WEBVTT - When I Stencil My Masterpiece: Banksy Thefts

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<v Speaker 1>Ridiculous Crime is a production of iHeartRadio zero.

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

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<v Speaker 3>Yeah, I know, it's been like twenty minutes.

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<v Speaker 2>I know. I was like, hey, I went outside, I

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<v Speaker 2>forgot who you are. I walked back in, Elizabeth.

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<v Speaker 3>It happens all the time, Yeah, all the time. Do

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<v Speaker 3>you know what's ridiculous?

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<v Speaker 2>Yes? I do, Elizabeth, Oh do sure? Yeah. Do you

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<v Speaker 2>ever heard of a little drink called gator load gator load? Yeah?

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<v Speaker 3>You know, I know, gator raid.

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

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<v Speaker 2>a thing called gator load.

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<v Speaker 3>Oh yeah, it's this, okay.

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<v Speaker 2>Gator load two to eighty.

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<v Speaker 3>So.

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<v Speaker 2>Gatorload is a quote specially formulated to supply the body

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<v Speaker 2>with useful carbohydrates, which the body converts to glycogen without

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<v Speaker 2>the bulk of large quantities of pasta. And it is

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<v Speaker 2>this extra supply of glycogen prior to a strenuous athletic

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<v Speaker 2>event that helps you perform at your peak for longer

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<v Speaker 2>periods of time. Gator load is available in a convenient,

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<v Speaker 2>easy to use twelve ounce singles BA ba blah. Carbo

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<v Speaker 2>loading because carbo loading as a drink. Right. Yeah, Well,

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<v Speaker 2>there's a funny little bit, which is do you know

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<v Speaker 2>much about the Chicago Bulls, Michael Jordan Utah Jazz, I

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<v Speaker 2>told you a little bit about them recently.

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<v Speaker 3>Enough to be dangerous.

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<v Speaker 2>You go, remember in the trains you loft trains, I

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<v Speaker 2>told you about the trains the Great Air during train heist,

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<v Speaker 2>I mentioned them shoes and they were sold in the

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<v Speaker 2>Utah Jazz the finals with the balls in that series

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

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<v Speaker 2>in back in nineteen eighty eight, Gatoraded invented this thing

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

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<v Speaker 2>but it was basically spaghetti in a bottle.

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<v Speaker 3>It's like a thing of insured.

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

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<v Speaker 2>So the equipment manager before well yeah, maybe or even

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

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<v Speaker 2>in nineteen ninety seven the NBA Finals Salt Lake City.

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<v Speaker 2>The equipment manager for the Bulls accidentally got Gator Load

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<v Speaker 2>instead of Gator Rays and the players were like having

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<v Speaker 2>cramps and their stomachs were bloated distended. It was one

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<v Speaker 2>of the worst fails of all time. Yeah, because gator.

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<v Speaker 3>Load that both teams are just the bulls.

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<v Speaker 2>One trainer said, just the bulls. The trainer said it

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<v Speaker 2>was like eating baked potatoes.

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<v Speaker 3>Oh god, that's like, that's like the episode of the

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<v Speaker 3>Office where Michael Scott carbo loads like five minutes before

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<v Speaker 3>running a race with you know exactly.

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<v Speaker 2>So the Bulls ended up losing seventy eight seventy three.

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<v Speaker 2>If you hear the point totals, you're like, the bulls,

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<v Speaker 2>What that's crazy? Here we go?

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<v Speaker 3>Why close?

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<v Speaker 2>Yeah, but they came back to win the series Go Bulls.

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<v Speaker 3>Yeah it is. You know what else is ridiculous? Elizabeth

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<v Speaker 3>mass Appeal counterculture.

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<v Speaker 2>I like that.

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<v Speaker 4>Huh.

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<v Speaker 3>This is ridiculous crime A podcast about absurd and outrageous capers, heists,

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<v Speaker 3>and cons. It's always ninety nine percent murder free and

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<v Speaker 3>one hundred percent ridiculous.

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<v Speaker 4>You damn right right right?

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

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<v Speaker 3>let me woman explain to you please. I love that

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<v Speaker 3>banks He's a pseudonym. What so it's not it's not

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<v Speaker 3>a real name, like, it's not I know, the government

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<v Speaker 3>name English. He's an English artist, like we said, a

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<v Speaker 3>graffiti artist, but not in the sense of taggers or

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<v Speaker 3>like those who just scribble on things.

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<v Speaker 2>Yeah. Now he throws pieces up and does like real art.

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<v Speaker 3>Yeah, the art, it's actually very much in the tradition

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

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<v Speaker 3>very visually striking and political. So like use of negative space,

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

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<v Speaker 3>immediacy to it, accessibility in the imagery, and he primarily used.

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<v Speaker 2>For him this is great, so welcome.

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<v Speaker 3>He primarily uses stencil.

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<v Speaker 2>Base in the sense that's why I think of the

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<v Speaker 2>Italians as the stencil Yeah.

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<v Speaker 3>Yeah, exactly, And so it's quick to pull off, it's

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<v Speaker 3>visually sharp, and that technique also aligns with earlier sweet

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<v Speaker 3>artists like Bleack Lorat, you have heard of him.

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<v Speaker 2>And also it also conforms with the hyper consumer and

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<v Speaker 2>the mass production aspects of our culture.

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<v Speaker 3>So Black Lorat was really the one who pioneered stencil

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<v Speaker 3>graffiti in the eighties in France. But and Banksy rather

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<v Speaker 3>than aligns with him, you could go so far as

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<v Speaker 3>to say he ripped him off steals. Yeah, And so

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<v Speaker 3>Black Lorat started in nineteen eighty six there was a

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<v Speaker 3>general strike by students and workers that just ground France

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<v Speaker 3>to a halt. That's when we started seeing these things

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<v Speaker 3>a lot of visual and thematic similarities. But Banksy also

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<v Speaker 3>does installations mixed media. I'm going to put this into

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<v Speaker 3>art speak for you. Banksy's uvre is rich in political

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

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<v Speaker 3>and it's satirical work, thought provoking, and it blends like

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<v Speaker 3>dark humor with this powerful imagery.

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<v Speaker 2>Yeah, like making light of domination or subjugation.

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<v Speaker 3>Right, And let me give you a brief history. So

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<v Speaker 3>in the nineties, Banksy emerged as part of the underground

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<v Speaker 3>graffiti scene in Bristol, England. Ah Yes, and then moved

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<v Speaker 3>to London in the early two thousands, and that's where

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<v Speaker 3>his stencil based stuff got, you know, war recognition. He

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<v Speaker 3>starts satirizing politics, consumerism, war like targeting the powerful. In

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<v Speaker 3>two thousand and four, Banksy released Banksy's Die Faced to

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<v Speaker 3>like to face but a fake ten pound note featuring

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<v Speaker 3>Princess Diane. He in two thousand and five, painted on

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<v Speaker 3>the West Bank barrier in Palestine doing this really powerful

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<v Speaker 3>anti war.

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<v Speaker 2>Imagery lift up the Wall.

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<v Speaker 3>Yeah.

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<v Speaker 2>Yes.

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<v Speaker 3>Two thousand and six created Barely Legal, which was an

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<v Speaker 3>LA art show that had a live spray painted elephant.

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<v Speaker 2>Oh.

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

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<v Speaker 3>great documentary, Yeah me too, about street art commercialization of

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<v Speaker 3>the art world. Nominated for an Academy Award.

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<v Speaker 2>I bet he did not attend.

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

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<v Speaker 3>I did like a one month residency in New York

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<v Speaker 3>and left Newark all over the city each day. Twenty

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<v Speaker 3>twenty did a COVID nineteen themed graffiti in the London underground.

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<v Speaker 2>I remember that.

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<v Speaker 3>Twenty twenty two painted murals in UK during the war

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<v Speaker 3>depicting like the resilience and the defiance of the people. Yeah.

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<v Speaker 3>So Banksy was originally very counterculture, and then people like

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<v Speaker 3>Brad Pitt started buying pieces and other artists started to

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<v Speaker 3>bite the style, and it kind of has gone a

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<v Speaker 3>little out of fashion. It's not edgy, Yeah, I.

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<v Speaker 2>Would say that it's become like so much so that

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<v Speaker 2>it's canon. It's like museum.

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<v Speaker 3>Yes, yeah, most definitely So you know, Banksy is widely

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<v Speaker 3>celebrated and that runs counter to the counter culture origin.

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<v Speaker 3>But there are a lot of criticisms. So there's accusations

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

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<v Speaker 3>all anti capitalist and anti establishment, but then the pieces

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<v Speaker 3>sell for millions of dollars at auction.

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<v Speaker 2>I thought you were down for ad Busters, man.

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<v Speaker 3>Every time there's an accusation of exploitation of street art culture,

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<v Speaker 3>other graffiti La the other graffiti, or to see Banksy

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

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

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<v Speaker 3>highly derivative about you know, the Italians and Bla Clarat.

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<v Speaker 3>So are you a fan?

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

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<v Speaker 2>I'm like, I still love Bosquiote, like like you'll always

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<v Speaker 2>hear me love, even though he's become very much a

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<v Speaker 2>mainstream artist that people are now like Dutch's biting, but

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<v Speaker 2>it's become like a language of visual language, so it's

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<v Speaker 2>lost a lot of its hits.

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<v Speaker 3>But with Bosquiot, it's almost as if people have an

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<v Speaker 3>idea of what the work is, but they're not familiar

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<v Speaker 3>with his work itself.

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<v Speaker 2>Yeah, because there's so many pieces I never ever see,

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<v Speaker 2>like the Joe Lewis stuff that so like, I really

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<v Speaker 2>like his stuff a lot, and that hasn't happened the

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<v Speaker 2>way that it has a Banksy where it's been almost

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<v Speaker 2>drained of its meaning and value for me as a

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<v Speaker 2>as a witness to it or as you know, even

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<v Speaker 2>as a participant when it's its street art.

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<v Speaker 3>They're not particularly challenging the Banksy pieces.

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<v Speaker 2>And the critique is a little bit uh wan at

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<v Speaker 2>this point.

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<v Speaker 3>I feel like they harkened back to that early two

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<v Speaker 3>thousands when people were really starting to share images online

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<v Speaker 3>and use them as like avatars.

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<v Speaker 2>It feels very George W. Bush, like a rock war

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<v Speaker 2>kind of like what's protest this like? And then carry

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<v Speaker 2>out to like all that World Trade Organization protest that

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<v Speaker 2>energy had. He's like on top of that wave surface.

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<v Speaker 3>You had online image sharing for the first time, so

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<v Speaker 3>like you could make statements with pictures more than an

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<v Speaker 3>other means of communication, and you could really you could

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<v Speaker 3>suddenly save images really easily. So yeah, full Tumblr. We

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<v Speaker 3>hearted picturist aspect the internet, you know, now we're like

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<v Speaker 3>oversaturated with it.

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<v Speaker 2>There's a gift for everything post social media.

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<v Speaker 3>Don't get me started on AI art, but like Banksy

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<v Speaker 3>to me, represents that time where those striking, powerful images

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<v Speaker 3>were harder to come by and anyway, so.

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<v Speaker 2>It was also so easy to commodify things and to

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<v Speaker 2>claim them. Now you know, like not that it was

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<v Speaker 2>always easy just right click, but I mean, like it

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<v Speaker 2>was not the on demand.

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<v Speaker 3>Stuff too, because you when I was looking up examples

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<v Speaker 3>of banks the art you can have like it's printed

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<v Speaker 3>on all shower curtains and like it just.

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<v Speaker 2>Raw covers fans for your room.

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

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

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<v Speaker 3>though let me give you some of my favorites. The

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<v Speaker 3>most popular theory is that Banksy is actually Robin Gunningham,

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<v Speaker 3>a British artist. He was born in Bristol in nineteen

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<v Speaker 3>seventy three. Alliance with Banksy's known connections to that street

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<v Speaker 3>art scene. In two thousand and eight, The Mail on

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<v Speaker 3>Sunday conducted an investigation linking Banksy to Gunningham. Based on

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<v Speaker 3>interviews with former classmates acquaintances. They found all these old

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<v Speaker 3>photos where Gunningham has like a spray paint stencil kit

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<v Speaker 3>that's like similar to the banks style.

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<v Speaker 2>Sure.

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<v Speaker 3>In twenty sixteen, this is so crazy, scientists at Queen

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<v Speaker 3>Mary University of London used geographic profiling like you do

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<v Speaker 3>with serial killers, to analyze the locations of Banksy's artwork,

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<v Speaker 3>and then the study found that Banksy's pieces were often

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

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<v Speaker 3>And then after like the rise to fame, Gunningham like

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<v Speaker 3>pretty much disappeared from public records and like, so there's

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

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<v Speaker 3>that I like is that Banksy is Robert del Naya

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<v Speaker 3>of Massive Attack.

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<v Speaker 2>This is the one I've heard.

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<v Speaker 3>And I don't say that just because I'm a huge

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<v Speaker 3>huge massive attack, I mean like huge, but it's there's

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<v Speaker 3>a good argument to be made. So before becoming a musician,

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<v Speaker 3>del Naya he was a well known graffiti artist from Bristol.

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<v Speaker 3>He was part of the Wild Bunch crew and that

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<v Speaker 3>was like they were the pioneers of Bristol's street art

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<v Speaker 3>scene eighties. Yeah, even Banksy himself has credited del Naya

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<v Speaker 3>as an influence so right. Journalist Craig Williams he noticed

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<v Speaker 3>a pattern between Massive Attacks tour dates and the appearance

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<v Speaker 3>of new Banksy artworks. Ooh, like you can connect them

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<v Speaker 3>all through these various places. They both have very similar

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<v Speaker 3>strong anti establishment views reflected in their work. Banksy wrote

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<v Speaker 3>the forward to a book about del Naya's artwork in

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<v Speaker 3>twenty thirteen. Banksy's month long New York residency was rumored

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<v Speaker 3>to be inspired by Massive Attacks album one hundredth Window,

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<v Speaker 3>and then when they asked him directly Delnaya, he denied it.

0:12:43.920 --> 0:12:45.640
<v Speaker 3>But it's like, yeah, but I know him.

0:12:46.120 --> 0:12:46.720
<v Speaker 2>Huh. So.

0:12:47.520 --> 0:12:48.600
<v Speaker 3>Another theory is.

0:12:48.520 --> 0:12:50.320
<v Speaker 2>The other theories actually got more.

0:12:50.880 --> 0:12:53.760
<v Speaker 3>Another theory is that Banksy is Jamie Hewlett, the co

0:12:53.920 --> 0:12:56.720
<v Speaker 3>creator of Gorillas. Oh yeah, okay, yeah, there are big

0:12:56.760 --> 0:12:59.240
<v Speaker 3>similarities in like the artistic style and the sames. But

0:12:59.320 --> 0:13:01.400
<v Speaker 3>it's not like supported by evidence.

0:13:01.440 --> 0:13:03.160
<v Speaker 2>Yeah, I would say that one matches like wonder wat

0:13:03.200 --> 0:13:05.679
<v Speaker 2>it just sounds fun. Yeah, I think Robert from Massive

0:13:05.679 --> 0:13:06.440
<v Speaker 2>Attacks much more.

0:13:06.600 --> 0:13:09.840
<v Speaker 3>The theory of what I really believe is the case, oh,

0:13:10.000 --> 0:13:14.000
<v Speaker 3>is that Banksy isn't one person but rather a collective Ah.

0:13:14.120 --> 0:13:15.839
<v Speaker 2>Of course that makes the most sense.

0:13:15.960 --> 0:13:18.400
<v Speaker 3>Some people think that banks he's a group of artists

0:13:18.480 --> 0:13:22.440
<v Speaker 3>together rather than a single person. That explains like the

0:13:22.640 --> 0:13:25.800
<v Speaker 3>large scale and rapid production of work all over the.

0:13:25.720 --> 0:13:27.520
<v Speaker 2>World, okay, and also the travel.

0:13:27.840 --> 0:13:32.200
<v Speaker 3>The travel, yeah, because like multiple pieces appear in multiple

0:13:32.280 --> 0:13:36.040
<v Speaker 3>countries within a short time period. Uh huh, So it's

0:13:36.080 --> 0:13:38.280
<v Speaker 3>really unlikely that one person can do that. He also

0:13:38.360 --> 0:13:44.000
<v Speaker 3>has these large installations dismal land Waldoff Hotel that require

0:13:44.040 --> 0:13:48.679
<v Speaker 3>really significant manpower and logistics and resources. So like a

0:13:48.679 --> 0:13:52.880
<v Speaker 3>group of artists working under the Banksy name that makes

0:13:52.920 --> 0:13:53.560
<v Speaker 3>it feasible.

0:13:53.840 --> 0:13:56.480
<v Speaker 2>Could it be like a dread pirate Robert situation where

0:13:56.480 --> 0:13:58.280
<v Speaker 2>there was a bank see, and then he hired a

0:13:58.320 --> 0:14:00.280
<v Speaker 2>new banks to be his assistant, and then he let

0:14:00.320 --> 0:14:02.760
<v Speaker 2>him become the banks and he's retired, and then that

0:14:02.760 --> 0:14:06.480
<v Speaker 2>one has found a new assistant and let him become Banksy. Yeah,

0:14:06.720 --> 0:14:07.960
<v Speaker 2>or like Manudo.

0:14:07.679 --> 0:14:11.680
<v Speaker 3>Yeah, or technically double O seven or yeah exactly.

0:14:12.280 --> 0:14:12.520
<v Speaker 2>Yeah.

0:14:12.640 --> 0:14:14.800
<v Speaker 3>I think it's like they got together and thought, let's

0:14:14.800 --> 0:14:15.720
<v Speaker 3>call it Banksy.

0:14:15.920 --> 0:14:20.440
<v Speaker 2>I like that. That's actually interesting. And a bank of artists.

0:14:19.600 --> 0:14:21.200
<v Speaker 3>Because that's the other thing. Okay, So you have all

0:14:21.200 --> 0:14:27.640
<v Speaker 3>these diverse artistic styles and media. There are some stylistic

0:14:27.720 --> 0:14:30.240
<v Speaker 3>differences from one piece to the next. Yeah, so that

0:14:30.320 --> 0:14:32.440
<v Speaker 3>suggests multiple contributors.

0:14:32.520 --> 0:14:34.400
<v Speaker 2>This is the most fascinating.

0:14:33.960 --> 0:14:38.200
<v Speaker 3>I know, it really is. Remember, in twenty sixteen, Queen

0:14:38.240 --> 0:14:42.680
<v Speaker 3>Mary University did the serial killer profiling, mentioned that it

0:14:42.800 --> 0:14:46.240
<v Speaker 3>found that Banksy's works were concentrated in certain areas, right,

0:14:46.560 --> 0:14:49.600
<v Speaker 3>but that new ones were appearing worldwide at the same.

0:14:49.360 --> 0:14:51.480
<v Speaker 2>Time, so he couldn't be Yeah, there's this.

0:14:51.600 --> 0:14:57.920
<v Speaker 3>It would be absolutely impossible. Now it's not. Maybe. So

0:14:58.000 --> 0:15:01.920
<v Speaker 3>some compare Banksy to other anonymous or like semi anonymous

0:15:02.000 --> 0:15:06.880
<v Speaker 3>artist collectives like the Gorilla Girls female art activists woo ming.

0:15:07.280 --> 0:15:09.760
<v Speaker 3>That's those are those Italian authors who published under a

0:15:09.760 --> 0:15:13.000
<v Speaker 3>show right, I was mystery novel, right, Yeah, it was

0:15:13.000 --> 0:15:13.840
<v Speaker 3>like as a woman.

0:15:14.040 --> 0:15:16.560
<v Speaker 2>A woman won awards for it, and they're like, what

0:15:16.560 --> 0:15:16.840
<v Speaker 2>do we do?

0:15:17.560 --> 0:15:20.320
<v Speaker 3>Corpus Delecti is a French street art group, so it's

0:15:20.320 --> 0:15:24.120
<v Speaker 3>been done before. But then thanks to Reddit, there's my

0:15:24.240 --> 0:15:30.560
<v Speaker 3>new favorite theory. Banks he's a woman. And it's not

0:15:30.640 --> 0:15:32.000
<v Speaker 3>my favorite theory because I believe it.

0:15:32.040 --> 0:15:33.920
<v Speaker 2>I'm kind of embarrassed as sex assigned. I didn't never

0:15:34.000 --> 0:15:34.640
<v Speaker 2>consider that.

0:15:35.680 --> 0:15:42.400
<v Speaker 3>It's not a good theory. There there's this user Bobolon

0:15:42.960 --> 0:15:46.840
<v Speaker 3>who posted onto the subreddit pop culture chat not too

0:15:46.880 --> 0:15:51.200
<v Speaker 3>long ago, the super in depth argument that Banksy is

0:15:51.240 --> 0:15:54.320
<v Speaker 3>not only a woman, but a very specific woman. This

0:15:54.440 --> 0:15:56.480
<v Speaker 3>is actually what gave me the idea to talk about

0:15:56.520 --> 0:16:01.440
<v Speaker 3>banks Yeah, so Bob in Law came in hot with

0:16:01.560 --> 0:16:06.400
<v Speaker 3>the theory, super aggressive, like out of nowhere. To the

0:16:06.800 --> 0:16:08.920
<v Speaker 3>it appeared to be to the puzzle of the people

0:16:08.920 --> 0:16:13.440
<v Speaker 3>who post on there, it was so entertaining. So Bobylon

0:16:13.600 --> 0:16:16.800
<v Speaker 3>Babylon was sort of combative, like I said, and they

0:16:16.800 --> 0:16:20.560
<v Speaker 3>felt really passionate about the matter. It's like they kicked

0:16:20.600 --> 0:16:27.040
<v Speaker 3>down the door to the library's like what exactly? So anyway,

0:16:27.160 --> 0:16:31.160
<v Speaker 3>they think that Banksy is actually Scottish artist Lucy Mackenzie

0:16:31.520 --> 0:16:35.120
<v Speaker 3>hm a good Glasswegian. So I would try and explain

0:16:35.280 --> 0:16:38.400
<v Speaker 3>the theory as presented in the Reddit post, but it's

0:16:38.560 --> 0:16:41.360
<v Speaker 3>very long and convoluted. It was two parts. I only

0:16:41.400 --> 0:16:45.520
<v Speaker 3>read part one. It involves analyzing the backgrounds of photos

0:16:45.520 --> 0:16:50.440
<v Speaker 3>and like knowing the layouts of buildings and interpreting interpersonal relationships.

0:16:50.520 --> 0:16:53.840
<v Speaker 2>It's a lot like JFK conspiracy, for like comparing a

0:16:53.880 --> 0:16:55.320
<v Speaker 2>photo and an outline of a head.

0:16:55.360 --> 0:16:58.120
<v Speaker 3>Like from what angle would that see the street? And

0:16:58.200 --> 0:17:00.520
<v Speaker 3>I found the whole thing cross posted on the Banksy

0:17:00.600 --> 0:17:03.320
<v Speaker 3>suburb it and the top comment there kind of sums

0:17:03.360 --> 0:17:07.960
<v Speaker 3>it up. TikTok drop Top wrote quote, I think what

0:17:08.119 --> 0:17:10.800
<v Speaker 3>is more likely is you have an obsession with this

0:17:10.880 --> 0:17:14.920
<v Speaker 3>Lucy McKenzie girl. Your theories hold absolutely no water. They're

0:17:14.960 --> 0:17:18.080
<v Speaker 3>all ham fisted ramblings that make no sense at all

0:17:18.160 --> 0:17:22.320
<v Speaker 3>when looked at through any logical lens like ouch wow.

0:17:22.520 --> 0:17:24.160
<v Speaker 3>So no matter who they really are.

0:17:24.240 --> 0:17:26.800
<v Speaker 2>About coming in hot, I mean hot, hot.

0:17:26.600 --> 0:17:30.680
<v Speaker 3>Hot, well Peter Tosh for you, So it doesn't matter

0:17:30.720 --> 0:17:35.240
<v Speaker 3>who Banksy really is. Banksy's making serious coin on the

0:17:35.359 --> 0:17:36.280
<v Speaker 3>art real.

0:17:36.359 --> 0:17:36.560
<v Speaker 4>Yeah.

0:17:36.560 --> 0:17:38.080
<v Speaker 3>And you know what happens when you have art and

0:17:38.119 --> 0:17:42.240
<v Speaker 3>you have money? Oh yes, yes, crime there it is crime.

0:17:42.560 --> 0:17:46.359
<v Speaker 3>Banksies get stolen, even the ones stenciled on buildings.

0:17:46.800 --> 0:17:47.040
<v Speaker 2>Yeah.

0:17:47.200 --> 0:17:48.920
<v Speaker 3>So I want to tell you about some of these today,

0:17:48.920 --> 0:17:51.679
<v Speaker 3>but first we need to pause for some ads the

0:17:51.840 --> 0:17:55.480
<v Speaker 3>rich Feast that keeps us available to the people for Freeze,

0:17:55.600 --> 0:18:24.040
<v Speaker 3>and when we return, Banksy zaren bgsy. First off, did

0:18:24.080 --> 0:18:26.080
<v Speaker 3>you hear about anything cool that you wanted to buy

0:18:26.160 --> 0:18:27.520
<v Speaker 3>and or know about in those ads?

0:18:28.119 --> 0:18:29.840
<v Speaker 2>I wasn't listening. I was playing with the interns.

0:18:30.040 --> 0:18:32.240
<v Speaker 3>Okay, great, because I was listening and I want it all.

0:18:34.080 --> 0:18:35.600
<v Speaker 2>You're much more than I am.

0:18:35.720 --> 0:18:40.880
<v Speaker 3>I am, So it's fantastic bags. His art is expensive,

0:18:41.359 --> 0:18:44.040
<v Speaker 3>so it makes sense that it'd be ripe for theft,

0:18:44.240 --> 0:18:46.040
<v Speaker 3>except for the fact that most of them are on

0:18:46.200 --> 0:18:48.520
<v Speaker 3>walls of very large and movable building.

0:18:48.359 --> 0:18:50.080
<v Speaker 2>That's on wondering are you taking it down brick by brick?

0:18:50.080 --> 0:18:50.720
<v Speaker 2>How are you doing that?

0:18:50.800 --> 0:18:53.000
<v Speaker 3>Not all the art is on the walls. Most of

0:18:53.040 --> 0:18:56.800
<v Speaker 3>it is. There are sculptures, oh right, and they aren't small,

0:18:56.960 --> 0:18:58.399
<v Speaker 3>but they aren't a three story building.

0:18:58.480 --> 0:18:59.920
<v Speaker 2>Yeah, it's not like having to take a wall down.

0:19:00.119 --> 0:19:00.359
<v Speaker 4>Yeah.

0:19:00.560 --> 0:19:04.440
<v Speaker 3>March two thousand and four, Banksy illegally installed a ten

0:19:04.520 --> 0:19:09.120
<v Speaker 3>foot tall statue in a small square near Shaftesbury Avenue

0:19:09.160 --> 0:19:13.080
<v Speaker 3>in London. And the statue is called the Drinker and

0:19:13.119 --> 0:19:16.520
<v Speaker 3>so it was modeled after rodinand's the thinker, sure, but

0:19:16.680 --> 0:19:19.760
<v Speaker 3>like a sloppier version. And he had a traffic cone

0:19:19.800 --> 0:19:23.840
<v Speaker 3>on his head. And that hearkens to a very famous

0:19:23.880 --> 0:19:26.960
<v Speaker 3>statue in Glasgow, which is which is the Duke of

0:19:27.000 --> 0:19:31.160
<v Speaker 3>Wellington statue there. It was put up in eighteen forty four.

0:19:31.320 --> 0:19:33.960
<v Speaker 3>It's in front of the Gallery of Modern Art, and

0:19:34.720 --> 0:19:37.080
<v Speaker 3>the good people of Glasgow make sure that he is

0:19:37.240 --> 0:19:39.280
<v Speaker 3>always wearing a traffic cone on his head.

0:19:39.480 --> 0:19:39.720
<v Speaker 2>Really.

0:19:39.840 --> 0:19:43.640
<v Speaker 3>Yeah, he's on a horse, Duke of Wellington horse four

0:19:43.680 --> 0:19:47.400
<v Speaker 3>feet down and like people scale up. It's a big statue. Huh,

0:19:47.680 --> 0:19:49.280
<v Speaker 3>always has a traffic cone on his head.

0:19:49.320 --> 0:19:50.320
<v Speaker 2>Guy who beat Napoleon.

0:19:50.480 --> 0:19:53.199
<v Speaker 3>Yeah, sometime in the eighties it started and so the

0:19:53.200 --> 0:19:56.560
<v Speaker 3>city has asked people to not keep replacing it every

0:19:56.560 --> 0:19:58.879
<v Speaker 3>time it comes down. But you can't tell them nothing.

0:19:58.960 --> 0:20:01.000
<v Speaker 2>Does it mean anything to that it's fun.

0:20:01.359 --> 0:20:04.720
<v Speaker 3>So twenty thirteen there was a proposal to raise the

0:20:04.800 --> 0:20:07.359
<v Speaker 3>plinth the base of the statue to make people couldn't

0:20:07.359 --> 0:20:09.639
<v Speaker 3>get out here impossible for drunkers to scale it and

0:20:09.680 --> 0:20:10.600
<v Speaker 3>put the cone on the head.

0:20:10.640 --> 0:20:13.720
<v Speaker 2>Oh, they don't heave it up. They actually get time up. Wow.

0:20:13.760 --> 0:20:16.040
<v Speaker 3>And so the city was like, look, it cost us

0:20:16.080 --> 0:20:18.800
<v Speaker 3>one hundred pounds per call out to take it down

0:20:19.200 --> 0:20:23.119
<v Speaker 3>and we're running about ten grand a year entertainment. But

0:20:23.160 --> 0:20:26.760
<v Speaker 3>the people they rallied the plan got ditched. It's now

0:20:26.840 --> 0:20:29.479
<v Speaker 3>it's become a part of the fabric of Glasgow. So

0:20:29.560 --> 0:20:34.160
<v Speaker 3>during the twenty twelve someone took the normal safety orange

0:20:34.200 --> 0:20:36.600
<v Speaker 3>cone and swapped it with a gold one for the

0:20:36.640 --> 0:20:40.320
<v Speaker 3>Olympics to celebrate Scotland's contribution to the record number of

0:20:40.320 --> 0:20:44.160
<v Speaker 3>gold medals won by Team Green Britain. Oh twenty fourteen,

0:20:44.280 --> 0:20:46.600
<v Speaker 3>when the Scots were voting on independence, someone put a

0:20:46.680 --> 0:20:51.200
<v Speaker 3>yes cone on the head It's Glasgow. On Brexit Day

0:20:51.440 --> 0:20:56.160
<v Speaker 3>thirty first of January twenty twenty, pro European supporters again

0:20:56.200 --> 0:20:59.600
<v Speaker 3>It's Glasgow placed a cone painted to represent the EU

0:20:59.680 --> 0:21:04.040
<v Speaker 3>flag on the statue. During COVID nineteen, someone put a

0:21:04.080 --> 0:21:07.600
<v Speaker 3>blue surgical mask around the ears. Shout out to the

0:21:07.640 --> 0:21:11.960
<v Speaker 3>lockdown March of twenty twenty two in support of Ukraine

0:21:12.280 --> 0:21:14.960
<v Speaker 3>and then as a protest against Russia's invasion of it,

0:21:15.359 --> 0:21:18.159
<v Speaker 3>they put a cone with the colors of the Ukrainian flag.

0:21:18.840 --> 0:21:22.600
<v Speaker 3>Cool and then keeping on topic, in June of twenty

0:21:22.680 --> 0:21:25.200
<v Speaker 3>twenty three, to promote his exhibition at the Gallery of

0:21:25.280 --> 0:21:28.359
<v Speaker 3>Modern Art in Glasgow, they put Banks up there, you

0:21:28.440 --> 0:21:31.240
<v Speaker 3>know Banks. He declared that the statue was his favorite

0:21:31.240 --> 0:21:34.920
<v Speaker 3>work of art in the UK really because of the cone.

0:21:35.040 --> 0:21:37.840
<v Speaker 2>I figure that because also the participatory in nature the

0:21:37.920 --> 0:21:39.720
<v Speaker 2>street as it's playful.

0:21:39.960 --> 0:21:44.280
<v Speaker 3>It's playful and it is like you know changing, yeah,

0:21:44.520 --> 0:21:46.959
<v Speaker 3>and it's I've seen so many I've first of all,

0:21:46.960 --> 0:21:49.240
<v Speaker 3>I walked by it a ton of times when I

0:21:49.280 --> 0:21:53.320
<v Speaker 3>live there. But like I've seen people putting it back

0:21:53.400 --> 0:21:55.439
<v Speaker 3>up after like it blows down in a storm like

0:21:56.480 --> 0:21:58.040
<v Speaker 3>I did not, but I've seen them. And then there

0:21:58.040 --> 0:22:00.880
<v Speaker 3>are great pictures of people's scale it to put it back.

0:22:00.960 --> 0:22:02.800
<v Speaker 2>Yeah yeah, imagine people are like cheering and stuff.

0:22:02.800 --> 0:22:06.000
<v Speaker 3>Oh yeah yeah. So back to March two thousand and

0:22:06.000 --> 0:22:08.760
<v Speaker 3>four the Drinker Ah Yes. A few days after it

0:22:08.760 --> 0:22:11.480
<v Speaker 3>got put up, a group of masked thieves known as

0:22:11.640 --> 0:22:15.960
<v Speaker 3>art Kaida, led by a self professor give you that one,

0:22:16.000 --> 0:22:18.040
<v Speaker 3>thank you, don't give it to me, led by a

0:22:18.080 --> 0:22:21.880
<v Speaker 3>self professed quote art terrorist named Andy Link. He called

0:22:21.920 --> 0:22:25.600
<v Speaker 3>himself AK forty seven. They stole it. So the thing

0:22:25.680 --> 0:22:29.000
<v Speaker 3>is six feet tall, super heavy. They stole it in

0:22:29.040 --> 0:22:31.840
<v Speaker 3>broad daylight. They just loaded it onto a flatbed truck.

0:22:32.480 --> 0:22:35.119
<v Speaker 3>It's not it's not a sanctioned piece of public arts

0:22:35.119 --> 0:22:35.840
<v Speaker 3>like all's fair.

0:22:36.000 --> 0:22:38.280
<v Speaker 2>I suppose, basically trash.

0:22:38.400 --> 0:22:40.679
<v Speaker 3>So he said he quote kidnapped it, and then he

0:22:40.760 --> 0:22:44.080
<v Speaker 3>registered this quote find as he said with the police,

0:22:44.840 --> 0:22:48.480
<v Speaker 3>like look what I found. And so then he reaches

0:22:48.520 --> 0:22:50.800
<v Speaker 3>out to the press. He sent a ransom note to

0:22:50.880 --> 0:22:54.760
<v Speaker 3>a reporter demanding five thousand pounds in exchange for the

0:22:54.760 --> 0:22:55.520
<v Speaker 3>safe return of.

0:22:55.440 --> 0:22:57.080
<v Speaker 2>The sculpture, that's all five thousand.

0:22:57.160 --> 0:22:59.879
<v Speaker 3>Yeah. So this drums up a lot of coverage.

0:23:00.160 --> 0:23:00.520
<v Speaker 2>Banks.

0:23:00.560 --> 0:23:04.320
<v Speaker 3>He speaks up banks, He's like, I hear you. I

0:23:04.359 --> 0:23:07.240
<v Speaker 3>will give you two quid towards a can of petrol

0:23:07.760 --> 0:23:10.960
<v Speaker 3>to set it on fire. Yeah, it's like whatever. So

0:23:11.119 --> 0:23:13.320
<v Speaker 3>Link he just keeps it in his garden. It's got

0:23:13.320 --> 0:23:13.920
<v Speaker 3>in his yard.

0:23:14.080 --> 0:23:16.880
<v Speaker 2>It's like, well he disowns. Yeah.

0:23:17.040 --> 0:23:19.159
<v Speaker 3>So then three years goes by, he's like, do you

0:23:19.240 --> 0:23:22.960
<v Speaker 3>want to get famous off this? Try again? Three years

0:23:23.000 --> 0:23:26.399
<v Speaker 3>goes by. Then someone broke into Link's yard while he

0:23:26.480 --> 0:23:27.760
<v Speaker 3>was away and stole.

0:23:27.480 --> 0:23:28.040
<v Speaker 2>It from him.

0:23:28.119 --> 0:23:30.959
<v Speaker 3>Yeah, because all's fair. Of course Link didn't think all

0:23:31.119 --> 0:23:33.520
<v Speaker 3>was fair. He went to the police to report the stuff.

0:23:33.880 --> 0:23:35.600
<v Speaker 2>If he's stolen, good yeah, Art.

0:23:35.520 --> 0:23:37.800
<v Speaker 3>Kaida Ak forty seven went.

0:23:37.640 --> 0:23:39.240
<v Speaker 2>To the police.

0:23:43.000 --> 0:23:46.960
<v Speaker 3>Yeah right. Twelve years goes by my stuff. Yeah, he's

0:23:47.000 --> 0:23:49.359
<v Speaker 3>like a cab until it's.

0:23:48.760 --> 0:23:50.480
<v Speaker 2>Funny, until it's my stolen statue.

0:23:51.240 --> 0:23:55.280
<v Speaker 3>Twelve years goes by, world keeps turning. Twenty nineteen, the

0:23:55.320 --> 0:24:00.159
<v Speaker 3>statue reappeared. Not in someone's yard, No, it showed up

0:24:00.520 --> 0:24:06.440
<v Speaker 3>in the Southeby's auction catalog or the contemporary curative estimated

0:24:06.480 --> 0:24:09.320
<v Speaker 3>sale price of seven hundred and fifty thousand pounds to

0:24:09.359 --> 0:24:10.320
<v Speaker 3>one million pounds.

0:24:10.359 --> 0:24:11.680
<v Speaker 2>Okay, that's why I thought it'd be like a lull

0:24:11.720 --> 0:24:12.120
<v Speaker 2>over one.

0:24:12.200 --> 0:24:14.680
<v Speaker 3>Yeah, it was like, by far the priceiest item in

0:24:14.760 --> 0:24:18.240
<v Speaker 3>the lot. So when asked about selling stolen goods, Southeby

0:24:18.400 --> 0:24:21.240
<v Speaker 3>said it was totally satisfied that the seller had a

0:24:21.320 --> 0:24:24.520
<v Speaker 3>legal right to put Peace up for auction, and they said,

0:24:24.560 --> 0:24:27.960
<v Speaker 3>we consulted both the Metropolitan Police and the Art Loss Register,

0:24:28.720 --> 0:24:32.560
<v Speaker 3>and so Southeby's sale notes say the work was quote retrieved.

0:24:33.240 --> 0:24:37.120
<v Speaker 3>So this basically means that Banksy stole it back from link. Yeah,

0:24:37.560 --> 0:24:42.040
<v Speaker 3>and according to Southeby's and the seller quote, the work

0:24:42.119 --> 0:24:45.359
<v Speaker 3>was mysteriously retrieved from Art Kaida's lock up in an

0:24:45.400 --> 0:24:49.359
<v Speaker 3>anonymous heist which left AK forty seven with nothing but

0:24:49.400 --> 0:24:53.399
<v Speaker 3>the abandoned traffic cone from atop the drinker's head that's

0:24:53.400 --> 0:24:54.920
<v Speaker 3>in the catalog for the auction.

0:24:55.160 --> 0:24:58.159
<v Speaker 2>That's amazing. Can you imagine that if Banksy, if it

0:24:58.240 --> 0:25:01.119
<v Speaker 2>is one person like I say, it's Robert and actually

0:25:01.320 --> 0:25:03.680
<v Speaker 2>was involved in the heights that I came in another

0:25:03.720 --> 0:25:06.760
<v Speaker 2>person and he got caught trying to steal a bank

0:25:07.280 --> 0:25:11.520
<v Speaker 2>and identity banking because he's trying to steal a banks

0:25:11.840 --> 0:25:13.160
<v Speaker 2>and he doesn't say he's not him.

0:25:13.280 --> 0:25:17.400
<v Speaker 3>Well, how do you prove your banks right? So when

0:25:17.480 --> 0:25:20.520
<v Speaker 3>Banksy items are sold at auction, they're only seen as

0:25:20.600 --> 0:25:24.359
<v Speaker 3>authentic if they carry a certificate of authenticity from quote

0:25:24.440 --> 0:25:29.520
<v Speaker 3>Pest Control. And that's this like shadowy organization that handles

0:25:29.560 --> 0:25:33.280
<v Speaker 3>all of the inquiries for Banksy. And so Banksy and

0:25:33.440 --> 0:25:36.919
<v Speaker 3>or representatives declined to comment on the matter of the drinker.

0:25:37.520 --> 0:25:39.119
<v Speaker 2>If you want to contact Bill Murray have to call

0:25:39.160 --> 0:25:39.680
<v Speaker 2>a payphone.

0:25:39.800 --> 0:25:42.920
<v Speaker 3>Yes, exactly, so link so that according to the law,

0:25:43.040 --> 0:25:46.040
<v Speaker 3>since the statue wasn't legally installed, it was in essence

0:25:46.119 --> 0:25:50.119
<v Speaker 3>abandoned property. And he quote found it and reported that

0:25:50.160 --> 0:25:53.080
<v Speaker 3>to the police, registering it and that banks he never

0:25:53.119 --> 0:25:55.359
<v Speaker 3>filed the police reporter asked for it back. So he's

0:25:55.400 --> 0:25:58.320
<v Speaker 3>the clear owner and he had like documents and case

0:25:58.400 --> 0:25:59.280
<v Speaker 3>numbers to back.

0:25:59.119 --> 0:26:01.040
<v Speaker 2>This all up law precedence.

0:26:01.119 --> 0:26:04.160
<v Speaker 3>Such a nerd and so then he told the Guardian quote,

0:26:04.440 --> 0:26:07.000
<v Speaker 3>I did the right thing and reported it to the police.

0:26:07.080 --> 0:26:09.560
<v Speaker 3>I do not understand how Southeby's can sell this when

0:26:09.640 --> 0:26:10.920
<v Speaker 3>I have such proof.

0:26:11.359 --> 0:26:15.200
<v Speaker 2>Citing Captain Henry Morgan against the State of Jamaica. I'm seventeenth.

0:26:15.200 --> 0:26:16.200
<v Speaker 2>I mean, what are we doing?

0:26:16.320 --> 0:26:21.359
<v Speaker 3>Sutheby's didn't care really bet, But the day before the auction,

0:26:21.560 --> 0:26:24.640
<v Speaker 3>Southeby's legal team sent a letter to Link and they

0:26:24.640 --> 0:26:29.800
<v Speaker 3>were like, we totally we reassert our rejection to your claim,

0:26:29.840 --> 0:26:33.240
<v Speaker 3>and it would quote require a cogent and persuasive case

0:26:33.640 --> 0:26:38.000
<v Speaker 3>with appropriate evidence before after taking instructions from the consigner,

0:26:38.520 --> 0:26:41.960
<v Speaker 3>altering the planned sale process on any legal grounds related

0:26:42.000 --> 0:26:45.879
<v Speaker 3>to purported title claim by you. And so they acknowledge

0:26:45.960 --> 0:26:49.520
<v Speaker 3>quote the interesting story of Link's involvement in this piece

0:26:49.600 --> 0:26:52.560
<v Speaker 3>in two thousand and four. But they also then said

0:26:52.600 --> 0:26:55.080
<v Speaker 3>there was quote no reason why the consigner of the

0:26:55.119 --> 0:26:59.800
<v Speaker 3>work subsequently authenticated by Banksy's authentication process, does not have

0:27:00.040 --> 0:27:03.720
<v Speaker 3>title to sell. But then one hour before the auction

0:27:03.800 --> 0:27:07.080
<v Speaker 3>was supposed to start, it gets pulled. What Yeah. In

0:27:07.119 --> 0:27:12.320
<v Speaker 3>a statement, Sotheby's wouldn't offer details, saying only quote, the

0:27:12.400 --> 0:27:15.800
<v Speaker 3>work has been withdrawn in agreement with the consigner. So

0:27:15.880 --> 0:27:17.520
<v Speaker 3>where it is now I cannot know.

0:27:18.080 --> 0:27:19.440
<v Speaker 2>We're just not selling, we're just selling.

0:27:19.520 --> 0:27:21.920
<v Speaker 3>I think he did it just mess with Link. Maybe so.

0:27:22.400 --> 0:27:26.919
<v Speaker 3>Banksy's work traffics in iconography, and one image that he

0:27:27.080 --> 0:27:29.960
<v Speaker 3>uses as his sort of avatar is a rat. Yes,

0:27:30.240 --> 0:27:34.960
<v Speaker 3>the rat has been Banksy's alter ego for years and something. Yeah. Yeah.

0:27:35.160 --> 0:27:38.439
<v Speaker 3>In his book wall in Piece, he said, quote rats

0:27:38.520 --> 0:27:42.720
<v Speaker 3>exist without permission. They are hated, hunted, and persecuted. They

0:27:42.760 --> 0:27:46.360
<v Speaker 3>live in silent despare amid filth, and yet they're capable

0:27:46.400 --> 0:27:51.080
<v Speaker 3>of bringing entire civilizations to their knees. If you are dirty, insignificant,

0:27:51.080 --> 0:27:53.800
<v Speaker 3>and unloved, then rats are your ultimate model.

0:27:54.000 --> 0:27:56.720
<v Speaker 2>Telling you the Bubonic plague messed up the European imagination

0:27:56.960 --> 0:27:59.680
<v Speaker 2>like the mongol or they just have not gotten over.

0:27:59.600 --> 0:28:02.120
<v Speaker 3>The you know when when you're down trodden and your

0:28:02.119 --> 0:28:03.719
<v Speaker 3>work's worth over a million dollars.

0:28:03.800 --> 0:28:05.240
<v Speaker 2>Yeah, a rat, it is.

0:28:05.640 --> 0:28:08.880
<v Speaker 3>In twenty eighteen, one of his rats was stolen. Really yeah.

0:28:09.240 --> 0:28:11.679
<v Speaker 3>So it was stenciled on the back of a sign

0:28:11.720 --> 0:28:14.800
<v Speaker 3>for the car park outside of the pompad Center impact.

0:28:15.160 --> 0:28:16.800
<v Speaker 2>I was assuming it's like one of like the larger

0:28:16.880 --> 0:28:18.679
<v Speaker 2>plastic type.

0:28:20.520 --> 0:28:24.880
<v Speaker 3>It was on a parking sign on the back of it. Yeah.

0:28:24.920 --> 0:28:27.359
<v Speaker 3>The image it was like a masked rat holding a

0:28:27.400 --> 0:28:30.000
<v Speaker 3>box cutter, like it's going to make a stencil. And

0:28:30.040 --> 0:28:32.600
<v Speaker 3>this wasn't the first time someone tried to take it.

0:28:32.640 --> 0:28:35.680
<v Speaker 3>A year earlier. The heist of it was foiled by

0:28:36.320 --> 0:28:39.640
<v Speaker 3>museum security, and so the museum they put a piece

0:28:39.680 --> 0:28:43.360
<v Speaker 3>of plexiglass around it. They put a case the center,

0:28:44.560 --> 0:28:47.240
<v Speaker 3>but they did that didn't stop these guys. So while

0:28:47.240 --> 0:28:51.520
<v Speaker 3>the Pampa do houses Europe's biggest collection of contemporary art,

0:28:51.960 --> 0:28:56.400
<v Speaker 3>it doesn't own that particular banks you were. Nevertheless, they

0:28:56.440 --> 0:29:00.960
<v Speaker 3>filed a complete point for destruction of property their parking sign,

0:29:01.080 --> 0:29:03.360
<v Speaker 3>you know, after all, Oh good point. So a spokesman

0:29:03.400 --> 0:29:05.680
<v Speaker 3>for the Pompadou Center send quote, we are sad to

0:29:05.760 --> 0:29:09.360
<v Speaker 3>inform you that Banksy's work of art facing our building

0:29:09.400 --> 0:29:13.080
<v Speaker 3>on Rue Bobard was stolen during the night. Although this

0:29:13.200 --> 0:29:16.120
<v Speaker 3>piece was not part of our collection, we were proud

0:29:16.280 --> 0:29:18.640
<v Speaker 3>that the artists had chosen the side of our building

0:29:18.760 --> 0:29:21.600
<v Speaker 3>to create it as an homage to the events of

0:29:21.680 --> 0:29:24.920
<v Speaker 3>May sixty eight. We are filing a legal complaint.

0:29:25.280 --> 0:29:28.280
<v Speaker 2>Whoa May sixty eight, they.

0:29:27.640 --> 0:29:29.840
<v Speaker 3>Say, So let me speak on that for a second, please.

0:29:29.880 --> 0:29:33.920
<v Speaker 3>May nineteen sixty eight, the French May Swazzlweet was a

0:29:33.920 --> 0:29:38.200
<v Speaker 3>period of incredible protests, strikes and unrest in France that

0:29:38.320 --> 0:29:41.680
<v Speaker 3>began May nineteen sixty eight, and it started with student

0:29:41.720 --> 0:29:45.240
<v Speaker 3>demonstrations in March of that year, one hundred and fifty

0:29:45.280 --> 0:29:49.440
<v Speaker 3>students as well as like some well known poets, musicians, artists,

0:29:50.200 --> 0:29:54.200
<v Speaker 3>they occupied an administration building at Paris University at nonterre

0:29:55.000 --> 0:29:59.000
<v Speaker 3>groups whom director Jean Luke Godard had called the children

0:29:59.000 --> 0:30:02.680
<v Speaker 3>of Marx and Cocoa co in Masculino feminol two years.

0:30:02.440 --> 0:30:05.240
<v Speaker 2>Earlier, So way to bring in the gadara like that,

0:30:05.600 --> 0:30:05.880
<v Speaker 2>thank you.

0:30:06.160 --> 0:30:10.360
<v Speaker 3>They were protesting discrimination in French society and the political

0:30:10.360 --> 0:30:14.800
<v Speaker 3>bureaucracy that was impacting the university's funding. Ah so you know,

0:30:15.040 --> 0:30:18.880
<v Speaker 3>cutting funding the universities, which has far reaching and devastating

0:30:18.920 --> 0:30:22.800
<v Speaker 3>effects to the culture and the economy. So this demonstration

0:30:22.880 --> 0:30:25.680
<v Speaker 3>had ended peacefully, but that's seen as like the start

0:30:25.760 --> 0:30:29.440
<v Speaker 3>of the movement. The protests that non ter didn't stop,

0:30:29.480 --> 0:30:32.040
<v Speaker 3>and so when the college cracked down on the students,

0:30:32.520 --> 0:30:36.560
<v Speaker 3>other university students throughout the city, including at Sorbon, they

0:30:36.640 --> 0:30:40.120
<v Speaker 3>joined the protest, and then the faculty joined in and

0:30:40.160 --> 0:30:43.600
<v Speaker 3>the demonstrations they turned violent and people were arrested. But

0:30:43.640 --> 0:30:47.080
<v Speaker 3>then the high school kids joined in and things got crazier,

0:30:47.320 --> 0:30:49.800
<v Speaker 3>and so then the young workers joined in. Oh yeah,

0:30:49.960 --> 0:30:53.080
<v Speaker 3>there was a riot. Eventually more than a million people

0:30:53.160 --> 0:30:56.240
<v Speaker 3>marched in Paris and the students they now had the

0:30:56.280 --> 0:30:58.920
<v Speaker 3>support of the public at large, and pretty soon workers

0:30:58.960 --> 0:31:02.400
<v Speaker 3>of all ages were protesting all over the country because

0:31:02.400 --> 0:31:05.320
<v Speaker 3>they had grievances too, you know, like the minimum wage

0:31:05.360 --> 0:31:09.440
<v Speaker 3>hadn't increased, but prices had. People were living paycheck to paycheck,

0:31:09.480 --> 0:31:11.760
<v Speaker 3>and the working class they were being sacrificed for the

0:31:11.760 --> 0:31:13.240
<v Speaker 3>benefit of the wealthy.

0:31:13.000 --> 0:31:15.000
<v Speaker 2>And it's just spent a ton of their money and

0:31:15.040 --> 0:31:18.520
<v Speaker 2>their future trying to fight Algerian independence. There's a bunch

0:31:18.560 --> 0:31:20.800
<v Speaker 2>of other stuff going on over into China.

0:31:20.640 --> 0:31:23.360
<v Speaker 3>At the time, Vietnam, and so then so there's all

0:31:23.400 --> 0:31:27.520
<v Speaker 3>this momentum. Slowly the unions start to strike and then

0:31:27.560 --> 0:31:31.040
<v Speaker 3>there's a general strike and there were more riots. People died,

0:31:31.440 --> 0:31:34.320
<v Speaker 3>but the fight continued, and so it just came to

0:31:34.400 --> 0:31:36.960
<v Speaker 3>a head, and pretty soon the government collapsed and an

0:31:36.960 --> 0:31:40.200
<v Speaker 3>election was called, and they were a hair away from

0:31:40.200 --> 0:31:45.479
<v Speaker 3>a full revolution. I remember, they know that they've been

0:31:45.480 --> 0:31:48.680
<v Speaker 3>through it before. And the French Revolution itself was inspired

0:31:48.680 --> 0:31:51.320
<v Speaker 3>by the American Revolution back when we said we don't

0:31:51.360 --> 0:31:53.760
<v Speaker 3>want a monarch, especially one who's going to use taxes

0:31:53.800 --> 0:31:56.680
<v Speaker 3>to keep us in line with no representation or return.

0:31:57.400 --> 0:32:01.959
<v Speaker 3>We reject dictators and kings over here things. Yeah, so

0:32:02.120 --> 0:32:06.640
<v Speaker 3>May sixty eight one of the most significant social uprisings

0:32:06.680 --> 0:32:10.880
<v Speaker 3>in modern European history. It had a major impact on

0:32:10.920 --> 0:32:15.320
<v Speaker 3>French politics, labor and workers, art, and like the culture

0:32:15.520 --> 0:32:19.200
<v Speaker 3>writ large and to this day that spirit of radical

0:32:19.200 --> 0:32:25.640
<v Speaker 3>thought and activism is just imbued. Yeah, we totally. Like

0:32:25.680 --> 0:32:28.920
<v Speaker 3>you know, when they the farmers come, they they dump

0:32:29.000 --> 0:32:35.160
<v Speaker 3>manure on the steps and they wheel out barbecuest So

0:32:35.320 --> 0:32:37.800
<v Speaker 3>you got it. You gotta make your voice heard back

0:32:37.840 --> 0:32:40.800
<v Speaker 3>to Banksy, right, mask rat with a knife it was.

0:32:41.640 --> 0:32:42.920
<v Speaker 3>It was never recovered.

0:32:43.200 --> 0:32:43.520
<v Speaker 2>Really.

0:32:43.560 --> 0:32:46.520
<v Speaker 3>Yeah, so here it's in this space like at the beginning,

0:32:46.800 --> 0:32:51.440
<v Speaker 3>like to mark the beginning of this this uprising. It's gone.

0:32:51.600 --> 0:32:54.640
<v Speaker 3>It is now in that liminal space where art stolen

0:32:54.760 --> 0:32:57.120
<v Speaker 3>art goes. It's probably hanging in the home of like

0:32:57.160 --> 0:33:00.000
<v Speaker 3>a billionaire who profits off the squelching of the rights

0:33:00.080 --> 0:33:03.920
<v Speaker 3>students and work, something like that. Anyway, possibly let's take

0:33:03.960 --> 0:33:30.480
<v Speaker 3>a break and when we return more Banksy. Yeah, Banksy, Banksy.

0:33:30.120 --> 0:33:33.680
<v Speaker 3>I've talked about pieces of his that were somewhat mobile, right,

0:33:34.920 --> 0:33:37.040
<v Speaker 3>but the bulk of his stuff is on the side

0:33:37.080 --> 0:33:37.800
<v Speaker 3>of a big building.

0:33:37.920 --> 0:33:39.280
<v Speaker 2>Yes, this is what I'm curious about. This is what

0:33:39.280 --> 0:33:42.440
<v Speaker 2>I want to know. How do you building.

0:33:41.600 --> 0:33:44.760
<v Speaker 3>Stop him from being stolen. There's this piece that he

0:33:44.800 --> 0:33:48.760
<v Speaker 3>did called slave Labor, and it's a stenciled image in

0:33:48.800 --> 0:33:51.360
<v Speaker 3>which a young boy is like hunched over a sewing

0:33:51.400 --> 0:33:55.200
<v Speaker 3>machine making union jack bunting. Okay yeah, And it popped

0:33:55.240 --> 0:33:58.360
<v Speaker 3>up on a wall in wood Green, North London in

0:33:58.400 --> 0:34:02.040
<v Speaker 3>May of twenty twelve, just before the Queen's Diamond Jubilee celebrated.

0:34:02.960 --> 0:34:06.000
<v Speaker 3>So it was created to protest the use of sweatshops

0:34:06.280 --> 0:34:08.560
<v Speaker 3>to make all the merch for the jubilee and the

0:34:08.600 --> 0:34:13.080
<v Speaker 3>twenty twelve Olympics. Little kids so in the butcher's apron

0:34:13.120 --> 0:34:16.040
<v Speaker 3>halfway around the world for pennies, while the Queen lives

0:34:16.080 --> 0:34:18.359
<v Speaker 3>on the dole and the wealthy can afford to buy

0:34:18.360 --> 0:34:19.560
<v Speaker 3>tickets to Olympic events.

0:34:20.040 --> 0:34:21.160
<v Speaker 2>I feel it.

0:34:21.719 --> 0:34:25.080
<v Speaker 3>So what business was in the building where the mural

0:34:25.160 --> 0:34:25.680
<v Speaker 3>was painted?

0:34:26.400 --> 0:34:28.880
<v Speaker 2>What business was in the building that was in the

0:34:28.920 --> 0:34:30.440
<v Speaker 2>mural that was painted? Elizabeth, thank you?

0:34:30.760 --> 0:34:31.440
<v Speaker 3>Pound Land?

0:34:32.040 --> 0:34:36.839
<v Speaker 2>What oh write the store? The UK equivalent of dollar

0:34:36.960 --> 0:34:41.560
<v Speaker 2>trees always sounds so dirty, and I've been in one.

0:34:42.360 --> 0:34:44.480
<v Speaker 3>It started out where everything in there was a pound,

0:34:44.640 --> 0:34:46.800
<v Speaker 3>Like everything in dollar tree was a dollar. Although I

0:34:46.800 --> 0:34:50.800
<v Speaker 3>think that's not quite true any And the only way

0:34:50.880 --> 0:34:53.360
<v Speaker 3>you can get a place where everything only costs a

0:34:53.400 --> 0:34:56.040
<v Speaker 3>dollar or a quid is for those items to have

0:34:56.040 --> 0:34:58.600
<v Speaker 3>been made on the super cheap, generally by people who

0:34:58.680 --> 0:34:59.960
<v Speaker 3>are not making a living wage.

0:35:00.120 --> 0:35:02.040
<v Speaker 2>Yeah. Sometimes we weren't even adults, not even close.

0:35:02.080 --> 0:35:04.360
<v Speaker 3>Yeah, And in some cases these folks are in essence

0:35:04.440 --> 0:35:08.040
<v Speaker 3>slave labor because, like you know, they have absolutely no

0:35:08.120 --> 0:35:10.680
<v Speaker 3>alternative to working for pennies a day in that.

0:35:10.560 --> 0:35:12.319
<v Speaker 2>Factory, financially compelled to.

0:35:12.480 --> 0:35:14.200
<v Speaker 3>Yeah, they're locked and they're not like chained to a

0:35:14.280 --> 0:35:15.600
<v Speaker 3>wall or but they're in.

0:35:15.880 --> 0:35:17.839
<v Speaker 2>They're not bought and sold, but their life might as

0:35:17.840 --> 0:35:18.080
<v Speaker 2>well be.

0:35:18.320 --> 0:35:18.600
<v Speaker 4>Yes.

0:35:19.120 --> 0:35:22.560
<v Speaker 3>So when that banksy appeared on the wall, the neighborhood

0:35:22.600 --> 0:35:26.640
<v Speaker 3>was stoked. According to the New York Times quote, the work,

0:35:26.800 --> 0:35:30.920
<v Speaker 3>called slave labor and depicting a downtrodden, barefoot boy making

0:35:31.040 --> 0:35:34.040
<v Speaker 3>union jacks on a sewing machine, had become a point

0:35:34.080 --> 0:35:37.319
<v Speaker 3>of pride and harringy, the site of some of the

0:35:37.440 --> 0:35:41.959
<v Speaker 3>nastiest rampages in the twenty eleven London Riots. Stenciled onto

0:35:42.000 --> 0:35:44.439
<v Speaker 3>the wall of the Everything Costs a pound pound land

0:35:44.480 --> 0:35:48.160
<v Speaker 3>Store on Wymark Avenue, it drew visitors from across London

0:35:48.239 --> 0:35:51.359
<v Speaker 3>and abroad. So many people ask for directions that the

0:35:51.360 --> 0:35:54.719
<v Speaker 3>local subway station erected a special this way to our

0:35:54.840 --> 0:35:58.600
<v Speaker 3>banksy sign. There really isn't any other reason people would

0:35:58.600 --> 0:36:01.640
<v Speaker 3>come to wood Greens, said even Damesa, who lives nearby,

0:36:01.800 --> 0:36:05.480
<v Speaker 3>speaking of the neighborhood that housed the work. Isn't it

0:36:07.000 --> 0:36:14.040
<v Speaker 3>zaren closure eyes? Oh yeah, close picture. You are a

0:36:14.200 --> 0:36:19.279
<v Speaker 3>large Bulgarian man. Your name is Dimitar. You work in

0:36:19.320 --> 0:36:22.839
<v Speaker 3>a small coffee shop slash bakery called Sini on High

0:36:22.920 --> 0:36:26.200
<v Speaker 3>Road in North London in wood Green. The sign above

0:36:26.239 --> 0:36:31.280
<v Speaker 3>the door reads in all caps Bulgarian, Albanian, Turkish, English, Spanish,

0:36:31.320 --> 0:36:35.880
<v Speaker 3>European bakery Europeans misspelled by the way. Another sign says

0:36:35.960 --> 0:36:40.320
<v Speaker 3>in Bulgarian and block cyrillic script, Sunny the pastry Maker.

0:36:41.160 --> 0:36:43.560
<v Speaker 3>You live just a few blocks away in the Sandlings

0:36:43.640 --> 0:36:48.640
<v Speaker 3>Estate Council housing projects. It's a large, brutalist brick square

0:36:48.680 --> 0:36:51.480
<v Speaker 3>mass of flats from afar, it almost looks like some

0:36:51.520 --> 0:36:54.400
<v Speaker 3>sort of factory, but it's surrounded by green space and

0:36:54.480 --> 0:36:57.280
<v Speaker 3>parks and trees, and it's right by the high street.

0:36:57.320 --> 0:37:00.799
<v Speaker 3>Great location. So each morning you ride early and you

0:37:00.880 --> 0:37:03.000
<v Speaker 3>head over to the bakery to get things started with

0:37:03.040 --> 0:37:06.440
<v Speaker 3>your coworkers. The place opens at five point thirty each morning.

0:37:06.960 --> 0:37:09.239
<v Speaker 3>People come from all over to get the spinach and

0:37:09.280 --> 0:37:12.600
<v Speaker 3>white cheese boric. Not just Eastern Europeans looking for a

0:37:12.640 --> 0:37:15.160
<v Speaker 3>taste of home, but anyone who tries your food, even

0:37:15.320 --> 0:37:16.680
<v Speaker 3>just once, you will love it.

0:37:16.760 --> 0:37:17.120
<v Speaker 2>Boss.

0:37:17.200 --> 0:37:20.320
<v Speaker 3>You tell them so. On this morning, you're up before

0:37:20.360 --> 0:37:22.680
<v Speaker 3>the light. You put on your coat against the chill

0:37:22.719 --> 0:37:25.600
<v Speaker 3>of a February morning, and you head out toward Wymark Avenue,

0:37:25.960 --> 0:37:28.319
<v Speaker 3>the side street that runs from your place to high

0:37:28.400 --> 0:37:31.440
<v Speaker 3>Road where the bakery is. What's great about this commute

0:37:31.440 --> 0:37:33.239
<v Speaker 3>isn't just the short walk, but the fact that you

0:37:33.280 --> 0:37:36.960
<v Speaker 3>get to walk by a famous painting every day. Banksy

0:37:37.040 --> 0:37:40.000
<v Speaker 3>painted a kid sowing a banner of British flags last year.

0:37:40.320 --> 0:37:42.080
<v Speaker 3>It's low on the wall to make it look like

0:37:42.080 --> 0:37:44.800
<v Speaker 3>the kids sitting on the ground. It's clever, you think,

0:37:45.239 --> 0:37:47.440
<v Speaker 3>but it's also a very big deal, and a lot

0:37:47.480 --> 0:37:49.560
<v Speaker 3>of people come to take pictures, either of just the

0:37:49.600 --> 0:37:53.080
<v Speaker 3>piece itself or of themselves squatting next to it. The

0:37:53.120 --> 0:37:56.279
<v Speaker 3>local council put a large piece of plexiglass over it

0:37:56.320 --> 0:37:59.759
<v Speaker 3>to protect it from the elements and from people. The

0:38:00.040 --> 0:38:02.160
<v Speaker 3>best part is that it drives a lot of foot

0:38:02.160 --> 0:38:04.839
<v Speaker 3>traffic to the bakery. The people who've gotten to take

0:38:04.880 --> 0:38:08.080
<v Speaker 3>pictures feel good about themselves getting quote ethnic food from

0:38:08.120 --> 0:38:11.239
<v Speaker 3>the neighborhood. You know that once they try that borick though,

0:38:11.280 --> 0:38:14.759
<v Speaker 3>they'll be hooked. You walk down the sidewalk, just the

0:38:14.800 --> 0:38:16.960
<v Speaker 3>sound of a garbage struck in the distance and a

0:38:17.000 --> 0:38:20.200
<v Speaker 3>bus going by. As you approach the corner and the

0:38:20.200 --> 0:38:23.600
<v Speaker 3>bank se something seems off. You get closer and see

0:38:23.600 --> 0:38:26.800
<v Speaker 3>that there's rubble all over the ground. Your footfall quickens

0:38:26.840 --> 0:38:29.160
<v Speaker 3>as you jog over to the mural, but there is

0:38:29.200 --> 0:38:32.640
<v Speaker 3>no mural, just a big square in the plaster with

0:38:32.719 --> 0:38:36.960
<v Speaker 3>the underlying brick now exposed. The bank sea is gone.

0:38:37.000 --> 0:38:40.040
<v Speaker 3>You stand there and disbelieve who steals a mural off

0:38:40.120 --> 0:38:43.440
<v Speaker 3>the wall. Just then you hear a few young fellows approaching,

0:38:43.560 --> 0:38:46.480
<v Speaker 3>just coming home after a night out. That's not unusual

0:38:46.520 --> 0:38:49.040
<v Speaker 3>for you to feel the start of your day past

0:38:49.120 --> 0:38:52.239
<v Speaker 3>the debauched clothes of another's day. Like how do they

0:38:52.239 --> 0:38:55.280
<v Speaker 3>say ships in the night. It's like the blood coursing

0:38:55.360 --> 0:38:57.960
<v Speaker 3>back and forth through the city, you think, in this enorming,

0:38:58.120 --> 0:39:01.200
<v Speaker 3>living creature of a city. One of the boys drops

0:39:01.200 --> 0:39:02.960
<v Speaker 3>a bottle and they all laugh, and as they get

0:39:03.000 --> 0:39:06.560
<v Speaker 3>closer they stop OI. One of them yells, what'd you do?

0:39:07.360 --> 0:39:08.920
<v Speaker 3>You look at the guys and then back at the

0:39:08.920 --> 0:39:10.839
<v Speaker 3>hole where the mural used to be. You put your

0:39:10.880 --> 0:39:13.040
<v Speaker 3>hands up. No, no, I just got here. I didn't

0:39:13.080 --> 0:39:15.960
<v Speaker 3>do this. You tell them with great alarm in your voice,

0:39:16.160 --> 0:39:18.919
<v Speaker 3>a level of distress that surprises you as it comes

0:39:18.920 --> 0:39:21.480
<v Speaker 3>out of your mouth. You tell them that someone stole

0:39:21.520 --> 0:39:24.319
<v Speaker 3>the banksy right off the wall. The four of you

0:39:24.440 --> 0:39:28.000
<v Speaker 3>now stand agog in front of the empty space. Can't

0:39:28.000 --> 0:39:31.040
<v Speaker 3>have anything nice? One of the lads says, no, you

0:39:31.080 --> 0:39:35.960
<v Speaker 3>tell them we can't, so saren, Yes, someone cut the

0:39:36.040 --> 0:39:39.480
<v Speaker 3>banksy right off the wall. I think my theory is

0:39:39.480 --> 0:39:42.680
<v Speaker 3>that the plexiglass shield actually made it easier to cut

0:39:42.719 --> 0:39:44.920
<v Speaker 3>around and lift the plaster in one piece.

0:39:46.040 --> 0:39:48.719
<v Speaker 2>I mean, you know, I used to be a fummer painter, right,

0:39:48.800 --> 0:39:52.360
<v Speaker 2>So if I was to attempt to cut plaster off,

0:39:52.600 --> 0:39:54.400
<v Speaker 2>there are ways to do it, but to get it

0:39:54.440 --> 0:39:56.799
<v Speaker 2>off of whatever it's attached to, like that, uh, the

0:39:56.800 --> 0:40:00.600
<v Speaker 2>substrate surface. I would rather cut the bricks. When you

0:40:00.600 --> 0:40:02.520
<v Speaker 2>cut the bricks, they can start to come apart. Now

0:40:02.560 --> 0:40:04.520
<v Speaker 2>you would, you would hope that it would all be pretty,

0:40:04.719 --> 0:40:06.919
<v Speaker 2>you know, connected because of the plaster and in time,

0:40:06.960 --> 0:40:09.440
<v Speaker 2>it's kind of like settled into itself, so it wouldn't

0:40:09.440 --> 0:40:11.160
<v Speaker 2>be so brittle where it's because it's gonna come apart

0:40:11.200 --> 0:40:14.480
<v Speaker 2>if you remove the bricks. But if you remove the bricks,

0:40:14.520 --> 0:40:15.920
<v Speaker 2>they would come it like you'd have to follow the

0:40:15.960 --> 0:40:18.160
<v Speaker 2>grout line or else just cut right through stuff. So

0:40:18.200 --> 0:40:21.160
<v Speaker 2>that's weird. And yeah, I'm with you that the plexiglass

0:40:21.160 --> 0:40:23.040
<v Speaker 2>would basically give you a front face you can kind

0:40:23.040 --> 0:40:24.960
<v Speaker 2>of lean it on as you're pulling it off the wall.

0:40:25.000 --> 0:40:27.640
<v Speaker 2>It's not going to come apart in that one. You

0:40:27.920 --> 0:40:29.879
<v Speaker 2>have a lot of dimensions you're working with. You think

0:40:29.920 --> 0:40:32.879
<v Speaker 2>about it a kite width with all that, so you're

0:40:32.920 --> 0:40:36.120
<v Speaker 2>taking out one of those that that helps, But I

0:40:36.160 --> 0:40:38.160
<v Speaker 2>would be a tough one. I would want like you

0:40:38.160 --> 0:40:39.960
<v Speaker 2>know the way the art preservers do it, where you

0:40:40.000 --> 0:40:43.879
<v Speaker 2>basically dremble the whole thing off the walls. So you

0:40:43.960 --> 0:40:46.719
<v Speaker 2>just cut it off and then you dremble the backside too,

0:40:46.800 --> 0:40:49.600
<v Speaker 2>so you're not really ever using chisels.

0:40:49.200 --> 0:40:51.640
<v Speaker 3>Or anything else. Yeah, I think that's probably a very

0:40:51.680 --> 0:40:52.360
<v Speaker 3>clean cut.

0:40:52.480 --> 0:40:54.920
<v Speaker 2>Yeah, but I mean that's and then two once again,

0:40:54.960 --> 0:40:57.359
<v Speaker 2>I mean for the backside cut and getting it off

0:40:57.360 --> 0:40:59.400
<v Speaker 2>the bricks. I mean, there are tools, there's ways to

0:40:59.440 --> 0:41:02.320
<v Speaker 2>do this, but like, how do you muffle the noise?

0:41:02.480 --> 0:41:05.239
<v Speaker 3>I don't know, but god, I love a dremal, know

0:41:05.440 --> 0:41:11.440
<v Speaker 3>you do? Anyway? The neighborhood stunned, absolutely stunned. From the

0:41:11.520 --> 0:41:14.319
<v Speaker 3>New York Times quote, it had been ripped out with

0:41:14.400 --> 0:41:17.920
<v Speaker 3>no explanation, along with quite a substantial chunk of the wall,

0:41:18.320 --> 0:41:21.280
<v Speaker 3>said Alan Strickland, a member of the local council, describing

0:41:21.320 --> 0:41:24.400
<v Speaker 3>the bizarre scene that greeted passers by the other weekend.

0:41:24.760 --> 0:41:28.480
<v Speaker 3>All that was left was this hole. So not long

0:41:28.520 --> 0:41:31.600
<v Speaker 3>after the hole appeared, some construction guys showed up.

0:41:31.640 --> 0:41:33.479
<v Speaker 2>So it sounds like they took the bricks too.

0:41:33.640 --> 0:41:35.359
<v Speaker 3>No, you can see the bricks are there?

0:41:35.560 --> 0:41:38.280
<v Speaker 2>Okay, Yeah, it's just if you took the bricks.

0:41:38.400 --> 0:41:41.480
<v Speaker 3>No, they didn't that. These construction guys show up, they

0:41:41.480 --> 0:41:44.279
<v Speaker 3>start to patch the wall, and everyone's saying, well, who

0:41:44.360 --> 0:41:46.880
<v Speaker 3>hired you to do this? They won't say, They won't

0:41:46.920 --> 0:41:53.479
<v Speaker 3>discuss anything. And that's like who owns this mural? Right,

0:41:53.920 --> 0:41:57.040
<v Speaker 3>So the legal opinion is generally that banks these murals

0:41:57.080 --> 0:42:00.720
<v Speaker 3>are not his totally. They belong to whomever was the building.

0:42:01.360 --> 0:42:04.440
<v Speaker 3>And so this particular wall was not owned by pound Land,

0:42:04.719 --> 0:42:09.040
<v Speaker 3>but rather the company it leases the space from, wood

0:42:09.080 --> 0:42:13.560
<v Speaker 3>Green Investments, and that company they refused to comment. So

0:42:13.680 --> 0:42:15.560
<v Speaker 3>a lawyer for the company, this guy by the name

0:42:15.600 --> 0:42:18.160
<v Speaker 3>of Matthew Dillon, who did not star in Rumblefish or

0:42:18.160 --> 0:42:21.960
<v Speaker 3>There's something about Mary, he told the Financial Times quote,

0:42:22.000 --> 0:42:25.160
<v Speaker 3>if they deny removing the mural, they will become embroiled

0:42:25.160 --> 0:42:28.480
<v Speaker 3>in an international criminal investigation. And if they admit to

0:42:28.520 --> 0:42:31.680
<v Speaker 3>consenting to it, then they will become the target of abuse.

0:42:32.480 --> 0:42:36.000
<v Speaker 3>The advice to my client has been to say nothing interesting.

0:42:36.080 --> 0:42:38.920
<v Speaker 2>Yeah, that's really interesting. So what about the idea that

0:42:38.920 --> 0:42:40.880
<v Speaker 2>they would remove it and secretly sell it because they

0:42:40.920 --> 0:42:41.279
<v Speaker 2>own it.

0:42:41.640 --> 0:42:45.839
<v Speaker 3>That's so. He said that his clients didn't report any

0:42:45.880 --> 0:42:46.920
<v Speaker 3>theft to the police.

0:42:47.719 --> 0:42:48.000
<v Speaker 2>Yeah.

0:42:48.000 --> 0:42:52.279
<v Speaker 3>That so it was just weeks later that the mural resurfaced.

0:42:52.480 --> 0:42:54.480
<v Speaker 3>Oh weeks this time in Miami.

0:42:54.880 --> 0:42:57.080
<v Speaker 2>Oh yeah, there's a big thing there, a big event.

0:42:57.200 --> 0:43:00.959
<v Speaker 3>Yeah. Well, Fine Art Auctions. They are prepping to sell

0:43:00.960 --> 0:43:04.799
<v Speaker 3>it at their auction. They figured it out. Yeah, no,

0:43:04.840 --> 0:43:07.320
<v Speaker 3>it showed up in an auction house. They figured it

0:43:07.320 --> 0:43:10.960
<v Speaker 3>would get between five hundred thousand, seven hundred thousand dollars.

0:43:11.040 --> 0:43:15.239
<v Speaker 3>And so Frederick Futt I don't know th hut, I'm

0:43:15.239 --> 0:43:17.680
<v Speaker 3>gonna call it fut because you know what, I'm an American.

0:43:19.000 --> 0:43:22.200
<v Speaker 3>He's the owner of Fine Art Auctions Miami. He said

0:43:22.200 --> 0:43:24.600
<v Speaker 3>the piece was being sold by a quote well known

0:43:24.800 --> 0:43:28.279
<v Speaker 3>collector who is not British. But he would say no

0:43:28.360 --> 0:43:31.000
<v Speaker 3>more about that, except for the fact that the painting

0:43:31.120 --> 0:43:34.640
<v Speaker 3>was being stored in Europe, was not in Miami, and

0:43:34.719 --> 0:43:40.040
<v Speaker 3>so back in wood Green Herring Herring, the neighborhood was irate,

0:43:40.880 --> 0:43:43.960
<v Speaker 3>so counselor Alan Strickland. He said that artwork was a

0:43:43.960 --> 0:43:47.000
<v Speaker 3>gift to the community and so he started an email

0:43:47.040 --> 0:43:50.360
<v Speaker 3>writing campaign to the auction house to get the artwork returned,

0:43:50.920 --> 0:43:54.440
<v Speaker 3>and they went bonkers, like they just would not stop

0:43:55.400 --> 0:43:58.560
<v Speaker 3>and to show the power of collective nonviolent action. At

0:43:58.560 --> 0:44:01.919
<v Speaker 3>the very last minute, the auction was dramatically halted. Good

0:44:02.000 --> 0:44:05.279
<v Speaker 3>for and I'm talking moments before it was due to

0:44:05.280 --> 0:44:07.839
<v Speaker 3>go under the hammer. Oh really, Yeah, we know that

0:44:07.880 --> 0:44:11.040
<v Speaker 3>the emails didn't do it though, Yeah, no, those are

0:44:12.120 --> 0:44:15.840
<v Speaker 3>Frank does be real. Those things just annoy the targets

0:44:15.880 --> 0:44:17.279
<v Speaker 3>instead of getting results.

0:44:17.000 --> 0:44:17.640
<v Speaker 2>That's true.

0:44:18.000 --> 0:44:20.440
<v Speaker 3>No, The rumor had it that the auction house pulled

0:44:20.440 --> 0:44:23.759
<v Speaker 3>it on advice from their lawyers. In response to that,

0:44:23.800 --> 0:44:27.319
<v Speaker 3>the auctioneers issued a statement quote, although there are no

0:44:27.480 --> 0:44:30.920
<v Speaker 3>legal issues whatsoever regarding the sale of lots six and

0:44:31.000 --> 0:44:35.799
<v Speaker 3>seven by Banksy, FAAM convinced its consigners to withdraw these

0:44:35.840 --> 0:44:38.239
<v Speaker 3>lots from the auction and take back the power of

0:44:38.280 --> 0:44:43.280
<v Speaker 3>authority of these works. So he mentioned lots six and seven. Yes,

0:44:43.600 --> 0:44:46.520
<v Speaker 3>there was another Banksy at that auction. The second one

0:44:46.680 --> 0:44:49.240
<v Speaker 3>was a two thousand and seven piece called Wet Dog,

0:44:49.800 --> 0:44:52.960
<v Speaker 3>and that was removed from a Bethlehem wall, and this

0:44:53.160 --> 0:44:55.719
<v Speaker 3>estimated to be worth up to eight hundred thousand dollars.

0:44:55.760 --> 0:44:58.520
<v Speaker 2>Not Pennsylvania, Bethlehem, the holy bethl.

0:44:58.960 --> 0:45:03.840
<v Speaker 3>Like birthplace of Jesus Noah. That one was pulled just

0:45:03.880 --> 0:45:07.840
<v Speaker 3>a few hours before slave labor was. And he said

0:45:07.840 --> 0:45:10.480
<v Speaker 3>that the two pieces were brought to auction by separate

0:45:10.520 --> 0:45:15.040
<v Speaker 3>owners and neither of them were British. So he also

0:45:15.120 --> 0:45:17.640
<v Speaker 3>said that he would maintain the privacy of the collector

0:45:17.640 --> 0:45:20.279
<v Speaker 3>who put them up for sale. Quote, we respect our

0:45:20.280 --> 0:45:23.480
<v Speaker 3>clients and their confidentiality. It is not our decision to

0:45:23.480 --> 0:45:26.080
<v Speaker 3>have the banks You returned. We only sell it, We

0:45:26.239 --> 0:45:27.480
<v Speaker 3>do not have control of it.

0:45:27.600 --> 0:45:30.000
<v Speaker 2>I love how like auction houses act like they have

0:45:30.120 --> 0:45:33.520
<v Speaker 2>like attorney client privilege. Clients like we have to understand

0:45:34.600 --> 0:45:37.000
<v Speaker 2>and you're just trying to profit. Don't act like, oh

0:45:37.040 --> 0:45:38.720
<v Speaker 2>on an ethical high horse here.

0:45:39.400 --> 0:45:44.120
<v Speaker 3>Well, in the meantime, new work had popped up where

0:45:44.120 --> 0:45:48.080
<v Speaker 3>slave labor had been. Someone likely Banksy, it was posited,

0:45:48.160 --> 0:45:50.880
<v Speaker 3>had stenciled a little rat next to the hole holding

0:45:50.880 --> 0:45:58.400
<v Speaker 3>a sign saying why, and then that was quickly plexiglass over,

0:45:59.600 --> 0:46:04.200
<v Speaker 3>and then another sencil reading danger thieves showed up, and

0:46:04.239 --> 0:46:06.719
<v Speaker 3>then over the new blank plaster where the whole was

0:46:06.760 --> 0:46:11.279
<v Speaker 3>someone did like a small, hot, pink dinosaur. Those two

0:46:11.280 --> 0:46:14.600
<v Speaker 3>were not in the style of banks There was a

0:46:15.200 --> 0:46:17.799
<v Speaker 3>woman in a nun's habit with no mouth and a

0:46:17.840 --> 0:46:22.480
<v Speaker 3>red star over one eye that covered up the dinosaur stuff. Yeah,

0:46:22.600 --> 0:46:26.400
<v Speaker 3>very much so. Various murals have taken over throughout the years.

0:46:26.440 --> 0:46:28.680
<v Speaker 3>Right now, it's a sewing machine on top of a

0:46:28.680 --> 0:46:31.320
<v Speaker 3>plinth of a statue that had been taken down to protest.

0:46:32.040 --> 0:46:35.400
<v Speaker 3>That one got people all excited, but Artnet burst everyone's

0:46:35.440 --> 0:46:38.920
<v Speaker 3>bubble in twenty twenty two with the headline Womp womp.

0:46:39.360 --> 0:46:42.320
<v Speaker 3>Turns out this mural Lenderner's thought was a Banksy is

0:46:42.360 --> 0:46:48.440
<v Speaker 3>actually just a tribute by a local fan artist. What

0:46:48.520 --> 0:46:51.239
<v Speaker 3>it looks like. This is the current Google street View.

0:46:53.000 --> 0:46:55.600
<v Speaker 3>You know a bunch of stuff around there, and you

0:46:55.640 --> 0:46:58.360
<v Speaker 3>know you've got it's palm oil or me. You choose

0:46:58.400 --> 0:47:00.960
<v Speaker 3>and there's a picture of it or whatever.

0:47:05.640 --> 0:47:06.200
<v Speaker 4>I don't know.

0:47:06.840 --> 0:47:11.560
<v Speaker 3>Uh. His bubbles back to Slave Labor.

0:47:11.680 --> 0:47:14.040
<v Speaker 2>Do you say your team chocolate? That's all I'm hearing.

0:47:17.320 --> 0:47:20.400
<v Speaker 3>Okay, So just a few months after that Miami auction

0:47:20.600 --> 0:47:23.640
<v Speaker 3>was canceled, it popped up again, Slave Labor.

0:47:23.480 --> 0:47:26.080
<v Speaker 2>I thought the action did, this.

0:47:26.160 --> 0:47:30.440
<v Speaker 3>Time for sale at an auction by the Sincura group

0:47:30.840 --> 0:47:36.520
<v Speaker 3>in Covent Garden in London. Cura, Sincura, Sincura. Who cares.

0:47:36.640 --> 0:47:39.840
<v Speaker 3>They said that I'm getting faster and looser.

0:47:39.920 --> 0:47:40.400
<v Speaker 2>Yes I know.

0:47:40.920 --> 0:47:44.800
<v Speaker 3>They said that mural had quote been sensitively restored under

0:47:44.840 --> 0:47:48.160
<v Speaker 3>a cloak of secrecy, and we go up for sale

0:47:48.200 --> 0:47:51.680
<v Speaker 3>along pieces by Damien Hurst, Andy Warhol, Mario Testino.

0:47:51.800 --> 0:47:53.560
<v Speaker 2>That's how I get my haircut under a cloak of.

0:47:53.520 --> 0:47:59.799
<v Speaker 3>Secrecy by by Mario Tastino. So once again cut his

0:47:59.840 --> 0:48:04.839
<v Speaker 3>hair once again. Neighborhood groups lost their slippers like they

0:48:05.160 --> 0:48:09.120
<v Speaker 3>just Keith Flett, secretary of the local Trades Union Congress,

0:48:09.160 --> 0:48:12.960
<v Speaker 3>he told the Guardian newspaper quote, the slave labor banksy

0:48:13.080 --> 0:48:17.280
<v Speaker 3>belongs to the people of Herringy, not a wealthy private client.

0:48:17.400 --> 0:48:20.080
<v Speaker 3>We want the sale stopped and the banksy back where

0:48:20.120 --> 0:48:22.080
<v Speaker 3>it belongs in London and twenty two.

0:48:22.600 --> 0:48:24.799
<v Speaker 2>I know think that sounds crazy, but you keep saying

0:48:24.800 --> 0:48:26.920
<v Speaker 2>the term slave labor, and as like a black man

0:48:27.040 --> 0:48:29.480
<v Speaker 2>hearing slave labor, slave labor, and it's all these people

0:48:29.600 --> 0:48:31.880
<v Speaker 2>talking about profiting off this stuff. It just it just

0:48:31.920 --> 0:48:33.000
<v Speaker 2>hits the ear difference.

0:48:33.080 --> 0:48:35.080
<v Speaker 3>Well, and when you're typing it out like I was,

0:48:35.120 --> 0:48:37.560
<v Speaker 3>where I'm making a note to myself. So then slave

0:48:37.640 --> 0:48:38.960
<v Speaker 3>labor popped up again.

0:48:39.320 --> 0:48:42.280
<v Speaker 2>Like it's it's it's a little casual.

0:48:42.400 --> 0:48:47.000
<v Speaker 3>Yeah, that's a little strange. Oh yeah, so Sinkhira. They

0:48:47.040 --> 0:48:50.800
<v Speaker 3>said that they in a statement quote, we are approached

0:48:50.800 --> 0:48:54.120
<v Speaker 3>by building owners to remove the artwork illegally painted on

0:48:54.160 --> 0:48:58.960
<v Speaker 3>their sites. And they said apparently they salvage and uncover

0:48:59.160 --> 0:49:03.640
<v Speaker 3>murals from across London, Liverpool and Berlin. They say that

0:49:03.680 --> 0:49:06.600
<v Speaker 3>they don't own the pieces and they don't make any money,

0:49:07.360 --> 0:49:11.080
<v Speaker 3>but they're just like fixers who were hired to reclaim them.

0:49:11.160 --> 0:49:12.960
<v Speaker 2>In the hood. They have these places that we'll buy

0:49:13.040 --> 0:49:15.080
<v Speaker 2>your house and they'll still signs all the place. Yeah,

0:49:15.120 --> 0:49:16.640
<v Speaker 2>it feels like this, but like we'll take that.

0:49:16.719 --> 0:49:17.200
<v Speaker 3>We'll take that.

0:49:17.320 --> 0:49:19.200
<v Speaker 2>Take your art, well, this is what they sell it somewhere.

0:49:19.320 --> 0:49:20.640
<v Speaker 2>We'll put the profits with you.

0:49:21.440 --> 0:49:24.480
<v Speaker 3>They said. Quote The building owners have not asked for

0:49:24.520 --> 0:49:26.840
<v Speaker 3>the art to be placed on their premises or for

0:49:26.920 --> 0:49:30.239
<v Speaker 3>the ongoing attention received from it. What is more, they

0:49:30.360 --> 0:49:33.000
<v Speaker 3>run the very real risk of having a Grade two

0:49:33.120 --> 0:49:36.680
<v Speaker 3>listing apply to their premises, which seriously affects their business

0:49:36.680 --> 0:49:40.480
<v Speaker 3>operations and resale value. Though loved by the public, these

0:49:40.520 --> 0:49:44.480
<v Speaker 3>are often a hindrance to the building owners. And then,

0:49:44.560 --> 0:49:47.680
<v Speaker 3>according to the Guardian quote, the company said they then

0:49:47.760 --> 0:49:51.000
<v Speaker 3>work to restore the iconic graffiti works which had often

0:49:51.000 --> 0:49:54.000
<v Speaker 3>been the subject of vandalism or theft, and would, they

0:49:54.040 --> 0:49:57.960
<v Speaker 3>claim otherwise be doomed to a fate of unceremonious decay

0:49:58.000 --> 0:49:58.719
<v Speaker 3>and erosions.

0:49:58.719 --> 0:50:01.640
<v Speaker 2>It's kind of a point of graffiti. Yeah, why it's

0:50:01.640 --> 0:50:02.400
<v Speaker 2>not on a canvas.

0:50:02.480 --> 0:50:05.200
<v Speaker 3>The auction actually went through. Meant to be for the people,

0:50:05.239 --> 0:50:06.600
<v Speaker 3>and to be for the people, and.

0:50:06.719 --> 0:50:09.759
<v Speaker 2>In those places transitory permanent. Part of like you.

0:50:10.040 --> 0:50:14.040
<v Speaker 3>Change, here's a fun sentence for you. Slave labor sold

0:50:14.040 --> 0:50:16.680
<v Speaker 3>it into an unidentified.

0:50:15.760 --> 0:50:17.920
<v Speaker 2>Buyer you hear it now, right?

0:50:18.040 --> 0:50:21.520
<v Speaker 3>Hear it? Oh, I've been I've been hearing. Slave Labor

0:50:21.640 --> 0:50:26.680
<v Speaker 3>sold to an unidentified buyer seven hundred and fifty pounds.

0:50:26.680 --> 0:50:28.520
<v Speaker 3>It was like one point one million at the time.

0:50:29.160 --> 0:50:31.759
<v Speaker 3>But it's not over Zeron, No, but not. Fast forward

0:50:31.800 --> 0:50:32.480
<v Speaker 3>to twenty eight.

0:50:32.440 --> 0:50:33.960
<v Speaker 2>Flave Labory sticks around Elizabeth.

0:50:35.239 --> 0:50:40.040
<v Speaker 3>Slave Labor was sold again, this time keep coming back,

0:50:40.920 --> 0:50:45.280
<v Speaker 3>this time at Julian's Auctions in Los Angeles. Anyway, American

0:50:45.360 --> 0:50:48.799
<v Speaker 3>artist Ron English bought it for seven hundred and thirty

0:50:48.880 --> 0:50:50.919
<v Speaker 3>thousand dollars, so we had some depreciation.

0:50:51.040 --> 0:50:51.480
<v Speaker 2>Yeah, sound.

0:50:52.239 --> 0:50:55.279
<v Speaker 3>He said he had plans for it. He vowed to

0:50:55.480 --> 0:50:59.160
<v Speaker 3>whitewash it in protest of the market in street art.

0:51:00.080 --> 0:51:01.400
<v Speaker 2>He's going to paint over the banks.

0:51:01.520 --> 0:51:03.720
<v Speaker 3>Yeah, he told the press. Quote, this is a blow

0:51:03.800 --> 0:51:06.160
<v Speaker 3>for street art. It shouldn't be bought and sold.

0:51:06.560 --> 0:51:08.880
<v Speaker 2>Was he going to film himself doing this and then sell.

0:51:08.640 --> 0:51:12.400
<v Speaker 3>That, Well, he himself is a street art into some

0:51:12.480 --> 0:51:15.440
<v Speaker 3>kind of like thousands hanging around, plus you get the fees.

0:51:15.480 --> 0:51:18.200
<v Speaker 3>I don't know he's reaching up on nine hundred thousand dollars.

0:51:18.480 --> 0:51:20.200
<v Speaker 2>I've mentioned her a few times on the show, but

0:51:20.440 --> 0:51:24.360
<v Speaker 2>the artist Pipolodi Wrist she took a sledgehammer and destroyed

0:51:24.360 --> 0:51:26.680
<v Speaker 2>a car one time. It was like a whole performance

0:51:26.760 --> 0:51:28.880
<v Speaker 2>art piece. It sounds like this guy should do that

0:51:28.960 --> 0:51:31.560
<v Speaker 2>kind of stuff. I bet he doesn't have the eggs

0:51:31.719 --> 0:51:32.840
<v Speaker 2>over to do that.

0:51:32.880 --> 0:51:35.480
<v Speaker 3>He listened because that was one of the things. There

0:51:35.480 --> 0:51:38.480
<v Speaker 3>were so many stolen Banksies that like, I could do

0:51:38.520 --> 0:51:41.080
<v Speaker 3>two more episodes, but then it's you know, I bet,

0:51:41.120 --> 0:51:43.080
<v Speaker 3>I bet it's just too much.

0:51:43.000 --> 0:51:43.520
<v Speaker 2>Some of the stories.

0:51:43.560 --> 0:51:47.160
<v Speaker 3>I may not is the balloon girl. That's what I

0:51:47.200 --> 0:51:50.719
<v Speaker 3>was thinking of through the shredder as part of like

0:51:50.840 --> 0:51:53.840
<v Speaker 3>the process statement. And so I think that this guy's

0:51:53.920 --> 0:51:58.359
<v Speaker 3>kind of you know, riding that high anyway. He so,

0:51:58.440 --> 0:52:01.120
<v Speaker 3>this guy, he's had any of tangles with the law

0:52:01.160 --> 0:52:04.360
<v Speaker 3>for using public billboards that sort of stuff, public spaces

0:52:04.360 --> 0:52:07.360
<v Speaker 3>for his paintings, sculptures. He said, quote, I'm going to

0:52:07.440 --> 0:52:10.080
<v Speaker 3>paint over it and just include it on one of

0:52:10.120 --> 0:52:13.040
<v Speaker 3>the walls in my house. We're tired of people stealing

0:52:13.040 --> 0:52:15.759
<v Speaker 3>our stuff off the streets and reselling it. So I'm

0:52:15.800 --> 0:52:17.560
<v Speaker 3>just going to buy everything and get my hands on

0:52:17.640 --> 0:52:19.120
<v Speaker 3>and whitewash it.

0:52:19.200 --> 0:52:21.439
<v Speaker 2>But then the Wii and there was done a lot

0:52:21.480 --> 0:52:23.879
<v Speaker 2>of work, I mean, like putting himself and Banksy into

0:52:23.920 --> 0:52:25.680
<v Speaker 2>one collective like that.

0:52:25.760 --> 0:52:29.600
<v Speaker 3>He says it my buddy Banksy, but you're like my buddy.

0:52:29.760 --> 0:52:31.759
<v Speaker 2>He sounds like a mister brainwashed where it's like my

0:52:31.840 --> 0:52:35.760
<v Speaker 2>buddy Banksy, the guy from the exited the gift shops exactly.

0:52:36.840 --> 0:52:39.160
<v Speaker 3>Then he said that he does plan to sell it,

0:52:39.480 --> 0:52:41.760
<v Speaker 3>maybe for like a million dollars.

0:52:42.120 --> 0:52:42.560
<v Speaker 2>Look at that.

0:52:42.640 --> 0:52:45.680
<v Speaker 3>And then he said, quote, I'm crazy, but I'm not stupid.

0:52:45.840 --> 0:52:47.040
<v Speaker 2>Sir, You're a lot of things.

0:52:47.800 --> 0:52:50.759
<v Speaker 3>Yeah, so there's no word on how that's going. And

0:52:50.840 --> 0:52:52.359
<v Speaker 3>what does Banksy think of all this?

0:52:52.760 --> 0:52:53.640
<v Speaker 2>What does banks you think?

0:52:53.640 --> 0:52:54.920
<v Speaker 3>A great questions?

0:52:55.040 --> 0:52:55.640
<v Speaker 2>Eric, Thank you.

0:52:55.840 --> 0:53:00.400
<v Speaker 3>He released the statement, quoting ay Matisse quote I was

0:53:00.520 --> 0:53:03.600
<v Speaker 3>very embarrassed when my canvases began to fetch high prices.

0:53:03.880 --> 0:53:06.840
<v Speaker 3>I saw myself condemned to a future of painting nothing

0:53:06.880 --> 0:53:08.120
<v Speaker 3>but masterpieces.

0:53:09.320 --> 0:53:09.760
<v Speaker 2>Interesting.

0:53:09.920 --> 0:53:13.040
<v Speaker 3>So he's Banksy has said in the past that quote.

0:53:13.360 --> 0:53:16.160
<v Speaker 3>For the sake of keeping all street art where it belongs,

0:53:16.239 --> 0:53:19.600
<v Speaker 3>I'd encourage people not to buy anything by anybody unless

0:53:19.640 --> 0:53:21.800
<v Speaker 3>it was created for sale in the first place.

0:53:22.000 --> 0:53:23.520
<v Speaker 2>There you go, there it is boom.

0:53:23.880 --> 0:53:28.320
<v Speaker 3>That's great advice for everything. Yeah, Zaren, what's your ridiculous takeaway?

0:53:28.600 --> 0:53:31.840
<v Speaker 2>Okay, this will probably blow your mind. But maybe this

0:53:31.960 --> 0:53:33.399
<v Speaker 2>is the time to tell you, or just to tell

0:53:33.440 --> 0:53:37.600
<v Speaker 2>everybody at the same time. I'm Banksy. What I know

0:53:37.840 --> 0:53:38.760
<v Speaker 2>you didn't see that coming?

0:53:38.840 --> 0:53:40.560
<v Speaker 3>So did not I did not have that on my

0:53:40.640 --> 0:53:41.640
<v Speaker 3>list of theories.

0:53:41.719 --> 0:53:44.440
<v Speaker 2>Oh, I'm sorry, I read my note wrong. I'm Batman.

0:53:45.320 --> 0:53:47.000
<v Speaker 3>Oh that makes even more sense.

0:53:47.040 --> 0:53:50.320
<v Speaker 2>No, sorry, I still read that wrong. Sorry, I'm Bartman.

0:53:51.080 --> 0:53:53.680
<v Speaker 2>Oh that's that's lined through. I don't know what my

0:53:53.719 --> 0:53:54.080
<v Speaker 2>notes are.

0:53:54.080 --> 0:53:57.040
<v Speaker 3>Yours every woman?

0:53:57.160 --> 0:54:00.000
<v Speaker 2>Yes, I'm a multitude. It starts with me. What about you?

0:54:00.040 --> 0:54:01.080
<v Speaker 2>What's your ridiculous takeaway?

0:54:01.360 --> 0:54:04.520
<v Speaker 3>Ridiculous takeaway is that you know that like you pointed

0:54:04.520 --> 0:54:07.400
<v Speaker 3>out that this, oh, my good friend Banksy like this,

0:54:07.880 --> 0:54:10.920
<v Speaker 3>everyone in one way or another wants to hitch a

0:54:11.040 --> 0:54:14.440
<v Speaker 3>ride on this stuff. You know, whether it's like, you know,

0:54:14.640 --> 0:54:18.160
<v Speaker 3>bringing people to the neighborhood. And now it's only one

0:54:18.280 --> 0:54:21.120
<v Speaker 3>passing reference in all of the press. Did I read

0:54:21.280 --> 0:54:24.360
<v Speaker 3>did people point out that this is on the side

0:54:24.400 --> 0:54:27.759
<v Speaker 3>of a of a dollar store basically.

0:54:27.600 --> 0:54:30.680
<v Speaker 2>And where there was unrest in twenty eleven it protest

0:54:30.840 --> 0:54:31.239
<v Speaker 2>but like.

0:54:31.640 --> 0:54:34.080
<v Speaker 3>Here's we're talking about slave labor like the inside and

0:54:34.080 --> 0:54:36.400
<v Speaker 3>buy some like but the neighborhood, they just thought of

0:54:36.440 --> 0:54:38.560
<v Speaker 3>it as like this is a huge thing, which it is.

0:54:39.880 --> 0:54:41.960
<v Speaker 3>And like some of the pictures when you when you

0:54:42.000 --> 0:54:46.799
<v Speaker 3>search slave labor Banksy, you see like that, you know

0:54:46.840 --> 0:54:49.880
<v Speaker 3>people sitting on the ground next to it, smiling, and

0:54:49.920 --> 0:54:53.080
<v Speaker 3>it's like, you know, a lot in much of this

0:54:53.440 --> 0:54:54.920
<v Speaker 3>the point is missed.

0:54:55.160 --> 0:54:56.600
<v Speaker 2>I hope he gets a laugh at a lot.

0:54:56.920 --> 0:55:00.680
<v Speaker 3>I hope so too. You know what I need though,

0:55:01.320 --> 0:55:08.440
<v Speaker 3>in addition to many laughs, I need to talk back David,

0:55:09.600 --> 0:55:15.000
<v Speaker 3>Oh my god, I want cheat.

0:55:18.960 --> 0:55:21.360
<v Speaker 2>Hey, guys in fat can kind of smile on my

0:55:21.440 --> 0:55:27.959
<v Speaker 2>face when everything seems to be going wrong have for you? Well,

0:55:28.200 --> 0:55:31.200
<v Speaker 2>you know, we got your back because we feel you.

0:55:32.280 --> 0:55:34.319
<v Speaker 3>We got to keep a smile on our faces.

0:55:34.640 --> 0:55:37.200
<v Speaker 2>I've had learned that a long time ago, that humor

0:55:37.280 --> 0:55:41.960
<v Speaker 2>is one way to defeat anger, evil, small mindedness, hate.

0:55:42.239 --> 0:55:47.080
<v Speaker 3>And here's the thing, though important. We can't beat ourselves

0:55:47.160 --> 0:55:52.120
<v Speaker 3>up when we feel overwhelmed and in any time during

0:55:52.160 --> 0:55:55.359
<v Speaker 3>our lives, now, before, in the future, whatever it is. Like,

0:55:55.480 --> 0:55:58.640
<v Speaker 3>if if it's a lot for you, know that it's okay.

0:55:58.719 --> 0:56:00.439
<v Speaker 3>It's a lot for you, it's a lot for all

0:56:00.480 --> 0:56:02.959
<v Speaker 3>of us, So don't feel bad about it. But yeah,

0:56:03.000 --> 0:56:04.520
<v Speaker 3>you got to keep a smile on your face with

0:56:05.480 --> 0:56:07.319
<v Speaker 3>the close proximity thereof.

0:56:07.120 --> 0:56:09.480
<v Speaker 2>Totally we're also we're here, you know, to be both

0:56:09.719 --> 0:56:13.880
<v Speaker 2>a distraction, some entertainment and also a community and also

0:56:13.920 --> 0:56:15.680
<v Speaker 2>to let you know we are right there with you

0:56:15.719 --> 0:56:17.279
<v Speaker 2>with that. Don't let the bastards get you done.

0:56:17.360 --> 0:56:19.879
<v Speaker 3>That's the truth and that's it. That's that's a good

0:56:19.920 --> 0:56:22.120
<v Speaker 3>sign off for today. You can find us online at

0:56:22.200 --> 0:56:26.359
<v Speaker 3>ridiculous Crime dot com award winning website. Did you know

0:56:26.400 --> 0:56:29.120
<v Speaker 3>that every three hours we win a Webby award.

0:56:29.400 --> 0:56:29.760
<v Speaker 2>WHOA.

0:56:29.840 --> 0:56:32.000
<v Speaker 3>Yeah, it's a new record, it's a new thing they

0:56:32.080 --> 0:56:32.920
<v Speaker 3>created just for us.

0:56:32.920 --> 0:56:35.080
<v Speaker 2>I hope they've got a good tally machine they do.

0:56:35.320 --> 0:56:39.080
<v Speaker 3>There's a guy with a clicker on him. Yeah. We're

0:56:39.120 --> 0:56:42.400
<v Speaker 3>also a Ridiculous Crime on Blue Sky and Instagram and

0:56:42.440 --> 0:56:44.839
<v Speaker 3>you can email us at ridiculous Crime at gmail dot

0:56:44.840 --> 0:56:48.800
<v Speaker 3>com and then leave us talk back on the iheartapp

0:56:49.280 --> 0:56:57.480
<v Speaker 3>reach out. Ridiculous Crime is hosted by Elizabeth Dutton and

0:56:57.560 --> 0:57:01.040
<v Speaker 3>Zara Burnette, produced and edited by the Real Banksy True

0:57:01.040 --> 0:57:07.000
<v Speaker 3>Identity Finally Revealed Dave Cousten, starring Amalie Rutger as Judith.

0:57:07.560 --> 0:57:10.759
<v Speaker 3>Research is by balloon Girl Marissa Brown. The theme song

0:57:10.840 --> 0:57:14.560
<v Speaker 3>is by parachuting rat Thomas Lee and flower thrower Travis Dunn.

0:57:14.800 --> 0:57:18.840
<v Speaker 3>Post wardrobe is provided by Botany five hundred. Guest hair

0:57:18.840 --> 0:57:23.000
<v Speaker 3>and makeup by Sparkleshot and mister Andre. Executive producers are

0:57:23.040 --> 0:57:26.360
<v Speaker 3>Flying Copper, Ben Bollen and Gorilla in a pink mass

0:57:26.360 --> 0:57:37.480
<v Speaker 3>of Noel Brown. Dis Crime Say It One More Times.

0:57:39.080 --> 0:57:42.440
<v Speaker 1>Ridiculous Crime is a production of iHeartRadio four more podcasts

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