elevator shame essay

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Bethany’s elevator experiment a case of backward research

Social conformity is everywhere. The clothes we wear. The rules we follow. The social roles we play. “Conformity is all around us,” said Jennifer Wosmek, a psychology instructor at Bethany Lutheran College. “But it’s hard to get at systematically.”

But Wosmek’s students found a way — and they used an elevator.

The idea to research social conformity in elevators came from a Candid Camera stunt in which a group of individuals are facing the back of an elevator when a new rider enters. Some follow suit, even though the notion of facing the back of a moving elevator is completely at odds with normal circumstances.

The video is sometimes cited in psychology textbooks and has become staple viewing in social psychology courses (yes, there’s a clip on YouTube). Bethany students, however, were unable to find even one research study that attempted to replicate the results.

So, the six students in Wosmek’s testing and measurements course crafted their own study and spent weeks gathering data at a large mall in the Twin Cities. (Wosmek said she does not have permission to use the mall’s name.) “This project gave us a chance to see what conformity really looks like,” senior Hayley Whitcomb said.

In one case, a man and woman immediately conformed when the elevator doors opened. They remained backward for the duration of the one-floor ride — and then backed out of the elevator when it stopped. In other cases, confused riders would turn backward and then ask if, perhaps, a second door existed that was going to open somewhere else.

Some riders turned only partially backward in an apparent effort to satisfy both their everyday sensibilities and their urge to conform.

“During our baseline testing, no one stood backward,” senior Courtney Nelson said. “But when we implemented (the experiment), it was interesting to see that people would actually do this.”

As they found, however, some are more likely to conform than others.

Age, for instance, predicts conformity.

The youngest conform most often (more than 40 percent of the time) while the oldest are least likely to conform (between 14 and 24 percent depending on if they are a middle-aged adult or lateaged adult, respectively).

Men are more likely to conform fully while women demonstrated higher levels of partial conformity. Study participants were also more likely to conform if there were a larger number of people facing backward.

“This project was really hands- on,” senior Shamaryah Miller said. “We were able to take what we learned in a book and really apply it.”

And that, students said, was the real lesson learned.

Conducting thought experiments on conformity is one thing, but devising an experiment that is procedurally sound is another. To that end, Wosmek’s students spent several weeks developing procedures and protocols to ensure their study was airtight.

They recruited dozens of campus volunteers to serve as “prompts” — the people who would stand backward in the elevator. Those volunteers were told to dress in different clothing styles, to avoid laughing or showing expression during the trials and to exit the elevator in separate directions so that onlookers wouldn’t get suspicious.

Each student was given different variables for their trials and made sure to record data secretly. Even before taking their experiment into the field, they ran several practice sessions in elevators downtown and at Minnesota State University.

The result, Wosmek said, was a “solid piece of research.” She said she’s even hoping to replicate the experiment next year with a university in China.

“This kind of experience turns students on to research,” Wosmek said. “It gets them involved in that role and seeing themselves as psychologists.”

December 20, 2011

This article originally appeared in the December 12 edition of the Free Press , Mankato. It was authored by Tanner Kent, Free Press staff writer.

Learn more about studying psychology at Bethany.

Elevator Groupthink: An Ingenious 1962 Psychology Experiment in Conformity

By maria popova.

The psychology of conformity is something we’ve previously explored, but its study dates back to the 1950s, when Gestalt scholar and social psychology pioneer Solomon Asch , known today as the Asch conformity experiments . Among them is this famous elevator experiment, originally conducted as a part of a 1962 Candid Camera episode titled “Face the Rear.”

Ultimately, diversity contributes not just by adding different perspectives to the group but also by making it easier for individuals to say what they really think. […] Independence of opinion is both a crucial ingredient in collectively wise decisions and one of the hardest things to keep intact. Because diversity helps preserve that independence, it’s hard to have a collectively wise group without it.”

Perhaps the role of the global Occupy movement and other expressions of contemporary civic activism is that of a cultural confederate, spurring others — citizens, politicians, CEOs — to face the front of the elevator at last.

Complement with How To Be a Nonconformist , a satirical masterpiece from the same era, written and illustrated by a teenage girl.

HT Not Exactly Rocket Science

— Published January 13, 2012 — https://www.themarginalian.org/2012/01/13/asch-elevator-experiment/ —

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Elevator Experiment - Essay Example

• Subject: Sociology
• Type: Essay
• Level: Undergraduate
• Pages: 2 (500 words)
• Downloads: 2
• Author: beattycollin

Extract of sample "Elevator Experiment"

ELEVATOR EXPERIMENT The American society has a lot of formal and informal norms and assumptions for ridding in an elevator. The norms that are described as informal form the majority and they are the types that are not found in any books or constitution but are expected to be followed to the latter. Examples of these norms, some of which are verbal and others non-verbal include not starting a conversation that will last for over 15 seconds, facing the same direction as others and normally the front direction, not talking aloud in the elevator, not making eye contacts and exiting in order of who is closest to the door.

These norms could be tagged as Emic distinctions rather than Etic because they have to do with the very people within the American culture (Lett, 2009) . I found myself in this Emic experience when I got onboard an elevator and would not face the front door and without talking to anyone or answering any questions. Mt experimentation was both participatory and observatory as I could clearly notice that the people in the elevator with me saw me as someone who was breaking basic rules of life. Reasons as to why Americans have rules regarding the riding of elevators are unstated.

However these could be associated to the need to respect social existence. As much we are all individual beings and are entitled to personal and individual freedoms as to how we should behave and conduct ourselves (in a way that do not break criminal laws), we are also regarded as social beings, we must be able to live with the larger society in an easy and more accommodating way. Day in and out, we meet people and we must be able to be lived with and be able to live with so that the social environment can be described as friendly to all.

In order to do this well, there is the need to be rules because when they are rules, there is sure to be an orderly manner of doing things. The rules regarding the use of elevators reflect the values of courtesy and civility of the American society. There is the saying that in the absence of rules, there is anarchy. The American society therefore has rules for almost everything – including using the elevator so that their values for courtesy, civility and peace can be displayed. To a very large extent, there was a Relativistic view of the people towards me rather than ethnocentrism.

Velasquez et al (2010) hold the view that “ethical relativism is the theory that holds that morality is relative to the norms of one's culture.” To this effect, the people in the elevator, though proving with their gestures that they saw everything wrong with my attitude were respectful, not gory, not sacrilegious and normal. Whenever I stole a glance behind me, I noticed people were looking at me in awkward manner. There was not any instance that in my two experiments, anyway questioned me or insulted me or mocked me openly.

There were only some few kids who drew their parents’ attention to me by pointing finger at me but made no verbal comment or sound. The reaction of the kids certainly made other people aware that the American culture was very particular about basic rules such as elevator rules and therefore expected them to behave appropriately. My response to all this was a feeling of uneasiness because I had a strong feeling that I was really serving as a social nuisance to the people in the elevator. To generalize my findings, I would say that America is highly principled society.

There is thought to be so much freedom in America as far as the outside world is concerned. However, there are certain basic things that not everyone has the freedom to do – you do them and you attract all the eyes! Apart from the elevator experience, I have had experiences with table manners before. There was a time that I went to the school canteen to have lunch. That day I intentionally decided not to use the fork and knife for the usual purposes they are used for. I rather used my bare hands in eating.

I was shocked when all the two of the three people on the table with me stood up from the table. I was quite embarrassed but it was a personal experiment. Though most of the rules are conventional rather than stated, they help in maintaining a well rehearsed social order. They can get boring at times when you feel that your basic freedom to act in a certain way is suppressed but they help in maintaining a socially balanced society. At least these rules help in maintaining very high levels of discipline.

For all we know, conforming to these basic rules help in shaping us in conforming to legal rules of the land that to do with crime. If we are not able to abide by rules like elevator and table rules, we may find it very difficult to conform to rules at home and in school. REFERENCE LIST Lett J. Emic/Etic Distinctions. 2009. Web. September 18, 2011 from Velasquez, M. Andre, C. Shanks, T. S.J., and Meyer M. J. Ethical Relativism 2010. Web. September 17, 2011

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Maggie Nelson contemplates freedom through words and art in ‘Like Love’

The singular poet and critic gives readers a tour through her intellectual genealogy in a new collection of essays.

Though Maggie Nelson’s new collection, “ Like Love: Essays and Conversations ,” is anchored in its second half by her stunning personal remembrance, ”My Brilliant Friend: On Lhasa de Sela,” some readers may be disappointed to learn that the book is not a memoir. Instead, “Like Love” is a personal intellectual genealogy, both a chart of Nelson’s influences, collaborators, and intimate friendships, and a map of her mind at work, 2006-present.

Though she identifies as a poet, Nelson’s renown stems from her work as a memoirist, specifically “The Argonauts,” a book about queer family, transitioning, parenting, and aesthetics which exemplifies Nelson’s special talent for blending personal narrative, theory, poetics, and storytelling into potent criticism.

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In “The Argonauts,” winner of the 2016 National Book Critics Circle citation in criticism, Nelson claims that her writing process has always felt “more clarifying than creative.” Frequently, she elucidates her thoughts in nonfiction by citing other poets and theorists. Lacing quotations from her intellectual ancestors and her literary contemporaries through her prose, Nelson models a form of thinking through discourse that underwrites her straight-ahead books of art criticism such as “The Art of Cruelty” (2011) and “On Freedom: Four Songs of Care and Constraint” (2021).

Reading “Like Love” is akin to entering Nelson’s workroom to look at her maquettes, her conceptions in development, before we see them fully realized in the works above. It opens and closes with Nelson “woodshedding” in conversation with two of her central collaborators, Wayne Koestenbaum and Eileen Myles, respectively.

Nelson was 18 years old when she first saw Eileen Myles read her poetry at a public event. Myles, a tremendous multiform literary artist, has had a generative influence on Nelson’s own writing practice. “I can still see,” Nelson writes in “On Freedom,” “the little green Semiotext(e) paperback of Myles’s 1991 collection, Not Me , lying on a table at St. Mark’s Books, can still see myself picking it up for the first time, not knowing how much ‘freedom to’ was about to rush into my world.”

Reading Myles and Nelson thinking together three decades after their “introduction” is a delicious revelation. As a conversationalist, Nelson darts between interrogative and anecdotal modes, threading in strands of analytical thought. Reading her in discourse with Björk, Brian Blanchfield, and Jacqueline Rose, I’m reminded of an insightful claim that the British writer Olivia Laing once proffered: “the Nelsonian unit of thought is the paragraph … [it] allows for swerves and juxta­positions.”

“Like Love” is a shifting collage of chronologically arrayed review-essays, conversations, forewords, tributes, elegies, and art catalog essays. The collection is born out of Nelson’s art criticism. In her brief, restless preface, she explains that at the beginning of her career, poetry led her to art writing. Each invitation to contribute to an artist or exhibition catalog teaches “me more about how the act of bestowing attention serves as its own reward. And how such engagement attaches and reattaches me to curiosity, to others, to life, especially when my own spirits have dimmed.” Her efforts on Matthew Barney, Tala Madani, Sarah Lucas, and Kara Walker engage the art works intensely; thus the essays are thorny, knotted, sometimes dizzying reading.

Nelson knows that her attempts at explanation may distract us from looking at the art itself: “Probably, language does not make art happy. Language doesn’t always make me happy. But sometimes, you must explain. And not just because someone asked, or because we live in a culture of explanation, but because one wants to. Needs to. The language rises up, an upchuck. Words aren’t just what’s left; they’re what we have to offer.”

Since we only have words to offer each other, as we attempt to hold the cruelty of others at bay while forging freer lives together, Nelson also suggests that we ought to perhaps appreciate and even learn to dwell in irony, ambiguity, complexity, and contingency. Her formidable essays on Fred Moten, Alice Notley, and Ben Lerner are strong examples of this practice.

In her essay on Hervé Guibert, Nelson, considering that author’s influence on her own writing, names her “riotous, motley heritage,” which includes Eve Kosofsky Sedgwick Carolee Schneemann, Judith Butler, and everyone from “Paul Preciado to Claudia Rankine to Gloria Anzaldúa to Anne Carson to Hilton Als to . . . to James Baldwin to Roland Barthes to Audre Lorde,” among many others.

The members of Nelson’s canon are “characterized by ravenous intellectual appetite; a wry and unflinching devotion to chronicling corporality; a dedication to formal experiment, up to and including the detonation of genre; and a certain curiosity and fearlessness where others might expect (or project) shame.” They are what Ralph Waldo Emerson calls “liberating gods.”

In “On Freedom,” Nelson argues that freedom is neither a destination nor a thing to be attained or accomplished. In “Like Love,” Nelson tells us that Simone White’s poetry confronts the persistent dilemma of “trying to be in and with the impossible murk of ‘freedom as chimeric’ on the one hand, and ‘it is too much to ask, to give it up,’ on the other.” Instead of regarding this as a stifling impasse, Nelson suggests we follow White and meet this dilemma “with a questing spirit.” Throughout “Like Love,” Nelson is herself a poet of the question spirit.

LIKE LOVE: Essays and Conversations

by Maggie Nelson

Graywolf, 336 pp., $32

Walton Muyumba teaches literature at Indiana University-Bloomington. He is the author of “The Shadow and the Act: Black Intellectual Practice, Jazz Improvisation, and Philosophical Pragmatism.”

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Partial Eclipse of the Heart

I’m not traveling to see the totality. and you shouldn’t feel pressured to do so either.

“Seeing a partial eclipse,” wrote Annie Dillard in a 1982 essay, “bears the same relation to seeing a total eclipse as kissing a man does to marrying him.” She recounts the strange spirituality of witnessing totality on a mountainside in central Washington.

It sounds amazing! And I get her metaphor—you can’t know how wonderful and strange some events in life are until you have experienced them. An astronomer made Dillard’s point in more scientific terms to a reporter at the Montreal Gazette : “A partial eclipse, when you’re just outside the path of totality—be it 99.9 percent—is not 99.9 percent of the experience of a total eclipse. You’re very far from it.” The astronomer had personally traveled to see 10 solar eclipses across the world.

So, yes, in basic terms, I understand why people are going to great lengths to experience Monday’s solar eclipse. The editor of this piece, for example, is driving at least seven hours one way to northern New Hampshire to see it. In 2017 parenting and science writer Melinda Wenner Moyer wondered if hauling her family 2,880 miles across the country to witness the eclipse would be a mistake, before finding the experience “magically surreal—worth every mile.”

But let me make the case for the rest of us, the non–eclipse chasers, who are staying home. The entire U.S. will be experiencing a partial solar eclipse . Just watch that! It may not be as cool, but it will be cool too.

Here was my partial eclipse experience in 2017 in New York: I went on the roof of the apartment building in Chinatown where the Wirecutter, my employer at the time, had a test home and watched with my co-workers as a chunk of the sun got taken out by the moon. It was nice? I don’t think that it changed my life or anything—to go back to Dillard’s comparison—the way marriage has, but in terms of experiences I would like to repeat, it was a good one. A unique twist on a workday, for sure.

There are ways to maximize the enjoyment of a partial eclipse. Ann Finkbeiner, a writer who covers astronomy, among other things, chronicled her experience, during the ’90s, of viewing a partial eclipse from her home in Baltimore, and what happened after she turned her eyes not to the sky but to the ground. She describes the hundreds of tiny crescent “baby eclipses” that formed in the shadows when vines and leaves acted like pinhole cameras. “​​I didn’t have to do a thing for it, God and physics just handed it to us,” she writes, adding, “It wasn’t a big epiphany, more like goofy delight.” That does sound delightful!

And one more layer. We have already established that a partial eclipse is not the same experience as a full one. But will the partial eclipse be a lesser experience? Only if you evaluate it in terms of a three-ish-minute span of time, the length of time the sun will be covered by the moon in the path of totality (though this amount is even less in some places that are still in the totality). What if you include all of the surrounding time, effort, money, and travel that it will take to get to having those three-ish minutes in that place? (As well as the possibility of scrambling to reorient your plans when cloud cover threatens to interfere with the experience.) The New York Times reported that one hotel in Illinois, a normally inexpensive Super 8, is charging nearly $1,000 for a one-night stay during the event. “Having a total solar eclipse pass through the U.S. is kind of like having 20 or 30 Super Bowls happening all at once,” a member of the American Astronomical Society’s Solar Eclipse Task Force told Time magazine . The piece warns of traffic jams and advises eclipse chasers to extend their stays in towns, arriving early and leaving late. I am simply not a person who likes being in crowded areas! Life in New York provides quite enough opportunities for that.

I did not, completely, just lie down and accept the partial eclipse as my eclipse experience. I briefly considered flying to Texas and staying with a friend. (For some reason I now forget, this weekend wasn’t ideal.) I also thought about traveling to Montreal, a city I love dearly. (This time of year, though, can still fairly be considered winter: The city just experienced a snowstorm , and honestly, I don’t want to visit during that.) I guess what I am saying is that, in addition to not liking crowds, I prefer my travel be dictated by terms other than alignment of the moon and the sun.

A partial eclipse may not be the same as a full one, but that doesn’t mean it’s not still cool. To return, again, to Dillard’s metaphor: Marriage is great. But you know what’s also amazing? Kissing! 

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News Elevator Orite Hidari: Five to Nine Next Door Spinoff Manga Ends in Next Chapter

Aihara launched the spinoff manga in Shogakukan 's &Flower magazine in September 2020. The serialization launched in Shogakukan 's Cheese! magazine in October 2020. Shogakukan published the manga's second compiled book volume in October 2022. The manga centers on the new but struggling 28-year-old manager of a share house.

The original From Five to Nine manga centers on Junko Sakuraba, a 27-year-old lecturer at an English conversation school who has no boyfriend. Her parents set up a marriage interview for her with a man who turns out to be a Buddhist monk. However, Junko has no intention of becoming a temple wife, so she refuses to do the interview. Soon afterward, the man signs up to become her private student.

Aihara ( Honey Hunt , Hot Gimmick , Tokyo Boys & Girls ) launched the series in Cheese! in January 2010 after publishing a one-shot in 2009, and ended it in March 2020. Shogakukan published the manga's 16th and final compiled book volume in April 2020.

The manga inspired a live-action television series adaptation in 2015.

Viz Media released Hot Gimmick , Honey Hunt , and Tokyo Boys & Girls in North America. Hot Gimmick inspired a live-action film that opened in Japanese theaters in June 2019. Aihara launched a spinoff to Honey Hunt on December 22.

Source: Miki Aihara 's Twitter account

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N.Y.P.D. Officials Deploy Aggressive Use of Force (on Social Media)

The department’s leaders frequently go on X to upbraid police critics, from media columnists to elected officials, in a departure from protocol.

By Maria Cramer and Dana Rubinstein

A newspaper columnist was accused of being “deceitful.” A lawyer and political activist was challenged to show her face at the funeral of a fallen officer. And a city councilwoman became the target of an apparent “vote her out” campaign.

The combative comments — all posted on X, the social media platform formerly known as Twitter — were nothing new for a site that has become synonymous with personal attacks and insults. What was unusual was the source: executives from the New York Police Department.

“The defund crowd who will cry ‘boo hoo’ to 9-1-1 when they need us,” John Chell, the chief of patrol, wrote on X on March 31, complaining about a critical column written by Harry Siegel of The Daily News. “The problem is that besides your flawed reporting is the fact that now we are calling you and your ‘latte’ friends out on their garbage.”

The aggressive stance — while consistent with the often antagonistic approach taken by Mayor Eric Adams and his circle of loyal aides — is a sharp departure from typical police protocol, and some former Police Department and city officials say many of the responses go too far.

But Mr. Adams and top police officials said the attacks would continue.

“We’re going to start pushing back and I think the issue is people aren’t used to it,” Chief Chell told reporters during a briefing this week. “I can tweet and fight crime at the same time.”

The latest and most extended example of the aggressive posture has centered on a series of attacks against Mr. Siegel, whose piece criticizing department leaders for crime on the subway ran the same day as the funeral of Jonathan Diller , a police officer killed in the line of duty.

Using the department’s public information account , the police began calling him “Harry ‘Deceitful’ Siegel,” pouncing on an error in his column — he wrote there had been 10 homicides on the subway when there had been four. The newspaper fixed the mistake and noted in a correction that it regretted the error. But the criticism continued, with several executives accusing Mr. Siegel of being disdainful of the police.

In recent months, police brass have also gone on X to complain about a judge, who they wrongly accused of freeing a man that went on to commit another felony .

Chief Chell also called the The New York Times’s coverage of Officer Diller’s funeral “disgraceful” in a repost of a New York Post editorial that criticized The Times for not featuring the article on the front page, among other complaints.

In an interview with The News, Commissioner Edward A. Caban did not say whether he agreed with his supervisors’ sentiments. But he said he understood their frustration with the media.

“I can tell you that my executives are very passionate about defending their specific bureaus,” said Commissioner Caban, whose own X account features more conventional fare: posts about promotional ceremonies and pictures of himself with politicians, officers and community leaders.

“As an agency, I don’t think we get credit, or the officers get credit, for the work we do,” he said.

Mr. Adams, a former police captain, was far more explicit in his support of the contentious social media posts. During a briefing with reporters on Tuesday, the mayor said that he did not believe his department leaders had “attacked” Mr. Siegel, adding that it was imperative that “the free press should be held accountable.”

“The columnist shared his opinion,” Mr. Adams said of Mr. Siegel’s column. “They shared their opinion.”

Not everyone agrees with Mr. Adams’s stance.

By letting loose on social media, executives in the department are not only undermining their own positions, they’re giving the public a sense that the leadership structure is not under control, said Bill Cunningham, the first communications director for Mayor Michael R. Bloomberg.

“I don’t know that you can make the case for this department and its leadership,” Mr. Cunningham said. “It raises the question again of, who authorized it? Who decided this was a good strategy?”

Former Police Commissioner William J. Bratton said he understood that the posts on X reflect months of anger from police officers and leaders, who feel maligned by some in the media and remain furious over reforms passed by the State Legislature and the City Council that they believe have led to spikes in crime. But, he said, the posts are a reflection of how social media has removed guardrails even from institutions like the Police Department, where messaging was usually more controlled.

“The barriers are going down,” he said. “And that’s a shame in some respects. You want to have free speech but you need to have some degree of limits.”

Mr. Bratton, who now works in private consulting and has his own X account, said he had hired someone to help him restrain his emotional impulses, “so in a moment of frustration and anger, I don’t hit the send button.”

“I’m constantly expressing frustration with the legislature in the city and the state,” Mr. Bratton said. “But the idea is to as much as possible not to get into name-calling. Refrain from name-calling and stick as much as you can to the facts.”

The online indignation has even extended to supporters of the police.

On March 31, Mike Colón, whose podcast “MC’s Audio” usually features positive interviews with police officers, federal agents and firefighters, wrote an essay on LinkedIn after some of the messages were posted, telling police leaders to “grow up.”

Chief Chell replied to Mr. Colón’s post, accusing him of launching “a very direct attack.”

“I wonder who put you up to this?” Chief Chell wrote from his LinkedIn account.

Mr. Colón said he was perplexed.

“What do you care what some 24-year-old upstart journalist from Connecticut thinks?” he said “Don’t you have a department to run?”

Mr. Siegel, a 46-year-old tabloid veteran who is also an editor at The City, a nonprofit publication, said he felt the chiefs had conflated his criticism of them with being against police officers.

He said he was “certain that trying to intimidate is part of the point.”

“My wife is not thrilled,” Mr. Siegel said in an interview. “They’re obviously crossing a line into outright slander, which seems to show sloppiness and weakness, and a desperation to talk about anything other than the issues I actually write about in my columns.”

For the record, he said, he prefers deli coffee to lattes.

The Police Department has a media engagement unit known as the Office of the Deputy Commissioner, Public Information, with a robust budget of roughly $4 million, according to the Citizens Budget Commission.

It is staffed 24 hours a day by civilians and officers — its budget allows for a staff of about 30 — who field questions from reporters and distribute news releases detailing recent crimes and arrests.

It also oversees much of the department’s social media feeds. The current deputy commissioner for public information, Tarik Sheppard, a former deputy inspector, said he reviewed “90 percent” of the posts on X put out by precinct commanders, who have separate accounts.

“It’s impossible for me to see everything,” Commissioner Sheppard said, adding that his office fixes or takes down any incorrect information that is posted.

In the case of the police executive brass, he said he saw most of their posts before they were sent out, including the ones that were critical of Mr. Siegel.

“I totally support and agree with them,” Commissioner Sheppard said, adding that there was nothing “unprofessional” about pointing out errors. “And we’re not going to stop.”

The most prolific posters have been Chief Chell and Kaz Daughtry, the deputy commissioner for operations, who reposted many of Chief Chell’s messages and, in one of his own, called Mr. Siegel a “gadfly.”

During a briefing with reporters on Wednesday, Commissioner Daughtry was more measured, saying he believed in the freedom of the press. He said his posts were an emotional reaction to seeing Officer Diller in the operating room as doctors desperately tried to save him.

“I get home, and my daughter asked me, ‘Why are you crying, Daddy?’” Commissioner Daughtry said. “Then I look at my text messages, and I see an article written by Harry bashing us on a day we just buried one of our brothers. And I felt the need to speak up on behalf of my cops.”

Hurubie Meko and Chelsia Rose Marcius contributed reporting.

Maria Cramer is a Times reporter covering the New York Police Department and crime in the city and surrounding areas. More about Maria Cramer

Dana Rubinstein covers New York City politics and government for The Times. More about Dana Rubinstein

Explore Our Coverage of the Adams Administration

Burger King and Baptisms: Mayor Eric Adams keeps finding eye-catching ways to seize the spotlight on the issue of public safety  through appearances at Rikers Island, even when the narrative turns against him.

Gun-Detecting Technology: Adams announced that New York City planned to test technology  to detect guns in its subway system as officials seek to make transit riders feel safe after a deadly shoving attack.

Grappling With Acts of Violence: Adams was recently confronted with two tragic events that crystallized some people’s persistent fears  about the city: the shooting death of Police Officer Jonathan Diller  and a man being fatally pushed into the path of a subway train  in an unprovoked attack.

Sexual Misconduct Accusations: A woman has accused Adams  in a lawsuit of asking her for oral sex in exchange for career help in 1993 and sexually assaulting her when she refused. Adams said the accusation was completely false . A few days after the revelations, a top adviser to Adams was accused of sexually harassing  a police sergeant and punishing her when she refused his advances.