Mayor Bill de Blasio signs an NYPD accountability package, a comprehensive set of reforms including Intros 487-A, 536-B, 721-B, 760-B, 1309-B, 1962-A, after helping paint the new Black Lives Matter mural in the Bronx. Morris Avenue between 161st and 162nd Street, Bronx. Wednesday, July 15, 2020. Credit: Ed Reed/Mayoral Photography Office.

 

This photograph is provided by the New York City Mayoral Photography Office (MPO) for the benefit of the general public and for dissemination by members of the media. The photograph may not be manipulated in any way and may not be used in commercial materials, advertisements, emails, products or promotions that in any way suggests approval or endorsement of the City of New York, the Mayoral administration, or the de Blasio family without prior consent from the MPO (PhotoOffice@cityhall.nyc.gov). Any use or reprinting of official MPO photographs must use the following credit language and style: “Photographer/Mayoral Photography Office”, as listed at the end of each caption.

The quotation from Maclean's Magazine inspired me to create this poster. The Rubric's cube suggests just how puzzling things are in the PMO's office - our country is run by unelected people.

The Center For Total Health, Washington DC

May 24, 2017

 

The Council of Accountable Physician Practices (CAPP) and the American Cancer Society join forces to showcase how coverage and accountable healthcare systems can improve survival and reduce morbidity for people living with complex conditions like cancer. Better Together Health 2017 featured stories of medical excellence and patient-centered care delivered by CAPP’s organized systems and medical groups, plus an exciting policy keynote and panel discussion featuring national physician leaders, policymakers and patient voices.

 

See bettertogetherhealth.org/2017-event-after/

Salinas, PR – Around 19 Soldiers from the U.S. Army Reserve in Puerto Rico participate with their families in a Farewell Ceremony at PFC Santos Cruz Aviles Reserve Center on Friday Jan. 3, 2014.

 

This Group of Soldiers from the 941st QM Co. deployed to Ft. Dix, N.J. on Monday Jan 6, 2014, where they will complete training prior their deployment to Afghanistan. The Detachment will assist a unit from the Air Force on property accountability and equipment inventory for a period of 9 month.

 

-----------Spanish-----------

 

Salinas, PR - Alrededor de 19 soldados de la Reserva del Ejército de EE.UU. en Puerto Rico participaron junto con sus familiares en una ceremonia de despedida en el Centro de Reserva PFC Santos Cruz Avilés el viernes 3 de enero 2014.

 

Este grupo de soldados de la 941a QM Co. partió a Fort Dix, Nueva Jersey el lunes 6 de enero 2014, donde completaran su entrenamiento previo a su movilización a Afganistán. El Destacamento asistirá por un período de 9 meses a una unidad de la Fuerza Aérea en el inventario de propiedades y equipo.

 

Accountability Windmill 25-Pack Greeting Cards: Discover the impact of our cards! These greeting cards add beautiful imagery and motivational messages to your notes and will make a positive impression on everyone who receives them. Stock cards are blank inside for a personal message and packaged flat to imprint messages using your computer printer. Includes 25 envelopes.

 

DISCHARGE OF OIL PROHIBITED -- THE FEDERAL WATER POLLUTION CONTROL ACT PROHIBITS THE DISCHARGE OF OIL OR OILY WASTE INTO OR UPON THE NAVIGABLE WATERS OF THE UNITED STATES, OR THE WATERS OF THE CONTIGUOUS ZONE, OR WHICH MAY AFFECT NATURAL RESOURCES BELONGING TO, APPERTAINING TO, OR UNDER THE EXCLUSIVE MANAGEMENT AUTHORITY OF THE UNITED STATES, IF SUCH DISCHARGE CAUSES A FILM OR DISCOLORATION OF THE SURFACE OF THE WATER OR CAUSES A SLUDGE OR EMULSION BENEATH THE SURFACE OF THE WATER. VIOLATORS ARE SUBJECT TO SUBSTANTIAL CIVIL PENALTIES AND/OR CRIMINAL SANCTIONS INCLUDING FINES AND IMPRISONMENT.

One of our employees, Trevor Corbin, drew this to describe what NOT to do when choosing an accountability partner.

 

Read the post on the

Covenant Eyes blog.

So I am just putting this here because I obviously need to put on my big girl panties and be accountable for actions, or maybe more accurately my inactions?

 

I have several projects that I have started and not finished, and they really need to be finished. I hate craft guilt.

 

So I am laying all out here for every one to read maybe it will give me a boot in the ass and get me working on things that I have been outting off.

 

* #1 on my list: I REALLY really need to finish up the blocks for my very patient bee block partners. I am disgustingly over do especially considering that my month was the 1st month and they all got theirs to me in a timely fashion.

 

*Harry Potter Swap that I am doing with one of my best buddies Jeni! (this is pretty lax though)

 

*Finish up this ukulele bag. Just need to attach the back and bind the edges.

 

*Get this queen size quilt quilted and bound for my awesome friend Carrie.

 

*finish up this nightmare Galaga quilt for my husband that has been sitting in the naughty pile for over a year now.

 

So there you have it. Not a very big list but they are pretty big projects, I think.

 

Time to buckle down and get it done, Amanda!! ok done now. :)

This image is excerpted from a U.S. GAO report:

 

www.gao.gov/products/GAO-13-279SP

 

2013 Annual Report: Actions Needed to Reduce Fragmentation, Overlap, and Duplication and Achieve Other Financial Benefits

Accountability Windmill desktop print image: Jump-start each day with a 5"x7" framed desktop print in every work area. This easel-backed framed desktop print has a matching motivational poster.

2020-12-15: Carina Sugden, Chief Governance Officer, African Development Bank Group; Maisie Nkau, CEO, Supreme Audit Institution, SA; Barbara Rwodzi, CEO, House of BarRue Knitwear; Adriano Nuvunga, Director Centre for Democracy and Development (CDD) and Rabah Arezki, Chief Economist for Middle East and North Africa Region (MNA), World Bank during Promoting Accountability and Transparency during COVID-19, 2020.

* What Would Accountability Wednesday Do?

 

Accountability Wednesday doesn't care that my thighs are sore because that means I am out of shape.

 

Accountability Wednesday doesn't care that I ran yesterday, because if I'm going out of town this weekend, I have to go the gym today.

 

Accountability Wednesday doesn't care that I have Pilates class tomorrow, because tomorrow is not today.

 

Accountability Wednesday is a bitch, but she has my best interests at heart.

The Inspection Panel is completing 25 years in its role, as an accountability mechanism of the World Bank. As you are aware, the Bank’s failure to comply with its operating policies was seen by the entire world in the Bank’s financing with the Sardar Sarovar Dam project on River Narmada. The tenacity of massive grass-roots uprisings from our communities in the 80’s and the sustained hard work of our social movements along with our resoluteness to link it with international coalitions to question the hegemony of the Bank, subsequently led the Bank, for the first time, to commission an independent review of its project. The Independent Review Committee (Morse Committee) constituted by the Bank in 1991 to review the social and environmental costs and benefits of the dam, after years of consistent struggle by Narmada Bachao Andolan (Save Narmada Movement) and its allies led to a demand from the civil society around the globe for the creation of a grievance redressal system for project-affected communities, which ultimately pressurized the Bank to constitute the Inspection Panel in 1993. We expected this might be a crucial backstop and an opportunity for us to raise our issues of livelihoods, economic loss, displacement from our lands, alienation from natural resources, destruction of environment and threat to our biodiversity and cultural hotspots, where Bank invested in large, supposedly ‘development’ projects like mega dams, energy and other infrastructure projects. Yet, the outcome we expected rarely delivered sufficient remedy for the harm and losses people have experienced over the years.

 

A number of accountability mechanisms over the next couple of decades in several development finance institutions were formed following the model of World Bank, commonly known as ‘Independent Accountability Mechanisms’[IAMs]. Each year the number of complaints rise which is an indication of the increasing number of grievous projects happening around the world. While IAMs of most MDBs are advertised to provide strong and just processes, many of our experiences imply that the banks are accommodating practices which suit their own needs and their clients, which are borrowing countries and agencies, and not the people for whom the IAMs were built to serve.

 

Many a time, we have been disappointed by these mechanisms, since these are designed by the banks who are lending for disastrous projects in our lands. And as a result, the already existing narrow mandate of IAMs is further restricted.

 

In our efforts to hold the lending bank accountable, the communities are always presented with the arduous process of learning the complex formalities and detailed procedures to initially approach the IAMs and get our grievances registered. Our many years’ time and energy then is channelised into seeing through the various cycles of these complaint handling mechanisms, that our entire efforts go into this process, and often our complaint gets dropped off in midst of the procedural rules of the IAMs. People are made to wait many months to clear procedural levels and our cases with the IAMs get highly unpredictable. Further, we face intimidation and reprisals from the state and project agencies for having contacted the IAMs who themselves do not possess any authority to address the violations hurled out to us when we seek dignity, fair treatment and justice from them. There are many of us who feel a loss of morale after long years of struggling with lenders when we fail to see concrete benefits or changes in our circumstances, by which time considerable irreplaceable harm is already done to our lives, environment and livelihoods.

 

In this manner, our immediate and larger goal of holding banks for their failure to consult with and obtain consent from communities before devising action plans for our lands, water and forests is deflected in the pretext of problem-solving and grievance hearing offered to us in the name of IAMs.

 

With over 50 registered complaints sent to different IAMS from India in the past 25 years, many more left unregistered due to technical reasons and only a few got investigated, assessed and monitored at different levels, we have a baggage of mixed experiences with the IAMs. A few of the prominent cases from India apart from Narmada project are Vishnugad Pipalkoti Hydro Electric Project [WB’s IP], Tata Mega Ultra-01/Mundra and Anjar [IFC’s CAO & ADB’s CRP], India Infrastructure Fund-01/Dhenkanal District [IFC’s CAO], Allain Duhangan Hydro Power Limited-01/Himachal Pradesh [IFC’s CAO] and Mumbai Urban Transport Project (2009) [WB’s IP].

 

As we now know, what is being witnessed recently is an influx of approved and proposed investments majorly in energy, transport, steel, roads, urban projects, bullet trains, industrial zones/corridors, smart cities, water privatization and other mega projects in India. This has been financed from different multilateral and bilateral sources, foreign corporations, private banks as well as Export-Import Banks (ExIm Banks). It has become a brutal challenge for communities, social movements and CSOs, with lenders and governments constantly shutting their eyes and ears to us who demand accountability for their actions. A compelling and timely need has arisen among diverse groups amongst us to gather together and critically analyze the various trajectories of our engagements with accountability mechanisms of MDBs in order to bring together past 25 years’ learning, insights and reflections of various actors of this accountability process. This urging demand is also an attempt to define the collective experiences in India among our social movements, projected-affected communities and CSOs with IAMs and lending banks, especially appropriating the global political opportunity of Inspection Panel celebrating its 25 years this year.

 

Speakers:

Thomas Franco, Former General Secretary, AlI India Bank Officers’ Confederation

Arun Kumar, Eminent scholar, Former Professor Jawaharlal Nehru University

C.P. Chandrashekar, Economist, Professor Centre for Economic Studies and Planning, Jawaharlal Nehru University

Sucheta Dalal, Managing Editor, Moneylife

Soumya Dutta, National Convener, Bharat Jan Vigyan Jatha

Dunu Roy, Hazards Center, New Delhi

Medha Patkar, Senior Activist, Narmada Bachao Andolan

Tani Alex, Centre for Financial Accountability

M J Vijayan, Activist and Political commentator

Joe Athialy, Centre for Financial Accountability

Anirudha Nagar, Accountability Counsel

Madhuresh Kumar, National Alliance of People’s Movements

A J Vijayan, Chairperson, Western Ghats and Coastal area Protection Forum

Meera Sanghamitra, National Aliance of People’s Movements

Vimal bhai, Matu Jan Sangathan, Uttarakhand

Daniel Adler, Senior Specialist, Compliance Advisor Ombudsman

Joe Athialy, Centre for Financial Accountability

Birgit Kuba, Operations Officer, Inspection Panel

Anuradha Munshi, Centre for Financial Accountability

Bharat Patel, General Secretary, Machimar Adhikar Sangharsh Sangathan,Gujarat

Awadhesh Kumar, Srijan Lokhit Samiti

Amulya Kumar Nayak, Odisha Chas Parivesh Surekhsa Parishad, Odisha

Dr. Usha Ramanathan, Legal Scholar

Manshi Asher, Himdhara Environment Research and Action Collective, Himachal Pradesh

This image is excerpted from a U.S. GAO report:

www.gao.gov/products/GAO-21-104366

 

Northern Triangle of Central America: The 2019 Suspension and Reprogramming of U.S. Funding Adversely Affected Assistance Projects

 

Note: GAO surveyed the USAID and State project managers responsible for oversight of the projects that those agencies identified as adversely affected by the 2019 suspension and reprogramming of assistance funding. USAID identified 92 of its 114 projects were affected by the 2019 suspension and reprograming of assistance funding, while State identified 65 of its 168 projects were affected. Each project experienced one or multiple effects. Respondents' options for the survey questions were "Yes," "No," and "Not sure."

Mayor Bill de Blasio signs an NYPD accountability package, a comprehensive set of reforms including Intros 487-A, 536-B, 721-B, 760-B, 1309-B, 1962-A, after helping paint the new Black Lives Matter mural in the Bronx. Morris Avenue between 161st and 162nd Street, Bronx. Wednesday, July 15, 2020. Credit: Ed Reed/Mayoral Photography Office.

 

This photograph is provided by the New York City Mayoral Photography Office (MPO) for the benefit of the general public and for dissemination by members of the media. The photograph may not be manipulated in any way and may not be used in commercial materials, advertisements, emails, products or promotions that in any way suggests approval or endorsement of the City of New York, the Mayoral administration, or the de Blasio family without prior consent from the MPO (PhotoOffice@cityhall.nyc.gov). Any use or reprinting of official MPO photographs must use the following credit language and style: “Photographer/Mayoral Photography Office”, as listed at the end of each caption.

Half a pound off - 26.5lbs in total.

 

It's also my Flickrversary - 20 years today! :-)

The Inspection Panel is completing 25 years in its role, as an accountability mechanism of the World Bank. As you are aware, the Bank’s failure to comply with its operating policies was seen by the entire world in the Bank’s financing with the Sardar Sarovar Dam project on River Narmada. The tenacity of massive grass-roots uprisings from our communities in the 80’s and the sustained hard work of our social movements along with our resoluteness to link it with international coalitions to question the hegemony of the Bank, subsequently led the Bank, for the first time, to commission an independent review of its project. The Independent Review Committee (Morse Committee) constituted by the Bank in 1991 to review the social and environmental costs and benefits of the dam, after years of consistent struggle by Narmada Bachao Andolan (Save Narmada Movement) and its allies led to a demand from the civil society around the globe for the creation of a grievance redressal system for project-affected communities, which ultimately pressurized the Bank to constitute the Inspection Panel in 1993. We expected this might be a crucial backstop and an opportunity for us to raise our issues of livelihoods, economic loss, displacement from our lands, alienation from natural resources, destruction of environment and threat to our biodiversity and cultural hotspots, where Bank invested in large, supposedly ‘development’ projects like mega dams, energy and other infrastructure projects. Yet, the outcome we expected rarely delivered sufficient remedy for the harm and losses people have experienced over the years.

 

A number of accountability mechanisms over the next couple of decades in several development finance institutions were formed following the model of World Bank, commonly known as ‘Independent Accountability Mechanisms’[IAMs]. Each year the number of complaints rise which is an indication of the increasing number of grievous projects happening around the world. While IAMs of most MDBs are advertised to provide strong and just processes, many of our experiences imply that the banks are accommodating practices which suit their own needs and their clients, which are borrowing countries and agencies, and not the people for whom the IAMs were built to serve.

 

Many a time, we have been disappointed by these mechanisms, since these are designed by the banks who are lending for disastrous projects in our lands. And as a result, the already existing narrow mandate of IAMs is further restricted.

 

In our efforts to hold the lending bank accountable, the communities are always presented with the arduous process of learning the complex formalities and detailed procedures to initially approach the IAMs and get our grievances registered. Our many years’ time and energy then is channelised into seeing through the various cycles of these complaint handling mechanisms, that our entire efforts go into this process, and often our complaint gets dropped off in midst of the procedural rules of the IAMs. People are made to wait many months to clear procedural levels and our cases with the IAMs get highly unpredictable. Further, we face intimidation and reprisals from the state and project agencies for having contacted the IAMs who themselves do not possess any authority to address the violations hurled out to us when we seek dignity, fair treatment and justice from them. There are many of us who feel a loss of morale after long years of struggling with lenders when we fail to see concrete benefits or changes in our circumstances, by which time considerable irreplaceable harm is already done to our lives, environment and livelihoods.

 

In this manner, our immediate and larger goal of holding banks for their failure to consult with and obtain consent from communities before devising action plans for our lands, water and forests is deflected in the pretext of problem-solving and grievance hearing offered to us in the name of IAMs.

 

With over 50 registered complaints sent to different IAMS from India in the past 25 years, many more left unregistered due to technical reasons and only a few got investigated, assessed and monitored at different levels, we have a baggage of mixed experiences with the IAMs. A few of the prominent cases from India apart from Narmada project are Vishnugad Pipalkoti Hydro Electric Project [WB’s IP], Tata Mega Ultra-01/Mundra and Anjar [IFC’s CAO & ADB’s CRP], India Infrastructure Fund-01/Dhenkanal District [IFC’s CAO], Allain Duhangan Hydro Power Limited-01/Himachal Pradesh [IFC’s CAO] and Mumbai Urban Transport Project (2009) [WB’s IP].

 

As we now know, what is being witnessed recently is an influx of approved and proposed investments majorly in energy, transport, steel, roads, urban projects, bullet trains, industrial zones/corridors, smart cities, water privatization and other mega projects in India. This has been financed from different multilateral and bilateral sources, foreign corporations, private banks as well as Export-Import Banks (ExIm Banks). It has become a brutal challenge for communities, social movements and CSOs, with lenders and governments constantly shutting their eyes and ears to us who demand accountability for their actions. A compelling and timely need has arisen among diverse groups amongst us to gather together and critically analyze the various trajectories of our engagements with accountability mechanisms of MDBs in order to bring together past 25 years’ learning, insights and reflections of various actors of this accountability process. This urging demand is also an attempt to define the collective experiences in India among our social movements, projected-affected communities and CSOs with IAMs and lending banks, especially appropriating the global political opportunity of Inspection Panel celebrating its 25 years this year.

 

Speakers:

Thomas Franco, Former General Secretary, AlI India Bank Officers’ Confederation

Arun Kumar, Eminent scholar, Former Professor Jawaharlal Nehru University

C.P. Chandrashekar, Economist, Professor Centre for Economic Studies and Planning, Jawaharlal Nehru University

Sucheta Dalal, Managing Editor, Moneylife

Soumya Dutta, National Convener, Bharat Jan Vigyan Jatha

Dunu Roy, Hazards Center, New Delhi

Medha Patkar, Senior Activist, Narmada Bachao Andolan

Tani Alex, Centre for Financial Accountability

M J Vijayan, Activist and Political commentator

Joe Athialy, Centre for Financial Accountability

Anirudha Nagar, Accountability Counsel

Madhuresh Kumar, National Alliance of People’s Movements

A J Vijayan, Chairperson, Western Ghats and Coastal area Protection Forum

Meera Sanghamitra, National Aliance of People’s Movements

Vimal bhai, Matu Jan Sangathan, Uttarakhand

Daniel Adler, Senior Specialist, Compliance Advisor Ombudsman

Joe Athialy, Centre for Financial Accountability

Birgit Kuba, Operations Officer, Inspection Panel

Anuradha Munshi, Centre for Financial Accountability

Bharat Patel, General Secretary, Machimar Adhikar Sangharsh Sangathan,Gujarat

Awadhesh Kumar, Srijan Lokhit Samiti

Amulya Kumar Nayak, Odisha Chas Parivesh Surekhsa Parishad, Odisha

Dr. Usha Ramanathan, Legal Scholar

Manshi Asher, Himdhara Environment Research and Action Collective, Himachal Pradesh

Shabana, 30, is deep in thoughts while looking after her young disabled daughter, Sufiya, one and a half years old, while lying on a bed inside their home in Kabar Kana, Bhopal, Madhya Pradesh, central India, site of the infamous 1984 gas tragedy. Sufiya is Shabana's first child and the family is now scared of considering further pregnancies. Sufiya suffers from a neurological disorder causing severe seizures and slow development. She is not able to eat or swallow food naturally, and is surviving only on water and milk. As a toddler, in 1984 Shabana survived the poisonous gas cloud that enveloped Bhopal, leaving everlasting consequences that today continue to consume people's lives.

Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).

 

Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions

 

"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".

 

The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.

 

The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.

 

Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.

 

Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:

 

Wet with cool dew drops

fragrant with perfume from the flowers

came the gentle breeze

jasmine and water lily

dance in the spring sunshine

side-long glances

of the golden-hued ladies

stab into my thoughts

heaven itself cannot take my mind

as it has been captivated by one lass

among the five hundred I have seen here.

 

Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.

 

Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.

 

There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.

 

Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.

 

The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.

 

In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:

 

During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".

 

Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.

 

While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’

 

Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.

 

An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.

 

Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983

 

Commercialization and entrance into mainstream pop culture

Main article: Commercial graffiti

With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.

 

In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".

 

Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.

 

Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.

 

Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.

 

Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.

 

There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.

 

The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.

 

Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.

 

Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis

 

Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.

 

Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.

 

Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"

 

Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal

 

In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.

 

Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.

 

Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.

 

Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.

 

With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.

 

Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.

 

Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.

 

Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.

 

Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.

 

Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.

 

Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.

 

Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.

 

The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.

 

I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.

 

The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.

 

Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.

 

Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.

 

In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".

 

There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.

 

Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.

 

A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.

By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.

 

Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.

 

In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.

 

A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.

 

From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.

 

In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.

 

Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.

 

Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.

 

Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.

  

In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.

 

Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.

 

In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.

 

In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."

 

In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.

 

In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.

 

In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.

 

In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.

 

In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.

 

The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.

 

To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."

 

In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.

 

In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.

 

Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".

 

Graffiti Tunnel, University of Sydney at Camperdown (2009)

In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.

 

Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.

 

Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.

 

In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.

 

Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.

 

Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.

 

To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.

 

When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.

The Center For Total Health, Washington DC

May 24, 2017

 

The Council of Accountable Physician Practices (CAPP) and the American Cancer Society join forces to showcase how coverage and accountable healthcare systems can improve survival and reduce morbidity for people living with complex conditions like cancer. Better Together Health 2017 featured stories of medical excellence and patient-centered care delivered by CAPP’s organized systems and medical groups, plus an exciting policy keynote and panel discussion featuring national physician leaders, policymakers and patient voices.

 

See bettertogetherhealth.org/2017-event-after/

The Federal Reserve is an unusual institution of the American democracy: Congress has given the Fed the power to set interest rates and manage credit because it believes an independent central bank will do a better job at that than elected politicians. But in the wake of the financial crisis, the Fed’s independence, governance and accountability have come under intense scrutiny.

 

The Hutchins Center on Fiscal and Monetary Policy at Brookings examined these issues on March 2. We began with Peter Conti-Brown (Stanford/Princeton), who argued that the role of the presidents of the regional Federal Reserve Banks in making monetary policy is both unconstitutional and unjustified in the 21st century. Charles Plosser, who retires at the end of February as president of the Philadelphia Federal Reserve Bank, responded. Then Viral Acharya (New York University) discussed the tension between the independence of the Fed in making monetary policy and its expanding role as guardian of financial stability. Jeremy Stein of Harvard Business School, a former member of the Fed’s Board of Governors, responded.

 

We then convened a panel discussion on Fed accountability and governance – and its relations with Congress – that included Ben Bernanke, the former Fed chairman and now a Distinguished Fellow in Residence in Economic Studies at Brookings; Barney Frank, the former chairman of the House Financial Services Committee; Ruth Porat, chief financial officer of Morgan Stanley and a member of the Hutchins Center’s Advisory Council, and Sarah Binder, a Senior Fellow in Governance Studies at Brookings and professor of political science at George Washington University.©Paul Morigi Photography

 

The Senate Homeland Security and Governmental Affairs Committee, where U.S. Senator Claire McCaskill serves as the top-ranking Democrat, today unanimously approved three McCaskill-backed bills to save taxpayer dollars and strengthen accountability. The bipartisan pieces of legislation prohibit bonuses for employees who commit serious misconduct, target misuse of government purchase and travel cards, and make it easier for agencies to solicit feedback from taxpayers.

 

Click HERE for more photos from today’s committee meeting.

 

“We need to do all we can so taxpayers’ hard-earned dollars aren’t going to waste—and I’m proud to come together with my Republican and Democratic colleagues to help hold government more accountable to the people,” said McCaskill, former Missouri State Auditor. “There are many areas where we can and should work hand-in-hand to find solutions to common problems, and I’m committed to doing exactly that.”

 

The following bills unanimously passed the Senate Homeland Security and Governmental Affairs Committee today and now await approval from the full Senate:

 

• The Federal Agency Customer Experience Act rolls back federal regulations that make it difficult for agencies to get feedback from the public concerning their satisfaction with agencies’ performance. McCaskill introduced the bill with Republican Senator James Lankford of Oklahoma.

 

• The Stop Improper Federal Bonuses Act prohibits bonuses to government employees who have engaged in serious misconduct. McCaskill introduced the bill alongside Republican Senators Deb Fischer of Nebraska and Dean Heller of Nevada.

 

• The Saving Federal Dollars Through Better Use of Government Purchase and Travel Cards Act cracks down on waste, fraud and abuse in federal agency travel and purchase cards spending. McCaskill joined Republican Senator Chuck Grassley of Iowa and Democratic Senator Tom Carper of Delaware to introduce the bill.

 

Since her time as Missouri State Auditor, McCaskill has been a leading voice in Missouri and Washington for cutting wasteful government spending. In addition to the bills that passed the Senate Homeland Security and Governmental Affairs Committee today, McCaskill also introduced the Eliminating Government-Funded Oil-Painting (EGO) Act with Republican Senators Bill Cassidy of Louisiana, Ron Johnson of Wisconsin, and Deb Fischer of Nebraska to prohibit federal dollars from being used for lawmakers’ portraits. McCaskill has also targeted waste, fraud, and abuse by expanding whistleblower protections to government contractors, subcontractors, and others who the federal government directly or indirectly hires through bipartisan bills that have been signed into law. During her first term in the Senate, McCaskill waged a successful six-year effort to crack down on waste, fraud, and abuse in wartime contracting.

Army Disaster Personnel Accountability and Assessment System (ADPAAS)

 

In the event that a manmade or a natural disaster affects the

Soldiers, civilians and dependents assigned to the 1st Mission Support

Command, Commanders Representatives (COR) must commence accountability

and assessment process using the procedures established by the ADPAAS.

 

This is to ensure the wellness and status of the 1stMSC personnel to determine the need for assistance. This is also done to safeguard our capabilities from the effects of a natural or manmade disaster; in order to deploy capabilities in support of civil authorities within Puerto Rico to assist.

 

From 29 August thru 8 September 2011, the ADPAAS Team (Ms. Mercedes Torres

Medina (ADPASS Manager) and SFC Luis A. Camacho Leon (ADPASS Alternate

Manager) visited the US Army Reserve units throughout the island and trained 38 Commanders' Representatives (COR).

 

These COR are the Subject Matter Experts at the Regional Support Group/Bn/unit level and are capable to train their Soldiers in the use of the ADPAAS. If necessary they can train and assign other COR’s as well.

 

At the end, the Army Disaster personnel Accountability and Assessment System is another way through which the US Army Reserve in Puerto Rico and the 1stMSC takes care of its soldiers, civilians and family members.

 

Women need female condoms because we are all accountable.

 

Photo: PATH/Scott Brown.

The Inspection Panel is completing 25 years in its role, as an accountability mechanism of the World Bank. As you are aware, the Bank’s failure to comply with its operating policies was seen by the entire world in the Bank’s financing with the Sardar Sarovar Dam project on River Narmada. The tenacity of massive grass-roots uprisings from our communities in the 80’s and the sustained hard work of our social movements along with our resoluteness to link it with international coalitions to question the hegemony of the Bank, subsequently led the Bank, for the first time, to commission an independent review of its project. The Independent Review Committee (Morse Committee) constituted by the Bank in 1991 to review the social and environmental costs and benefits of the dam, after years of consistent struggle by Narmada Bachao Andolan (Save Narmada Movement) and its allies led to a demand from the civil society around the globe for the creation of a grievance redressal system for project-affected communities, which ultimately pressurized the Bank to constitute the Inspection Panel in 1993. We expected this might be a crucial backstop and an opportunity for us to raise our issues of livelihoods, economic loss, displacement from our lands, alienation from natural resources, destruction of environment and threat to our biodiversity and cultural hotspots, where Bank invested in large, supposedly ‘development’ projects like mega dams, energy and other infrastructure projects. Yet, the outcome we expected rarely delivered sufficient remedy for the harm and losses people have experienced over the years.

 

A number of accountability mechanisms over the next couple of decades in several development finance institutions were formed following the model of World Bank, commonly known as ‘Independent Accountability Mechanisms’[IAMs]. Each year the number of complaints rise which is an indication of the increasing number of grievous projects happening around the world. While IAMs of most MDBs are advertised to provide strong and just processes, many of our experiences imply that the banks are accommodating practices which suit their own needs and their clients, which are borrowing countries and agencies, and not the people for whom the IAMs were built to serve.

 

Many a time, we have been disappointed by these mechanisms, since these are designed by the banks who are lending for disastrous projects in our lands. And as a result, the already existing narrow mandate of IAMs is further restricted.

 

In our efforts to hold the lending bank accountable, the communities are always presented with the arduous process of learning the complex formalities and detailed procedures to initially approach the IAMs and get our grievances registered. Our many years’ time and energy then is channelised into seeing through the various cycles of these complaint handling mechanisms, that our entire efforts go into this process, and often our complaint gets dropped off in midst of the procedural rules of the IAMs. People are made to wait many months to clear procedural levels and our cases with the IAMs get highly unpredictable. Further, we face intimidation and reprisals from the state and project agencies for having contacted the IAMs who themselves do not possess any authority to address the violations hurled out to us when we seek dignity, fair treatment and justice from them. There are many of us who feel a loss of morale after long years of struggling with lenders when we fail to see concrete benefits or changes in our circumstances, by which time considerable irreplaceable harm is already done to our lives, environment and livelihoods.

 

In this manner, our immediate and larger goal of holding banks for their failure to consult with and obtain consent from communities before devising action plans for our lands, water and forests is deflected in the pretext of problem-solving and grievance hearing offered to us in the name of IAMs.

 

With over 50 registered complaints sent to different IAMS from India in the past 25 years, many more left unregistered due to technical reasons and only a few got investigated, assessed and monitored at different levels, we have a baggage of mixed experiences with the IAMs. A few of the prominent cases from India apart from Narmada project are Vishnugad Pipalkoti Hydro Electric Project [WB’s IP], Tata Mega Ultra-01/Mundra and Anjar [IFC’s CAO & ADB’s CRP], India Infrastructure Fund-01/Dhenkanal District [IFC’s CAO], Allain Duhangan Hydro Power Limited-01/Himachal Pradesh [IFC’s CAO] and Mumbai Urban Transport Project (2009) [WB’s IP].

 

As we now know, what is being witnessed recently is an influx of approved and proposed investments majorly in energy, transport, steel, roads, urban projects, bullet trains, industrial zones/corridors, smart cities, water privatization and other mega projects in India. This has been financed from different multilateral and bilateral sources, foreign corporations, private banks as well as Export-Import Banks (ExIm Banks). It has become a brutal challenge for communities, social movements and CSOs, with lenders and governments constantly shutting their eyes and ears to us who demand accountability for their actions. A compelling and timely need has arisen among diverse groups amongst us to gather together and critically analyze the various trajectories of our engagements with accountability mechanisms of MDBs in order to bring together past 25 years’ learning, insights and reflections of various actors of this accountability process. This urging demand is also an attempt to define the collective experiences in India among our social movements, projected-affected communities and CSOs with IAMs and lending banks, especially appropriating the global political opportunity of Inspection Panel celebrating its 25 years this year.

 

Speakers:

Thomas Franco, Former General Secretary, AlI India Bank Officers’ Confederation

Arun Kumar, Eminent scholar, Former Professor Jawaharlal Nehru University

C.P. Chandrashekar, Economist, Professor Centre for Economic Studies and Planning, Jawaharlal Nehru University

Sucheta Dalal, Managing Editor, Moneylife

Soumya Dutta, National Convener, Bharat Jan Vigyan Jatha

Dunu Roy, Hazards Center, New Delhi

Medha Patkar, Senior Activist, Narmada Bachao Andolan

Tani Alex, Centre for Financial Accountability

M J Vijayan, Activist and Political commentator

Joe Athialy, Centre for Financial Accountability

Anirudha Nagar, Accountability Counsel

Madhuresh Kumar, National Alliance of People’s Movements

A J Vijayan, Chairperson, Western Ghats and Coastal area Protection Forum

Meera Sanghamitra, National Aliance of People’s Movements

Vimal bhai, Matu Jan Sangathan, Uttarakhand

Daniel Adler, Senior Specialist, Compliance Advisor Ombudsman

Joe Athialy, Centre for Financial Accountability

Birgit Kuba, Operations Officer, Inspection Panel

Anuradha Munshi, Centre for Financial Accountability

Bharat Patel, General Secretary, Machimar Adhikar Sangharsh Sangathan,Gujarat

Awadhesh Kumar, Srijan Lokhit Samiti

Amulya Kumar Nayak, Odisha Chas Parivesh Surekhsa Parishad, Odisha

Dr. Usha Ramanathan, Legal Scholar

Manshi Asher, Himdhara Environment Research and Action Collective, Himachal Pradesh

Syrian activists, journalists and bloggers will provided first-person accounts of the situation in Syria at a special forum on the Opening Day of the 21st Session of the United Nations Human Rights Council: "Bearing Witness: Human Rights and Accountability in Syria.

Opening Statements by

 

Ms. Navanethem Pillay

United Nations High Commissioner for Human Rights

 

Ms. Laura Dupuy Lasserre

President of the United Nations Human Rights Council

 

Moderator

 

Mr. Riz Khan

International Television Journalist and Author

 

Panelists

 

Mr. Muhanad al-Hassani

Human Rights Defender, Syria

 

Mr. Amer Matar

Syrian Journalist

 

Mr. Mohammad Abdallah

Syrian Journalist and Blogger in Exile

 

Ms. Lotte Leicht

Director, Human Rights Watch, Brussels Office

The Senate Homeland Security and Governmental Affairs Committee, where U.S. Senator Claire McCaskill serves as the top-ranking Democrat, today unanimously approved three McCaskill-backed bills to save taxpayer dollars and strengthen accountability. The bipartisan pieces of legislation prohibit bonuses for employees who commit serious misconduct, target misuse of government purchase and travel cards, and make it easier for agencies to solicit feedback from taxpayers.

 

Click HERE for more photos from today’s committee meeting.

 

“We need to do all we can so taxpayers’ hard-earned dollars aren’t going to waste—and I’m proud to come together with my Republican and Democratic colleagues to help hold government more accountable to the people,” said McCaskill, former Missouri State Auditor. “There are many areas where we can and should work hand-in-hand to find solutions to common problems, and I’m committed to doing exactly that.”

 

The following bills unanimously passed the Senate Homeland Security and Governmental Affairs Committee today and now await approval from the full Senate:

 

• The Federal Agency Customer Experience Act rolls back federal regulations that make it difficult for agencies to get feedback from the public concerning their satisfaction with agencies’ performance. McCaskill introduced the bill with Republican Senator James Lankford of Oklahoma.

 

• The Stop Improper Federal Bonuses Act prohibits bonuses to government employees who have engaged in serious misconduct. McCaskill introduced the bill alongside Republican Senators Deb Fischer of Nebraska and Dean Heller of Nevada.

 

• The Saving Federal Dollars Through Better Use of Government Purchase and Travel Cards Act cracks down on waste, fraud and abuse in federal agency travel and purchase cards spending. McCaskill joined Republican Senator Chuck Grassley of Iowa and Democratic Senator Tom Carper of Delaware to introduce the bill.

 

Since her time as Missouri State Auditor, McCaskill has been a leading voice in Missouri and Washington for cutting wasteful government spending. In addition to the bills that passed the Senate Homeland Security and Governmental Affairs Committee today, McCaskill also introduced the Eliminating Government-Funded Oil-Painting (EGO) Act with Republican Senators Bill Cassidy of Louisiana, Ron Johnson of Wisconsin, and Deb Fischer of Nebraska to prohibit federal dollars from being used for lawmakers’ portraits. McCaskill has also targeted waste, fraud, and abuse by expanding whistleblower protections to government contractors, subcontractors, and others who the federal government directly or indirectly hires through bipartisan bills that have been signed into law. During her first term in the Senate, McCaskill waged a successful six-year effort to crack down on waste, fraud, and abuse in wartime contracting.

Painted by Stacey Hoffer Weckstein

CreateaBalance.com

August 2008

I've decided to scrapbook my 365 photo project using the Project Life kit. I really like the design and I think it will keep me more accountable to taking a daily photo. Looking forward to being able to flip through actual prints of our days, too.

blogged

and i'm back.

 

when you've been "robust" for most of your life like i have, your weight is your albatross. and at this point in my life, having a weight loss goal as one of my resolutions AGAIN makes me kind of feel like a loser and a failure in spite of any and all of my accomplishments. but we all have our weaknesses. and i feel better about mysef when i at least try.

 

on the positive side, i'm 6 lbs lighter than i was on january 1, 2009. and it so easily could have gone the other way and more. and i only gained one pound over the holidays. it's that time in france that really fucked me up. oh well.

 

so here i go again. a fresh start.

 

feel free to join me.

 

The Inspection Panel is completing 25 years in its role, as an accountability mechanism of the World Bank. As you are aware, the Bank’s failure to comply with its operating policies was seen by the entire world in the Bank’s financing with the Sardar Sarovar Dam project on River Narmada. The tenacity of massive grass-roots uprisings from our communities in the 80’s and the sustained hard work of our social movements along with our resoluteness to link it with international coalitions to question the hegemony of the Bank, subsequently led the Bank, for the first time, to commission an independent review of its project. The Independent Review Committee (Morse Committee) constituted by the Bank in 1991 to review the social and environmental costs and benefits of the dam, after years of consistent struggle by Narmada Bachao Andolan (Save Narmada Movement) and its allies led to a demand from the civil society around the globe for the creation of a grievance redressal system for project-affected communities, which ultimately pressurized the Bank to constitute the Inspection Panel in 1993. We expected this might be a crucial backstop and an opportunity for us to raise our issues of livelihoods, economic loss, displacement from our lands, alienation from natural resources, destruction of environment and threat to our biodiversity and cultural hotspots, where Bank invested in large, supposedly ‘development’ projects like mega dams, energy and other infrastructure projects. Yet, the outcome we expected rarely delivered sufficient remedy for the harm and losses people have experienced over the years.

 

A number of accountability mechanisms over the next couple of decades in several development finance institutions were formed following the model of World Bank, commonly known as ‘Independent Accountability Mechanisms’[IAMs]. Each year the number of complaints rise which is an indication of the increasing number of grievous projects happening around the world. While IAMs of most MDBs are advertised to provide strong and just processes, many of our experiences imply that the banks are accommodating practices which suit their own needs and their clients, which are borrowing countries and agencies, and not the people for whom the IAMs were built to serve.

 

Many a time, we have been disappointed by these mechanisms, since these are designed by the banks who are lending for disastrous projects in our lands. And as a result, the already existing narrow mandate of IAMs is further restricted.

 

In our efforts to hold the lending bank accountable, the communities are always presented with the arduous process of learning the complex formalities and detailed procedures to initially approach the IAMs and get our grievances registered. Our many years’ time and energy then is channelised into seeing through the various cycles of these complaint handling mechanisms, that our entire efforts go into this process, and often our complaint gets dropped off in midst of the procedural rules of the IAMs. People are made to wait many months to clear procedural levels and our cases with the IAMs get highly unpredictable. Further, we face intimidation and reprisals from the state and project agencies for having contacted the IAMs who themselves do not possess any authority to address the violations hurled out to us when we seek dignity, fair treatment and justice from them. There are many of us who feel a loss of morale after long years of struggling with lenders when we fail to see concrete benefits or changes in our circumstances, by which time considerable irreplaceable harm is already done to our lives, environment and livelihoods.

 

In this manner, our immediate and larger goal of holding banks for their failure to consult with and obtain consent from communities before devising action plans for our lands, water and forests is deflected in the pretext of problem-solving and grievance hearing offered to us in the name of IAMs.

 

With over 50 registered complaints sent to different IAMS from India in the past 25 years, many more left unregistered due to technical reasons and only a few got investigated, assessed and monitored at different levels, we have a baggage of mixed experiences with the IAMs. A few of the prominent cases from India apart from Narmada project are Vishnugad Pipalkoti Hydro Electric Project [WB’s IP], Tata Mega Ultra-01/Mundra and Anjar [IFC’s CAO & ADB’s CRP], India Infrastructure Fund-01/Dhenkanal District [IFC’s CAO], Allain Duhangan Hydro Power Limited-01/Himachal Pradesh [IFC’s CAO] and Mumbai Urban Transport Project (2009) [WB’s IP].

 

As we now know, what is being witnessed recently is an influx of approved and proposed investments majorly in energy, transport, steel, roads, urban projects, bullet trains, industrial zones/corridors, smart cities, water privatization and other mega projects in India. This has been financed from different multilateral and bilateral sources, foreign corporations, private banks as well as Export-Import Banks (ExIm Banks). It has become a brutal challenge for communities, social movements and CSOs, with lenders and governments constantly shutting their eyes and ears to us who demand accountability for their actions. A compelling and timely need has arisen among diverse groups amongst us to gather together and critically analyze the various trajectories of our engagements with accountability mechanisms of MDBs in order to bring together past 25 years’ learning, insights and reflections of various actors of this accountability process. This urging demand is also an attempt to define the collective experiences in India among our social movements, projected-affected communities and CSOs with IAMs and lending banks, especially appropriating the global political opportunity of Inspection Panel celebrating its 25 years this year.

 

Speakers:

Thomas Franco, Former General Secretary, AlI India Bank Officers’ Confederation

Arun Kumar, Eminent scholar, Former Professor Jawaharlal Nehru University

C.P. Chandrashekar, Economist, Professor Centre for Economic Studies and Planning, Jawaharlal Nehru University

Sucheta Dalal, Managing Editor, Moneylife

Soumya Dutta, National Convener, Bharat Jan Vigyan Jatha

Dunu Roy, Hazards Center, New Delhi

Medha Patkar, Senior Activist, Narmada Bachao Andolan

Tani Alex, Centre for Financial Accountability

M J Vijayan, Activist and Political commentator

Joe Athialy, Centre for Financial Accountability

Anirudha Nagar, Accountability Counsel

Madhuresh Kumar, National Alliance of People’s Movements

A J Vijayan, Chairperson, Western Ghats and Coastal area Protection Forum

Meera Sanghamitra, National Aliance of People’s Movements

Vimal bhai, Matu Jan Sangathan, Uttarakhand

Daniel Adler, Senior Specialist, Compliance Advisor Ombudsman

Joe Athialy, Centre for Financial Accountability

Birgit Kuba, Operations Officer, Inspection Panel

Anuradha Munshi, Centre for Financial Accountability

Bharat Patel, General Secretary, Machimar Adhikar Sangharsh Sangathan,Gujarat

Awadhesh Kumar, Srijan Lokhit Samiti

Amulya Kumar Nayak, Odisha Chas Parivesh Surekhsa Parishad, Odisha

Dr. Usha Ramanathan, Legal Scholar

Manshi Asher, Himdhara Environment Research and Action Collective, Himachal Pradesh

Danielle Carnival, The Biden Foundation

 

The Center For Total Health, Washington DC

May 24, 2017

 

The Council of Accountable Physician Practices (CAPP) and the American Cancer Society join forces to showcase how coverage and accountable healthcare systems can improve survival and reduce morbidity for people living with complex conditions like cancer. Better Together Health 2017 featured stories of medical excellence and patient-centered care delivered by CAPP’s organized systems and medical groups, plus an exciting policy keynote and panel discussion featuring national physician leaders, policymakers and patient voices.

 

See bettertogetherhealth.org/2017-event-after/

An international civil society coalition - including International Rivers, Amazon Watch, the International Accountability Project, the Institute for Policy Studies and the Jeunes Volontaires pour l’Environnement - has launched a new effort to shift global energy finance towards clean energy solutions for the poor.

 

The Power 4 People campaign is part of the global month of action, Reclaim Power and supports the Global Indigenous Peoples' Day of Action on Energy. An international day of action on Power 4 People took place on October 12, 2013.

 

Photo by Zachary Hurwitz

 

For more information, go to: www.internationalrivers.org/node/8091

Women’s groups in Sierra Leone receive cash grants to help them with their work. By monitoring the transfer of money, we ensured funds reached their intended destination.

English:

 

Lieutenant-General Stuart Beare, Commander of Canadian Joint Operations Command inspects the Honour Guard during the Joint Task Force (North) Change of Command Ceremony in Yellowknife, N.W.T. June 20th, 2013.

A Change of Command Ceremony is a formal, symbolic passing of responsibility, authority and accountability of a command from one leader to another. The ceremony marked the relinquishment of command from Brigadier-General Guy Hamel to Brigadier-General Greg Loos.

At this same ceremony, Chief Warrant Officer Gerald Blais assumed the duties of Joint Task Force (North) Chief Warrant Officer from Chief Warrant Officer Gilles Laroche.

 

Photo credit: Corporal James Caldwell, Joint Task Force (North)

 

Governor Hogan Signs an Executive Order Regarding School Accountability Initiatives. by Joe Andrucyk at Governors Reception Room, 100 State Circle, Annapolis MD 21401

As a successful two-term governor, Jeb Bush made a significant and positive impact on education in the state of Florida. Governor Bush visited the Council on Friday, September 21, 2012 to speak to the importance of raising expectations for our students, holding schools accountable, rewarding great teachers, and harnessing technology in order to educate and prepare all of America’s students for leadership and success in the 21st century economy.

2021-06-08: On screen, (1st row, L-R) Theo Chiviru, Development & Governance enthusiast Zimbabwe Patriot; Joe Powell, Campaigner for democracy and open government, Co-founder Kensington Against Dirty Money, Obama Leader; (2nd row, L-R) Maureen Kariuki ,Senior Regional Coordinator, Africa and the Middle East, Open Government Partnership (OGP) and Evelynne Change,

Chief Governance Officer at African Development Bank during the virtual Open government and Accountability Webinar.

A wide view of the Security Council meeting on strengthening accountability and justice for serious violations of international law, under maintenance of international peace and security.

 

UN Photo/Loey Felipe

2 June 2022

New York, United States of America

Photo # UN7938140