Edward T.

Halls observation that our society tends to distrust subjective feelings a source of
data. We are accustomed to having our tastes sanctioned by culrual institutions, corporations,
and government agencies. Moreover, the news media typically depict street performing and
subway music as little more than tourist attractions, and major bookstores shelve the academic
literature on street performing alongside travel guides.
Nevertheless, there are plenty of people who are thrilled by the largely unmediated experience of
hearing live music in subway space and who express their interest and appreciation in many
ways. For instance, as I conducted formal research I began to notice that in the presence of a
musician the glazed stares on riders faces were transformed into expression of almost childlike
wonder. I also observed many forms of social interaction and cross-cultural exchange among
musicians, between musicians and audience members, and among audience members.

Subway music, especially when performed spontaneously, improves urban life. While local
government attempts to upgrade the quality of life in New York through policies

Early Research by Susie T Tanenbaum

Primarily in Times Square (42nd Street and Broadway)
Port Authority (42nd Street and Eighth Avenue)
Grand Central (42nd Street and Lexington Avenue)
Citicorp (53rd Street and Lexington Avenue)
Bloomingdales (59th Street and Lexington Avenue)
Herald Square (34th Street and Sixth Avenue)
Roosevelt Avenue-Jackson Heights in Queens (footnote2)

Research Methodology:
To find musicians to chat with during their breaks
Speak with people who donated money to musicians

Subway Music: Shared Public culture (Lawrence Levine), where people of different
backgrounds participate in a single cultural event.

Political and legal issues: arrange formal interviews with MTA general counsel, the director of
the MTA Arts for Transit Office, officials and patrol officers in the Transit Department, station

managers, lower-level TA employees, subway concession stand workers, and civil liberties
attorneys who have counseled the musicians.
Stephen Baird, founder of the Street Artist Guild of Boston and Cambrdiges, Massachusetts,
MUNY Program coordinator Gina Higginbotham

Candidates of the annual MUNY auditions

Chapter 6 Legal political and cultural debate over the authorization of subway music
Chapter 7 role of the transit police in enforcing regulations and reveals that officers practices are
often shaped by a lack of information.

https://books.google.co.uk/books?
hl=en&lr=&id=mjIuOSZe2j0C&oi=fnd&pg=PR9&dq=busking+perform+new+york+policy&ots
=XO5Rq7GuXH&sig=N5DxK_viTOoPmeh4ZVvm5Ug06kg#v=onepage&q=busking
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