PM Show Hr 2 | Talking with the World's Most Successful Police Sketch Artist Lois Gibson

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Episode Transcript

Speaker 1 (00:03):
It's that time, time, time, Time, Luck and Load.

Speaker 2 (00:11):
From Michael Arry Show is on the air. It's Charlie
from BlackBerry Smoke. I can feel a good one coming on.
It's the Michael Berry Show.

Speaker 3 (00:27):
Any attempt to restrict drinking and driving here is viewed
by some as downright undemocratic.

Speaker 4 (00:32):
Two six packs shattered that in Nancid putet Ladder, Luggas
Jackson a fifth of patrol.

Speaker 2 (00:44):
Pass down Edictlue.

Speaker 4 (00:45):
Already post Baton named Mike Netter that I follow and
he said. Lois Gibson holds the world record for the
most identifications made by a forensic artist. Since joining the
Houston Police Department in nineteen eighty nine, her detailed sketches
became a powerful tool for solving crimes. By twenty twelve,
her work had contributed to cracking one two hundred and

(01:07):
sixty six cases. She would work another nine years, so
who knows how many. Gibson officially retired in twenty twenty one,
leaving behind a legendary legacy as the most accomplished and
prolific forensic sketch artist in history. Lois became a sketch
artist after surviving an attack by someone. Later found to
be a serial rapist and murder. She took her pain

(01:29):
in trauma and made it into something to help others.
We should all hope to be the type of person
who could turn trauma into power. So I read this.
I started calling popo that I knew, and they would say, oh, yeah,
Lois Gibson, she's a legend. Called assistant district's attorneys over
the legend. So one of them said, call you, buddy
ray Hunt, he'll know her. So I did, and he did,

(01:51):
and it really is an amazing story, an absolutely amazing story.
And she's our guest. Leis welcome to the program.

Speaker 1 (02:00):
Oh hey, Michael, I'll try to be nice to you.

Speaker 2 (02:03):
Oh please, I don't know what the alternative would be.

Speaker 1 (02:07):
Well, I'm really strong and I'm persuasive on the phone,
so whatever.

Speaker 2 (02:12):
Oh my goodness.

Speaker 1 (02:12):
Anyway, it's great to be here. Y'all might have to
give us something I called a legend.

Speaker 4 (02:17):
Uh, you are a legend. First, I want to talk
about how you got into this. A horrible thing happened
to you, and you took that trauma and turned it.
Tell us however comfortable you are talking about what happened.

Speaker 1 (02:30):
Oh, I have no problem It was fifty years ago.
I was twenty years old. I was a dancer on
TV and I modeled and the dayd movie stars are whatever.
The way before I got attacked, I decided I wanted
to leave LA as well. Is it ever shallow? Ooh?
And the dating is terrible? And then a man attacked

(02:51):
me in my apartment. He got in by a ruse.
You know, Oh, criminals don't lie. No, After working forty
years on crime, I know they lie. So he goes,
I live in the building here, and I want to
don't we just get acquainted. He was outside my door
and I was very secure building. It was near UCLA
of professors and dentists lived there, and so I thought okay,
and I opened the door and immediately snapped my head

(03:13):
almost off of my body. So he was into choking
and then he just choked me. Now it's about twenty
five minutes, but you lose track of time when you're dying.
And then he allowed me to come too. He blacked
me out, choking really well while he's attacking me, while
I's committing the quote unquote assault. So he's choking me out.

(03:34):
Four times I blacked out and the fourth time I
came to the way I saved myself is I laughed
at him. This true story. It just came to me
after I went to a seminar and I saw a
woman who was successfully hung to death. It was a
post mortem, a slideshell. Now I'm going back to now

(03:54):
two years ago, I saw a girl who successfully had
hung herself to death. So that's why I looked like
in the mirror, but I blacked it out back to
when I'm getting attacked. The fourth time I came to
I was positive I.

Speaker 2 (04:06):
Was going to die.

Speaker 1 (04:06):
Trust me, so weak, so very weak, after being strangled,
and he's just strangling and he's having fun strangling. So
then I thought, are you a good girl? Because this
is it, this is my eternal perspective. How am I
going to be? And I thought, yeah, I couldn't think
of anything bad I'd done. I was a little goodie
goodie girl. Then for the worst time, while I was
being choked to death, trust me, you'll close your eyes,

(04:29):
you will close your eyes. So I thought, okay, I
don't know why. I thought, I'll open my eyes. And
when I opened my eyes, it was the most horrific,
horrible person that I will not try to describe. But
I knew that the lowest place, the worst place in hell,
this man was going to go. And I immediately the
number one. The only feeling I had was sympathy and

(04:50):
compassion because he was so bad. So I thought of
him like my brother, and I thought, oh, he's terrible.
And then when I thought back to me, it made
me laugh. And if you're dying, you will laugh. So
I threw my head back well, I opened my mouth,
I gasped for breath. I came to and I got
him to finish. I got him to go limp. I

(05:11):
got him to exhaust himself, so he went limp, and
then we both ran for the door. I was living
in a nice apartment. We ran for the door. He
got there first. I was real weak. He pushed me
back and closed the door, and I locked all the locks,
and then I went and saw myself as a hungwoman.
Now he I forgave. Do you understand? I forgave the

(05:34):
man that was killing me. And while he was killing me,
That's the only way you can think of it, Because
the first and the only thing I thought was I
felt sorry for him. Isaiah took him in as a brother,
then flashed forward. I left LA. I had already saved money.
I wrote out and I moved to Texas by picking
it out on a map I had drawn. After I

(05:54):
turned around seven times, five out of times, my finger
landed on Texas, and so I drove there with no friends,
no job. It just made it work. Got my degree.
That's why I came back and I started at UT
Arlington back in Anyway. It took me eight years to
get through college. I waited tables. I love waiting tables.

(06:15):
I made a fortunate in today's dollars. I was making
two to three thousand, well that was doing portraits on
the riverwalk. I'm sorry, one to two thousand waiting tables.
And then I stuffed the memory down of being nearly killed.
But when I got to Texas, eventually I graduated from
UT Austin and went to the Riverwalk in San Antonio

(06:39):
and did tourist portraits, which is the most beautiful time
of my life. I just sat there and took cash
from people. That's when I was making around three thousand
a night, and I did beautiful fine art portraits of
kids and people on Honetingmoon's And after I was doing that,
I did about three thousand portraits, so I could draw

(07:00):
like a fish swims and water. I drew so good,
and then I fell in love with the guy that
I drew and moved to Houston. And then I heard
the news and I couldn't listen to the news. And
then the way I saw when I was going to
do is. I was at my girlfriend Diane's house on

(07:23):
Hewitt at forty third and they came on the TV
talking about a terrible rape of a lady in Galveston.
She was a dance instructor in front of her little
students who were like children, twelve eleven year old little girls.
And I was so shocked I stood up. I never
listened to the news because I couldn't stand to hear
the R word. I can't say rape. So they said that,

(07:47):
and I went to turn the TV off, and I
relived my attack and I told Diana, said, I could
draw that guy. Why don't they let me draw the guy?
All they do is say five Jim Brown here, brown eyes,
so go, that's everybody. And then she goes, we'll just
call the cops, and I says, no, I got a

(08:08):
practice hold on just a moment.

Speaker 4 (08:11):
The most prolific sketch artist in American history, involved more
cases than anyone, well over one thousand.

Speaker 2 (08:18):
Lois Gibson is our guests. I'm welcoming up. Michael berrychoken
from us far too three celebrated sketch artists. Lois Gibbs.

Speaker 4 (08:34):
Houston Police Department for decades, well over a thousand cases
solved because of her sketches. It's pretty darn impressive to
think from memory how these things were conveyed to her,
and then she made it happens before we get into
the actual cases.

Speaker 2 (08:50):
You didn't.

Speaker 4 (08:51):
I guess you glossed over. How did you know how
to draw? I mean, if you were able to draw
those portraits of tourists, where did you learn that skill?

Speaker 1 (09:04):
I don't, no, no, no, I was born with it. People.
Some people are just born and they have an urge
to just draw faces. And that was me. So anyway,
when I was with Diane, I sent her to the
gas station. She got changed and she came back. I
couldn't see the guy, and it seemed impossible. In fact,
I tried to quit, and she would push me around
and I finished drawing from her description, and then she says,

(09:27):
it looks like him, and I broke down. We drove
to the gas station and it looked exactly like him.
I taught myself how to do it by just having
someone look at somebody you hadn't seen before and coming
back and I can't see them, and I offered people
to do that exercise himself. I have instructions on my
Facebook page and on my Lois Gibson dot com, and

(09:50):
I can teach you how to do this. But back
to yes, the first time I did it. But then
here's the hard part. I needed to convince the police.
Nobody uses forensic artists. In fact that you know, the
entire country has only two states that have forensic artists,
and there's just one in Georgia who does the entire state.

(10:12):
She took my class, Kelly Lawson. She's better than me.
I love her, She's like my daughter. And then I
have started four artists here in Texas. The rest of
the country has none because everybody does not believe I
can do what I can do. But yes, even a
semi talented artist can draw a face that's going to

(10:36):
resemble the perpetrator from someone's memory. I'm positive, but I
need to convince people. I wrote a book Forensic Forensic
art Essentials. You can get it on Amazon. I have
it on my Facebook and I suffered greatly for two
years that thing. Will give it to you. I made
that book to teach you, if you're out there and

(10:57):
you can draw, how to be a forensic artists for
after I pass away and go to the big drawing
board in the sky.

Speaker 4 (11:06):
Well, let's talk about that. So you didn't have official
training in that. Let's talk about a case. Paul Baker,
who's my private investigator and dear friend, when his brother
was robbed and shot. He said, Lois Gibson came to
the hotel. In the hotel the hospital and drew the
assailant the purp. When you go in, when you're brought

(11:28):
in to begin drawing a sketch, walk me through how
that process works.

Speaker 1 (11:34):
Well, it's really easy, and I have it describing my book.
But I'm going to tell you in sixty seconds how
you do it. If you're one of these weirdo artists
like me. There's a book called the Steinberg Catalog. The
whole world uses it and it has pictures of eyes, lips, noses, etc.
Right wouldn't that be good? And you can't even if
you can't even talk. I have people who can't talk.

(11:56):
A four year old Caesar's parents killed. Anyway, the witness
looks picks out. You get two books. So you have
a book and they say, that's the nose, that's the lips,
and there's about two hundred per category. And that's what
I've used for years help us solve over one thousands.
So you get that book and they say it's those eyes.
You draw those eyes, these nose, draw that nose, etc.

(12:18):
And you do it where they're not looking. You can
pose it in good proportion. And then you say, hey,
I'll change anything you want. And then you turn it
around and do that. You change anything you want, and
that's how you do it.

Speaker 4 (12:33):
So put yourself into the mindset of all these people
who had to convey something to you, and you're you're
like a medium. You know, you're the vessel through which
their memory has to has to come to life.

Speaker 2 (12:46):
What are the shortcomings of a memory?

Speaker 4 (12:48):
Because I think to myself, I look across the glass
at Ramon every day. If I sat down with you
right now and we had to draw him other than
him being bald, I don't really know that I could figure.
I don't know what his nose looks like, or his
chin or whatever else.

Speaker 1 (13:00):
Oh my gosh, I'm sure Ramon is just adorable and gorgeous.
But listen, you say what everybody else says. Everybody says
they can't do it, but they're wrong. I'm right, Yes
you can. I've got people that were shot fifteen times.
I've got people and walked to football fields and nearly
bled to death. And I got a sketch that got
the guy. I had a four year old, so a

(13:21):
parent slashed ye, I did one six years later from
a girl who couldn't speak and only blink for you.
So now, no, no, no, false. Your belief is false.
If you got with me. First of all, I know
how to relax people really good. I know how to
make you feel better better because you feel terrible. And
then if you relax enough, you can remember your third

(13:45):
grade school teacher, or your first kiss. What did that
person look like? It's in there. And then if I
have a feature catalog Samantha Steinberg's feature catalog, if I
give you that, you will wreck itze features that are similar.
I'm positive I have proof. But everybody believes like you,

(14:07):
and that's why no police department in the whole country
almost has a forensic artist, and they should all have them.
They should all am positive. Of course, you think you're
talking from the the fronelobe. You're talking about speech, and oh,
I don't know, But the visual cortex is in the

(14:27):
back of your brain. And if I show you pictures
of noses and lips, instantly you recognize something that's similar.

Speaker 2 (14:35):
Do you think that.

Speaker 4 (14:37):
In a moment of trauma, a rape, of beating and assault,
these awful things that your mind locks in with greater
acuity than you would normally.

Speaker 1 (14:50):
Finally, you're right about witness memory. Correct the worse the trauma,
the better the sketch. If you know how to handle someone,
you have to be a bag and wonderful because you're
going to meet with somebody that the worst thing in
the news just happened to them. So yeah, you just
have to get them relaxed. And there's so many techniques.

(15:10):
I describe them in my book Forensic Art Essentials. You
take the task away first of all, Like with you,
I'd say, oh, we don't have to draw a detailed no, no, no, no,
we just have to draw the hair. Everybody remembers hair,
and you get them relax and like, was it a
man or a woman? We're months and now, okay, we've

(15:31):
gotten rid of half the population of the world. It's
a man. Anyway, You just narrow it down, get the
person relaxed, and show them pictures and they will It
will reach their visual cortex, which is very vivid. I've
done this from mentally disabled people. They could drive a
car but not do masks. I've done it from a

(15:52):
four year old who saw his parents slash, snip and
ulysses Kansas, and you just use the book the four
year old. He only spoke Spanish. I mean, could I,
you know, have more handicapped.

Speaker 2 (16:06):
This one moment.

Speaker 4 (16:06):
Lois Gibson sketch Artists Extraordinaries, Our guests.

Speaker 2 (16:14):
Just in here listening my very Lois Gibson is our guest.

Speaker 4 (16:21):
She was the sketch artist for Houston Police Department for decades,
with a listing in the Guinness Book of World Records
for most crimes solved because of her sketches. Lois looking
at the sketches for some of the cases where the
guy was found. It feels like you're literally looking at

(16:45):
this photo and then drawing it because it is that good.
And again, part of your skill, as you said, is
not just drawings what's conveyed to you, but getting that
person to give you enough specificity to get.

Speaker 2 (17:01):
This thing down on paper.

Speaker 4 (17:04):
But tell me if there is one case of yours
that you are most proud of that you say we
nailed it well.

Speaker 1 (17:15):
Officer Paul Deson was on patrol and a guy got
out and shot him in the head, shot him in
the back, and then as he lay on the ground
and shooter he got in the car in renove and
drug him sixty five feet so he almost died. But
I went to the hospital just a little bit later
and he was all wrapped up in gauze and he
doesn't remember doing this sketch with me that I whispered

(17:37):
in his ear. I knew I was just going to
be a voice, and I tried to just sound wonderful,
and I got a sketch from him and they released it.
Two guys at the jail thought he looked like the
sketch looked like a guy that was arrested for shoplifting
a chainsaw from Sears Donald the shoppers a new chainsaw

(18:03):
and he got caught for that, and the guys at
the jail said that looks like the sketch, and they
had a video lineup and Paul these officers hospital and
he picked him out. And then they went to the
scene and found the car that the shoe was in
and this is a Paul skin and uniform. We're hanging
from the undercarriage. So that was him. Now we nailed it.

(18:24):
I got him. I reached out for a helpless officer
who got killed, but he didn't die. He's the toughest guy.
I love this guy just because he's tough. But yeah,
I love that I reached out for a helpless officer.

Speaker 2 (18:39):
Absolutely so.

Speaker 4 (18:40):
I got an email from a fellow Tony who writes
Lois is awesome. I worked with her at HPD back
in one I took one of her sketches from the
roll call room at West Side and made it my
mission to find the Inwood rapist. While on patrol, I
observed a blackmail and a brown Oldsmobile driving east on
Briar Forrest, turning north onto Lake Side of States. The

(19:03):
driver was not wearing his seat belt, and after running
his plates, I found that the registration was expired.

Speaker 2 (19:08):
He pulled into the car wash.

Speaker 4 (19:10):
Greg Bingham's car wash and I pulled in behind him
conducting a traffic stop. I contacted Homicide Sex Crimes took
who agreed to accept a hold on the suspect, so
I arrested him on new traffic. When they interviewed him,
he confessed to his crime, to this crime and ate others.
It would not have been possible to catch him so
quickly if not for Lois Gibson.

Speaker 2 (19:31):
She is a hero. That's gotta be nice for people
to say, Oh, I.

Speaker 1 (19:35):
Love and then Tony, why didn't you tell me all
that that's wonderful. There's over one thousand stories. It's beautiful.
It's beautiful. That's why I lived for That's why I
put up with the grief. And I don't go insane
with rage and grief because I have to look into
this horrible stuff. But I get a chance to get

(19:58):
the bad guy. I love that. I love that, Tony.

Speaker 4 (20:03):
Well, you know the presence of forensic files and Dateline
and all these television shows and catching the bad guy.
To get to do that in that way, I would
have to think it's so rewarding.

Speaker 1 (20:21):
Oh yeah, I got no everybody's strength. I'm weak, I'm
over emotional. You can tell, but I use those emotions
in my art and to catch somebody. It's so beautiful.
It's a beautiful symbiosis of you feel so sorry for
the person that's been nearly killed, and that emotion makes
you draw faster and better. Wow, I mean it enhances.

(20:47):
And then if it's a baby kidnapping. There was a
ten hour old baby kidnap and I got with the
mother and that being looked like a photographed and I
couldn't go to sleep, I said, I can't. After I
got home from the hospital, I said, I can't go
to sleep with that baby out there ten hours. Oh,
and they came on and Dave Ward was going they
got the baby back. I saw them with the baby

(21:10):
and the girlfriend the kidnapper called up and they got
her back instantly. So, oh no, there's no fulfillment for
an artist that compares to this.

Speaker 2 (21:24):
I can't imagine.

Speaker 4 (21:25):
I mean, I can't imagine how rewarding that, how many people,
how few people get this opportunity in the course of
their life. I can't also imagine the trauma that you endure,
because we know that just like being a medic or
in Iraq or Afghanistan, or just like serving in Iraq
or Afghanistan or Vietnam. You deal with that trauma as well.

(21:49):
I'm looking at a photo that's on your website, and
there you make reference to age progression. So when we've
got somebody that we maybe we even have a photo
of and we have to you have to do age progression,
how do you process what you're going to do there?

Speaker 1 (22:08):
Oh that is so easy, and I covered in the book.
I mean I've done those since I was like a
little girl. They'd show Pat Sajack as a baby, and
I go, oh, that's Pat Sajack. I mean, I do
it in my mind. So that's I'm the best at that.
I had one in two year old baby pictures and
they've been separated from the sister for thirty years. She'd

(22:31):
been looking for sixteen and I got her on Unsolved
Mysteries and they got her back that day and they
looked just like them. No, no, no, age progression is easy.
I love it. If you do my work, if you
do skulling constructions, and I have it in my book.
I have how to do age progression, and it's real
simple if you're an artist. So I can look at

(22:52):
babies and I can tell who the mom and dad is,
and also I can tell how they'll look at like
as an adult. And I start doing that, and then
I had grand babies. I want to tell you my
grand babies are going to be so good looking when
they're older.

Speaker 4 (23:07):
And I'm betting there's going to be lots and lots
of drawings of them as they get older and grow
into those photos.

Speaker 1 (23:16):
Oh, I already painted the one to the baby before
she got hair. No, no, I'm obsessive portraits of my
of my grandbabies for sure.

Speaker 2 (23:27):
I think it is absolutely fantastic. It's incredible.

Speaker 4 (23:30):
I think of all the victims who survived and they're
family members and those who did not become victims of
people who were put away because of your work.

Speaker 2 (23:42):
It really is incredible.

Speaker 4 (23:43):
Lois a life well lived and incredible public service.

Speaker 2 (23:47):
Thank you for being our guest, my dear. Our website
is Lois.

Speaker 4 (23:51):
Gibson dot com Lois Gibson dot com and I will
give you a minute to close.

Speaker 1 (24:02):
Well, thank you, Michael Berry. There's no artists doing this.
I want to start as many careers.

Speaker 2 (24:07):
It just happens. Good, go ahead, you're good.

Speaker 1 (24:13):
A bet at the bureaucracy where you're at to try
to get you used. Okay, be a forensic artist.

Speaker 4 (24:24):
It strikes me as one of those things that as
big and bloated as major urban police departments are, or
if nothing else, the DPS doing it and sending it
in when they're needed.

Speaker 2 (24:40):
The sad part is that there are this many crimes
for which we need for anic. Now, let's take a
tour around this great nation.

Speaker 4 (24:49):
Shall we at some of the crazy, cool, inspiring, wacky
weird stuff happening in places around the great land upon
which we the plant our flag.

Speaker 2 (25:02):
How about a crane jacking Louisiana.

Speaker 4 (25:07):
Man arrested for hijacking a crane off Ien near Venton, Louisiana.
This is very close to where I grew up, causing
several crashes. He's hijacking cranes, big old cranes.

Speaker 2 (25:21):
WAFB TV in Baton Rouge with the.

Speaker 5 (25:24):
Story A man is in jail tonight, accused of hijacking
a crane and causing several crashes on I ten. Louisiana
State Police say this happened to near Venton. They say
thirty seven year old Matthew Vincent drove his truck off
a highway through a field and then got stuck. They
say that's where he crossed the interstate, jumped into that
parked crane in a work zone, and then manipulated the

(25:48):
crane boom, causing its cables to hang over the road,
hitting one car and then causing several crashes. Vincent faces
a long list of charges tonight, including burglary and hit
and run.

Speaker 4 (26:03):
That's a story. Now we move to Seattle for a
different kind of jacking. They have installed public masturbation deterrent
infrastructure in their public parks due to rampant public masturbation
by the homeless. Oh yeah, that's actually happening. The story

(26:24):
from King five in Seattle.

Speaker 2 (26:27):
Denny Blaine Park is in the spotlight again.

Speaker 3 (26:29):
It's a beautiful park, a beautiful area. It should literally
be for everybody to enjoy, and right now it's not.

Speaker 6 (26:35):
Lee Keller is a spokesperson for the group Denny Blaine
Park for All.

Speaker 3 (26:38):
The members of this group are frustrated, concerned, and now
full on scared.

Speaker 6 (26:44):
Neighbors who are suing the City of Seattle overclaims that
the behavior at the nudist Beach has gotten out of hand.

Speaker 3 (26:49):
Multiple sex acts, masturbation, men pulling their parts, out asking
women if they want to touch this.

Speaker 6 (26:56):
Nudity itself is not illegal in Seattle, but in decent
exposure is. The group shared several videos they're too graphic
to show, but King five has reviewed them and they
do appear to back up some of those claims.

Speaker 7 (27:08):
As a community, we kind of come together to help
sort of eliminate those sort of things at the beach
by just you know, banding together and asking someone to
kind of bounce out.

Speaker 2 (27:17):
So Blake Waddell is a regular beach goer.

Speaker 7 (27:20):
This is everybody's park to come to, and lately we've
seen a lot of harassment and intimidation.

Speaker 6 (27:25):
Well Dell admits there have been issues, but suggests the
criticism has gone too far, that they've been unfairly targeted.

Speaker 7 (27:32):
When it comes to public urination, masturbation, sex, and public
explicit drug use. For people just acting crazy, we're actually
the ones that we'll try to step in and do something.

Speaker 3 (27:43):
At a minimum, the line needs to be enforced.

Speaker 2 (27:50):
You know.

Speaker 4 (27:52):
Homelessness and the homeless policies are a great lab upon
which to study what's gone wrong in America as the
left bought into the idea that homeless people should be
treated like kings that they should be allowed to do

(28:13):
whatever they want, whenever they want, in the most valuable
real estate in a city, which was the downtown, that
they should not be bothered, not be arrested, not be moved,
and in fact, if they're addicts, that will deal with
their previously illegal drug activity by giving them more of it,

(28:39):
that we will not remove them from the public passageways sidewalks,
and instead will allow them to erect their own structures,
which they've done that when they are violent toward passers
by businessmen conducting business in the downtown areas of each city,
that we won't arrect, then we won't bother them. And

(29:02):
what we've seen now is an entire generation of this
and the decline and decay that has hit the downtown
areas across the country.

Speaker 2 (29:12):
Now, this is a.

Speaker 4 (29:13):
Decline in decay that we have bemoaned for eighty years
or for sixty years. But there was a big move
to bring people back into downtown. And so what happened
was white liberals started coming back into downtown in the eighties,
and so it was the coffee shops in the theater

(29:33):
district and you know, bicycles and living in lofts and
all these sorts of things, and it was working. It
happened in Houston and happened across the country. But then
the in the two thousands, this spate of liberal Democrat
mayors took office across the country and the orders were given, Mayhem, madness,

(29:57):
filth is going to run them up.

Speaker 2 (29:59):
Needles every where, sex everywhere.

Speaker 4 (30:03):
It's disgusting, it's gross, it's awful, and that's what we're
going to have. And Trump is cleaning that up in
DC as part of the federalization. That's one of the
things the people there, they're interviewing people on the street
and they're like, Hey, I gotta admit this is pretty nice.
I'm liking this a whole lot. Since we're taking a

(30:25):
tour around the country, we go to Rhode Island, where
a special assistant Attorney General threatens police after she and
a friend are being arrested for trespassing. She tries to
order them to turn off their body cameras, which they're
not allowed to do, while telling them repeatedly that she's
an assistant, that she's an attorney general, and that after

(30:48):
arresting her, you're going to regret it, which is a threat.
It's also abuse of her office to engage in this
sort of behavior. This story from wpr I TV in
Rhode Island.

Speaker 8 (31:01):
Special Assistant Attorney General Devin Flanagan repeatedly tells the police
officer she's an attorney general, and as she's being put
in the back of a police cruiser, she tells the officer,
you're going to regret this.

Speaker 4 (31:14):
I just need.

Speaker 2 (31:16):
Please so you're trust ussor we gotta leave now.

Speaker 1 (31:32):
Now.

Speaker 8 (31:33):
The Attorney General's Office says it is reviewing the Thursday
night incident. The office told twelve News Friday.

Speaker 2 (31:39):
That a review would.

Speaker 8 (31:40):
Take a few days. I checked in with him today
and they told me they have no updates as of
this time. A spokesperson says Flanagan has been with the
office for seven years and is currently working with the
Applett Unit of the Criminal Division. I reached out to
Flanagin for comment, but did not immediately hear back.

Speaker 4 (31:59):
There is a pattern of white liberals in an urban
environment in their sense of entitlement. It is arrogant and
it is entitled, and in her mind the law does
not apply to her. Truth be told, she hates those cops.

(32:22):
Those cops have dirty hands. They are commoners. They go
home outside the city. They don't live in. They don't
pay ten dollars for a cup of coffee, they don't
travel to the places she does. They don't have the
fancy legal degrees. They are not respected and honored. They're
lowly cops. And that is how she views those pole

(32:43):
that is how white liberals view the working class, whether
that be blacks or whites or Hispanics. And it's nice
to see one like her, get her come up and say,
it's nice to see her shame. And one of the
great things about Trump is he has emboldened police officers,

(33:04):
national Guard, business owners, everyday Americans to say, pierce the
veil of this sense of entitlement and the aura that
surrounds these supposedly grand pubas.

Speaker 2 (33:16):
And their ivory towers. Pierce that veil. And that's what
you're seeing here. Oh I love this.

Speaker 4 (33:22):
More of this, please more of this oncre Els has
left thebility, Thank you, and good night,