Graffiti

Yesterday

William Moore

Streeting vs Starmer, medical misinformation & the surprising history of phallic graffiti

43 min listen

This week: Wild Wes. Ahead of next week’s vote on whether to legalise assisted dying, Health Secretary Wes Streeting is causing trouble for Keir Starmer, writes Katy Balls in the magazine this week. Starmer has been clear that he doesn’t want government ministers to be too outspoken on the issue ahead of a free vote in Parliament. But Streeting’s opposition is well-known. How much of a headache is this for Starmer? And does this speak to wider ambitions that Wes might have? Katy joins the podcast to discuss, alongside Labour MP Steve Race. Steve explains why he plans to vote in favour of the change in the law next week

Harry Mount

The Roman roots of the Dulwich Wood Penis Gang

If you go down to the woods today, you’re sure of a big surprise… in Dulwich Wood – a charming fragment of the medieval Great North Wood in south London – the self-dubbed ‘Penis Gang’ have been at work. The gang have been daubing huge penises, in red, black and green, on ancient tree trunks and branches. Sophia Money-Coutts, author and etiquette expert of our times, recently discovered the drawings as she walked her dog, Dennis, in the woods. We prudish 21st-century westerners struggle to understand how relaxed the Romans were about genitalia It’s all disgusting, of course. But the dog walkers of Dulwich can comfort themselves with the fact

Thursday

Kate Chisholm

Scrawled outpourings of love and defiance

To come across dates and names carved into a choirstall or ancient tree is to experience a momentary frisson, a startled connection with the past. Yet this practice of making ‘unauthorised’ personal graphic statements in public spaces is often thought of as antisocial, something to be erased immediately. Unless of course they are by Banksy, whose spray-painted outpourings cost local councils a great deal to clean off before they came to be regarded as valid documents, articulating the thoughts and imaginings of the disaffected. In her ingenious new book Writing on the Wall, the art historian Madeleine Pelling has chosen to use these often transitory pieces of historical evidence as