tomgillespie2002 New York 1982: So the films first title card states. In a previous review I had expressed my love for the aesthetic of "The Big Apple" in the 1970's and early 1980's. This documentary is expressive of the artistic movement of the time. Poverty and degradation always produces great art and movements that alter popular culture. And it all begins with the underground: or the Subculture. In the late '70's, punk erupted from the Bowery, and in the Bronx came a series of artistic movements that eventually changed the world. From the ghettos hip hop was formed, along with the expressive street dance known as break dancing, which was developed from new, "mixed" beats, and along with this subcultural street form came graffiti. This was a completely new form of expression when this film was produced, but watching this now conjures much more.In the 21st century we have seen the rise of British graffiti artist Banksy, who has essentially revolutionised the form. Still keeping the allure of the artist-as-criminal (in the sense that he has never revealed his identity), Banksy commands millions of pounds/dollars for each piece that he has created. This year in his home town, Bristol, there has been a local government commission of graffiti that even extends into a piece sprayed on to a police station. This is a far cry from the criminality that graffiti held when this film was made. It's incredible that a major part of this once subculture now has become a part of the prime-time television that many watch today. The main thing I am thinking of here is the "street" dance group that was Diversity, who was successful on Britain's Got Talent. This would not have happened had it not been for the ghettos of New York's developing "breakin'". (as a side note, in 1984, the break dance movement was inevitably abused for a Hollywood movie, Breakin' (or as I remember it, Breakdance the Movie (1984)).(Note: as pseudo-gonzo writing (wow that's pretentious), I will go off on tangents in the review, as I am very interested in this subject).We follow in this film several, very young artists, who are incredibly passionate about their art. They are also very articulate. At various times we are shown the creation of pieces that clearly show that these are not random acts of vandalism, but are in fact carefully planned works of expression. As they outline the wall-art, they hold paper sketches that have been planned before "hitting the streets". As the graffiti was never going to be a permanent thing, these artist were smart enough to photograph most of what they created, which shows that they were aware of it's value. Without this much of these would be lost.Of course, just like any art form the quality is varied. But like all art, it is totally subjective. One persons art is another persons idea of the demise of civilisation. The New York art scene did, very early on, embrace this as a form of art, but it was still seen (and to be fair, largely still is) as vandalism. Pop art had previously revolutionised the art world in the 1960's in New York, particularly with Andy Warhol, and he was one of the first to see that graffiti was an extension of this form. He took into his flock Jean-Michel Basquiat, who had started as a street artist, and was catapulted in the art world. Unfortunately his life was short-lived as he died of a heroin overdose in 1988.The film does also highlight (however small it is) the opposite argument of the subject. The outcry of vandalism was palpable at the time. What is shown is the expensive process of the eradication of the "art". But this is less interesting than the world of these artists, who are absolutely involved in every part of these subcultural changes. Each are involved in the art, the dance and the music. On a personal level, I have always appreciated wall art. It certainly makes for more interesting sites on a train journey, when colourful, sometimes beautiful art, adorns the grey walls that line the railway lines. OK, so it's subjective. But then all art is.The contemporary aspect of the film does highlight the absolute racism of this art form. We see young whites interviewed who participate in the work, who say that, whilst the paint used is expensive, it is so much easier for them to enter a shop and purchase $100.00 worth of spray cans, whilst their black and Puerto Rican counter-parts have much problems when doing the same thing.A great piece of contemporary film making, that resonates with our 21st century life. Particularly when viewed with the popular success of our very own Banksy. Things may have changed, but street art is still a crime, simply as the general public cannot accept the difference between art that is displayed in galleries, and the art that we largely pass every day of our lives on our public walls (unless of course it has been authorised by the government).www.the-wrath-of-blog.blogspot.com

Todd Jones (NewbridgeNJ) "Style Wars" is a certified classic that kept viewers intrigued for more than 20 years. The documentary is beautifully honest, exceptionally gritty, intensely fair, and wonderfully lively. While many hip-hop films will be forgotten, "Style Wars" remains the essential document for graffiti and hip-hop. True lovers of hip-hop must respect these artists who paved the way. This film educates us of a time and place when hip-hop inspired creativity, created peace within a dangerous atmosphere, connected races, and established the birth of a youthful urban culture. The movement's futility is a fascinating aspect. An artist's work could last forever on a canvas, but they choose to paint trains that may be washed or painted over within days. With little or no profit, the graffiti movement remains a vital aspect of hip-hop. If you don't believe me, ask Krs-One. There is something inside these revolutionary artists that transcends all cultural and societal limits. What makes these artists risk their lives (third rail, beef) or their freedom (police) to paint on a train that will be washed or painted over? Regardless of how futile their effort may be, their need to express themselves is the main element which empowers the culture. "Style Wars" is the classic definitive film that poignantly captures the birth of hip-hop. Ignore the toys! This Sunday evening, put on your gloves and your hoody, bring a couple of cans of Krylon, and go bombing for the fame!Review by Todd E. Jones - toddejones AT yahoo DOT com

Matthew Jaworski In 1983; director Tony Silver, and producer Henry Chalfant dropped this bomb upon the unsuspecting (except for those lucky enough to live in NYC at the time) populous via PBS. The world was exposed to true urban art, and it's unlikely Picasso's- the bombers and taggers of NYC's resilient subway system...Not only that, but also to 'acrobatic body dances like breaking', and to rocking the mic. This is so much more than just a documentary about the evolution of graffiti. It is truly a time capsule, full of unforgettable characters, stuffy bureaucrats, and the chaotic urban landscape of early 80's NYC...There are so many memorable lines and incredible characters indelibly etched in my brain from this film. Just writing this review makes me want to run over to the DVD player and watch it over and over again...I would gladly pay the price of admission (approximately $25) just for the film. However, our good friends at Plexifilm have once again delivered the goods, including a staggering 3.5 hours of bonus footage to accompany this one-of-kind historical document...The bonus footage includes 32 artist galleries, interviews, trains, and ultra-rare photos from the best-of-the best, including: Skeme, Seen, Frosty Freeze, Dondi, Blade, Rammellzee, and many others...This is a must have document for Hip-Hop heads, historians, social anthropologists, and cool people. Buy this now and support good art...

jaynobody It is a shame so few people have seen the 1982 PBS documentary "Style Wars". It is not listed in either Lenny Maltin's or Videohound's giant books. This story of NYC graffiti writers fighting transit cops, their parents, and each other is still the definitive word on graffiti and early hip hop culture in the days before it became commercialized. This was probably the 1st film anywhere to examine break dancing and hip hop in any depth well before either became mainstream. For that reason alone it is an important part of hip hop history, to see what it was all about before corruption by cash and fame.Some standout personalities in this film include one armed Case, former NYC mayor Ed Koch, graffiti "villan" Cap, and Skeme and his mom. On the 2nd DVD many of the still living graffiti writers are interviewed in 2001, and although Skeme is now a major in the US army, his (now) little old lady mom is still afraid someone's kid is going to get hurt in the subway tunnel. Some of the kids from Style Wars are dead like Shy and Dondi (both have tributes),and some went to prison like Min. Some are successful 40 and even 50 somethings today. One or two even go paint the occasional subway car still.The 1st DVD contains outtakes from Style Wars, some of which could have been removed originally to make the filmmakers look better. The transit authority cop says he thinks the film will encourage others to commit vandalism. It is also apparent when watching this DVD that Cap was made out to seem worse than he was thru creative editing. The 2nd DVD contains a great short film from 1976 (I think) called Classic hits by Tracy 168 (from Wild Style).Overall this film tries to look at graffiti from the perspectives of the writers themselves, citizens of New York, and the establishment. Even the artists saw the end of the golden age coming with barbed wire fences and eventually even dogs being employed to keep them out of the train yards. It's just unfortunate that such an original art form was so unrecognized by mainstream society. Maybe it had to be that way anyway, when the art community did notice and galleries did start showing the art on canvas, it tended to become fossilized. The scene in the gallery is funny because the artists who are planning to cash in on graffiti try to convince themselves that "getting up" can be be done on canvas as well as trains. A young Swedish woman at the art gallery correctly observes its not the same on canvas, that is an art form that belonged on the trains, not on a gallery wall.The definitive book to go along with Style wars is "Subway Art" by Henry Chalfant who also produced style Wars. He and Martha Cooper spent a huge amount of time photographing NYC subways, and their hard work is well documented on the 2nd DVD which contains 32 artist galleries and a 30 minute loop of train photos. If all you have ever seen about graffiti is "Wild Style" or "Beat Street", pick up Style Wars. If you can find it. Stylewars.com