back. So he's

484
00:25:55,400 --> 00:25:58,320
Speaker 3: the clear owner and he had like documents and case

485
00:25:58,400 --> 00:25:59,280
Speaker 3: numbers to back.

486
00:25:59,119 --> 00:26:01,040
Speaker 2: This all up law precedence.

487
00:26:01,119 --> 00:26:04,160
Speaker 3: Such a nerd and so then he told the Guardian quote,

488
00:26:04,440 --> 00:26:07,000
Speaker 3: I did the right thing and reported it to the police.

489
00:26:07,080 --> 00:26:09,560
Speaker 3: I do not understand how Southeby's can sell this when

490
00:26:09,640 --> 00:26:10,920
Speaker 3: I have such proof.

491
00:26:11,359 --> 00:26:15,200
Speaker 2: Citing Captain Henry Morgan against the State of Jamaica. I'm seventeenth.

492
00:26:15,200 --> 00:26:16,200
Speaker 2: I mean, what are we doing?

493
00:26:16,320 --> 00:26:21,359
Speaker 3: Sutheby's didn't care really bet, But the day before the auction,

494
00:26:21,560 --> 00:26:24,640
Speaker 3: Southeby's legal team sent a letter to Link and they

495
00:26:24,640 --> 00:26:29,800
Speaker 3: were like, we totally we reassert our rejection to your claim,

496
00:26:29,840 --> 00:26:33,240
Speaker 3: and it would quote require a cogent and persuasive case

497
00:26:33,640 --> 00:26:38,000
Speaker 3: with appropriate evidence before after taking instructions from the consigner,

498
00:26:38,520 --> 00:26:41,960
Speaker 3: altering the planned sale process on any legal grounds related

499
00:26:42,000 --> 00:26:45,879
Speaker 3: to purported title claim by you. And so they acknowledge

500
00:26:45,960 --> 00:26:49,520
Speaker 3: quote the interesting story of Link's involvement in this piece

501
00:26:49,600 --> 00:26:52,560
Speaker 3: in two thousand and four. But they also then said

502
00:26:52,600 --> 00:26:55,080
Speaker 3: there was quote no reason why the consigner of the

503
00:26:55,119 --> 00:26:59,800
Speaker 3: work subsequently authenticated by Banksy's authentication process, does not have

504
00:27:00,040 --> 00:27:03,720
Speaker 3: title to sell. But then one hour before the auction

505
00:27:03,800 --> 00:27:07,080
Speaker 3: was supposed to start, it gets pulled. What Yeah. In

506
00:27:07,119 --> 00:27:12,320
Speaker 3: a statement, Sotheby's wouldn't offer details, saying only quote, the

507
00:27:12,400 --> 00:27:15,800
Speaker 3: work has been withdrawn in agreement with the consigner. So

508
00:27:15,880 --> 00:27:17,520
Speaker 3: where it is now I cannot know.

509
00:27:18,080 --> 00:27:19,440
Speaker 2: We're just not selling, we're just selling.

510
00:27:19,520 --> 00:27:21,920
Speaker 3: I think he did it just mess with Link. Maybe so.

511
00:27:22,400 --> 00:27:26,919
Speaker 3: Banksy's work traffics in iconography, and one image that he

512
00:27:27,080 --> 00:27:29,960
Speaker 3: uses as his sort of avatar is a rat. Yes,

513
00:27:30,240 --> 00:27:34,960
Speaker 3: the rat has been Banksy's alter ego for years and something. Yeah. Yeah.

514
00:27:35,160 --> 00:27:38,439
Speaker 3: In his book wall in Piece, he said, quote rats

515
00:27:38,520 --> 00:27:42,720
Speaker 3: exist without permission. They are hated, hunted, and persecuted. They

516
00:27:42,760 --> 00:27:46,360
Speaker 3: live in silent despare amid filth, and yet they're capable

517
00:27:46,400 --> 00:27:51,080
Speaker 3: of bringing entire civilizations to their knees. If you are dirty, insignificant,

518
00:27:51,080 --> 00:27:53,800
Speaker 3: and unloved, then rats are your ultimate model.

519
00:27:54,000 --> 00:27:56,720
Speaker 2: Telling you the Bubonic plague messed up the European imagination

520
00:27:56,960 --> 00:27:59,680
Speaker 2: like the mongol or they just have not gotten over.

521
00:27:59,600 --> 00:28:02,120
Speaker 3: The you know when when you're down trodden and your

522
00:28:02,119 --> 00:28:03,719
Speaker 3: work's worth over a million dollars.

523
00:28:03,800 --> 00:28:05,240
Speaker 2: Yeah, a rat, it is.

524
00:28:05,640 --> 00:28:08,880
Speaker 3: In twenty eighteen, one of his rats was stolen. Really yeah.

525
00:28:09,240 --> 00:28:11,679
Speaker 3: So it was stenciled on the back of a sign

526
00:28:11,720 --> 00:28:14,800
Speaker 3: for the car park outside of the pompad Center impact.

527
00:28:15,160 --> 00:28:16,800
Speaker 2: I was assuming it's like one of like the larger

528
00:28:16,880 --> 00:28:18,679
Speaker 2: plastic type.

529
00:28:20,520 --> 00:28:24,880
Speaker 3: It was on a parking sign on the back of it. Yeah.

530
00:28:24,920 --> 00:28:27,359
Speaker 3: The image it was like a masked rat holding a

531
00:28:27,400 --> 00:28:30,000
Speaker 3: box cutter, like it's going to make a stencil. And

532
00:28:30,040 --> 00:28:32,600
Speaker 3: this wasn't the first time someone tried to take it.

533
00:28:32,640 --> 00:28:35,680
Speaker 3: A year earlier. The heist of it was foiled by

534
00:28:36,320 --> 00:28:39,640
Speaker 3: museum security, and so the museum they put a piece

535
00:28:39,680 --> 00:28:43,360
Speaker 3: of plexiglass around it. They put a case the center,

536
00:28:44,560 --> 00:28:47,240
Speaker 3: but they did that didn't stop these guys. So while

537
00:28:47,240 --> 00:28:51,520
Speaker 3: the Pampa do houses Europe's biggest collection of contemporary art,

538
00:28:51,960 --> 00:28:56,400
Speaker 3: it doesn't own that particular banks you were. Nevertheless, they

539
00:28:56,440 --> 00:29:00,960
Speaker 3: filed a complete point for destruction of property their parking sign,

540
00:29:01,080 --> 00:29:03,360
Speaker 3: you know, after all, Oh good point. So a spokesman

541
00:29:03,400 --> 00:29:05,680
Speaker 3: for the Pompadou Center send quote, we are sad to

542
00:29:05,760 --> 00:29:09,360
Speaker 3: inform you that Banksy's work of art facing our building

543
00:29:09,400 --> 00:29:13,080
Speaker 3: on Rue Bobard was stolen during the night. Although this

544
00:29:13,200 --> 00:29:16,120
Speaker 3: piece was not part of our collection, we were proud

545
00:29:16,280 --> 00:29:18,640
Speaker 3: that the artists had chosen the side of our building

546
00:29:18,760 --> 00:29:21,600
Speaker 3: to create it as an homage to the events of

547
00:29:21,680 --> 00:29:24,920
Speaker 3: May sixty eight. We are filing a legal complaint.

548
00:29:25,280 --> 00:29:28,280
Speaker 2: Whoa May sixty eight, they.

549
00:29:27,640 --> 00:29:29,840
Speaker 3: Say, So let me speak on that for a second, please.

550
00:29:29,880 --> 00:29:33,920
Speaker 3: May nineteen sixty eight, the French May Swazzlweet was a

551
00:29:33,920 --> 00:29:38,200
Speaker 3: period of incredible protests, strikes and unrest in France that

552
00:29:38,320 --> 00:29:41,680
Speaker 3: began May nineteen sixty eight, and it started with student

553
00:29:41,720 --> 00:29:45,240
Speaker 3: demonstrations in March of that year, one hundred and fifty

554
00:29:45,280 --> 00:29:49,440
Speaker 3: students as well as like some well known poets, musicians, artists,

555
00:29:50,200 --> 00:29:54,200
Speaker 3: they occupied an administration building at Paris University at nonterre

556
00:29:55,000 --> 00:29:59,000
Speaker 3: groups whom director Jean Luke Godard had called the children

557
00:29:59,000 --> 00:30:02,680
Speaker 3: of Marx and Cocoa co in Masculino feminol two years.

558
00:30:02,440 --> 00:30:05,240
Speaker 2: Earlier, So way to bring in the gadara like that,

559
00:30:05,600 --> 00:30:05,880
Speaker 2: thank you.

560
00:30:06,160 --> 00:30:10,360
Speaker 3: They were protesting discrimination in French society and the political

561
00:30:10,360 --> 00:30:14,800
Speaker 3: bureaucracy that was impacting the university's funding. Ah so you know,

562
00:30:15,040 --> 00:30:18,880
Speaker 3: cutting funding the universities, which has far reaching and devastating

563
00:30:18,920 --> 00:30:22,800
Speaker 3: effects to the culture and the economy. So this demonstration

564
00:30:22,880 --> 00:30:25,680
Speaker 3: had ended peacefully, but that's seen as like the start

565
00:30:25,760 --> 00:30:29,440
Speaker 3: of the movement. The protests that non ter didn't stop,

566
00:30:29,480 --> 00:30:32,040
Speaker 3: and so when the college cracked down on the students,

567
00:30:32,520 --> 00:30:36,560
Speaker 3: other university students throughout the city, including at Sorbon, they

568
00:30:36,640 --> 00:30:40,120
Speaker 3: joined the protest, and then the faculty joined in and

569
00:30:40,160 --> 00:30:43,600
Speaker 3: the demonstrations they turned violent and people were arrested. But

570
00:30:43,640 --> 00:30:47,080
Speaker 3: then the high school kids joined in and things got crazier,

571
00:30:47,320 --> 00:30:49,800
Speaker 3: and so then the young workers joined in. Oh yeah,

572
00:30:49,960 --> 00:30:53,080
Speaker 3: there was a riot. Eventually more than a million people

573
00:30:53,160 --> 00:30:56,240
Speaker 3: marched in Paris and the students they now had the

574
00:30:56,280 --> 00:30:58,920
Speaker 3: support of the public at large, and pretty soon workers

575
00:30:58,960 --> 00:31:02,400
Speaker 3: of all ages were protesting all over the country because

576
00:31:02,400 --> 00:31:05,320
Speaker 3: they had grievances too, you know, like the minimum wage

577
00:31:05,360 --> 00:31:09,440
Speaker 3: hadn't increased, but prices had. People were living paycheck to paycheck,

578
00:31:09,480 --> 00:31:11,760
Speaker 3: and the working class they were being sacrificed for the

579
00:31:11,760 --> 00:31:13,240
Speaker 3: benefit of the wealthy.

580
00:31:13,000 --> 00:31:15,000
Speaker 2: And it's just spent a ton of their money and

581
00:31:15,040 --> 00:31:18,520
Speaker 2: their future trying to fight Algerian independence. There's a bunch

582
00:31:18,560 --> 00:31:20,800
Speaker 2: of other stuff going on over into China.

583
00:31:20,640 --> 00:31:23,360
Speaker 3: At the time, Vietnam, and so then so there's all

584
00:31:23,400 --> 00:31:27,520
Speaker 3: this momentum. Slowly the unions start to strike and then

585
00:31:27,560 --> 00:31:31,040
Speaker 3: there's a general strike and there were more riots. People died,

586
00:31:31,440 --> 00:31:34,320
Speaker 3: but the fight continued, and so it just came to

587
00:31:34,400 --> 00:31:36,960
Speaker 3: a head, and pretty soon the government collapsed and an

588
00:31:36,960 --> 00:31:40,200
Speaker 3: election was called, and they were a hair away from

589
00:31:40,200 --> 00:31:45,479
Speaker 3: a full revolution. I remember, they know that they've been

590
00:31:45,480 --> 00:31:48,680
Speaker 3: through it before. And the French Revolution itself was inspired

591
00:31:48,680 --> 00:31:51,320
Speaker 3: by the American Revolution back when we said we don't

592
00:31:51,360 --> 00:31:53,760
Speaker 3: want a monarch, especially one who's going to use taxes

593
00:31:53,800 --> 00:31:56,680
Speaker 3: to keep us in line with no representation or return.

594
00:31:57,400 --> 00:32:01,959
Speaker 3: We reject dictators and kings over here things. Yeah, so

595
00:32:02,120 --> 00:32:06,640
Speaker 3: May sixty eight one of the most significant social uprisings

596
00:32:06,680 --> 00:32:10,880
Speaker 3: in modern European history. It had a major impact on

597
00:32:10,920 --> 00:32:15,320
Speaker 3: French politics, labor and workers, art, and like the culture

598
00:32:15,520 --> 00:32:19,200
Speaker 3: writ large and to this day that spirit of radical

599
00:32:19,200 --> 00:32:25,640
Speaker 3: thought and activism is just imbued. Yeah, we totally. Like

600
00:32:25,680 --> 00:32:28,920
Speaker 3: you know, when they the farmers come, they they dump

601
00:32:29,000 --> 00:32:35,160
Speaker 3: manure on the steps and they wheel out barbecuest So

602
00:32:35,320 --> 00:32:37,800
Speaker 3: you got it. You gotta make your voice heard back

603
00:32:37,840 --> 00:32:40,800
Speaker 3: to Banksy, right, mask rat with a knife it was.

604
00:32:41,640 --> 00:32:42,920
Speaker 3: It was never recovered.

605
00:32:43,200 --> 00:32:43,520
Speaker 2: Really.

606
00:32:43,560 --> 00:32:46,520
Speaker 3: Yeah, so here it's in this space like at the beginning,

607
00:32:46,800 --> 00:32:51,440
Speaker 3: like to mark the beginning of this this uprising. It's gone.

608
00:32:51,600 --> 00:32:54,640
Speaker 3: It is now in that liminal space where art stolen

609
00:32:54,760 --> 00:32:57,120
Speaker 3: art goes. It's probably hanging in the home of like

610
00:32:57,160 --> 00:33:00,000
Speaker 3: a billionaire who profits off the squelching of the rights

611
00:33:00,080 --> 00:33:03,920
Speaker 3: students and work, something like that. Anyway, possibly let's take

612
00:33:03,960 --> 00:33:30,480
Speaker 3: a break and when we return more Banksy. Yeah, Banksy, Banksy.

613
00:33:30,120 --> 00:33:33,680
Speaker 3: I've talked about pieces of his that were somewhat mobile, right,

614
00:33:34,920 --> 00:33:37,040
Speaker 3: but the bulk of his stuff is on the side

615
00:33:37,080 --> 00:33:37,800
Speaker 3: of a big building.

616
00:33:37,920 --> 00:33:39,280
Speaker 2: Yes, this is what I'm curious about. This is what

617
00:33:39,280 --> 00:33:42,440
Speaker 2: I want to know. How do you building.

618
00:33:41,600 --> 00:33:44,760
Speaker 3: Stop him from being stolen. There's this piece that he

619
00:33:44,800 --> 00:33:48,760
Speaker 3: did called slave Labor, and it's a stenciled image in

620
00:33:48,800 --> 00:33:51,360
Speaker 3: which a young boy is like hunched over a sewing

621
00:33:51,400 --> 00:33:55,200
Speaker 3: machine making union jack bunting. Okay yeah, And it popped

622
00:33:55,240 --> 00:33:58,360
Speaker 3: up on a wall in wood Green, North London in

623
00:33:58,400 --> 00:34:02,040
Speaker 3: May of twenty twelve, just before the Queen's Diamond Jubilee celebrated.

624
00:34:02,960 --> 00:34:06,000
Speaker 3: So it was created to protest the use of sweatshops

625
00:34:06,280 --> 00:34:08,560
Speaker 3: to make all the merch for the jubilee and the

626
00:34:08,600 --> 00:34:13,080
Speaker 3: twenty twelve Olympics. Little kids so in the butcher's apron

627
00:34:13,120 --> 00:34:16,040
Speaker 3: halfway around the world for pennies, while the Queen lives

628
00:34:16,080 --> 00:34:18,359
Speaker 3: on the dole and the wealthy can afford to buy

629
00:34:18,360 --> 00:34:19,560
Speaker 3: tickets to Olympic events.

630
00:34:20,040 --> 00:34:21,160
Speaker 2: I feel it.

631
00:34:21,719 --> 00:34:25,080
Speaker 3: So what business was in the building where the mural

632
00:34:25,160 --> 00:34:25,680
Speaker 3: was painted?

633
00:34:26,400 --> 00:34:28,880
Speaker 2: What business was in the building that was in the

634
00:34:28,920 --> 00:34:30,440
Speaker 2: mural that was painted? Elizabeth, thank you?

635
00:34:30,760 --> 00:34:31,440
Speaker 3: Pound Land?

636
00:34:32,040 --> 00:34:36,839
Speaker 2: What oh write the store? The UK equivalent of dollar

637
00:34:36,960 --> 00:34:41,560
Speaker 2: trees always sounds so dirty, and I've been in one.

638
00:34:42,360 --> 00:34:44,480
Speaker 3: It started out where everything in there was a pound,

639
00:34:44,640 --> 00:34:46,800
Speaker 3: Like everything in dollar tree was a dollar. Although I

640
00:34:46,800 --> 00:34:50,800
Speaker 3: think that's not quite true any And the only way

641
00:34:50,880 --> 00:34:53,360
Speaker 3: you can get a place where everything only costs a

642
00:34:53,400 --> 00:34:56,040
Speaker 3: dollar or a quid is for those items to have

643
00:34:56,040 --> 00:34:58,600
Speaker 3: been made on the super cheap, generally by people who

644
00:34:58,680 --> 00:34:59,960
Speaker 3: are not making a living wage.

645
00:35:00,120 --> 00:35:02,040
Speaker 2: Yeah. Sometimes we weren't even adults, not even close.

646
00:35:02,080 --> 00:35:04,360
Speaker 3: Yeah, And in some cases these folks are in essence

647
00:35:04,440 --> 00:35:08,040
Speaker 3: slave labor because, like you know, they have absolutely no

648
00:35:08,120 --> 00:35:10,680
Speaker 3: alternative to working for pennies a day in that.

649
00:35:10,560 --> 00:35:12,319
Speaker 2: Factory, financially compelled to.

650
00:35:12,480 --> 00:35:14,200
Speaker 3: Yeah, they're locked and they're not like chained to a

651
00:35:14,280 --> 00:35:15,600
Speaker 3: wall or but they're in.

652
00:35:15,880 --> 00:35:17,839
Speaker 2: They're not bought and sold, but their life might as

653
00:35:17,840 --> 00:35:18,080
Speaker 2: well be.

654
00:35:18,320 --> 00:35:18,600
Speaker 4: Yes.

655
00:35:19,120 --> 00:35:22,560
Speaker 3: So when that banksy appeared on the wall, the neighborhood

656
00:35:22,600 --> 00:35:26,640
Speaker 3: was stoked. According to the New York Times quote, the work,

657
00:35:26,800 --> 00:35:30,920
Speaker 3: called slave labor and depicting a downtrodden, barefoot boy making

658
00:35:31,040 --> 00:35:34,040
Speaker 3: union jacks on a sewing machine, had become a point

659
00:35:34,080 --> 00:35:37,319
Speaker 3: of pride and harringy, the site of some of the

660
00:35:37,440 --> 00:35:41,959
Speaker 3: nastiest rampages in the twenty eleven London Riots. Stenciled onto

661
00:35:42,000 --> 00:35:44,439
Speaker 3: the wall of the Everything Costs a pound pound land

662
00:35:44,480 --> 00:35:48,160
Speaker 3: Store on Wymark Avenue, it drew visitors from across London

663
00:35:48,239 --> 00:35:51,359
Speaker 3: and abroad. So many people ask for directions that the

664
00:35:51,360 --> 00:35:54,719
Speaker 3: local subway station erected a special this way to our

665
00:35:54,840 --> 00:35:58,600
Speaker 3: banksy sign. There really isn't any other reason people would

666
00:35:58,600 --> 00:36:01,640
Speaker 3: come to wood Greens, said even Damesa, who lives nearby,

667
00:36:01,800 --> 00:36:05,480
Speaker 3: speaking of the neighborhood that housed the work. Isn't it

668
00:36:07,000 --> 00:36:14,040
Speaker 3: zaren closure eyes? Oh yeah, close picture. You are a

669
00:36:14,200 --> 00:36:19,279
Speaker 3: large Bulgarian man. Your name is Dimitar. You work in

670
00:36:19,320 --> 00:36:22,839
Speaker 3: a small coffee shop slash bakery called Sini on High

671
00:36:22,920 --> 00:36:26,200
Speaker 3: Road in North London in wood Green. The sign above

672
00:36:26,239 --> 00:36:31,280
Speaker 3: the door reads in all caps Bulgarian, Albanian, Turkish, English, Spanish,

673
00:36:31,320 --> 00:36:35,880
Speaker 3: European bakery Europeans misspelled by the way. Another sign says

674
00:36:35,960 --> 00:36:40,320
Speaker 3: in Bulgarian and block cyrillic script, Sunny the pastry Maker.

675
00:36:41,160 --> 00:36:43,560
Speaker 3: You live just a few blocks away in the Sandlings

676
00:36:43,640 --> 00:36:48,640
Speaker 3: Estate Council housing projects. It's a large, brutalist brick square

677
00:36:48,680 --> 00:36:51,480
Speaker 3: mass of flats from afar, it almost looks like some

678
00:36:51,520 --> 00:36:54,400
Speaker 3: sort of factory, but it's surrounded by green space and

679
00:36:54,480 --> 00:36:57,280
Speaker 3: parks and trees, and it's right by the high street.

680
00:36:57,320 --> 00:37:00,799
Speaker 3: Great location. So each morning you ride early and you

681
00:37:00,880 --> 00:37:03,000
Speaker 3: head over to the bakery to get things started with

682
00:37:03,040 --> 00:37:06,440
Speaker 3: your coworkers. The place opens at five point thirty each morning.

683
00:37:06,960 --> 00:37:09,239
Speaker 3: People come from all over to get the spinach and

684
00:37:09,280 --> 00:37:12,600
Speaker 3: white cheese boric. Not just Eastern Europeans looking for a

685
00:37:12,640 --> 00:37:15,160
Speaker 3: taste of home, but anyone who tries your food, even

686
00:37:15,320 --> 00:37:16,680
Speaker 3: just once, you will love it.

687
00:37:16,760 --> 00:37:17,120
Speaker 2: Boss.

688
00:37:17,200 --> 00:37:20,320
Speaker 3: You tell them so. On this morning, you're up before

689
00:37:20,360 --> 00:37:22,680
Speaker 3: the light. You put on your coat against the chill

690
00:37:22,719 --> 00:37:25,600
Speaker 3: of a February morning, and you head out toward Wymark Avenue,

691
00:37:25,960 --> 00:37:28,319
Speaker 3: the side street that runs from your place to high

692
00:37:28,400 --> 00:37:31,440
Speaker 3: Road where the bakery is. What's great about this commute

693
00:37:31,440 --> 00:37:33,239
Speaker 3: isn't just the short walk, but the fact that you

694
00:37:33,280 --> 00:37:36,960
Speaker 3: get to walk by a famous painting every day. Banksy

695
00:37:37,040 --> 00:37:40,000
Speaker 3: painted a kid sowing a banner of British flags last year.

696
00:37:40,320 --> 00:37:42,080
Speaker 3: It's low on the wall to make it look like

697
00:37:42,080 --> 00:37:44,800
Speaker 3: the kids sitting on the ground. It's clever, you think,

698
00:37:45,239 --> 00:37:47,440
Speaker 3: but it's also a very big deal, and a lot

699
00:37:47,480 --> 00:37:49,560
Speaker 3: of people come to take pictures, either of just the

700
00:37:49,600 --> 00:37:53,080
Speaker 3: piece itself or of themselves squatting next to it. The

701
00:37:53,120 --> 00:37:56,279
Speaker 3: local council put a large piece of plexiglass over it

702
00:37:56,320 --> 00:37:59,759
Speaker 3: to protect it from the elements and from people. The

703
00:38:00,040 --> 00:38:02,160
Speaker 3: best part is that it drives a lot of foot

704
00:38:02,160 --> 00:38:04,839
Speaker 3: traffic to the bakery. The people who've gotten to take

705
00:38:04,880 --> 00:38:08,080
Speaker 3: pictures feel good about themselves getting quote ethnic food from

706
00:38:08,120 --> 00:38:11,239
Speaker 3: the neighborhood. You know that once they try that borick though,

707
00:38:11,280 --> 00:38:14,759
Speaker 3: they'll be hooked. You walk down the sidewalk, just the

708
00:38:14,800 --> 00:38:16,960
Speaker 3: sound of a garbage struck in the distance and a

709
00:38:17,000 --> 00:38:20,200
Speaker 3: bus going by. As you approach the corner and the

710
00:38:20,200 --> 00:38:23,600
Speaker 3: bank se something seems off. You get closer and see

711
00:38:23,600 --> 00:38:26,800
Speaker 3: that there's rubble all over the ground. Your footfall quickens

712
00:38:26,840 --> 00:38:29,160
Speaker 3: as you jog over to the mural, but there is

713
00:38:29,200 --> 00:38:32,640
Speaker 3: no mural, just a big square in the plaster with

714
00:38:32,719 --> 00:38:36,960
Speaker 3: the underlying brick now exposed. The bank sea is gone.

715
00:38:37,000 --> 00:38:40,040
Speaker 3: You stand there and disbelieve who steals a mural off

716
00:38:40,120 --> 00:38:43,440
Speaker 3: the wall. Just then you hear a few young fellows approaching,

717
00:38:43,560 --> 00:38:46,480
Speaker 3: just coming home after a night out. That's not unusual

718
00:38:46,520 --> 00:38:49,040
Speaker 3: for you to feel the start of your day past

719
00:38:49,120 --> 00:38:52,239
Speaker 3: the debauched clothes of another's day. Like how do they

720
00:38:52,239 --> 00:38:55,280
Speaker 3: say ships in the night. It's like the blood coursing

721
00:38:55,360 --> 00:38:57,960
Speaker 3: back and forth through the city, you think, in this enorming,

722
00:38:58,120 --> 00:39:01,200
Speaker 3: living creature of a city. One of the boys drops

723
00:39:01,200 --> 00:39:02,960
Speaker 3: a bottle and they all laugh, and as they get

724
00:39:03,000 --> 00:39:06,560
Speaker 3: closer they stop OI. One of them yells, what'd you do?

725
00:39:07,360 --> 00:39:08,920
Speaker 3: You look at the guys and then back at the

726
00:39:08,920 --> 00:39:10,839
Speaker 3: hole where the mural used to be. You put your

727
00:39:10,880 --> 00:39:13,040
Speaker 3: hands up. No, no, I just got here. I didn't

728
00:39:13,080 --> 00:39:15,960
Speaker 3: do this. You tell them with great alarm in your voice,

729
00:39:16,160 --> 00:39:18,919
Speaker 3: a level of distress that surprises you as it comes

730
00:39:18,920 --> 00:39:21,480
Speaker 3: out of your mouth. You tell them that someone stole

731
00:39:21,520 --> 00:39:24,319
Speaker 3: the banksy right off the wall. The four of you

732
00:39:24,440 --> 00:39:28,000
Speaker 3: now stand agog in front of the empty space. Can't

733
00:39:28,000 --> 00:39:31,040
Speaker 3: have anything nice? One of the lads says, no, you

734
00:39:31,080 --> 00:39:35,960
Speaker 3: tell them we can't, so saren, Yes, someone cut the

735
00:39:36,040 --> 00:39:39,480
Speaker 3: banksy right off the wall. I think my theory is

736
00:39:39,480 --> 00:39:42,680
Speaker 3: that the plexiglass shield actually made it easier to cut

737
00:39:42,719 --> 00:39:44,920
Speaker 3: around and lift the plaster in one piece.

738
00:39:46,040 --> 00:39:48,719
Speaker 2: I mean, you know, I used to be a fummer painter, right,

739
00:39:48,800 --> 00:39:52,360
Speaker 2: So if I was to attempt to cut plaster off,

740
00:39:52,600 --> 00:39:54,400
Speaker 2: there are ways to do it, but to get it

741
00:39:54,440 --> 00:39:56,799
Speaker 2: off of whatever it's attached to, like that, uh, the

742
00:39:56,800 --> 00:40:00,600
Speaker 2: substrate surface. I would rather cut the bricks. When you

743
00:40:00,600 --> 00:40:02,520
Speaker 2: cut the bricks, they can start to come apart. Now

744
00:40:02,560 --> 00:40:04,520
Speaker 2: you would, you would hope that it would all be pretty,

745
00:40:04,719 --> 00:40:06,919
Speaker 2: you know, connected because of the plaster and in time,

746
00:40:06,960 --> 00:40:09,440
Speaker 2: it's kind of like settled into itself, so it wouldn't

747
00:40:09,440 --> 00:40:11,160
Speaker 2: be so brittle where it's because it's gonna come apart

748
00:40:11,200 --> 00:40:14,480
Speaker 2: if you remove the bricks. But if you remove the bricks,

749
00:40:14,520 --> 00:40:15,920
Speaker 2: they would come it like you'd have to follow the

750
00:40:15,960 --> 00:40:18,160
Speaker 2: grout line or else just cut right through stuff. So

751
00:40:18,200 --> 00:40:21,160
Speaker 2: that's weird. And yeah, I'm with you that the plexiglass

752
00:40:21,160 --> 00:40:23,040
Speaker 2: would basically give you a front face you can kind

753
00:40:23,040 --> 00:40:24,960
Speaker 2: of lean it on as you're pulling it off the wall.

754
00:40:25,000 --> 00:40:27,640
Speaker 2: It's not going to come apart in that one. You

755
00:40:27,920 --> 00:40:29,879
Speaker 2: have a lot of dimensions you're working with. You think

756
00:40:29,920 --> 00:40:32,879
Speaker 2: about it a kite width with all that, so you're

757
00:40:32,920 --> 00:40:36,120
Speaker 2: taking out one of those that that helps, But I

758
00:40:36,160 --> 00:40:38,160
Speaker 2: would be a tough one. I would want like you

759
00:40:38,160 --> 00:40:39,960
Speaker 2: know the way the art preservers do it, where you

760
00:40:40,000 --> 00:40:43,879
Speaker 2: basically dremble the whole thing off the walls. So you

761
00:40:43,960 --> 00:40:46,719
Speaker 2: just cut it off and then you dremble the backside too,

762
00:40:46,800 --> 00:40:49,600
Speaker 2: so you're not really ever using chisels.

763
00:40:49,200 --> 00:40:51,640
Speaker 3: Or anything else. Yeah, I think that's probably a very

764
00:40:51,680 --> 00:40:52,360
Speaker 3: clean cut.

765
00:40:52,480 --> 00:40:54,920
Speaker 2: Yeah, but I mean that's and then two once again,

766
00:40:54,960 --> 00:40:57,359
Speaker 2: I mean for the backside cut and getting it off

767
00:40:57,360 --> 00:40:59,400
Speaker 2: the bricks. I mean, there are tools, there's ways to

768
00:40:59,440 --> 00:41:02,320
Speaker 2: do this, but like, how do you muffle the noise?

769
00:41:02,480 --> 00:41:05,239
Speaker 3: I don't know, but god, I love a dremal, know

770
00:41:05,440 --> 00:41:11,440
Speaker 3: you do? Anyway? The neighborhood stunned, absolutely stunned. From the

771
00:41:11,520 --> 00:41:14,319
Speaker 3: New York Times quote, it had been ripped out with

772
00:41:14,400 --> 00:41:17,920
Speaker 3: no explanation, along with quite a substantial chunk of the wall,

773
00:41:18,320 --> 00:41:21,280
Speaker 3: said Alan Strickland, a member of the local council, describing

774
00:41:21,320 --> 00:41:24,400
Speaker 3: the bizarre scene that greeted passers by the other weekend.

775
00:41:24,760 --> 00:41:28,480
Speaker 3: All that was left was this hole. So not long

776
00:41:28,520 --> 00:41:31,600
Speaker 3: after the hole appeared, some construction guys showed up.

777
00:41:31,640 --> 00:41:33,479
Speaker 2: So it sounds like they took the bricks too.

778
00:41:33,640 --> 00:41:35,359
Speaker 3: No, you can see the bricks are there?

779
00:41:35,560 --> 00:41:38,280
Speaker 2: Okay, Yeah, it's just if you took the bricks.

780
00:41:38,400 --> 00:41:41,480
Speaker 3: No, they didn't that. These construction guys show up, they

781
00:41:41,480 --> 00:41:44,279
Speaker 3: start to patch the wall, and everyone's saying, well, who

782
00:41:44,360 --> 00:41:46,880
Speaker 3: hired you to do this? They won't say, They won't

783
00:41:46,920 --> 00:41:53,479
Speaker 3: discuss anything. And that's like who owns this mural? Right,

784
00:41:53,920 --> 00:41:57,040
Speaker 3: So the legal opinion is generally that banks these murals

785
00:41:57,080 --> 00:42:00,720
Speaker 3: are not his totally. They belong to whomever was the building.

786
00:42:01,360 --> 00:42:04,440
Speaker 3: And so this particular wall was not owned by pound Land,

787
00:42:04,719 --> 00:42:09,040
Speaker 3: but rather the company it leases the space from, wood

788
00:42:09,080 --> 00:42:13,560
Speaker 3: Green Investments, and that company they refused to comment. So

789
00:42:13,680 --> 00:42:15,560
Speaker 3: a lawyer for the company, this guy by the name

790
00:42:15,600 --> 00:42:18,160
Speaker 3: of Matthew Dillon, who did not star in Rumblefish or

791
00:42:18,160 --> 00:42:21,960
Speaker 3: There's something about Mary, he told the Financial Times quote,

792
00:42:22,000 --> 00:42:25,160
Speaker 3: if they deny removing the mural, they will become embroiled

793
00:42:25,160 --> 00:42:28,480
Speaker 3: in an international criminal investigation. And if they admit to

794
00:42:28,520 --> 00:42:31,680
Speaker 3: consenting to it, then they will become the target of abuse.

795
00:42:32,480 --> 00:42:36,000
Speaker 3: The advice to my client has been to say nothing interesting.

796
00:42:36,080 --> 00:42:38,920
Speaker 2: Yeah, that's really interesting. So what about the idea that

797
00:42:38,920 --> 00:42:40,880
Speaker 2: they would remove it and secretly sell it because they

798
00:42:40,920 --> 00:42:41,279
Speaker 2: own it.

799
00:42:41,640 --> 00:42:45,839
Speaker 3: That's so. He said that his clients didn't report any

800
00:42:45,880 --> 00:42:46,920
Speaker 3: theft to the police.

801
00:42:47,719 --> 00:42:48,000
Speaker 2: Yeah.

802
00:42:48,000 --> 00:42:52,279
Speaker 3: That so it was just weeks later that the mural resurfaced.

803
00:42:52,480 --> 00:42:54,480
Speaker 3: Oh weeks this time in Miami.

804
00:42:54,880 --> 00:42:57,080
Speaker 2: Oh yeah, there's a big thing there, a big event.

805
00:42:57,200 --> 00:43:00,959
Speaker 3: Yeah. Well, Fine Art Auctions. They are prepping to sell

806
00:43:00,960 --> 00:43:04,799
Speaker 3: it at their auction. They figured it out. Yeah, no,

807
00:43:04,840 --> 00:43:07,320
Speaker 3: it showed up in an auction house. They figured it

808
00:43:07,320 --> 00:43:10,960
Speaker 3: would get between five hundred thousand, seven hundred thousand dollars.

809
00:43:11,040 --> 00:43:15,239
Speaker 3: And so Frederick Futt I don't know th hut, I'm

810
00:43:15,239 --> 00:43:17,680
Speaker 3: gonna call it fut because you know what, I'm an American.

811
00:43:19,000 --> 00:43:22,200
Speaker 3: He's the owner of Fine Art Auctions Miami. He said

812
00:43:22,200 --> 00:43:24,600
Speaker 3: the piece was being sold by a quote well known

813
00:43:24,800 --> 00:43:28,279
Speaker 3: collector who is not British. But he would say no

814
00:43:28,360 --> 00:43:31,000
Speaker 3: more about that, except for the fact that the painting

815
00:43:31,120 --> 00:43:34,640
Speaker 3: was being stored in Europe, was not in Miami, and

816
00:43:34,719 --> 00:43:40,040
Speaker 3: so back in wood Green Herring Herring, the neighborhood was irate,

817
00:43:40,880 --> 00:43:43,960
Speaker 3: so counselor Alan Strickland. He said that artwork was a

818
00:43:43,960 --> 00:43:47,000
Speaker 3: gift to the community and so he started an email

819
00:43:47,040 --> 00:43:50,360
Speaker 3: writing campaign to the auction house to get the artwork returned,

820
00:43:50,920 --> 00:43:54,440
Speaker 3: and they went bonkers, like they just would not stop

821
00:43:55,400 --> 00:43:58,560
Speaker 3: and to show the power of collective nonviolent action. At

822
00:43:58,560 --> 00:44:01,919
Speaker 3: the very last minute, the auction was dramatically halted. Good

823
00:44:02,000 --> 00:44:05,279
Speaker 3: for and I'm talking moments before it was due to

824
00:44:05,280 --> 00:44:07,839
Speaker 3: go under the hammer. Oh really, Yeah, we know that

825
00:44:07,880 --> 00:44:11,040
Speaker 3: the emails didn't do it though, Yeah, no, those are

826
00:44:12,120 --> 00:44:15,840
Speaker 3: Frank does be real. Those things just annoy the targets

827
00:44:15,880 --> 00:44:17,279
Speaker 3: instead of getting results.

828
00:44:17,000 --> 00:44:17,640
Speaker 2: That's true.

829
00:44:18,000 --> 00:44:20,440
Speaker 3: No, The rumor had it that the auction house pulled

830
00:44:20,440 --> 00:44:23,759
Speaker 3: it on advice from their lawyers. In response to that,

831
00:44:23,800 --> 00:44:27,319
Speaker 3: the auctioneers issued a statement quote, although there are no

832
00:44:27,480 --> 00:44:30,920
Speaker 3: legal issues whatsoever regarding the sale of lots six and

833
00:44:31,000 --> 00:44:35,799
Speaker 3: seven by Banksy, FAAM convinced its consigners to withdraw these

834
00:44:35,840 --> 00:44:38,239
Speaker 3: lots from the auction and take back the power of

835
00:44:38,280 --> 00:44:43,280
Speaker 3: authority of these works. So he mentioned lots six and seven. Yes,

836
00:44:43,600 --> 00:44:46,520
Speaker 3: there was another Banksy at that auction. The second one

837
00:44:46,680 --> 00:44:49,240
Speaker 3: was a two thousand and seven piece called Wet Dog,

838
00:44:49,800 --> 00:44:52,960
Speaker 3: and that was removed from a Bethlehem wall, and this

839
00:44:53,160 --> 00:44:55,719
Speaker 3: estimated to be worth up to eight hundred thousand dollars.

840
00:44:55,760 --> 00:44:58,520
Speaker 2: Not Pennsylvania, Bethlehem, the holy bethl.

841
00:44:58,960 --> 00:45:03,840
Speaker 3: Like birthplace of Jesus Noah. That one was pulled just

842
00:45:03,880 --> 00:45:07,840
Speaker 3: a few hours before slave labor was. And he said

843
00:45:07,840 --> 00:45:10,480
Speaker 3: that the two pieces were brought to auction by separate

844
00:45:10,520 --> 00:45:15,040
Speaker 3: owners and neither of them were British. So he also

845
00:45:15,120 --> 00:45:17,640
Speaker 3: said that he would maintain the privacy of the collector

846
00:45:17,640 --> 00:45:20,279
Speaker 3: who put them up for sale. Quote, we respect our

847
00:45:20,280 --> 00:45:23,480
Speaker 3: clients and their confidentiality. It is not our decision to

848
00:45:23,480 --> 00:45:26,080
Speaker 3: have the banks You returned. We only sell it, We

849
00:45:26,239 --> 00:45:27,480
Speaker 3: do not have control of it.

850
00:45:27,600 --> 00:45:30,000
Speaker 2: I love how like auction houses act like they have

851
00:45:30,120 --> 00:45:33,520
Speaker 2: like attorney client privilege. Clients like we have to understand

852
00:45:34,600 --> 00:45:37,000
Speaker 2: and you're just trying to profit. Don't act like, oh

853
00:45:37,040 --> 00:45:38,720
Speaker 2: on an ethical high horse here.

854
00:45:39,400 --> 00:45:44,120
Speaker 3: Well, in the meantime, new work had popped up where

855
00:45:44,120 --> 00:45:48,080
Speaker 3: slave labor had been. Someone likely Banksy, it was posited,

856
00:45:48,160 --> 00:45:50,880
Speaker 3: had stenciled a little rat next to the hole holding

857
00:45:50,880 --> 00:45:58,400
Speaker 3: a sign saying why, and then that was quickly plexiglass over,

858
00:45:59,600 --> 00:46:04,200
Speaker 3: and then another sencil reading danger thieves showed up, and

859
00:46:04,239 --> 00:46:06,719
Speaker 3: then over the new blank plaster where the whole was

860
00:46:06,760 --> 00:46:11,279
Speaker 3: someone did like a small, hot, pink dinosaur. Those two

861
00:46:11,280 --> 00:46:14,600
Speaker 3: were not in the style of banks There was a

862
00:46:15,200 --> 00:46:17,799
Speaker 3: woman in a nun's habit with no mouth and a

863
00:46:17,840 --> 00:46:22,480
Speaker 3: red star over one eye that covered up the dinosaur stuff. Yeah,

864
00:46:22,600 --> 00:46:26,400
Speaker 3: very much so. Various murals have taken over throughout the years.

865
00:46:26,440 --> 00:46:28,680
Speaker 3: Right now, it's a sewing machine on top of a

866
00:46:28,680 --> 00:46:31,320
Speaker 3: plinth of a statue that had been taken down to protest.

867
00:46:32,040 --> 00:46:35,400
Speaker 3: That one got people all excited, but Artnet burst everyone's

868
00:46:35,440 --> 00:46:38,920
Speaker 3: bubble in twenty twenty two with the headline Womp womp.

869
00:46:39,360 --> 00:46:42,320
Speaker 3: Turns out this mural Lenderner's thought was a Banksy is

870
00:46:42,360 --> 00:46:48,440
Speaker 3: actually just a tribute by a local fan artist. What

871
00:46:48,520 --> 00:46:51,239
Speaker 3: it looks like. This is the current Google street View.

872
00:46:53,000 --> 00:46:55,600
Speaker 3: You know a bunch of stuff around there, and you

873
00:46:55,640 --> 00:46:58,360
Speaker 3: know you've got it's palm oil or me. You choose

874
00:46:58,400 --> 00:47:00,960
Speaker 3: and there's a picture of it or whatever.

875
00:47:05,640 --> 00:47:06,200
Speaker 4: I don't know.

876
00:47:06,840 --> 00:47:11,560
Speaker 3: Uh. His bubbles back to Slave Labor.

877
00:47:11,680 --> 00:47:14,040
Speaker 2: Do you say your team chocolate? That's all I'm hearing.

878
00:47:17,320 --> 00:47:20,400
Speaker 3: Okay, So just a few months after that Miami auction

879
00:47:20,600 --> 00:47:23,640
Speaker 3: was canceled, it popped up again, Slave Labor.

880
00:47:23,480 --> 00:47:26,080
Speaker 2: I thought the action did, this.

881
00:47:26,160 --> 00:47:30,440
Speaker 3: Time for sale at an auction by the Sincura group

882
00:47:30,840 --> 00:47:36,520
Speaker 3: in Covent Garden in London. Cura, Sincura, Sincura. Who cares.

883
00:47:36,640 --> 00:47:39,840
Speaker 3: They said that I'm getting faster and looser.

884
00:47:39,920 --> 00:47:40,400
Speaker 2: Yes I know.

885
00:47:40,920 --> 00:47:44,800
Speaker 3: They said that mural had quote been sensitively restored under

886
00:47:44,840 --> 00:47:48,160
Speaker 3: a cloak of secrecy, and we go up for sale

887
00:47:48,200 --> 00:47:51,680
Speaker 3: along pieces by Damien Hurst, Andy Warhol, Mario Testino.

888
00:47:51,800 --> 00:47:53,560
Speaker 2: That's how I get my haircut under a cloak of.

889
00:47:53,520 --> 00:47:59,799
Speaker 3: Secrecy by by Mario Tastino. So once again cut his

890
00:47:59,840 --> 00:48:04,839
Speaker 3: hair once again. Neighborhood groups lost their slippers like they

891
00:48:05,160 --> 00:48:09,120
Speaker 3: just Keith Flett, secretary of the local Trades Union Congress,

892
00:48:09,160 --> 00:48:12,960
Speaker 3: he told the Guardian newspaper quote, the slave labor banksy

893
00:48:13,080 --> 00:48:17,280
Speaker 3: belongs to the people of Herringy, not a wealthy private client.

894
00:48:17,400 --> 00:48:20,080
Speaker 3: We want the sale stopped and the banksy back where

895
00:48:20,120 --> 00:48:22,080
Speaker 3: it belongs in London and twenty two.

896
00:48:22,600 --> 00:48:24,799
Speaker 2: I know think that sounds crazy, but you keep saying

897
00:48:24,800 --> 00:48:26,920
Speaker 2: the term slave labor, and as like a black man

898
00:48:27,040 --> 00:48:29,480
Speaker 2: hearing slave labor, slave labor, and it's all these people

899
00:48:29,600 --> 00:48:31,880
Speaker 2: talking about profiting off this stuff. It just it just

900
00:48:31,920 --> 00:48:33,000
Speaker 2: hits the ear difference.

901
00:48:33,080 --> 00:48:35,080
Speaker 3: Well, and when you're typing it out like I was,

902
00:48:35,120 --> 00:48:37,560
Speaker 3: where I'm making a note to myself. So then slave

903
00:48:37,640 --> 00:48:38,960
Speaker 3: labor popped up again.

904
00:48:39,320 --> 00:48:42,280
Speaker 2: Like it's it's it's a little casual.

905
00:48:42,400 --> 00:48:47,000
Speaker 3: Yeah, that's a little strange. Oh yeah, so Sinkhira. They

906
00:48:47,040 --> 00:48:50,800
Speaker 3: said that they in a statement quote, we are approached

907
00:48:50,800 --> 00:48:54,120
Speaker 3: by building owners to remove the artwork illegally painted on

908
00:48:54,160 --> 00:48:58,960
Speaker 3: their sites. And they said apparently they salvage and uncover

909
00:48:59,160 --> 00:49:03,640
Speaker 3: murals from across London, Liverpool and Berlin. They say that

910
00:49:03,680 --> 00:49:06,600
Speaker 3: they don't own the pieces and they don't make any money,

911
00:49:07,360 --> 00:49:11,080
Speaker 3: but they're just like fixers who were hired to reclaim them.

912
00:49:11,160 --> 00:49:12,960
Speaker 2: In the hood. They have these places that we'll buy

913
00:49:13,040 --> 00:49:15,080
Speaker 2: your house and they'll still signs all the place. Yeah,

914
00:49:15,120 --> 00:49:16,640
Speaker 2: it feels like this, but like we'll take that.

915
00:49:16,719 --> 00:49:17,200
Speaker 3: We'll take that.

916
00:49:17,320 --> 00:49:19,200
Speaker 2: Take your art, well, this is what they sell it somewhere.

917
00:49:19,320 --> 00:49:20,640
Speaker 2: We'll put the profits with you.

918
00:49:21,440 --> 00:49:24,480
Speaker 3: They said. Quote The building owners have not asked for

919
00:49:24,520 --> 00:49:26,840
Speaker 3: the art to be placed on their premises or for

920
00:49:26,920 --> 00:49:30,239
Speaker 3: the ongoing attention received from it. What is more, they

921
00:49:30,360 --> 00:49:33,000
Speaker 3: run the very real risk of having a Grade two

922
00:49:33,120 --> 00:49:36,680
Speaker 3: listing apply to their premises, which seriously affects their business

923
00:49:36,680 --> 00:49:40,480
Speaker 3: operations and resale value. Though loved by the public, these

924
00:49:40,520 --> 00:49:44,480
Speaker 3: are often a hindrance to the building owners. And then,

925
00:49:44,560 --> 00:49:47,680
Speaker 3: according to the Guardian quote, the company said they then

926
00:49:47,760 --> 00:49:51,000
Speaker 3: work to restore the iconic graffiti works which had often

927
00:49:51,000 --> 00:49:54,000
Speaker 3: been the subject of vandalism or theft, and would, they

928
00:49:54,040 --> 00:49:57,960
Speaker 3: claim otherwise be doomed to a fate of unceremonious decay

929
00:49:58,000 --> 00:49:58,719
Speaker 3: and erosions.

930
00:49:58,719 --> 00:50:01,640
Speaker 2: It's kind of a point of graffiti. Yeah, why it's

931
00:50:01,640 --> 00:50:02,400
Speaker 2: not on a canvas.

932
00:50:02,480 --> 00:50:05,200
Speaker 3: The auction actually went through. Meant to be for the people,

933
00:50:05,239 --> 00:50:06,600
Speaker 3: and to be for the people, and.

934
00:50:06,719 --> 00:50:09,759
Speaker 2: In those places transitory permanent. Part of like you.

935
00:50:10,040 --> 00:50:14,040
Speaker 3: Change, here's a fun sentence for you. Slave labor sold

936
00:50:14,040 --> 00:50:16,680
Speaker 3: it into an unidentified.

937
00:50:15,760 --> 00:50:17,920
Speaker 2: Buyer you hear it now, right?

938
00:50:18,040 --> 00:50:21,520
Speaker 3: Hear it? Oh, I've been I've been hearing. Slave Labor

939
00:50:21,640 --> 00:50:26,680
Speaker 3: sold to an unidentified buyer seven hundred and fifty pounds.

940
00:50:26,680 --> 00:50:28,520
Speaker 3: It was like one point one million at the time.

941
00:50:29,160 --> 00:50:31,759
Speaker 3: But it's not over Zeron, No, but not. Fast forward

942
00:50:31,800 --> 00:50:32,480
Speaker 3: to twenty eight.

943
00:50:32,440 --> 00:50:33,960
Speaker 2: Flave Labory sticks around Elizabeth.

944
00:50:35,239 --> 00:50:40,040
Speaker 3: Slave Labor was sold again, this time keep coming back,

945
00:50:40,920 --> 00:50:45,280
Speaker 3: this time at Julian's Auctions in Los Angeles. Anyway, American

946
00:50:45,360 --> 00:50:48,799
Speaker 3: artist Ron English bought it for seven hundred and thirty

947
00:50:48,880 --> 00:50:50,919
Speaker 3: thousand dollars, so we had some depreciation.

948
00:50:51,040 --> 00:50:51,480
Speaker 2: Yeah, sound.

949
00:50:52,239 --> 00:50:55,279
Speaker 3: He said he had plans for it. He vowed to

950
00:50:55,480 --> 00:50:59,160
Speaker 3: whitewash it in protest of the market in street art.

951
00:51:00,080 --> 00:51:01,400
Speaker 2: He's going to paint over the banks.

952
00:51:01,520 --> 00:51:03,720
Speaker 3: Yeah, he told the press. Quote, this is a blow

953
00:51:03,800 --> 00:51:06,160
Speaker 3: for street art. It shouldn't be bought and sold.

954
00:51:06,560 --> 00:51:08,880
Speaker 2: Was he going to film himself doing this and then sell.

955
00:51:08,640 --> 00:51:12,400
Speaker 3: That, Well, he himself is a street art into some

956
00:51:12,480 --> 00:51:15,440
Speaker 3: kind of like thousands hanging around, plus you get the fees.

957
00:51:15,480 --> 00:51:18,200
Speaker 3: I don't know he's reaching up on nine hundred thousand dollars.

958
00:51:18,480 --> 00:51:20,200
Speaker 2: I've mentioned her a few times on the show, but

959
00:51:20,440 --> 00:51:24,360
Speaker 2: the artist Pipolodi Wrist she took a sledgehammer and destroyed

960
00:51:24,360 --> 00:51:26,680
Speaker 2: a car one time. It was like a whole performance

961
00:51:26,760 --> 00:51:28,880
Speaker 2: art piece. It sounds like this guy should do that

962
00:51:28,960 --> 00:51:31,560
Speaker 2: kind of stuff. I bet he doesn't have the eggs

963
00:51:31,719 --> 00:51:32,840
Speaker 2: over to do that.

964
00:51:32,880 --> 00:51:35,480
Speaker 3: He listened because that was one of the things. There

965
00:51:35,480 --> 00:51:38,480
Speaker 3: were so many stolen Banksies that like, I could do

966
00:51:38,520 --> 00:51:41,080
Speaker 3: two more episodes, but then it's you know, I bet,

967
00:51:41,120 --> 00:51:43,080
Speaker 3: I bet it's just too much.

968
00:51:43,000 --> 00:51:43,520
Speaker 2: Some of the stories.

969
00:51:43,560 --> 00:51:47,160
Speaker 3: I may not is the balloon girl. That's what I

970
00:51:47,200 --> 00:51:50,719
Speaker 3: was thinking of through the shredder as part of like

971
00:51:50,840 --> 00:51:53,840
Speaker 3: the process statement. And so I think that this guy's

972
00:51:53,920 --> 00:51:58,359
Speaker 3: kind of you know, riding that high anyway. He so,

973
00:51:58,440 --> 00:52:01,120
Speaker 3: this guy, he's had any of tangles with the law

974
00:52:01,160 --> 00:52:04,360
Speaker 3: for using public billboards that sort of stuff, public spaces

975
00:52:04,360 --> 00:52:07,360
Speaker 3: for his paintings, sculptures. He said, quote, I'm going to

976
00:52:07,440 --> 00:52:10,080
Speaker 3: paint over it and just include it on one of

977
00:52:10,120 --> 00:52:13,040
Speaker 3: the walls in my house. We're tired of people stealing

978
00:52:13,040 --> 00:52:15,759
Speaker 3: our stuff off the streets and reselling it. So I'm

979
00:52:15,800 --> 00:52:17,560
Speaker 3: just going to buy everything and get my hands on

980
00:52:17,640 --> 00:52:19,120
Speaker 3: and whitewash it.

981
00:52:19,200 --> 00:52:21,439
Speaker 2: But then the Wii and there was done a lot

982
00:52:21,480 --> 00:52:23,879
Speaker 2: of work, I mean, like putting himself and Banksy into

983
00:52:23,920 --> 00:52:25,680
Speaker 2: one collective like that.

984
00:52:25,760 --> 00:52:29,600
Speaker 3: He says it my buddy Banksy, but you're like my buddy.

985
00:52:29,760 --> 00:52:31,759
Speaker 2: He sounds like a mister brainwashed where it's like my

986
00:52:31,840 --> 00:52:35,760
Speaker 2: buddy Banksy, the guy from the exited the gift shops exactly.

987
00:52:36,840 --> 00:52:39,160
Speaker 3: Then he said that he does plan to sell it,

988
00:52:39,480 --> 00:52:41,760
Speaker 3: maybe for like a million dollars.

989
00:52:42,120 --> 00:52:42,560
Speaker 2: Look at that.

990
00:52:42,640 --> 00:52:45,680
Speaker 3: And then he said, quote, I'm crazy, but I'm not stupid.

991
00:52:45,840 --> 00:52:47,040
Speaker 2: Sir, You're a lot of things.

992
00:52:47,800 --> 00:52:50,759
Speaker 3: Yeah, so there's no word on how that's going. And

993
00:52:50,840 --> 00:52:52,359
Speaker 3: what does Banksy think of all this?

994
00:52:52,760 --> 00:52:53,640
Speaker 2: What does banks you think?

995
00:52:53,640 --> 00:52:54,920
Speaker 3: A great questions?

996
00:52:55,040 --> 00:52:55,640
Speaker 2: Eric, Thank you.

997
00:52:55,840 --> 00:53:00,400
Speaker 3: He released the statement, quoting ay Matisse quote I was

998
00:53:00,520 --> 00:53:03,600
Speaker 3: very embarrassed when my canvases began to fetch high prices.

999
00:53:03,880 --> 00:53:06,840
Speaker 3: I saw myself condemned to a future of painting nothing

1000
00:53:06,880 --> 00:53:08,120
Speaker 3: but masterpieces.

1001
00:53:09,320 --> 00:53:09,760
Speaker 2: Interesting.

1002
00:53:09,920 --> 00:53:13,040
Speaker 3: So he's Banksy has said in the past that quote.

1003
00:53:13,360 --> 00:53:16,160
Speaker 3: For the sake of keeping all street art where it belongs,

1004
00:53:16,239 --> 00:53:19,600
Speaker 3: I'd encourage people not to buy anything by anybody unless

1005
00:53:19,640 --> 00:53:21,800
Speaker 3: it was created for sale in the first place.

1006
00:53:22,000 --> 00:53:23,520
Speaker 2: There you go, there it is boom.

1007
00:53:23,880 --> 00:53:28,320
Speaker 3: That's great advice for everything. Yeah, Zaren, what's your ridiculous takeaway?

1008
00:53:28,600 --> 00:53:31,840
Speaker 2: Okay, this will probably blow your mind. But maybe this

1009
00:53:31,960 --> 00:53:33,399
Speaker 2: is the time to tell you, or just to tell

1010
00:53:33,440 --> 00:53:37,600
Speaker 2: everybody at the same time. I'm Banksy. What I know

1011
00:53:37,840 --> 00:53:38,760
Speaker 2: you didn't see that coming?

1012
00:53:38,840 --> 00:53:40,560
Speaker 3: So did not I did not have that on my

1013
00:53:40,640 --> 00:53:41,640
Speaker 3: list of theories.

1014
00:53:41,719 --> 00:53:44,440
Speaker 2: Oh, I'm sorry, I read my note wrong. I'm Batman.

1015
00:53:45,320 --> 00:53:47,000
Speaker 3: Oh that makes even more sense.

1016
00:53:47,040 --> 00:53:50,320
Speaker 2: No, sorry, I still read that wrong. Sorry, I'm Bartman.

1017
00:53:51,080 --> 00:53:53,680
Speaker 2: Oh that's that's lined through. I don't know what my

1018
00:53:53,719 --> 00:53:54,080
Speaker 2: notes are.

1019
00:53:54,080 --> 00:53:57,040
Speaker 3: Yours every woman?

1020
00:53:57,160 --> 00:54:00,000
Speaker 2: Yes, I'm a multitude. It starts with me. What about you?

1021
00:54:00,040 --> 00:54:01,080
Speaker 2: What's your ridiculous takeaway?

1022
00:54:01,360 --> 00:54:04,520
Speaker 3: Ridiculous takeaway is that you know that like you pointed

1023
00:54:04,520 --> 00:54:07,400
Speaker 3: out that this, oh, my good friend Banksy like this,

1024
00:54:07,880 --> 00:54:10,920
Speaker 3: everyone in one way or another wants to hitch a

1025
00:54:11,040 --> 00:54:14,440
Speaker 3: ride on this stuff. You know, whether it's like, you know,

1026
00:54:14,640 --> 00:54:18,160
Speaker 3: bringing people to the neighborhood. And now it's only one

1027
00:54:18,280 --> 00:54:21,120
Speaker 3: passing reference in all of the press. Did I read

1028
00:54:21,280 --> 00:54:24,360
Speaker 3: did people point out that this is on the side

1029
00:54:24,400 --> 00:54:27,759
Speaker 3: of a of a dollar store basically.

1030
00:54:27,600 --> 00:54:30,680
Speaker 2: And where there was unrest in twenty eleven it protest

1031
00:54:30,840 --> 00:54:31,239
Speaker 2: but like.

1032
00:54:31,640 --> 00:54:34,080
Speaker 3: Here's we're talking about slave labor like the inside and

1033
00:54:34,080 --> 00:54:36,400
Speaker 3: buy some like but the neighborhood, they just thought of

1034
00:54:36,440 --> 00:54:38,560
Speaker 3: it as like this is a huge thing, which it is.

1035
00:54:39,880 --> 00:54:41,960
Speaker 3: And like some of the pictures when you when you

1036
00:54:42,000 --> 00:54:46,799
Speaker 3: search slave labor Banksy, you see like that, you know

1037
00:54:46,840 --> 00:54:49,880
Speaker 3: people sitting on the ground next to it, smiling, and

1038
00:54:49,920 --> 00:54:53,080
Speaker 3: it's like, you know, a lot in much of this

1039
00:54:53,440 --> 00:54:54,920
Speaker 3: the point is missed.

1040
00:54:55,160 --> 00:54:56,600
Speaker 2: I hope he gets a laugh at a lot.

1041
00:54:56,920 --> 00:55:00,680
Speaker 3: I hope so too. You know what I need though,

1042
00:55:01,320 --> 00:55:08,440
Speaker 3: in addition to many laughs, I need to talk back David,

1043
00:55:09,600 --> 00:55:15,000
Speaker 3: Oh my god, I want cheat.

1044
00:55:18,960 --> 00:55:21,360
Speaker 2: Hey, guys in fat can kind of smile on my

1045
00:55:21,440 --> 00:55:27,959
Speaker 2: face when everything seems to be going wrong have for you? Well,

1046
00:55:28,200 --> 00:55:31,200
Speaker 2: you know, we got your back because we feel you.

1047
00:55:32,280 --> 00:55:34,319
Speaker 3: We got to keep a smile on our faces.

1048
00:55:34,640 --> 00:55:37,200
Speaker 2: I've had learned that a long time ago, that humor

1049
00:55:37,280 --> 00:55:41,960
Speaker 2: is one way to defeat anger, evil, small mindedness, hate.

1050
00:55:42,239 --> 00:55:47,080
Speaker 3: And here's the thing, though important. We can't beat ourselves

1051
00:55:47,160 --> 00:55:52,120
Speaker 3: up when we feel overwhelmed and in any time during

1052
00:55:52,160 --> 00:55:55,359
Speaker 3: our lives, now, before, in the future, whatever it is. Like,

1053
00:55:55,480 --> 00:55:58,640
Speaker 3: if if it's a lot for you, know that it's okay.

1054
00:55:58,719 --> 00:56:00,439
Speaker 3: It's a lot for you, it's a lot for all

1055
00:56:00,480 --> 00:56:02,959
Speaker 3: of us, So don't feel bad about it. But yeah,

1056
00:56:03,000 --> 00:56:04,520
Speaker 3: you got to keep a smile on your face with

1057
00:56:05,480 --> 00:56:07,319
Speaker 3: the close proximity thereof.

1058
00:56:07,120 --> 00:56:09,480
Speaker 2: Totally we're also we're here, you know, to be both

1059
00:56:09,719 --> 00:56:13,880
Speaker 2: a distraction, some entertainment and also a community and also

1060
00:56:13,920 --> 00:56:15,680
Speaker 2: to let you know we are right there with you

1061
00:56:15,719 --> 00:56:17,279
Speaker 2: with that. Don't let the bastards get you done.

1062
00:56:17,360 --> 00:56:19,879
Speaker 3: That's the truth and that's it. That's that's a good

1063
00:56:19,920 --> 00:56:22,120
Speaker 3: sign off for today. You can find us online at

1064
00:56:22,200 --> 00:56:26,359
Speaker 3: ridiculous Crime dot com award winning website. Did you know

1065
00:56:26,400 --> 00:56:29,120
Speaker 3: that every three hours we win a Webby award.

1066
00:56:29,400 --> 00:56:29,760
Speaker 2: WHOA.

1067
00:56:29,840 --> 00:56:32,000
Speaker 3: Yeah, it's a new record, it's a new thing they

1068
00:56:32,080 --> 00:56:32,920
Speaker 3: created just for us.

1069
00:56:32,920 --> 00:56:35,080
Speaker 2: I hope they've got a good tally machine they do.

1070
00:56:35,320 --> 00:56:39,080
Speaker 3: There's a guy with a clicker on him. Yeah. We're

1071
00:56:39,120 --> 00:56:42,400
Speaker 3: also a Ridiculous Crime on Blue Sky and Instagram and

1072
00:56:42,440 --> 00:56:44,839
Speaker 3: you can email us at ridiculous Crime at gmail dot

1073
00:56:44,840 --> 00:56:48,800
Speaker 3: com and then leave us talk back on the iheartapp

1074
00:56:49,280 --> 00:56:57,480
Speaker 3: reach out. Ridiculous Crime is hosted by Elizabeth Dutton and

1075
00:56:57,560 --> 00:57:01,040
Speaker 3: Zara Burnette, produced and edited by the Real Banksy True

1076
00:57:01,040 --> 00:57:07,000
Speaker 3: Identity Finally Revealed Dave Cousten, starring Amalie Rutger as Judith.

1077
00:57:07,560 --> 00:57:10,759
Speaker 3: Research is by balloon Girl Marissa Brown. The theme song

1078
00:57:10,840 --> 00:57:14,560
Speaker 3: is by parachuting rat Thomas Lee and flower thrower Travis Dunn.

1079
00:57:14,800 --> 00:57:18,840
Speaker 3: Post wardrobe is provided by Botany five hundred. Guest hair

1080
00:57:18,840 --> 00:57:23,000
Speaker 3: and makeup by Sparkleshot and mister Andre. Executive producers are

1081
00:57:23,040 --> 00:57:26,360
Speaker 3: Flying Copper, Ben Bollen and Gorilla in a pink mass

1082
00:57:26,360 --> 00:57:37,480
Speaker 3: of Noel Brown. Dis Crime Say It One More Times.

1083
00:57:39,080 --> 00:57:42,440
Speaker 1: Ridiculous Crime is a production of iHeartRadio four more podcasts

1084
00:57:42,560 --> 00:57:45,720
Speaker 1: my heart Radio visit the iHeartRadio app, Apple Podcasts, or

1085
00:57:45,760 --> 00:57:47,560
Speaker 1: wherever you listen to your favorite shows