Podcast appearances and mentions of Martha Cooper

She's the reluctant icon of generations of street artists: photojournalist Martha Cooper became a cult figure after her 1984 book "Subway Art" inspired creative souls around the world. She's now teamed up with renowned stencil artist Logan Hicks to revisit some of her images and give them a new, more painterly aspect. Cooper and Hicks join us in the studio to talk about the transformation of murals, tags and graffiti in recent years, as the ninth Urban Art Fair opens its doors in Paris. We also chat about meeting with a tattoo master in the Japan of the 1970s and how art can bring the natural world to the most urban of landscapes. 

Today's guest is Peter Moskos, a professor at John Jay College of Criminal Justice. He spent two years as a police officer in Baltimore. I asked him to come on and talk about his new book, Back from the Brink, Inside the NYPD and New York City's Extraordinary 1990s Crime Drop. It's one of my favorite books I've read this year (and it was one of my three book recommendations on Ezra Klein's show last week).Peter spoke with hundreds of police officers and NYC officials to understand and describe exactly how the city's leaders in the early 1990s managed to drive down crime so successfully.We discussed:* How bad did things get in the 1970s?* Why did processing an arrest take so long?* What did Bill Bratton and other key leaders do differently?* How did police get rid of the squeegee men?I've included my reading list at the bottom of this piece. Thanks to Harry Fletcher-Wood for his judicious transcript edits.Subscribe for one new interview a week.Peter, how would you describe yourself?I would say I'm a criminologist: my background is sociology, but I am not in the sociology department. I'm not so big on theory, and sociology has a lot of theory. I was a grad student at Harvard in sociology and worked as a police officer [in Baltimore] and that became my dissertation and first book, Cop in the Hood. I've somewhat banked my career on those 20 months in the police department.Not a lot of sociologists spend a couple of years working a police beat.It's generally frowned upon, both for methodological reasons and issues of bias. But there is also an ideological opposition in a lot of academia to policing. It's seen as going to the dark side and something to be condemned, not understood.Sociologists said crime can't go down unless we fix society first. It's caused by poverty, racism, unemployment, and social and economic factors — they're called the root causes. But they don't seem to have a great impact on crime, as important as they are. When I'm in grad school, murders dropped 30-40% in New York City. At the same time, Mayor Giuliani is slashing social spending, and poverty is increasing. The whole academic field is just wrong. I thought it an interesting field to get into.We're going to talk about your new book, which is called Back from the Brink, Inside the NYPD and New York City's Extraordinary 1990s Crime Drop. I had a blast reading it. Tell me about the process of writing it.A lot of this is oral history, basically. But supposedly people don't like buying books that are called oral histories. It is told entirely from the perspective of police officers who were on the job at the time. I would not pretend I talked to everyone, because there were 30,000+ cops around, but I spoke to many cops and to all the major players involved in the 1990s crime drop in New York City.I was born in the ‘90s, and I had no idea about a crazy statistic you cite: 25% of the entire national crime decline was attributable to New York City's crime decline.In one year, yeah. One of the things people say to diminish the role of policing is that the crime drop happened everywhere — and it did end up happening almost everywhere. But I think that is partly because what happened in New York City was a lot of hard work, but it wasn't that complicated. It was very easy to propagate, and people came to New York to find out what was going on. You could see results, literally in a matter of months.It happened first in New York City. Really, it happened first in the subways and that's interesting, because if crime goes down in the subways [which, at the time, fell under the separate New York City Transit Police] and not in the rest of the city, you say, “What is going on in the subways that is unique?” It was the exact same strategies and leadership that later transformed the NYPD [New York Police Department].Set the scene: What was the state of crime and disorder in New York in the ‘70s and into the ‘80s?Long story short, it was bad. Crime in New York was a big problem from the late ‘60s up to the mid ‘90s, and the ‘70s is when the people who became the leaders started their careers. So these were defining moments. The city was almost bankrupt in 1975 and laid off 5,000 cops; 3,000 for a long period of time. That was arguably the nadir. It scarred the police department and the city.Eventually, the city got its finances in order and came to the realization that “we've got a big crime problem too.” That crime problem really came to a head with crack cocaine. Robberies peaked in New York City in 1980. There were above 100,000 robberies in 1981, and those are just reported robberies. A lot of people get robbed and just say, “It's not worth it to report,” or, “I'm going to work,” or, “Cops aren't going to do anything.” The number of robberies and car thefts was amazingly high. The trauma, the impact on the city and on urban space, and people's perception of fear, all comes from that. If you're afraid of crime, it's high up on the hierarchy of needs.To some extent, those lessons have been lost or forgotten. Last year there were 16,600 [robberies], which is a huge increase from a few years ago, but we're still talking an 85% reduction compared to the worst years. It supposedly wasn't possible. What I wanted to get into in Back from the Brink was the actual mechanisms of the crime drop. I did about fifty formal interviews and hundreds of informal interviews building the story. By and large, people were telling the same story.In 1975, the city almost goes bankrupt. It's cutting costs everywhere, and it lays off more than 5,000 cops, about 20% of the force, in one day. There's not a new police academy class until 1979, four years later. Talk to me about where the NYPD was at that time.They were retrenched, and the cops were demoralized because “This is how the city treats us?” The actual process of laying off the cops itself was just brutal: they went to work, and were told once they got to work that they were no longer cops. “Give me your badge, give me your gun."The city also was dealing with crime, disorder, and racial unrest. The police department was worried about corruption, which was a legacy of the Knapp Commission [which investigated NYPD corruption] and [Frank] Serpico [a whistleblowing officer]. It's an old police adage, that if you don't work, you can't get in trouble. That became very much the standard way of doing things. Keep your head low, stay out of trouble, and you'll collect your paycheck and go home.You talk about the blackout in 1977, when much of the city lost power and you have widespread looting and arson. 13,000 off-duty cops get called in during the emergency, and only about 5,000 show up, which is a remarkable sign of the state of morale.The person in my book who's talking about that is Louis Anemone. He showed up because his neighbor and friend and partner was there, and he's got to help him. It was very much an in-the-foxholes experience. I contrast that with the more recent blackout, in which the city went and had a big block party instead. That is reflective of the change that happened in the city.In the mid-80s you get the crack cocaine epidemic. Talk to me about how police respond.From a political perspective, that era coincided with David Dinkins as [New York City's first black] mayor. He was universally disliked, to put it mildly, by white and black police officers alike. He was seen as hands off. He was elected in part to improve racial relations in New York City, to mitigate racial strife, but in Crown Heights and Washington Heights, there were riots, and racial relations got worse. He failed at the level he was supposed to be good at. Crime and quality of life were the major issues in that election.Dinkins's approach to the violence is centered around what they called “community policing.” Will you describe how Dinkins and political leaders in the late ‘80s and early ‘90s thought about policing?This is under Ben Ward, the [NYPD] Commissioner at the time. The mayor appoints the police commissioner — and the buck does stop with the mayor — but the mayor is not actively involved in day-to-day operations. That part does go down to the police department.Community policing was seen as an attempt to improve relations between the police and the community. The real goal was to lessen racial strife and unrest between black (and to a lesser extent Hispanic) communities and the NYPD. Going back to the ‘60s, New York had been rocked by continued unrest in neighborhoods like Central Harlem, East New York, and Bushwick. Community policing was seen as saying that police are partly to blame, and we want to improve relations. Some of it was an attempt to get the community more involved in crime fighting.It's tough. It involves a certain rosy view of the community, but that part of the community isn't causing the problems. It avoids the fact there are people who are actively criming and are willing to hurt people who get in their way. Community policing doesn't really address the active criminal element, that is a small part of any community, including high-crime communities.Arrests increased drastically during this era, more than in the ‘90s with broken windows policing. If the idea is to have fewer arrests, it didn't happen in the ‘80s. Some good came out of it, because it did encourage cops to be a bit more active and cops are incentivized by overtime. Arrests were so incredibly time-consuming, which kind of defeated the purpose of community policing. If you made an arrest in that era, there was a good chance you might spend literally 24 hours processing the arrest.Will you describe what goes into that 24 hours?From my experience policing in Baltimore, I knew arrests were time-consuming and paperwork redundant, but I could process a simple arrest in an hour or two. Even a complicated one that involved juveniles and guns and drugs, we're talking six to eight hours.In the ‘80s, Bob Davin, [in the] Transit Police, would say they'd make an arrest, process at the local precinct, search him in front of a desk officer, print him, and then they would have to get a radio car off patrol to drive you down to central booking at 100 Centre Street [New York City Criminal Court]. Then they would fingerprint him. They didn't have the live scan fingerprints machine, it was all ink. It had to be faxed up to Albany and the FBI to see if it hit on any warrant federally and for positive identification of the person. Sometimes it took 12 hours to have the prints come back and the perp would be remanded until that time. Then you'd have to wait for the prosecutor to get their act together and to review all the paperwork. You couldn't consider bail unless the prints came back either positive or negative and then you would have that initial arraignment and the cop could then go home. There are a lot of moving parts, and they moved at a glacial pace.The system often doesn't work 24/7. A lot of this has changed, but some of it was having to wait until 9 am for people to show up to go to work, because it's not a single system. The courts, the jails, and policing all march to their own drummer, and that created a level of inefficiency.So much of the nitty-gritty of what cops actually do is boring, behind-the-scenes stuff: How do we speed up the paperwork? Can we group prisoners together? Can we do some of this at the police station instead of taking it downtown? Is all of this necessary? Can we cooperate with the various prosecutors? There are five different prosecutors in New York City, one for each borough.There's not a great incentive to streamline this. Cops enjoyed the overtime. That's one of the reasons they would make arrests. So during this time, if a cop makes an arrest for drug dealing, that cop is gone and no cop was there to replace him. If it's a minor arrest, there's a good chance in the long run charges will be dropped anyway. And you're taking cops off the street. In that sense, it's lose-lose. But, you have to think, “What's the alternative?”Bob Davin is a fascinating guy. There's a famous picture from 1981 by Martha Cooper of two cops on a subway train. It's graffitied up and they're in their leather jackets and look like cops from the ‘70s. Martha Cooper graciously gave me permission to use the picture, but she said, "You have to indemnify me because I don't have a release form. I don't know who the cops are." I said, "Martha, I do know who the cop is, because he's in my book and he loves the picture.” Bob Davin is the cop on the right.Davin says that things started to get more efficient. They had hub sites in the late ‘80s or ‘90s, so precincts in the north of Manhattan could bring their prisoners there, and you wouldn't have to take a car out of service to go back to Central Booking and deal with traffic. They started collecting prisoners and bringing them en masse on a small school bus, and that would cut into overtime. Then moving to electronic scan fingerprints drastically saves time waiting for those to come back.These improvements were made, but some of them involve collective bargaining with unions, to limit overtime and arrests that are made for the pure purpose of overtime. You want cops making arrests for the right reason and not simply to make money. But boy, there was a lot of money made in arrests.In 1991, you have the infamous Crown Heights riot in Brooklyn. Racial tensions kick off. It's a nightmare for the mayor, there's this sense that he has lost control. The following year, you have this infamous police protest at City Hall where it becomes clear the relationship between the cops and the mayor has totally evaporated. How does all that play into the mayoral race between Dinkins and Giuliani?It was unintentional, but a lot of the blame for Crown Heights falls on the police department. The part of the story that is better known is that there was a procession for a Hasidic rabbi that was led by a police car. He would go to his wife's grave, and he got a little three-car motorcade. At some point, the police look at this and go "Why are we doing this? We're going to change it." The man who made the deal said ‘I"m retiring in a couple weeks, can we just leave it till then? Because I gave him my word." They're like, "Alright, whatever."This motor car procession is then involved in a car crash, and a young child named Gavin Cato is killed, and another girl is severely injured. The volunteer, Jewish-run ambulance shows up and decides they don't have the equipment: they call for a professional city ambulance. Once that ambulance is on the way, they take the mildly-injured Jewish people to the hospital. The rumor starts that the Jewish ambulance abandoned the black children to die.This isn't the first incident. There's long been strife over property and who the landlord is. But this was the spark that set off riots. A young Jewish man was randomly attacked on the street and was killed.As an aside, he also shouldn't have died, but at the hospital they missed internal bleeding.Meanwhile, the police department has no real leadership at the time. One chief is going to retire, another is on vacation, a third doesn't know what he's doing, and basically everyone is afraid to do anything. So police do nothing. They pull back, and you have three days of very anti-Semitic riots. Crowds chanting "Kill the Jews" and marching on the Lubavitch Hasidic Headquarters. Al Sharpton shows up. The riots are blamed on Dinkins, which is partly fair, but a lot of that's on the NYPD. Finally, the mayor and the police commissioner go to see what's going on and they get attacked. It's the only time in New York City history that there's ever been an emergency call from the police commissioner's car. People are throwing rocks at it.It took three days to realise this, but that's when they say “We have to do something here,” and they gather a group of officers who later become many of Bratton's main chiefs at the time [Bill Bratton was Commissioner of the NYPD from 1994-1996, under Giuliani]: Mike Julian, Louis Anemone, Ray Kelly, and [John] Timoney. They end the unrest in a day. They allow people to march, they get the police department to set rules. It still goes on for a bit, but no one gets hurt after that, and that's it.It was a huge, national story at the time, but a lot of the details were not covered. Reporters were taken from their car and beaten and stripped. The significance was downplayed at the time, especially by the New York Times, I would say.That's followed by the Washington Heights riots, which is a different story. A drug dealer was shot and killed by cops. There were rumors, which were proven to be false, that he was executed and unarmed. Then there were three days of rioting there. It wasn't quite as severe, but 53 cops were hurt, 120 stores were set on fire, and Mayor Dinkins paid for the victim's family to go to the Dominican Republic for the funeral. The police perspective again was, “You're picking the wrong side here.”Then there's the so-called Police Riot at City Hall. Nominally, it was about the CCRB, the Civilian Complaint Review Board, and setting up an accountability mechanism to control cops. But really it was just an anti-Dinkins protest. It was drunken and unruly. The cops stormed the steps of City Hall. I have the account of one of the cops who was on the top of those steps looking at this mob of cops storming to him, and he's getting worried he's going to be killed in a crush. There were racist chants from off-duty cops in the crowd. It did not reflect well on police officers. But it showed this hatred of David Dinkins, who was seen as siding with criminals and being anti-police. The irony is that Dinkins is the one who ends up hiring all the cops that Giuliani gets credit for.In the “Safe Streets, Safe City” program?Yes. That was because a white tourist, Brian Watkins, was killed in a subway station protecting his parents who were getting robbed. That led to the famous headline [in the New York Post] of “Dave, do something! Crime-ravaged city cries out for help.” He, with City Council President Peter Vallone, Sr., drafted and pushed through this massive hiring of police officers, “Safe Streets, Safe City.”The hiring wasn't fast-tracked. It might be because Dinkins's people didn't really want more cops. But it was a Dinkins push that got a massive hiring of cops. When the first huge class of police officers graduated, Bill Bratton was there and not David Dinkins.Some interviewees in your book talk about how there's physically not enough room in the police academies at this time, so they have to run classes 24/7. You cycle cohorts in and out of the same classroom, because there are too many new cops for the facilities.You have thousands of cops going through it at once. Everyone describes it as quite a chaotic scene. But it would have been hard to do what the NYPD did without those cops. Ray Kelly, who was police commissioner under Dinkins at the end [from 1992 to 1994] before he became police commissioner for 12 years under Bloomberg [from 2002 to 2013] probably could have done something with those cops too, but he never had the chance, because the mayoral leadership at the time was much more limiting in what they wanted cops to do.Crime starts declining slowly in the first few years of the ‘90s under Dinkins, and then in ‘93 Giuliani wins a squeaker of a mayoral election against Dinkins.One of the major issues was the then-notorious “squeegee men” of New York City. These were guys who would go to cars stopped at bridges and tunnel entrances and would rub a squeegee over the windshield asking for money. It was unpleasant, intimidating, and unwanted, and it was seen as one of those things that were just inevitable. Like graffiti on the subway in the ‘80s. Nothing we can do about it because these poor people don't have jobs or housing or whatever.The irony is that Bratton and Giuliani were happy to take credit for that, and it was an issue in the mayoral campaign, but it was solved under David Dinkins and Ray Kelly and Mike Julian with the help of George Kelling [who, with James Wilson, came up with broken windows theory]. But they never got credit for it. One wonders if, had they done that just a few months earlier, it would have shifted the entire campaign and we'd have a different course of history in New York City.It's a great example of a couple of things that several people in your book talk about. One is that disorder is often caused by a very small set of individuals. There's only like 70 squeegee men, yet everybody sees them, because they're posted up at the main tunnel and bridge entrances to Manhattan. And getting them off the streets solves the problem entirely.Another emphasis in the book is how perceptions of crime are central. You quote Jack Maple, the father of Compstat, as saying, “A murder on the subway counts as a multiple murder up on the street, because everybody feels like that's their subway.” The particular locations of crimes really affect public perception.Absolutely. Perception is reality for a lot of these things, because most people aren't victimized by crime. But when people perceive that no one is in control they feel less safe. It's not that this perception is false, it just might not be directly related to an actual criminal act.The other thing I try to show is that it's not just saying, “We've got to get rid of squeegee men. How do you do it?” They had tried before, but this is why you need smart cops and good leadership, because it's a problem-solving technique, and the way to get rid of graffiti is different to the way you get rid of squeegee men.This book is in opposition to those who just say, “We can't police our way out of this problem.” No, we can. We can't police our way out of every problem. But if you define the problem as, we don't want people at intersections with squeegees, of course we can police our way out of the problem, using legal constitutional tools. You need the political will. And then the hard work starts, because you have to figure out how to actually do it.Will you describe how they tackle the squeegee men problem?Mike Julian was behind it. They hired George Kelling, who's known for broken windows. They said, “These people are here to make money. So to just go there and make a few arrests isn't going to solve the problem.” First of all, he had to figure out what legal authority [to use], and he used Traffic Reg 44 [which prohibits pedestrians from soliciting vehicle occupants]. He talked to Norm Siegel of the NYCLU [New York Civil Liberties Union] about this, who did not want this crackdown to happen. But Norman said, “Okay, this is the law, I can't fight that one. You're doing it legally. It's all in the books.” And So that took away that opposition.But the relentless part of it is key. First they filmed people. Then, when it came to enforcement, they warned people. Then they cited people, and anybody that was left they arrested. They did not have to arrest many people, because the key is they did this every four hours. It was that that changed behavior, because even a simple arrest isn't going to necessarily deter someone if it's a productive way to make money. But being out there every four hours for a couple of weeks or months was enough to get people to do something else. What that something else is, we still don't know, but we solved the squeegee problem.So in 93, Giuliani is elected by something like 50,000 votes overall. Just as an aside, in Prince of the City, Fred Siegel describes something I had no idea about. There's a Puerto Rican Democratic Councilman who flips and supports Giuliani. Mayor Eric Adams, who at the time was the head of a nonprofit for black men in law enforcement, calls him a race traitor for doing that and for being married to a white woman. There was a remarkable level of racial vitriol in that race that I totally missed.10 years ago when I started this, I asked if I could interview then-Brooklyn borough president Eric Adams, and he said yes, and the interview kept getting rescheduled, and I said, “Eh, I don't need him.” It's a regret of mine. I should have pursued that, but coulda, woulda, shoulda.Giuliani is elected, and he campaigns very explicitly on a reducing crime and disorder platform. And he hires Bill Bratton. Tell me about Bratton coming on board as NYPD commissioner.Bratton grew up in Boston, was a police officer there, became head of the New York City Transit Police when that was a separate police department. Right before he becomes NYPD Commissioner, he's back in Boston, as the Chief of Police there, and there is a movement among certain people to get Bratton the NYC job. They succeed in that, and Bratton is a very confident man. He very much took a broken windows approach and said, “We are going to focus on crime.” He has a right-hand man by the name of Jack Maple who he knows from the Transit Police. Maple is just a lieutenant in transit, and Bratton makes him the de facto number two man in the police department.Jack Maple passed away in 2001 and I didn't know what I was going to do, because it's hard to interview a man who's no longer alive. Chris Mitchell co-wrote Jack Maple's autobiography called Crime Fighter and he graciously gave me all the micro-cassettes of the original interviews he conducted with Maple around 1998. Everyone has a Jack Maple story. He's probably the most important character in Back from the Brink.Jack Maple comes in, no one really knows who he is, no one respects him because he was just a lieutenant in Transit. He goes around and asks a basic question — this is 1994 — he says, “How many people were shot in New York City in 1993?” And nobody knows. That is the state of crime-fighting in New York City before this era. There might have been 7,000 people shot in New York City in 1990 and we just don't know, even to this day.One citation from your book: in 1993, an average of 16 people were shot every day. Which is just remarkable.And remember, shootings have been declining for two or three years before that! But nobody knew, because they weren't keeping track of shootings, because it's not one of the FBI Uniform Crime Report [which tracks crime data nationally] index crimes. But wouldn't you be curious? It took Jack Maple to be curious, so he made people count, and it was findable, but you had to go through every aggravated assault and see if a gun was involved. You had to go through every murder from the previous year and see if it was a shooting. He did this. So we only have shooting data in New York City going back to 1993. It's just a simple process of caring.The super-short version of Back from the Brink is it was a change in mission statement: “We're going to care about crime.” Because they hadn't before. They cared about corruption, racial unrest, brutality, and scandal. They cared about the clearance rate for robbery a bit. You were supposed to make three arrests for every ten robberies. It didn't matter so much that you were stopping a pattern or arresting the right person, as long as you had three arrests for every ten reported crimes, that was fine.This is a story about people who cared. They're from this city — Bratton wasn't, but most of the rest are. They understood the trauma of violence and the fact that people with families were afraid to go outside, and nobody in the power structure seemed to care. So they made the NYPD care about this. Suddenly, the mid-level police executives, the precinct commanders, had to care. and the meetings weren't about keeping overtime down, instead they were about ”What are you doing to stop this shooting?”Tell listeners a little bit more about Jack Maple, because he's a remarkable character, and folks may not know what a kook he was.I think he was a little less kooky than he liked to present. His public persona was wearing a snazzy cat and spats and dressing like a fictional cartoon detective from his own mind, but he's a working-class guy from Queens who becomes a transit cop.When Bratton takes over, he writes a letter up the chain of command saying this is what we should do. Bratton read it and said, “This guy is smart.” Listening to 80 hours of Jack Maple, everyone correctly says he was a smart guy, but he had a very working-class demeanor and took to the elite lifestyle. He loved hanging out and getting fancy drinks at the Plaza Hotel. He was the idea man of the NYPD. Everyone has a Jack Maple imitation. “You're talking to the Jackster,” he'd say. He had smart people working under him who were supportive of this. But it was very much trying to figure out as they went along, because the city doesn't stop nor does it sleep.He was a bulls***er, but he's the one who came up with the basic outline of the strategy of crime reduction in New York City. He famously wrote it on a napkin at Elaine's, and it said, “First, we need to gather accurate and timely intelligence.” And that was, in essence, CompStat. “Then, we need to deploy our cops to where they need to be.” That was a big thing. He found out that cops weren't working: specialized units weren't working weekends and nights when the actual crime was happening. They had their excuses, but basically they wanted a cushy schedule. He changed that. Then, of course, you have to figure out what you're doing, what the effective tactics are. Then, constant follow up and assessment.You can't give up. You can't say “Problem solved.” A lot of people say it wasn't so much if your plan didn't work, you just needed a Plan B. It was the idea that throwing your hands in the air and saying, “What are you going to do?” that became notoriously unacceptable under Chief Anemone's stern demeanor at CompStat. These were not pleasant meetings. Those are the meetings that both propagated policies that work and held officers accountable. There was some humiliation going on, so CompStat was feared.Lots of folks hear CompStat and think about better tracking of crime locations and incidents. But as you flesh out, the meat on the bones of CompStat was this relentless follow-up. You'd have these weekly meetings early in the morning with all the precinct heads. There were relentless asks from the bosses, “What's going on in your district or in your precinct? Can you explain why this is happening? What are you doing to get these numbers down?” And follow-ups the following week or month. It was constant.CompStat is often thought of as high-tech computer stuff. It wasn't. There was nothing that couldn't have been done with old overhead projectors. It's just that no one had done it before. Billy Gorta says it's a glorified accountability system at a time when nobody knew anything about computers. Everyone now has access to crime maps on a computer. It was about actually gathering accurate, timely data.Bratton was very concerned that these numbers had to be right. It was getting everyone in the same room and saying, “This is what our focus is going to be now.” And getting people to care about crime victims, especially when those crime victims might be unsympathetic because of their demeanor, criminal activity, or a long arrest record. “We're going to care about every shooting, we're going to care about every murder.”Part of it was cracking down on illegal guns. There were hundreds of tactics. The federal prosecutors also played a key role. It was getting this cooperation. Once it started working and Giuliani made it a major part of claiming success as mayor, suddenly everyone wanted to be part of this, and you had other city agencies trying to figure it out. So it was a very positive feedback loop, once it was seen as a success.When Bratton came on the job, he said, “I'm going to bring down crime 15%.” No police commissioner had ever said that before. In the history of policing before 1994, no police commissioner ever promised a double-digit reduction in crime or even talked about it. People said “That's crazy.” It was done, and then year after year. That's the type of confidence that they had. They were surprised it worked as well as it did, but they all had the sense that there's a new captain on this ship, and we're trying new things. It was an age of ideas and experiment.And it was a very short time.That's the other thing that surprised me. Giuliani fired Bratton in the middle of ‘96.It's remarkable. Bratton comes in ‘94, and August 1994 is where you see crime drop off a cliff. You have this massive beginning of the reduction that continues.That inflection point is important for historical knowledge. I don't address alternatives that other people have proposed [to explain the fall in crime] — For example, the reduction in lead [in gasoline, paint, and water pipes] or legalized abortion with Roe v. Wade [proposed by Stephen Dubner].Reasonable people can differ. Back from the Brink focuses on the police part of the equation. Today, almost nobody, except for a few academics, says that police had nothing to do with the crime drop. That August inflection is key, because there is nothing in a lagged time analysis going back 20 years that is going to say that is the magic month where things happened. Yet if you look at what happened in CompStat, that's the month they started getting individual officer data, and noticing that most cops made zero arrests, and said, “Let's get them in the game as well.” And that seemed to be the key; that's when crime fell off the table. The meetings started in April, I believe, but August is really when the massive crime drop began.To your point about the confidence that crime could be driven down double digits year over year, there's a great quote you have from Jack Maple, where he says to a fellow cop, “This is going to be like shooting fish in a barrel. As long as we have absolute control, we can absolutely drive this number into the floor.”One detail I enjoyed was that Jack Maple, when he was a transit cop, would camp out under a big refrigerator box with little holes cut out for eyes and sit on the subway platform waiting for crooks.For people who are interested in Jack Maple, it is worth reading his autobiography, Crime Fighter. Mike Daly wrote New York's Finest, which uses the same tapes that I had access to, and he is much more focused on that. He's actually the godfather of Jack Maple's son, who is currently a New York City police officer. But Maple and co were confident, and it turned out they were right.As well as having changes in tactics and approach and accountability across the NYPD, you also have a series of specific location cleanups. You have a specific initiative focused on the Port Authority, which is a cesspool at the time, an initiative in Times Square, the Bryant Park cleanup, and then Giuliani also focuses on organized crime on the Fulton Fish Market, and this open-air market in Harlem.I was struck that there was both this general accountability push in the NYPD through CompStat, and a relentless focus on cleaning up individual places that were hubs of disorder.I'm not certain the crime drop would have happened without reclamation of public spaces and business improvement districts. Bryant Park's a fascinating story because Dan Biederman, who heads the Corporation, said, “People just thought it was like a lost cause, this park can't be saved. The city is in a spiral of decline.” He uses Jane Jacobs' “eyes on the street” theory and then George Kelling and James Q. Wilson's broken windows theory. The park has money — not city money, but from local property owners — and it reopens in 1991 to great acclaim and is still a fabulous place to be. It showed for the first time that public space was worth saving and could be saved. New York City at the time needed that lesson. It's interesting that today, Bryant Park has no permanent police presence and less crime. Back in the ‘80s, Bryant Park had an active police presence and a lot more crime.The first class I ever taught when I started at John Jay College in 2004, I was talking about broken windows. A student in the class named Jeff Marshall, who is in my book, told me about Operation Alternatives at the Port Authority. He had been a Port Authority police officer at the time, and I had not heard of this. People are just unaware of this part of history. It very much has lessons for today, because in policing often there's nothing new under the sun. It's just repackaged, dusted off, and done again. The issue was, how do we make the Port Authority safe for passengers? How do we both help and get rid of people living in the bus terminal? It's a semi-public space, so it makes it difficult. There was a social services element about it, that was Operational Alternatives. A lot of people took advantage of that and got help. But the flip side was, you don't have to take services, but you can't stay here.I interviewed the manager of the bus terminal. He was so proud of what he did. He's a bureaucrat, a high-ranking one, but a port authority manager. He came from the George Washington Bridge, which he loved. And he wonders, what the hell am I going to do with this bus terminal? But the Port Authority cared, because they're a huge organization and that's the only thing with their name on it — They also control JFK Airport and bridges and tunnels and all the airports, but people call the bus terminal Port Authority.They gave him almost unlimited money and power and said, “Fix it please, do what you've got to do,” and he did. It was environmental design, giving police overtime so they'd be part of this, a big part of it was having a social service element so it wasn't just kicking people out with nowhere to go.Some of it was also setting up rules. This also helped Bratton in the subway, because this happened at the same time. The court ruled that you can enforce certain rules in the semi-public spaces. It was not clear until this moment whether it was constitutional or not. To be specific, you have a constitutional right to beg on the street, but you do not have a constitutional right to beg on the subway. That came down to a court decision. Had that not happened, I don't know if in the long run the crime drop would have happened.That court decision comes down to the specific point that it's not a free-speech right on the subway to panhandle, because people can't leave, because you've got them trapped in that space.You can't cross the street to get away from it. But it also recognized that it wasn't pure begging, that there was a gray area between aggressive begging and extortion and robbery.You note that in the early 1990s, one-third of subway commuters said they consciously avoided certain stations because of safety, and two thirds felt coerced to give money by aggressive panhandling.The folks in your book talk a lot about the 80/20 rule applying all over the place. That something like 20% of the people you catch are committing 80% of the crimes.There's a similar dynamic that you talk about on the subways, both in the book and in your commentary over the past couple years about disorder in New York. You say approximately 2,000 people with serious mental illness are at risk for street homelessness, and these people cycle through the cities, streets, subways, jails, and hospitals.What lessons from the ‘90s can be applied today for both helping those people and stopping them being a threat to others?Before the ‘80s and Reagan budget cuts there had been a psychiatric system that could help people. That largely got defunded. [Deinstitutionalization began in New York State earlier, in the 1960s.] We did not solve the problem of mental health or homelessness in the ‘90s, but we solved the problem of behavior. George Kelling [of broken windows theory] emphasized this repeatedly, and people would ignore it. We are not criminalizing homelessness or poverty. We're focusing on behavior that we are trying to change. People who willfully ignore that distinction almost assume that poor people are naturally disorderly or criminal, or that all homeless people are twitching and threatening other people. Even people with mental illness can behave in a public space.Times have changed a bit. I think there are different drugs now that make things arguably a bit worse. I am not a mental health expert, but we do need more involuntary commitment, not just for our sake, but for theirs, people who need help. I pass people daily, often the same person, basically decomposing on a subway stop in the cold. They are offered help by social services, and they say no. They should not be allowed to make that choice because they're literally dying on the street in front of us. Basic humanity demands that we be a little more aggressive in forcing people who are not making rational decisions, because now you have to be an imminent threat to yourself or others. That standard does need to change. But there also need to be mental health beds available for people in this condition.I don't know what the solution is to homelessness or mental health. But I do know the solution to public disorder on the subway and that's, regardless of your mental state or housing status, enforcing legal, constitutional rules, policing behavior. It does not involve locking everybody up. It involves drawing the line between acceptable and unacceptable behavior. It's amazing how much people will comply with those rules.That presents the idea that someone's in charge, it's not a free-for-all. You get that virtuous loop, which New York had achieved in 2014–2016, when crime was at an all-time low in the city. Then the politicians decided public order wasn't worth preserving anymore. These are political choices.I had a similar version of this conversation with a friend who was shocked that there were zero murders on the subway in 2017 and that that number was stable: you had one or two a year for several years in the mid-2010s.It was five or fewer a year from 1997 to 2019, and often one or two. Then you have zero in 2017. There were [ten in 2022]. It coincides perfectly with an order from [Mayor] de Blasio's office and the homeless czar [Director of Homeless Services Steven] Banks [which] told police to stop enforcing subway rules against loitering. The subways became — once again — a de facto homeless shelter. Getting rule-violating homeless people out of the subway in the late ‘80s was such a difficult and major accomplishment at the time, and to be fair it's not as bad as it was.The alternative was that homeless outreach was supposed to offer people services. When they decline, which 95% of people do, you're to leave them be. I would argue again, I don't think that's a more humane stance to take. But it's not just about them, it's about subway riders.There's one story that I think was relevant for you to tell. You were attacked this fall on a subway platform by a guy threatening to kill you. It turns out he's had a number of run-ins with the criminal justice system. Can you tell us where that guy is now?I believe he's in prison now. The only reason I know who it is is because I said, one day I'm going to see his picture in the New York Post because he's going to hurt somebody. Am I 100 percent certain it's Michael Blount who attacked me? No, but I'm willing to call him out by name because I believe it is. He was out of prison for raping a child, and he slashed his ex-girlfriend and pushed her on the subway tracks. And then was on the lam for a while. I look at him and the shape of his face, his height, age, build, complexion, and I go, that's got to be him.I wasn't hurt, but he gave me a sucker punch trying to knock me out and then chased me a bit threatening to kill me, and I believe he wanted to. It's the only time I ever was confronted by a person who I really believe wanted to kill me, and this includes policing in the Eastern District in Baltimore. It was an attempted misdemeanor assault in the long run. But I knew it wasn't about me. It was him. I assume he's going to stay in prison longer for what he did to his ex-girlfriend. But I never thought it would happen to me. I was lucky the punch didn't connect.Peter Moskos's new book is Back from the Brink, Inside the NYPD and New York City's Extraordinary 1990s Crime Drop.My reading listEssays:Johnny Hirschauer's reporting, including “A Failed 'Solution' to 'America's Mental Health Crisis',“ “Return to the Roots,” and “The Last Institutions.” “Broken Windows: The Police and Neighborhood Safety,” by George L. Kelling and James Q. Wilson. ​“It's Time to Talk About America's Disorder Problem,” Charles Lehman.Books:Ghettoside: A True Story of Murder in America, Jill Leovy.​Prince of the City: Giuliani, New York, and the Genius of American Life, Fred Siegel.​ Cop in the Hood: My Year Policing Baltimore's Eastern District, Peter Moskos.​Dreamland: The True Tale of America's Opiate Epidemic, Sam Quinones.​Bonfire of the Vanities, Tom Wolfe. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.statecraft.pub

Full episode on our Patreon. Cheryl Dunn is an American filmmaker and photographer known for documenting New York City's downtown art and graffiti scene. Starting in the 1990s, Dunn photographed and filmed urban life, from protests to skateboarding and graffiti. Her work chronicled the spontaneous creativity that arose in public spaces, making her one of the key visual storytellers of the era.Dunn's films and photographs document key figures in the graffiti world, including artists like Barry McGee, the late great Margaret Kilgallen, Dash Snow (R.I.P) and Steve ESPO Powers. She became a visual historian of this art form as it transitioned from something illegal and underground to being recognized and embraced by galleries and museums.Dunn's documentary “Moments Like This Never Last” (2020) delves into the life of the late New York City artist Dash Snow, a highly influential figure in the downtown art scene of the 2000s. The film paints a raw, intimate portrait of a tumultuous, vibrant artist who was emblematic of the Lower East Side at the time. Her documentary “Everybody Street” (2013), showcases legendary street photographers like Martha Cooper and Jill Freedman.http://patreon.com/livingproofnewyorkhttp://livingproofnewyork.com

In 1984, urban photographers Martha Cooper and Henry Chalfant came together to publish an era-defining book about the early graffiti movement.They had been documenting the work of graffiti arts on the subways system of New York for many years.The colourful book was called Subway Art and it quickly became known as the graffiti bible.Forty years on from its release, Martha and Henry explore its enduring legacy with Matt Pintus.(Photo: Marta Cooper and Henry Chalfant pictured at the 25th anniversary event for Subway Art. Credit: Getty Images)

In this episode of the "The Truth in This Art" podcast, host Rob Lee converses with Cory Lee Stowers, a cultural anthropologist, visual artist, and curator. They tackle Cory's background in graffiti and his role in the DC hip-hop scene. Stowers discusses his creative influences and the significance of preserving artistic legacies. He shares the challenges of leading organizations like Art B.L.O.C. DC and DC Murals, emphasizing the need for sustainable funding and aligned partnerships. This episode explores the evolution of mural art, the use of technology to create interactive murals and the cultural impact of public murals. Cory also touches on the historical debate over African American visual identity at Howard University and the importance of impactful community murals.Episode Highlight:Painted Beginnings (00:01:30): Cory takes us back to his roots, painting a vivid picture of his early life and how he was drawn into the vibrant graffiti and hip-hop culture of Washington DC.Artistic Inspirations (00:04:00): Remembering the past, Stowers shares heartfelt stories about the people and experiences that have sculpted his artistic perspective and continue to influence his creative journey.The Artistic Grind (00:10:00): Rob and Cory engage in a candid discussion about the grit behind the glamour, exploring the obstacles and triumphs that come with bringing ambitious art projects to life.Mural Dreamscape (00:20:00): With an eye on the future, Cory outlines his visionary plans for transforming DC Murals into a social enterprise that not only beautifies but also benefits the community.The Funding Puzzle (00:22:00): The conversation takes a pragmatic turn as Stowers addresses the intricate challenge of weaving together funding and partnerships to support his artistic endeavors.Creative Alchemy (00:20:30): Cory offers a glimpse into his creative sanctum, revealing how he approaches the art-making process and fosters meaningful connections with the community through his work.Murals That Speak (00:30:00): The power of murals to tell the untold stories is brought to the forefront, highlighting their significance in preserving and sharing cultural narratives.Art in the Digital Age (00:35:00): Reflecting on the intersection of art and technology, Cory discusses how modern advancements are revolutionizing the way murals are created.Key Takeaways:1. Graffiti and hip-hop culture have played a significant role in shaping the artistic landscape of urban environments like DC.2. The preservation of artistic legacies is crucial for cultural continuity and understanding the historical context of art forms.3. Sustainable funding and strong partnerships are essential for the success and longevity of arts organizations.4. Public murals are not just art, they are powerful tools for cultural expression and community engagement.Website and Social Media Links:coryleestowers.comX: @RockCreekLeeInstagram: rockcreekleeLinkedIn: Cory Lee StowersHey everyone, if you were as inspired by Cory Lee Stowers' stories and insights as I was, let's show some love! Head over to his website and follow his journey on social media to keep up with the incredible work he's doing in the art world. And if you enjoyed our deep dive today on "The Truth in This Art," please take a moment to rate and review this episode. Your feedback means the world to us and helps others find these meaningful conversations. Plus, if you're feeling generous and want to support the podcast further, consider joining our Patreon community. Every bit of support helps us continue to bring these important stories to light. Thanks for listening, and let's keep the conversation going! This program is supported (in part) by a grant from the Robert W. Deutsch Foundation. If you have a story about art, culture, or community, share it with us at rob@thetruthinthisart.com for a chance to be featured on 'The Truth In This Art' podcast.Follow The Truth In This Art on Twitter, Threads, IG, and Facebook @truthinthisart Original music by Daniel Alexis Music with additional music from Chipzard.Episode illustration by Alley Kid Art.About "The Truth In This Art""The Truth In This Art," hosted by Rob Lee, is a podcast that explores the essence of creativity and its community impact, amplifying artists' voices and their profound stories.Connect with me:Website | Twitter | Instagram Support the show:Merch from Redbubble | Make a Donation  ★ Support this podcast ★

Bintou Simporé et Reza Pounewatchy investissent le Grand Palais immersif pour une émission Street Art et Musique dans le cadre de l'exposition Loading. L'art urbain à l'ère numérique. Une exposition d'œuvres à l'origine produites dans la rue, qui se retrouvent diffusées, projetées, mise en scène à 360° dans l'espace monumental du Grand palais immersif. Un sacré tour du monde des artistes en action depuis les années 70. À vivre jusqu'au 21 juillet 2024. Au micro de Nova, le 10 janvier dernier, le commissaire général de l'exposition, Christian Omodeo explique la genèse de l'exposition et raconte la relation de l'art urbain aux nouvelles technologies : « Une image, une œuvre d'art qui est posée sur un mur, qu'est-ce-que c'est ? C'est une œuvre dans l'espace public ou c'est une œuvre d'art numérique qui a été produite pour être diffusé sur les réseaux sociaux ? » Docteur en histoire de l'art et commissaire d'exposition indépendant, Christian Omodeo cumule les casquettes avec l'agence Le Grand Jeu, avec laquelle il se consacre à visibiliser la “street culture”. Parmi ses récentes parutions, JonOne : La tentation du décor ou encore le fanzine Some Wu-Tang Memories, en collaboration avec la Babylone Galerie. Mehdi Mejri rejoint ensuite le plateau des invités. Producteur et collaborateur du studio français Atlas V, connu pour ses productions immersives, il signe la réalisation audiovisuelle de l'exposition. Présente dans l'exposition, mais de l'autre côté de l'Atlantique à l'heure de l'émission, l'incontournable photographe Martha Cooper nous a fait l'honneur de nous rejoindre par téléphone. Depuis les années 70, elle ne cesse de documenter la formidable aventure artistique de l'art urbain sur le terrain new-yorkais et bien au-delà. "Être photographe n'est pas la carrière la plus simple, confiait-elle au micro de Bintou Simporé et Reza Pounewatchy. Pendant de nombreuses années, je prenais des photos, mais il était très difficile de les utiliser pour quoi que ce soit, ça n'intéressait pas grand monde. C'est donc un peu une victoire, aujourd'hui, de voir que ces images ont perduré et suscitent encore l'intérêt du public." À ne pas rater : la projection du documentaire Martha Cooper. Icône du Street Art (Selina Miles, 2019) le 24 janvier au Grand Palais Immersif. Et puisque cette émission mêle musique et art urbain, laissons place à Chaze, ancien graffeur radical, aujourd'hui musicien, résolument attaché à l'authenticité du mouvement. Il est rejoint par Aleteïa, artiste plasticienne membre des collectifs activistes Vao et Une Nuit, qui dit faire "de l'art dans l'espace public, de la mythologie urbaine et de la géopoétique". Vous retrouverez d'ailleurs Aleteïa à partir du 5 avril au musée des Beaux-arts de Nancy. Pour conclure l'émission, c'est Roei Amit, directeur du Grand Palais Immersif, qui nous rejoint. TRACKLIST Grandmaster Caz - South Bronx Subway Rap Little Simz - Introvert Wegz - Manhos Fab 5 Freddy - Down By Law Black Sabbath - Paranoid Chaze - Indelible Jamila Woods - Boomerang Brigitte Fontaine - Conne The Vibrettes - Humpty Dump (Extrait du Mix de Cool DJ Bando / Archive Radio Nova 1991) Marva Whitney - He's The One LOADING. L'art urbain à l'ère du numérique, une émission spéciale de Radio Nova présentée par Bintou Simporé et Reza Pounewatchy, réalisée par Nabil Chafa avec la participation de Léna Gandrey, Mehdi Laïd, Ségo Raffaitin, Théo Sebald, Léna Le Roux Bourdieu, Samy-Alexandre Selmi, Charlotte Elles. Merci à Constance Fournage, Christian Omodeo et toute l'équipe du Grand Palais immersif. Image / Vues de l'exposition « Loading. L'art urbain à l'ère du numérique » au Grand Palais Immersif, Collection Grand Palais Immersif, Didier Plowy, 2023 © Didier Plowy pour Grand Palais Immersif, 2023

The Golem of Brooklyn by Adam Mansbach  Order from One World V https://www.penguinrandomhouse.com/books/737057/the-golem-of-brooklyn-by-adam-mansbach/ http://www.adammansbach.com/ Soundtrack by @defcee https://open.spotify.com/album/10RHdG5gi6jWhi1qAD7cFK?si=9P1RMU4tRVaRTvAmBN-Hgw Gateway books  The Pushcart War - Jean Merrill Treasure Island  Current reads  Lone Women - Victor Lavalle  When Crack Was King - Donovan Ramsey  The Talmud  Desert Island Books 2666 - Robert Bolaño  Rule of the Bone - Russel Banks  Subway Art - Henry Chalfant and Martha Cooper

Brussels' PARCOURS Street Art is celebrating its tenth anniversary with nine new murals and three weeks of tours (self or guided), an exhibition of the work of hip hop photographers Martha Cooper and NIka Kramer, documentary screenings and a major closing party. Thierry Dubois from All About Things gives us the details and explains the philosophy behind the event. www.parcoursstreetart.brussels

As part of our series of live podcasts recorded at The Crystal Ship Festival in Ostende, Belgium last month, today we share a series of conversations from legendary photographer Martha Cooper, artist Jaune and festival organizer and curator, Mélissa Cucci. This episode was recorded live at a special evening of Radio Juxtapoz conversations at the Festival, with each giving their unique perspective, history and understanding of the ever-expanding world of graffiti and street art, as well as its acceptance into public art forums and curation. The Radio Juxtapoz podcast is hosted by FIFTH WALL TV's Doug Gillen and Juxtapoz editor, Evan Pricco. Episode 1112 was recorded in April in Ostende, Belgium during The Crystal Ship Festival . Follow us on ⁠⁠⁠⁠@radiojuxtapoz

BODYPUMP 124 - That London Filming In this episode, we showcase 5 presenters from BODYPUMP 124 filming. Martha Cooper (06:00) https://www.instagram.com/marthacooper5/ Casey Guadagnini Lockwood (23:00) https://www.instagram.com/casey_g_lockwood/ Bronté Terrell (44:00) https://www.instagram.com/bronteterrell_/ Shaun Mckenna (1:07:00) https://www.instagram.com/shauniemac94/ Luigi Scialò (01:33:00) https://www.instagram.com/luigiscialo_/ And as a BONUS Les Mills CEO Clive Ormerod (01:55:00) https://www.instagram.com/clive_ormerod/ You can watch/listen this on Spotify and listen audio only on iTunes. Ricky Long

In this episode, Martha Cooper discusses the intricacies of Arizona's program for the Seriously Mentally Ill and her motivations behind supporting people seeking access to this program.

John and Mark speak candidly about the life and work of Martha Cooper, and how tenacity and persistence can pay dividends with regards to street photography.John and Mark discuss, among other things:The documentary Martha: A Picture StorySticking to your convictions with your photographyDocumenting for posterity  Long-term photography projectsPhotographers mentioned in this podcast:Martha Cooper –  @marthacoopergram

I talk with street art and graffiti historian Roger Gastman about photographer Martha Cooper's pictures of NYC's subway art of the 80s, featured in her new book Spray Nation. Also, I 'doorstep' a special photography friend in England's Lake District and there are letters on making the last pictures of life next to the first pictures of a new life, getting up at silly o clock to make friends with the best light of the day, and the punk rocker who has swapped drum sticks for long exposure photography on a Scottish remote island. See the SHOW PAGE and our thanks to the Extra Milers and mpb.com.

Follow LuLu Romano:Instagram: https://instagram.com/ddwithluluromanoSpotify: https://open.spotify.com/show/3TM6PYl...TikTok: https://tiktok.com/@luluhmululuHello friends! We're now doing weekly doses for video, and daily dose for audio. You will still get to see 3 videos per week, 1 of them being the weekly dose. p.s. audio is fun, but video is a BLASTToday July 19, 2021 I bring my "office" to the beach and record the first audio podcast for The Daily Dose with LuLu Romano. I talk about the struggles of growing up Asian in the Hamptons, my aunt naming her restaurant "#1 Chinese Restaurant" because there's no competition, and how lit (literally) my interview with photojournalist Martha Cooper went at the Southampton Arts Center. You're listening to the #1 source for all things in the Hamptons. Hello and welcome. -LuLu Subscribe at lulusdailydose.substack.com

Lunge Box and I discuss our feelings on the new documentary "Martha" about the Graffiti and street art photography icon Martha Cooper on our early morning commute through New York City. 

Join us this week as Amon chops it up with Selina Miles about her debut film “Martha: A Picture Story” which documents the notable contributions of veteran graffiti and street art photographer Martha Cooper. Show Notes: https://www.newyorksaid.com/selina-miles-hustlin-to-martha/    

Martha Cooper is an iconic American photojournalist and the unlikely hero of street artists across the globe. She documented New York's underground graffiti scene in the 1970s, at a time when street art was looked down upon as being immoral and lacking in artistic merit. But Martha instead fell in love with the scene and in 1984 published her photos in Subway Art. After a failed launch, the book has gone on to be one of the most sold, and stolen, art books of all time. It also influenced a generation of street artists, including OSGEMEOS. Selina Miles is the Australian director of the new feature documentary Martha: A Picture Story, which follows the life and work of Martha Cooper. Selina shares what she's learned about Martha's life, her global reputation, and what parts of her life the film documents. We also talk about how Selina and Martha met, how Selina came up with the idea for the documentary, and what her thoughts are on the value of street art. “Martha's now in her 70s, still traveling the world documenting street art in places like Mongolia and Tahiti.” - Selina Miles Time Stamps: 00:16 - The trailer for Martha: A Picture Story. 03:15 - Where the film is available to stream. 04:35 - Who Martha Cooper is and what she is known for. 06:04 - What her book Subway Art is about. 07:19 - Why her work didn't receive much attention at the time. 09:39 - The impact the book had on street artists. 13:26 - How Martha found her style of artwork. 15:06 - The perspective that Martha brought to the breakdance scene. 18:46 - Why Martha found it hard to find her place in the world of photography. 22:15 - How Selina met Martha in Tahiti. 25:01 - How she persuaded Martha to make a feature documentary. 27:47 - How the documentary captures the evolution of photography. 30:03 - Martha's views on street art. 32:41 - How her early life informed her artistic vision. 33:55 - The value of photography these days. 36:10 - The type of recognition Martha is now receiving for her work. Resources: Martha: A Picture Story (2021 Subway Art Henry Chalfont Alamo Pictures Connect with Selina Miles: Website Instagram Facebook Connect with Factual America: Facebook Instagram Twitter   Connect with Matthew Sherwood: Facebook LinkedIn Twitter   More From Factual America: Billie Eilish: A Portrait of the Artist Air Jordan: A Cultural Phenomenon Uprooted: American History through Jazz Dance Becoming Rocky: How Sylvester Stalone Became a Star

'Martha: A Picture Story' (2019), directed by Selina Miles, captures the life and work of the iconic street art photographer Martha Cooper. The post Martha Cooper: The Unlikely Hero of Street Art appeared first on Factual America.

Appendix till lucka 24. Graffquiz med Ollio.De tävlande:BrainJacob KimvallGraffiti BrilliantSGPShenMalcolm JacobsonAsherCoreLänk: SVTplay - Att Föreviga Gatukonst. Dokumentärfilm om Martha Cooper.

Over the course of our almost two years of bringing you the Radio Juxtapoz podcast, the core is looking at the stories and characters that have help shape the past, present and future of graffiti and street art. From Shepard Fairey, Martha Cooper, Felipe Pantone, Hyuro, Craig Costello, REVOK, Cleon Peterson, Dan Witz, Ron English, ESPO, Swoon... what all these episodes have in common in many ways is today's guest, curator Roger Gastman. For over 20 years, Gastman has been at the forefront of documenting, publishing and creating historical overviews of the history of two of the most popular art forms we cover. That graffiti and street art still resonates with audiences so deeply decades into their existence is, in part, a celebration of Gastman's work. In 2018, Gastman started Beyond the Streets, an exhibition that helped create a more linear narrative to what is an often complicated and storied history of art in the streets. Not only were the shows highlighting the graffiti and street artists that we have come to know today, but the show provided an opportunity to show just how widespread and impactful the vandal element of those forms has influenced contemporary art and culture. From Takashi Murakami, Guerrilla Girls and the Beastie Boys, you began to see how Beyond the Streets was more encompassing than past graffiti and street art shows. With exhibitions in both Los Angeles and Brooklyn in 2018 and 2019, Gastman was looking to take the show to new markets when the pandemic put a pause on everything. For 2020, Beyond the Streets is a virtual art fair, streaming on the NTWRK APP December 5th & 6th, 2020, a two day art fair with exclusive paintings, sculptures, editioned prints, skate decks, drawings, exclusive drops, and "thought-provoking discussions and panels though a series of videos curated by culture historian Roger Gastman." On this episode of Radio Juxtapoz, we get our own history of Gastman's love and interest in graffiti culture, how he grew to understand the often merging world of street art and how many pivotal moments over the past 50 years have allowed for a major pop-culture interest in Beyond the Streets. From his early days in Washington, DC, his work in publishing and now looking to expand BTS to international markets, this is just the beginning of Gastman's vision to keep graffiti and street art global. The Radio Juxtapoz podcast is hosted by FIFTH WALL TV's Doug Gillen and Juxtapoz editor, Evan Pricco. Episode 059 was recorded via Skype from Los Angeles, San Francisco, London, November 27, 2020. Beyond the Streets will be streaming on the NTWRK APP on December 5th & 6th, 2020.

Was ist kein Rap mehr? Wie bekommt man von Untergrund-Konzerten mit? Gibt es eine Verbindung zwischen Cornern und Hip-Hop? Im einzigen wirklich realen Hip-Hop-Podcast sprechen Niko, Dan und Base über all diese Fragen. Außerdem: Was verbinden die BACKSPIN DJs mit dem Ende von Just Music? Und welche Bedeutung hat Martha Cooper in der Hip-Hop-Welt. Also genau wie immer: Liebe für Rap und die Kultur, ein kritisches Auge auf den Mainstreams und Themen unter dem Radar. Viel Spaß mit Love'N'Hate!

WOULDN’T IT BE NICE if you could wave a magic wand and all of your accounts receivable woes disappeared? Well they can! Learn how outsourcing those pesky tasks like insurance billing and patient collections could be the best magic ever. IN THIS EPISODE, Cindy chats with fellow ex-office manager Martha Cooper who is the co-founder of Meridian Business Solutions. Listen closely because they share tips that you could help you in your practice.

The one where Sam talks about the graffiti photojournalist, Martha Cooper. See photos from the Urban Nation exhibit on Sam’s Instagram. Watch the trailer for the documentary: Martha Cooper: A Picture Story. --- Send in a voice message: https://anchor.fm/to-berlin-and-beyond/message

Seit 40 Jahren fotografiert Martha Cooper die Graffiti-Szene. Nun widmet ihr das Berliner Urban Nation Museum eine Retrospektive. Die 77-Jährige über „interessanten Vandalismus“ und den Ehrenkodex der Szene. Martha Cooper im Gespräch mit Vladimir Balzer www.deutschlandfunkkultur.de, Fazit Hören bis: 19.01.2038 04:14 Direkter Link zur Audiodatei

Welcome to this third episode of the new Dior Talks series ‘The Female Gaze’. With the term developed in response to the writings of feminist film theorist Laura Mulvey, this podcast series will explore how the work of the female photographers and creatives collaborating with Dior offers a radically new and progressive image of women.  In this episode, series host Charlotte Jansen, a British journalist and author, speaks with Janette Beckman, the London-born, New York-based documentary photographer who shot the autumn-winter 2019 campaign. Beckman’s remarkable career spans more than four decades, during which time she has photographed the rock and punk legends of the UK and USA, the emerging hip-hop generation in the early ’80s and numerous iconic album covers. Janette Beckman was raised in North London and attended St. Martins School of Art before studying photography at the London College of Communication. She was already working for legendary music magazines Sounds, Melody Maker and The Face in the late ’70s and early ’80s and her first assignment was for the group Siouxsie and the Banshees. On moving to New York in 1982, her gritty aesthetic ruffled feathers in the context of the air-brushed style of most album covers of the time. Her response was to focus on the new and revolutionary hip-hop scene, photographing Public Enemy, The Beastie Boys and LL Cool J amongst many others. In this week’s episode, Beckman discusses her experiences of being a young woman and a foreigner in the New York music and photography scenes at a seminal yet very different time. She ruminates on the notion of the outsider and issues of appropriation, and how her origins in London’s punk culture contributed to the curiosity that spurred her entrée into the rap scene rising in New York’s outer boroughs. She also discusses her own ‘female gaze’ and how she captured, with her direct and irreverent eye, the intimate and typically unseen moments in the creation of the spring-summer 2017 collection, Maria Grazia Chiuri’s debut at the House.   Discover a selection of works:  The Women Behind the Lens x Janette Beckman https://www.youtube.com/watch?v=7AYU2mjfIPA Janette Beckman, Dior Backstage, Spring-Summer 2017 https://www.dior.com/diormag/fr_be/article/les-photos-de-janette-beckman Janette Beckman, Dior Fall-Winter 2019 https://janettebeckman.com/new-work/dior-1/ Janette Beckman, Mods Streatham, 1976 https://janettebeckman.com/uk-youth/#2 Janette Beckman, LL Cool J, 1985 https://janettebeckman.com/hip-hop/#5 Janette Beckman, Salt ‘N Pepa, 1987 https://janettebeckman.com/hip-hop/sp/ Martha Cooper http://www.stevenkasher.com/artists/martha-cooper ‘Girl On Girl’, Charlotte Jansen https://smarturl.it/girlongirl

Es la fotógrafa del grafiti. La mujer que fotografío a los primeros grafiteros de Nueva York cuando nadie más que ella y Henry Chalfant lo hacían. Junto a él publicó “Subway Art”, libro que se convirtió en la Biblia del grafiti para los chavales de todo el mundo. Es Martha Cooper. La primera fotógrafa del National Geographic, la primera fotógrafa del New York Post y también la primera fotógrafa de un nuevo arte: el arte urbano. Fue pionera en la fotografía de grafiti pero también del break dance y el hip hop, y gracias a sus fotos esa cultura se difundió por todo el planeta, como se cuenta en el documental que ha venido a presentar a España, “Martha: A picture story”. La entrevistamos junto a referentes del arte urbano en España: Okuda, el artista que ha pasado de las calles a los museos e incluso ha dejado su arte en una iglesia de un siglo de antigüedad, Rosh333 y Spok. El programa se completa con una nueva entrega del diario sonoro de Rozalén y un capítulo más de Consuma Crudeza, sobre publicidad engañosa y greenwashing. Hablamos con Sara Acosta, editora de Ballena Blanca, sobre esos “lavados verdes” que se dan la marcas para parecer más responsables medioambientalmente, pero que no reflejan su verdadero compromiso con la sostenibilidad desde su modelo de negocio. También abordamos los socialwashes (lavados sociales), pinkwashes (lavados rosas) o el feminiwashes, los lavados feministas... Hay tanto Greenwashing, que Ecologistas en Acción dan los Premios Sombra a la publicidad más engañosa; la ONG Corpwatch creó, hace más de diez años, la Green Wash Academy Awards; y los Public Eye Awards, votados por 60.000 usuarios, reparten anti-galardones a las corporaciones más irresponsables. __ Existimos gracias a las aportaciones de los y las oyentes. Hazte productora o productor de Carne Cruda. Defiende tu altavoz en: en http://carnecruda.es/hazte_productor/

Es la fotógrafa del grafiti. La mujer que fotografío a los primeros grafiteros de Nueva York cuando nadie más que ella y Henry Chalfant lo hacían. Junto a él publicó “Subway Art”, libro que se convirtió en la Biblia del grafiti para los chavales de todo el mundo. Es Martha Cooper. La primera fotógrafa del National Geographic, la primera fotógrafa del New York Post y también la primera fotógrafa de un nuevo arte: el arte urbano. Fue pionera en la fotografía de grafiti pero también del break dance y el hip hop, y gracias a sus fotos esa cultura se difundió por todo el planeta, como se cuenta en el documental que ha venido a presentar a España, “Martha: A picture story”. La entrevistamos junto a referentes del arte urbano en España: Okuda, el artista que ha pasado de las calles a los museos e incluso ha dejado su arte en una iglesia de un siglo de antigüedad, Rosh333 y Spok. El programa se completa con una nueva entrega del diario sonoro de Rozalén y un capítulo más de Consuma Crudeza, sobre publicidad engañosa y greenwashing. Hablamos con Sara Acosta, editora de Ballena Blanca, sobre esos “lavados verdes” que se dan la marcas para parecer más responsables medioambientalmente, pero que no reflejan su verdadero compromiso con la sostenibilidad desde su modelo de negocio. También abordamos los socialwashes (lavados sociales), pinkwashes (lavados rosas) o el feminiwashes, los lavados feministas... Hay tanto Greenwashing, que Ecologistas en Acción dan los Premios Sombra a la publicidad más engañosa; la ONG Corpwatch creó, hace más de diez años, la Green Wash Academy Awards; y los Public Eye Awards, votados por 60.000 usuarios, reparten anti-galardones a las corporaciones más irresponsables. __ Existimos gracias a las aportaciones de los y las oyentes. Hazte productora o productor de Carne Cruda. Defiende tu altavoz en: en http://carnecruda.es/hazte_productor/

Welcome back to your favorite art podcast! It's a new year and we are taking this opportunity to look back on what a great year 2019 was and look to the future of Not Real Art and the creative community. Man One remembers some of his inspiring trips from last year and just how amazing Tokyo and Hong Kong were before we get deep on Art Basel and its highs and lows. From the unbelievable opening of the Museum of Graffiti to bananas taped to walls, we cover it all and there are no real surprises as to what we liked and did not. 2019 was a year of great progress for the Not Real Art brand and our associates and events and we are so grateful for the opportunity to continue this in 2020! We finish off the episode meditating on the importance of family and health, things we can all do well to remember. For this and more, stay tuned. For more information about artists, links and resources from this episode, please visit https://notrealart.com/2019-looking-backwards-and-forwards/. Key Points From This Episode: Looking back on 2019, awards, travel and the achievements for Not Real Art! Man One's best trips of last year and the inspiration he is carrying forward. The amazing Art Basel event; special exhibits and the Museum of Graffiti! The spirit of the Bronx and how Martha Cooper captured its intensity. Sourdough's experiences at a rave in Little Haiti next to a Burning Man car. The Taped Banana at Art Basel and how many people take the bate on this kind of art. The year in review; a very productive period on so many levels for both of us! Getting the kids out of the house — a blessing and a curse. The miracle and mystery of oat milk and how it is saving Man One's life. Man One's daughter's obsession with tattoos and body piercings.   

2019: Looking Backwards and Forwards. Welcome back to your favorite art podcast! It's a new year and we are taking this opportunity to look back on what a great year 2019 was and look to the future of Not Real Art and the creative community. Man One remembers some of his inspiring trips from last year and just how amazing Tokyo and Hong Kong were before we get deep on Art Basel and its highs and lows. From the unbelievable opening of the Museum of Graffiti to bananas taped to walls, we cover it all and there are no real surprises as to what we liked and did not. 2019 was a year of great progress for the Not Real Art brand and our associates and events and we are so grateful for the opportunity to continue this in 2020! We finish off the episode meditating on the importance of family and health, things we can all do well to remember. For this and more, stay tuned. Key Points From This Episode: Looking back on 2019, awards, travel and the achievements for Not Real Art! Man One's best trips of last year and the inspiration he is carrying forward. The amazing Art Basel event; special exhibits and the Museum of Graffiti! The spirit of the Bronx and how Martha Cooper captured its intensity. Sourdough's experiences at a rave in Little Haiti next to a Burning Man car. The Taped Banana at Art Basel and how many people take the bate on this kind of art. The year in review; a very productive period on so many levels for both of us! Getting the kids out of the house — a blessing and a curse. The miracle and mystery of oat milk and how it is saving Man One's life. Man One's daughter's obsession with tattoos and body piercings.  Links Mentioned in Today’s Episode: Man One — Man One on Twitter — Scott “Sourdough” Power — Not Real Art Conference — Not Real Art on Instagram — Art Basel — Bugatti — Museum of Graffiti — KRS One — Comedian Taped Banana — Maurizio Cattelan — Martha Cooper — Burning Man — Bill Kieffer — Ironman —

Andrew caught up with director Selina Miles to talk about her excellent documentary, Martha: A Picture Story, which is all about the life and career of photojournalist Martha Cooper. It's an excellent film which will leave you on a high once it's finished.Check out the website for more information, and while you're at it, give Andrew's review a read as well. Support The Curb on Patreon, and make sure to follow us on Facebook and Twitter. Get in contact with us via our email.See omnystudio.com/listener for privacy information. Hosted on Acast. See acast.com/privacy for more information.

Andrew caught up with director Selina Miles to talk about her excellent documentary, Martha: A Picture Story, which is all about the life and career of photojournalist Martha Cooper. It's an excellent film which will leave you on a high once it's finished. Check out the website for more information, and while you're at it, give Andrew's review a read as well. Support The Curb on Patreon, and make sure to follow us on Facebook and Twitter. Get in contact with us via our email. See omnystudio.com/listener for privacy information.

How To Be: Mark Ronson + I'm With The Band: Nasty Cherry, Filmlorde Andre is joined by special guest Angel Michael Sun to talk about New York graffiti. Documentaries are back with a vengeance (did they ever leave?) with Gorillaz and Paris Is Burning coming front and centre. Selina Miles is a filmmaker in the studio discussing their award winning film about Graffiti photographer Martha Cooper, and the Filmlordes theorise: does the world need Nasty Cherry?

Martha: A Picture Story (Documentary, Biography)   In 1970s New York, photographer Martha Cooper captured some of the first images of graffiti at a time when the city had declared war it. Decades later, Cooper has become influential to the global movement of street artists. Director: Selina Miles Writers: Davis Coombe (Story Consultant), Drew Macdonald (Story Consultant) - (IMDb)     Movies First RSS feed: https://feeds.megaphone.fm/BIT7197946000  Stream podcast episodes on demand from www.bitesz.com/moviesfirst (mobile friendly).  Subscribe, rate and review Movies First at all good podcatcher apps, including Google Podcasts, Apple Podcasts, Stitcher, PocketCasts, CastBox.FM, Podbean, Acast, Spreaker, etc.For more, follow Movies First on Facebook, Twitter and YouTube : Facebook - @moviesfirst Twitter - @MoviesFirst YouTube Channel: https://www.youtube.com/channel/UCatJQHaVabIvzCLqO16XvSQ    If you're enjoying Movies First, please share and tell your friends. Your support would be appreciated...thank you. #movies #cinema #entertainment #podcast #reviews #moviesfirst #martha #marthaapicturestory Learn more about your ad choices. Visit megaphone.fm/adchoices See acast.com/privacy for privacy and opt-out information.

  BLOODY EPISODE 41 Yasss or Passs ‘Knives Out’ - Make sure to check out or full YouTube review available now!  ‘Frozen 2’ - A fascinating look into Steggles and the frozen food market. Take a deep dive into the reality of what you’re eating and feeding your children. This documentary doesn’t hold back and will have you on the edge of your seat as you see how the food we all consider normal starts out as fresh but becomes the frozen food we all know and love. Sequal to the 1986 Oscar winning hit documentary ‘Frozen 1: Ice Cold’. Starring Kristen Bell, Idina Menzel and Josh Gadd.  ‘Martha: A Picture Story’ -In this actual documentary, 1970’s New York, Martha Cooper was a photographer who was one of the first to capture graffiti on camera. She became a pioneer for street artists.  ‘Mrs Lowry & Son’ - The story about the artist L.S. Lowry and his mum who tried to tell him not to be a painter and stop following his dreams. JOKES ON YOU MUM. THERES A FUCKING MOVIE ABOUT ME NOW! Bitch. Starring Timothy Spall and Vanessa Redgrave.  ‘Commando 3’ - Oh yes. This is happening.   TRAILER PARK The Call of the Wild, Emma, Antebellum, The Wolf Hour, BEYOND THE LAW (WHAAAT), Most Likely to Succeed, True Story of the Kelly Gang ----more---- @2c3pod Aussie Pop Culture Podcast ~ 2 Episodes every Wednesday and Friday + YOUTUBE bonus content. PodbeanSpotifyApple Podcasts Youtube Check out our social accounts to keep in contactTwitterFacebookInstagram Twitchwww.twitch.tv/mitchell_tctpwww.twitch.tv/dylan_tctp

a great chat with film-maker Selina Miles about filmmaking and her subject the photographer Martha Cooper.

Martha Cooper is one of the most adored and influential members of the street art world yet almost unknown outside of it, perhaps ‘the most iconic photographer you’ve never heard of ’. Her book Subway […] http://media.blubrry.com/out_takes/p/joy.org.au/outtakes/wp-content/uploads/sites/310/2019/11/Selina-Miles-Nov-26-edit-with-intro-interview.mp3 Podcast: Play in new window | Download (Duration: 22:07 — 18.5MB) Subscribe or Follow Us: Apple Podcasts | Android | Spotify | RSS The post Out Takes Extra: Director Selina Miles on ‘Martha: A Picture Story’ appeared first on Out Takes.

Für PODCAST Nummer 8 haben wir uns mit drei Vertretern der 1UP CREW in Berlin unterhalten. Neben aktuellen Projekten wie dem Korallenriff, dem 1UP Schiff oder ONE WEEK WITH 1UP sprechen wir über Graffiti in Berlin, Yard Kommunismus, Martha Cooper und vieles mehr! Mehr Informationen und Fotos zu diesem PODCAST gibt´s wie immer auf http://ilovegraffiti.de

Street photographer Joshua Rosenthal found himself at the center of a rage-fueled campaign by visitors to the Ventura County Fair. Rosenthal's transgression? Photographing people – including some children – in public without explicit consent. Street photography has a long history of candidly capturing subjects, but in today's climate, does intent matter? In this episode of Vision Slightly Blurred, Sarah and Allen contemplate the work of photographers Daniel Arnold, Garry Winogrand, Diane Arbus, Mary Ellen Mark, Susan Meiselas, Philip Lorca Dicorcia, Vivan Maier, and Martha Cooper.

The Farewell director and screenwriter Lulu Wang on bringing her own family's true story to the screen, street art photography legend Martha Cooper talks about her life and work on the release of a new Australian documentary about her work and Survivor Australia's Jonathan LaPaglia takes us behind the scenes of the show.

The Farewell director and screenwriter Lulu Wang on bringing her own family's true story to the screen, street art photography legend Martha Cooper talks about her life and work on the release of a new Australian documentary about her work and Survivor Australia's Jonathan LaPaglia takes us behind the scenes of the show.

The Farewell director and screenwriter Lulu Wang on bringing her own family's true story to the screen, street art photography legend Martha Cooper talks about her life and work on the release of a new Australian documentary about her work and Survivor Australia's Jonathan LaPaglia takes us behind the scenes of the show.

This episode of the Radio Juxtapoz Podcast is a Special Edition, not only because it features a distinguished panel and guest moderator, but we felt that it stood as its own podcast discussion outside of our typical programming. This past week, May 14, 2019, live from the Vault by Vans boutique at 219 Bowery in NYC, Juxtapoz hosted a special collection of three generations of NYC street photographers: Martha Cooper, Janette Beckman and Miranda Barnes, guest moderated by author, critic and cultural savant, the one-and-only, Carlo McCormick. We called the panel "Cultural Lens." This was a wide-ranging panel: the photographers not only talked about the craft of street photography and photojournalism, but finding your voice and the narratives that you want to embed your careers in. From Martha Cooper's landmark Subway Art, to Janette Beckman's legendary hip-hop portraits to Miranda Barnes's latest works as a contributor to the NY Times, we get three distinct artists talking about the intricacies and magic of photography. In this podcast you will hear Juxtapoz editor, Evan Pricco, briefly introduce the panel, and is quickly followed by Carlo McCormick and the artists. Recorded live at Vault by Vans, May 14, 2019.

“I don't want to shoot something that's done with permission. It's an outlaw art.” – Martha Cooper The post Selina Miles, Martha Cooper – Martha: A Picture Story #Tribeca2019 appeared first on Fred Film Radio.

“I don't want to shoot something that's done with permission. It's an outlaw art.” – Martha Cooper The post Selina Miles, Martha Cooper – Martha: A Picture Story #Tribeca2019 appeared first on Fred Film Radio.

“I don't want to shoot something that's done with permission. It's an outlaw art.” – Martha Cooper The post Selina Miles, Martha Cooper – Martha: A Picture Story #Tribeca2019 appeared first on Fred Film Radio.

“I don't want to shoot something that's done with permission. It's an outlaw art.” – Martha Cooper The post Selina Miles, Martha Cooper – Martha: A Picture Story #Tribeca2019 appeared first on Fred Film Radio.

“I don't want to shoot something that's done with permission. It's an outlaw art.” – Martha Cooper The post Selina Miles, Martha Cooper – Martha: A Picture Story #Tribeca2019 appeared first on Fred Film Radio.

“I don't want to shoot something that's done with permission. It's an outlaw art.” – Martha Cooper The post Selina Miles, Martha Cooper – Martha: A Picture Story #Tribeca2019 appeared first on Fred Film Radio.

Are we excited for Radio Juxtapoz podcast, episode 10? You better believe it. We criss-crossed the globe to connect with acclaimed filmmaker, Sydney, Australia-based Selina Miles, on the eve of her first full-length documentary film directorial debut, "Martha: A Picture Story." We wanted to catch Miles before the world premiere of her film at the Tribeca Film Festival at the end of April, 2019. After recently screening the film for its subject, the legendary photographer, Martha Cooper, in NYC, we caught Miles back in her Sydney studio. For the past few years, Miles has been following and working on a film about the life and work of groundbreaking and influential graffiti and street art photographer, Martha Cooper. Martha's work, including the seminal Subway Art and four decades of photographing the evolution of one of the world's largest art movements, has also connected multiple generations to the powerful global art form. In many ways, Martha is the glue that holds these generations together, both a rite of passage for artists but an active and vital artist for the movement as well. Our hosts, Juxtapoz Editor-in-Chief Evan Pricco and FifthWallTV's Doug Gillen talk to Miles about the making of "Martha," the pressure on working on a legacy as it continues to grow, and on our highly praised work on the hyper-lapse film, Limitless and her 2016 , 6-part series, The Wanderers. This is an episode not to miss. Evan and Doug also discuss the myth of famous paintings, Phlegm's impressive show in Sheffield and Doug's continuing journey toward the North Pole.

In this episode of “Gold Minds” Claw Money and Martha Cooper, both discuss: Growing up in a photography household, Being in the Peace Corps, Traveling Asia, Starting out as a photographer, Photographing Graffiti, her upcoming Documentary ”Martha”, and the scene overall!What makes an art form legitimate? A lot of people will say money, but long before it can make money, there needs to be hubs under which people can gather, and acknowledge it. One of the people that documented the culture, and co-created one of these hubs, in the form of a book named “Subway Art”, is the living legend Martha Cooper.We hope you enjoy this interview as much as we did!You can follow Martha Cooper on Instagram - (@marthamoopergram)And follow Claudia Gold aka "Claw Money" - (@clawmoney) See acast.com/privacy for privacy and opt-out information.

Recorded right in midtown at a spot called Grind.NoMad, today's guest on the show is Martha Cooper. In this episode we talk about the Peace Corps, traveling across Asia, publishing books, capturing the Yakuza, anthropology, street play, photography, National Geographic, the New York Post and documenting graffiti culture as well as street art. Show Notes: https://www.newyorksaid.com/martha-cooper/

In questa puntata di DUMBO c'è la New York vista dagli street artist resi immortali da Martha Cooper, il re dei graffiti Dondi e tanta musica.Ai microfoni la voce di Alessandro Raise, in regia e ai testi Claudio Petronella.DUMBO va in onda tutti i giovedì alle 23 e la domenica alle 22.Su Radio Beckwith RBE > www.rbe.it

In questa puntata di DUMBO c'è la New York vista dagli street artist resi immortali da Martha Cooper, il re dei graffiti Dondi e tanta musica.Ai microfoni la voce di Alessandro Raise, in regia e ai testi Claudio Petronella.DUMBO va in onda tutti i giovedì alle 23 e la domenica alle 22.Su Radio Beckwith RBE > www.rbe.it

Cheryl Dunn is a documentary filmmaker and photographer who was born in New Jersey and graduated from Rutgers University with a BFA in Art History. After moving to NYC in the mid 80's, she spent a large part of her career documenting city streets; and the people who strive to leave their mark there from graffiti writers, artists, skaters, boxers, bikers, protesters, and assorted characters.  In the late 90's she began to focus on filmmaking, creating classic films about artists of her generation who have influenced the realities of urban life through their own work. Her films have played at numerous film festivals including, Tribeca, Edinburgh, Rotterdam, Hotdocs, Los Angeles, Havana, and on PBS. Her work has been exhibited in various galleries and museums including The Tate Modern in London, Deitch Projects in New York, and the “Art in the Streets "exhibition at the Geffen Contemporary MOCA. Cheryl was one of the subjects in the documentary, book, & traveling museum exhibition "Beautiful Losers". She has had two books of her photographs published; Bicycle Gangs of New York, and Some Kinda Vocation.  Her  feature documentary “Everybody Street, New york City“ is about photographers who have used New York City streets as a major subject in their work, world-premiered at HotDocs in Toronto in spring 2013. The film includes legends of the field including Bruce Davidson, Jill Freedman, Joel Meyerowitz, Bruce Gilden, Mary Ellen Mark, Jamel Shabazz, Ricky Powell, Martha Cooper, Elliot Erwitt, Rebecca Lepkoff, Boogie, Clayton Patterson, Jeff Mermelstein with Max Kozloff and Luc Santé.  http://everybodystreet.com/ http://www.cheryldunn.net/ http://en.wikipedia.org/wiki/James_Hamilton_(photographer) http://thecandidframe.com/ info@thecandidframe.com http://ibarionex.net/thecandidframe/2014/3/20/portraits-of-strangers-e-book