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Speaker 1: Ridiculous crime. It's a production of iHeartRadio.

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Speaker 2: Elizabeth Detton Zaren Burnett.

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Speaker 3: I got a question for you. Yeah, thank god. Okay,

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Speaker 3: you know what's ridiculous.

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Speaker 2: Yes, I do brands. Brand Okay.

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Speaker 4: So I've been begging for brands to like give me stuff, yeah, and.

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Speaker 3: Even doing that forever. And before we have this show,

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Speaker 3: you've been like going out.

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Speaker 2: Yeah, I just wanted to get sponsored.

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Speaker 3: By some postcards.

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Speaker 4: I really was hoping that Oscar Meyer would send me

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Speaker 4: that hot dog straw.

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Speaker 2: I don't care about.

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Speaker 3: Keep talking about that. They're very rude walking around headquarters,

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Speaker 3: always saying I want my hot dogs straw. If I

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Speaker 3: only had a hot dogs jaw. Can you imagine this

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Speaker 3: coffee with a hot dogs straw?

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Speaker 4: Rawberry milkshake would do so well with a hot dogstra Anyway,

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Speaker 4: So this brand called Awake reached out to me and

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Speaker 4: they have like a pseudo mashup. No, it's kind of

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Speaker 4: a mashup, but I really wouldn't qualify.

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Speaker 3: The power is growing. Now they're bringing the mashups to

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Speaker 3: not just the Elizabeth Army now it's the brand.

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Speaker 4: Yeah, they just reached out. It's called so it's called

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Speaker 4: a Wake. It's caffeinated chocolate.

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Speaker 3: Well, I mean, I guess, okay, that's that's a mashup

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Speaker 3: kind of.

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Speaker 2: I have to be really careful. I have they send

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Speaker 2: me some. Okay, So it's like there's two flavors, peanut buttered.

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Speaker 4: Dark chocolate bite, and then what's this other one?

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Speaker 3: Salt?

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Speaker 2: There's like no sugar, no sugar, it's added.

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Speaker 4: It's a chocolate with no sugar added, which, like, how

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Speaker 4: does that work? I don't know, so I haven't had

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Speaker 4: one yet. I waited for you. It's keto. I don't

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Speaker 4: know what that means, the sense it has that I'm

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Speaker 4: reading the side of this actual caffeine half a cup

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Speaker 4: of Joe.

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Speaker 2: Now I don't.

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Speaker 4: I don't drink coffee anymore. So I'm going to be

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Speaker 4: bouncing off the walls. Which one did you open up?

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Speaker 3: Almonds? Sea salt?

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Speaker 2: No bad, it's just dark chocolate. And then we're just

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Speaker 2: going to be like buzzing.

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Speaker 3: I can't believe I'm participating in this.

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Speaker 2: You I can believe it.

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Speaker 3: It's fantast You got me on the chocolate.

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Speaker 2: I know that was my lure.

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Speaker 4: So anyway, they're not paying me or anything, but I

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Speaker 4: thought it was cool that they wanted to send me this.

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Speaker 3: I don't believe they say no sugar was added. There's

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Speaker 3: literally sugar.

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Speaker 2: That's that doesn't really task.

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Speaker 5: Now, when when a brand reaches out to you, does

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Speaker 5: it look like Michelangelo's Sistine Chapel where there's like hand

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Speaker 5: comes out their finger touches.

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Speaker 4: I was going for a walk and a hand came

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Speaker 4: out of the sewer. Sorry, wake, that's just I'm joking.

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Speaker 3: And then a spark of white and chocolate appeared.

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Speaker 2: Yeah, so I don't know.

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Speaker 4: They just said do you want this? And I was like, yeah,

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Speaker 4: I'll take chocolate. So I don't know if they're listening whatever.

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Speaker 2: Okay, well, gluten in it.

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Speaker 3: Yeah, that was I mean, it wasn't That was not bad.

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Speaker 3: It was it was what it was. What it was.

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Speaker 2: Yeah, full of caffeine too. So isn't there a caffeine

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Speaker 2: and chocolate already?

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Speaker 3: Yeah?

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Speaker 2: I think so, So now they're putting more. They had

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Speaker 2: no sugar added, but caffeine. Yeah. Yeah, it's kind of ridiculous, right,

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Speaker 2: this whole situation.

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Speaker 4: The fact I participated, the fact that I got something

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Speaker 4: like that for free, the fact that I made you

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Speaker 4: eat it. That it's like caffeinated chocolate and a little

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Speaker 4: piece is half the same as half.

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Speaker 2: A cup of coffee.

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Speaker 3: Yeah, car Ridicula.

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Speaker 2: I gotta be.

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Speaker 4: Careful because my nephew, he comes over every week and

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Speaker 4: he has like terminator vision for chocolate.

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Speaker 2: No, I don't eat a little four year old.

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Speaker 3: You go to the bathroom, eats like four of them.

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Speaker 4: That's what he would do too. He likes off the walls.

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Speaker 4: He likes to eat four of everything because it's four.

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Speaker 3: Of course. Anyway, got four fingers in the thumb. Yeah,

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Speaker 3: I get it.

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Speaker 2: It is ridiculous.

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Speaker 3: Well, Elizabeth, you got a second, You got a second.

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Speaker 3: Now they're all caffeinated and chocolate geeked up. I want

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Speaker 3: to talk art, sir. You like art?

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Speaker 2: Yeah? I love art.

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Speaker 3: Yeah. You know how an artist typically chooses a medium

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Speaker 3: they favor, Well, you know they might by medium, I

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Speaker 3: mean like paint or clay or bass, guitar, mixtape, paper mache,

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Speaker 3: or even say naked Europeans coded invasoline. Sure, what about

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Speaker 3: Matthew Barney. So my point is there are also artists

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Speaker 3: who don't settle on one media. They can do mixed media, right, Okay,

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Speaker 3: So we have the visual collage artist, the sculptor, possibly

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Speaker 3: the filmmaker. Definitely, the pop Dance Collective CNC Music Factory.

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Speaker 3: Come on, Elizabeth. They combine dance people, video elements, and.

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Speaker 4: Lycra people who dance while they're waiting for their popcorn

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Speaker 4: to pop in the microwave.

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Speaker 3: Yes, we'll count that mixed media. Now. My point is,

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Speaker 3: artists often discover a medium one that allows them to

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Speaker 3: speak to the world, to all of us in a

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Speaker 3: new way, and they go, this is my voice, right.

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Speaker 3: This is because this allows them to comment on the

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Speaker 3: human condition, or on their own humanity, or on existence itself, Elizabeth,

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Speaker 3: or just maybe a simple emotion. Elizabeth. Today, I'd like

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Speaker 3: us to consider a very important, unique artist. Yes, one

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Speaker 3: whose medium is carceral. These are non traditional artists, Elizabeth.

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Speaker 3: Who'se medium this one is, it's a defiant act. They

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Speaker 3: work in escape. Today we consider the prison escape artist. Oh,

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Speaker 3: this is Ridiculous Crime a podcast about absurd and outrageous capers, heists,

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

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Speaker 4: Yes, puppy, Now, mommy, you like the arts, right, you

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Speaker 4: kind of fancy like that?

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Speaker 2: Yeah, I'm so fancy.

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Speaker 3: I hope you brought your big brain today because this

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Speaker 3: will be a cultured affair. Wow, oh yes, today I

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Speaker 3: want to speak of the metia of the prison escape artist.

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Speaker 3: To put this outsider artist, if you will, into their

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Speaker 3: proper perspectives. Let us first consider the mon art world

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Speaker 3: x stant.

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Speaker 2: Okay, okay, which is all just money laundering. But go on.

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Speaker 3: Exactly now they're already criminals, but they're free. So now

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Speaker 3: my point is this is I went and I was reading,

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Speaker 3: you know, like Art in America, art World, art net online,

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Speaker 3: and I found this is from Artnet's national art critic

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Speaker 3: Ben Davis, and this is dated March third, twenty twenty one.

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Speaker 3: He's talking about the state of the art world today.

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Speaker 2: I love his clothes, right, yeah.

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Speaker 3: Totally great. I mean went from making really great industrial

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Speaker 3: workwear into commenting on contemporary now his articles the title

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Speaker 3: get me in to start. Just listen to this title,

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Speaker 3: Elizabeth Why causes? That's kaws apostrophe s Global success may

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Speaker 3: well be a symptom of a depressed culture, a drift

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Speaker 3: in nostalgia and retail therapy colon how to make sense

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Speaker 3: of the popularity of an artist known for sad cartoons

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Speaker 3: and collectible toys. I love that title. It's like a

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Speaker 3: nineteenth century book title. So, now do you know the

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Speaker 3: former street artist turned Galerust cause A W S all

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Speaker 3: caps not familiar. You likely seen his work. He has

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Speaker 3: what art critics call a signature motif. What's his motif?

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Speaker 3: Great question? Elizabeth crossed out eyes. The eyes are xes.

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Speaker 3: You see a big circle headed creature, eyes like crossed

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Speaker 3: out eyeballs, and so his eyes are just singular excess.

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Speaker 4: I love when people do that in drawings to signify

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Speaker 4: someone is dead.

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Speaker 3: I like it when they signify someone's blotted.

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Speaker 2: Oh, that's a good one. That's exes for eyes.

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Speaker 3: You like exed out eyes. You're so gangster. Now his uh,

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Speaker 3: you know, he's probably a signature character. Think graffiti. It's

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Speaker 3: known as Companion. It's this gray, big skullhead of a

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Speaker 3: Mickey Mouse looking cartoon and he's got ext out eyes.

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Speaker 2: Okay, then I have seen h right.

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Speaker 3: Okay, that's cause. Now his work is very now right

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Speaker 3: according to art net and I quote, the culture of

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Speaker 3: Cause is closer to some general sense of what a

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Speaker 3: very large and enthusiastic public wants from art. This is

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Speaker 3: what the art people are saying, not me.

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Speaker 2: We're all supposed to pause for the cause, Why is that?

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Speaker 3: Why do people want this?

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Speaker 4: All?

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Speaker 3: They got the answers for you, Elizabeth, Here we go quote,

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Speaker 3: So why what itch does it scratch? We live in

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Speaker 3: an era of reboots and remakes of regurgitated intellectual property.

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Speaker 3: The most mainstream layer of mainstream culture consists of things

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Speaker 3: like comic book movies and Star Wars, reprocessing teenage affections

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Speaker 3: in endlessly permuting ways. What in visual art hits the

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Speaker 3: same nerve?

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Speaker 2: Hm?

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Speaker 3: Right, so he's like, oh yeah, blame the reboots now.

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Speaker 2: Basically, in all.

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Speaker 3: Honesty, this is a valuable question to consider. The folks

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Speaker 3: over at artnet are kind enough to supply the antidote

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Speaker 3: to our modern dilemma. They get to the heart of it,

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Speaker 3: they tap that root, Elizabeth. The answer lies in one word.

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Speaker 3: What is that word? Emotion? And how it is conveyed? Okay?

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Speaker 3: Artnet argues that work like cause quote register and emotion

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Speaker 3: without really making you feel that emotion. The work's very vacant,

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Speaker 3: and its seems to suggest a low level depression running

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Speaker 3: through society, so pervasive that deserves as a neutral sign

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Speaker 3: of the arts nowness, rather than reading as a personal

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Speaker 3: feeling expressed by the artist, So basically there is no

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Speaker 3: there there as Yeah, exactly as Dorothy Parker would say,

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Speaker 3: that personal feeling expressed by the artists. That's what we're

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Speaker 3: after today, Elizabeth, that undeniable motion, that irresistible freedom. In

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Speaker 3: this case, it is freedom itself, extant, big capital letters.

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Speaker 3: How is freedom represented? How is it expressed? How is

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Speaker 3: it felt by the intended audience? Elizabeth? I got a

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Speaker 3: question for you. Do you have a favorite prison escape movie?

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Speaker 2: No? No, favorite prison escape movie?

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Speaker 3: Yeah, like people busting out of prison, you know, from

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Speaker 3: I know, Tango and Cash to the Great Escape. You

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Speaker 3: got choices.

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Speaker 2: Let's say Great Escape.

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Speaker 3: I'm really having catch onally break out of being imprisoned momentarily.

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Speaker 2: But anyway, I just try to rack my brain, you know,

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Speaker 2: you know I'm slow in the head.

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Speaker 3: Princer Dash Sean Connery, The Rock Boom. There you go,

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Speaker 3: and it's got a local angle for you.

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Speaker 2: Okay, yeah, okay, let's say The Rock. Then it's always

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Speaker 2: been my favorite. I'll argue that forever.

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Speaker 3: Yeah, you were saying that the way into the office.

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Speaker 2: You're like talking to myself outside.

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Speaker 3: A producer, David, you have a favorite a prison escape

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Speaker 3: movie or even just to escape from an incarceration movie.

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Speaker 5: Uh, yes, I'm trying to think, well, like this, but

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Speaker 5: it's proprietary. Yeah, I mean I can't tell you no.

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Speaker 5: Uh what about like many favorites, you know, the World

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Speaker 5: is my favorite? Uh, the Island, like the one where

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Speaker 5: it's sci fi and they're trying to get off the entire.

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Speaker 3: Island is a prison. That's a pretty good choice. Not

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Speaker 3: a great movie, but a good idea. Yeah, there you go.

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Speaker 3: That's the whole thing is you can get down to

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Speaker 3: the essential with the prison escape movie. We all relate.

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Speaker 3: You're like, I want to get the hell out of there.

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Speaker 3: I get it. Yeah, right, Like Shawshank Redemption, how about

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Speaker 3: that one, there's a great prison movie. People feel that ending.

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Speaker 3: They're like, yeah, I'm rooting for that guy who may

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Speaker 3: or may not have murdered his wife. By the end,

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Speaker 3: we know he didn't, but still, okay, sorry I ruined

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Speaker 3: that one anyway. But Migrate is the great escape. That's

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Speaker 3: my favorite. Great It has everything. Elizabeth has Steve McQueen

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Speaker 3: defeating smug Nazis. There's motorcycle jumps, machine guns. There was

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Speaker 3: the Daring Tunnel escape. Of course, there's the French.

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Speaker 2: Resistance all your favorite things, so totally.

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Speaker 3: Charles Bronson in a rowboat, James Coburn on a on

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Speaker 3: a bicycle, Yes, exactly, Bowser Dave gets it now. Second question,

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Speaker 3: do you have a favorite real life prison escape.

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Speaker 2: All the ones that we've done on this show.

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Speaker 3: Way to handsome team player.

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Speaker 2: No, I'm like Rob Low in the NFL. I like

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Speaker 2: it all the concept.

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Speaker 3: I just love escape now these days, the greatest living

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Speaker 3: prison escape artist is the man el Myth l Legend

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Speaker 3: El Choppo.

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Speaker 2: Oh yeah, oh yeah, those little cool tunnels totally.

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Speaker 3: Joaquin el Choppo Guzman aka Joacine the Shorty Guzman aka

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Speaker 3: the Chopped One. Well, he was known at his peak

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Speaker 3: as a prison like a rank prison escape artist, just

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Speaker 3: dude like he was like a rank bowl but ranked

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Speaker 3: prison escape artist. El Choppo escape not once but twice

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Speaker 3: from maximum security pri.

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Speaker 2: Didn they have like cute little Tudeland machines.

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Speaker 3: Yeah, tunnel, I was telling you about that. That's his

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Speaker 3: best escape in my opinion. Occurred in July twenty fifteen.

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Speaker 3: L Chopo. He's locked up in the alta Plano maximum

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Speaker 3: security prison. Video surveillance shows l Choppo pacing in a

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Speaker 3: cell right and then suddenly he lowers himself into this

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Speaker 3: little hole in the shower area, slides down into some

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Speaker 3: makeshift tunnel and disappears. Now he was in a tunnel

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Speaker 3: that his men had been digging under the prison. They

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Speaker 3: they've been, you know, waiting for him. They'd prepared was

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Speaker 3: a motorcycle like and the motorcycle was a fixed to

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Speaker 3: two rails like this own little personal railroad track totally right.

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Speaker 4: And now the small it looked like one of those

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Speaker 4: things outside of a supermarket that you can put exactly.

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Speaker 3: So the chopped one he gets on this and the

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Speaker 3: tunnel is low enough that he wont hit his cup,

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Speaker 3: so it's like a short little tunnel. He's gotten on

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Speaker 3: a little motorbike. He goes brim when he goes tootling

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Speaker 3: off down that tunnel. Right, tunnels well made authorities. They

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Speaker 3: had estimated it would have taken probably eighteen months to

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Speaker 3: two years of like contract labor to get this done.

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Speaker 3: His men got it done in sixteen months at the maximum,

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Speaker 3: because that's when he went into the prison. Anyway, to

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Speaker 3: hide their work, they had bought land and near the prison.

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Speaker 3: Then they constructed like an anomaloust looking cinder block building.

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Speaker 3: It was supposed to be ostensibly a budega to come.

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Speaker 3: Then they use that to hide their work, which is

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Speaker 3: like you know, earth movers and all sorts of stuff.

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Speaker 3: The subterranean tunnel that they dug, it stretched more than

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Speaker 3: a mile long, and then it gets under the tunnel

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Speaker 3: right to where his little you know, shower stall is like,

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Speaker 3: nailed it right now. Of course, when Choppo finds his

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Speaker 3: waiting motorcycle, he revs it up. Of course, races off

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Speaker 3: down that it's all lit up the tunnel. He gets

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Speaker 3: to know, so he's like, it's a mile long ride,

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Speaker 3: like it's like an amusement park ride for one right

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Speaker 3: and boom he gets to the end. His waiting men

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Speaker 3: are like, hey, el Choppo. And now he was recaptured eventually.

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Speaker 3: You know, we know about that because his you know,

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Speaker 3: his wife was just released from prison. But he's still

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Speaker 3: in an American prison. Very little chance you will ever escape.

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Speaker 3: The maximum super max prisons are a little bit different

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Speaker 3: than like say.

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Speaker 2: A Mexican in Colorado.

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Speaker 3: I believe so. I do not know, but I think so.

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Speaker 3: Now the chopped one, since you know, he's a real

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Speaker 3: bad guy, so we will not be celebrating him. He

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Speaker 3: would definitely smash our one percent rule on murder.

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Speaker 2: Oh yeah, like his stories.

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Speaker 3: Any story about a Choppin is like sixty seven percent murder.

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Speaker 3: Just anyway. Also, by the way, I look this up

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Speaker 3: his uh this is kind of I thought ironic. His

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Speaker 3: name El Choppo. It can mean many things, right, I

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Speaker 3: say it means the chopped one. It doesn't really mean that.

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Speaker 3: It's from the verb. The verb chapar chapar. It means

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Speaker 3: to plate, right, but it means like to plate a meal, right,

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Speaker 3: so you go, oh yeah, But it also means to play,

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Speaker 3: as in to seal something like if you're to veneer

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Speaker 3: a door. Right, So yeah's like chapar laparta. Right. So

305
00:14:52,040 --> 00:14:54,720
Speaker 3: chappar also means to shut in or to lock up,

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Speaker 3: so as in to lock up a criminal, like chap

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Speaker 3: dela cuente. Right, So his nickname also means the locked

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Speaker 3: up one.

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Speaker 6: Oh anyway, moving on, I'd like to introduce you to

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Speaker 6: a man more in line with the spirit of the show,

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Speaker 6: the prison escape artist Alfred George Hines street name Houdini

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Speaker 6: Hines his chosen medium prison escape Now.

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Speaker 3: Born in nineteen seventeen, he hailed from a criminal artist family.

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Speaker 3: His father was a practitioner of the light fingered arts,

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Speaker 3: a journeyman of theft and robbery, but he made the

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Speaker 3: mistake to work in mixed media and he became an

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Speaker 3: armed artist. That choice cost his father his freedom and

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Speaker 3: eventually left the young Houdini Hines with a father sized

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Speaker 3: hole in his life. Yeah, so at age seven, Houdini hines,

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Speaker 3: he hits the bricks. He ran away from the group

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Speaker 3: home that he'd been housed after his father's incarceration, this

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Speaker 3: newly minted street urchin or he goes in runn oft. Yeah,

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Speaker 3: seven years old, right, but he doesn't have like the

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Speaker 3: car and the little bricks under his feet. He's just

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Speaker 3: on the streets now, Houdini hines. He gets into the

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Speaker 3: family business, small time theft. He wasn't much better at

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Speaker 3: it than his old man, and he gets caught stealing

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Speaker 3: once when he was five well, no, sorry seven anyway.

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Speaker 3: Jane's addiction lyrics socide Elizabeth Houdini hines. He gets locked

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Speaker 3: up just like dear old dad right now, but he

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Speaker 3: didn't like life on the inside. Now, so once again,

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Speaker 3: what's he do? He are u n nft this time

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Speaker 3: from prison he breaks out or you know, from like

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Speaker 3: a group youth Home and anyway, it's like an institution

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Speaker 3: for wayward use. Right, So what's next for old Houdini Hines. Well,

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Speaker 3: he's British and there's a world war going on, oh,

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00:16:27,760 --> 00:16:30,000
Speaker 3: the second of his kind. He was born in nineteen seventeen,

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Speaker 3: so at this point we're in the late thirties, are

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Speaker 3: thirty nine forty, so the second war of this kind,

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Speaker 3: World war. Since he's a fighting age that they're like, oh,

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Speaker 3: we don't care if you've been in the stir you're

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Speaker 3: near now in the army. Yeah, so he's off to

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Speaker 3: the war. But just like prison, this doesn't work for

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Speaker 3: old Houdini Hines. I mean one, he doesn't like uniforms. Two,

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Speaker 3: he doesn't like being told what to do. He doesn't

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Speaker 3: like being told where to eat, when to go to sleep.

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Speaker 3: So this ruled out prison, ruled out the British Army.

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Speaker 3: He's like, I got a bounce, right, So he's now

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Speaker 3: at this point, what's he going to do, But he's

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Speaker 3: in the Army's decide it's not going to work for him.

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Speaker 3: Well you know the answer, he are U n n oft.

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Speaker 3: He deserves the British Army. Now still rather young man

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Speaker 3: with much life in front of him. Old Houdini hindes

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Speaker 3: he needs to find a place for himself amidst the

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Speaker 3: flow of life. Naturally, he gravitated back to the family business,

356
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Speaker 3: petty crime, and he gets rested again. Let's take a break,

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Speaker 3: and after this I'll tell you about how he launched

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Speaker 3: his career as a prison escape artist. All right, Elizabeth.

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Speaker 2: Zarin', they're so angry.

360
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Speaker 3: I know. I'm fired up, dude. I love this prison

361
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Speaker 3: escape artists. These are my people's I've been wanting to

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Speaker 3: tell you about this.

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Speaker 2: I am vibrating at a higher plane of caffeine.

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Speaker 3: Oh there's that that too.

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Speaker 2: I'm like a high hot wire.

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Speaker 3: Yeah, I'm already like pretty high to high wire act.

367
00:18:00,960 --> 00:18:03,600
Speaker 3: And then you added caffeine and chocolate, Like I'm buzzing

368
00:18:03,680 --> 00:18:04,919
Speaker 3: enough to make cocaine nervous.

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Speaker 2: How many of those you have you eaten so far?

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Speaker 4: For?

371
00:18:08,040 --> 00:18:12,160
Speaker 3: What is that bad? When to go? Tell me when

372
00:18:12,200 --> 00:18:12,399
Speaker 3: to go?

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Speaker 2: It's totally cool, legal cool anyway?

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Speaker 3: So where was I? L's right? Who Denie Hines?

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Speaker 4: Uh huh?

376
00:18:18,200 --> 00:18:21,040
Speaker 3: Getting he's busted. He's no better at crime than his

377
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Speaker 3: old man. So this is nineteen fifty three. At this point, he's, uh,

378
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Speaker 3: this time he was busting on a jewel robbery charge.

379
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Speaker 3: The store is actually a furniture business. I don't know

380
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Speaker 3: British law. It was called a jewel robbery. Maybe there

381
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Speaker 3: was like necklaces in the furniture store. I don't know

382
00:18:35,600 --> 00:18:38,679
Speaker 3: this I was. I'm compiling it from news stories. Yeah,

383
00:18:38,960 --> 00:18:41,879
Speaker 3: made no sense to me anyway. He insisted he was innocent,

384
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Speaker 3: and not only that, he wasn't even there, Like, I

385
00:18:43,359 --> 00:18:46,800
Speaker 3: don't even know. I don't even know those dudes my parents, Yes, exactly,

386
00:18:46,840 --> 00:18:48,840
Speaker 3: I don't know how I could have been in these anyway,

387
00:18:49,119 --> 00:18:51,560
Speaker 3: he promises. After, you know, denying he had anything to

388
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Speaker 3: do with those chaps doesn't matter to the bobbies. They're like, yes,

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00:18:54,600 --> 00:18:57,439
Speaker 3: so you're going anyway back to prison? So whodini Hines

390
00:18:57,640 --> 00:19:01,160
Speaker 3: is arrested, tried, convicted, done deal. Since twelve years in prison.

391
00:19:01,320 --> 00:19:04,560
Speaker 3: While he's on the inside, he's confronted with a totality

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Speaker 3: of himself and he's like, oh, alone with nothing but

393
00:19:07,800 --> 00:19:10,919
Speaker 3: himself his time, he digs into what he knows, he

394
00:19:11,000 --> 00:19:14,080
Speaker 3: pushes past and finds something a new Elizabeth. He finds

395
00:19:14,080 --> 00:19:17,960
Speaker 3: his true artistic medium, prison escape, a way to express

396
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Speaker 3: himself in his moment in the world and in his work, Elizabeth,

397
00:19:22,359 --> 00:19:26,000
Speaker 3: we who appreciate this medium, we find a quote wonderful

398
00:19:26,040 --> 00:19:33,440
Speaker 3: all over tactility, you know, Elizabeth, exactly, an undeniable jush. No, Elizabeth,

399
00:19:33,440 --> 00:19:37,120
Speaker 3: there's an approachable immediacy to prison escape. You know. Yeah,

400
00:19:37,240 --> 00:19:39,639
Speaker 3: the work. It both speaks to the essential and it

401
00:19:39,720 --> 00:19:42,879
Speaker 3: heightens one's awareness of the poll of both time and tradition,

402
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Speaker 3: as it equally valorizes that which we all hold sacred.

403
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Speaker 2: Are you writing for Artnet Now?

404
00:19:48,320 --> 00:19:52,000
Speaker 3: Our freedom, Elizabeth, our very lives, our essence, of me,

405
00:19:52,440 --> 00:19:57,919
Speaker 3: of you, of us. We are free? Yes, right, okay. Anyway,

406
00:19:58,040 --> 00:20:00,600
Speaker 3: as Houdini hines begins to play with form, he makes

407
00:20:00,600 --> 00:20:03,520
Speaker 3: strident leaps. He's in a really quick study. He becomes

408
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Speaker 3: a master almost immediately once he focuses on the medium

409
00:20:06,720 --> 00:20:09,480
Speaker 3: of prison escape. You find him at the outset of

410
00:20:09,480 --> 00:20:14,320
Speaker 3: his career, Elizabeth, like a church gargoyle pose there, familiar, repugnant,

411
00:20:14,480 --> 00:20:17,080
Speaker 3: but yet he doesn't care, because he's busy watching you,

412
00:20:18,040 --> 00:20:21,720
Speaker 3: stone cold, seemingly waiting for you to look away. Now

413
00:20:21,760 --> 00:20:24,560
Speaker 3: Elizabeth nineteen fifty five rolls around. Finally someone looks away

414
00:20:24,560 --> 00:20:27,520
Speaker 3: from this gargoyle, and Houdini Hines. He entered the art

415
00:20:27,560 --> 00:20:30,679
Speaker 3: world with escape, and we'll call his first work the

416
00:20:30,760 --> 00:20:33,600
Speaker 3: Key Be with Me. Okay with Me? Now that's my

417
00:20:33,640 --> 00:20:35,600
Speaker 3: informal name for this work. That's not what he named it.

418
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Speaker 3: But anyway, Whodini Hines was in Nottingham Prison, home of

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00:20:38,720 --> 00:20:40,760
Speaker 3: the Robin Hood at the time, and he was doing

420
00:20:40,800 --> 00:20:43,479
Speaker 3: time twelve years. As I said right now, he had

421
00:20:43,480 --> 00:20:46,160
Speaker 3: a stroke of genius. He's like, oh, I can become

422
00:20:46,280 --> 00:20:48,720
Speaker 3: the key to my freedom. He began to focus his

423
00:20:48,840 --> 00:20:51,920
Speaker 3: keen powers of observation on what mattered most, the key

424
00:20:52,000 --> 00:20:55,120
Speaker 3: ring on the jailer's hip. Yeah, in particular, he studied

425
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Speaker 3: the master key he knew promised him freedom. He studied it,

426
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Speaker 3: and he studied it, he memorized it. Then he went

427
00:21:00,840 --> 00:21:03,000
Speaker 3: to work in the prison shop and he copied the

428
00:21:03,080 --> 00:21:05,920
Speaker 3: key from memory. What and he cut a new key

429
00:21:06,160 --> 00:21:09,200
Speaker 3: from memory from memory. When he tested the fake key,

430
00:21:09,200 --> 00:21:10,800
Speaker 3: he also had two other guys help him, so they

431
00:21:10,800 --> 00:21:13,000
Speaker 3: were constantly kind of like judge each other's notes. Right,

432
00:21:13,080 --> 00:21:17,199
Speaker 3: So he tested his fake key. He found his memory impeccable.

433
00:21:17,400 --> 00:21:19,760
Speaker 3: The key worked perfectly. He walked right out of the

434
00:21:19,800 --> 00:21:23,000
Speaker 3: prison gates, climbed up over a twenty foot prison stone wall.

435
00:21:23,080 --> 00:21:26,199
Speaker 3: Freedo himself. He ran off to Ireland to keep his

436
00:21:26,240 --> 00:21:28,840
Speaker 3: new found freedom. He found work in construction as a

437
00:21:28,840 --> 00:21:31,919
Speaker 3: decorator and builder, got talented man, great eye. But it

438
00:21:31,960 --> 00:21:34,480
Speaker 3: was a short lived taste of life outside, Elizabeth, because

439
00:21:34,520 --> 00:21:37,679
Speaker 3: the detectives from Scotland Yard, the old flying squad boys,

440
00:21:37,720 --> 00:21:40,240
Speaker 3: they caught up to him. Now Hodini Hines, he's captured

441
00:21:40,280 --> 00:21:43,800
Speaker 3: nineteen fifty six, roughly eight months after his prison escape,

442
00:21:43,800 --> 00:21:46,600
Speaker 3: Elizabeth Boom, freedom taken away, and by nineteen fifty seven,

443
00:21:46,600 --> 00:21:48,920
Speaker 3: two years later, he's back in court in London working

444
00:21:48,960 --> 00:21:52,080
Speaker 3: on his next great work. It was an impromptu piece,

445
00:21:52,200 --> 00:21:54,800
Speaker 3: but yet again it spoke to his developing genius as

446
00:21:54,800 --> 00:21:57,040
Speaker 3: a prison escape artist. Now where do you think he

447
00:21:57,119 --> 00:22:00,199
Speaker 3: took his art for him? Elizabeth? You'll find this that

448
00:22:00,240 --> 00:22:03,840
Speaker 3: this created maison scene and Houdini Hines's work. It is,

449
00:22:03,880 --> 00:22:06,880
Speaker 3: if you will and pardon the expression, key to his work. Now,

450
00:22:06,960 --> 00:22:10,000
Speaker 3: his prison escapes, they are highly imaginative, sure, but they

451
00:22:10,000 --> 00:22:11,960
Speaker 3: are also highly idiosyncratic.

452
00:22:12,320 --> 00:22:12,720
Speaker 2: Interesting.

453
00:22:12,840 --> 00:22:14,520
Speaker 3: Yes, this is what gives his work such an irreverent

454
00:22:14,600 --> 00:22:18,320
Speaker 3: sense of wonder and joy. It's a playful quality, Elizabeth.

455
00:22:18,359 --> 00:22:21,040
Speaker 3: And now you know why he's doing what he's doing.

456
00:22:21,080 --> 00:22:24,200
Speaker 3: But yet you also marvel at how Houdini Hines reaches

457
00:22:24,240 --> 00:22:26,440
Speaker 3: his aim. You'd see it right there. You're like, there's

458
00:22:26,440 --> 00:22:29,800
Speaker 3: no way, and yet yeah he's able to. Okay, let's

459
00:22:29,800 --> 00:22:32,480
Speaker 3: consider his next escape. As I said, impromptu piece of work.

460
00:22:33,080 --> 00:22:36,680
Speaker 3: He sued the prison authorities took him to He's like,

461
00:22:36,720 --> 00:22:38,640
Speaker 3: I'm taking you guys to court. Take me to court.

462
00:22:38,640 --> 00:22:42,440
Speaker 3: Take you to court exactly Whodini Hines demanded his day

463
00:22:42,440 --> 00:22:44,960
Speaker 3: in court. He gets it. He claimed that the prison

464
00:22:45,000 --> 00:22:47,520
Speaker 3: commissioners had illegally arrested Remember he said he was never

465
00:22:47,520 --> 00:22:50,359
Speaker 3: in that furniture store. I don't even know those chests, right, No,

466
00:22:50,680 --> 00:22:53,679
Speaker 3: So the lawsuit was just a ruse. It was a

467
00:22:54,119 --> 00:22:57,880
Speaker 3: pure spoke screen. Now. It was a timeless illusion, meant

468
00:22:57,880 --> 00:23:01,600
Speaker 3: to throw sand into the gearbox of mind, this bureaucracy, Elizabeth.

469
00:23:02,040 --> 00:23:04,480
Speaker 3: It was. It was a gesture, you know, it was

470
00:23:04,560 --> 00:23:07,960
Speaker 3: meant to help him get free again with just one life,

471
00:23:08,000 --> 00:23:13,159
Speaker 3: affirming sparring with fate. Now Houdini Hines is in Courton,

472
00:23:13,240 --> 00:23:15,600
Speaker 3: London with his lawsuit. He asked to use the little

473
00:23:15,600 --> 00:23:18,000
Speaker 3: boy's room. Okay, Now, he was like me, you know,

474
00:23:18,240 --> 00:23:21,480
Speaker 3: in the minister before record. Yeah, he's like pop skin

475
00:23:21,600 --> 00:23:23,479
Speaker 3: out if I chop into the little boy's room. Now,

476
00:23:23,520 --> 00:23:26,320
Speaker 3: I don't know how he said it. Anyway, two guards

477
00:23:26,640 --> 00:23:29,160
Speaker 3: they escorted him. Now, once he's in the loo, if

478
00:23:29,200 --> 00:23:31,680
Speaker 3: you prefer, the guards took off his handcuffs so he

479
00:23:31,720 --> 00:23:35,200
Speaker 3: could handle himself. And that's when Houdini Hines sprung his trap.

480
00:23:35,680 --> 00:23:38,639
Speaker 3: Now he shoved both of the guards into the toilet stall.

481
00:23:38,840 --> 00:23:41,360
Speaker 3: Then he slapped a padlock down that he had secreted

482
00:23:41,440 --> 00:23:44,680
Speaker 3: on his person, locked the padlock. There had been two

483
00:23:44,720 --> 00:23:47,840
Speaker 3: islets placed by his confederates on the door so they

484
00:23:47,880 --> 00:23:50,719
Speaker 3: would match with the lock. Then he casually walked out

485
00:23:50,760 --> 00:23:53,520
Speaker 3: of the court building, rejoined the flow of Londoners on

486
00:23:53,560 --> 00:23:57,360
Speaker 3: Fleet Street, and bone voila. Wow, he was free. Yes,

487
00:23:57,440 --> 00:23:59,440
Speaker 3: he was a living reminder of the meeting of escape.

488
00:23:59,480 --> 00:24:03,080
Speaker 3: Elizabeth Houdini Hines embodied the human desire to shake off

489
00:24:03,119 --> 00:24:06,119
Speaker 3: the yoke of society and return to a Russoian state

490
00:24:06,359 --> 00:24:09,359
Speaker 3: in accord with nature. He could once again feel the wind,

491
00:24:09,400 --> 00:24:11,280
Speaker 3: is what I'm saying, So once.

492
00:24:11,200 --> 00:24:16,760
Speaker 4: Anyway, Purple emanating from your laptop, I'm looking over in

493
00:24:16,840 --> 00:24:17,720
Speaker 4: the Purple pros.

494
00:24:19,320 --> 00:24:21,760
Speaker 3: A lot of art in America, a lot of I

495
00:24:21,800 --> 00:24:25,840
Speaker 3: mean it's amazing stuff. Right Anyway, he's captured five hours

496
00:24:25,880 --> 00:24:28,640
Speaker 3: after he escaped from the courtroom, picked up at the airport. Yeah,

497
00:24:28,680 --> 00:24:30,960
Speaker 3: he's out for five hours. One year later, Houdini Hines

498
00:24:30,960 --> 00:24:33,879
Speaker 3: would unveil his next great work, Elizabeth, You'll find a

499
00:24:33,880 --> 00:24:36,720
Speaker 3: great prison artist is never satisfied. They long to perform

500
00:24:37,080 --> 00:24:39,760
Speaker 3: if they are locked up, they yearn for freedom. Sadly though,

501
00:24:39,800 --> 00:24:41,600
Speaker 3: they must be locked up in order for them to

502
00:24:41,640 --> 00:24:47,280
Speaker 3: express themselves in their chosen medium. Ah Calira now smash

503
00:24:47,359 --> 00:24:50,880
Speaker 3: cut Chelmsford Prison. Houdini Hine was back behind bars. He'd

504
00:24:50,920 --> 00:24:53,760
Speaker 3: cast about for inspiration and then he found it. He

505
00:24:53,840 --> 00:24:56,639
Speaker 3: decided for his next great work he would do a

506
00:24:56,720 --> 00:25:01,280
Speaker 3: one man retrospective, a look back at his first great work. So, Elizabeth,

507
00:25:01,320 --> 00:25:03,520
Speaker 3: remember the first great work he was predicated on.

508
00:25:03,600 --> 00:25:04,480
Speaker 2: What the key?

509
00:25:04,680 --> 00:25:07,199
Speaker 3: Now? Prison escape is a fragile medium, and the four

510
00:25:07,280 --> 00:25:09,960
Speaker 3: one is to imitate one self, to repeat oneself. It's

511
00:25:10,040 --> 00:25:13,239
Speaker 3: like trying to, you know, recreate the same bubble. How

512
00:25:13,280 --> 00:25:15,960
Speaker 3: do you do that? Often you will find the prison

513
00:25:16,040 --> 00:25:19,840
Speaker 3: escape work can appear overly wrought, maybe rushed, poorly conceived.

514
00:25:20,000 --> 00:25:23,320
Speaker 3: Not definitely him, because you know it can't feel derivative,

515
00:25:23,320 --> 00:25:28,440
Speaker 3: but even if you're quoting from yourself. Right, even in failure, right,

516
00:25:28,480 --> 00:25:32,199
Speaker 3: it didn't. It doesn't matter because it inadvertently restores the

517
00:25:32,240 --> 00:25:37,000
Speaker 3: calming order of status quo, so it reifies society. Elizabeth, anyway,

518
00:25:37,000 --> 00:25:41,000
Speaker 3: who do you need Hyde, he repeated himself. You did,

519
00:25:41,040 --> 00:25:45,879
Speaker 3: brother did so a greater success. This time he is

520
00:25:45,920 --> 00:25:49,479
Speaker 3: able to once again copy a jailer's key, and he

521
00:25:49,560 --> 00:25:52,440
Speaker 3: walks out of prison. He returns again to Ireland. He's like,

522
00:25:52,440 --> 00:25:53,760
Speaker 3: I gotta get out of angles.

523
00:25:53,960 --> 00:25:55,680
Speaker 2: That all went so well last time.

524
00:25:56,000 --> 00:25:58,560
Speaker 3: Yeah, I think they the Irish are like what another Englishman?

525
00:25:58,800 --> 00:26:00,120
Speaker 3: I don't know if he's in the right part of

526
00:26:00,160 --> 00:26:03,760
Speaker 3: Ireland anyway. I could not tell you that. But all

527
00:26:03,800 --> 00:26:06,360
Speaker 3: of it was repetition, right, because in the latest iteration

528
00:26:06,480 --> 00:26:09,119
Speaker 3: he recognized it. In every act of creation, Elizabeth, one

529
00:26:09,160 --> 00:26:12,159
Speaker 3: can also find an active destruction. But in that we

530
00:26:12,200 --> 00:26:14,639
Speaker 3: find the fuel for the creation of something new, the

531
00:26:14,640 --> 00:26:18,080
Speaker 3: ecology of art, if you will. Now Whodini Hines realized

532
00:26:18,119 --> 00:26:20,879
Speaker 3: he'd overlooked a key detail in his previous work. What

533
00:26:21,240 --> 00:26:24,240
Speaker 3: was it that he looked over, Elizabeth.

534
00:26:23,760 --> 00:26:24,560
Speaker 2: I don't know.

535
00:26:24,720 --> 00:26:26,439
Speaker 3: Creating a convincing new self.

536
00:26:26,880 --> 00:26:34,280
Speaker 2: Oh okay, take.

537
00:26:31,200 --> 00:26:35,760
Speaker 3: Out my prison outfit I need to reinvent strip. So

538
00:26:35,800 --> 00:26:39,560
Speaker 3: this time he became William Herbert Bishop used car salesman. Yeah,

539
00:26:39,600 --> 00:26:43,160
Speaker 3: so he We worked under this convincing new form for

540
00:26:43,359 --> 00:26:47,359
Speaker 3: two years in Ireland. He was at the Similacrum until

541
00:26:47,359 --> 00:26:50,879
Speaker 3: he was caught. How was he caught? He was driving

542
00:26:50,880 --> 00:26:53,280
Speaker 3: a car with no license plates or registration. I couldn't

543
00:26:53,320 --> 00:26:55,000
Speaker 3: quite I got two ways of tell him the story

544
00:26:55,680 --> 00:26:57,880
Speaker 3: either way. Yeah, he didn't have his paperwork in order

545
00:26:57,920 --> 00:27:00,440
Speaker 3: on a car. Remember, used car salesman. I think you'd

546
00:27:00,440 --> 00:27:03,720
Speaker 3: have that covered. Anyway, He gets undone, not by bureaucracy,

547
00:27:03,720 --> 00:27:08,200
Speaker 3: but rather by its absence, specifically the absence of paperwork. Elizabeth, Anyway,

548
00:27:08,280 --> 00:27:11,760
Speaker 3: modern moment. Indeed, now in this details of Whodini hines work,

549
00:27:11,760 --> 00:27:14,480
Speaker 3: we discover the vitality of life, but also the unceasing

550
00:27:14,560 --> 00:27:18,080
Speaker 3: ironic humor of an unfeeling universe. You know what I mean? Anyway,

551
00:27:18,160 --> 00:27:21,359
Speaker 3: In nineteen ninety six, Elizabeth, he finally did the expected. Yeah,

552
00:27:21,400 --> 00:27:22,520
Speaker 3: he got a prison book deal.

553
00:27:23,560 --> 00:27:25,680
Speaker 2: Yes, thank God to share his genius.

554
00:27:25,680 --> 00:27:28,280
Speaker 3: Whodini Hines documented his art and his process in a

555
00:27:28,280 --> 00:27:34,320
Speaker 3: book with the title Contempt of Court. I love that type. Now, okay,

556
00:27:34,359 --> 00:27:36,040
Speaker 3: next time I got another one for you. This guy

557
00:27:36,200 --> 00:27:38,920
Speaker 3: is the the creme de la creme. He is my man,

558
00:27:38,960 --> 00:27:41,600
Speaker 3: Brian bow Larson, one of the truly great prison.

559
00:27:41,520 --> 00:27:45,200
Speaker 2: Escap like Sampler, Oh my goodness.

560
00:27:44,800 --> 00:27:48,080
Speaker 3: Yes, Brian bow Larson. He brings into thrilling, vivid detail

561
00:27:48,119 --> 00:27:51,120
Speaker 3: and graphic focus the widely known fact that we can

562
00:27:51,119 --> 00:27:55,359
Speaker 3: always feel the unmistakable impact of intention. Yeah right, you

563
00:27:55,480 --> 00:27:59,000
Speaker 3: know it when you feel it? No, Elizabeth, you ever

564
00:27:59,000 --> 00:28:01,200
Speaker 3: heard of? In my apologies to all the Danes listening

565
00:28:01,320 --> 00:28:03,639
Speaker 3: and those who care about Danes, but I'm about to

566
00:28:03,640 --> 00:28:06,879
Speaker 3: butcher this and so look, I swear I'm trying. But anyway,

567
00:28:08,640 --> 00:28:12,919
Speaker 3: Vertous Lusi State Prison. Okay, okay, it's a charming spot,

568
00:28:13,040 --> 00:28:15,600
Speaker 3: not at all really, but anyway, it's in alberts Lund

569
00:28:15,960 --> 00:28:18,280
Speaker 3: and that is, if you aren't up on the latest

570
00:28:18,280 --> 00:28:22,880
Speaker 3: in Copenhagen real estate. That's a suburb west of Copenhagen. Okay, yes, anyway.

571
00:28:23,000 --> 00:28:24,920
Speaker 3: At the time, Brian bo Larsen, he was forty years

572
00:28:24,920 --> 00:28:26,480
Speaker 3: old and he wanted to get free, Elizabeth.

573
00:28:26,600 --> 00:28:27,240
Speaker 2: Yeah, we all do.

574
00:28:27,520 --> 00:28:31,000
Speaker 3: Larsen committed artists, He's often worked with traditional tools. For instance,

575
00:28:31,040 --> 00:28:34,520
Speaker 3: to get out of the Ritisli State Prison, Larsen turned

576
00:28:34,520 --> 00:28:37,359
Speaker 3: to the tried and true and the traditional. What tools

577
00:28:37,359 --> 00:28:40,800
Speaker 3: did he use, Elizabeth? What were his forms to shape

578
00:28:40,840 --> 00:28:42,920
Speaker 3: and to mold? What did he choose to work with?

579
00:28:43,680 --> 00:28:45,800
Speaker 2: A wooden spoon, hacksaw oh.

580
00:28:45,640 --> 00:28:46,920
Speaker 3: Okay, and a rope ladder?

581
00:28:47,200 --> 00:28:49,840
Speaker 2: Oh that's classic, told traditional.

582
00:28:50,160 --> 00:28:52,400
Speaker 3: So there was a fifteen meter drop he had to negotiate.

583
00:28:52,440 --> 00:28:54,800
Speaker 3: There were bars on his cell window he had to negotiate.

584
00:28:54,960 --> 00:28:58,040
Speaker 3: These were his primary constraints, of which against he had

585
00:28:58,040 --> 00:29:01,040
Speaker 3: to battle. He opted for a hacksaw to transform the

586
00:29:01,080 --> 00:29:05,240
Speaker 3: iron bars into decorative elements no longer functional as prison bars.

587
00:29:05,320 --> 00:29:07,640
Speaker 4: I thought he would like hack into his ribs so

588
00:29:07,720 --> 00:29:10,120
Speaker 4: he could collapse his rib cage to slip through the

589
00:29:10,160 --> 00:29:15,040
Speaker 4: bars internal to extra Yeah.

590
00:29:15,040 --> 00:29:18,960
Speaker 3: Different, saw now. He also fashioned two rope ladders, one

591
00:29:19,000 --> 00:29:22,080
Speaker 3: to climb up because this was his nod to the

592
00:29:22,080 --> 00:29:25,160
Speaker 3: boldness of Icarus. The second rope ladder was to climb

593
00:29:25,240 --> 00:29:27,360
Speaker 3: down to the other side of the prison walls.

594
00:29:28,000 --> 00:29:30,160
Speaker 2: I didn't know there were upladders and down ladders.

595
00:29:30,240 --> 00:29:33,080
Speaker 3: Yeah, no, this he needed to He needed a nod

596
00:29:33,120 --> 00:29:35,680
Speaker 3: to the childhood fable of Rapunzel. A down ladder and

597
00:29:35,800 --> 00:29:37,440
Speaker 3: an up ladder. That was a nod to.

598
00:29:38,280 --> 00:29:40,200
Speaker 2: I gotta find out if the ladder in my garage

599
00:29:40,240 --> 00:29:41,080
Speaker 2: is an upper a down.

600
00:29:41,240 --> 00:29:42,880
Speaker 3: Well, it depends on how you use them. If you

601
00:29:42,920 --> 00:29:44,760
Speaker 3: have a wall and you put one on one side

602
00:29:44,760 --> 00:29:46,320
Speaker 3: and one on the other side, and you're on this side,

603
00:29:46,320 --> 00:29:47,720
Speaker 3: you got an up ladder down line.

604
00:29:47,760 --> 00:29:49,560
Speaker 2: But if you put the up ladder on the wrong

605
00:29:49,640 --> 00:29:51,840
Speaker 2: side and the down ladder on the other side.

606
00:29:51,720 --> 00:29:53,600
Speaker 3: You gotta get some kind of help with that. He

607
00:29:53,640 --> 00:29:56,320
Speaker 3: got a ladder, he's you grow now. What had set

608
00:29:56,360 --> 00:29:58,440
Speaker 3: him off at the moment was a parole board hearing

609
00:29:58,440 --> 00:30:01,280
Speaker 3: that determined he wasn't going to the outside anytime soon.

610
00:30:01,560 --> 00:30:03,960
Speaker 3: He was like, no, no, no, no, Brian bo Larsan

611
00:30:04,000 --> 00:30:06,560
Speaker 3: do not like that. So Brian bow Larson, he says,

612
00:30:06,840 --> 00:30:08,560
Speaker 3: he went out and he bought himself some betting like

613
00:30:08,600 --> 00:30:10,320
Speaker 3: that was he got out of a parole hearing. He's liked,

614
00:30:10,680 --> 00:30:13,440
Speaker 3: pop up, get me some bedding the department store. Yeah, no,

615
00:30:13,520 --> 00:30:15,520
Speaker 3: I actually have it from I got his words and

616
00:30:15,600 --> 00:30:18,040
Speaker 3: he said, and that quote, and then I weave twenty

617
00:30:18,040 --> 00:30:20,000
Speaker 3: eight meters of rope out of it. So he gets

618
00:30:20,000 --> 00:30:21,920
Speaker 3: some stuff betting and he's like, I'm on it. Huh

619
00:30:22,400 --> 00:30:23,600
Speaker 3: makes himself some rope.

620
00:30:23,720 --> 00:30:24,040
Speaker 2: Okay.

621
00:30:24,160 --> 00:30:27,040
Speaker 3: He wove his tool of freedom for his next great work.

622
00:30:27,080 --> 00:30:30,360
Speaker 3: He lived in a ground floor cell, right, so without windows,

623
00:30:30,360 --> 00:30:32,520
Speaker 3: so he would have to get up to the second

624
00:30:32,520 --> 00:30:35,160
Speaker 3: floor in the inside the prison before he didn't even

625
00:30:35,240 --> 00:30:37,560
Speaker 3: encounter away to get out. So the windows were only,

626
00:30:37,600 --> 00:30:39,120
Speaker 3: as I said, on the top floor cells. But not

627
00:30:39,160 --> 00:30:41,600
Speaker 3: only that, many of the windows they were already shattered

628
00:30:41,640 --> 00:30:44,720
Speaker 3: and broken. A comment on the modern society anyway, left

629
00:30:44,800 --> 00:30:47,320
Speaker 3: open to the elements. This was yet another punishment in

630
00:30:47,360 --> 00:30:50,640
Speaker 3: the prison during wintertime. So Brian bow Larson, he sees

631
00:30:50,680 --> 00:30:53,560
Speaker 3: this as a hint of freedom, punishment turned into liberation

632
00:30:53,920 --> 00:30:57,280
Speaker 3: and yet another tool to express himself Elizabeth. So once

633
00:30:57,320 --> 00:30:59,600
Speaker 3: his bed sheep rope was done, he braided a second.

634
00:30:59,640 --> 00:31:03,080
Speaker 3: Then he ready two rope ladders up and down. Quote.

635
00:31:03,120 --> 00:31:05,120
Speaker 3: I throw the rope out of window at seven o'clock

636
00:31:05,120 --> 00:31:06,880
Speaker 3: in the evening, when it is dark. Down on the

637
00:31:06,920 --> 00:31:09,320
Speaker 3: ground floor where I have the cell, I saw the beam,

638
00:31:09,560 --> 00:31:11,280
Speaker 3: and at three in the morning, I go out, the

639
00:31:11,320 --> 00:31:14,800
Speaker 3: beam being the spotlight of the prison. Yeah yeah, right,

640
00:31:14,880 --> 00:31:17,120
Speaker 3: So he's outside now, but he's still not yet free

641
00:31:17,240 --> 00:31:19,760
Speaker 3: because he's still in the prison grounds. He still has

642
00:31:19,760 --> 00:31:21,760
Speaker 3: to climb off the roof that he is now on.

643
00:31:21,920 --> 00:31:24,320
Speaker 3: He nearly falls because it's like winter time Slipper. He

644
00:31:24,360 --> 00:31:27,560
Speaker 3: secures himself in his one true possession, his life, Elizabeth,

645
00:31:28,200 --> 00:31:31,120
Speaker 3: and now his prison escape. I tied the rope but

646
00:31:31,200 --> 00:31:33,440
Speaker 3: could see that it was very secure, but I chose

647
00:31:33,480 --> 00:31:36,240
Speaker 3: to take the chance. Luckily, I managed to crawl over

648
00:31:36,360 --> 00:31:40,160
Speaker 3: halfway down. He made it half way and then fate

649
00:31:40,240 --> 00:31:43,800
Speaker 3: played a hand Elizabeth. Because he is an artwork, it

650
00:31:43,920 --> 00:31:46,800
Speaker 3: is occurring with both the artists and the medium in

651
00:31:46,840 --> 00:31:49,440
Speaker 3: the moment. It is a performance dance, if you will,

652
00:31:49,480 --> 00:31:52,840
Speaker 3: a prison escape artist who is a performance.

653
00:31:52,280 --> 00:31:54,800
Speaker 2: Artist, and it's ever evolving totally.

654
00:31:55,280 --> 00:31:57,800
Speaker 3: As he explains it, quote, all of a sudden, the

655
00:31:57,880 --> 00:32:01,440
Speaker 3: rope breaks, so I fell the last five or six meters.

656
00:32:01,520 --> 00:32:04,000
Speaker 3: I landed on the asphalt on one foot and then

657
00:32:04,040 --> 00:32:06,760
Speaker 3: on my tail. I can feel that something happened there

658
00:32:06,800 --> 00:32:09,520
Speaker 3: that wasn't supposed to happen. I thought I wouldn't get

659
00:32:09,600 --> 00:32:12,360
Speaker 3: back up, but you also want to leave, so I

660
00:32:12,480 --> 00:32:14,880
Speaker 3: fought my way up and jumped in through some bushes

661
00:32:14,920 --> 00:32:19,480
Speaker 3: and away. So actually busts his butt on his on

662
00:32:19,560 --> 00:32:23,600
Speaker 3: the exactly and he's like, oh, my cocksacks. And then

663
00:32:23,600 --> 00:32:25,920
Speaker 3: he's like, I need to lie down a while. But

664
00:32:26,040 --> 00:32:28,120
Speaker 3: he's like, oh, I can't lie down here right outside

665
00:32:28,160 --> 00:32:30,680
Speaker 3: the prison, and so he bounces for the bush is gone.

666
00:32:31,400 --> 00:32:35,600
Speaker 3: His latest artistic expression was rousing, if painful success. His

667
00:32:35,760 --> 00:32:39,080
Speaker 3: choice of tools worked brilliantly well, if only momentarily. One

668
00:32:39,320 --> 00:32:42,080
Speaker 3: prison escape artist critic. We will call him the head

669
00:32:42,080 --> 00:32:46,040
Speaker 3: of security of the Copenhagen West Regional Police, Kim Svinsingen.

670
00:32:46,240 --> 00:32:50,240
Speaker 3: He said, we received notification on Saturday morning at eight twenty,

671
00:32:50,280 --> 00:32:52,120
Speaker 3: but we do not know when he was last seen.

672
00:32:52,520 --> 00:32:54,600
Speaker 3: I mean, it's not the best art criticism, but that's

673
00:32:54,640 --> 00:32:57,680
Speaker 3: what they said. Anyway, Brian bo Larson was indeed free

674
00:32:57,880 --> 00:33:01,760
Speaker 3: dazzling success. Now, in many ways, in a rather philosophical mood,

675
00:33:01,760 --> 00:33:04,720
Speaker 3: one might say one might be amused how Larsion's latest

676
00:33:04,720 --> 00:33:06,560
Speaker 3: work was both a wink and a nod to the

677
00:33:06,600 --> 00:33:11,520
Speaker 3: power of the flexible rope to overcome the unbending iron bar. Right, Okay,

678
00:33:12,400 --> 00:33:14,440
Speaker 3: In many ways, you might say that Larson's work is

679
00:33:14,480 --> 00:33:17,160
Speaker 3: both satirical and imbued with a sense of the immediate

680
00:33:17,200 --> 00:33:17,960
Speaker 3: and the timeless.

681
00:33:18,080 --> 00:33:20,840
Speaker 2: Yeah, I would totally say that it's irresilient. I've been

682
00:33:20,880 --> 00:33:22,240
Speaker 2: saying it in my head this whole time.

683
00:33:22,360 --> 00:33:25,240
Speaker 3: It has a simplicity that speaks for itself. Yeah, completely,

684
00:33:25,320 --> 00:33:28,200
Speaker 3: no keys from memory from him. He just plays a

685
00:33:28,240 --> 00:33:32,960
Speaker 3: classics baby bed sheet, rope hacksaw. But for our next one,

686
00:33:33,000 --> 00:33:35,760
Speaker 3: we bring in a new element, the bulldozer.

687
00:33:36,000 --> 00:33:36,280
Speaker 2: Wait.

688
00:33:36,560 --> 00:33:39,960
Speaker 3: Yes, His next break work was titled the Bulldozer. As

689
00:33:40,000 --> 00:33:42,080
Speaker 3: with the rope, ladder and the Hacksaw, he again returned

690
00:33:42,080 --> 00:33:44,160
Speaker 3: to a bold strength to remind us all of the

691
00:33:44,200 --> 00:33:46,960
Speaker 3: power and joy of freedom. With this work, Elizabeth, he

692
00:33:47,000 --> 00:33:50,120
Speaker 3: also maximized his planning and included a commentary on the

693
00:33:50,160 --> 00:33:51,719
Speaker 3: meaning and the need for community.

694
00:33:51,920 --> 00:33:55,320
Speaker 4: I much prefer his earlier works that were sort of

695
00:33:55,360 --> 00:33:59,680
Speaker 4: a statement on the liminal quality of the.

696
00:34:00,200 --> 00:34:03,800
Speaker 3: Space of the prisoner in what we would call a punishing,

697
00:34:03,840 --> 00:34:04,960
Speaker 3: impunitive society.

698
00:34:05,040 --> 00:34:07,600
Speaker 2: But you are you in the prison? Are you out

699
00:34:07,600 --> 00:34:08,680
Speaker 2: of the prison? Are you in?

700
00:34:08,920 --> 00:34:10,799
Speaker 3: Are we in a prison on the outside?

701
00:34:11,040 --> 00:34:12,480
Speaker 2: Am I just a prison myself?

702
00:34:12,480 --> 00:34:14,440
Speaker 3: Are we the prison guards of our own prison?

703
00:34:14,560 --> 00:34:17,240
Speaker 2: Am I the prison of the prison? And the prison

704
00:34:17,520 --> 00:34:18,240
Speaker 2: to a prison?

705
00:34:19,640 --> 00:34:22,440
Speaker 3: Well? Think about that now, let that ruminate. So with

706
00:34:22,520 --> 00:34:26,719
Speaker 3: a Bulldozer his next great peace, Brian bo Larson not

707
00:34:26,760 --> 00:34:29,120
Speaker 3: only set himself free, but he did, as Audrey Lord

708
00:34:29,160 --> 00:34:32,719
Speaker 3: would insist, he freed eleven others Elizabeth, as Lord said,

709
00:34:32,760 --> 00:34:35,160
Speaker 3: quote I am not free, while any woman is unfree,

710
00:34:35,200 --> 00:34:37,879
Speaker 3: even when her shackles are very different from my own,

711
00:34:38,280 --> 00:34:41,719
Speaker 3: Brian bo Larson said, saying, brother, but for dudes in

712
00:34:41,719 --> 00:34:44,760
Speaker 3: prison with me now, in nineteen ninety five, he unveiled

713
00:34:44,800 --> 00:34:47,520
Speaker 3: as late as work. He orchestrated a triumphant act. He

714
00:34:47,640 --> 00:34:50,720
Speaker 3: asked a buddy on the outside act against the walls

715
00:34:50,719 --> 00:34:53,799
Speaker 3: that divided them. Yes, so his buddy went and fired up.

716
00:34:53,800 --> 00:34:55,640
Speaker 3: But you guessed it a bulldozer, and he drove it

717
00:34:55,680 --> 00:34:57,680
Speaker 3: down to the prison. And then what did he do, Elizabeth?

718
00:34:57,760 --> 00:35:01,120
Speaker 3: He smashed the bulldozer right into the prison divided them,

719
00:35:01,360 --> 00:35:06,320
Speaker 3: transforming it via his introduction of an aspirational nothingness, leaving

720
00:35:06,320 --> 00:35:08,960
Speaker 3: behind a great hole in the wall. Now, with one

721
00:35:09,000 --> 00:35:12,279
Speaker 3: great bum's rush, Brian bow Larson and his eleven disciples,

722
00:35:12,320 --> 00:35:15,399
Speaker 3: his acolytes of freedom, they fled prison. Elizabeth, you can

723
00:35:15,440 --> 00:35:18,080
Speaker 3: witness this work for yourself on YouTube. It has been

724
00:35:18,120 --> 00:35:20,839
Speaker 3: preserved because there was someone on the outside recording it

725
00:35:20,880 --> 00:35:24,520
Speaker 3: on video for posterity. What this document of freedom achieved.

726
00:35:24,840 --> 00:35:27,000
Speaker 3: Clearly they knew it was going to happen. With a

727
00:35:27,120 --> 00:35:31,520
Speaker 3: rough and barbaric yop, the newly freed shouted their brief manifesto,

728
00:35:31,719 --> 00:35:34,440
Speaker 3: celebrating the thrill of their will to life. Their shared

729
00:35:34,480 --> 00:35:39,360
Speaker 3: manifesto was just one word Elizabeth, Yes, now, Yoko ono.

730
00:35:39,560 --> 00:35:41,799
Speaker 3: She would be pleased with the urgency of this and

731
00:35:41,840 --> 00:35:43,759
Speaker 3: the fact that they had quoted from her. Now. Some

732
00:35:43,840 --> 00:35:46,320
Speaker 3: have criticized this work for the risks and the shock

733
00:35:46,360 --> 00:35:48,200
Speaker 3: of it all. But for me, Elizabeth, I'd argue that

734
00:35:48,239 --> 00:35:51,640
Speaker 3: as a prison escape artist, Brian bow Larson owes us

735
00:35:51,680 --> 00:35:55,160
Speaker 3: no sense of responsibility. He isn't and purely a devote

736
00:35:55,160 --> 00:35:58,360
Speaker 3: of freedom. Now, Additionally, I would say the hyperrealism of

737
00:35:58,400 --> 00:36:01,440
Speaker 3: this work, The Bulldozer, it does obscure some of the

738
00:36:01,760 --> 00:36:05,640
Speaker 3: macro contemplation that arises from the questions considered. We lose

739
00:36:05,680 --> 00:36:07,879
Speaker 3: sight of some of his commentary on life. It gets

740
00:36:07,920 --> 00:36:11,520
Speaker 3: obfuscated by the unequivocally graphic. You know, the prisoner is

741
00:36:11,560 --> 00:36:14,080
Speaker 3: rushing out of a dark hole. It's scarce and you

742
00:36:14,080 --> 00:36:17,399
Speaker 3: cannot contemplate the truth before you. Now, it's like kind

743
00:36:17,400 --> 00:36:21,120
Speaker 3: of like Maplethorpe's pissed crist of his Ubra, or it's

744
00:36:21,120 --> 00:36:25,640
Speaker 3: his version of Madonna's book Sexy. It overcomes the message. Now,

745
00:36:25,880 --> 00:36:28,080
Speaker 3: this is a danger of being such a prolific Artistly

746
00:36:28,160 --> 00:36:30,400
Speaker 3: the Houdini Hines, he was more of a Beethoven to

747
00:36:30,520 --> 00:36:34,640
Speaker 3: Larsen's Mozart. He like Houdini Hines, he only gave us

748
00:36:34,680 --> 00:36:37,320
Speaker 3: a few great symphonies of freedom, while Brian brow Larssen

749
00:36:37,360 --> 00:36:40,759
Speaker 3: he was prolific as that wicked, humored child Elizabeth. He

750
00:36:40,840 --> 00:36:44,719
Speaker 3: gave us twenty two successful prison escapes twenty two. Now

751
00:36:44,800 --> 00:36:46,560
Speaker 3: we won't cover them all, not all twenty two, but

752
00:36:46,600 --> 00:36:48,400
Speaker 3: I do want to highlight a couple more of his

753
00:36:48,480 --> 00:36:51,319
Speaker 3: greatest works. So let's take a little break, refresh, and

754
00:36:51,360 --> 00:37:14,560
Speaker 3: I'll be back with more of Brian bo Larsen. Okay,

755
00:37:14,560 --> 00:37:19,840
Speaker 3: Elizabeth art lover, We're back ready. Yes, I think that

756
00:37:20,680 --> 00:37:23,560
Speaker 3: we've been discussing, you know, Houdini Hines, Brian bo Larsen,

757
00:37:23,719 --> 00:37:27,520
Speaker 3: But I think to you know, kind of synthesize this conversation.

758
00:37:28,080 --> 00:37:32,000
Speaker 3: We should also remind ourselves that to understand any artists,

759
00:37:32,000 --> 00:37:34,959
Speaker 3: we must look to their home life, their beginnings, because

760
00:37:35,000 --> 00:37:37,560
Speaker 3: that is where the artist is created in ways that

761
00:37:37,600 --> 00:37:40,800
Speaker 3: even they don't understand. Now, what was it that first

762
00:37:40,880 --> 00:37:45,920
Speaker 3: drove Brian bow Larsen to long for escape? His father, Elizabeth,

763
00:37:45,960 --> 00:37:48,879
Speaker 3: a rough, brutish man violent to him and his mother

764
00:37:49,120 --> 00:37:50,920
Speaker 3: in some ways. You would say that his father formed

765
00:37:50,920 --> 00:37:53,080
Speaker 3: and shaped the prison escape artist as a young man.

766
00:37:53,160 --> 00:37:55,840
Speaker 3: That makes sense, right as Larson had himself he has noted,

767
00:37:55,880 --> 00:37:57,880
Speaker 3: and it came with a cost to become the prison

768
00:37:57,960 --> 00:38:01,000
Speaker 3: escape artist that he is. Quote. Of course, I've missed

769
00:38:01,000 --> 00:38:02,640
Speaker 3: out on a lot of things in this life, with

770
00:38:02,719 --> 00:38:04,799
Speaker 3: all the years I've been in prison. But crying over

771
00:38:04,840 --> 00:38:08,280
Speaker 3: spilt milk doesn't help. Now that said, Larson has confided

772
00:38:08,280 --> 00:38:10,400
Speaker 3: that even if he could have lived the other life,

773
00:38:10,719 --> 00:38:12,759
Speaker 3: it could well have happened. He knows that he could

774
00:38:12,800 --> 00:38:15,280
Speaker 3: have gone the straight and narrow path. Sure with thenology

775
00:38:15,320 --> 00:38:17,359
Speaker 3: he has today he says he still would choose his

776
00:38:17,400 --> 00:38:20,480
Speaker 3: life as a prison escape artist. Really, he's true to

777
00:38:20,520 --> 00:38:23,440
Speaker 3: the game. Despite all the risks, the times he nearly died,

778
00:38:23,520 --> 00:38:25,680
Speaker 3: he would do it all again. This is the brave

779
00:38:25,719 --> 00:38:28,239
Speaker 3: commitment that we require of a great artist, even the

780
00:38:28,280 --> 00:38:31,560
Speaker 3: prison escape artist Elizabeth Now. In October two thousand and four,

781
00:38:31,920 --> 00:38:34,640
Speaker 3: Larson had perhaps his closest run in with death and

782
00:38:34,680 --> 00:38:37,560
Speaker 3: his own demise. Yes, I called this next piece the

783
00:38:37,600 --> 00:38:42,520
Speaker 3: garden Hose. It involves a whole mess of manure. Larson

784
00:38:42,600 --> 00:38:44,400
Speaker 3: was working in the prison yard. He was raking and

785
00:38:44,400 --> 00:38:47,640
Speaker 3: shoveling up leaves into a wheelbarrow. He'd already planned his move,

786
00:38:47,680 --> 00:38:50,480
Speaker 3: of course, and then the universe it winked at him

787
00:38:50,640 --> 00:38:54,400
Speaker 3: this moment, His moment had arrived. So what do I

788
00:38:54,480 --> 00:38:58,080
Speaker 3: mean by that? Well, Brian bowl Larson's about to get free.

789
00:38:58,120 --> 00:39:00,279
Speaker 3: He's about a bus right back out. So at this

790
00:39:00,360 --> 00:39:02,160
Speaker 3: point he's locked up in prison. But as he says,

791
00:39:02,239 --> 00:39:05,520
Speaker 3: he has a job. Like many prisoners, his job was yardwork.

792
00:39:05,600 --> 00:39:08,200
Speaker 3: So he's doing the leaves. But and I say leaves,

793
00:39:08,239 --> 00:39:11,200
Speaker 3: I don't mean just raking leaves. He's got grass, sod.

794
00:39:11,280 --> 00:39:15,480
Speaker 3: He's cutting up rolls of earth. Real prison yard.

795
00:39:15,760 --> 00:39:18,200
Speaker 2: Who was a trustee who did that to the landscape?

796
00:39:18,680 --> 00:39:21,240
Speaker 3: Yeah, and real like you know, curling up the saws.

797
00:39:21,680 --> 00:39:23,960
Speaker 3: So in that mess of earth to be that he's

798
00:39:24,040 --> 00:39:27,200
Speaker 3: right now moving, he spies freedom, Brian bolars and he

799
00:39:27,239 --> 00:39:29,880
Speaker 3: climbs inside. He burrows down into this dirt to be

800
00:39:30,400 --> 00:39:32,480
Speaker 3: and now with him. He'd also secreted a length of

801
00:39:32,560 --> 00:39:35,960
Speaker 3: garden hose, so he gets set under this near crushing

802
00:39:36,080 --> 00:39:38,120
Speaker 3: weight and he waited for the truck to come. They're

803
00:39:38,120 --> 00:39:40,400
Speaker 3: supposed to pick up all this earth he set aside

804
00:39:40,480 --> 00:39:42,839
Speaker 3: and lift the container and dump it into the back

805
00:39:42,840 --> 00:39:44,440
Speaker 3: of the truck and then drive out of the prison

806
00:39:44,800 --> 00:39:47,479
Speaker 3: and believe it to Brian Bolarsten to explain his work

807
00:39:47,600 --> 00:39:50,239
Speaker 3: the garden hose. It all began with a prison sheet.

808
00:39:50,280 --> 00:39:52,880
Speaker 3: Once again, this was a europe so it was a

809
00:39:52,880 --> 00:39:56,719
Speaker 3: prison duvet cover. Quote. One day, I took a duvet cover.

810
00:39:56,840 --> 00:39:58,879
Speaker 3: I had made a proper pile of soil and had

811
00:39:58,880 --> 00:40:01,920
Speaker 3: two wheelbarrows of I crawled into the duvet cover and

812
00:40:01,960 --> 00:40:04,520
Speaker 3: then I had my friend cover me with earth. This

813
00:40:04,719 --> 00:40:07,040
Speaker 3: was risky because, as I said, Elizabeth, it's dangerous. The

814
00:40:07,040 --> 00:40:11,440
Speaker 3: soil can crush you, shifts, it moves so as Larson noted,

815
00:40:11,640 --> 00:40:13,839
Speaker 3: that kind of soil is heavy and you can't move

816
00:40:13,880 --> 00:40:16,000
Speaker 3: it to the sides because of the container. So you're

817
00:40:16,040 --> 00:40:18,760
Speaker 3: completely strapped down there. It was very difficult to breathe.

818
00:40:19,000 --> 00:40:20,759
Speaker 3: You had to pull it really deep for you to

819
00:40:20,800 --> 00:40:23,160
Speaker 3: feel like you were getting fresh air. I lay down

820
00:40:23,160 --> 00:40:26,440
Speaker 3: there for twenty minutes. So twenty minutes, he's barely breathing

821
00:40:26,480 --> 00:40:29,880
Speaker 3: through this garden hose. As I said, garden hose. So

822
00:40:29,920 --> 00:40:32,279
Speaker 3: at one end, it's about forty centimeters long, so you

823
00:40:32,320 --> 00:40:35,319
Speaker 3: can picture it right now. He was sucking clean air

824
00:40:35,360 --> 00:40:37,480
Speaker 3: to that garden hose. But he can easily get blocked

825
00:40:37,560 --> 00:40:40,319
Speaker 3: or clogged. You know what happens. Then you can't like

826
00:40:40,360 --> 00:40:43,040
Speaker 3: just push up through the earth anyway. He's dancing there

827
00:40:43,040 --> 00:40:45,719
Speaker 3: on the rim of life, buried in earth, already a

828
00:40:45,760 --> 00:40:50,239
Speaker 3: premature grave, and he hears the joyous sound of freedom approaching.

829
00:40:50,719 --> 00:40:53,120
Speaker 3: Then the truck came out. He gave an adrenaline rush.

830
00:40:53,120 --> 00:40:55,040
Speaker 3: When you can feel that forklift grab you, and then

831
00:40:55,080 --> 00:40:57,319
Speaker 3: you're on your way out of the gate. Oh so

832
00:40:57,480 --> 00:40:59,960
Speaker 3: he's out, Elizabeth. He's free once again in his work,

833
00:41:00,239 --> 00:41:03,120
Speaker 3: free as you and me, only he's more free. He's

834
00:41:03,239 --> 00:41:05,719
Speaker 3: way more free than we are. He burrows out of

835
00:41:05,719 --> 00:41:08,439
Speaker 3: his hiding place. He spotted though by the truck driver

836
00:41:08,520 --> 00:41:10,200
Speaker 3: who's still behind the wheel. The guy was like taking

837
00:41:10,239 --> 00:41:12,839
Speaker 3: a break or something. He's like, oh, oh, my timing's wrong.

838
00:41:12,960 --> 00:41:15,640
Speaker 3: Huh so, Brian bow Larson, He doesn't hurt the truck driver,

839
00:41:15,719 --> 00:41:17,400
Speaker 3: right said, He just runs away because he's not that

840
00:41:17,480 --> 00:41:19,880
Speaker 3: kind of guy. Of course, he gets caught arrested a

841
00:41:19,880 --> 00:41:22,160
Speaker 3: few months later, and he was not returned to the

842
00:41:22,160 --> 00:41:24,439
Speaker 3: same prison. Instead, he was transferred to a place called

843
00:41:24,480 --> 00:41:27,239
Speaker 3: Odense Arrest. Now he was not there long. You don't

844
00:41:27,239 --> 00:41:29,120
Speaker 3: need to memorize this, but anyway, by this point he

845
00:41:29,200 --> 00:41:32,560
Speaker 3: is a mid career prison escape artist and now he's

846
00:41:32,719 --> 00:41:35,839
Speaker 3: working with the power and the confidence of one two

847
00:41:35,880 --> 00:41:39,000
Speaker 3: thousand and five, one year after his previous escape, Larsen

848
00:41:39,040 --> 00:41:42,000
Speaker 3: again longed for a deep, clean breath of fresh air,

849
00:41:42,280 --> 00:41:44,520
Speaker 3: so he started to plot and plan. At first, I

850
00:41:44,560 --> 00:41:46,640
Speaker 3: sat in another cell, and then I persuaded a guard

851
00:41:46,640 --> 00:41:48,239
Speaker 3: to move me to the last cell because there's a

852
00:41:48,280 --> 00:41:49,840
Speaker 3: toilet in the last cell, but it is not as

853
00:41:49,920 --> 00:41:51,640
Speaker 3: long as the cell one and a half half meters

854
00:41:51,680 --> 00:41:54,120
Speaker 3: of the cell is not actually the other outer wall.

855
00:41:54,280 --> 00:41:57,480
Speaker 3: Then I hung up a flag with tupac. Wait, so

856
00:41:57,840 --> 00:42:00,160
Speaker 3: what it is is he says he wanted to be

857
00:42:00,200 --> 00:42:02,480
Speaker 3: on a cell right. That is uh, He's like, I

858
00:42:03,320 --> 00:42:05,840
Speaker 3: want a longer cell, right. So the cell that he

859
00:42:05,960 --> 00:42:07,560
Speaker 3: was in, he's like, I want to be on the

860
00:42:07,719 --> 00:42:10,200
Speaker 3: very last cell on this row of cell blocks because

861
00:42:10,239 --> 00:42:12,360
Speaker 3: there's a toilet there. And the guard's like okay, and

862
00:42:12,400 --> 00:42:15,440
Speaker 3: he's like, yeah, now this cell it's not it's shorter

863
00:42:15,520 --> 00:42:17,880
Speaker 3: because of the toilet, but that doesn't matter to him.

864
00:42:18,120 --> 00:42:21,319
Speaker 3: So he has close he's closer access to the outer

865
00:42:21,400 --> 00:42:24,120
Speaker 3: wall because the toilet has pipes running down the building, right,

866
00:42:24,200 --> 00:42:26,240
Speaker 3: So then he hung up a flag with a Tupac

867
00:42:26,880 --> 00:42:28,759
Speaker 3: as you do. Yeah right, I'm just I'm just laying

868
00:42:28,760 --> 00:42:31,840
Speaker 3: out the facts. So, Elizabeth, I understand you may be

869
00:42:31,960 --> 00:42:35,759
Speaker 3: wondering why a poster of Tupacy a poster. Well, it

870
00:42:35,800 --> 00:42:37,920
Speaker 3: was a screen, Elizabeth, it was a mask. It was

871
00:42:38,040 --> 00:42:41,120
Speaker 3: meant to distract with the provocation, much like Tupac's own

872
00:42:41,200 --> 00:42:44,240
Speaker 3: use of his hyper masculinity to obscure his well developed

873
00:42:44,239 --> 00:42:48,040
Speaker 3: feminine side. Right anyway, Brian bo Larson, he hung up

874
00:42:48,080 --> 00:42:50,520
Speaker 3: his poster of Tupac, his screen, if you will, his

875
00:42:50,680 --> 00:42:53,239
Speaker 3: mask on his prison wall, and he got to work.

876
00:42:53,600 --> 00:42:55,359
Speaker 3: I put a little gizmo behind it so I could

877
00:42:55,440 --> 00:42:57,280
Speaker 3: check if the guards or were checking the wall behind

878
00:42:57,280 --> 00:43:00,600
Speaker 3: the flag. So that's what he wanted to do, was

879
00:43:00,640 --> 00:43:03,200
Speaker 3: a test of the system, much like Tupac himself.

880
00:43:03,480 --> 00:43:04,680
Speaker 2: That is spot on.

881
00:43:04,800 --> 00:43:07,400
Speaker 3: The departed rapper would have likely appreciated this gestures what

882
00:43:07,440 --> 00:43:09,920
Speaker 3: I'm saying. Anyway, after a few weeks the Tupac poster,

883
00:43:10,000 --> 00:43:12,760
Speaker 3: it informs him that the guards aren't checking too closely.

884
00:43:13,200 --> 00:43:15,799
Speaker 3: I grabbed a screwdriver from downstairs than the workshop and

885
00:43:15,840 --> 00:43:18,960
Speaker 3: started digging. I got the screwdriver from another inmate. People

886
00:43:19,000 --> 00:43:21,560
Speaker 3: want to help each other in prison, once again reifying

887
00:43:21,600 --> 00:43:25,000
Speaker 3: the bonds of community. Anyway, in his work, he's established,

888
00:43:25,080 --> 00:43:27,120
Speaker 3: as I pointed out, the bonds of community. But his

889
00:43:27,360 --> 00:43:30,399
Speaker 3: escape was also his fellow prisoner's escape too, Elizabeth sure,

890
00:43:30,520 --> 00:43:32,920
Speaker 3: whether symbolically or truthfully.

891
00:43:33,080 --> 00:43:36,360
Speaker 2: I have a quick question, please, what was his original crime?

892
00:43:37,680 --> 00:43:40,440
Speaker 4: It's like petty theft, remember, right, so, but has he

893
00:43:40,520 --> 00:43:41,560
Speaker 4: done any other crimes?

894
00:43:43,080 --> 00:43:46,319
Speaker 2: I'm just wondering if he keeps racking up Oh.

895
00:43:46,280 --> 00:43:48,440
Speaker 3: Yes, every time you escape, that's a crime.

896
00:43:48,360 --> 00:43:51,359
Speaker 2: Right So I'm just thinking, like he has the original.

897
00:43:50,880 --> 00:43:53,840
Speaker 4: Crime and then years well, just because he keeps adding

898
00:43:53,880 --> 00:43:54,680
Speaker 4: it to himself.

899
00:43:54,680 --> 00:43:55,800
Speaker 2: He's doing this to himself.

900
00:43:55,920 --> 00:43:57,800
Speaker 3: That's why I said, it's a commitment of an artist.

901
00:43:57,920 --> 00:44:01,440
Speaker 3: He understands what he must work with and to point

902
00:44:01,440 --> 00:44:05,000
Speaker 3: out the painful ironies of the bureaucracy, the greater criminals

903
00:44:05,000 --> 00:44:07,640
Speaker 3: than he walked free. He must do this.

904
00:44:08,080 --> 00:44:10,160
Speaker 2: It's a strong mission statement, thank you.

905
00:44:10,960 --> 00:44:14,480
Speaker 3: So here's his latest escape, he said quote. I started

906
00:44:14,480 --> 00:44:17,640
Speaker 3: digging on Friday Sunday night. I was done. My drawers

907
00:44:17,680 --> 00:44:20,120
Speaker 3: and cupboards were filled with bricks. There was only an

908
00:44:20,160 --> 00:44:22,200
Speaker 3: outer layer left, and I could look out to the

909
00:44:22,239 --> 00:44:24,799
Speaker 3: supermarket on the other side. Of the prison. So I

910
00:44:24,880 --> 00:44:26,920
Speaker 3: just sat there and enjoyed the huge hole in the

911
00:44:26,960 --> 00:44:30,319
Speaker 3: wall and spoke a few bong heads. Oh yeah, So

912
00:44:30,320 --> 00:44:32,000
Speaker 3: he's just smoking on a bomb, getting high with his

913
00:44:32,040 --> 00:44:34,960
Speaker 3: Tupac poster and a little taste of freedom. Like I said,

914
00:44:35,000 --> 00:44:36,040
Speaker 3: more free than any of us.

915
00:44:36,120 --> 00:44:37,000
Speaker 2: Yeah, he's getting free.

916
00:44:37,280 --> 00:44:39,840
Speaker 3: A quiet moment, a true moment, Elizabeth. And then what

917
00:44:39,880 --> 00:44:41,760
Speaker 3: does he do with this? Then I laid the bricks

918
00:44:41,760 --> 00:44:43,360
Speaker 3: out on the floor like a big H and a

919
00:44:43,360 --> 00:44:47,600
Speaker 3: big A. That's spelled up a ha right, his parting

920
00:44:47,600 --> 00:44:48,760
Speaker 3: message to his captors.

921
00:44:48,760 --> 00:44:49,200
Speaker 2: Amazing.

922
00:44:49,560 --> 00:44:51,840
Speaker 3: So then I just dug out the last piece and

923
00:44:51,880 --> 00:44:54,520
Speaker 3: he realized I can actually jump down directly from the wall,

924
00:44:54,560 --> 00:44:58,320
Speaker 3: So he just jumps right onto the ground. He's done again, Elizabeth.

925
00:44:58,320 --> 00:45:01,800
Speaker 3: He's free if only briefly he had made his escape.

926
00:45:01,840 --> 00:45:03,840
Speaker 3: He hit out at this place of a friend of

927
00:45:03,840 --> 00:45:06,279
Speaker 3: his that he knew, and then eventually he basically gets

928
00:45:06,280 --> 00:45:08,400
Speaker 3: turned in by the friend. But the point is prison

929
00:45:08,400 --> 00:45:10,279
Speaker 3: guards and the police that raid the friend's apartment and

930
00:45:10,320 --> 00:45:13,080
Speaker 3: boom he gets apprehended. But in his work, the value

931
00:45:13,080 --> 00:45:16,840
Speaker 3: of freedom was reiterated once again by its absence. Huh okay.

932
00:45:16,880 --> 00:45:20,120
Speaker 3: The prison escape artists as an artist, Elizabeth, what do

933
00:45:20,160 --> 00:45:22,040
Speaker 3: you like about their chosen medium?

934
00:45:22,719 --> 00:45:26,040
Speaker 2: I like the immediacy and the emergency.

935
00:45:25,600 --> 00:45:29,200
Speaker 3: Same same. I mean, it's undeniable, it's irresistible, and the

936
00:45:29,320 --> 00:45:31,440
Speaker 3: freshness comes as part of.

937
00:45:31,400 --> 00:45:34,120
Speaker 2: The form at the nowness of it.

938
00:45:34,640 --> 00:45:37,600
Speaker 3: Exactly now at this point, Brian boy Larsen once again,

939
00:45:37,640 --> 00:45:39,719
Speaker 3: He's in his forties on the lamb. After his most

940
00:45:39,719 --> 00:45:42,839
Speaker 3: recent escape, the man now known as the Escape King

941
00:45:43,120 --> 00:45:45,560
Speaker 3: was once again ready to gobble up all the life

942
00:45:45,560 --> 00:45:48,080
Speaker 3: he could, all that was on offer while he was free.

943
00:45:48,120 --> 00:45:50,319
Speaker 3: First up, he stole a car. You're asking about how

944
00:45:50,320 --> 00:45:52,120
Speaker 3: he racks up charging but how.

945
00:45:52,000 --> 00:45:55,080
Speaker 2: Can you call this man? I mean he escapes multiple times.

946
00:45:55,120 --> 00:45:57,200
Speaker 2: He's not the king of it. The king is the

947
00:45:57,200 --> 00:45:59,279
Speaker 2: one who escapes and is never brought back.

948
00:45:59,320 --> 00:46:03,200
Speaker 3: Inferent views of kings. Kings are allowed to make mistakes,

949
00:46:03,200 --> 00:46:05,640
Speaker 3: but it's constant victories I want from my royalty.

950
00:46:05,680 --> 00:46:09,320
Speaker 2: Is he born to a line of escape kings? What

951
00:46:09,760 --> 00:46:12,160
Speaker 2: do you?

952
00:46:12,480 --> 00:46:15,640
Speaker 3: I don't know anyway, As I'm getting back to my

953
00:46:15,719 --> 00:46:20,120
Speaker 3: metaphoric king, thank you and God, he is a king?

954
00:46:20,280 --> 00:46:23,040
Speaker 3: You know, no, God, what's a god to a king?

955
00:46:23,120 --> 00:46:25,720
Speaker 3: What's a king to a god? Elizabeth? Where was I anyway?

956
00:46:25,800 --> 00:46:29,720
Speaker 3: Christmas time. So this Christmas time he's free. He stole

957
00:46:29,719 --> 00:46:31,719
Speaker 3: a car, all right, so where is he? I do that?

958
00:46:31,719 --> 00:46:32,800
Speaker 2: Every year is Christmas.

959
00:46:32,840 --> 00:46:35,560
Speaker 3: I'm plenty of opportunities to do crime. Everybody's out there like, hey,

960
00:46:35,680 --> 00:46:37,480
Speaker 3: take my car. I'm like, thank you, buddy.

961
00:46:37,680 --> 00:46:40,920
Speaker 4: Anyway, and when people say oh, no, help, that actually

962
00:46:40,960 --> 00:46:42,360
Speaker 4: means take my car exactly.

963
00:46:42,400 --> 00:46:44,760
Speaker 3: Yeah, they're like, please help mey be free of this burden.

964
00:46:45,440 --> 00:46:47,640
Speaker 3: So but rather than me tell you about all this, Elizabeth,

965
00:46:47,719 --> 00:46:52,000
Speaker 3: just close your eyes a picture. The wind of speed

966
00:46:52,080 --> 00:46:54,719
Speaker 3: rushes past two years. You are in a speeding car,

967
00:46:54,840 --> 00:46:58,280
Speaker 3: top down convertible win. You are also on an island

968
00:46:58,320 --> 00:47:01,160
Speaker 3: at the moment. It's fun and Iland, to be exact,

969
00:47:01,280 --> 00:47:03,560
Speaker 3: the nation of Denmark. It has a number of islands,

970
00:47:03,600 --> 00:47:07,080
Speaker 3: and Funnin is one. It's also where Odense Prisons is located.

971
00:47:07,080 --> 00:47:10,160
Speaker 3: But you know that at this point, the escape prisoner

972
00:47:10,480 --> 00:47:12,960
Speaker 3: Brian bow Larsen has yet to run. He's mostly just

973
00:47:13,040 --> 00:47:15,560
Speaker 3: laying low. And at the moment you are with him.

974
00:47:15,920 --> 00:47:19,040
Speaker 3: You are the sex worker that Brian bul Larsen hired

975
00:47:19,200 --> 00:47:21,960
Speaker 3: to accompany him on his sojourn of freedom and mayhem.

976
00:47:22,400 --> 00:47:24,760
Speaker 3: He seemed like a fun guy. You thought he wasn't

977
00:47:24,760 --> 00:47:27,799
Speaker 3: like your typical John's now alone with him in his car,

978
00:47:27,920 --> 00:47:31,160
Speaker 3: Brian bow Larsen seems to be driving around rather aimlessly,

979
00:47:31,719 --> 00:47:34,480
Speaker 3: just out to enjoy his freedom. Oh and he's also

980
00:47:34,600 --> 00:47:36,000
Speaker 3: let you know that the car is stolen, so you're

981
00:47:36,000 --> 00:47:37,919
Speaker 3: in a hot car. Okay, so there's one other thing.

982
00:47:38,000 --> 00:47:41,080
Speaker 3: He's also high as hell on hallucinages. He told you

983
00:47:41,120 --> 00:47:42,840
Speaker 3: that you're not sure which ones. He didn't quite He

984
00:47:42,880 --> 00:47:45,160
Speaker 3: wasn't exactly, but from what you were guessing, is probably

985
00:47:45,200 --> 00:47:47,800
Speaker 3: magic mushrooms. It doesn't seem to be affecting his driving

986
00:47:47,840 --> 00:47:50,640
Speaker 3: too much anybody. He is speeding though, As you stare

987
00:47:50,719 --> 00:47:52,799
Speaker 3: up at the stars kind of blurring past you in

988
00:47:52,840 --> 00:47:56,280
Speaker 3: the darkness above, you can hear the tires whirring against

989
00:47:56,280 --> 00:48:01,360
Speaker 3: the road. That road hum familiar, friendly, steady, solid. It

990
00:48:01,400 --> 00:48:03,880
Speaker 3: mixes with the soundtrack of music that Brian bow Larsen

991
00:48:04,000 --> 00:48:06,240
Speaker 3: likes and is bumping in the stolen car. He turns

992
00:48:06,280 --> 00:48:10,040
Speaker 3: up the classic Tupac he's listening to. Brian bow Larson

993
00:48:10,160 --> 00:48:12,640
Speaker 3: laughs to himself as the cool night air rushes through

994
00:48:12,680 --> 00:48:15,560
Speaker 3: your wig and chills your cheeks a bit. Then you

995
00:48:15,640 --> 00:48:18,000
Speaker 3: hear it the wheels squeal. He misses a turn, The

996
00:48:18,000 --> 00:48:20,440
Speaker 3: car slides off the road, catches some air, and slams

997
00:48:20,520 --> 00:48:23,880
Speaker 3: back down to earth, crashing against the tree and some bushes.

998
00:48:24,680 --> 00:48:28,360
Speaker 3: The radiator whistle and winds. The engine runs choppy and uneven.

999
00:48:28,400 --> 00:48:30,960
Speaker 3: It finally cuts off. You shake off the cobwebs in

1000
00:48:31,000 --> 00:48:34,920
Speaker 3: your mind and you find you're surprisingly fine, no broken bones,

1001
00:48:35,000 --> 00:48:37,840
Speaker 3: no major injuries. Then you hear it. A car door opens,

1002
00:48:38,200 --> 00:48:40,399
Speaker 3: You turn and you watch a Brian bow Larsen does

1003
00:48:40,440 --> 00:48:42,960
Speaker 3: what he does best. He r U N n oft

1004
00:48:43,560 --> 00:48:46,080
Speaker 3: right out of there, but he doesn't get far because

1005
00:48:46,080 --> 00:48:49,120
Speaker 3: he's accosted. He swings at his attack. He ducks a

1006
00:48:49,160 --> 00:48:51,800
Speaker 3: blow and then another, but he's caught by his second attacker.

1007
00:48:52,080 --> 00:48:53,839
Speaker 3: The weird thing is that you don't see anyone else.

1008
00:48:53,840 --> 00:48:55,680
Speaker 3: It just looked like Ed Norton in the fight club

1009
00:48:55,719 --> 00:48:58,440
Speaker 3: and beating himself up in a parking lot. Brian bow

1010
00:48:58,520 --> 00:49:02,680
Speaker 3: Larson is clearly fighting amaginary people. The funniest part is

1011
00:49:02,680 --> 00:49:05,719
Speaker 3: that he's losing. He keeps getting knocked down by the

1012
00:49:05,760 --> 00:49:08,640
Speaker 3: imaginary people. Then he scrambled back up to his feet,

1013
00:49:08,680 --> 00:49:11,239
Speaker 3: only to be knocked down again by his drug hallucination.

1014
00:49:11,719 --> 00:49:14,000
Speaker 3: You want to laugh, but you're really not in the

1015
00:49:14,040 --> 00:49:16,960
Speaker 3: mood because everything's just too strange. Finally, Brian bow Larsen

1016
00:49:17,239 --> 00:49:19,399
Speaker 3: rakes fore of his imagined attackers and he tears off,

1017
00:49:19,400 --> 00:49:22,279
Speaker 3: disappearing into the night. You gather up your stuff. You

1018
00:49:22,320 --> 00:49:24,200
Speaker 3: phone a friend asked them to come gather you up,

1019
00:49:24,239 --> 00:49:26,080
Speaker 3: and now you say you'll be the one waiting in

1020
00:49:26,120 --> 00:49:28,560
Speaker 3: the car parked against a tree. After a little while,

1021
00:49:28,600 --> 00:49:30,719
Speaker 3: you see headlights approach. You're like, oh, thank god. You

1022
00:49:30,800 --> 00:49:33,440
Speaker 3: smile at your rescuer, but then your smile it falls

1023
00:49:33,480 --> 00:49:35,520
Speaker 3: fast because you see that it's not your friend, but

1024
00:49:35,600 --> 00:49:38,120
Speaker 3: rather it's the police. They question you. They find that

1025
00:49:38,160 --> 00:49:41,480
Speaker 3: your story is rather impossible to believe Elizabeth at first,

1026
00:49:41,680 --> 00:49:43,440
Speaker 3: but then they believe you after you tell them the

1027
00:49:43,440 --> 00:49:45,920
Speaker 3: story three or four times. You even act out part

1028
00:49:45,960 --> 00:49:48,879
Speaker 3: of the fight with the imaginary people. The police they

1029
00:49:48,920 --> 00:49:51,680
Speaker 3: release dogs into the darkness, certain that Larson can't be

1030
00:49:51,760 --> 00:49:53,360
Speaker 3: too far away if he's just run off with a

1031
00:49:53,360 --> 00:49:56,360
Speaker 3: head full of drugs, and they're right. The dogs quickly

1032
00:49:56,400 --> 00:49:58,600
Speaker 3: locate a man walking in the dark of night, and

1033
00:49:58,640 --> 00:50:00,840
Speaker 3: here he's wearing a brown wig. You hear over the

1034
00:50:00,840 --> 00:50:03,399
Speaker 3: police radio, which is about as convincing as I don't

1035
00:50:03,440 --> 00:50:06,279
Speaker 3: know an afro on Gwyneth Paltrow. Anyway, doesn't take long

1036
00:50:06,360 --> 00:50:08,560
Speaker 3: for the Danish cops to confirm this is indeed their

1037
00:50:08,680 --> 00:50:14,680
Speaker 3: escape convict. You hear on the radio back inside, Brian. Yeah, Meanwhile,

1038
00:50:14,719 --> 00:50:16,319
Speaker 3: this has been one of the most entertaining nights you've

1039
00:50:16,320 --> 00:50:19,200
Speaker 3: had lately, I hope now, as best as I can tell, Elizabeth,

1040
00:50:19,200 --> 00:50:21,920
Speaker 3: Brian bow Larson is currently detained as a prisoner in

1041
00:50:22,040 --> 00:50:24,960
Speaker 3: Odense Arrest Prison. He had the remainder of his prison

1042
00:50:25,000 --> 00:50:28,000
Speaker 3: sentence to do the original seven years, plus there were

1043
00:50:28,040 --> 00:50:30,080
Speaker 3: all the new charges from his various times on the

1044
00:50:30,160 --> 00:50:32,279
Speaker 3: lamb to consider, like this time with you and the

1045
00:50:32,320 --> 00:50:35,680
Speaker 3: Stolen Car. As a final statement on his work, Elizabeth,

1046
00:50:35,840 --> 00:50:37,960
Speaker 3: being that he is one of the most prolific escape

1047
00:50:38,040 --> 00:50:40,920
Speaker 3: artists of all time, it's important that we contextualize, I think,

1048
00:50:41,000 --> 00:50:44,240
Speaker 3: Brian bow Larsen, don't you. Yeah, let's describe his impact

1049
00:50:44,320 --> 00:50:47,279
Speaker 3: as influence as a prison escape artist. I mean, yes, sure,

1050
00:50:47,320 --> 00:50:50,120
Speaker 3: we could waste our time with statements of the profundity

1051
00:50:50,200 --> 00:50:52,080
Speaker 3: of his work, you know, but we could also sit

1052
00:50:52,120 --> 00:50:55,000
Speaker 3: here and attempt to justify the significance of what his

1053
00:50:55,040 --> 00:50:58,560
Speaker 3: work says. But what also what it urges us with is,

1054
00:50:58,880 --> 00:51:01,080
Speaker 3: as you would say, insist siren pop song.

1055
00:51:01,560 --> 00:51:03,879
Speaker 2: I say that all the time, right, Yeah, But.

1056
00:51:03,880 --> 00:51:07,719
Speaker 3: Also there are his skeptics. What about his skeptics? None

1057
00:51:07,719 --> 00:51:10,120
Speaker 3: of this will matter to them. To his fans, this

1058
00:51:10,239 --> 00:51:13,600
Speaker 3: all matters. But what about to us, Elizabeth, the professionals

1059
00:51:13,840 --> 00:51:15,520
Speaker 3: left to assess it?

1060
00:51:15,560 --> 00:51:17,880
Speaker 2: Tow it parse? Yes, impact?

1061
00:51:17,920 --> 00:51:21,080
Speaker 3: What criteria do we use to criticize this work? Well,

1062
00:51:21,080 --> 00:51:23,800
Speaker 3: to me, Elizabeth, I'll answer that question. A prison escape

1063
00:51:23,880 --> 00:51:26,920
Speaker 3: artist is far more valuable to society than say, the

1064
00:51:27,040 --> 00:51:30,200
Speaker 3: con artist. Think about it this way, the con artists,

1065
00:51:30,440 --> 00:51:32,480
Speaker 3: what do they do? They remind us that nothing is

1066
00:51:32,480 --> 00:51:35,960
Speaker 3: as it first appears, that nothing should be believed. This

1067
00:51:36,040 --> 00:51:37,719
Speaker 3: is an important lesson to keep up the four of

1068
00:51:37,760 --> 00:51:41,320
Speaker 3: your mind. Sure, whatever, But it's also not as important

1069
00:51:41,360 --> 00:51:43,759
Speaker 3: as what the prison escape artist teaches us. What do

1070
00:51:43,800 --> 00:51:47,200
Speaker 3: they teach us there? In great question, Elizabeth, They teach

1071
00:51:47,280 --> 00:51:50,319
Speaker 3: us that, just like the whispers in the wind from

1072
00:51:50,320 --> 00:51:53,319
Speaker 3: the legacy of the Right Brothers, you are as free

1073
00:51:53,360 --> 00:51:56,920
Speaker 3: as you choose to be, but also you must be

1074
00:51:56,960 --> 00:51:59,719
Speaker 3: willing to pay the price for that freedom. Freedom is

1075
00:51:59,760 --> 00:52:03,760
Speaker 3: not essentially no, you pay a hefty for the Wright Brothers.

1076
00:52:03,760 --> 00:52:06,400
Speaker 3: That meant crashing, possibly dying for him. He means slipping

1077
00:52:06,440 --> 00:52:09,479
Speaker 3: off a roof and having his rope a ladder brick. Now,

1078
00:52:09,520 --> 00:52:11,279
Speaker 3: nothing can hold you back, is my point. So no

1079
00:52:11,400 --> 00:52:15,120
Speaker 3: prison walls formed against you can prosper, Elizabeth, not against

1080
00:52:15,120 --> 00:52:17,359
Speaker 3: the full force of the focused human mind and the

1081
00:52:17,400 --> 00:52:20,359
Speaker 3: will to overcome adversity. That's what the prison escape artist

1082
00:52:20,480 --> 00:52:24,240
Speaker 3: reminds us. They reify our sense of freedom. Now, anyway,

1083
00:52:24,320 --> 00:52:27,080
Speaker 3: prison escape artists work. They do work in a medium

1084
00:52:27,080 --> 00:52:30,360
Speaker 3: that's not typically celebrated. I understand that they're not typically

1085
00:52:30,440 --> 00:52:33,399
Speaker 3: written about it and celebrated, warn't sure whatever, But at

1086
00:52:33,400 --> 00:52:36,160
Speaker 3: one time, Elizabeth, the same could be said of street art.

1087
00:52:36,280 --> 00:52:39,560
Speaker 3: You know that, before Basquiat and Keith Herring, nobody would say,

1088
00:52:39,640 --> 00:52:42,560
Speaker 3: let's take street art seriously, That's all I'm saying. So,

1089
00:52:42,640 --> 00:52:44,799
Speaker 3: of course, yes you can't buy a prison escape I

1090
00:52:44,800 --> 00:52:46,200
Speaker 3: mean you kind of, he kind of can't. But you

1091
00:52:46,239 --> 00:52:48,920
Speaker 3: know what I'm saying, The art market will continue to

1092
00:52:48,960 --> 00:52:52,080
Speaker 3: ignore them, to their great loss, which is also what

1093
00:52:52,160 --> 00:52:54,239
Speaker 3: makes them so special. They are there for us, the

1094
00:52:54,320 --> 00:52:58,000
Speaker 3: people to celebrate, unable to be touched and ruined by

1095
00:52:58,400 --> 00:53:01,200
Speaker 3: the market. And it's money, Elizabe, and that's what makes

1096
00:53:01,200 --> 00:53:03,680
Speaker 3: them the sort of thing we celebrate here on ridiculous crime.

1097
00:53:04,280 --> 00:53:05,600
Speaker 3: So what's a ridiculous takeaway.

1098
00:53:05,840 --> 00:53:09,080
Speaker 4: My ridiculous takeaway is that I do not celebrate them

1099
00:53:09,239 --> 00:53:14,560
Speaker 4: the way you do because it's so moronic that they

1100
00:53:14,640 --> 00:53:18,040
Speaker 4: they want freedom, yes, and they just set themselves up

1101
00:53:18,080 --> 00:53:22,480
Speaker 4: to have that freedom taken away because they thought and

1102
00:53:22,600 --> 00:53:25,440
Speaker 4: like they put all this energy into it, but it's

1103
00:53:25,480 --> 00:53:28,360
Speaker 4: never really thought all the way through. And so you know,

1104
00:53:28,400 --> 00:53:30,080
Speaker 4: it's like I'm gonna make this rope ladder, but it's

1105
00:53:30,120 --> 00:53:31,960
Speaker 4: really not long enough. I'll just drop and then I'm

1106
00:53:31,960 --> 00:53:33,480
Speaker 4: gonna hurt myself and I'm gonna go hide in the

1107
00:53:33,480 --> 00:53:35,240
Speaker 4: woods and then they'll find me in two days.

1108
00:53:35,560 --> 00:53:36,480
Speaker 2: And what did that hurt?

1109
00:53:36,520 --> 00:53:36,600
Speaker 4: You?

1110
00:53:37,000 --> 00:53:40,319
Speaker 2: More time? Less freedom? And they just keep racking up

1111
00:53:40,400 --> 00:53:41,000
Speaker 2: less freedom.

1112
00:53:41,080 --> 00:53:42,640
Speaker 3: So what matters most for freedom?

1113
00:53:42,880 --> 00:53:45,640
Speaker 5: Are you saying like it's a Sissyphian? I mean, isn't

1114
00:53:45,680 --> 00:53:47,440
Speaker 5: that the ultimate statement on the human condition?

1115
00:53:47,960 --> 00:53:48,960
Speaker 3: Thank you, Dave.

1116
00:53:49,840 --> 00:53:50,279
Speaker 2: I don't know.

1117
00:53:50,719 --> 00:53:51,680
Speaker 3: I think he's on my sepe.

1118
00:53:52,200 --> 00:53:55,319
Speaker 2: I like my escape artists stay and escape. I dont

1119
00:53:55,360 --> 00:53:56,080
Speaker 2: know about y'all.

1120
00:53:56,360 --> 00:53:58,840
Speaker 3: But then so you're you're looking at more of the

1121
00:53:58,960 --> 00:54:01,640
Speaker 3: escape artists in their original natural form.

1122
00:54:01,600 --> 00:54:04,400
Speaker 4: The true kings, the true kings who get out and

1123
00:54:04,600 --> 00:54:05,160
Speaker 4: stay out.

1124
00:54:06,160 --> 00:54:07,760
Speaker 2: That's who I will applaud.

1125
00:54:08,600 --> 00:54:10,959
Speaker 3: You have a very high bar to Claire, I do well.

1126
00:54:11,120 --> 00:54:14,520
Speaker 3: I just think you know, hey, thanks for asking. Oh well,

1127
00:54:14,560 --> 00:54:17,640
Speaker 3: you know I no longer expected listenbit to be quite honest.

1128
00:54:17,880 --> 00:54:20,120
Speaker 3: I mean maybe it'd be more likely for producer Dave

1129
00:54:20,200 --> 00:54:22,600
Speaker 3: to ask me at this point. Anyway, my whole point

1130
00:54:22,680 --> 00:54:25,239
Speaker 3: is I just like him because they have fun. They're

1131
00:54:25,280 --> 00:54:27,399
Speaker 3: just like, no, you said, what, don't touch it. I'm

1132
00:54:27,400 --> 00:54:29,720
Speaker 3: touching it. That's what I like. Come about it. Anyway,

1133
00:54:29,719 --> 00:54:31,840
Speaker 3: that's my ridiculous takeaway. As always, you can find is

1134
00:54:31,840 --> 00:54:35,640
Speaker 3: online ridiculous crime, Twitter, Instagram, and always we look forward

1135
00:54:35,680 --> 00:54:38,600
Speaker 3: to hearing from you. For instance, we had one of

1136
00:54:38,640 --> 00:54:42,440
Speaker 3: our listeners I am Sparkle Loreene on Twitter known as

1137
00:54:42,560 --> 00:54:44,520
Speaker 3: road in London. They reached out to us and told

1138
00:54:44,520 --> 00:54:47,680
Speaker 3: me personally about the Sri Lankan national handball team. That

1139
00:54:47,719 --> 00:54:50,279
Speaker 3: turned into a great episode and I was passed a

1140
00:54:50,320 --> 00:54:53,399
Speaker 3: note from the interns that I totally forgot to mention

1141
00:54:53,480 --> 00:54:55,680
Speaker 3: that when I did the episode. So thank you. I

1142
00:54:55,719 --> 00:54:58,240
Speaker 3: am Sparkle Lorene and to the rest of you listeners,

1143
00:54:58,239 --> 00:55:00,440
Speaker 3: please keep them coming and we will give you. I

1144
00:55:00,440 --> 00:55:02,680
Speaker 3: won't forget again, all right, Thanks for listening. We'll catch

1145
00:55:02,680 --> 00:55:10,960
Speaker 3: you that Crime. Ridiculous Crime is hosted by elizabethdutt AND's

1146
00:55:10,960 --> 00:55:14,640
Speaker 3: Aaron Burnett, produced and edited by a resident prison escape collector,

1147
00:55:14,800 --> 00:55:18,600
Speaker 3: Dave Kustin. Research is by Marissa bad Bad, Lee, Roy Brown,

1148
00:55:18,840 --> 00:55:22,319
Speaker 3: and Andrea Like a Bird on a Wire song Sharpened Hear.

1149
00:55:22,760 --> 00:55:25,200
Speaker 3: Our theme song is by Thomas Don't call Me Bruce,

1150
00:55:25,520 --> 00:55:29,680
Speaker 3: Lee and Travis Only call me Bruce on Tuesdays. The

1151
00:55:29,719 --> 00:55:33,400
Speaker 3: host wardrobe provided by Botany five hundred. Executive producers are

1152
00:55:33,440 --> 00:55:36,520
Speaker 3: Ben Mama, I don't want to go Bowling' and No

1153
00:55:36,880 --> 00:55:39,520
Speaker 3: my favorite color is green, not brown.

1154
00:55:46,520 --> 00:55:48,680
Speaker 2: Cry Say It one More time.

1155
00:55:50,000 --> 00:55:50,280
Speaker 6: Crime.

1156
00:55:51,360 --> 00:55:54,760
Speaker 1: Ridiculous Crime is a production of iHeartRadio four more Podcasts.

1157
00:55:54,840 --> 00:55:58,040
Speaker 1: My heart Radio visit the iHeartRadio app, Apple Podcasts, or

1158
00:55:58,040 --> 00:55:59,840
Speaker 1: wherever you listen to your favorite shows,