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.

Yatming

No. 1088

Verzamelbeurs, Houten

(date = date of purchase)

Meet Bisexual Women In Local Area. Enjoy Dating Together. Join Now!-BisexualWomen.org

Date: May 24, 2016

 

Location: Leonardo, NJ

 

Ohmsett periodically hosts an Oil Spill Response and Strategies Training Course administered by the Texas A&M University National Spill Control School. As part of the course’s curriculum, students observe and employ different oil spill recovery techniques and equipment. This picture shows an oil spill in the test tank being herded towards a weir skimmer for removal.

 

Photo by: BSEE

📆 2019-10-05➡️WPM 1ª Div.🏆Liga RFEN📍Piscina: Can Roses 🔛: @cnrubi 🆚 @ -cnsf_oficial @timeoutsports.cat @sports_of_our_world - Photo:©️J.Arnau/@atelierphoto.cat - ⚪️🔵🔴 - 🔛 L'enllaç a les fotos ho podeu veure a la bio. El enlace a todas las fotos en la bio. Link to all photos in the bio. -

Date: April 11, 2023

Photo by Jason Halstead

2022-23 MWHSHL Excellence and Leadership Awards Evening at Canad Inns Polo Park

Date: 24th August, 2019

Time: 4 to 10 PM SLT

Who can participate: Open to all club members, bike designers and custom builders of bikes.

Prizes: Custom built bike from CG Productions, cash prizes and much more for Winners.

 

Grab the application at the following landmark. Fill and send it to sirencliodhna.

 

Your ride: maps.secondlife.com/secondlife/Soul%20Siren/104/195/21

my grandmother's backyard through dining room window (1970s?)

 

most likely taken on an sx-70 by my grandfather

original polaroid, scanned

"Yellow Signal: New Media in China" Opening Reception.

 

Photographer: Michael R. Barrick, Morris and Helen Belkin Art Gallery

Date Shot: April 26, 2012

Processing: Michael R. Barrick, Morris and Helen Belkin Art Gallery

Location: Morris and Helen Belkin Art Gallery

University of British Columbia

1825 Main Mall

Vancouver, British Columbia

Show Info:

 

Yellow Signal: New Media in China

Geng Jianyi, Huang Ran, Zhang Peili

April 27 – August 19, 2012

 

Opening reception: Thursday, April 26, 2012, 8 – 10 pm

Artist's talk: Artist Zhang Peili with Curator Zheng Shengtian

Saturday, April 28, 2012, 1:30 - 3 pm

Works of art in this exhibition are also presented at:

Walter C. Koerner Library

May 11 - August 19, 2012

  

The Morris and Helen Belkin Art Gallery is pleased to present the work of Geng Jianyi, Huang Ran, and Zhang Peili as part of the city-wide project, Yellow Signal: New Media in China. Initiated by Centre A: Vancouver International Centre for Contemporary Asian Art, this series of exhibitions and programs is the first comprehensive presentation of contemporary Chinese new media and video art in Canada. It showcases a selection of leading new media works by internationally acclaimed Chinese artists.

 

This project is compelling for its portrayal of current political circumstances faced by many artists in China. “Yellow Signal is a metaphor for the communal state of ambiguity in Asian countries,” explains Zheng Shengtian, BC-based artist, curator, and internationally recognized scholar and expert on contemporary Chinese art. He further explains, “Yellow Signal is about limitation and possibility, choice and chance, confusion and self-confidence. Feelings that many Asian artists experience, but that artists everywhere may also relate to in their creative practice.”

  

Huang Ran

This exhibition features a video by Huang Ran titled Blithe Tragedy (2010), a work that questions the relationship between beauty and horror and the power of images. The video presents scenes of intense struggle, emotion, and violence. At the same time, the attention to detail in the costumes, the slowly tracked footage, and the editing of the scenes create highly aesthetic, beautiful imagery that draw the viewer into complex, open-ended narratives. The viewer is prompted to wonder about the power of the visual, despite its obvious fantastical or beautiful elements, to obscure the underlying realities of the narratives and of contemporary society.

 

Huang Ran (b. 1982) is one of the most interesting young artists to emerge in China. Since graduating from Goldsmiths College, University of London (2007), he has participated in many international group and solo exhibitions. In 2011, Huang received the Credit Suisse Today Art Award from the Today Art Museum in Beijing. Huang Ran lives and works in London and Beijing.

  

Geng Jianyi

Presented at the Belkin Art Gallery and Walter C. Koerner Library, Excessive Transition (2008) by Geng Jianyi is a series of large and small black-and-white photographs of everyday objects from the artist’s life. Geng uses techniques to create semi-transparent, abstract, and eerie subtle effects that have been equated with ideas about the withdrawal of the individual. He also employs methods such as mark-making and frottage to manipulate the idea of what is evidenced in photographs. Though Geng’s work is not easily defined, Excessive Transition follows his concerns of self-effacement and the dissolution and disappearance of identity in a culture that is undergoing change.

 

Geng Jianyi (b. 1962) is a foundational figure in contemporary Chinese art and was part of the artistic collective known as Chi She (Pool Association) and a major participant in the ’85 New Wave Movement. Using a wide range of media, his work is often known for its stark simplicity and concerns about personal identity and individuality in the context of a larger collective.

  

Zhang Peili

Zhang Peili’s large-scale, multimedia installation A Gust of Wind (2008) is a meditation on the unpredictable forces that threaten ideas of the stability of middle-class domestic life. We see a living room in ruin and the process of its destruction is seen from multiple perspectives on large video screens. It starts with a curtain that flutters in a breeze that steadily swells into a crescendo and tears apart the interior, toppling the shelves and upending the furniture until eventually the roof collapses. A Gust of Wind brings up ideas about the life cycle of disaster and renewal and the fickle nature of economic progress.

 

Considered the most important video artist in China, Zhang Peili (b. 1957) was a member of the ’85 New Wave Movement and his work has been concerned with prompting emotional responses from the viewer as a way to generate many interpretations. He is known for the use of lengthy stationary shots that focus on acts that are seemingly devoid of any particular significance and on repetitive human gestures that are often taken for granted. Recently, Zhang’s interest has been to distort the messages of war and propaganda film by editing found footage of dying communist heroes and celebration ceremonies.

 

—-

 

Yellow Signal: New Media in China is initiated by Centre A: Vancouver International Centre for Contemporary Asian Art and Zheng Shengtian, in collaboration with Charles H. Scott Gallery at Emily Carr University, Morris and Helen Belkin Art Gallery, Pacific Cinémathèque, Republic Gallery, Surrey Art Gallery, and the Vancouver Art Gallery.

 

We thank Walter C. Koerner Library at the University of British Columbia for participating in this exhibition.

 

A special issue of Yishu: Journal of Contemporary Asian Art will accompany the project Yellow Signal: New Media in China. It will include images of the works in the exhibitions, essays, and interviews by Daina Augaitus, Britta Erickson, Diana Frendl, Gao Shiming, Alice Ming Wai Jim, Barbara London, Karen Smith, and Zheng Shengtian.

 

We gratefully acknowledge the generous support of JNBY Art Projects, the Canada Council for the Arts, and our Belkin Curator’s Forum members.

Taken outside the Vibe bar a few weeks ago of a guy who brought his date out for lunch and a beer perhaps???

Date - 30/07/13

Location - Dundonald International Ice Bowl, Belfast

Sport - Ice Hockey

Teams - Windsor 45s vs New York City Fire Dept

Winners - New York City Fire Dept

Division 2

 

Photographer - Stephen Lyons

 

date stamped on slide January 1978

3 Marijuana Dating App

420 dating apps and sites for people who love having the existence of a thirdparty, Mary Jane, within their connection.420 dating apps is really cool invention since it means you get to be on a date and join more than something that you know you’re likely to...

 

www.intimate4adults.com/nudist-dating/

He is looking for a single cro-magnon(or earlier) woman who has a good sense of humor and likes kids.

Date: July 30, 2018

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It is that time of year, prom preparations are well under way. Dresses are being bought, matching shoes are being selected, hair appointments are being scheduled and waiting to be asked by the dream date has begun. The "promposal" is an important part of the event and the question is - how will he do it? One creative (dare I say romantic) young man had these cookies to help him win her over!

 

P.S. She said yes!

Date: May 11, 2018

Date: 23-09-2016

location: Ali Bahar tea garden Banglao, Pathantula,Sylhet.

Click: Rayhan Ahamd

Fuji DL-200 Date

 

Fujinon lens 2.8/32mm

 

Auto Focus

DX

Pre-winding

Drop in loading

Online dating is the fastest growing method for singles who are looking for compatible partners. Whether a person is in their 20’s and just looking for someone to “hang out with” or is older and seeks a “serious relationship”, online dating is the preferred method of millions of people.

Rihanna date with Lewis Hamilton: Lewis Hamilton and Rihanna are dating. Sources tell to The Sun that the two have met each other a number of times in secret. So the racing driver (30) and the 27-year-old singer recently have dined in a New York restaurant. Then they are according to the British ...

 

celebbee.com/rihanna-date-with-lewis-hamilton/

Photographs of palm trees on The English Riviera's beautiful and flourishing micro-climate.

 

Found this new date palm today planted near the Grand Hotel. Its clearly singed and thats not from the weather here so who knows where its come from? Its a great new addition to the seafront and a departure from chusan/windmill palms that the Mayor has been planting lately. There's been around seven or eight date palms planted on this street in the last 18 months this one been the largest the others are still young. It makes me think it might have been grown indoors or abroad because it wouldn't have leaves that delicate grown outside in the UK they would be much thicker.

Date Tree Phoenix Sunset

date stamped on slide February 1971

Title: General southerly view of underpass etc. from Savin Hill station platform

Creator: Boston Transit Commission

Date: 1927 July 5

Source: Transit Department photograph collection, 8300.002

File name: 8300002_002__302

Rights: Copyright City of Boston

Citation: Transit Department photographs, Collection 8300.002, City of Boston Archives, Boston

Manchester Ship Canal (Hudswell Clarke 641/1902) 0-6-0T No 23 at Mode Wheel locomotive sheds, Weaste, Salford - date unknown.

 

© 2013 - 53A Models of Hull Collection. Scanned by me from the original 120 format monochrome negative.

 

- - - - - -

Jogjakarta, Desember 2014.

 

Fujifilm Zoom Date f2.8 | Fuji C200

Date: October 5, 2011

Resolution: 3888 x 2592

Blackhawk Inn Overlooking Lake, Valparaiso, Ind.

 

Date: Circa 1935

Source Type: Postcard

Publisher, Printer, Photographer: Unknown

Postmark: Unknown

Collection: Timothy Cole

Remark: As early as 1876, John McQuiston owned all the land located along the east side of Flint Lake. Much of McQuiston's land was later sold to A. W. Lytle, and as early as 1895 the site was being referred to as Sheridan Beach. Edgewater Beach, located on the north shore of Flint Lake, was immediately adjacent to Sheridan Beach. The hotel at the beach was constructed in 1905; it was sold along with 47 acres of property to a retired manufacturer from Chicago name Sigmund Freund in 1906. Freund soon added running water and electricity to the resort. The resort was later purchased from Freund by the Kilmer-Fraiser Company on July 4, 1925, and the resort was renamed Blackhawk Beach Summer Resort. The resort was once again upgraded to include a roller skating facility, picnic grounds, a toboggan slide, and concession stands. The hotel was razed in 1957.

 

Copyright 2003. Some rights reserved. The associated text may not be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of Steven R. Shook.

date party 4/23

My cousin's Save the Date wedding e-card

 

Blogged! www.wedgienet.net/weblog/save-the-date/

Catalog #: 09_00209

Title: Capt. Forrest Blalock Special Collection Photo Picture is signed, ""To my good friend, Major Blalock. From. Chesty {illegible} Lt. Colonel, ""Air Corps, 1 May 44

Date: 4/1/1944

Additional Information: Signed Portrait,

Tags: Capt. Forrest Blalock Special Collection Photo Picture is signed, ""To my good friend, Major Blalock. From. Chesty {illegible} Lt. Colonel, ""Air Corps, 1 May 44, 16163

Repository: San Diego Air and Space Museum Archive

Date - 31/07/13

Location - Odyssey Arena, Belfast

Sport - Ice Hockey

Teams - Montreal Fire Dept vs Russian Police

Winners - Russian Police

  

Photographer - Ryan Wilson

Bain News Service,, publisher.

 

Sir Chas. Wyndham as "Capt. Dudley Smooth".

 

1911 June 1 (date created or published later by Bain)

 

1 negative : glass ; 5 x 7 in. or smaller.

 

Notes:

Title and date from data provided by the Bain News Service on the negative.

Photo shows English actor Sir Charles Wyndham (1837-1919). (Source: Flickr Commons project, 2010)

Forms part of: George Grantham Bain Collection (Library of Congress).

 

Subjects:

Theatrical

 

Format: Glass negatives.

 

Rights Info: No known restrictions on publication.

 

Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print

 

General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain

 

Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.09264

 

Call Number: LC-B2- 2204-9

  

DATE:April 14 1951 D:When Princess Elizabeth visit orphanage in Rome,the 6 years old Luigi presents the bouquet to Princess.Princess visit "Don Bosco"orphanage /original photo

The 1st of April 2014 was not only the 40th anniversary of Greater Manchester Police and the Metropolitan Borough of Rochdale but also the date of the passing out parade of the first of Rochdale’s Volunteer Police Cadets.

 

The ceremony took place at the borough’s historic town hall.

 

The Mayor of Rochdale, Cllr Peter Rush presented the cadets with certificated and their official berets. Rochdale’s police commander, Chief Superintendent Chris Sykes and Police and Deputy Crime Commissioner, Jim Battle also attended the event along with friends and families of the cadets.

 

About the GMP Volunteer Cadets:

 

In 2012, Sir Peter Fahy, the Chief Constable of Greater Manchester Police, pledged to create a new Volunteer Police Cadet Scheme for young people in the region.

 

The scheme, developed by Sergeant Jane Butler and Youth Strategy Officer PC Andrew Marsden, is aimed at 13- 17 year-olds and provides a programme of weekly Cadet nights filled with activity, information and – hopefully – some fun.

 

The aims of the scheme include:

 

•Promoting and encouraging a practical interest in policing among young people,

 

•Providing training which will encourage positive leadership within communities which will include volunteering opportunities,

 

•Encouraging a spirit of adventure and developing qualities of leadership and good citizenship. Cadets will be given the opportunity to obtain a Duke of Edinburgh Award, First Aid qualification etc.

 

Cadets units will be based in areas where there is currently little to occupy local youngsters.

 

Volunteers will have to apply, stating their reasons for wanting to be part of the scheme and will be encouraged to remain with the scheme for as long as they can. On reaching the end of their time as a cadet, they will be given with advice on careers and business, help with CVs and information about any opportunities to remain with the Force.

  

Cadets are currently completing a "probationary" period and have so far experienced drill, physical exercise classes and advice on subjects such as the effective and safe use of social media.

 

Further items on the curriculum are lessons on the law, public order awareness, phonetics and radio use, problem solving … and more drill!

 

A uniform will be worn but only issued on completion of a successful probationary period.

 

The scheme's team leaders are also volunteers and include schools based officers, PCSO's, special constables and university students, all contributing their own time to run each cadet night.

 

To build number of successful schemes across the region we are looking for help. Anyone interested in becoming a volunteer team leader and can demonstrate a commitment and desire to "change hearts and minds" can contact Sergeant Jane Butler at volunteerpolicecadets@gmp.police.uk.

 

To find out more about Greater Manchester Police please visit our website.

www.gmp.police.uk

 

You should call 101, the new national non-emergency number, to report crime and other concerns that do not require an emergency response.

 

Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.

 

You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.

 

Date: June 21, 2020

Location: Patuxent Research Refuge--South Tract (National Wildlife Visitor Center) - Laurel, Maryland (Prince George's County)

Get online chating and dating app now to show your asian love. It’s enjoyable, exciting, unrestricted and easy to use. You will experience new and different people all around the world. Visit: alove.co/

date stamped on slide January 1975

So Mr. E and some articles online inspired me to try my hand at some Through the Viewfinder shots. I bought a Kodak Duaflex I on Ebay and put together a halfass box to block out the light and tried shooting some pictures. I don't have a macro lens on my camera so that will be my next purchase...do these things always require an extraordinarily large amount of light or is just the fact that I'm not using a macro lens?

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