[ARTICLES] TOP TEN SNEAKERS IN CRIME!
The number of shoe print patterns out there is huge. Shoe print indices and databases have been developed in various countries. Commercial company Foster and Freeman have a range of software tools to identify shoes, including SICAR and SoleMate. Forensic Science Services (FSS) is a UK Government owned company that released an online footwear coding and detection management system this year, entitled Footwear Intelligence Technology.
I contacted Laura Mackin at the FSS who informed me that they have records of more than 20,000 shoe prints of which approximately 90 per cent come from sneakers. I was intrigued as to how the database was compiled; were they getting shoes from the manufacturers? From shops? As it happens, all of the prints come from shoes given to the FSS by the 43 police forces around the UK, either from marks left at a crime scene or from sneakers confiscated from a suspect. Interestingly, the FSS don’t have any special agreements with manufacturers. This was a bit of a disappointment as I was hoping to learn that the most comprehensive sneaker collection in the UK was at the FSS.
The FSS also offer the fantastically named ‘Cinderella Service’, which helps identify personal information about suspects including the angle of their footfall and weight distribution. Facey wrote in the journal Pattern Recognition that ‘shape and extent of the the general wear apparent on a shoe sole contains information about the foot function and gait of the wearer.’ The use of US Army anthropometric databases has allowed models to predict height based on shoe size. English tabloid newspaper The Mirror reported this June, with perhaps a hint of schadenfreude at the shoe manufacturer’s expense, that sneakers are the most popular shoes used by criminals as evidenced by shoe prints, and listed the top ten shoes for English crims.
The list I received from the FSS was exactly the same; so there haven’t been any changes in the sneaker buying habits of the criminal world in the last few months. Whilst this list may provoke some tittering amongst tabloid readers or annoyance for the manufacturers PR companies, no mention is made of what the top ten sneakers sold are, and whether the two lists are significantly different; ie most bad boys may wear the top ten listed but perhaps so do the general population in England. It would be interesting to see how these lists vary between countries. The data is also for all crimes, rather than category of crime. The FSS doesn’t store this info, and I can imagine the manufacturers are at least grateful for that.
As with any forensic test, the shoe print is not a tool to be used without caution. A survey in the 1996 issue of Forensic Science International demonstrated ‘remarkable variations’ in conclusions of shoe print reports from different laboratories examining the same cases! Hopefully computer databases have reduced the error rate. Miss Mackin (FSS) informed me that ‘footwear is the second most common evidence type after DNA and is capable of definitively putting someone at a crime scene, particularly thanks to the unique wear marks that each pair will have’.
The Mirror’s article has a quote from someone at Nike who said (in response to their shoes being six of the top ten worn in British crimes): ‘We are Britain’s best-selling trainer manufacturer so we’re not surprised we feature. We’ve no further comment.’ Whilst this indeed is common sense as previously noted, perhaps they should consider another approach; embrace it. I see it now, The Prisoner Pack; all orange Air Max 90s, black and white striped Air Max 95s. And why not cash in on the whole ‘all over print’ phenomenon and do some hyperstrikes that have an all over arrow motif!
This has been Nikolai for Sneaker Freaker
reporting from the Crime Lab.
Huge thanks to Laura Mackin at the Forensic Science Service Labs and Prof James Fraser at The University of Strathclyde.
Broadway as a symbol
Broadway is the street in New York that has come to symbolize live theater entertainment and musicals throughout the world. Today the area, known to tourists and theater-goers, stretches from W.41st Street, where the Netherlander Theater is located, up to W. 53rd Street's Broadway Theater. Only four theaters are located physically on Broadway, the Marquis at 46th Street, the Palace at 47th Street, the Winter Garden at 50th Street and the Broadway at 53rd. All the other legitimate houses are located east or west of this twelve block stretch.
Broadway Stars.
By the 1830's America was exporting stars to Europe. The first notable American actor to make a successful tour was Edwin Forrest, who at nineteen, had played Iago to Edmond Kean's Othello. Forrest's second tour of Great Britain, in the following decade didn't fare as well. He was hissed off stage. Though the disruption of his tour was a personal feud with a British actor, its results were well publicized in the American Press and his return to the American stage was received with populist fervor. This "personal feud" became an international incident and demonstration of class struggle in 1849, when the British actor in question was scheduled to perform at the Astor Place Opera House in New York. A riot ensued on the night of May 10th which was put down with troops and cannon.
Broadways first marquis.
In 1891, the first electric marquis was lit on Broadway. The theater was on Madison Square at the intersection of Broadway and Fifth Avenue at W. 23rd Street. The Flatiron Building now occupies the site. By midway through the following decade, the street blazed with electric signs as each theater announced its shows and stars in white lights. By the turn of the 20th Century the street had an entirely different look, with as many as sixteen theaters on Broadway itself and many others located on the side streets or other avenues. Broadway was much more than a mere twelve blocks. It started at 13th Street and wound its way a mile and a half up the Avenue to 45th Street, ending in the heart of Long acre Square. This first decade of the century also saw the construction of many theaters, most notably the New Amsterdam on 42nd Street in 1903, along with four others in that same year, that are still standing today.
Our Broadway.
The first decade of the 20th Century was both boring and transformational in the history of our Broadway Musicals. The seeds of that transformation go back to 1882, and the construction of The Madison Square Theater at 24th Street. The Mallorys, who had built the theater, had employed a young actor-manager from San Francisco along with two brothers from the lower Eastside to help manage the theater. David Belasco, who had the distinction of appearing on stage with another unknown child, Maude Adams, in San Francisco in 1877, was soon to become a playwright, theater owner and builder. The two brothers from the lower Eastside were, of course, Charles and Daniel Frohman. The first sign of the transformation occurred when producer Rudolf Aronson decided to build a theatre of his own. At the time, theatres were concentrated between Union Square and 24th Street.
Much more information about Broadway Musicals on this website. See for yourself.
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