Dope-Ass Graffiti

Like most New Yorkers, I take the subway to work every morning. One sees the whole panoply of age, race, religion, and class all democratized by the need to commute. Most of these people look haggard and harried, unexcited by the prospect of spending long hours at work (the cliched "grind"). The most notable exception, however, are the tourists. Without fail, usually once a week or so, a group of them will board the #1 train (my train) in midtown around 8 AM. (Oh, and they're usually headed to South Ferry, presumably to see Ground Zero).

It's easy to tell that they're tourists since they're usually blond or otherwise fair, and usually very wholesome and middle-American looking. Mostly these are school trips are usually teenagers accompanied by panicked teachers. And man, these kids are PSYCHED to be on the subway! It's so WICKED to be in New York! A couple of weeks ago I overheard a girl in one of these groups say to someone, "It's so cool you get to spend your birthday in New York."

Yesterday, another slice of the heartland got on the subway. It was a small group. Two of them were very chatty girls, one of whom immediately began to coo over a small boy in our subway car whose shoes were lighting up. (She even took her picture with him.) Another girl asked me what happened to the train after it got to South Ferry, the end of the line. (I told her it just turns around and snakes back uptown.) Shortly thereafter this same gal began talking to the flashing-shoe lover and indicated that, now that they were in New York, she really wanted to see "some dope-ass graffiti." Not just any ol' graffiti, graffiti of the "dope-ass" variety.

And it made me wonder: is graffiti, "dope-ass" or otherwise, something maybe we here take for granted? After all, it's something most New Yorker find offensive and barely tolerate. And yet ... would we miss if it ever went away? Is graffiti, at the end of the day, the only truly urban art form, the city speaking back to itself? That, dear city-dwellers, is one to ponder on.

Dope-Ass Graffiti Part II

In one of my very first posts, I told of overhearing a young tourist on the subway indicating that she wanted to see some "dope-ass" graffiti, and I reflected on the social and symbolic importance of this particular art form. Well, the dopest of the dope-ass graffiti that I have found can be viewed on the #7 subway line between Queensboro Plaza and Vernon-Jackson. From this above-ground train, you'll see building upon building with some of the most colorful, artistic graffiti in town. In some cases, you'll marvel at the literal heights some of these "artistes" must have had to scale in order to create their work. It's really a sight to see, and unlike our $20 per visit museums, all it costs is a subway fare.

Dope-Ass Graffiti Revisited

The second post I ever did on this blog -- way back in March of 2007 -- was about how I heard a young tourist on the subway talk about her desire to see "dope-ass graffiti." (I hope, for her sake, she did.) And I concluded this post by asking: 

"Is graffiti, "dope-ass" or otherwise, something maybe we here [in NYC] take for granted? After all, it's something most New Yorkers find offensive and barely tolerate. And yet ... would we miss it if it ever went away? Is graffiti, at the end of the day, the only truly urban art form, the city speaking back to itself? That, dear city-dwellers, is one to ponder on." 

In another post, in July of 2007, I also said that the best graffiti you could see in the city was on several buildings in Queens, easily visible from the 7 train.

In 2007, my words about graffiti were merely speculative muses and observations.

In 2019, my words about graffiti are business. 

Today, in NYC and other cities, graffiti and street art of all kinds is actually welcomed. It makes neighborhoods more interesting, more tempting to the wealthy people who want to buy property in them. Some developers are actually creating dedicated walls and spaces for graffiti. The graffiti artist Banksy is one of the most famous artists in the whole world and his work sells for millions.

Long gone are the days when graffiti was a scourge of urban decay -- today, it's a symbol of  the urban Renaissance (although 5Pointz, the area I mentioned in 2007, is long gone).

My how times have changed.

ODB and Me

New York City has produced any number of colorful characters over the years, and few were as colorful as Ol' Dirty Bastard -- the legendary Brooklyn-born rapper and co-founder of the Wu-Tang Clan who died in 2004. 

To think, our city and the American culture has been without this great creative mind and philosopher for almost a decade. It's a low down dirty shame.

Oh yes, he was a musical genius. The Wu Tang Clan was probably the most influential East Coast rap group of the last 20 years and Mr Dirty Bastard was one its pioneers.

But what really made ODB stand out was how chronically outrageous he was. 

In a day and age when hommies be frontin', all trying to be da' Mack, ODD kept it Real. He was one dope-ass brutha'. Who can forget when ODB interrupted a Grammy-winner's speech to declare that "Wu-Tang is for the children?" Or that he fathered 13 children? Or that he declared that his big plan for the year 1998 was to find some ladies to "put some babies in"? (He was apparently very fertile).

Or the time he went to go pick up his welfare check -- in a limo? 

But more than that, ODB was a deep thinker, a great mind. This was reflected in the lyrics to his music. For example, these choice gems of wisdom:

"Bitch ass niggaz counterfeit the funk
I smoke the bead and the skunk, treetop of the trunk"

"I don't have no trouble with you fuckin' me/ But I got a little problem with you not fuckin' me"

"Oh baby, this is dedicated to all the pretty girls. All the pretty girls in the world, and the ugly girls too cause to me you're pretty anyway."

 

Wasn't he sweet?

Anyway, we will never see his likes again. Mr NYC mourns in his continuing absence. And like any good hommie, I tip a 40 to the memory.