View allAll Photos Tagged Adaptive
Full circle skirt worn as dress (charity shop)
Tights (market)
Vintage 80s boots, sunnies, bag & belt (car boot sale)
DIYed tribal inspired necklace (made myself)
Kenyan earrings (market)
Vintage 80s brass & caterpillar bangles (pressie)
Black wood bangles (freebee with Glamour magazine)
...xXx
Full circle skirt worn as dress (charity shop)
Tights (market)
Vintage 80s boots, sunnies, bag & belt (car boot sale)
DIYed tribal inspired necklace (made myself)
Kenyan earrings (market)
Vintage 80s brass & caterpillar bangles (pressie)
Black wood bangles (freebee with Glamour magazine)
...xXx
Hooked by: Tanya Graham (Tanya's Show & Tell Piece)
Designer: Jane McGown Flynn
Pattern is copyrighted
Pattern available from Honey Bee Hive Designs
Uganda People's Defense Force (UPDF) logisticians prepare to load palletized material during a hands-on segment of Uganda ADAPT 2010, a mentoring program conducted in Entebbe, Uganda, that resulted in certifying 25 soldiers as C-130 aircraft load planners.
U.S. Army photo by Gordon Christensen
A U.S. Army Africa (USARAF) organized Africa Deployment Assistance Partnership Team (ADAPT) recently trained, and for the first time ever, certified 25 soldiers of the Uganda People’s Defense Force (UPDF) as C-130 aircraft load planners in Entebbe, Uganda.
A five-person team, led by Gordon Christensen of Army Africa’s G-4 Mobility Division, completed Phase III training with UPDF soldiers Aug. 27 in Entebbe, Uganda, said John Hanson, chief of the G-4 Policy and Programs Branch.
“This was the first actual air load certification we’ve done, of all the previous ADAPT engagements,” Hanson said. “That’s what makes it unique.”
Two weeks of classroom instruction and hands-on training enabled 25 of 31 students to earn U.S. Air Force Air Mobility Command Form 9 certification, significantly augmenting the Uganda land force’s air deployment capability, while developing greater interoperability with U.S. military forces, Hanson said.
The ADAPT program, developed to enhance the force projection capabilities of African militaries, is managed by the USARAF G-4 staff. Its aim is to bridge the gap between limited deployment capacity and the need to provide forces in support of peacekeeping or humanitarian relief operations, Hanson said.
“We’re building capacity for people to deploy, to do their own missions,” he said.
Even when the training doesn’t lead to actual U.S. Air Force certification, as it did this time in Uganda, it contributes to an enhanced deployment capacity for the land force involved, Hanson said.
“That’s the intent. They can’t do the certification, but they can continue to train their own people. Then we back off and they continue to do that,” he said.
The program is a Title 22 tactical logistics engagement funded by the U.S. Department of State, and focuses on African countries that contribute troops to peacekeeping operations, Hanson said.
Training is executed in four installments in order to create a long-term, phased approach to building deployment capacity, Hanson said. Instructors take students from a general orientation to tactical deployment principles to an advanced level of practical proficiency.
Instructors for the UPDF course were sourced using the Request For Forces (RFF) process, Hanson said.
Christensen was accompanied U.S. Army Capt. Jedmund Greene of 21st Theater Support Command’s 16th Sustainment Brigade, based in Kaiserslautern, Germany, and three Air Force noncommissioned officers: Tech. Sgt. Venus Washington, Robbins Air Force Base, Ga.; Tech. Sgt. Byran Quinn, Pope Air Force Base, N.C.; and Senior Master Sgt. Anthony D. Tate of the Illinois Air National Guard.
“The training helped to strengthen the relationship with our Ugandan partners, and also helped them build a self-sustaining deployment capacity,” Greene said. “I hope 21st TSC can increase its support to USARAF logistics theater security cooperation events in the future.”
Army Africa’s G-4 staff is presently working to synchronize ADAPT with the Africa Contingency Operations Training and Assistance (ACOTA) program. A proof of concept joint training was conducted with ACOTA in Rwanda earlier this year, combining tactical- and support-staff training in logistics with the more complex operational techniques of force deployment and mobility, Hanson said.
The Rwanda training demonstrated the feasibility of combining available U.S. government resources to achieve the most efficient and focused effort to advance common foreign policy objectives with U.S. partners in Africa, he said.
To date, ADAPT missions have been funded for eight African countries. Previous training sessions have been conducted in Rwanda, Ghana and Burkina Faso as well as Uganda, and the number is likely to grow in coming years, Hanson said.
“The programs were identified as being of interest to several other countries during the Army Africa Theater Army Security Cooperation Conference, held in Vicenza in August,” Hanson said.
The next planned ADAPT mission is for Phase I training in Botswana, scheduled for the first quarter of 2011, he said.
To learn more about U.S. Army Africa visit our official website at www.usaraf.army.mil
Official Twitter Feed: www.twitter.com/usarmyafrica
Official YouTube video channel: www.youtube.com/usarmyafrica
Adapted from postcard image. Note that the little column (to the right of the stairs) has not yet been removed to Kolonaki Square, dating this photo to before 1935.
The column of course gave its name to the area of Kolonaki. See the map of 1852 here: www.flickr.com/photos/athens_greece/7275707020/in/set-721...
[higher-res scan uploaded 14 April 2018]
Scanned from personal collection of MBE
Uganda People's Defense Force (UPDF) logisticians prepare palletized material during a hands-on segment of Uganda ADAPT 2010, a mentoring program conducted in Entebbe, Uganda, that resulted in certifying 25 soldiers as C-130 aircraft load planners.
U.S. Army photo by Gordon Christensen
A U.S. Army Africa (USARAF) organized Africa Deployment Assistance Partnership Team (ADAPT) recently trained, and for the first time ever, certified 25 soldiers of the Uganda People’s Defense Force (UPDF) as C-130 aircraft load planners in Entebbe, Uganda.
A five-person team, led by Gordon Christensen of Army Africa’s G-4 Mobility Division, completed Phase III training with UPDF soldiers Aug. 27 in Entebbe, Uganda, said John Hanson, chief of the G-4 Policy and Programs Branch.
“This was the first actual air load certification we’ve done, of all the previous ADAPT engagements,” Hanson said. “That’s what makes it unique.”
Two weeks of classroom instruction and hands-on training enabled 25 of 31 students to earn U.S. Air Force Air Mobility Command Form 9 certification, significantly augmenting the Uganda land force’s air deployment capability, while developing greater interoperability with U.S. military forces, Hanson said.
The ADAPT program, developed to enhance the force projection capabilities of African militaries, is managed by the USARAF G-4 staff. Its aim is to bridge the gap between limited deployment capacity and the need to provide forces in support of peacekeeping or humanitarian relief operations, Hanson said.
“We’re building capacity for people to deploy, to do their own missions,” he said.
Even when the training doesn’t lead to actual U.S. Air Force certification, as it did this time in Uganda, it contributes to an enhanced deployment capacity for the land force involved, Hanson said.
“That’s the intent. They can’t do the certification, but they can continue to train their own people. Then we back off and they continue to do that,” he said.
The program is a Title 22 tactical logistics engagement funded by the U.S. Department of State, and focuses on African countries that contribute troops to peacekeeping operations, Hanson said.
Training is executed in four installments in order to create a long-term, phased approach to building deployment capacity, Hanson said. Instructors take students from a general orientation to tactical deployment principles to an advanced level of practical proficiency.
Instructors for the UPDF course were sourced using the Request For Forces (RFF) process, Hanson said.
Christensen was accompanied U.S. Army Capt. Jedmund Greene of 21st Theater Support Command’s 16th Sustainment Brigade, based in Kaiserslautern, Germany, and three Air Force noncommissioned officers: Tech. Sgt. Venus Washington, Robbins Air Force Base, Ga.; Tech. Sgt. Byran Quinn, Pope Air Force Base, N.C.; and Senior Master Sgt. Anthony D. Tate of the Illinois Air National Guard.
“The training helped to strengthen the relationship with our Ugandan partners, and also helped them build a self-sustaining deployment capacity,” Greene said. “I hope 21st TSC can increase its support to USARAF logistics theater security cooperation events in the future.”
Army Africa’s G-4 staff is presently working to synchronize ADAPT with the Africa Contingency Operations Training and Assistance (ACOTA) program. A proof of concept joint training was conducted with ACOTA in Rwanda earlier this year, combining tactical- and support-staff training in logistics with the more complex operational techniques of force deployment and mobility, Hanson said.
The Rwanda training demonstrated the feasibility of combining available U.S. government resources to achieve the most efficient and focused effort to advance common foreign policy objectives with U.S. partners in Africa, he said.
To date, ADAPT missions have been funded for eight African countries. Previous training sessions have been conducted in Rwanda, Ghana and Burkina Faso as well as Uganda, and the number is likely to grow in coming years, Hanson said.
“The programs were identified as being of interest to several other countries during the Army Africa Theater Army Security Cooperation Conference, held in Vicenza in August,” Hanson said.
The next planned ADAPT mission is for Phase I training in Botswana, scheduled for the first quarter of 2011, he said.
To learn more about U.S. Army Africa visit our official website at www.usaraf.army.mil
Official Twitter Feed: www.twitter.com/usarmyafrica
Official YouTube video channel: www.youtube.com/usarmyafrica
Adapted from blueberriesandblessings.com/2012/10/04/12-woct-week-two-d..., these are GF, 100% stevia sweetened, and packed with dried cherries and the goodness of legumes! The yellow peas I use are the same ones you find in French pea soup, and are mild and buttery without any "beany" flavour at all.
yummysmells.blogspot.ca/2013/06/gluten-free-double-layer-...
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
It took China long way to develop and produce a true supersonic fighter aircraft: in March, 1964, Shenyang Aircraft Factory began the first domestic production of the J-7 jet fighter. However, the mass production of the aircraft, which had been developed through Soviet help, license production and reverse-engineering, was severely hindered by an unexpected problem—the Cultural Revolution. This incident and its consequences resulted in poor initial quality and slow progress.
This, in turn, resulted in full scale production only coming about in the 1980s, by which time the J-7 design was showing its age. However, through the years the J-7 saw constant development and refinement in China.
One of the many directions of the prolific J-7 family was the J-7III series, later re-coded J-7C. This variant was in so far special, as it was not based on the 1st generation MiG-21F. It was rather a reverse-engineered MiG-21MF obtained from Egypt, but just like the Soviet ejection seat, the original Soviet radar failed to impress Chinese, so a domestic Chinese radar was developed for the aircraft called the "JL-7". JL-7 is a 2 cm wavelength mono pulse fire radar weighing 100 kg, with a maximum range of 28 km, and MTBF is 70 hours.
However, due to the limitation of Chinese avionics industry in the 1980s, the performance of the domestic Chinese fire control radars were not satisfactory, because due to their relatively large size, the nosecone had to be enlarged, resulting in decrease in aerodynamic performance of the series. As a result, only very limited numbers of this series were built.
The J-7III prototypes comprised a series of a total of 5 aircraft, equipped with domestically developed HTY-3 ejection seat and KL-11 auto pilot. These machines had to be powered by the domestic WP-7 engine (a copy of the MiG-21F's Tumansky R-11) because the intended WP-13F (a license build of the Tumansky R-13) failed to meet the original schedule. The J-7III was planned to enter service in 1985, but due to the delay of WP-13 development, it was not until 1987 when the design was finally certified.
Production of the true J-7C fighter started in 1989, when the WP-13 became available, but only a total of 17 were built until 1996. It was soon superseded by the J-7IIIA, the prototype of the more sophisticated J-7D. This upgraded all-weather fighter was equipped with KJ-11A auto pilot, JD-3II TACAN, ADS-1 air data computer, Type 563B INS, WL-7A radio compass, Type 256 radar altimeter, TKR-122 radio, 930-4 RWR, 941-4A decoy launcher, and an improved JL-7A radar.
The fighter was to be armed with PL-7 & PL-8 AAMs and carried a twin 23 mm gun (a copy of the MiG-21MF's ventral GSh-23-2 cannon). A HK-13A HUD replaced HK-03D optical sight in earlier models. The upgraded JL-7A fire control radar had look-down/shoot-down capability added.
The production J-7D received an uprated WP-13FI engine, and initial certification was received in November 1994, but it was not until more than a year later in December 1995 when the model was finally fully certified due to the need to certify the WP-13FI on the aircraft. But, again, the results were not satisfactory and only 32 were built until 1999.
Even though the J-7C and D had been developed from a much more modern basis than the earlier MiG-21F derivatives, the "new" type offered - except for the more capable radar and the all-weather capability - no considerable benefit, was even less manoueverable in dogfight situations, more complex and expensive, and also had a very limited range. What was needed was a revolutionary step forward.
Such a proposal came from Chengdu Aircraft Corporation's general designer Mr. Wang Zi-fang (王子方) in 1998, who had already worked on the J-7D. He proposed the addition of fuselage elements that would partly replace the inner wing sections and create lift, but also offer additional room for more and better avionics, allowing the carriage of state-of-the-art weaponry like the PL-11 AAM, together with more internal fuel. Furthermore, the adaptation of the WS-13 turbofan, a new engine for which project work had just started and which would improve both range and performance of the modified aircraft.
In 2000, while an alternative design, the J-7FS, had been under parallel development and cleared for service by then, CAC received green lights for a developmental technology demonstrator under the label J-7DS (S stands for Shi-yan, 试验, meaning "experimental" in Chinese).
While the general third generation MiG-21 outlines were retained, the blended wing/body sections - certainly inspired by US American types like the F-16 and the F-18 - and a new, taller fin changed overall proportions considerably. Esp. from above, the bigger wing planform with extended LERXes (reminiscent of the MiG Analog experimental delta wing aircraft that were used during the Tu-144 development in the Soviet union) created the impression of a much more massive and compact aircraft, even though the dimenions remained unchanged.
Thanks to the additional space in the BWB sections, new and better equipment could be installed, and the aerodynamics were changed, too. For instance, the J-7's air brakes under the forward fuselage were deleted and replaced by a new pair of splayed design, stabilizing the aircraft more effectively in a dive. The single air brake in front of the ventral fin was retained, though, as well as the blown flaps from the MiG-21MF.
The ventral gun pod with a domestic copy of the GSh-23-2 was also deleted; this space, together with the air brake compartment, was now used for a semi-recessed laser range finder, so that guided ammunition could be deployed. But a gun was retained: a new, more effective Type 30-I 30 mm (1.18 in) cannon (a copy of the Gryazev-Shipunov GSh-30-1) with 150 rounds was placed into the port LERX, under the cockpit.
Inside of the LERX on the other side, compartments for new avionics (esp. for the once more upgraded JL-7B fire control radar) were added. With this radar and weapons like the PL-11 missile, the aircraft finally achieved the long desired BVR interception capability.
Flanking the new, longer WS-13 engine, the BWBs held extra fuel tanks. For en even more extended range and loiter time, provisions were made for a fixed air-refuelling probe on the starboard side under the cockpit.
Under the inner wings, an additional pair of pylons was added (for a total of seven), and overall ordnance load could be raised to 3.000 kg (6.600 lb).
The first J-7DS first flew in summer 2005, still only powered by an WP-13I engine, for a 22-month test program. Three prototypes were built, but only the first two aircraft were to fly – the third machine was only used for static tests.
The driving force behind this program was actually the PLANAF, the People's Liberation Army, Naval Air Force (中國人民解放軍海軍航空兵). While the Chinese Air Force rather placed its bet on the more modern and sophisticated Chengdu J-10 fighter, the PLANAF was rather looking for a more simple and inexpensive multi-role combat aircraft that could carry out both air defence and strike missions, and replace the ageing (and rather ineffective) J-8 fighters and Q-5 attack aircraft, as well as early J-7II fighters with limited all-weather capability. Consequently, the type was only operated by the PLANAF from 2010 onwards and received the official designation J-7DH ("H" for 海军 [Haijun] = Navy).
Production was still continuing in small numbers in late 2016, but the number of built specimen is uncertain. About 150 J-7DH are supposed to be in active service, mostly with PLANAF Northern and East Fleet units. Unlike many former J-7 variants (including its ancestor, the PLAAF's more or less stillborn C and D variants), the J-7DH was not offered for export.
General characteristics:
Crew: 1
Length: 14.61 m (47 ft 10½ in)
15.69 m (51 ft 5 in) with pitot
Wingspan: 7,41 m (24 ft 3½ in)
Height: 4.78 m (15 ft 8½ in)
Wing area: 28.88 m² (309.8 ft²)
Aspect ratio: 2.8:1
Empty weight: 5,892 kg (12.977 lb)
Loaded weight: 8,240 kg (18.150 lb)
Max. take-off weight: 9,800 kg (21.585 lb)
Powerplant:
1× Guizhou WS-13 turbofan with a dry thrust of 51.2 kN (11,510 lbf)
and 84.6 kN (19,000 lbf) with afterburner
Performance
Maximum speed: Mach 2.0, 2,200 km/h (1.189 knots, 1.375 mph)
Stall speed: 210 km/h (114 knots, 131 mph) IAS
Combat radius: 1.050 km (568 nmi, 652 mi) (air superiority, two AAMs and three drop tanks)
Ferry range: 2,500 km (1.350 nmi, 1.550 mi)
Service ceiling: 17,500 m (57.420 ft)
Rate of climb: 195 m/s (38.386 ft/min)
Armament:
1× Type 30-I 30mm (1.18") cannon with 150 rounds in the port forward fuselage;
7× hardpoints (6× under-wing, 1× centerline under-fuselage) with a capacity of 3,000 kg maximum (up to 500 kg each); Ordnance primarily comprises air-to-air missiles, including PL-2, PL-5, PL-7, PL-8, PL-9 and PL-11 AAMs, but in a secondary CAS role various rocket pods an unguided bombs of up to 500kg caliber can be carried
The kit and its assembly:
Another Chinese whif, and again a MiG-21 derivative - a fruitful source of inspiration. The J-7DH is not based ona real world project, though, but was rather inspired by an article about a Chinese 2020 update for the MiG-21 from Japan, including some drawings and artwork.
The latter depicted a late MiG-21 with some minor mods, but also some characteristic F-16 parts like the chines and the BWB flanks grafted to it - and it looked good!
Since I recently butchered an Intech F-16 for my Academy T-50 conversion (primariliy donation the whole landing gear, including the wells), I had a donor kit at ahnd, and I also found a Mastercraft MiG-21MF in my stash without a true plan. So I combined both for "something Chinese"...
The build was pretty starightforward - except for the fact that the Intech F-16 is a rather clumsy affair (donating the fin and the fuselage flanks) and that no part from the Mastercraft MiG-21 matches with another one! Lots of improvisation and mods were necessary.
On the other side, the F-16 parts were just glued onto the MiG-21 fuselage and blended into one with putty (in several layers, though).
The fin was taken wholesale from the F-16, but clipped by about 5mm at the top. I originally wanted to use F-16 wings with wing tip launch rails and the stabilizers, too, but when I held them to the model it looked wacky - so I reverted to the Fishbed parts. The stabilizers were taken OOB, but the wing span was reduced at the roots, so that the original MiG-21 wing span was retained. Only the landing gear wells had to be adapted accordingly, but that was easier than expected and the result looks very organic.
With more wing area, I added a third pair of hardpoints under the wing roots, and I kept the gun under the cockpit in the LERX. That offered room inside of the fuselage, filled by a laser rangefinder in a canoe fairing where the original gun used to be.
On the tail, a new jet nozzle was mounted, on the fuselage some air scoops and antennae were added an an IR sensor on the nose. A new seat was used in the cockpit instead of the poor L-shaped OOB thing. The PL-2 & -11 ordnance consists of simple AIM-9Bs and slightly modified AIM-120, plus some launch rails from the scrap box.
Paintings and markings:
Modern Chinese military aircraft are hardly benchmarks for creative paint schemes - and the only "realistic" option in this case would have been a uniform grey livery. The original J-7C PLAAF night fighters carried a high contrast sand/dark green/light blue livery, similar to the MiG-21 export scheme (a.k.a. "Pumpkin"), but I found the latter not suitabel for a naval operator.
I eventually found a compromise, using one of the J-7C schemes as pattern but using grey tones instead - still not very colorful, but the "clover" patterns would help disrupt the aircraft's outlines and support the modern look and feel of this whif.
Basic colors are Humbrol 140 (Dark Gull Grey, FS 36231) and 165 (RAF Medium Sea Grey) from above, plus 122 (IAF Pale Blue, FS 35622) on the undersides. With the dark grey pattern placed with no direct connection to the Pale Blue undersides, there's even a blending effect between the tones - not spectacular, but IMHO effective.
The cockpit interior became pale teal (a mix of Soviet Cockpit Blue and white), while the landing gear wells were painted with a mix of Humbrol 56, 119 and 225 - for a yellow-ish, dull metallic brown. The wheel discs became bright green (Humbrol 131), and any di-electric panel and the radome became deep green (Humbrol 2).
The decals come from a Begemot MiG-21 sheet (roundels), while the tactical 5-digit code comes from an Airfix 1:72 B-17 sheet. The yellow code is a bit unusual, as well as its place on the fin, but both occur on Chinese fighters.
The code itself is based on the information published in the 2010 book “Chinese Air Power” by Yefim Gordon und Dmitriy Komissarov, where the Chinese code system is explained – I hope that it is more or less authentic.
The kit received a light black ink wash and some dry painting with lighter blue-grey shades, but no weathering, since modern Chinese aircraft tend to look pretty clean and pristine. Since the kits both did not feature much surface details, and a lot of the few OOB details got lost during the PSR process for the BWB wing sections, I painted some details and panel lines with a soft pencil - a compromise, though. Finally, the kit was sealed with matt acrylic varnish.
The result is a pretty subtle whif, and with the F-16 parts added the result even looks very conclusive! From above, the extra fuselage width makes the Fishbed look very massive, which is underlined by the extended stabilizer span. But I think that retailing the original MiG-21 delta wing was a good decision, because it helps retaining the Fishbed's "fast" look.
I am just not 100% happy with the finish - but for the crappy kits I used as basis it's O.K.
Full circle skirt worn as dress (charity shop)
Tights (market)
Vintage 80s boots, sunnies, bag & belt (car boot sale)
DIYed tribal inspired necklace (made myself)
Kenyan earrings (market)
Vintage 80s brass & caterpillar bangles (pressie)
Black wood bangles (freebee with Glamour magazine)
...xXx
With the sun flares it created overhead nearly fricasseeing us, I quickly resorted to using the ruins for cover, moving from arch to arch while fighting back. I shouted to Serana to do the same, and we were finally able to fight back.
The largest UK tit, It is a woodland bird which has readily adapted to man-made habitats to become a familiar garden visitor. It can be quite aggressive at a birdtable, fighting off smaller tits. In winter it joins with blue tits and others to form roaming flocks which scour gardens and countryside for food.
With pubs & restaurants forced to closed due to government controlled Covid-19 restrictions, some have adapted to the new regime by offering home delivery & collection services.
The Summit Inn at Howth Summit, usually packed with tourists & hill walkers enjoying the cliff walks is all quiet, but busy inside preparing meals for local Howth residents.
Across the road, this is the terminus for Dublin Bus Route 31.
Leica 50mm f/1.4 Summilux.
Voigtlander VM-Z Close Focus Adapter.
Nikon Zf.
Picture Control: Kodak Portra Mono.
Philip Helser, an adaptive ski instructor, shares a laugh with 17-year-old Sara Echegoyen before her run down the hill at Whitetail Resort during Adaptive Ski Day on Friday, Feb. 10, 2023.
Plaza Castilla, Madrid
RMC Tokina 24mm 1:2.8 (Minolta MD mount) @ f/5.6
through Quenox Focal Reducer Minolta SR - Fuji X-Mount
on Fujifilm X-E1
Check my album Adapted Manual Lenses for more...
Clarksdale, est. 1848, pop. 17,962
full text of marker here
• built as 8-room G.T. Thomas Hospital for African Americans • adaptive reuse as 21-room Riverside Hotel, originally men-only, 1944 • designed by Z.L. "Momma" (Ratliff) Hill, longtime owner & proprietor • Momma Hill took in a young Ike Turner after his widowed mother suffered a nervous breakdown • designed dresses for Turner's background singers, The Ikettes • died, 1997 • son Frank "Rat" Ratliff & wife Joyce took over hotel
• during 70s "Rat" managed Subway Lounge, popular blues joint in Riverside basement • in later years was recipient of Sunfower River Festival's Early Wright Blues Heritage Award, 2003, and Juke Joint Festival's Miss Sarah Award, 2013 • daughter, Zelena "Zee" Ratliff, took over after Frank's death, 2013 -Rat Pack St Louis
• Muddy Waters, Sonny Boy Williamson, Ike Turner & Robert Nighthawk all lived here • hotel is airconditioned, doesn't take credit cards, has no in-room Internet, cable TV, phones or private bathrooms • dressers & bed frames all original • provided comfortable lodging for traveling African American bluesmen who had few choices in mid-century South, and just one in Clarksdale
• now a preferred destination of blues fans • rooms named for Sam Cooke, Pops Staples, John Lee Hooker, Rev. Martin Luther King, Bessie Smith • other notable guests: John F. Kennedy Jr., Blind Boys of Alabama, Duke Ellington, Rev. C. L. Franklin, Howlin' Wolf, Joe May, Peck Curtis, Joe Willie Wilkins, Raymond Hill
• If I put new furniture or change the rooms, it would not appear to be the place the musicians stayed. That’s the way the building was built. It stays like that. If I change it, I might as well close them doors because people want it that way. -Frank Ratliff, Edge Boston
• video: The Riverside Hotel (6:11) • Riverside Hotel, Clarksdale Institution, Celebrates Hospitality and Music -Huffington Post • Sleeping with Muddy Waters -Black Cat Bone & Mojo: Finding the Blues • Frank "Rat" Ratliff obituary • Clarksdale Historic District, National Register 09000763, 2009 • Coahoma County designated part of Mississippi Delta National Heritage Area, 2009
• Clarksdale-born Ike Turner rehearsed his band & recorded demos at the Riverside • their landmark song "Rocket 88" was credited to Jackie Brenston (1930-1979) and his Delta Cats, who were actually Ike Turner's Kings of Rhythm with Turner on piano
• versions of song's origins have Brenston as writer or Ike Turner writing the song with or without Brenston, either at the Riverside Hotel and/or on the road: We started writing the song in the car. By the time we got to Memphis, we was almost finished writing it, and we finished writing it in the studio. It took me 10 or 15 minutes to put the music together. - Ike Turner, We Like Ike, 2001
• produced by Sam Phillips (1923-2003), Memphis Recording Service • released by Chess Records, Chicago, Chess 1458, 03-05-51 • Phillips claimed "Rocket 88" first ever rock 'n roll record • others hold differing opinions • Brenston said song based on 1947 Jimmy Liggins hit, Cadillac Boogie (2:39): If you listen to the two songs, you'll find out they're both basically the same. The words are just changed. • original recording of "Rocket 88" (02:54) • also influenced by Pete Johnson's 1949 Rocket Boogie 88 (2:32), named for newly launched Oldsmobile Rocket 88 automobile
• Ike Turner (1931-2007) bio -Gibson USA • Ike Turner, aka Icky Rennut, Lover Boy, in Wikipedia • The History of Rock 'N' Roll in 25 Songs -Hunter Schwarz, rhombus • The Number One "Rocket 88 -Rock & Roll Hall of Fame
• 26 Sep, 1937, "Empress of the Blues" Bessie Smith (1894-1937), died in Ward 1 of G.T. Thomas Hospital, now Riverside Hotel's Rm 2 • the 5'9"/200 lb. artist's career had been in decline, her popularity having crested c. 1929 • in midst of a comeback, was featured performer in E. S. Winstead's touring tent-show, Broadway Rastus • listen: I'm Wild About that Thing, 1929 (2:50)
• in early AM, she had been en route to a performance in Darling, MS when critically injured in a car crash • 10 mi. N of Clarksdale on Hwy. 61, her old wood-framed Packard collided with a slow-moving truck • at the wheel was her lover, Richard Morgan, ex-bootlegger associated with Al Capone & uncle of jazz musician Lionel Hampton • Morgan uninjured • truck driver fled scene
• white surgeon Dr. Hugh Smith & fishing buddy Henry Broughton soon came upon wreck • Dr. Smith attended Bessie; Broughton set out to call for ambulance • the patient went into shock; Dr. Smith decided to drive her to Clarksdale himself • before he could move the unconscious singer to his parked vehicle, a car crashed into it • driver and passenger injured • an ambulance & a hearse finally arrived, almost simultaneously, one responding to Broughton's call, the other to truck driver's.
• 11 Nov, 1937, Down Beat magazine ran story by John Hammond (1910-1987), crusader for racial equality & Bessie's record producer • claimed she died in Memphis of blood loss after whites-only hospital refused to treat her • no evidence to support story • local ambulance crew would know not to try white hospital: See, they didn’t send no ambulance to get a colored person in those days. Just a hearse so they wouldn’t have to make two trips if the person just happened to die on the way to the hospital. After Bessie died, newspaper up North said she was refused at the white hospital, but that makes no sense. -"Rat" Ratliff (told to John Rogers, 2012)
• African American hearse driver Willie George Miller rushed Bessie Smith to (black) G.T. Thomas Hospital where her arm was amputated • she died, hours later, at 11:30 AM • nevertheless, the counterfactual story blaming Smith's death on racism went viral, reiterated by news & entertainment media, e.g., Edward Albee's 1960 play, The Death of Bessie Smith • the myth continues to circulate
• Dr. Hugh Smith's 1971 eyewitness account of accident, audio (43:01) • video: Blues Legend Bessie Smith's only film appearance, 1929 2-reel short, St. Louis Blues (15:47) — singing begins at 6:49 • The Death of Bessie Smith by Chris Albertson, author of 1972 bio, Bessie • Who Killed Bessie Smith? -American Blues Scene • Chris Albertson interview -Jerry Jazz Musician
• Broadway Rastus, Bessie Smith's last engagement, was vaudeville review created in 1915 by black actor/writer/producer/director Irwin C. Miller (1884-1975) • lead character Rastus "Broadway" King, always scheming to make easy money, played by Miller in blackface • versions of show ran through 1928, occasionally performed for white audiences
• "They proved that that a first-class colored show can get by in the South. The people are good-looking and young, have good wardrobe on and off, and their ability is second to none; in fact the company could give pointers to many attractions that have played the city this season. The show is in two acts and sixteen scenes, all of which is provided with especially-bui)t scenery. A cast of forty people makes up the company, and it includes... Irvin C. Miller himself." -A. Jackson, 1921 review of Broadway Rastus New Orleans performance in Billboard magazine
• Broadway Rastus purchased by Fayetteville, NC producer Emerson Stowe Winstead (1893-1943), owner of Winstead's Mighty Minstrels (1931-1955) • performers from show appeared in 1947 film, Pitch a Boogie Woogie • poster • video: The Making Of... (58:47) — movie begins at 16:22 • list of entertainers who appeared in blackface
• Bessie Smith performed in Winstead's minstrel show in early 30s • returned to star in his fateful 1937 edition of Broadway Rastus • contract said to have been for $700/wk + 5% of gate
• 7000 fans attended Bessie Smith's funeral • though she had been highest paid black enterainer of the day, estranged husband, security guard Jack Gee, said to have allowed grave to go unmarked • in 1970, singer Janis Joplin — who idolized Smith — partnered with an NAACP official to provide a tombstone
• They say Bessie died because no hospital would take her, but that’s not right at all. They brought her here, right here, laid her up in the front room of the hospital. -Frank "Rat" Ratliff (1943 - 2013)
Adapt advocacy group, in front of Longworth Office Building, Monday Sept. 30th, the last day before the shutdown
20 year old Tokina 19-35 af lens on Canon 6D, via Fotodiox Pro extension tubes. Despite being a cheap lens not designed for close work, it delivers surprisingly good sharpness and overall IQ.
The Thing from Another World 1951
Watch the skies, everywhere! Keep looking. Keep watching the skies!
—Ned “Scotty” Scott
www.popscreen.com/v/7aMWr/The-Thing-from-Another-World Full Feature
www.youtube.com/v/T5xcVxkTZzM Trailer
This is one of the major classics of 50s sci fi movies. Released in April of 1951, it was the first full-length film to feature a flying saucer from outer space, which carried a hostile alien. The budget and the effects are typical B-grade stuff, but the acting and pacing are well above the usual B levels. Kenneth Toby and Margaret Sheriden star. James Arness (more known for his westerns) plays The Thing.
Howard Hawks' early foray into the science fiction genre took advantage of the anti-communist feelings of the time to help enhance the horror elements of the story. McCarthyism and the Korean War added fuel to the notion of Americans stalked by a force which was single of mind and "devoid of morality." But in the end, it is American soldiers and scientists who triumph over the evil force - or the monster in the case of this film. Even today, this is considered one of the best of the genre.
Film review by Jeff Flugel. June 2013
There's not a lot new or particularly insightful I can offer when it comes to discussing the seminal sci-fi flick, The Thing from Another World that hasn't been written about ad naseum elsewhere. One of the most famous and influential of all 1950s creature features, it kicked off more than a decade of alien invasion and bug-eyed monster movie mayhem, inspired a host of future filmmakers (one of whom, John Carpenter, would go on to direct his own version of the story in 1982), and remains one of the best-written and engaging films of its kind.
Loosely (and I do mean loosely) adapted from John W. Campbell's novella, "Who Goes There?," The Thing is legendary director Howard Hawks' lone foray into the science fiction/ horror genres, but it fits comfortably into his filmography, featuring as it does Hawks' favorite themes: a group of tough professionals doing their job with ease, good-humored banter and practiced finesse; a bit of romance with a gutsy dame who can easily hold her own with the boys; and lots of overlapping, razor-sharp dialogue. Featuring a script by Charles Lederer and an uncredited Ben Hecht, The Thing is easily the most spryly written and funniest of all 50s monster movies. In fact, it's this sharpness in the scripting, and the extremely likeable ensemble cast of characters, rather than the now-familiar story and somewhat unimaginative monster design, that makes the film still feel fresh and modern to this day.
There's likely few people out there reading this who don't know the story of The Thing like the back of their hand, but here goes...When an unidentified aircraft crashes close to a remote research station near the North Pole, Captain Pat Hendry (Kenneth Tobey, in the role of his career) and his squad are dispatched there to investigate. Dr. Carrington (Robert Cornthwaite) heads the scientific contingent there, and he informs Hendry that he thinks the downed craft is possibly "not of this earth." A joint team of soldiers and scientists head out to the crash site and find an actual, honest-to-goodness flying saucer lying buried under the ice.
The spaceship is destroyed while the men try to melt the ice around it with thermite bombs, but they find a lone, 8-foot-tall extraterrestrial occupant frozen nearby and bring the body back to the outpost in a block of ice. Dr. Carrington and his crew of eggheads want to study the thing, but Hendry is adamant that it should be kept as is until he gets word from his superior in Anchorage, General Fogerty. It wouldn't be a monster movie without something going pear-shaped, of course, and before you know it, a careless mistake results in the creature being thawed out of his iceberg coffin and going on a bit of a rampage, taking out a number of sled dogs and a few unsuspecting scientists along the way. The rest of the film details the tense battle between the surviving humans and the coldly intelligent, remorseless alien invader, which seems virtually unkillable, impregnable to cold, bullets and fire...
The set-up for the film, and how everything eventually plays out, might seem overly familiarly nowadays, but in 1951, this was cutting-edge stuff, at least in cinemas. The Thing plays as a veritable blueprint of how to make a compelling "alien monster-on-the-loose" movie. Howard Hawks not being particularly well-versed, or even interested in, science fiction per se likely worked to its benefit, as he ended up making, as he so often did in his other films, what is first-and-foremost a well-oiled entertainment, rather than simply a genre exercise.
Typical of a Hawks film, The Thing is meticulously designed, composed and shot, but in such a way as to appear offhand. Hawks almost never went in for showy camera angles or flashy effects. His technique was nearly invisible; he just got on with telling the story, in the most straightforward, unfussy way. But this easy, seemingly effortless style was very carefully considered, by a shrewd and knowing mind. As Bill Warren, author of one of the best (and certainly most encyclopedic) books about 1950s sci-fi filmmaking, Keep Watching the Skies, notes in his detailed analysis of the film:
As most good movies do, The Thing works in two areas: sight and sound. The locale is a cramped, tunnel-like base; the men are confined within, the Thing can move freely outdoors in the cold. Compositions are often crowded, with more people in the shot than seems comfortable, reinforcing the idea of confinement After the Thing escapes, only the alien itself is seen standing and moving alone.
This feeling of a cold, hostile environment outside the base is constantly reinforced throughout the film, and a real tension mounts when, towards the climax, the highly intelligent Thing, itself immune to the subzero arctic conditions, turns off the compound's heating, knowing the humans inside will quickly die without it. (The freaky, otherworldly theremin-flavored music by Dimitri Tiomkin adds a lot to the eerie atmosphere here.)
As groundbreaking and well-structured as the plot of The Thing was (and is), what makes the film play so well today is the great script and the interaction of a bunch of seasoned character actors, who toss off both exposition and pithy bon mots in such a low-key, believable manner. This is a truly ensemble movie, and the fact that it doesn't feature any big name stars really adds to the overall effect; no one really hogs all the limelight or gets the lion's share of good lines. Hawks was a director who usually worked with the biggest names in the business, but, much as in the earlier Air Force, he was equally at home working with a cast of rock-solid character actors.
All this talk of Howard Hawks as director, when it's actually Christian Nyby who is credited with the job, has long been a source of speculation with fans of the film. Todd McCarthy, in his bio Howard Hawks: The Grey Fox of Hollywood, seems to clear the issue up once and for all (though really, after viewing enough Hawks films, the results speak for themselves):
The perennial question surrounding The Thing From Another World has always been, Who actually directed it, Christian Nyby or Howard Hawks? The sum of participants' responses make the answer quite clear. Putting it most bluntly, (associate producer) Ed Lasker said "Chris Nyby didn't direct a thing. One day Howard was late and Chris said,'Why don't we get started? I know what the shot should be.' And I said, 'No, Chris, I think we'll wait until Howard gets here." Ken Tobey testified, "Chris Nyby directed one scene. Howard Hawks was there, but he let Chris direct one scene. We all rushed into a room, eight or ten of us, and we practically knocked each other over. No one knew what to do." Dewey Martin, Robert Cornthwaite and Richard Keinen all agreed that Hawks was the director, and Bill Self said, "Chris Nyby was a very nice, decent fellow, but he wasn't Howard Hawks."
Nyby had been Hawks' editor on a number of films, and Hawks apparently decided to help his collaborator establish a name for himself by allowing him directorial credit on the film. This seemingly altruistic gesture didn't mean that Hawks wasn't involved in virtually every aspect of the making of the film, however, and ultimately, The Thing did little for Nyby's directing career, at least on the big screen (he did go on to a long and busy career directing for numerous television programs, however.)
Bill Self was told at the time that Hawks didn't take directing credit on The Thing because it was planned as a low-budget film, one in which RKO didn't have much confidence. But, as critics have been saying ever since it was released, The Thing is a Howard Hawks film in everything but name. The opening scene of various members of the team bantering is so distilled as to be a virtual parody of Hawksian overlapping dialogue. Even more than Only Angels Have Wings, the picture presents a pristine example of a group operating resourcefully in a hermetically sealed environment in which everything in the outside world represents a grave threat. (3)
In addition to all the masculine camaraderie and spooky goings-on, one of the best aspects of The Thing is the fun, charming little tease of a romance between Capt. Hendry and Nikki (top-billed Margaret Sheridan). Nikki works as Prof. Carrington's assistant and is not merely the requisite "babe" in the film. True to the Hawksian norm, she's no pushover when it comes to trading insults with the men, nor a shrinking violet when up to her neck in perilous situations. Unlike most actresses in 50s monster movies, she doesn't utter a single scream in The Thing
and in fact, it's her practical suggestion which gives Bob, Hendry's ever-resourceful crew chief (Dewey Martin), the notion of how to finally kill the monster. Lederer and Hecht's screenplay hints at the backstory to Nikki and Pat's relationship in humorous and oblique ways, and their flirtation amidst all the chaos adds sparkle to the film but never gets in the way of the pace of the story. One nice little throwaway exchange near the finale encapsulates their verbal give-and-take, as Nikki playfully pokes the temporarily-befuddled Hendry, as his men scurry about, setting Bob's plan in motion.
Nikki: Looks as if the situation's well in hand.
Hendry: I've given all the orders I'm gonna give.
Nikki: If I thought that were true, I'd ask you to marry me.
Sheridan, a former model signed to a 5-year contract by Hawks, is quite good here, but after The Thing her career never really caught fire and she retired from acting a few years later. The closest thing to a star turn in the film is Kenneth Tobey as Capt. Hendry. Tobey racked up an impressive number of credits throughout his nearly 50-year-long career, generally as gruff, competent military men or similar types, and he was always good value, though it's as Capt. Hendry in The Thing that he truly shines. He consistently humanizes the no-nonsense, take charge man of action Hendry by displaying an easygoing approach to command. Most of Hendry's men call him by his first name, and delight in ribbing him about his budding romance with Nikki, and he responds to all this joshing in kind. When things get hairy, Tobey's Hendry doesn't have to bark his orders; it's clear that, despite the friendly banter, his men hold him in high esteem and leap to do his bidding at a moment's notice.
Many of the other members of the cast, while none of them ever became household names, will likely be recognizable from countless other roles in both film and television. Hawks gave Dewey Martin co-star billing in The Big Sky a few years later. Robert Cornthwaite kept busy for decades on stage and television, as well as in supporting roles in films such as Monkey Business, Kiss Me Deadly and Whatever Happened to Baby Jane? John Dierkes (Dr. Chapman) and Douglas Spencer (Scotty) both had juicy roles in the western classic Shane, as well as many other movies too numerous to name. Sharp-eyed viewers will also recognize Eduard Franz, Paul Frees (he of the famous voice) and Groucho Marx's right-hand man on You Bet Your Life, George Fenneman, in pivotal roles. And of course we mustn't forget 6' 7" James Arness (years before becoming renowned as Marshall Matt Dillon on Gunsmoke) as the hulking Thing.
A quick note on the "remake": John Carpenter's The Thing (1982), a bleak, grisly and brilliant take on the story, was a box-office dud when first released, but has since attained well-deserved status as a modern classic. While most fans seem divided into two camps - those who love the more restrained, old-fashioned thrills of the original, and those who prefer the more visceral, paranoiac Carpenter version - I happen to treasure both films equally and revisit each of them often. The Carpenter version is by far the gutsier, unsettling one, emphasizing as it does the "trust no one," shape-shifting "the alien is one of us" scenario imagined by John W. Campbell, but the Hawks' film is the most fun, with a far more likeable array of characters, working together to defeat an implacable menace. Each has its own clear merits. I wouldn't want to do without either film, and frankly see no need to choose one over the other.
"Every one of you listening to my voice...tell the world. Tell this to everybody, wherever they are: Watch the skies. Everywhere. Keep looking. Keep watching the skies.”
Acting Credits
Margaret Sheridan - Nikki Nicholson
Kenneth Tobey - Captain Patrick Hendrey
Robert Cornthwaite - Professor Carrington
Dewey Martin - Crew Chief
Douglas Spencer - Ned "Scotty" Scott
Eduard Franz - Dr Stern
Robert Nichols - Lieutenant Ken Erickson
William Self - Colonel Barnes
Sally Creighton - Mrs Chapman
John Dierkes - Dr. Chapman
James R. Young - Lieutenant Eddie Dykes
Norbert Schiller - Dr. Laurenz
William Neff - Olson
Allan Ray - Officer
Lee Tung Foo - Cook
Edmund Breon - Dr. Ambrose
George Fenneman - Dr. Redding
Tom Steele - Stuntman
James Arness - The Thing
Billy Curtis - The Thing While Shrinking
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.
Uganda People's Defense Force (UPDF) logisticians practice palletizing techniques during a hands-on segment of Uganda ADAPT 2010, a mentoring program conducted in Entebbe, Uganda, that resulted in certifying 25 soldiers as C-130 aircraft load planners.
U.S. Army photo by Gordon Christensen
A U.S. Army Africa (USARAF) organized Africa Deployment Assistance Partnership Team (ADAPT) recently trained, and for the first time ever, certified 25 soldiers of the Uganda People’s Defense Force (UPDF) as C-130 aircraft load planners in Entebbe, Uganda.
A five-person team, led by Gordon Christensen of Army Africa’s G-4 Mobility Division, completed Phase III training with UPDF soldiers Aug. 27 in Entebbe, Uganda, said John Hanson, chief of the G-4 Policy and Programs Branch.
“This was the first actual air load certification we’ve done, of all the previous ADAPT engagements,” Hanson said. “That’s what makes it unique.”
Two weeks of classroom instruction and hands-on training enabled 25 of 31 students to earn U.S. Air Force Air Mobility Command Form 9 certification, significantly augmenting the Uganda land force’s air deployment capability, while developing greater interoperability with U.S. military forces, Hanson said.
The ADAPT program, developed to enhance the force projection capabilities of African militaries, is managed by the USARAF G-4 staff. Its aim is to bridge the gap between limited deployment capacity and the need to provide forces in support of peacekeeping or humanitarian relief operations, Hanson said.
“We’re building capacity for people to deploy, to do their own missions,” he said.
Even when the training doesn’t lead to actual U.S. Air Force certification, as it did this time in Uganda, it contributes to an enhanced deployment capacity for the land force involved, Hanson said.
“That’s the intent. They can’t do the certification, but they can continue to train their own people. Then we back off and they continue to do that,” he said.
The program is a Title 22 tactical logistics engagement funded by the U.S. Department of State, and focuses on African countries that contribute troops to peacekeeping operations, Hanson said.
Training is executed in four installments in order to create a long-term, phased approach to building deployment capacity, Hanson said. Instructors take students from a general orientation to tactical deployment principles to an advanced level of practical proficiency.
Instructors for the UPDF course were sourced using the Request For Forces (RFF) process, Hanson said.
Christensen was accompanied U.S. Army Capt. Jedmund Greene of 21st Theater Support Command’s 16th Sustainment Brigade, based in Kaiserslautern, Germany, and three Air Force noncommissioned officers: Tech. Sgt. Venus Washington, Robbins Air Force Base, Ga.; Tech. Sgt. Byran Quinn, Pope Air Force Base, N.C.; and Senior Master Sgt. Anthony D. Tate of the Illinois Air National Guard.
“The training helped to strengthen the relationship with our Ugandan partners, and also helped them build a self-sustaining deployment capacity,” Greene said. “I hope 21st TSC can increase its support to USARAF logistics theater security cooperation events in the future.”
Army Africa’s G-4 staff is presently working to synchronize ADAPT with the Africa Contingency Operations Training and Assistance (ACOTA) program. A proof of concept joint training was conducted with ACOTA in Rwanda earlier this year, combining tactical- and support-staff training in logistics with the more complex operational techniques of force deployment and mobility, Hanson said.
The Rwanda training demonstrated the feasibility of combining available U.S. government resources to achieve the most efficient and focused effort to advance common foreign policy objectives with U.S. partners in Africa, he said.
To date, ADAPT missions have been funded for eight African countries. Previous training sessions have been conducted in Rwanda, Ghana and Burkina Faso as well as Uganda, and the number is likely to grow in coming years, Hanson said.
“The programs were identified as being of interest to several other countries during the Army Africa Theater Army Security Cooperation Conference, held in Vicenza in August,” Hanson said.
The next planned ADAPT mission is for Phase I training in Botswana, scheduled for the first quarter of 2011, he said.
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