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BREMERTON, Wash. (April 14, 2020) Mass Communication Specialist 1st Class Joyce D. Martin, a native of Cumming, Ga., stationed aboard Nimitz-class nuclear aircraft carrier USS Carl Vinson (CVN 70), and Peyton Jones, a Puget Sound Naval Shipyard & Intermediate Maintenance Facility (PSNS & IMF) employee, cut and organize reusable, cloth facemasks at PSNS & IMF. The masks are now mandated by a new Department of Defense COVID-19 protective measure requiring individuals to wear face coverings when within six feet of each other. Vinson Sailors are augmenting PSNS & IMF to mass produce masks for wear by the crew and personnel in the shipyard, with 10,000 kits that included two masks, instructions and a pen for labeling having been distributed to date. (U.S. Navy photo by Mass Communication Specialist 3rd Class Jalen D. Walton/Released)
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
The KOM League
Flash Report
For
Week July 23, 2017
This report is on Flickr at this site: www.flickr.com/photos/60428361@N07/35876146902/ There are two more photos of the guy in this photo in the report to which you can link.
More regarding Clifford Fowler
Last week the obituary for Clifford Fowler, of the 1946 Pittsburg Browns, was shared. Also, the team photo in which he appeared was the “Photo of the Week” on the Flickr site that also carried the Flash Report.
This past week I got to know the late Mr. Fowler a lot better. I delved into his life history, on Ancestry, and located some photos of him from the time he was around two years old until the latter years of his life. He served his country and was storming the beaches of Normandy during the invasion of Europe. Since I never located Fowler, in my attempt to track down every former KOM leaguer prior to their passing, I’m attaching two photos which can be viewed at the following sites: Take the time to look at them.
Fowler as catcher: www.flickr.com/photos/60428361@N07/36047175075/
Fowler with brother: www.flickr.com/photos/60428361@N07/35913032281/
You might wish to compare these photos with the one in last week’s report to see how he did or didn’t change, in appearance. www.flickr.com/photos/60428361@N07/35514299040/
Many former KOM leaguers weren’t in a team photo and there wasn’t any way I could ever locate others. Therefore, I have long wondered what some of the guys looked like. There is a way to find photos of some of the former players if you get shut inside due to the weather or health reasons. One way to find former players is to get into genealogy files where the person maintaining a family site includes photos. From there the method of capturing them isn’t too tough to discern. If you have a digital camera the battle is won.
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Death of 1949 Pittsburg Brown
Obituary
Eugene W. "Gene" Puetz, 86, of Hoffman Estates (Ill.), formerly of Huntley passed away on Monday evening, June 13, 2016 at Brookdale in Hoffman Estates.
Arrangements are pending with the James A. O'Connor Funeral Home in Huntley
Published in the Northwest Herald on June 15, 2016.
Eugene was born on March 23, 1930 (in Chicago) and passed away on Monday, June 13, 2016.
Eugene was a resident of Huntley, Illinois at the time of passing. Eugene was formerly from Chicago, Illinois. Eugene was married to Ruth.
Funeral Service will be held on Monday June 20 2016 at 12 Noon at Trinity Lutheran Church 11008 N Church St Huntley with Rev. Robert Hoffman officiating. A Private Burial will be at Mt. Emblem Cemetery in Elmhurst. Visitation will be prior to services from 10 to 12 pm. at the church.
Memorials in his name may be directed to St. Jude Children's Hospital at http:www.stjudes.org.
Ed comment:
The deceased was one of the 48 roster members of the 1949 Pittsburg, Kansas Browns where he played third base.
Puetz’s son, Garry, played on the 1983 Super Bowl champion Washington Redskin team. www.google.com/search?q=garry+puetz+football+coach&oq... Eugene was very proud of his son and in the early days of writing about the KOM league he shared a lot of stories with me about him. Due to the lack of communication I didn’t learn of his passing until 13 months after the fact.
Puetz was one of many guys who weren’t connected to the Internet and after I quit sending out the printed newsletter our communication came to an end.
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Gordyn Samuel “Buddy” Kirschner, 86, of Santa Fe, Texas, passed away Monday, May 15, 2017.
Obituary
www.crowderfuneralhome.com/obituaries/gordyn-samuel-buddy...
Buddy was born October 8, 1930, in Galveston, Texas. He graduated from Ball High School, Galveston, Texas in 1949, and pitched for two farm clubs associated with the Chicago Cubs, the Sioux Falls Canaries and the Carthage Cubs, before becoming a pipe fitter at Monsanto. He married his high school sweetheart, Pat Kirschner, in 1974, and remained devoted to her until her death in 2006.
In addition to working as a pipefitter, Buddy also enjoyed playing golf and officiating high school football games. He officiated many Ball High School games during the years he spent as an active participant of a well respected officiate team.
In his retirement, he became an expert at growing roses. People often stopped in front of his house to take pictures of his spectacular flowers and ask him for tips on how to produce such beautiful rose gardens.
He was also a devoted father and grandfather. He frequently opened his home to his various friends, children, grandchildren, great-grandchildren, and great-great-grandchildren as host to various birthday parties and fishing expeditions. His open-hearted hospitality and well-stocked pond provided many people with hours of entertainment.
He is preceded in death by his wife, Patricia G. Kirschner, son Gordyn Samuel “Bubba” Kirschner Jr., and James L. Gibbins, son-in-law.
Survivors include daughters Trish Gibbins and Valerie Simmons; sons Gary Wayne Kirschner and wife Sandy; Mike Martin and wife Gage; grandchildren: Stephanie Klein and family, Courtney Best, Gordyn Wayne Kirschner and family, Jennifer Kirschner, Zettie Kirschner, Zachary Kirschner, Blair Martin, Walton-Gray Martin, Daniel James Martin, Laura Simmons; great-grandchildren: Matthew Klein, Andrew Klein, Lindsey Cole, Macey Evans, Taylor McLin, Madison Mills, Brittany Kirschner, and Sebastian Kirschner; and great-great grandchild Hayes James Cole.
To all who knew him, Buddy represented a generosity of heart and spirit to which we all aspire and for which we are all forever grateful.
A Memorial Service will be held at 10:00 a.m. on Friday, May 19, 2017, at Crowder Funeral Home in Dickinson, Texas.
Ed comment:
In the December 4, 2016 of the Flash Report the finding of Robert Anson Grove was cited. He had been a member of the 1949 Ponca City Dodgers and he mentioned some of the fellows with whom he played baseball with, in 1948, at Galveston’s Ball High School. One of those named was Gordyn Kirschner. These are a few paragraphs from that report. Grove said that after the 1949 season he went back home and played some amateur baseball in his adopted hometown for a number of years. I had remembered, from earlier in the conversation of him mentioning playing on a “hot” Ball High School team in 1948. For the sake of conversation I asked if he remembered all of the fellows. The first he mentioned was Russell Rac. www.guidrynews.com/story.aspx?id=1000038254 That name jumped out at me for it seemed like he played big league ball for the Cardinals since I heard his name on Cardinal spring training broadcasts during a number of my formative years.
However, as the attached URL states Rac didn’t make it—but he should have. Here is another URL for Rac. bill37mccurdy.com/2011/11/15/ex-buff-russell-rac-dead-at-81/
Going on with his memories Grove recalled one of the pitchers he caught during his high school years was Gordyn Kirschner. If any of you don’t know who Kirschner is/was, you didn’t read or don’t recall last week’s Flash Report. He was the young man who is listed among the 36-man roster of the 1949 Carthage Cubs. At this juncture in the conversation I had now identified Grove, Rac and Kirschner as members of that 1948 high school team. At that point it was time to do some independent research and very quickly I found the name of James Harvey “Chick” Plowman who also played at Ball High School at that time. He signed with the St. Louis Browns and caught at Pittsburg, Kansas during the 1950 season. There is no way to check anything with Plowman for he died on February, 25, 2009 in Hitchcock, Texas. As with most conversations with former players their children are mentioned. Grove said that he and his daughter were very gifted at tennis and won many doubles tournaments. He said that lasted until someone came along and told her that she had a great voice. That she did. Never have I been able to share anything on the subject of opera but Grove’s daughter Jill, is one of the top performers in her craft.
jillgrovemezzo.com/reviews.html
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Edwin Elwin Blow
May 25, 1950—Iola Register
Earl Sifers, president also announced newly added to the Indian roster is Edwin Blow, a 20 -year-old, 6-foot4-inch righthanded pitcher from Manchester, Conn. He was recommended by an Indian contact in the East
Blow pitched against Carthage May 28, 1950. First inning struck out one, gave up three bases on balls, hit Duane Zimmer with a pitch and gave up two hits and five runs. He faced two batters in the second inning before being taken from the game. That is the only appearance I found on him. On May 31, the roster was cut and he wasn’t even on with the team, at that point. I did locate him back in 2012 living in The Villages, Florida and learned he was born November 17, 1929 in Barre, Vermont. He beat me into this world by 10 years and 10 days. Gotta’ keep up with the guys that close to my age.
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Son remembers his dad
John, on the anniversary of my father’s 94th birthday, I got to thinking. Here’s what came out. Do with it as you feel fit. Bruce May—Parma, Ohio
I grew up in the Cleveland suburb of Parma back in the 50’s and 60’s. It was a two bedroom bungalow that looked pretty much like every other house bought on a GI Loan. A quarter acre lot consisting of house, driveway, three feet of grass, repeat, repeat, repeat. Every house on the street looked like every other house on the street, indeed every other house in town.
But it was the strip of driveway and grass that advanced my baseball career. I would get a rubber ball and bounce it off the side of our house. Line drives hit the house a little lower, high pops hit near the top of the second floor. For hours I would play catch with the house.
Soon enough I imagined great victories for the Cleveland Indians as Al Kaline’s drives just made it to the warning track, while Leon “Daddy Wags” Wagner hit home run after home run. The problem arose from the neighbor’s house intercepting the ball before I did. Especially their two basement windows facing our house.
So of course, during one particularly difficult World Series 7th game, I missed the catch and broke the neighbor’s window. They, Russian immigrants, were way more benevolent than I would have imagined. Perhaps having stared down German machine gun fire puts a certain perspective on a broken window.
My father was less conciliatory when he arrived home from work, but in a less strident mood when he realized dinner could be had before setting out to fix the window. After dinner we walked to the local hardware store and bought a pane of glass. Thus began my first lesson in repairing a broken window.
Next season though, another broken window, another walk to the store, and one more lesson in window repair. After yet one more broken window, my father got wily and bought six panes of glass that he kept stored in the garage. The next broken window, a grand slam by Woody Held, I went and fixed the window myself. I’m not sure the neighbors even knew it had been broken. I know my father didn’t.
But over the years cars and girls, not necessarily in that order, started to slice into my driveway ball playing and I never broke another window again. Years later when my parents were getting ready to move into a senior apartment, I was helping clean out the garage, and there were four perfectly shaped pieces of glass just waiting for another ball to break the neighbor’s window. The Russian couple long gone and my old house soon to have new occupants, I wasn’t sure what to do with the panes. I took them to the new neighbors and hoped they would be as understanding with any new little boys moving in next door to them. I had long ago learned one lesson on repairing windows, but I had also learned a lesson about little boys and what’s really important. Bruce May, son of Wilbert May, 1946 KOM Veteran.:
Ed comment:
Wilbert Roy May was born May 11, 1922 in Cleveland, Ohio and joined the Carthage Cardinals at the close of WW II, for the 1946 season He was a good left handed pitcher who posted a 4-2 record before a sore arm ended his career. He passed away November 4, 2001 in Medina, Ohio. A few years ago his son, Bruce, was located and has been reading and sharing these Flash Reports with members of his family, scattered hither and yon. He claims they enjoy reading them.
Thanks go out to Bruce who has gotten into the spirit of helping this time-worn internet report by submitting a great memory about his youth.
**
Actually, I really liked the rundown of the 1946 Pittsburgh Browns. It was informative and entertaining to me. Jerry Hogan. Fayetteville, AR
Ed reply:
You liked it because of Jerry Baker. Baker had a brother at U of A at that time. The family moved from Cassville, MO to Fayetteville when the boys went to college. I didn’t mention it in last week’s report but Baker also attended college, for a short time, at Pittsburg, Kansas. That school had more former KOM league members attend it than any other institution of higher learning.
**
From the widow of the late Conrad Swensson
As I have likely told you before, those baseball memories stayed with Connie longer than almost everything else. Only a couple of months before he died, he was demonstrating to me how to hold the ball to throw a curve. Although he always recognized me and even called my name on his way into that hip replacement surgery, he should have known that I would not be a good pitching student. If you have trouble locating the article—and if you are interested in reading it—let me know so I can send you a copy. Jackie E. Swensson
Ed comment:
Conrad Swensson was one of the top pitchers in KOM history and set the record for the lowest earned run average, in 1949. Jackie had gotten in touch due to a story appearing in the Denver Post on July 16th. She volunteered to send the article if I couldn’t access it through the Internet. Thanks to the miracle of that media I was able to get hold of it. However, I appreciate being alerted to such things by the readership. If you want to view some of the images from that newspaper go to: www.denverpost.com/2017/07/14/trinidad-triggers-baseball-...
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Help from a real writer
One of the best newspapers of the KOM era was the Iola Register. I still check that source in the old newspaper files that are contained on-line. Shortly, after the KOM league folded Bob Johnson left Pittsburg State University and headed north to begin his career in the newspaper business. Today, he is the Editor of the Iola Register and takes time out of his busy week to read the KOM Flash Reports.
It is my belief he has a sense of pity on those who have to endure the KOM reports and decided to help the old batboy come up with a better product. When it was stated in last week’s report that the story on the 1946 Pittsburg Browns was probably overkill he responded with “No overkill in my opinion. I enjoy all of what you write, but then I'm from that era and find myself often living there more than I do in the present.” So, here is his contribution to this week’s report.
My view: ‘For love of the game’—Bob Johnson-Iola Register
When I first became interested in baseball, along about the time the Philadelphia Athletics became the Kansas City A’s in 1955, if you were a serious fan you didn’t need a scorecard to know who played for whom.
Every kid who followed baseball could rattle for the lineups of most American League teams — man NL, too — and knew KC bench players and pitchers as well as they knew their own name.
Stalwarts of the game — Mantle, Williams, Aaron, Mays, et al — were untouchable in the trade market, and seldom did many other players change teams. They were bound, right or wrong, in a sort of involuntary servitude. The teams owned them, body and soul.
That changed in 1969 when the Cardinals’ Curt Flood challenged the reserve clause, which prevented players from switching teams at their behest. His claim, which won court support, was the reserve clause violated antitrust laws and the 13th Amendment, which did away with slavery.
That opened the gate to free agency and, with certain concessions to teams for having signed and developed players, soon had many moving to the highest bidder.
No one with a wit of fairness in their system would question an employee’s right to accept the highest bid for their services.
The second thing that has occurred over the years that wasn’t true when I spent night after night glued to a tiny transistor radio listening to the Athletics lose yet another game is the influx of Latin players.
That has been good for the game. No one would disagree Salvy Perez is at the top of the class in K.C. Not only is he a fan favorite, he also is talented almost beyond belief.
But, here’s the problem in modern-day baseball. No longer do I know from one season to season, often one month to next, who the Royals or another team will field for a given game. It drives me nuts trying to keep track who is playing where. This sure isn’t meant to be a racist comment, but Latin names also sometimes leave me bewildered. Perez and Martinez is easy, but how in the world do you pronounce Rougned Odor, of Ranger fame.
I suspect most fans don’t get as deep into the game as I do, and with the financial aspects, as well as drug-enhanced performances that hit the news a few years ago, I find it harder just to enjoy the great American game. Same is true, by the way, of Jayhawk basketball. I just get to know (by way of TV coverage) the players, when they jump ship for the NBA. I suppose, as James Carville would say, it’s about the money, stupid. For a kid of the ’50s that’s too bad.
Ed comment:
Readers can go to this site on Saturday morning July 22 and read this same article on-line. www.iolaregister.com/
After reading it you can send an e-mail to Mr. Johnson. Do it and let him know the breadth or lack of circulation of this Flash Report.
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Universal issue
Long ago I learned not to accept obituaries as the “last word” regarding the life of the deceased. Many times I’ve read the chronicles of the life of a recently departed only to find some items were fiction and not much of a resemblance to any fact.
This past week my attention was directed toward an obituary of a person with whom I was acquainted as a youth. Another friend, still vertical, pointed out that the fellow had claimed to have played in a rather popular country/western band during his life. The instrument on which he allegedly played, for the famous band, was also the same one my vertical friend played all throughout his youth, and very well, I might add.
Some research was done to validate the claims of the dearly departed and there was no way in a million years did he play for that famous band that backed the late Buck Owens-- The Buckaroos. www.google.com/webhp?authuser=1#safe=active&authuser=...
In fact, the instrument that the deceased claimed to have played with the Buckaroos was played by a guy who used to attend KOM baseball games, at Carthage, with his father and three brothers. The musical family, to whom I refer is/was Albert E. Brumley and his sons; Bob, Al Jr. and Tom. www.google.com/webhp?authuser=1#safe=active&authuser=... Al and Bob are the survivors of that extremely talented family and they both have had access to the KOM publications/news for many years. Al Jr. even played some of his father’s songs at a KOM reunion in Bartlesville, OK, in 2002, and also did some pickin’ and singin’ at the event where Your’s truly was honored, in 1999, with a plaque on the entrance to the Carthage stadium.
Do people make claims to great feats of the past out of wishing they were so or do they tell the story so many times they tend to think it is true? It is also possible that when people get to be a certain age they assume they can say anything and get by with it for no one else is around to dispute what they have to say. Maybe that is the position this editor is in at his advanced stage of inhaling/exhaling. That is why each reader should look closely at each report and let me know when I mess up. Can anyone say “Gilbert Flauto?”
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That’s it for now. Let me know what you know so that more people will know what you know.
Il est question de notre communication et de nature ... dans les deux cas on s'en eloigne ... putain ce qu'on est lent ...
Love tap communication games Weekly My maid – Android & iOS apps – Freehttps://play.google.com/store/apps/details?id=tokyo.seec.MyMaid&hl=enhttps://itunes.apple.com/app/lian-aitappukomyunikeshongemu/id1054256307&l=en
New genre story unfolds in the tap “love tap...
jp-apps-dl.net/2016/03/14/love-tap-communication-games-we...
Adazi Training Area, LATVIA – An Estonian Soldier conducts a radio check with a Soldier from the United Kingdom during the ongoing simulation battle between multinational forces during a situational training exercise deliberate defense lane here, June 12, 2014. Saber Strike 2014 is a joint, multi-national military exercise scheduled for June 9- 20. The exercise spans multiple locations in Lithuania, Latvia and Estonia, and involves approximately 4,700 personnel from 10 countries. The exercise is designed to promote regional stability, strengthen international military partnerships, enhance multinational interoperability and prepare participants for worldwide contingency operations. (U.S. Army Europe photo by Spc. Joshua Leonard)
Title / Titre :
Carrier pigeon used for emergency communication by bush pilots /
Pigeon voyageur utilisé pour les communications urgentes par les pilotes de brousse
Creator(s) / Créateur(s) : Unknown / Inconnu
Date(s) : Unknown / Inconnu
Reference No. / Numéro de référence : ITEM 3722640
central.bac-lac.gc.ca/.redirect?app=fonandcol&id=3722...
Location / Lieu : Unknown / Inconnu
Credit / Mention de source :
Library and Archives Canada, e006079072 /
Bibliothèque et Archives Canada, e006079072
This is where it all starts. The Cell phone store.
No place like a large city to see just how many people have cell phones.
Kids at school have cells, people at work have cells, every one driving a car has a cell phone.
Who doesn’t have a cell phone??
So this is the way we communicate with each other. And judging by the amount of people I see using them there must be a lot of really important communication going on.
LAUSANNE - SWITZERLAND - 15th January 2020: Communication Commission at Olympic House in Lausanne.
Photograph by Greg Martin/IOC
Hybrid Knowledge Spaces is the title of the Ars Electronica Garden Dresden hosted by Industrial Design Engineering TU Dresden (DE), Communication Networks TU Dresden (DE), Schaufler Lab TU Dresden (DE), Deutsches Hygiene Museum Dresden (DE).
The TU Dresden garden offers new perspectives on the technological and social implications of our digital age. How can we shift our designs to a more humanity-centered approach in a post-pandemic world? With respect to the need for sustainable societies, we may intertwine digital and analogue spaces to experience others and share knowledge in an open, immersive and ecological way. Technologically, this development will be accelerated by the next-generation communication tech: 6G. With decreased latency and extremely fast data processing, the interface solutions connecting humans to machines will increase in importance and be accessible to more and more people around the globe. The democratization of knowledge and skills goes hand in hand with a diversification of interface systems according to the different knowledge systems used. Whereas databases need a visual representation, skills such as playing the piano require haptic feedback to support learning. Additionally, interfaces need to be diversified, not just with respect to group status but even more so on an individual level. This raises questions for designers about the personal and, perhaps, the cultural implications of their work.
The program contains a Demo Show and Panel Talk called "From Digital Pianists to Democratizing Skills".
Photo: Tina Bobbe
Irony in the streets of Melbourne: a busker representative of the Australian first people with amplified didgeridoo opposite a silent Quaker vigil for the same peoples. © Henk Graalman
由台灣三峽老街圓孔蓋上的圖騰發想，藉由中國傳統剪紙藝術的表現手法，與台灣三個著名產茶區域～南投凍頂、嘉義阿里山及台北三峽的在地特色與茶文化元素相結合，將台灣茶文化產業特色做最精采、最深刻的文化傳遞。
1.嘉義阿里山烏龍茶—
台灣嘉義阿里山，除了產高山烏龍茶以外，更是台灣著名觀光景點，如神木、雲海、梅花．．等，以這些獨特的景物為背景，再加上中國茶具傳統典雅的品茶蓋杯為前景，均以剪紙藝術的方式呈現，刻劃出每個物件的圖像細節、意境及地名；左上角的品名設計「阿里山茶」，運用中國瓦當的設計元素，將品名置入瓦當之中，整體藉由剪紙藝術、瓦當、蓋杯、景物描繪出特有的常民飲茶文化。
2.台北三峽碧螺春綠茶—
台北三峽為著名的碧螺春綠茶產地，也是近年興起的台北近郊旅遊景點，以該地區著名地標「三峽大橋」為背景，配上裝飾花紋的大茶壺、茶葉、扇形及地名，都是以剪紙藝術的方式呈現；在大茶壺的壺口處，以雲形圖代表剛泡好茶的熱氣，慢慢上升環繞於「三峽大橋」成為飄渺的茶香雲霧；並以中國印章的表現方式，將「碧螺春綠茶」放入長形印章之中，以剪紙、印章、大茶壺及「三峽大橋」著名地標，呈現出獨特的在地性。
3.南投凍頂烏龍茶—
台灣南投以生產凍頂烏龍茶為盛名，該地區臨近中央山脈，生態自然資源豐富，所以用剪紙的方式呈現花朵、植物、鳥類、山坡茶園、茶葉及地名，並試圖以採茶用的茶簍子，以及以中國方形印章呈現的「凍頂烏龍茶」品名 ，展現出在地的茶品文化特質。
DRAWSKO POMORSKIE TRAINING AREA, Poland--Polish army Brig. Gen. Andrzej Tuz, commander, 12th Mechanized Brigade and director, land forces component for Exercise Steadfast Jazz 2013, speaks with Master Sgt. Solomon King, an observer-controller from the U.S. 7th Army Joint Multinational Training Command during Exercise Steadfast Jazz here Nov. 4.
The U.S. Army is supporting Steadfast Jazz 13 with participation from the 173d IBCT(A), one of U.S. Army Europe’s forward-based combat brigades and the 1st Heavy Brigade Combat Team, 1st Cavalry Division, the U.S.-based ground force contribution to NATO Response Force 2014. Collectively, these forces represent the reinvigoration of U.S. participation in the NRF and the enduring U.S. commitment to NATO, Europe, and regional stability and prosperity. (U.S. Army photo by Sgt. A.M. LaVey/173 ABN PAO
A man and a woman examining a rotary telephone in an office. There is an ash tray on the table and paper pinned to the wall.
One of a series of negatives and photographs taken by an unidentified employee of the Northern Electric (later Nortel) plant on Sidney Street in Belleville, Ontario.
Given to Robert House and donated by him to the Community Archives in July 2019.
Silhouette of the Monjuïc Communications Tower, against the background of the Garraf shortly before sunset.
See more Barcelona and travel images over at transienteye.com
The Communication Technology Satellite was launched from NASA's Kennedy Space Center, Florida, on January 17, 1976 and operated until 1979. This high-powered spacecraft was the result of a five-year effort of international cooperation between NASA and Canada's Department of Communications. Canada designed and built the spacecraft and NASA tested, launched, and operated the CTS. The Canadians later renamed the spacecraft after the mythical Greek messenger god, Hermes. The CTS is the second satellite designed to transmit high-quality color television.
Credit: NASA
Image Number: 75-H-1112
Date: December 16, 1975
URL: User Requirements with Lego, a methodology to elicit user requirements for online communication applications.
Developped at Università della Svizzera italiana.
Based on Lego Serious Play.
Further details at www.webatelier.net/url