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00:00:00Untertitelung des ZDF, 2020
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00:09:00It is our hope to have between 500...
00:09:08I had a Rollaflex
00:09:10and I used to mail back the film to my father.
00:09:18She wrote me and said she wanted to get a motorcycle
00:09:23and she wanted to travel
00:09:25from Thailand to England.
00:09:28The Vietnam War was going on, many of the guys had to go home and register right away,
00:09:35but as a girl, you know, there wasn't any expectation.
00:09:46Fifty-six years worth of travel.
00:09:49Whoa.
00:09:51Now there's a passport.
00:09:53I remember reading in the newspaper about a National Geographic internship.
00:09:59National Geographic, a photographer's dream job.
00:10:03The image is just as romantic today as it ever was.
00:10:07And I immediately thought, wow, I want that.
00:10:11I used my pictures from the Peace Corps and I got accepted and spent the summer as an intern at National Geographic.
00:10:19They had never had a girl, a woman, a girl, whatever.
00:10:23So that was a real foot in the door.
00:10:26We went in different directions as we got older, because I did have a child.
00:10:30She got married.
00:10:32Maybe if we had put it together, we would have had a marriage with a child, but we didn't.
00:10:38We each did half of what one's supposed to do in a lifetime.
00:10:43My husband was an anthropologist. He did his field work in Japan.
00:10:48My ultimate goal was to work for National Geographic.
00:10:55I saw a guy completely tattooed.
00:11:01I had never seen this kind of tattooing.
00:11:05To me, it seemed like this would make an excellent story for an American magazine.
00:11:11I was writing proposals like crazy.
00:11:26I thought this would be my foot in the door.
00:11:30And they didn't use the story.
00:11:37Sometimes you think you have a great idea, and it just doesn't fly.
00:11:42He came back. He got a job at the University of Rhode Island.
00:11:47I had heard that the route to being a National Geographic photographer was to work for a newspaper.
00:11:54I managed to work for the Narragansett Times and the Standard Times.
00:11:59These were weekly newspapers in Rhode Island.
00:12:02I was making a big effort to be what I called a real photographer.
00:12:08And a real photographer to me meant self-supporting.
00:12:12Gloria Steinem started Ms. Magazine.
00:12:15I read an article written by a woman who followed her academic husband around.
00:12:20And I recognized myself, and I realized that I didn't really want to be in Rhode Island.
00:12:24I wanted to be in New York City, where all the publishing was.
00:12:27I'm like, this is too small town for me.
00:12:30The Narragansett Times, I wanted the New York Times.
00:12:33I want to be in New York.
00:12:35I tried the Times, I tried the Daily News, AP and UPI.
00:12:46She came in, you know, like a light.
00:12:49Tiny, tiny.
00:12:52I think she had coveralls on.
00:12:55And scurrying.
00:12:56You know, she loves scurrying.
00:12:58And she sat down.
00:12:59I just thought, oh my God, if this woman can shoot, you know, wouldn't I love to work with her.
00:13:04Oh my God, did we ever look like that.
00:13:10We did.
00:13:13That's amazing.
00:13:17They needed to beef up their female staff, and I came along at a good time.
00:13:21I was the first female staff photographer at the New York Post.
00:13:28The newsroom was amazing.
00:13:30Chunky, dirty, celebrity, crime, all that tawdry stuff.
00:13:36You showed up, you took pictures, and you're on to the next assignment.
00:13:43You needed to get that shot.
00:13:45The perp walk.
00:13:46Yeah, I know.
00:13:47They're all going like this.
00:13:48The studio 54, the whole thing was that you're supposed to go there and find a celebrity,
00:13:52night after night after night.
00:13:54Oh, Bill Cunningham.
00:13:55Excellent facial recognition.
00:13:57Turns out that it's like a genetic thing.
00:14:00That you don't have.
00:14:01Yes, that I don't have.
00:14:02There were runners practicing for the next Olympics.
00:14:05My assignment was to look for cleavage.
00:14:08That's all they wanted.
00:14:10So, you know, these women were running around the track.
00:14:20Oh, God.
00:14:21Oh, God.
00:14:22Yeah.
00:14:23And all I'm looking for is what, which one?
00:14:27Which one's tits were hanging out?
00:14:29Yes, you don't remember that?
00:14:30Oh, they had no, I mean, no ethics.
00:14:33Oh.
00:14:34No ethics.
00:14:35We didn't know where we were really or what we were doing.
00:14:38We just knew we had a job to do.
00:14:40And I think both of us tried to do that job the best we could.
00:14:47Susan always wanted feature photos.
00:14:50She called them weather shots, just filler pictures.
00:14:58That would be a slow news day.
00:14:59No accidents, no fires, nobody's dead.
00:15:01Nothing you could scare up.
00:15:03It's like a blank canvas.
00:15:05But she was very good at it because she loved people so much.
00:15:10I just sort of fell in love with New York.
00:15:13There was always something to photograph.
00:15:19We were sent on assignments in all five boroughs.
00:15:22So I was free to be anywhere.
00:15:24We set up a camera on a roof opposite a wounded car on a New York City street.
00:15:33And watch what happened over a period of 14 hours.
00:15:44The 70s were a very tough time in New York.
00:15:47As neighbors casually look on, a group of kids try to break into a telephone company truck.
00:15:52The Bronx, especially, was literally burning.
00:16:00Highest crime, greatest unemployment, and the world's record for arson.
00:16:04Gerald Ford would not give money to prevent the city from going bankrupt.
00:16:07Landlords decided that it was cheaper to set their buildings on fire than to try to collect the low rent.
00:16:15We see the disregard towards the urban centers of this country as a national disgrace.
00:16:20Don't even let your dog live here.
00:16:23That's the city into which Marty Cooper walked with her camera.
00:16:35I used to drive through Alphabet City, avenues A, B, C, and D, just looking for future photos.
00:16:43New York had a reputation of being dangerous and bombed out.
00:16:47But it was actually a great place to explore.
00:16:50When it was a off- säger or something.
00:16:51It really was for a negative way, thanks for joining us.
00:16:53Life was on the front of our побед ocorrent in his space.
00:16:55It really is valuable to hear that so much was crawl the tourists and unlocking them.
00:16:56People who may not be nä propriety would go ahead with pushing off of his house by stopping for the work.
00:17:15It was very fast when he needed you to clean it.
00:17:16Was so lively, everything moving.
00:17:21Like that picture of that little kid who was bent over the, you know, just that body language, that little tiny body.
00:17:29She loved that instance of childhood.
00:17:34Kids were very creative.
00:17:39Trying to build something for themselves out of the nothing that they found themselves surrounded by.
00:17:46It was that poverty that gave this city a soul and a character.
00:17:54Even now in my head, in my skin, I can think about those pictures and I know how powerful they are.
00:18:01And how they are my story and the story of many young people.
00:18:06And of this city.
00:18:08Of what this city endured.
00:18:10I saw this boy with an airplane that he had made.
00:18:18And it was in pieces and connected by a single nail.
00:18:22And he was throwing it on the ground.
00:18:24The airplane would fall apart and he'd pick it up and put it back together with his nail.
00:18:27And I'm like, yeah, that's it.
00:18:29I mean, they could do all kinds of creative things with minimal materials.
00:18:33And that's really what interested me most.
00:18:35That they didn't need complicated playgrounds or expensive toys to enjoy themselves.
00:18:40Kids were playing hopscotch.
00:18:42Play stickball, stoopball, ringolario, hot peas and butter.
00:18:46All these games that we used to play.
00:18:47Skillsies.
00:18:48Making go-karts.
00:18:52Painting their tags on the wall.
00:18:55The artifact of the toy caught my eye as much as what the kids were doing with it.
00:19:01This was my brother's camera.
00:19:04My brother, when he was like three or something.
00:19:06And he was very clever with it.
00:19:09And it has a slate that you could draw.
00:19:15And he actually used it so he would pretend to take a picture.
00:19:21And maybe he would pre-draw something on the slate.
00:19:24And then he would pull out the slate and it would have a little drawing on it.
00:19:28And this is the eraser for the slate.
00:19:31Super creative.
00:19:32That moment in time gave birth to a tremendous number of things which Marty Cooper's camera and her genius captured.
00:19:43It's not something you could do in a week or a month.
00:19:48But you could do it in a year.
00:19:50If you have your camera every day.
00:19:52And the kids got to know me.
00:19:56Pigeons.
00:19:56You know, like, who thinks about pigeons in New York?
00:19:59Nobody.
00:19:59But poop did.
00:20:02You know, climb, climb, climb, climb way up and go on the roof.
00:20:05And learn about how it was done and who kept pigeons and why.
00:20:11You know, she would get to the heart of something.
00:20:18One of those boys showed me his little notebook with graffiti drawings and explained that he was practicing to paint his name on a wall.
00:20:25And that was the first time that I understood what graffiti was.
00:20:36And when I expressed interest, he said, well, I can introduce you to a king.
00:20:40And we drove up there, you know, went down into this basement.
00:20:58And then these kids.
00:21:02I didn't know what those kids were.
00:21:05The talent that they had.
00:21:06The king turned out to be Dondi, who was considered to be one of the greatest of all the graffiti kings.
00:21:15He recognized my name from a photo of a wall that he had painted his tag on.
00:21:30He was, I can tell you, very articulate.
00:21:33He described these big pieces to me.
00:21:35Amazing, beautiful artwork, tiny drawings of these trains.
00:21:43Oh, they're beautiful, these books.
00:21:47I was just astounded.
00:21:49First of all, I didn't know that they even drew before they went to the yards.
00:21:55And then the thought of her going into the yards at night with those guys.
00:21:58I spent about eight hours one night watching him do a piece.
00:22:14On top to bottom, whole car.
00:22:16So I started going up to the Bronx looking for locations where I could see the trains.
00:22:38I'd never seen any of these.
00:22:44I'd never noticed any of these.
00:22:46I had never really looked at the trains.
00:22:48I got obsessed with graffiti.
00:23:01I hadn't understood at first that kids were writing their names.
00:23:16It wasn't like political graffiti that was anti-something or pro-something.
00:23:20It was just a name.
00:23:21Then I began to recognize names.
00:23:24Dancer, days, or does.
00:23:26And it becomes kind of a game.
00:23:28And I got into the game.
00:23:32Once I got a good picture of an interesting train, then I didn't want the same background.
00:23:37Did I wonder why I was doing it?
00:23:43No.
00:23:43I did not wonder why I was doing it.
00:23:45I was just like, where's the next train?
00:23:48Picture New York subways.
00:23:50And most people see grime and graffiti.
00:23:52Letters and symbols and colors.
00:23:54Covering the walls.
00:23:56And assaulting the senses.
00:23:57Well, we called it writing.
00:23:59And we didn't really call it graffiti.
00:24:01That was a term that was really used by, like, the mainstream media to describe, quote, unquote, vandalism.
00:24:07We started writing our names and our street number.
00:24:11It was kind of like this fraternal order where we communicated through, like, signs.
00:24:17It wasn't just about writing a name, but it was like, who was writing the name the best style and how can we learn from them?
00:24:24Where are they?
00:24:26Then they started tagging from the parks into the subway stations, onto the trains.
00:24:31Many of us were also running away from problems at home.
00:24:37Extracurricular activities was being budgeted out.
00:24:47And hell, they didn't give me nowhere else to paint, so I got to make a place.
00:24:51And I had to dodge a lot of gangs.
00:24:54And I decided, like, nah, I'm not rolling with these cats.
00:24:56So for me, it was more fun to run around with the rats and the tunnels and undo each other with color and style.
00:25:05I started writing around 74, 75, started tagging.
00:25:13It started when I was 15.
00:25:15And I say that because there's people that was writing when they was 12.
00:25:18It's 10 years old.
00:25:19We had a subculture.
00:25:22We had a way of communicating through these train lines.
00:25:32So here we are at Esplanade.
00:25:35Wow.
00:25:35Okay.
00:25:36Well, how did we get in?
00:25:37We're going to have to, I guess, pay our fare unless you want to jump the turnstile for old time's sake.
00:25:42You know, you could have seen, like, a blade hole car there back in the day.
00:25:47So we just jumped down and walked in?
00:25:49Yeah.
00:25:50That's what we did.
00:25:51I mean, like.
00:25:52Okay.
00:25:53Let's see.
00:25:55I mean, I'm game for whatever.
00:25:56So if you film down there and you see, like, in between the tracks, these bridges, as we call them,
00:26:05and you have, like, a much higher vantage point to paint the train on the top half.
00:26:11This was a beautiful spot.
00:26:13You could really wreck, like, you know, with both sides, like, a couple of hundred train sides in one night.
00:26:26Cool.
00:26:28But we didn't know anybody outside who was taking photographs until we met Henry and Marty.
00:26:35Henry Chalfon's telephone answering machine messages are far from the expected.
00:26:41I had heard about him from other graffiti writers, and I wanted to meet this person who was also photographing trains.
00:26:51The graffiti writer leaves Henry clues about a fresh masterpiece, spray-painted across a subway car.
00:26:57Henry goes after the shot.
00:26:58There was definitely a competitive aspect to it.
00:27:01She was not calling me up every day and saying, Henry, there's something I think you need to get, because she was wanting it for herself.
00:27:09And I was the same way.
00:27:10The way I did it was a series turns out very good for looking at the art.
00:27:19He was very interested in the art, and I was more interested in the culture.
00:27:24When Marty and Henry started documenting us, we got to look at ourselves very differently as subjects of interest.
00:27:35For us, it was like, wow, we're surprised that this white lady and this white dude are interested.
00:27:39We kind of let them in because they were truly interested in our lives.
00:27:43We got to be clear now.
00:27:44People had cameras.
00:27:45But when we found out that there were other people taking good, high-quality shots, you know, it was nice to know.
00:28:02Where do you ride mostly?
00:28:04Mostly.
00:28:05The layups.
00:28:06We're going to keep the trains on the weekend.
00:28:09And how do you get in to do that?
00:28:11With a key.
00:28:13Sometimes the doors are open.
00:28:15We just go inside, a whole bunch of us, all the writers.
00:28:19We just, you know, start mocking up all over, inside, outside, every place.
00:28:24They were there for some serious moments, you know?
00:28:27Like that one shot with Dondi.
00:28:29Oh, my God.
00:28:31I still cry when I think about that.
00:28:33That's the most beautiful shot of a boy in his fucking yard, you know?
00:28:36This was going to be my ticket to good assignments with magazines.
00:28:54September 28, 1980.
00:28:57Sunday.
00:28:58I have just been put through the ringer by the New York Times Magazine in an on-again, off-again series of promises to publish my graffiti photos.
00:29:08This had me as high as a kite, imagining my first major color spread, something I desperately need for a portfolio, and then down in the depths and in tears when I realized I couldn't let them turn gorgeous color necessary to the story into undistinguished black and white.
00:29:26It's just ridiculous.
00:29:30You know, most people thought that graffiti was pure vandalism and not worth my time, but I believed in it.
00:29:38Young people that were so into their art that they would risk their lives to do it.
00:29:46I decided to leave the post because I wanted to pursue graffiti.
00:29:51She's like, I got to.
00:29:52I got to do that.
00:29:54I don't care what you think.
00:29:55I got to do it.
00:29:56There's the famous Dondi picture.
00:30:02Henry and I both wanted to have a book published.
00:30:04We decided to combine forces and do it together.
00:30:08We worked all spring and summer on that book.
00:30:12And one after another, we went to these publishers and no, no, no, no, no.
00:30:17In New York?
00:30:18Forget about it.
00:30:19We tried.
00:30:20Quote, don't even want to discuss.
00:30:22Get caught splashing your technicolor trash in our subways and I'll send you to Rikers Island until your spray cans dry up.
00:30:33Total waste of time, energy and money.
00:30:35All you're doing is encouraging this.
00:30:38Because the trains are so visible, it was an easy to latch on to symbol of urban blight.
00:30:44The acid solution is sprayed on subway cars in this exotic urban car wash.
00:30:48Razor-line barricades of steel have sprung up around the train yards.
00:30:53I hate graffiti.
00:30:54Newspapers and the mayor believed that by crushing graffiti, they were doing something to lessen crime.
00:31:02Third time, a couple of days in jail.
00:31:04There wasn't really a ready audience for the book, at least not in the United States.
00:31:11We took it to Germany to the Frankfurt Book Fair.
00:31:14In Europe, I guess people weren't as tired of graffiti.
00:31:18The first booth we got to, they immediately said, yes, they liked it.
00:31:24The rest is history.
00:31:243,000 copies.
00:31:32I think we felt that was small, but that was okay because we had a book.
00:31:37It was a long, hard road to get that book published.
00:31:40And I was very happy to have something in my hands that I could show people.
00:31:45Now we're going to have some major stories in magazines with these pictures.
00:31:50I had gotten the museum shop interested in doing Christmas cards.
00:31:57Chairman of the board of directors said, people like that need to be lined up at dawn and shot.
00:32:05That was the end of that idea.
00:32:09Just they hated graffiti so much they just couldn't see through to the fact that it might be worthy of study.
00:32:17They spent the day scrubbing a D-train.
00:32:19Kids stole it.
00:32:19And because of that, bookstores locked it up or put it in a glass case or didn't want to carry it because it just kept disappearing.
00:32:26But people weren't buying it.
00:32:28Subway are tanked.
00:32:29Did not do well at all.
00:32:34Then I'm like, I got to move on.
00:32:36That was really responsible for my figuring, I cannot do this anymore.
00:32:40You're going to think twice before you do it again?
00:32:42Sure enough, I'm going to think twice before I do it again.
00:32:45That was it.
00:32:45I'm out.
00:32:49After 1989, the subway and the MTA made a policy that if a train gets hit, they'll pull it out of service so that no writer will ever have the motivation of seeing their name run.
00:33:17I would have never imagined that I would have stopped writing.
00:33:26Like, at the time, I thought I was going to write forever.
00:33:28I thought the pieces was going to run forever.
00:33:31You know?
00:33:37Very clean.
00:33:39Yep.
00:33:40See?
00:33:41Not even, not one little tag.
00:33:43You know, if you look at this train now, you would never suspect that a graffiti culture had ever existed.
00:33:51No.
00:33:52Super clean.
00:33:56You have to realize when something has run its course and be satisfied with what you did.
00:34:02And I'm, I'm, I'm there.
00:34:03So I'd just rather tell the stories of when it was fun than try to recreate something now that, that's gone forever.
00:34:11There, there, I mean, every time I come down, there's less and less, but that, you can definitely line up here.
00:34:35See this little squiggle right there?
00:34:37That's it.
00:34:49Wild style, wild style, right here.
00:34:54Who could possibly have imagined?
00:34:57I want them to put a plaque here.
00:35:00This was a wild style wall.
00:35:02Years of effort, I quit the job at the post, you know, I was, I'd really gambled.
00:35:13So it was, yeah, it was stressful.
00:35:16Not having any payoff to speak of.
00:35:19There was, I think, maybe a year when I just moved into my studio.
00:35:34I just put a mat on the floor.
00:35:36I definitely never wanted to depend on my husband to support me.
00:35:43And I didn't.
00:35:45There were some extremely strong women in my family.
00:35:49And I was raised to be like them.
00:35:51You know, I love New York.
00:36:03But it's definitely not a city for everybody.
00:36:05And it was not a city for my ex-husband.
00:36:09You know, the path Coupe followed is not an easy path.
00:36:13Marriage didn't work out.
00:36:14She never wanted children.
00:36:16You know, this is against most society's rules.
00:36:19Woman, children, wife, mother, grandmother.
00:36:24Right now.
00:36:24And she was like, none of that for me.
00:36:27I don't really remember, like, crying myself to sleep at night or anything.
00:36:33And in fact, I like being alone.
00:36:36It's very comfortable being alone.
00:36:41I'm not a depressed kind of person.
00:36:46My friends sustain me.
00:36:49Would you like to see my Pokedex?
00:36:50Would I?
00:36:53Oh.
00:37:01We went into the Paris catacombs.
00:37:05And we went down around midnight through a manhole.
00:37:10Went through a manhole.
00:37:11We didn't come out until five in the morning.
00:37:14Here, we go rappelling down this rock face.
00:37:18And here we are enjoying ourselves.
00:37:21And here we are also enjoying ourselves.
00:37:26Yeah, who was that guy?
00:37:29Cesar.
00:37:30Cesar.
00:37:31Right.
00:37:31Okay.
00:37:32Okay.
00:37:32So that was Cozumel.
00:37:37You know, you get old, but you know, you can imagine yourself 50 years younger.
00:37:43You know?
00:37:44It doesn't hurt to, okay.
00:37:47It doesn't hurt to remember.
00:37:49These filing cabinets contain a lot of Marty's pictures.
00:37:54A folder on bachi.
00:37:56A folder on the guardian angels.
00:37:58A Hindu temple.
00:37:59A Haitian doll maker.
00:38:01Interiors of wasps.
00:38:02White Anglo-Saxon Protestant living rooms.
00:38:05An erotic baker.
00:38:06Who made breads in pornographic shapes.
00:38:11City Lord has been documenting the city with Marty since we started in 1986.
00:38:17I really connected with these people.
00:38:19And they needed photographers.
00:38:21Wow.
00:38:22So it was perfect.
00:38:23Here's the photograph of the break dancer on cardboard.
00:38:26And Marty just made our work sing.
00:38:42He was very drawn to folklorists because they were trying to study these local traditions
00:38:47in these art forms that nobody else was interested in.
00:38:52We're doing a project on casitas.
00:38:54Little Puerto Rican style houses built on vacant lots and used as social clubs.
00:39:02Somebody writing a history of New York, you're not going to cover those.
00:39:06But they're very much part of the lived experience of being Puerto Rican in the city or being Latino in the city.
00:39:13From a lot of different vantage points, she's capturing this.
00:39:16So you can see this incredible landscape.
00:39:20And then you see this little casita and garden hatch.
00:39:24She's photographing the corners of life, which are often forgotten about.
00:39:31Having that record of how people lived is important.
00:39:35That's the only way that we have of transcending time.
00:39:42And the only thing they'll have to go back to is the record that Marty left.
00:39:47Here, back up, back up, back up, back up, back up, back up.
00:39:52Oh, it says original.
00:39:54Interesting.
00:39:55I was looking all over for that.
00:40:00Many of the things that she's done, nobody paid her to take photographs.
00:40:04She's just out there.
00:40:05She's just doing it.
00:40:06She's doing it all the time.
00:40:07You know, I don't have a family.
00:40:10So I can do absolutely everything I want for me.
00:40:13I have all, every hour of every day, I can devote to my own work.
00:40:19It might be that one.
00:40:25Honestly, I can't remember.
00:40:32It's a big stack of contact sheets in here.
00:40:36Look, this slides.
00:40:39Graffiti.
00:40:41Miscellaneous walls.
00:40:44That would be graffiti.
00:40:45I mean, when I look at it, it kind of makes me a little depressed.
00:40:48What am I doing with them?
00:40:49Nothing.
00:40:50You know, they're sitting in my vast archives.
00:40:56But, you know, before we put it in there, can we just have a peek inside and see if there's
00:41:00something?
00:41:01Because the reason I started this...
00:41:03But, to me, organizing my archive feels like going backwards.
00:41:05I want to go forwards.
00:41:07It seems I have the skills necessary to do most assignment work, but not those necessary for
00:41:13convincing editors to give me the job.
00:41:15There were times when, oh, I just wanted assignments to go to her, but she's, you know, she's fit
00:41:20for a certain thing.
00:41:21But back in Washington, at National Geographic Headquarters, Illustrations Editor Susan Welchman
00:41:26is not thrilled with the pictures she's getting.
00:41:29They hired me as photo editor.
00:41:30I went to Washington.
00:41:32They offered me the job.
00:41:32I took it.
00:41:33At any one time, they've got about 170 stories underway in various stages of development.
00:41:39Then that story came up on, you know, something that was suited to her, so she was assigned
00:41:44to that.
00:41:44Susan gave me a real assignment.
00:41:53The story was pollen.
00:41:56Something that I wasn't interested in then, and I'm not interested in now.
00:42:06I read that in Japan, there was a place where they had to hand-pollinate fruit trees because
00:42:13the bees had died out.
00:42:15Geographic would send you wherever it took to go get that picture.
00:42:19There was no budget on time or money.
00:42:21A lot of photographers cannot handle that.
00:42:26Susan was trying to help me, you know, we'd be editing this thing, and she was telling me
00:42:30to try this and try that and try something else, and I just, I really couldn't come up
00:42:35with those fabulous pictures.
00:42:39She thought she wanted it, but it was because it was unattainable, I'd say.
00:42:43They always said, we make pictures, we don't take pictures, and I like taking pictures.
00:42:49It wasn't a good fit for her.
00:42:54I just like seeing something and shooting it, and that is not how geographic works, ever at all.
00:43:05When people say, which photographers influence you, I always say, snapshots.
00:43:13I like the naiveness, that people are just trying to capture the moment without thinking
00:43:21about unusual angles, or different lenses, or, I would say that the presence of the photographer
00:43:31is minimal.
00:43:33It's all about subject matter, and that's what I like.
00:43:42When I looked at my old street play pictures, I felt that those were some of the best pictures
00:43:47I had ever taken.
00:43:49I miss doing that kind of photography, and I thought, you know, I just want to go and take
00:43:54pictures and see what I can find.
00:43:57I used money that I inherited from my parents to do a project that I wouldn't otherwise be
00:44:10able to do.
00:44:10My father and my uncle had a camera store in Baltimore.
00:44:26My mother taught journalism.
00:44:31It was a tribute to them.
00:44:35And I kind of wish that they were alive so that I think they would have enjoyed seeing
00:44:39the neighborhood that I documented.
00:44:41This was a dragon, and the idea was that when the mailman came and put mail in the box and
00:44:49raised the flag, the head of the dragon was here, and it revealed a little portrait of
00:44:56the house.
00:45:00Baltimore, my hometown, seemed like the perfect place to do a street photography project.
00:45:05And Sally drove me around, looking for neighborhoods.
00:45:13I wanted to be part of the neighborhood.
00:45:18So we found a house that I could afford.
00:45:21Why in the hell would you live in this community?
00:45:32Most people would not move here because of the violence, because of the drugs.
00:45:39So look, this is fresh because it says Happy Valentine's Day.
00:45:42It's not left over from last year.
00:45:45And there's a big R.I.P. taco up there, which wasn't there before.
00:45:49Right behind the house over here, a few months ago, that was somebody's heroin stash.
00:45:57These are all from Baltimore.
00:46:00Many of them were in my backyard.
00:46:01This one still has some interesting something in it.
00:46:06And there are these kids standing on the street corner, and they're calling out about the caps
00:46:12and the green caps or blue caps or whatever.
00:46:14I actually don't know the difference.
00:46:16Isn't that the cutest little jar you've ever seen?
00:46:23I had a feeling that this neighborhood was going to gentrify.
00:46:28And I thought, I'd like to see if I can document that process.
00:46:32I wanted to see whether there was some way I could see a change in the neighborhood.
00:46:36Are people going to be forced to move?
00:46:39And if so, what happens?
00:46:41And, you know, I had no idea exactly how I was going to document that, but that was part of the idea.
00:46:47I mean, there's stuff bad around here going on right now, but it's not as bad as it was.
00:46:55How fast it went down versus how fast it's going back up is like...
00:47:04This is a neighborhood where you have a lot of disenfranchised people.
00:47:10Even to take somebody's photograph and them to be okay with it is a big step.
00:47:15I'm going to sleep, please don't film.
00:47:20Now, put it down until we talk to somebody.
00:47:24Hi!
00:47:25How you doing?
00:47:27We're just taking some pictures from, remember when I used to take a lot of pictures?
00:47:33Yeah, so, is it okay for him to take some?
00:47:37No problem?
00:47:37Okay.
00:47:39That's cocky.
00:47:40Oh, baby
00:47:42Yeah, she still lives there?
00:47:45Is she in the house now?
00:47:47Oh, remember me?
00:47:50It's been a long time.
00:47:51It's been a long time, I know.
00:47:52What she did was to make small copies, you know, 4x6 prints.
00:47:58I mean, I took some of them.
00:47:59This one?
00:48:00Yeah, this one.
00:48:01This one?
00:48:02And she would have a little notebook and she'd write down their address.
00:48:06You've got a lot.
00:48:08And bring them back.
00:48:09It's a photo gallery.
00:48:10If she came back two weeks later or a month later, either knock on the door or stick them
00:48:14in the little mailbox or slide them under the door.
00:48:17What's her name?
00:48:18Kanag.
00:48:19Didn't we call her something?
00:48:21Lady.
00:48:21Lady.
00:48:22Lady.
00:48:22Yep, lady.
00:48:23I think it's kind of a cheap shot to go around taking pictures of the boarded up buildings
00:48:28and the trash on the street, and I never focused on that.
00:48:34Great.
00:48:34Perfect.
00:48:35That's awful.
00:48:36Excuse me, we're making like dark dark for nighttime.
00:48:42We're going to set up big fireworks.
00:48:44Right here?
00:48:45Up there.
00:48:47Up there?
00:48:47There's going to be some big fireworks?
00:48:49Yeah, the shootouts in the sky.
00:48:51We'll come back.
00:48:52We'll come back.
00:48:53Yay!
00:48:53Thank you.
00:48:54Thank you.
00:48:55I'm not looking for the things that are beautiful, but I'm just looking for people
00:49:00that are making the best of what they have.
00:49:02I like your chairs here.
00:49:03Thank you.
00:49:04One for each of you.
00:49:06I'm going to split.
00:49:08Okay, are you ready?
00:49:10One, two, three.
00:49:11Yes, and...
00:49:12All right.
00:49:13People would start to recognize her and call her the camera lady.
00:49:17The camera lady.
00:49:18Yeah.
00:49:19The camera lady's here.
00:49:20I remember you taking pictures.
00:49:21Yay!
00:49:22Yeah.
00:49:23Yeah, I've been here a lot taking pictures.
00:49:25I remember you.
00:49:26Yep.
00:49:27And they accepted her.
00:49:28How are you doing?
00:49:29I've been good.
00:49:30Look at this.
00:49:31What?
00:49:32Who's in there?
00:49:33Who's in that picture?
00:49:34That's her!
00:49:35That's her?
00:49:36Okay.
00:49:37Did the horses come back?
00:49:44Did the horses come back to the stable?
00:49:47Yeah.
00:49:48Yeah.
00:49:49Can we go in?
00:49:50Go in if you want.
00:49:52To be able to see something that is beautiful amongst brokenness, I think takes a very keen
00:50:00eye.
00:50:01We got to play!
00:50:02Until the day, we got to play!
00:50:03We got to play!
00:50:04We got to play!
00:50:05We got to play!
00:50:06We got to play!
00:50:07Always my pictures are people rising above their
00:50:31environment.
00:50:32In one way or another.
00:50:34I just hope you have a good time.
00:50:35I hope we showed you all a good time.
00:50:37Yeah, we're having a good time.
00:50:38That's great.
00:50:39The Baltimore neighborhood, Sowibo Southwest Baltimore, it was named after Soweto.
00:50:46Mm-hmm.
00:50:47It's no use to take a lot of pictures about something if you aren't going to put them somewhere
00:50:53where other people are going to be able to see them.
00:50:56The strongest would be this one.
00:50:59Well, what about that one?
00:51:00That one's just not a great picture.
00:51:03Oh, okay.
00:51:04It's just not.
00:51:05You know what?
00:51:06There's part of me that still feels like I have not been accepted into the photographic
00:51:14community in New York.
00:51:17In a way, she's undiscovered in our world, you know, in our world of the photo art gallery.
00:51:22So I got to tell you, we're going to be avoiding cute children to some extent.
00:51:27Okay.
00:51:28I mean, there'll be a few of them.
00:51:29All right.
00:51:30We're also going to be avoiding, believe it or not, smiling people.
00:51:33Okay.
00:51:34Although there will be exceptions.
00:51:35Yeah.
00:51:36This probably will be one of them.
00:51:37But why?
00:51:38Yeah, why?
00:51:39Because...
00:51:40Somebody else did a project on smiling people.
00:51:41No, because people don't take those pictures as seriously.
00:51:50And they don't react to them the same way.
00:51:56They just...
00:51:58It's that simple.
00:51:59I mean, when you see a smiling face, you're in a different realm.
00:52:03You're not in the art realm.
00:52:04If you look across the history of art, you're not going to see that many smiles compared
00:52:09to much more serious faces.
00:52:11It's true.
00:52:12Just not.
00:52:13If I have a picture with a smiling child that I really want in, I will make an argument
00:52:19for it.
00:52:20You should make a case for it.
00:52:21I'll make a case for it.
00:52:22Absolutely.
00:52:23So, you know, you can see the theme evolving or starting.
00:52:27You know, people taking over a ruin and making it into...
00:52:31An appropriation of space is exactly what graffiti is, so...
00:52:36Exactly.
00:52:37So...
00:52:38It's really about how people are making New York City their own.
00:52:41Right.
00:52:42Right.
00:52:43It's New York.
00:52:44People are more interested in it than other places because New York is sort of the capital
00:52:48of the world.
00:52:49At least that's what New Yorkers think.
00:52:53A lot of people do.
00:53:01So...
00:53:02Marty has her own unique perspective on things.
00:53:07And it wasn't always easy for her to get the attention that she deserved.
00:53:16her acclaim was slow and coming.
00:53:32Akeem Walter from Germany contacted me and he wanted to look at my hip hop pictures.
00:53:38There was no clear book idea.
00:53:40I just wanted to present the New York hip hop culture.
00:53:43She said, okay, here's my archive.
00:53:45Have a look.
00:53:50Wow.
00:53:51The volume of material you could not imagine.
00:53:54Maybe a little bit too much.
00:53:57I wouldn't have been there if it hadn't been for the post.
00:54:01They sent me to Upper Manhattan to shoot what was supposed to be a riot.
00:54:07They confiscated spray cans and markers and a knife and a gun.
00:54:11And when I asked the cops what they'd been doing, they said, well, they had been...
00:54:19I called into the post and I said, Ben, the reporter.
00:54:22This is amazing.
00:54:23They were dancing.
00:54:24They were spinning on their heads.
00:54:26There was no riot.
00:54:27So no article.
00:54:28They didn't like it.
00:54:29I was fascinated by the idea that boys were dancing.
00:54:34She was there.
00:54:35Like a normal fixture to our lives.
00:54:38A lot of people would come in and, you know, like, let me take some pictures of the kids dancing and they're out.
00:54:44But she was, she was there.
00:54:59It was not called breaking.
00:55:03It was called rocking.
00:55:04It became incorporated into this bundle of activities that became known as hip hop.
00:55:09Music, dance, and art.
00:55:10Music, dance, and art.
00:55:11Music, dance, and art.
00:55:12Music, dance, and art.
00:55:13Music, dance, and art.
00:55:14Music, dance, and art.
00:55:15Music, dance, and art.
00:55:16Music, dance, and art.
00:55:17Music, dance, and art.
00:55:18Music, dance, and art.
00:55:19Music, dance, and art.
00:55:20Music, dance, and art.
00:55:21Music, dance, and art.
00:55:22Music, dance, and art.
00:55:23Music, dance, and art.
00:55:24Music, dance, and art.
00:55:25Music, dance, and art.
00:55:26Music, dance, and art.
00:55:27Music, dance, and art.
00:55:28Music, dance, and art.
00:55:29Music, dance, and art.
00:55:30Music, dance, and art.
00:55:31Music, dance, and art.
00:55:32Music, dance, and art.
00:55:33Music, dance, and art.
00:55:34Music, dance, and art.
00:55:35Music, dance, and art.
00:55:36Denn in den USA ist es geschlossen.
00:55:39Es gibt keinen B-Boys mehr da.
00:55:41In den 80ern in Deutschland waren breakdancers überall.
00:55:45Die B-Boys und die Graffiti-Scene waren immer noch weiter.
00:55:49Die Kultur wurde geöffnet und entwickelt.
00:55:53Die gleiche Situation in Frankreich, Tokio und in anderen Teilen der Welt.
00:56:06Young people a voice and a method to develop their skills.
00:56:12To put up your tag, even when it's ugly, with effort or braveness you can become a hero.
00:56:21That book turned into The Hip Hop Files.
00:56:24That came out in 2004.
00:56:26It was published in Germany and he took me on a book tour.
00:56:30Crazy, crazy book tour.
00:56:32These pictures sat in my files for 20 years.
00:56:35So to find out that they're not only interesting to me but interesting to people in Germany and elsewhere is thrilling actually.
00:56:43I knew it because I traveled the world and I knew all the graffiti writers were influenced by Subway Heart.
00:56:54Everybody seemed to know who I was.
00:56:56This is Martha Cooper.
00:57:00Everybody come on, Martha Cooper.
00:57:04I think maybe that might have been the first time I heard that people refer to Subway Heart as their Bible.
00:57:19Well, I'll tell you an incident that blew my mind. I'm so sorry I didn't take a picture of it.
00:57:36We went to Brazil.
00:57:37And we were going to a show that the Asgemia's twins had done where they had done the whole floor, they had done the walls, the ceiling, and there was some band that was going to play.
00:57:51And we were standing in line and these young people that were interested in graffiti came along and somebody said, this is Martha Cooper.
00:58:00And the kid got down flat on the ground, bowed before her, totally prostrate to his idol.
00:58:12To his idol. To his idol, Martha. Martha was his idol.
00:58:16You know, they were, thank you so much, you've changed my life. That was the first time I really understood the effect.
00:58:24All our friends from Europe, they say, yeah, okay, yeah, of course, Subway Heart. They influenced with this book the whole world.
00:58:34For her, it's like already like far away.
00:58:37Graffiti unsorted, more graffiti unsorted.
00:58:41I don't think we would be here doing this even now if it wasn't for some of the publications that came out of the photos they took.
00:58:49Took it from a national to a global phenomenon.
00:58:52When you talk to people about how they got into graffiti before the internet, they all say, through Subway Art.
00:59:00Everyone has a copy of Subway Art.
00:59:02That's the Bible.
00:59:03This is the Bible this one is.
00:59:04Subway Art ruined my life.
00:59:07Subway Art just spread across the world and so, you know, she's an icon.
00:59:16I was amazed at, I didn't realize the impact that the book had had.
00:59:21Long before the internet.
00:59:23Because the sales were really very modest at first.
00:59:27They didn't have the actual book.
00:59:28And it was really hard to get it at that time.
00:59:31Really difficult.
00:59:32Very difficult to get the real book.
00:59:34You have this, you never leave this with anybody.
00:59:36This book had to be passed around by hand through a photocopied version.
00:59:40Photocopy.
00:59:41Black and white.
00:59:42And they made photocopies of those and gave those copies.
00:59:45We get a pen, back them, and we write all the colors in the book.
00:59:52What they liked about Subway Art was that it had captured these trains.
00:59:56That before that maybe they got a glimpse of one on some television show.
01:00:01Subway Art provided the template for them to carefully study the styles.
01:00:08And really like with the length, like, like two crazy guys like this.
01:00:23To learn.
01:00:24To learn.
01:00:25Spending like days and days like this.
01:00:27Imagine how many influence, how many life they change.
01:00:31This is crazy.
01:00:32How many kids all over the world.
01:00:33This is crazy.
01:00:34How many kids all over the world.
01:00:38And we were in the morning, at five and a half, six hours of the morning,
01:00:41took the phone.
01:00:42And then, the Otávio sat in the chair and said to me,
01:00:46My mother is calling me in Germany.
01:00:51To make my drawing.
01:00:52And then, I said, it's there.
01:00:57You understand?
01:00:58It was an emotion, you know?
01:01:01Like that, right?
01:01:02Germany calling my children.
01:01:06And I think it was a moment, like, that was a remarkable moment.
01:01:10It was where it started, right?
01:01:12Then, it was in 93.
01:01:1593.
01:01:1692.
01:01:1792.
01:01:18In Germany, no.
01:01:19In Germany, it was in...
01:01:21No, no, 94.
01:01:22In Germany.
01:01:23In Germany.
01:01:24In Germany.
01:01:25In Germany, it was in...
01:01:2698.
01:01:2798.
01:01:2898.
01:01:29It's just something that you couldn't have predicted.
01:01:32And in a way, that makes it even better.
01:01:35People have come up to me during this trip and said,
01:01:38You changed my life.
01:01:39And all I can say to them is, well, you changed my life.
01:01:42And it's true.
01:01:43Basically, all of this has given my life meaning.
01:01:49This is a Shepard fairy piece that he made from one of my street play photos.
01:01:54He Shepardized it.
01:01:56I would say that there was always something going on with street art,
01:01:59but I was completely out of it.
01:02:01This is another NASA from a photo of a little boy with a hydrant.
01:02:06I mean, it's a huge art movement.
01:02:09Some people say it's the biggest art movement in the history of the world.
01:02:13It was definitely connected to the graffiti scene.
01:02:16A little photograph of me with that first camera.
01:02:21I'm like, you know what?
01:02:22If this is happening, I'm going to be part of it.
01:02:25I made a decision to jump back in.
01:02:28I made a decision to jump back in.
01:02:32lesby H.
01:02:35Tick.
01:02:37Boom.
01:02:38Me not really care what me bump into.
01:02:40Bulldozer.
01:02:41Make room.
01:02:42Write that plan for me too.
01:02:43Don't care if they pursue money.
01:02:45Stop to collect, then I resume.
01:02:47You sleep?
01:02:48I goon.
01:02:49yean I want test worse better than who.
01:02:51Oh, oh, oh, oh.
01:03:21und wenn es nicht funktioniert, ich werde wieder jumpen.
01:03:23Mein erstes war, wo ist das Dreihen?
01:03:26Und dann mein zweit war,
01:03:28ich denke, ich hätte es in eine Protektive Plastik-Sleeve.
01:03:32Dondi gave mir das Dreihen
01:03:34weil ich ihm ein Bild von dem Train.
01:03:38Er hat gesagt,
01:03:39ich wollte einfach auf die Dondi-Dreihen
01:03:42auf die Dreihen,
01:03:45auf die 2018 Marken-Value-Groß für seine Arbeit.
01:03:51Wenn Dondi-Dreihen ist jetzt wirklich wert,
01:03:54und ich weiß, dass eine von den Päten zu einem Film war,
01:03:57für $240,000,
01:03:58das ist eine unglaubliche Anzahl,
01:04:01dann habe ich das Dreihen sollte in einem Museum sein.
01:04:04Ich habe einfach gedacht,
01:04:06ich würde lieber auf die Dreihen.
01:04:08Ich habe es.
01:04:10Dondi-Dreihen das zu mir.
01:04:12Das war ein Präsident.
01:04:14Das war meine Entscheidung.
01:04:16Internet, Instagram,
01:04:18social media
01:04:19haben komplett verändert
01:04:21die St. Art Situation.
01:04:26Was ist jetzt?
01:04:28Wir sind in Wynwood Art District
01:04:29in Miami Beach, Florida.
01:04:31Das ist Art Basel,
01:04:32der big international Art Fan.
01:04:34So, natürlich,
01:04:35die Art District ist offen.
01:04:37In 2005, 2006,
01:04:44wir kamen zu Wynwood,
01:04:46an industrialer neighborhood,
01:04:48crime-ridden,
01:04:49und dilapidated.
01:04:51Aber da war dieses
01:04:52untercurrent
01:04:53von viel Graffiti.
01:04:55was wir zu machen,
01:04:58was wir zu machen,
01:04:59ein ganz anderes Level
01:05:00und kreate die Wynwood Walls.
01:05:09Ich kamen aus
01:05:10zu zeigen,
01:05:11aus New Mexico.
01:05:12Ich liebe Wynwood.
01:05:13Es ist auch wunderschön,
01:05:15weil ich möchte,
01:05:16zu sehen,
01:05:17mehr Artists überall
01:05:18und weniger $500-Sunglass.
01:05:201907,
01:05:221908,
01:05:23das ist eine der ersten
01:05:24St. Artists
01:05:25zu kommen.
01:05:2630 Minuten.
01:05:2730 Minuten.
01:05:28Es war illegal,
01:05:29sie hatten zu hurry.
01:05:30Was ist das?
01:05:31Er ist von
01:05:32New York City.
01:05:33Wir callen
01:05:34Gentilfication
01:05:35als opposed
01:05:36zu Gentrification.
01:05:38Aber
01:05:39Dinge werden.
01:05:40Das ist die
01:05:41natural
01:05:42Evolution
01:05:43von Dingen.
01:05:45Martha
01:05:46hat sich
01:05:47mit all das
01:05:48für 40 Jahre
01:05:49oder mehr.
01:05:50und
01:05:51sie
01:05:52war.
01:05:53Es ist wirklich
01:05:55eine andere Welt.
01:06:02Es ist Martha
01:06:03mit all
01:06:04ihrer
01:06:05Erfahrung und
01:06:06Erfahrung.
01:06:07Jetzt
01:06:08es
01:06:09oft
01:06:10100
01:06:11oder
01:06:12200
01:06:13Leute
01:06:14mit
01:06:15ihrer
01:06:16Fotos.
01:06:17die
01:06:18war
01:06:19war
01:06:20war
01:06:21war
01:06:22war
01:06:23war
01:06:24war
01:06:25war
01:06:27I'm just interested in seeing what happens, good, bad, or indifferent.
01:06:34I'm going to try to somehow capture what's happening with it.
01:06:45I guess I kind of stick out because I have white hair, but still.
01:06:50If I'm in any kind of a situation with a bunch of photographers, they don't take me seriously,
01:06:55and that really hurts.
01:06:58I'll fight for my position.
01:07:01I'm standing like this, and some guy just come, and he'll just stand right in front of me.
01:07:07One more, everybody.
01:07:08You're up to me, you're crazy.
01:07:09As if I didn't exist.
01:07:10They couldn't believe that I could possibly be a serious photographer.
01:07:25I think this is going to block it.
01:07:34I'm sorry, it slowed down for me.
01:07:36It slowed down for me.
01:07:37It's really bad.
01:07:39It's really sad.
01:07:39Yeah, it's tricky with the light, because it changes each time you move, too, like, because
01:07:45wherever there's a tree behind.
01:07:47So I'm running, running, and then he comes just with me, see?
01:07:59Oh, that's so cool.
01:08:01You got it?
01:08:01He got great shots.
01:08:03Yeah, but I still didn't get the...
01:08:05Nobody got the tree.
01:08:06Yeah, you don't need me anymore.
01:08:11Huh?
01:08:12Nobody needs me anymore.
01:08:13Oh, yes, of course.
01:08:14Pointing for Martha, who posed.
01:08:17Yeah.
01:08:18She knows we hate that shit.
01:08:30I just missed it.
01:08:32Fuck.
01:08:36I want to go down there.
01:08:39Stop the camera.
01:08:41Take it, bro.
01:08:42I understand now why celebrities were always ducking cameras and not wanting to sign autographs
01:08:51and things.
01:08:52They would just like to be left alone to eat their lunch.
01:08:55I want to take a picture with you quietly before I go home.
01:08:57I need to.
01:08:58Okay, take it.
01:08:59I'll take a second.
01:09:00Without having their picture taken.
01:09:01We are all the figures.
01:09:05It's wild style, baby.
01:09:07I've had people on the subway recognize me.
01:09:10I've walked down the street.
01:09:11It's very odd.
01:09:12You know, Martha Cooper.
01:09:14Marty Cooper in the house.
01:09:16She just floated.
01:09:18I feel like the photography part isn't understood as well as it could be.
01:09:24Okay.
01:09:24Can I please have you sign my book as well?
01:09:27Okay.
01:09:27You have to understand they're already pre-signed.
01:09:30But I can add something.
01:09:33And I try to be nice.
01:09:35But it does make me feel uncomfortable.
01:09:38I've been following you for quite a while.
01:09:40You're amazing.
01:09:41You're like my grandmother.
01:09:44Let's make a mother.
01:09:45You're like my mother.
01:09:47There you go.
01:09:47I love it.
01:09:48Okay.
01:09:49L-E-O-N.
01:09:50Yes.
01:09:50I already signed it here.
01:09:51What are we doing here?
01:09:52To the boys at the Fixed City Tattoo.
01:09:55Where is Fixed City Tattoo?
01:09:58Copenhagen.
01:09:59Oh, Copenhagen.
01:10:00Yeah.
01:10:00Okay.
01:10:01So do you guys know the book that I did about tattooing?
01:10:09No.
01:10:10I'm only a celebrity in one particular field.
01:10:15And you take one step out of that field and I'm nobody.
01:10:17It's in Denmark.
01:10:18Yeah, yeah, it is.
01:10:19Okay.
01:10:20Tokyo Tattoo, 1970.
01:10:22It's all pictures I shot in Japan.
01:10:25Check it out.
01:10:26It's about tattooing.
01:10:30Thank you.
01:10:31Before the graffiti, I was interested in tattooing.
01:10:35You got to check it out.
01:10:36I just don't want to get caught with like a hundred other things to sign.
01:10:40Bye-bye.
01:10:44This is the next one.
01:10:46It's the king.
01:10:47You're like a grandmother, you know?
01:10:49Well, you know, I don't have to tell you, if you sign one tonight, other people will see
01:10:54it and then they'll stand in line.
01:10:55It would have been enough for her to just photograph the graffiti that she saw on trains, right?
01:11:21And for our little people, that's enough.
01:11:26But that was not enough for her.
01:11:28I love illegal perfume.
01:11:33Being on the inside, being invited.
01:11:39Okay, we are not, if we go inside the yard, we are not sneaking under the trains.
01:11:50You know, because if they have some movement and the trains, the freights are so long, if
01:11:55they pull on a new wagon on the end of the train, you know, it hits like, if the two old
01:12:00train can jump for some meters, you know?
01:12:02Oh, okay.
01:12:02Which is, if you crawl under the train, which is pretty dangerous.
01:12:06Uh-huh.
01:12:07So, um, if we should, we have to see if we find any gaps in between, or if we, we will
01:12:14try to find the best way for you.
01:12:17Okay, thank you.
01:12:32Thank you.
01:12:57Das war's.
01:13:27Vielen Dank.
01:13:57Ja, es sieht frisch aus.
01:14:07Jetzt ist es Zeit für Bier.
01:14:09Cheers!
01:14:10Oh, das ist ziemlich schön.
01:14:15Oh, ein tolles Bild.
01:14:17Ich hoffe, es ist in Fokus.
01:14:19Ich denke, es ist wert, um dieses Risiko zu nehmen,
01:14:22um dieses kleine Zeit mit deinen Freund und deinen Künstlern.
01:14:26Ich denke, was wir heute gemacht haben,
01:14:28ist genau das Kind der Risiko,
01:14:30das ich will, zu nehmen.
01:14:32Also, ich danke dir,
01:14:33nicht nur für mich,
01:14:34aber nicht nur für mich,
01:14:35aber nicht, wie ich war,
01:14:36als ich eine alte Frau war.
01:14:38Ich bin so scared.
01:14:39Ich bin so scared.
01:14:40Ich bin so scared.
01:14:41Ich bin so scared.
01:14:43Wenn du so etwas wie das,
01:14:44wirst du die ganze Kultur verstehen.
01:14:47Weil das Kind der Tril ist wie ein Drogen oder so.
01:14:51Das ist für sicher.
01:14:52Es war perfekt.
01:14:53Es war perfekt.
01:14:54Es war.
01:14:56Es war.
01:14:57Es war, es war großartig.
01:14:58Es war richtig.
01:14:59Es ist ja.
01:15:00Ich habe ein, wie,
01:15:01du hast eine grandmöchte?
01:15:04Murphy.
01:15:10Look at du.
01:15:11Ich will dich in meinem Studio zeigen und zeigen dir ein paar Bilder.
01:15:15Was ist das letzte Mal?
01:15:17Ja, verrückt.
01:15:19Oh.
01:15:21Oh, Marta.
01:15:23Oh, mein Gott.
01:15:25Do you see any...
01:15:27Marta, do you see any...
01:15:29in der Polizei?
01:15:31Vielleicht werden sie mich finden,
01:15:33aber wirklich, werden sie mich in die Jäu für das?
01:15:36Of course sie werden.
01:15:38Also, once I've put myself in the situation,
01:15:41I'm not gonna worry about whether it's dangerous.
01:15:44Whoa.
01:15:46Oh, my God.
01:15:47Now that I have the shots,
01:15:49it feels amazing and wonderful,
01:15:51and I am so glad I did this.
01:15:53But when you're in the middle of trying to shoot it
01:15:55and trying to get the shots,
01:15:57it's not like I'm celebrating the activity
01:16:00and congratulating myself
01:16:02for being allowed to get into the yard and shoot.
01:16:05I'm just trying to keep up and get the picture.
01:16:09I'm not thinking about anything other than exposure,
01:16:13you know, shutter speed, lighting,
01:16:18and who's doing what.
01:16:20I'm not feeling anything other than photography.
01:16:27Martha could have gone into, like, corporate photography
01:16:32and photographed, like, ad campaigns or something
01:16:36and met a bunch of models.
01:16:37It probably would have bored her to tears.
01:16:39I think she likes travel, adventure,
01:16:42and a little bit of danger.
01:16:44And that's, you know...
01:16:46It wasn't... Put it this way.
01:16:48Put it this way.
01:16:49The people that she photographed were not choir boys.
01:16:52Goose-lose-lose-lose-lose-lose.
01:16:53Let me look.
01:16:54Yes, yes, yes.
01:16:55This is it.
01:16:56This is it.
01:16:57This is it.
01:16:58No, there's a spark.
01:16:59Right here. Perfect.
01:17:00See, look, folks.
01:17:01The parking gods.
01:17:02We gotta get a shot of that train going bare.
01:17:04That's it.
01:17:05Boring.
01:17:06Hmm.
01:17:13No.
01:17:14I'm trying to line it up.
01:17:18Oh, shit.
01:17:19Hold this.
01:17:20Here.
01:17:27Okay.
01:17:28Now I see I need to move.
01:17:29Move, move, move, move.
01:17:33Okay.
01:17:34I see.
01:17:35It's gotta be above the train.
01:17:40All right.
01:17:41So I was back further.
01:17:44Okay.
01:17:45We have to wait for the next train.
01:17:52Oh, there's one.
01:17:53That was convenient.
01:17:54Okay.
01:17:55Good.
01:17:56Done.
01:17:57We got it.
01:17:58Although let me, let me see.
01:17:59I want to see the book again.
01:18:05Look.
01:18:06Yo.
01:18:07Dandy?
01:18:08Bro, that's what I was telling you.
01:18:09Okay.
01:18:10But do you know who took the picture?
01:18:12No, I don't.
01:18:13Was it you?
01:18:16Wow, bro.
01:18:18It was you?
01:18:19I seen a picture of the lady that took it.
01:18:22Yeah.
01:18:23So we're trying to get us.
01:18:24You guys took a picture with me, bro.
01:18:25Me and her, bro.
01:18:26You got a legend fucking picture, bro.
01:18:30You know, it's enormously satisfying to be able to continue having relationships with the people that I've photographed.
01:18:37That's incredible.
01:18:38I love it.
01:18:39In a sense, it's become my family and I'm part of this enormous connected street art graffiti world.
01:18:50And that's very satisfying.
01:18:53Martha, she feel that time, how it's powerful.
01:19:08She feel that.
01:19:09She saw.
01:19:10The same thing that I think she saw when she saw kids playing with whatever they find in the streets.
01:19:19She see the same thing in these guys painting subway.
01:19:23This is no one like you.
01:19:35He?
01:19:36No?
01:19:37Aww.
01:19:40We love you.
01:19:41Change our life.
01:19:42Yeah.
01:19:43This idea to take a photo of these guys in the subway.
01:19:47Yeah.
01:19:48Right?
01:19:50Yeah.
01:19:51Okay.
01:19:52See you.
01:19:53Bye, baby.
01:19:54Bye-bye.
01:20:07Everyday life is only every day for a short period of time.
01:20:19The subway pictures took 30, 40 years to be of interest to people.
01:20:23And, you know, it might take that long for Baltimore.
01:20:26Maybe the next big thing is going to happen in China or Japan or Pakistan, for all we know.
01:20:43I'm sure that there will be somebody there taking pictures of it.
01:20:50I'm never going to be a Google Doodle.
01:20:52I don't think I'm going to make it to that level.
01:20:56Not a very high aspiration.
01:21:05I don't care about my legacy.
01:21:06I'm going to be dead.
01:21:08Let somebody else worry about my legacy.
01:21:11Subway art is out there.
01:21:12The books are out there.
01:21:14I think they will survive.
01:21:17I just keep at it.
01:21:19Keep going.
01:21:21What's next?
01:21:22Where did you go with me?
01:21:23I can't even hear me very sorry, could you?
01:21:24I can't even paint your Dorothy.
01:21:25I can't even paint the next one, you can't even...
01:21:26Okay, take the next one, please.
01:21:56Musik
01:22:26Musik
01:22:56Musik
01:23:26Musik
01:23:56Musik
01:24:26Musik
01:24:56Musik
01:24:58Musik
01:25:00Musik
01:25:02Musik
01:25:04Musik
01:25:06Musik
01:25:08Musik
01:25:10Musik
01:25:12Musik
01:25:14Musik
01:25:16Musik
01:25:18Musik
01:25:21Musik
01:25:22Musik
01:25:24Musik
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01:25:28Musik
01:25:34Musik
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