The Stupidity Of New York’s Long, Expensive (And Ongoing) ‘War On Graffiti’

author Adam Mansbach

Thirty years ago—at the height of New York City’s “War on Graffiti,” and in an act of faith utterly incommensurate with the city’s public demonization of graffiti writers—a group of teenagers named SHY 147, DAZE, MIN and DURO met with MTA official Richard Ravitch, and proposed a deal. Give the writers of New York City one train line to adorn with their vibrant aerosol murals, and they would leave the rest alone. Let them paint for six months, then let the public vote on the merits of their contribution.

Ravitch suggested that if the writers wanted to contribute, he would give them all brooms, and hostilities resumed. The subway’s exteriors have been art-free since 1989, but the war has never really ended. New York City remains rigidly opposed to the very aesthetic of graffiti—even if the art in question is perfectly legal.

http://www.youtube.com/watch?v=6RlR1Tn2vnM

Today, advertisers have learned to faithfully, if flavorlessly, appropriate graffiti’s ethos of logo repetition, as anyone who has ridden the train lately can confirm. In the city that incubated the most important popular art movement of the 20th century, the message is clear: public space can be yours, if you pay for it.

Unless what you put there reminds them of graffiti, that is. I learned this last week, when I tried to buy space to advertise my new novel. The silver walls where “burners” used to blaze are now for rent; anyone willing to pay fifty thousand dollars to a company called CBS Outdoor can buy advertising “stripes” for a month. For considerably more, one can “wrap” an entire train in product messaging.

“The issue,” CBS Outdoor wrote in an email, explaining why my proposal had been rejected, “is the style of writing. The MTA wants nothing that looks like graffiti.”

Admittedly, my book title is rendered in colorful, flowing letters, by the Brooklyn artist Blake Lethem. Admittedly, this would not have been the first time Mr. Lethem’s work had graced a train. But what exactly is the rubric by which the MTA judges a letter’s graffiti-ness? At what stylistic tipping point does a word becomes impermissible to the same entity that has approved liquor adverts depicting naked women in dog collars, and bus placards featuring rhetoric widely condemned as hate speech against Palestinians? And if the NYPD defines graffiti as “etching, painting, covering or otherwise placing a mark upon public or private property, with the intent to damage,” isn’t a graffiti-style letter kind of like a robbery-style purchase?

All this might seem trivial, except that the War on Graffiti’s tactics presaged a generation’s experience of law enforcement and personal freedom. Mayor John Lindsay first declared war in 1972, and over the next 17 years, the city would spend three hundred million dollars attempting to run graffiti-free trains—this, during a period when the subway barely functioned and the city teetered on the brink of insolvency. Clearly, there was more at stake than aesthetics.

Those stakes become clearer when one examines law enforcement’s public profiling of graffiti writers. They were described as “black, brown, or other, in that order,” and vilified as sociopaths, drug addicts, and monsters. This was a fight over public space, and we would do well to remember that at the time the fight began, teenagers were also being arrested for breakdancing in subway stations, and throwing un-permited parties in the asphalt schoolyards of the Bronx. Taken collectively, these three activities also represent the birth of hip-hop, the single most influential sub-culture created in this or any country in the last half-century.

As historian Jeff Chang writes, the early 70s saw the politics of abandonment give way to the politics of containment in communities of color. The War on Graffiti is a prime example, and it midwifed today’s era of epic incarceration, quality of life offenses, zero tolerance policies, prejudicial gang databases, and three-strike laws. The War on Graffiti turned misdemeanors into felonies, community service into jail time. It put German Shepherds to work patrolling the train yards; Mayor Koch once suggested an upgrade to wolves. Today, the city prosecutes hundreds of graffiti cases each year, and maintains a dedicated Citywide Vandals Task Force. Nationally, writers have been sentenced to prison terms as long as eight years, and ordered to pay six-figure restitutions. In other words, the war rages on.

One cannot help but wonder what might have happened if New York City had agreed to the naïve, visionary truce those four teenagers offered, 30 years ago now. With a handful of scholarships and a press release, might the “graffiti plague” have been alchemized into a landmark public art program, to be adapted by other cities with the same zeal that zero tolerance has been? Could thousands of lives have been altered, hundreds of millions of dollars better spent?

We’ll never know, because the city didn’t listen to its young people then. It didn’t recognize graffiti as an outpouring of creativity and frustration, a simultaneous urge to beautify and destroy, to hide and be seen, that’s every bit as complicated as being shunted to the margins of the American dream. Kids are still writing graffiti today, beautifully and badly, in every city in the world; New Yorkers taught them how to do it, but they’ve always understood why. It’s not too late to listen to them now.

Adam Mansbach is the author of the #1 New York Times bestseller Go the F**k to Sleep and the novel Rage Is Back, available now from Viking.

source: http://www.theawl.com/2013/01/new-york-war-on-graffiti#more-153689

A Few Thoughts on Nas Defending Gwyneth-Who He Calls a Real N–

My good friend and author Adam Mansbach often lectures about white privilege and the types of transgressions he sees white kids making within Hip Hop. He recounts the days, not so long ago when he was coming up and what it was like being part of the majority culture but being a distinct minority within Hip Hop. This positioning forced him to deal with certain types of realities he would in most cases have overlooked, including the ways he engaged a culture he was drawn to, but knew wasn’t tied to his immediate roots.

There was a certain type of respect one had and lines one didn’t cross, even as a participant, (Mansbach was an emcee before a writer). Mansbach points out today there are many white kids who have grown overly comfortable, to the point that they show up in your living room and put their dirty feet upon the coffee table with no concern as to how that looks, who it offends and what folks have to do to clean the table that they just soiled.

Gwyneth Paltrow

Seeing how this saga with actress Gwyneth Paltrow is playing  out, definitely makes me think of Mansbach words. Here’s an actress who obviously loves Hip Hop. From what we gathered she’s fond of hanging out with some of Hip Hop’s biggest stars, Jay-Z, Kanye, The Dream and Nas to name a few and with that has come that comfortably Mansbach noted of putting one’s dirty feet upon on the living room table..

This is not so much about Paltrow tweeting the title of a song ‘Niggas In Paris‘ and pointing out her friends Jay-Z and Kanye were those ‘Niggas for Real‘, it’s about her being dismissive to the concerns people had of her using the word.. This was  eloquently pointed out by Q-Tip in his response to all this in a series of tweets…

Adding insult to injury are all the passes Hip Hop’s elite have been giving her.. Initially we had The Dream rushing to her defense, saying he was the one who tweeted the offensive words via Paltrow’s account.. After he caught a lot of flack, he recanted his story..Now we have Nas of all people riding hard for Paltrow saying he’ll ‘slap the shyt out of anyone on her behalf.’.

In his defense of Paltrow Nas also adds:  “She’s the homie, she’s cool. Gwyneth gets a pass. Real people get a pass..” He goes on to refer to Paltrow as a ‘real nigga‘..

When I first heard this I thought to myself is this the same Nas who did the song Coon Picnic (These are Our Heroes) where he goes in on Kobe Bryant, Cuba Gooding Jr and Taye Diggs accusing them of ‘cooning’..

Nas accused Tiger Woods of cooning for defending a racist white women reporter

When asked about that song and why he went after Tiger Woods, Nas explained that Tiger was ‘flawed‘ for not checking a white female sportscaster named Kelly Tilghman who made a lynching joke.. Basically Nas was upset Tiger gave this woman a pass so to speak.. You can peep that interview HERE

Its ironic knowing that Nas has seriously gone after Black folks for allowing racially insensitive remarks and behavior to go unchecked and here he is going above-board to defend Paltrow. Was he doing that because that’s really the homie or did she ask him to step up on her behalf?  I only ask because there are lots of folks who are friends of Nas who get dissed for a variety of reasons and you don’t see such an impassioned defense coming from him.. Why Paltrow?  It certainly appears to be a case of the pot calling the kettle black…I like Nas.. I like his a lot. I think the recent projects he’s undertaken have been incredible, but this stuff here with him defending Paltrow is pure ignorance..

In any case it’ll be interesting to see if Paltrow steps to folks defense when and if they start catching heat for crossing any of the various fault lines in Hollywood. ..Will Paltrow who is part Jewish offer passes for any of her rap friends if they say something that is perceived as anti-Semitic?  Will she ride hard for folks the way they did for her if they say something that is offensive to women?

As far as giving out passes, I gotta wonder if Nas is green-lighting Paltrow to use the N word who else is giving out passes? Are Black cops saying its ok for their white counterparts to use the word? Y’all may recall just minutes before an unarmed Oscar Grant was killed by a police officer here in Oakland, he was called a bitch ass nigga by that officer’s partner..

Are there Black Tea Party members green-lighting the N word for their white members? We’ve seen all the racially charged signs and heard the racially insensitive rhetoric…Did these people get passes?  That’s just a thought for us to consider..

Is Ms Paltrow real enough to help out someone like Marissa Alexander and the injustice she’s recieving?

As I noted earlier, Nas said Paltrow is a ‘real nigga‘ .. Not sure what that means,  but I assume it’s someone who endures the day-to-day struggles and challenges heaped on folks because of their darker hue. Some of those challenges may including racial profiling resulting in police practices like Stop-N-Frisk, to mass incarceration as a result of disparaging sentencing guidelines that have disproportionately targeted African Americans..We all know the case of Marissa Alexander a Black woman given the outrageous sentence of 20 years for defending herself against an abusive husband..

This year we as Black folks have been challenged with a rash of outright racially motivated vigilante killings such as what took place in Sanford, Florida with Trayvon Martin or in Tulsa, Oklahoma  where white men hunting down Blacks in a killing spree. It was just last week in Milwaukee, Wisconsin we had an 75 year old racist white man gun down an innocent 13 year old named Darius Simmons in front of his mother…How is Ms Paltrow being a ‘real nigga‘ in these struggles?

Is Paltrow a real nigga in the sense that’s she’s down in the trenches fighting the good fight to end these incidents and practices or is she in the hood making a change which is what Nas demanded that real niggas do in his Coon Picnic song?  So called Real Niggas I know are under the gun full time 24/7. One out of 4 so called real niggas is living below the poverty line. Is Ms Paltrow rolling with the community to help address that?  Only time will tell if Paltrow is part-time with this thing..  You can listen to Nas’ full remarks on thisthing by clicking the link below..

A Conversation w/ Pharaohe Monch

Even in the thick of the bountiful early ’90s scene, the Queens-bred duo known as Organized Konfusion stood out. On their self-titled debut and their revered follow-up, 1994’s Stress: The Extinction Agenda, Pharoahe Monch and his partner, Prince Poetry, defined the lyrical vanguard with ear-bending enjambment, melodic cadences, stutter-stepping flows, and furious, multisyllabic rhyme flurries. Perhaps more than any of their contemporaries’, OK’s records conveyed an exhilarating sense of possibility: like the avatars of free jazz, they had the chops and the courage to take a song anywhere, at any time.

Conceptually, the group was just as adventurous, rhyming from the perspectives of stray bullets and “hypnotical” gases. The way they cloaked battle rhymes and social commentary in clouds of energetic abstraction marked them as heirs to legendary Bronx super-weirdos the Ultramagnetic MC’s—as well as forefathers to scores of unlistenable rappers who never mastered the proper ratio of organization to confusion.

Critical acclaim and $4.25 will buy you an iced mocha latte, so after a third album, 1997’s The Equinox, Monch decided to go it alone. The year 1999 saw the much-anticipated release of Internal Affairs on the tastemaking Rawkus Records. Like the disc with which it shared advertising space, Mos Def’s Black on Both Sides,Internal Affairs showcased the versatility of a newly solo artist with ambitions and influences that both transcended and embodied hip-hop. Monch crooned, sparred with a who’s-who of guest MCs, and spewed high-concept rhymefests in the OK vein.

But it was “Simon Says,” Monch’s attempt to simplify his flow for maximum commercial impact, that gave the MC’s MC a bona fide crossover hit. Over an ominous sample jacked from a Godzilla movie, it commanded dancers to “get the fuck up,” and they obeyed in droves. Club DJs loved the song; radio embraced it.Charlie’s Angels and Boiler Room picked it up for their sound tracks. Then the Tokyo-smashing monster (or his human representatives) sued for the uncleared sample, and Rawkus was forced to pull the album from stores.

It would be nearly eight years before Monch released his next long-player, Desire,in June 2007—two or three eternities in the notoriously fast-moving world of hip-hop. Few artists could have marshaled a fan base after such lag-time, but hip-hoppers of a certain era are proving to be quite elephantine in the memory department (see: the resurrected career of MF Doom), and Desire found an audience.

It didn’t hurt that the album showcased Monch at the height of his powers: pushing boundaries with conspiracy theories, multipart narratives, and Tom Jones impressions; challenging listeners to digest his wordplay at the rate he served it up (“still get it poppin’ without Artist and Repertoire / ’cause Monch is a monarch, only minus the A & R”); structuring entire verses around the names of financial institutions and wireless devices. Desire manages to be simultaneously indignant and inspiring, defiant and joyful, hilarious and paranoid. Listening to it now, it is striking to realize how palpably the record feels like a document of the late Bush years.

Monch and I spoke several times by telephone shortly after his return to New York from a European tour. He was preparing for an Organized Konfusion reunion show, the first in ten years, and also laying verses for a new album, W.A.R. (We Are Renegades), scheduled for release in February. In each case, we talked until his cell phone ran out of juice.

—Adam Mansbach

Check out http://www.believermag.com/issues/201101/?read=interview_monch where this article original appears

I. THIS IS LADIES NIGHT!

THE BELIEVER: It seems to me that hip-hop today is like jazz was in the early ’70s. For the first time, the major innovators are not new artists, but fifteen- or twenty-year veterans—guys like you, MF Doom, Ghostface, Nas, Jay-Z. Even Lil Wayne has been in it for almost that long.

PHAROAHE MONCH: I think there’s a couple of reasons. Having the savvy to know what you want to say, how you want to say it, and what music you want to say it over comes with time spent and wisdom gained in a music career. Back in the days, a prodigy usually was cultivated by the veterans around him—take Nas, who was surrounded by Q-Tip, Pete Rock, Large Professor, Premier, and L.E.S., all listening to the tone of his voice and the way he rhymes melodically and saying, “He’s gonna sound better over this.” If Nas had tried to produce his first album himself and hand out demos to people… whatever, I don’t need to elaborate. I remember talking to Nas after [his debut verse on Main Source’s] “Live at the Barbeque,” and he was unsure what he wanted to do. It took time for him to cultivate his mental state and decide, This is what type of artist I want to be.

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