ITS HARD TO RESIST the Rip Van scud comparison. When Wayne Roberts showed up at a graffito- craft show in Greenpoint, Brooklyn, in 2000, after being AWOL for 20-odd years thanks to a heroin habit, he re-emerged to a city that was radically various from the one he dropped out of. According to his biographer, Chris Pape, Roberts brought a impudent sort of bravado and style to the graffiti world in the early 70s with his tag, STAY HIGH 149, and Smoker figure â" a copy of the logo from the British TV show The Saint, alter with a joint at its lips. One contemporary tagger disregard such flourishes as impractical fanciness, but it was embellishment that would behind make an craft form out of the easily legible, stylistically flat writing that started cropping up on subways and tenement walls in New Yorks bad old days. While Roberts was sullen in Nodsville, as he called it, he was acquiring fabled status in the graffiti world â" there was level an impostor, at one point â" and he awoke to the discovery that graffiti was a serious crime, a somewhat serious art form and that north Brooklyn had art galleries. What happened?
What happened, in part, was James Q. Wilson, the accessible scientist best known for co-authoring an article in The Atlantic in 1982 called Broken Windows.
In the article, Wilson and his co-author, George L. Kelling, argued that police departments can regain take of dangerous neighborhoods by concentrating on enforcing public order â" crack cocaine down on panhandlers, corner winos, streetwalkers and vandals. At the community level, disease and crime are usually inextricably linked, in a kind of developmental sequence, the authors wrote. Social psychologists and police officers tend to hold that if a window in a building is bemused and is left unrepaired, all the rest of the windows will soon be broken. New York was already fighting graffiti, but Wilsons theories change tagging into a signal crime, forever tethering a visual art to the...If you want to get a full essay, order it on our website: Orderessay
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