Stenciled on a bright pink canvas, Banksy’s monochrome grannies appear to be aging arbiters of reliability and domesticity. The only hint to the contrary is a dripping pool of paint that hangs from the cozy lampshade. But look a little closer and these old dears are not knitting a bombastic Christmas sweater or a limp scarf. ‘Punk’s Not Dead’ and ‘Thug for Life’ are emblazoned on the woolly jumpers they so lovingly knit. These two phrases, both representative of the two English speaking peoples separated by an ocean, and their proud national subcultures, speak to an aging generation of urban radicals who have suddenly found themselves with children and grandchildren. The piece also speaks to the normalization of youth rebellion, with statement-shirts for sale in major high street chains; perhaps these pensioners are preparing a warm jumper for the little punks and thugs in their family. But most of all, Banksy’s “Punk and Thug Grannies” mourns the decline and fall of radical subcultures. In the UK ‘Punk’s not Dead’ was a rallying cry for those who earnestly hoped the dizzying wave of DIY ethics and idiosyncratic identity would not subside. Likewise, in the states Tupac Shakur’s ‘Thug for Life’ betrayed a hope for a lifetime of gang friendships, of cohesion and unity, which was hoped to outlast the onset of maturity. Witty, irreverent, and slightly poignant, Banksy’s grannies are icons of that tragic time when a musical tribe becomes a cultural norm.