What is a portrait?

 

From the very first pictured pictures on wet plates by nineteenth - century photography pioneers to the latest images recorded as digital files on the computer, people have always been the most popular subject for photography. For amateurs, the most common reason for taking out their cameras is to record for posterity, both the individuals who are important to them, and the special moments of their life. In the world of professional photography, portraits represent a significant proportion of commissioned work.

 

But what do we mean by a “portrait?” One English-language dictionary defines it as a “likeness of an individual, specially of the face.” But while that definition is certainly one with which many would agree, it doesn’t really do justice to the multitude of ways in which people can be portrayed in a picture.

 

Lighting Matters

 

If you don’t have much time then sophisticated lighting setups are obviously out. Setting up a single umbrella or a softbox is relatively quick procedure. Once you’ve use it a couple of times and if you maintain the same distance, you may not even need to take a meter reading, since the camera settings will be in mind already. Keeping it simple has another advantage. The result looks clean and contemporary. Style change and picture date. You need only a glance at a picture for hair light, for instance, to see immediately that it’s old-fashioned.

 

Another reason for simple approach is that one light is also surprisingly versatile, depending on where you place it in relation to the subject, and whether or not you add a reflector to soften the shadow. With two lights you have more control over ratios, but also run the risk of over lighting the subject. Tried and tested setups include one above the camera and one below for “beauty lighting” and either side of the camera at 45 degrees for even coverage. Naturally there will be times when you want to use more than 2 lights, but think carefully about what each light is contributing to the finished picture. If it adds nothing, don’t use it.

 

Sometimes, though, you don’t need to add any additional lighting at all because the ambient illumination is perfect. Both indoor and outdoor daylight have many moods, and with a bit of help from a poly board, they can give you a quality that’s hard to reproduce artificially.

 

Making Light Works

understanding, measuring, and using light to create exciting and memorable images

 

Light is the single most important element in any picture. You try taking a picture without any! And the way you use light that often makes the difference between success and failure. You can have the most attractive or interesting model in the world, get your focus right and exposure perfectly, but if the lighting’s not good you can forget it. However, it’s astonishing how few photographers pay any real attention to light. Even professionals can be so eager to press the shutter release and get the shot in the bag, they don’t really think about how to make the light work for them. Getting to know light, and being able to use it creatively, are essential skills for any photographer. One of the best ways of developing and deepening that understanding is to monitor the many moods of daylight. You might find yourself noticing how beautiful the light is on the shady side of a building , or coming in through a small window, or dappled by a foliage of a tree. The most amazing thing about light is its sheer diversity; sometimes harsh, sometimes soft; sometimes neutral, sometimes pinkish or blue.

 

More doesn’t mean better

 

Taking picture is easy when there’s lots of light. You’re free to choose whatever combination of shutter speed and aperture you like without worry about camera shake or subject movement.

 

But don’t be confuse quantity with quality. He blinding you’ll find outdoor at noon on a sunny day or bursting out of a bare studio head maybe intense, but it’s far from ideal for most kind of photography. More evocative results are generally achieved when light is modified in some ways, with overall levels often much lower.

 

Controlling the contrast

 

For some situations and subjects you will want light that is hard and contrasty, with strong, distinct shadows and crisp, sharp highlights. Outdoor when it’s sunny, the shadows are darker and shorter around noon, and softer and longer when it’s earlier and later in the day. Contrasty lighting can result in strong, vivid images. However, the long tonal range you get in such conditions can be difficult to capture either digitally or in film. Care must be taken when shooting in such light so that no important detail is lost in light or dark areas.

 

The kind of strong contrast treatment is not always appropriate or suitable, however, and for many subjects and situations a light with a more limited tonal range that gives softer result may work better. Where you want to show the maximum amount of detail, or create a mood of lightness and airiness, with minimum of shadows, the soft lighting of an overcast day or a large softbox is unbeatable. The degree of contrast also depends on the direction from which the light is coming in every picture you are using light to reveal something about the subject (texture, forms, shapes, weight, color, or even translucency). So look carefully at what you are going to photograph, and consider what you want to convey about the subject, then start to organize the illumination accordingly.

  

Here are some of our shots and the lighting setup we did for them

Climax: May 1959

Illustration by Bud Parke

another shot from yesterdays trip ,a flock of waders take flight . like the way this sensor works on a large picture good overall definition .

 

what i mean is the camera was only set at f8 ,centre focus point ,yet i have sharp birds on either side of the picture ,this is a full width picture with just top and bottom empty spaces cropped out

  

Doel feels and looks like a ghost town, eerie and desolate. But at the same time, that's the beauty of it.

I'd wish I am new Ed van der Elsken, but I'm not. Nor she is Vali Myers.

Hello there. Relevant comments welcome but please do NOT post any link(s).

For The Dictionary of Image group.

www.facebook.com/annafederowiczfot

 

Flåm is a village in Aurland municipality in Vestland county. Flåm lies deep in the Aurlandsfjorden .

 

Flåm has 257 inhabitants (SSB, 2022), and mostly consists of scattered wooden buildings. Through the Flåmsdalen flows the Flåmselvi , which originates from the Omnsbreen north of the Hardangerjøkulen. According to Statistics Norway's definition, the conurbation is 0.4 km 2 .

 

The author Per Sivle was born in Flåm on a farm near Flåm church . There is a memorial to Sivle.

 

Commercial activities

In 2016, Flåm received 240,000 cruise passengers on day visits, which makes the place one of Norway's largest cruise ports. Some of the world's largest cruise ships have been in Flåm, such as "Queen Mary 2" and "Independence of The Seas" .

 

In 2017, it was reported that 1.4 million tourists visit Flåm in the course of a year, 90% of these are foreign and 40% from Asia. In 2017, over 250,000 visitors came by cruise ship. For 2018, 153 cruise ship calls with at least the same number of passengers have been reported. In 2018, it was estimated that over 1 million visited Flåm during the year. The tourism industry then had a turnover of around NOK 700 million, up from NOK 80 million in 1998. On some days, the large number of tourists has created congestion and it is being discussed whether it can withstand a larger scale.

 

Infrastructure

Flåm is particularly famous for the Flåm Railway , which runs between Flåm by the fjord and Myrdal station on the Bergen Railway . Flåmsbana is known for its steep ascent. It rises from 2 m. Flåm station to 870 m above sea level. Myrdal station at 17 kilometers. There is a rise of 5.1%, the maximum rise is south of Dalsbotn, 5.5%. [ needs reference ] From the course there is a view of Flåmsdalen. At Berekvam station there are crossing tracks where the trains from Flåm and Myrdal can cross each other. The train makes a stop at Kjosfossen .

 

Famous people and demonym

Flåm is also the birthplace of the Norwegian poet and writer Per Sivle .

 

Norway , officially the Kingdom of Norway , is a Nordic , European country and an independent state in the west of the Scandinavian Peninsula . Geographically speaking, the country is long and narrow, and on the elongated coast towards the North Atlantic are Norway's well-known fjords . The Kingdom of Norway includes the main country (the mainland with adjacent islands within the baseline ), Jan Mayen and Svalbard . With these two Arctic areas, Norway covers a land area of ​​385,000 km² and has a population of approximately 5.5 million (2023). Mainland Norway borders Sweden in the east , Finland and Russia in the northeast .

 

Norway is a parliamentary democracy and constitutional monarchy , where Harald V has been king and head of state since 1991 , and Jonas Gahr Støre ( Ap ) has been prime minister since 2021 . Norway is a unitary state , with two administrative levels below the state: counties and municipalities . The Sami part of the population has, through the Sami Parliament and the Finnmark Act , to a certain extent self-government and influence over traditionally Sami areas. Although Norway has rejected membership of the European Union through two referendums , through the EEA Agreement Norway has close ties with the Union, and through NATO with the United States . Norway is a significant contributor to the United Nations (UN), and has participated with soldiers in several foreign operations mandated by the UN. Norway is among the states that have participated from the founding of the UN , NATO , the Council of Europe , the OSCE and the Nordic Council , and in addition to these is a member of the EEA , the World Trade Organization , the Organization for Economic Co-operation and Development and is part of the Schengen area .

 

Norway is rich in many natural resources such as oil , gas , minerals , timber , seafood , fresh water and hydropower . Since the beginning of the 20th century, these natural conditions have given the country the opportunity for an increase in wealth that few other countries can now enjoy, and Norwegians have the second highest average income in the world, measured in GDP per capita, as of 2022. The petroleum industry accounts for around 14% of Norway's gross domestic product as of 2018. Norway is the world's largest producer of oil and gas per capita outside the Middle East. However, the number of employees linked to this industry fell from approx. 232,000 in 2013 to 207,000 in 2015.

 

In Norway, these natural resources have been managed for socially beneficial purposes. The country maintains a welfare model in line with the other Nordic countries. Important service areas such as health and higher education are state-funded, and the country has an extensive welfare system for its citizens. Public expenditure in 2018 is approx. 50% of GDP, and the majority of these expenses are related to education, healthcare, social security and welfare. Since 2001 and until 2021, when the country took second place, the UN has ranked Norway as the world's best country to live in . From 2010, Norway is also ranked at the top of the EIU's democracy index . Norway ranks third on the UN's World Happiness Report for the years 2016–2018, behind Finland and Denmark , a report published in March 2019.

 

The majority of the population is Nordic. In the last couple of years, immigration has accounted for more than half of population growth. The five largest minority groups are Norwegian-Poles , Lithuanians , Norwegian-Swedes , Norwegian-Syrians including Syrian Kurds and Norwegian-Pakistani .

 

Norway's national day is 17 May, on this day in 1814 the Norwegian Constitution was dated and signed by the presidency of the National Assembly at Eidsvoll . It is stipulated in the law of 26 April 1947 that 17 May are national public holidays. The Sami national day is 6 February. "Yes, we love this country" is Norway's national anthem, the song was written in 1859 by Bjørnstjerne Bjørnson (1832–1910).

 

Norway's history of human settlement goes back at least 10,000 years, to the Late Paleolithic , the first period of the Stone Age . Archaeological finds of settlements along the entire Norwegian coast have so far been dated back to 10,400 before present (BP), the oldest find is today considered to be a settlement at Pauler in Brunlanes , Vestfold .

For a period these settlements were considered to be the remains of settlers from Doggerland , an area which today lies beneath the North Sea , but which was once a land bridge connecting today's British Isles with Danish Jutland . But the archaeologists who study the initial phase of the settlement in what is today Norway reckon that the first people who came here followed the coast along what is today Bohuslân. That they arrived in some form of boat is absolutely certain, and there is much evidence that they could easily move over large distances.

 

Since the last Ice Age, there has been continuous settlement in Norway. It cannot be ruled out that people lived in Norway during the interglacial period , but no trace of such a population or settlement has been found.

 

The Stone Age lasted a long time; half of the time that our country has been populated. There are no written accounts of what life was like back then. The knowledge we have has been painstakingly collected through investigations of places where people have stayed and left behind objects that we can understand have been processed by human hands. This field of knowledge is called archaeology . The archaeologists interpret their findings and the history of the surrounding landscape. In our country, the uplift after the Ice Age is fundamental. The history of the settlements at Pauler is no more than fifteen years old.

 

The Fosna culture settled parts of Norway sometime between 10,000–8,000 BC. (see Stone Age in Norway ). The dating of rock carvings is set to Neolithic times (in Norway between 4000 BC to 1700 BC) and show activities typical of hunters and gatherers .

 

Agriculture with livestock and arable farming was introduced in the Neolithic. Swad farming where the farmers move when the field does not produce the expected yield.

 

More permanent and persistent farm settlements developed in the Bronze Age (1700 BC to 500 BC) and the Iron Age . The earliest runes have been found on an arrowhead dated to around 200 BC. Many more inscriptions are dated to around 800, and a number of petty kingdoms developed during these centuries. In prehistoric times, there were no fixed national borders in the Nordic countries and Norway did not exist as a state. The population in Norway probably fell to year 0.

 

Events in this time period, the centuries before the year 1000, are glimpsed in written sources. Although the sagas were written down in the 13th century, many hundreds of years later, they provide a glimpse into what was already a distant past. The story of the fimbul winter gives us a historical picture of something that happened and which in our time, with the help of dendrochronology , can be interpreted as a natural disaster in the year 536, created by a volcanic eruption in El Salvador .

 

In the period between 800 and 1066 there was a significant expansion and it is referred to as the Viking Age . During this period, Norwegians, as Swedes and Danes also did, traveled abroad in longships with sails as explorers, traders, settlers and as Vikings (raiders and pirates ). By the middle of the 11th century, the Norwegian kingship had been firmly established, building its right as descendants of Harald Hårfagre and then as heirs of Olav the Holy . The Norwegian kings, and their subjects, now professed Christianity . In the time around Håkon Håkonsson , in the time after the civil war , there was a small renaissance in Norway with extensive literary activity and diplomatic activity with Europe. The black dew came to Norway in 1349 and killed around half of the population. The entire state apparatus and Norway then entered a period of decline.

 

Between 1396 and 1536, Norway was part of the Kalmar Union , and from 1536 until 1814 Norway had been reduced to a tributary part of Denmark , named as the Personal Union of Denmark-Norway . This staff union entered into an alliance with Napoléon Bonaparte with a war that brought bad times and famine in 1812 . In 1814, Denmark-Norway lost the Anglophone Wars , part of the Napoleonic Wars , and the Danish king was forced to cede Norway to the king of Sweden in the Treaty of Kiel on 14 January of that year. After a Norwegian attempt at independence, Norway was forced into a loose union with Sweden, but where Norway was allowed to create its own constitution, the Constitution of 1814 . In this period, Norwegian, romantic national feeling flourished, and the Norwegians tried to develop and establish their own national self-worth. The union with Sweden was broken in 1905 after it had been threatened with war, and Norway became an independent kingdom with its own monarch, Haakon VII .

 

Norway remained neutral during the First World War , and at the outbreak of the Second World War, Norway again declared itself neutral, but was invaded by National Socialist Germany on 9 April 1940 .

 

Norway became a member of the Western defense alliance NATO in 1949 . Two attempts to join the EU were voted down in referendums by small margins in 1972 and 1994 . Norway has been a close ally of the United States in the post-war period. Large discoveries of oil and natural gas in the North Sea at the end of the 1960s led to tremendous economic growth in the country, which is still ongoing. Traditional industries such as fishing are also part of Norway's economy.

 

Stone Age (before 1700 BC)

When most of the ice disappeared, vegetation spread over the landscape and due to a warm climate around 2000-3000 BC. the forest grew much taller than in modern times. Land uplift after the ice age led to a number of fjords becoming lakes and dry land. The first people probably came from the south along the coast of the Kattegat and overland into Finnmark from the east. The first people probably lived by gathering, hunting and trapping. A good number of Stone Age settlements have been found which show that such hunting and trapping people stayed for a long time in the same place or returned to the same place regularly. Large amounts of gnawed bones show that they lived on, among other things, reindeer, elk, small game and fish.

 

Flintstone was imported from Denmark and apart from small natural deposits along the southern coast, all flintstone in Norway is transported by people. At Espevær, greenstone was quarried for tools in the Stone Age, and greenstone tools from Espevær have been found over large parts of Western Norway. Around 2000-3000 BC the usual farm animals such as cows and sheep were introduced to Norway. Livestock probably meant a fundamental change in society in that part of the people had to be permanent residents or live a semi-nomadic life. Livestock farming may also have led to conflict with hunters.

 

The oldest traces of people in what is today Norway have been found at Pauler , a farm in Brunlanes in Larvik municipality in Vestfold . In 2007 and 2008, the farm has given its name to a number of Stone Age settlements that have been excavated and examined by archaeologists from the Cultural History Museum at UiO. The investigations have been carried out in connection with the new route for the E18 motorway west of Farris. The oldest settlement, located more than 127 m above sea level, is dated to be about 10,400 years old (uncalibrated, more than 11,000 years in real calendar years). From here, the ice sheet was perhaps visible when people settled here. This locality has been named Pauler I, and is today considered to be the oldest confirmed human traces in Norway to date. The place is in the mountains above the Pauler tunnel on the E18 between Larvik and Porsgrunn . The pioneer settlement is a term archaeologists have adopted for the oldest settlement. The archaeologists have speculated about where they came from, the first people in what is today Norway. It has been suggested that they could come by boat or perhaps across the ice from Doggerland or the North Sea, but there is now a large consensus that they came north along what is today the Bohuslän coast. The Fosna culture , the Komsa culture and the Nøstvet culture are the traditional terms for hunting cultures from the Stone Age. One thing is certain - getting to the water was something they mastered, the first people in our country. Therefore, within a short time they were able to use our entire long coast.

 

In the New Stone Age (4000 BC–1700 BC) there is a theory that a new people immigrated to the country, the so-called Stone Ax People . Rock carvings from this period show motifs from hunting and fishing , which were still important industries. From this period, a megalithic tomb has been found in Østfold .

It is uncertain whether there were organized societies or state-like associations in the Stone Age in Norway. Findings from settlements indicate that many lived together and that this was probably more than one family so that it was a slightly larger, organized herd.

 

Finnmark

In prehistoric times, animal husbandry and agriculture were of little economic importance in Finnmark. Livelihoods in Finnmark were mainly based on fish, gathering, hunting and trapping, and eventually domestic reindeer herding became widespread in the Middle Ages. Archaeological finds from the Stone Age have been referred to as the Komsa culture and comprise around 5,000 years of settlement. Finnmark probably got its first settlement around 8000 BC. It is believed that the coastal areas became ice-free 11,000 years BC and the fjord areas around 9,000 years BC. after which willows, grass, heather, birch and pine came into being. Finnmarksvidda was covered by pine forest around 6000 BC. After the Ice Age, the land rose around 80 meters in the inner fjord areas (Alta, Tana, Varanger). Due to ice melting in the polar region, the sea rose in the period 6400–3800 BC. and in areas with little land elevation, some settlements from the first part of the Stone Age were flooded. On Sørøya, the net sea level rise was 12 to 14 meters and many residential areas were flooded.

 

According to Bjørnar Olsen , there are many indications of a connection between the oldest settlement in Western Norway (the " Fosnakulturen ") and that in Finnmark, but it is uncertain in which direction the settlement took place. In the earliest part of the Stone Age, settlement in Finnmark was probably concentrated in the coastal areas, and these only reflected a lifestyle with great mobility and no permanent dwellings. The inner regions, such as Pasvik, were probably used seasonally. The archaeologically proven settlements from the Stone Age in inner Finnmark and Troms are linked to lakes and large watercourses. The oldest petroglyphs in Alta are usually dated to 4200 BC, that is, the Neolithic . Bjørnar Olsen believes that the oldest can be up to 2,000 years older than this.

 

From around 4000 BC a slow deforestation of Finnmark began and around 1800 BC the vegetation distribution was roughly the same as in modern times. The change in vegetation may have increased the distance between the reindeer's summer and winter grazing. The uplift continued slowly from around 4000 BC. at the same time as sea level rise stopped.

 

According to Gutorm Gjessing, the settlement in Finnmark and large parts of northern Norway in the Neolithic was semi-nomadic with movement between four seasonal settlements (following the pattern of life in Sami siida in historical times): On the outer coast in summer (fishing and seal catching) and inland in winter (hunting for reindeer, elk and bear). Povl Simonsen believed instead that the winter residence was in the inner fjord area in a village-like sod house settlement. Bjørnar Olsen believes that at the end of the Stone Age there was a relatively settled population along the coast, while inland there was less settlement and a more mobile lifestyle.

 

Bronze Age (1700 BC–500 BC)

Bronze was used for tools in Norway from around 1500 BC. Bronze is a mixture of tin and copper , and these metals were introduced because they were not mined in the country at the time. Bronze is believed to have been a relatively expensive material. The Bronze Age in Norway can be divided into two phases:

 

Early Bronze Age (1700–1100 BC)

Younger Bronze Age (1100–500 BC)

For the prehistoric (unwritten) era, there is limited knowledge about social conditions and possible state formations. From the Bronze Age, there are large burial mounds of stone piles along the coast of Vestfold and Agder, among others. It is likely that only chieftains or other great men could erect such grave monuments and there was probably some form of organized society linked to these. In the Bronze Age, society was more organized and stratified than in the Stone Age. Then a rich class of chieftains emerged who had close connections with southern Scandinavia. The settlements became more permanent and people adopted horses and ard . They acquired bronze status symbols, lived in longhouses and people were buried in large burial mounds . Petroglyphs from the Bronze Age indicate that humans practiced solar cultivation.

 

Finnmark

In the last millennium BC the climate became cooler and the pine forest disappears from the coast; pine forests, for example, were only found in the innermost part of the Altafjord, while the outer coast was almost treeless. Around the year 0, the limit for birch forest was south of Kirkenes. Animals with forest habitats (elk, bear and beaver) disappeared and the reindeer probably established their annual migration routes sometime at that time. In the period 1800–900 BC there were significantly more settlements in and utilization of the hinterland was particularly noticeable on Finnmarksvidda. From around 1800 BC until year 0 there was a significant increase in contact between Finnmark and areas in the east including Karelia (where metals were produced including copper) and central and eastern Russia. The youngest petroglyphs in Alta show far more boats than the earlier phases and the boats are reminiscent of types depicted in petroglyphs in southern Scandinavia. It is unclear what influence southern Scandinavian societies had as far north as Alta before the year 0. Many of the cultural features that are considered typical Sami in modern times were created or consolidated in the last millennium BC, this applies, among other things, to the custom of burying in brick chambers in stone urns. The Mortensnes burial ground may have been used for 2000 years until around 1600 AD.

 

Iron Age (c. 500 BC–c. 1050 AD)

 

The Einangsteinen is one of the oldest Norwegian runestones; it is from the 4th century

 

Simultaneous production of Vikings

Around 500 years BC the researchers reckon that the Bronze Age will be replaced by the Iron Age as iron takes over as the most important material for weapons and tools. Bronze, wood and stone were still used. Iron was cheaper than bronze, easier to work than flint , and could be used for many purposes; iron probably became common property. Iron could, among other things, be used to make solid and sharp axes which made it much easier to fell trees. In the Iron Age, gold and silver were also used partly for decoration and partly as means of payment. It is unknown which language was used in Norway before our era. From around the year 0 until around the year 800, everyone in Scandinavia (except the Sami) spoke Old Norse , a North Germanic language. Subsequently, several different languages ​​developed in this area that were only partially mutually intelligible. The Iron Age is divided into several periods:

 

Early Iron Age

Pre-Roman Iron Age (c. 500 BC–c. 0)

Roman Iron Age (c. 0–c. AD 400)

Migration period (approx. 400–600). In the migration period (approx. 400–600), new peoples came to Norway, and ruins of fortress buildings etc. are interpreted as signs that there has been talk of a violent invasion.

Younger Iron Age

Merovingian period (500–800)

 

The Viking Age (793–1066)

Norwegian Vikings go on plundering expeditions and trade voyages around the coastal countries of Western Europe . Large groups of Norwegians emigrate to the British Isles , Iceland and Greenland . Harald Hårfagre starts a unification process of Norway late in the 8th century , which was completed by Harald Hardråde in the 1060s . The country was Christianized under the kings Olav Tryggvason , fell in the battle of Svolder ( 1000 ) and Olav Haraldsson (the saint), fell in the battle of Stiklestad in 1030 .

 

Sources of prehistoric times

Shrinking glaciers in the high mountains, including in Jotunheimen and Breheimen , have from around the year 2000 uncovered objects from the Viking Age and earlier. These are objects of organic material that have been preserved by the ice and that elsewhere in nature are broken down in a few months. The finds are getting older as the melting makes the archaeologists go deeper into the ice. About half of all archaeological discoveries on glaciers in the world are made in Oppland . In 2013, a 3,400-year-old shoe and a robe from the year 300 were found. Finds at Lomseggen in Lom published in 2020 revealed, among other things, well-preserved horseshoes used on a mountain pass. Many hundreds of items include preserved clothing, knives, whisks, mittens, leather shoes, wooden chests and horse equipment. A piece of cloth dated to the year 1000 has preserved its original colour. In 2014, a wooden ski from around the year 700 was found in Reinheimen . The ski is 172 cm long and 14 cm wide, with preserved binding of leather and wicker.

 

Pytheas from Massalia is the oldest known account of what was probably the coast of Norway, perhaps somewhere on the coast of Møre. Pytheas visited Britannia around 325 BC. and traveled further north to a country by the "Ice Sea". Pytheas described the short summer night and the midnight sun farther north. He wrote, among other things, that people there made a drink from grain and honey. Caesar wrote in his work about the Gallic campaign about the Germanic tribe Haruders. Other Roman sources around the year 0 mention the land of the Cimbri (Jutland) and the Cimbri headlands ( Skagen ) and that the sources stated that Cimbri and Charyds lived in this area. Some of these peoples may have immigrated to Norway and there become known as hordes (as in Hordaland). Sources from the Mediterranean area referred to the islands of Scandia, Scandinavia and Thule ("the outermost of all islands"). The Roman historian Tacitus wrote around the year 100 a work about Germania and mentioned the people of Scandia, the Sviones. Ptolemy wrote around the year 150 that the Kharudes (Hordes) lived further north than all the Cimbri, in the north lived the Finnoi (Finns or Sami) and in the south the Gutai (Goths). The Nordic countries and Norway were outside the Roman Empire , which dominated Europe at the time. The Gothic-born historian Jordanes wrote in the 5th century about 13 tribes or people groups in Norway, including raumaricii (probably Romerike ), ragnaricii ( Ranrike ) and finni or skretefinni (skrid finner or ski finner, i.e. Sami) as well as a number of unclear groups. Prokopios wrote at the same time about Thule north of the land of the Danes and Slavs, Thule was ten times as big as Britannia and the largest of all the islands. In Thule, the sun was up 40 days straight in the summer. After the migration period , southern Europeans' accounts of northern Europe became fuller and more reliable.

 

Settlement in prehistoric times

Norway has around 50,000 farms with their own names. Farm names have persisted for a long time, over 1000 years, perhaps as much as 2000 years. The name researchers have arranged different types of farm names chronologically, which provides a basis for determining when the place was used by people or received a permanent settlement. Uncompounded landscape names such as Haug, Eid, Vik and Berg are believed to be the oldest. Archaeological traces indicate that some areas have been inhabited earlier than assumed from the farm name. Burial mounds also indicate permanent settlement. For example, the burial ground at Svartelva in Løten was used from around the year 0 to the year 1000 when Christianity took over. The first farmers probably used large areas for inland and outland, and new farms were probably established based on some "mother farms". Names such as By (or Bø) show that it is an old place of residence. From the older Iron Age, names with -heim (a common Germanic word meaning place of residence) and -stad tell of settlement, while -vin and -land tell of the use of the place. Farm names in -heim are often found as -um , -eim or -em as in Lerum and Seim, there are often large farms in the center of the village. New farm names with -city and -country were also established in the Viking Age . The first farmers probably used the best areas. The largest burial grounds, the oldest archaeological finds and the oldest farm names are found where the arable land is richest and most spacious.

 

It is unclear whether the settlement expansion in Roman times, migrations and the Iron Age is due to immigration or internal development and population growth. Among other things, it is difficult to demonstrate where in Europe the immigrants have come from. The permanent residents had both fields (where grain was grown) and livestock that grazed in the open fields, but it is uncertain which of these was more important. Population growth from around the year 200 led to more utilization of open land, for example in the form of settlements in the mountains. During the migration period, it also seems that in parts of the country it became common to have cluster gardens or a form of village settlement.

 

Norwegian expansion northwards

From around the year 200, there was a certain migration by sea from Rogaland and Hordaland to Nordland and Sør-Troms. Those who moved settled down as a settled Iron Age population and became dominant over the original population which may have been Sami . The immigrant Norwegians, Bumen , farmed with livestock that were fed inside in the winter as well as some grain cultivation and fishing. The northern border of the Norwegians' settlement was originally at the Toppsundet near Harstad and around the year 500 there was a Norwegian settlement to Malangsgapet. That was as far north as it was possible to grow grain at the time. Malangen was considered the border between Hålogaland and Finnmork until around 1400 . Further into the Viking Age and the Middle Ages, there was immigration and settlement of Norwegian speakers along the coast north of Malangen. Around the year 800, Norwegians lived along the entire outer coast to Vannøy . The Norwegians partly copied Sami livelihoods such as whaling, fur hunting and reindeer husbandry. It was probably this area between Malangen and Vannøy that was Ottar from the Hålogaland area. In the Viking Age, there were also some Norwegian settlements further north and east. East of the North Cape are the scattered archaeological finds of Norwegian settlement in the Viking Age. There are Norwegian names for fjords and islands from the Viking Age, including fjord names with "-anger". Around the year 1050, there were Norwegian settlements on the outer coast of Western Finnmark. Traders and tax collectors traveled even further.

 

North of Malangen there were Norse farming settlements in the Iron Age. Malangen was considered Finnmark's western border until 1300. There are some archaeological traces of Norse activity around the coast from Tromsø to Kirkenes in the Viking Age. Around Tromsø, the research indicates a Norse/Sami mixed culture on the coast.

 

From the year 1100 and the next 200–300 years, there are no traces of Norwegian settlement north and east of Tromsø. It is uncertain whether this is due to depopulation, whether it is because the Norwegians further north were not Christianized or because there were no churches north of Lenvik or Tromsø . Norwegian settlement in the far north appears from sources from the 14th century. In the Hanseatic period , the settlement was developed into large areas specialized in commercial fishing, while earlier (in the Viking Age) there had been farms with a combination of fishing and agriculture. In 1307 , a fortress and the first church east of Tromsø were built in Vardø . Vardø became a small Norwegian town, while Vadsø remained Sami. Norwegian settlements and churches appeared along the outermost coast in the Middle Ages. After the Reformation, perhaps as a result of a decline in fish stocks or fish prices, there were Norwegian settlements in the inner fjord areas such as Lebesby in Laksefjord. Some fishing villages at the far end of the coast were abandoned for good. In the interior of Finnmark, there was no national border for a long time and Kautokeino and Karasjok were joint Norwegian-Swedish areas with strong Swedish influence. The border with Finland was established in 1751 and with Russia in 1826.

 

On a Swedish map from 1626, Norway's border is indicated at Malangen, while Sweden with this map showed a desire to control the Sami area which had been a common area.

 

The term Northern Norway only came into use at the end of the 19th century and administratively the area was referred to as Tromsø Diocese when Tromsø became a bishopric in 1840. There had been different designations previously: Hålogaland originally included only Helgeland and when Norse settlement spread north in the Viking Age and the Middle Ages, Hålogaland was used for the area north approximately to Malangen , while Finnmark or "Finnmarken", "the land of the Sami", lay outside. The term Northern Norway was coined at a cafe table in Kristiania in 1884 by members of the Nordlændingernes Forening and was first commonly used in the interwar period as it eventually supplanted "Hålogaland".

 

State formation

The battle in Hafrsfjord in the year 872 has long been regarded as the day when Norway became a kingdom. The year of the battle is uncertain (may have been 10-20 years later). The whole of Norway was not united in that battle: the process had begun earlier and continued a couple of hundred years later. This means that the geographical area became subject to a political authority and became a political unit. The geographical area was perceived as an area as it is known, among other things, from Ottar from Hålogaland's account for King Alfred of Wessex around the year 880. Ottar described "the land of the Norwegians" as very long and narrow, and it was narrowest in the far north. East of the wasteland in the south lay Sveoland and in the north lay Kvenaland in the east. When Ottar sailed south along the land from his home ( Malangen ) to Skiringssal, he always had Norway ("Nordveg") on his port side and the British Isles on his starboard side. The journey took a good month. Ottar perceived "Nordveg" as a geographical unit, but did not imply that it was a political unit. Ottar separated Norwegians from Swedes and Danes. It is unclear why Ottar perceived the population spread over such a large area as a whole. It is unclear whether Norway as a geographical term or Norwegians as the name of a ethnic group is the oldest. The Norwegians had a common language which in the centuries before Ottar did not differ much from the language of Denmark and Sweden.

 

According to Sverre Steen, it is unlikely that Harald Hårfagre was able to control this entire area as one kingdom. The saga of Harald was written 300 years later and at his death Norway was several smaller kingdoms. Harald probably controlled a larger area than anyone before him and at most Harald's kingdom probably included the coast from Trøndelag to Agder and Vestfold as well as parts of Viken . There were probably several smaller kingdoms of varying extent before Harald and some of these are reflected in traditional landscape names such as Ranrike and Ringerike . Landscape names of "-land" (Rogaland) and "-mark" (Hedmark) as well as names such as Agder and Sogn may have been political units before Harald.

 

According to Sverre Steen, the national assembly was completed at the earliest at the battle of Stiklestad in 1030 and the introduction of Christianity was probably a significant factor in the establishment of Norway as a state. Håkon I the good Adalsteinsfostre introduced the leasehold system where the "coastal land" (as far as the salmon went up the rivers) was divided into ship raiders who were to provide a longship with soldiers and supplies. The leidange was probably introduced as a defense against the Danes. The border with the Danes was traditionally at the Göta älv and several times before and after Harald Hårfagre the Danes had control over central parts of Norway.

 

Christianity was known and existed in Norway before Olav Haraldson's time. The spread occurred both from the south (today's Denmark and northern Germany) and from the west (England and Ireland). Ansgar of Bremen , called the "Apostle of the North", worked in Sweden, but he was never in Norway and probably had little influence in the country. Viking expeditions brought the Norwegians of that time into contact with Christian countries and some were baptized in England, Ireland and northern France. Olav Tryggvason and Olav Haraldson were Vikings who returned home. The first Christians in Norway were also linked to pre-Christian local religion, among other things, by mixing Christian symbols with symbols of Odin and other figures from Norse religion.

 

According to Sverre Steen, the introduction of Christianity in Norway should not be perceived as a nationwide revival. At Mostratinget, Christian law was introduced as law in the country and later incorporated into the laws of the individual jurisdictions. Christianity primarily involved new forms in social life, among other things exposure and images of gods were prohibited, it was forbidden to "put out" unwanted infants (to let them die), and it was forbidden to have multiple wives. The church became a nationwide institution with a special group of officials tasked with protecting the church and consolidating the new religion. According to Sverre Steen, Christianity and the church in the Middle Ages should therefore be considered together, and these became a new unifying factor in the country. The church and Christianity linked Norway to Roman Catholic Europe with Church Latin as the common language, the same time reckoning as the rest of Europe and the church in Norway was arranged much like the churches in Denmark, Sweden and England. Norway received papal approval in 1070 and became its own church province in 1152 with Archbishop Nidaros .

 

With Christianity, the country got three social powers: the peasants (organized through the things), the king with his officials and the church with the clergy. The things are the oldest institution: At allthings all armed men had the right to attend (in part an obligation to attend) and at lagthings met emissaries from an area (that is, the lagthings were representative assemblies). The Thing both ruled in conflicts and established laws. The laws were memorized by the participants and written down around the year 1000 or later in the Gulationsloven , Frostatingsloven , Eidsivatingsloven and Borgartingsloven . The person who had been successful at the hearing had to see to the implementation of the judgment themselves.

 

Early Middle Ages (1050s–1184)

The early Middle Ages is considered in Norwegian history to be the period between the end of the Viking Age around 1050 and the coronation of King Sverre in 1184 . The beginning of the period can be dated differently, from around the year 1000 when the Christianization of the country took place and up to 1100 when the Viking Age was over from an archaeological point of view. From 1035 to 1130 it was a time of (relative) internal peace in Norway, even several of the kings attempted campaigns abroad, including in 1066 and 1103 .

 

During this period, the church's organization was built up. This led to a gradual change in religious customs. Religion went from being a domestic matter to being regulated by common European Christian law and the royal power gained increased power and influence. Slavery (" servitude ") was gradually abolished. The population grew rapidly during this period, as the thousands of farm names ending in -rud show.

 

The urbanization of Norway is a historical process that has slowly but surely changed Norway from the early Viking Age to today, from a country based on agriculture and sea salvage, to increasingly trade and industry. As early as the ninth century, the country got its first urban community, and in the eleventh century we got the first permanent cities.

 

In the 1130s, civil war broke out . This was due to a power struggle and that anyone who claimed to be the king's son could claim the right to the throne. The disputes escalated into extensive year-round warfare when Sverre Sigurdsson started a rebellion against the church's and the landmen's candidate for the throne , Magnus Erlingsson .

 

Emergence of cities

The oldest Norwegian cities probably emerged from the end of the 9th century. Oslo, Bergen and Nidaros became episcopal seats, which stimulated urban development there, and the king built churches in Borg , Konghelle and Tønsberg. Hamar and Stavanger became new episcopal seats and are referred to in the late 12th century as towns together with the trading places Veøy in Romsdal and Kaupanger in Sogn. In the late Middle Ages, Borgund (on Sunnmøre), Veøy (in Romsdalsfjorden) and Vågan (in Lofoten) were referred to as small trading places. Urbanization in Norway occurred in few places compared to the neighboring countries, only 14 places appear as cities before 1350. Stavanger became a bishopric around 1120–1130, but it is unclear whether the place was already a city then. The fertile Jæren and outer Ryfylke were probably relatively densely populated at that time. A particularly large concentration of Irish artefacts from the Viking Age has been found in Stavanger and Nord-Jæren.

 

It has been difficult to estimate the population in the Norwegian medieval cities, but it is considered certain that the cities grew rapidly in the Middle Ages. Oscar Albert Johnsen estimated the city's population before the Black Death at 20,000, of which 7,000 in Bergen, 3,000 in Nidaros, 2,000 in Oslo and 1,500 in Tunsberg. Based on archaeological research, Lunden estimates that Oslo had around 1,500 inhabitants in 250 households in the year 1300. Bergen was built up more densely and, with the concentration of exports there, became Norway's largest city in a special position for several hundred years. Knut Helle suggests a city population of 20,000 at most in the High Middle Ages, of which almost half in Bergen.

 

The Bjarkøyretten regulated the conditions in cities (especially Bergen and Nidaros) and in trading places, and for Nidaros had many of the same provisions as the Frostating Act . Magnus Lagabøte's city law replaced the bjarkøretten and from 1276 regulated the settlement in Bergen and with corresponding laws also drawn up for Oslo, Nidaros and Tunsberg. The city law applied within the city's roof area . The City Act determined that the city's public streets consisted of wide commons (perpendicular to the shoreline) and ran parallel to the shoreline, similarly in Nidaros and Oslo. The roads were small streets of up to 3 cubits (1.4 metres) and linked to the individual property. From the Middle Ages, the Norwegian cities were usually surrounded by wooden fences. The urban development largely consisted of low wooden houses which stood in contrast to the relatively numerous and dominant churches and monasteries built in stone.

 

The City Act and supplementary provisions often determined where in the city different goods could be traded, in Bergen, for example, cattle and sheep could only be traded on the Square, and fish only on the Square or directly from the boats at the quayside. In Nidaros, the blacksmiths were required to stay away from the densely populated areas due to the risk of fire, while the tanners had to stay away from the settlements due to the strong smell. The City Act also attempted to regulate the influx of people into the city (among other things to prevent begging in the streets) and had provisions on fire protection. In Oslo, from the 13th century or earlier, it was common to have apartment buildings consisting of single buildings on a couple of floors around a courtyard with access from the street through a gate room. Oslo's medieval apartment buildings were home to one to four households. In the urban farms, livestock could be kept, including pigs and cows, while pastures and fields were found in the city's rooftops . In the apartment buildings there could be several outbuildings such as warehouses, barns and stables. Archaeological excavations show that much of the buildings in medieval Oslo, Trondheim and Tønsberg resembled the oblong farms that have been preserved at Bryggen in Bergen . The land boundaries in Oslo appear to have persisted for many hundreds of years, in Bergen right from the Middle Ages to modern times.

 

High Middle Ages (1184–1319)

After civil wars in the 12th century, the country had a relative heyday in the 13th century. Iceland and Greenland came under the royal authority in 1262 , and the Norwegian Empire reached its greatest extent under Håkon IV Håkonsson . The last king of Haraldsätten, Håkon V Magnusson , died sonless in 1319 . Until the 17th century, Norway stretched all the way down to the mouth of Göta älv , which was then Norway's border with Sweden and Denmark.

 

Just before the Black Death around 1350, there were between 65,000 and 85,000 farms in the country, and there had been a strong growth in the number of farms from 1050, especially in Eastern Norway. In the High Middle Ages, the church or ecclesiastical institutions controlled 40% of the land in Norway, while the aristocracy owned around 20% and the king owned 7%. The church and monasteries received land through gifts from the king and nobles, or through inheritance and gifts from ordinary farmers.

 

Settlement and demography in the Middle Ages

Before the Black Death, there were more and more farms in Norway due to farm division and clearing. The settlement spread to more marginal agricultural areas higher inland and further north. Eastern Norway had the largest areas to take off and had the most population growth towards the High Middle Ages. Along the coast north of Stad, settlement probably increased in line with the extent of fishing. The Icelandic Rimbegla tells around the year 1200 that the border between Finnmark (the land of the Sami) and resident Norwegians in the interior was at Malangen , while the border all the way out on the coast was at Kvaløya . From the end of the High Middle Ages, there were more Norwegians along the coast of Finnmark and Nord-Troms. In the inner forest and mountain tracts along the current border between Norway and Sweden, the Sami exploited the resources all the way down to Hedmark.

 

There are no censuses or other records of population and settlement in the Middle Ages. At the time of the Reformation, the population was below 200,000 and only in 1650 was the population at the same level as before the Black Death. When Christianity was introduced after the year 1000, the population was around 200,000. After the Black Death, many farms and settlements were abandoned and deserted, in the most marginal agricultural areas up to 80% of the farms were abandoned. Places such as Skien, Veøy and Borgund (Ålesund) went out of use as trading towns. By the year 1300, the population was somewhere between 300,000 and 560,000 depending on the calculation method. Common methods start from detailed information about farms in each village and compare this with the situation in 1660 when there are good headcounts. From 1300 to 1660, there was a change in the economic base so that the coastal villages received a larger share of the population. The inland areas of Eastern Norway had a relatively larger population in the High Middle Ages than after the Reformation. Kåre Lunden concludes that the population in the year 1300 was close to 500,000, of which 15,000 lived in cities. Lunden believes that the population in 1660 was still slightly lower than the peak before the Black Death and points out that farm settlement in 1660 did not reach the same extent as in the High Middle Ages. In 1660, the population in Troms and Finnmark was 6,000 and 3,000 respectively (2% of the total population), in 1300 these areas had an even smaller share of the country's population and in Finnmark there were hardly any Norwegian-speaking inhabitants. In the High Middle Ages, the climate was more favorable for grain cultivation in the north. Based on the number of farms, the population increased 162% from 1000 to 1300, in Northern and Western Europe as a whole the growth was 200% in the same period.

 

Late Middle Ages (1319–1537)

Due to repeated plague epidemics, the population was roughly halved and the least productive of the country's farms were laid waste. It took several hundred years before the population again reached the level before 1349 . However, those who survived the epidemics gained more financial resources by sharing. Tax revenues for the state almost collapsed, and a large part of the noble families died out or sank into peasant status due to the fall in national debt . The Hanseatic League took over trade and shipping and dominated fish exports. The Archbishop of Nidaros was the country's most powerful man economically and politically, as the royal dynasty married into the Swedish in 1319 and died out in 1387 . Eventually, Copenhagen became the political center of the kingdom and Bergen the commercial center, while Trondheim remained the religious center.

 

From Reformation to Autocracy (1537–1660)

In 1537 , the Reformation was carried out in Norway. With that, almost half of the country's property was confiscated by the royal power at the stroke of a pen. The large seizure increased the king's income and was able, among other things, to expand his military power and consolidated his power in the kingdom. From roughly the time of the Reformation and in the following centuries, the state increased its power and importance in people's lives. Until around 1620, the state administration was fairly simple and unspecialised: in Copenhagen, the central administration mainly consisted of a chancellery and an interest chamber ; and sheriffs ruled the civil (including bailiffs and sheriffs) and the military in their district, the sheriffs collected taxes and oversaw business. The accounts were not clear and without summaries. The clergy, which had great power as a separate organization, was appointed by the state church after the Reformation, administered from Copenhagen. In this period, Norway was ruled by (mainly) Danish noble sheriffs, who acted as intermediaries between the peasants and the Oldenborg king in the field of justice, tax and customs collection.

 

From 1620, the state apparatus went through major changes where specialization of functions was a main issue. The sheriff's tasks were divided between several, more specialized officials - the sheriffs retained the formal authority over these, who in practice were under the national administration in Copenhagen. Among other things, a separate military officer corps was established, a separate customs office was established and separate treasurers for taxes and fees were appointed. The Overbergamtet, the central governing body for overseeing mining operations in Norway, was established in 1654 with an office in Christiania and this agency was to oversee the mining chiefs in the Nordenfjeld and Sønnenfjeld areas (the mines at Kongsberg and Røros were established in the previous decades). The formal transition from county government to official government with fixed-paid county officials took place after 1660, but the real changes had taken place from around 1620. The increased specialization and transition to official government meant that experts, not amateurs, were in charge of each area, and this civil service meant, according to Sverre Steen that the dictatorship was not a personal dictatorship.

 

From 1570 until 1721, the Oldenborg dynasty was in repeated wars with the Vasa dynasty in Sweden. The financing of these wars led to a severe increase in taxation which caused great distress.

 

Politically-geographically, the Oldenborg kings had to cede to Sweden the Norwegian provinces of Jemtland , Herjedalen , Idre and Särna , as well as Båhuslen . As part of the financing of the wars, the state apparatus was expanded. Royal power began to assert itself to a greater extent in the administration of justice. Until this period, cases of violence and defamation had been treated as civil cases between citizens. The level of punishment was greatly increased. During this period, at least 307 people were also executed for witchcraft in Norway. Culturally, the country was marked by the fact that the written language became Danish because of the Bible translation and the University of Copenhagen's educational monopoly.

 

From the 16th century, business became more marked by production for sale and not just own consumption. In the past, it was particularly the fisheries that had produced such a large surplus of goods that it was sold to markets far away, the dried fish trade via Bergen is known from around the year 1100. In the 16th century, the yield from the fisheries multiplied, especially due to the introduction of herring in Western Norway and in Trøndelag and because new tools made fishing for herring and skre more efficient. Line fishing and cod nets that were introduced in the 17th century were controversial because the small fishermen believed it favored citizens in the cities.

 

Forestry and the timber trade became an important business, particularly because of the boom saw which made it possible to saw all kinds of tables and planks for sale abroad. The demand for timber increased at the same time in Europe, Norway had plenty of forests and in the 17th century timber became the country's most important export product. There were hundreds of sawmills in the country and the largest had the feel of factories . In 1680, the king regulated the timber trade by allowing exports only from privileged sawmills and in a certain quantity.

 

From the 1520s, some silver was mined in Telemark. When the peasants chased the German miners whereupon the king executed five peasants and demanded compensation from the other rebellious peasants. The background for the harsh treatment was that the king wanted to assert his authority over the extraction of precious metals. The search for metals led to the silver works at Kongsberg after 1624, copper in the mountain villages between Trøndelag and Eastern Norway, and iron, among other things, in Agder and lower Telemark. The financial gain of the quarries at that time is unclear because there are no reliable accounts. Kongsberg made Denmark-Norway self-sufficient in silver and the copper works produced a good deal more than the domestic demand and became an important export commodity. Kongsberg and Røros were the only Norwegian towns established because of the quarries.

 

In addition to the sawmills, in the 17th century, industrial production ( manufactures ) was established in, among other things, wool weaving, soap production, tea boiling , nail production and the manufacture of gunpowder .

 

The monopoly until the Peace of Kiel (1660–1814)

Until 1660, the king had been elected by the Danish Riksråd, while he inherited the kingdom of Norway, which was a tradition in Norway. After a series of military defeats, the king committed a coup d'état and deposed the Riksdag. King Frederik III introduced absolute power, which meant that there were hardly any legal restrictions on the king's power. This reinforced the expansion of the state apparatus that had been going on for a few decades, and the civil administration was controlled to a greater extent from the central administration in Copenhagen. According to Sverre Steen, the more specialized and expanded civil service meant that the period of autocracy was not essentially a personal dictatorship: The changing monarchs had the formal last word on important matters, but higher officials set the conditions. According to Steen, the autocracy was not tyrannical where the citizens were treated arbitrarily by the king and officials: the laws were strict and the punishments harsh, but there was legal certainty. The king rarely used his right to punish outside the judiciary and often used his right to commute sentences or pardons. It almost never happened that the king intervened in a court case before a verdict had been passed.

 

In 1662, the sheriff system (in which the nobility played an important role) was abolished and replaced with amt . Norway was divided into four main counties (Akershus, Kristiansands, Bergenhus and Trondhjems) which were later called stiftamt led by stiftamtmen with a number of county marshals and bailiffs (futer) under them. The county administrator in Akershus also had other roles such as governor. The former sheriffs were almost absolute within their fiefs, while the new stifamtmen and amtmen had more limited authority; among other things, they did not have military equipment like the sheriffs. The county officials had no control over state income and could not enrich themselves privately as the sheriffs could, taxes and fees were instead handled by their own officials. County officials were employed by the king and, unlike the sheriffs, had a fixed salary. Officials appointed by the king were responsible for local government. Before 1662, the sheriffs themselves appointed low officials such as bailiffs, mayors and councillors. A church commissioner was given responsibility for overseeing the churchwardens' accounts. In 1664, two general road masters were appointed for Norway, one for Sonnafjelske (Eastland and Sørlandet) and one for Nordafjelske (Westlandet and Trøndelag; Northern Norway had no roads).

 

Both Denmark and Norway got new law books. The wretched state finances led to an extensive sale of crown property, first to the state's creditors. Further sales meant that many farmers became self-owned at the end of the 18th century. Industrial exploitation of Norwegian natural resources began, and trade and shipping and especially increasing timber exports led to economic growth in the latter part of the 1700s.

 

From 1500 to 1814, Norway did not have its own foreign policy. After the dissolution of the Kalmar Union in 1523, Denmark remained the leading power in the Nordic region and dominated the Baltic Sea, while Sweden sought to expand geographically in all directions and strengthened its position. From 1625 to 1660, Denmark lost its dominance: Christian IV lost to the emperor in the Thirty Years' War and ceded Skåne, Blekinge, Halland, Båhuslen , Jemtland and Herjedalen as well as all the islands in the inner part of the Baltic Sea. With this, Norway got its modern borders, which have remained in place ever since. Sweden was no longer confined by Norway and Denmark, and Sweden became the great power in the Nordic region. At the same time, Norway remained far from Denmark (until 1660 there was an almost continuous land connection between Norway and Denmark). During the Great Nordic War, Danish forces moved towards Scania and ended with Charles the 12th falling at Fredriksten . From 1720 to 1807 there was peace except for the short Cranberry War in 1788. In August 1807, the British navy surrounded Denmark and demanded that the Danish fleet be handed over. After bombing 2-7. On September 1807, the Danes capitulated and handed over the fleet (known as the "fleet robbery") and the arsenal. Two weeks later, Denmark entered into an alliance with Napoleon and Great Britain declared war on Denmark in November 1807. The Danish leadership had originally envisioned an alliance with Great Britain. Anger at the fleet robbery and fear of French occupation of Denmark itself (and thus breaking the connection with Norway) were probably the motive for the alliance with France. According to Sverre Steen, the period 1807-1814 was the most significant in Norway's history (before the Second World War). Foreign trade was paralyzed and hundreds of Norwegian ships were seized by the British. British ships, both warships and privateers , blocked the sea route between Norway and Denmark as described in " Terje Vigen " by Henrik Ibsen . During the Napoleonic Wars , there was a food shortage and famine in Norway, between 20 and 30 thousand people out of a population of around 900 thousand died from sheer lack of food or diseases related to malnutrition.

 

From the late summer of 1807, Norway was governed by a government commission led by the governor and commander-in-chief, Prince Christian August . Christian August was considered an honorable and capable leader. In 1808, a joint Russian and Danish/Norwegian attack on Sweden was planned; the campaign fails completely and Christian August concludes a truce with the Swedes. The Swedish king was deposed, the country got a new constitution with a limited monarchy and in the summer of 1808, Christian August was elected heir to the throne in Sweden. Christian August died a few months after he moved to Sweden and the French general Jean Baptiste Bernadotte became the new heir to the throne with the name "Karl Johan". After Napoleon was defeated at Leipzig in 1813, Bernadotte entered Holstein with Swedish forces and forced the Danish king to the Peace of Kiel .

 

Colonies and slave trade

Denmark-Norway acquired overseas colonies: St. Thomas (1665), St. Jan and St. Croix (18th century). At the same time, the kingdom entered into an agreement with rulers on the Gold Coast (Ghana) regarding the establishment of slave forts, including Christiansborg in Accra . The trade was triangular from Copenhagen to the Gold Coast with weapons, gunpowder and liquor which were exchanged for gold, ivory and slaves . The slaves were transported across the Atlantic to the Caribbean, among other things to the Danish-Norwegian colonies where St. Croix was most important. The ships returned to Copenhagen with sugar, tobacco, cotton and other goods. About 100,000 slaves were transported across the sea on Danish and Norwegian ships from 1660 to 1802. About 10% of the slaves died during the crossing. At least two of the slave ships ("Cornelia" and "Friderich") were in Norwegian ownership. Engelbret Hesselberg was a fut on St. Croix and after a slave rebellion in 1759, he had some of the rebels executed, among other things, by burning them alive, hanging them by their feet or putting them naked in a cage in the sun. At the end of the 18th century, opposition to the slave trade grew in Denmark-Norway, among others the Norwegian Claus Fasting promoted strong criticism. The slave trade was banned from 1803, while slavery itself was banned in Denmark from 1848.

 

Immigration to Norway

In the 1500s and 1600s, many people moved within Europe. From Germany, France and the Netherlands, enterprising people came to Sweden and Denmark, and gave rise to influential families. Danes in particular came to Norway who, formally speaking, were not foreigners, but were probably perceived as strangers by the local population. There was some immigration of ethnic Germans, some from areas under the Danish crown and others. Some immigrated from the Netherlands, England and Scotland. For example, half of those who applied for citizenship in Bergen in the 17th century were foreigners and they were often founders of new businesses. Immigrants from the Netherlands brought knowledge of line fishing and the preparation of herring; the Scot came with knowledge of the production of cuttlefish ; and Germans engaged in mining. Some foreigners ran large farms they bought near the cities, for example Frogner near Christiania and Lade near Trondheim. A large part of the country's leading echelon of officials and merchants were around 1,800 descendants of immigrants, and family names of foreign origin had a higher status. According to Sverre Steen, it was special for Norway that the immigrants and their descendants were given such a much stronger position than other residents.

 

Social and cultural conditions

Around 1800, most people, both women and men, in Norway could read and many could write. Foreigners traveling in Norway were surprised at how well-informed and interested Norwegian farmers were about the situation outside the country. In the 17th century, Peder Claussøn Friis translated Snorre Sturlason's royal sagas from Old Norse, and in a new edition this book became important in nation-building in later centuries. Early in the 18th century, Tormod Torfæus wrote Norway's history to 1387 in 4 volumes in Latin ; the preparation is considered to be scientifically unsustainable. In the 1730s, Ludvig Holberg wrote the popular scientific Danmarks Reges Historie , which is considered to maintain a high standard. According to Holberg, Norway emerged as a kingdom after the "nomenclature union in 1380". Holberg was the most important Norwegian cultural figure in the Danish era. Gerhard Schøning wrote Norges Reges Historie (in Danish) in the 1770s ; Schøning claimed that the Norwegians were a separate people from the dawn of time and had immigrated from the north-east without visiting Denmark.

 

1814

Norway remained the hereditary kingdom of the Oldenborg kings until 1814 , when the king had to renounce Norway at the Peace of Kiel on 14 January 1814 after being on the losing side during the Napoleonic Wars . Greenland, the Faroe Islands and Iceland were not included in the transfer to Sweden. The King of Sweden undertook to maintain the laws and freedoms the Norwegians had and Norway was to take over its share of the national debt. At the same time, the Swedish king ceded Rügen and Swedish Pomerania as well as 1 million dalers. Norway was ceded to the king of Sweden and the Treaty of Kiel established that Norway was a separate kingdom. Prince Christian Frederik traveled to Trondheim to calm the mood. Sixty leading citizens of Trondheim signed a letter in which they supported the prince's policy of independence and at the same time asked that a congress should be convened to lay the foundations for Norway's future constitution. On his return from Trondheim, he gathered 15 civil servants and 6 businessmen for the Stormannsmøetet at Eidsvoll 16-17. February where it was agreed on a constitutional assembly in the same place from 10 April. Until then, the prince was to rule the

Dictionary definition #12 - Knight

More of these in my Dictionary definition macros set

 

I've gone walkabout for a couple of days, no internet access, so won't be able to comment.

 

Some believe Jesus was only a good man who taught good ideas. If this were true he could not have saved anyone. He was The Son of God, or God the Son . He was born of a virgin...yes,a virgin, concieved of the Holy Spirit of God, not of man. His blood was pure,without sin, and he lived a life without sin. That is why only He, and He alone was eligible to pay for our sin. No ordinary man, no matter how good can save us. Only those who truly believe this about Jesus and give their heart to Him can be saved from the wrath to come. God is a God of love, but also a God of justice. His wrath will be poured out because of the evil in this world. Faith in Jesus is the only hope for any of us. This world has been slowly wearing out since creation, and will continue to do so, no matter how much we try to slow it down, and I believe in taking care of this earth as much as anyone. But God has given us a better hope for all those who put their faith in Christ the Saviour.

I believe in God the Father,God the Son,and God the Holy Spirit. Three in one.

I hope you do.

...............................................................................................................................................

It isn't important that I get a lot of comments on this,or if some people think I'm being "preachy",or if someone thinks I'm being a "Bible thumper". It won't be the first time ! What is important is that as many people as possible know Jesus,who he is really is, and why we need him. We are all sinners,no matter how good we may try to be. He is our only Hope !

 

Jesus said,"I am the way and the truth and the life. No one comes to the Father except through me. If you really knew me,you would know the Father as well. From now on you do know him and have seen him." John 14:6-7...The Holy Bible

 

I WISH YOU ALL A BEAUTIFUL SUNDAY WHETHER YOU'RE A BELIEVER IN JESUS AS SAVIOUR OR NOT ! GOD LOVES YOU,AND SO DO I !

 

God demonstrates his own love for us in this: While we were yet sinners,Christ died for us. Romans 5:8...The Holy Bible

The Photograph

 

A 5" x 10" high-definition glossy photograph published by Rotary Photographic of London EC.

 

George Robey

 

Sir George Edward Wade, CBE, known professionally as George Robey, was an English comedian, singer and actor in musical theatre, who became known as one of the greatest music hall performers of the late 19th. and early 20th. centuries.

 

As a comedian, he mixed everyday situations and observations with comic absurdity. Apart from his music hall acts, he was a popular Christmas pantomime performer in the English provinces, where he excelled in the dame roles.

 

He scored notable successes in musical revues during and after the Great War, particularly with the song "If You Were the Only Girl in the World", which he performed with Violet Loraine in the revue The Bing Boys Are Here (1916).

 

One of George's best-known original characters in his six-decade long career was the Prime Minister of Mirth.

 

Born in London, Robey came from a middle-class family. After schooling in England and Germany, and a series of office jobs, he made his debut on the London stage at the age of 21, as the straight man to a comic hypnotist.

 

Robey soon developed his own act, and appeared at the Oxford Music Hall in 1890, where he earned favourable notices singing "The Simple Pimple," and "He'll Get It Where He's Gone to Now".

 

In 1892, he appeared in his first pantomime, Whittington Up-to-Date in Brighton, which brought him to a wider audience. More provincial engagements followed in Manchester, Birmingham and Liverpool, and he became a mainstay of the popular Christmas pantomime scene.

 

Robey's music hall act matured in the first decade of the 1900's, and he undertook several foreign tours. He starred in the Royal Command Performance in 1912, and regularly entertained before aristocracy.

 

George was an avid sportsman, playing cricket and football at a semi-professional level. During the Great War, in addition to his performances in revues, he raised money for many war charities, and was appointed a CBE in 1919.

 

From 1918, he created sketches based on his Prime Minister of Mirth character, and used a costume he had designed in the 1890's as a basis for the character's attire.

 

George made a successful transition from music hall to variety shows, and starred in the revue Round in Fifty in 1922, which earned him still wider notice. With the exception of his performances in revue and pantomime, he appeared as his Prime Minister of Mirth character in all the other entertainment media including variety, music hall and radio.

 

In 1913 Robey made his film debut, but he had only modest success in the medium. He continued to perform in variety theatre in the inter-war years and, in 1932, starred in Helen!, his first straight theatre role. His appearance brought him to the attention of many influential directors, including Sydney Carroll, who signed him to appear on stage as Falstaff in Henry IV, Part 1 in 1935, a role that he later repeated in Laurence Olivier's 1944 film, Henry V.

 

During the Second World War, Robey raised money for charities and promoted recruitment into the forces. By the 1950's, his health had deteriorated, and he entered into semi-retirement. George was knighted a few months before his death in 1954.

 

-- George Robey - The Early Years

 

Robey was born on the 20th. September 1869 at 334 Kennington Road, Kennington, London. He would later claim that he was born in the more affluent area of Herne Hill, although this was incorrect. His birthplace in Kennington is a three-storey house above a shop, which was then a hardware outlet. The shop is now home to a sushi restaurant called Sushi Essence.

 

In the 1860's, Kennington Road was a wealthy area mainly inhabited by successful tradesmen and businessmen. By the 1880's however, the area had fallen into a decline, and was considered by locals to be one of the most impoverished areas in London. The comedian Charlie Chaplin, who had a poor and deprived upbringing, was born in the same road 18 years after Robey.

 

George's father, Charles Wade, was a civil engineer who spent much of his career on tramline design and construction. Robey's mother, Elizabeth Mary Wade, née Keene, was a housewife; he also had two sisters.

 

George's paternal ancestors originated from Hampshire; his uncle, George Wade, married into the aristocracy in 1848, a link which provided a proud topic of conversation for future generations of the Wade family.

 

When Robey was five, his father moved the family to Birkenhead, where he helped in the construction of the Mersey Railway. Robey began his schooling in nearby Hoylake at a dame school. Three years later the family moved back to London, near the border between Camberwell and Peckham.

 

At around this time, trams were being introduced to the area, providing Charles Wade with a regular, well-paid job.

 

To fulfil an offer of work, Charles moved the family to Germany in 1880, and Robey attended a school in Dresden. He devoted his leisure hours to visiting the city's museums, art galleries and opera houses, and gained a reasonable fluency in German by the time he was 12.

 

He enjoyed life in Germany, and was impressed by the many operatic productions held in the city, and by the Germans' high regard for the arts.

 

When he was 14, his father allowed George to move in with a clergyman's family in the German countryside, which he used as a base while studying science at Leipzig University. In order to earn money, he taught English to his landlord's children, and minded them while their parents were at work.

 

Having successfully enrolled at the university, George studied art and music, and stayed with the family for a further 18 months so he could complete his studies before returning to England in 1885. He later claimed, apparently untruthfully, to have studied at the University of Cambridge.

 

There is no evidence that Robey enrolled at Cambridge or indeed any other English university, as fees in Victorian England were beyond the reach of someone like Charles Wade. Members of the theatrical community were nevertheless convinced of his attendance at Cambridge.

 

The theatre critic Max Beerbohm wrote that Robey was one of the few distinguished men to emerge from the campus, but the English writer Neville Cardus was more sceptical, wondering how someone from the University of Cambridge could end up in the music hall.

 

Robey's biographer, Peter Cotes, concludes that he likely played along with the assumptions that he was a Cambridge graduate in order to fit in with the higher circles of society.

 

At the age of 18, Robey travelled to Birmingham, where he worked in a civil engineer's office. It was here that he became interested in a career on the stage, and often dreamed of starring in his own circus.

 

He learned to play the mandolin, and became a skilled performer on the instrument. This drew interest from a group of local musicians and, together with a friend from the group who played the guitar, Robey travelled the local area in search of engagements.

 

Soon afterwards, they were hired to play at a charity concert at the local church in Edgbaston, a performance that led to more local bookings. For his next appearance, Robey performed an impromptu version of "Killaloo", a comic ditty taken from the burlesque Miss Esmeralda.

 

The positive response from the audience encouraged him to give up playing the mandolin to concentrate instead on singing comic songs.

 

-- George Robey's London Debut

 

By 1890 Robey had become homesick, and so he returned to South London, where he worked for a civil engineering company. He also joined a local branch of the Thirteen Club, which charged members a fee of half a crown a year. The club members, including both amateur and professional performers, were devoted to the idea of flouting superstition while staging concerts in public houses and small venues across London.

 

Hearing of George's talent, the founder of the club, W. H. Branch, invited Robey to appear at Anderton's Hotel in Fleet Street, where he performed the popular new comic song "Where Did You Get That Hat?".

 

Robey's performance secured him private engagements for which he was paid a guinea a night. By the early months of 1891, Robey was much in demand, and he decided to change his stage name. He swapped "Wade" for "Robey" after working for a company in Birmingham that bore the latter name.

 

It was at around this time that he met E. W. Rogers, an established music hall composer who wrote songs for Marie Lloyd and Jenny Hill. For Robey, Rogers wrote three songs: "My Hat's a Brown 'Un", "The Simple Pimple," and "It Suddenly Dawned Upon Me".

 

In 1891 Robey visited the Royal Aquarium in Westminster where he watched "Professor Kennedy", a burlesque mesmerist from America. After the performance, Robey visited Kennedy in his dressing room, and offered himself as the stooge for his next appearance.

 

They agreed that Robey, as his young apprentice, would be "mesmerised" into singing a comic song. At a later rehearsal, Robey negotiated a deal to sing one of the comic songs that had been written for him by Rogers.

 

Robey's turn was a great success, and as a result he secured a permanent theatrical residency at the venue. Later that year, he appeared as a solo act at the Oxford Music Hall, where he performed "The Simple Pimple" and "He'll Get It Where He's Gone to Now".

 

The theatrical press soon became aware of his act, and The Stage called him:

 

"A comedian with a pretty sense of

humour who delivers his songs with

considerable point and meets with

all success".

 

In early 1892 Robey starred alongside Jenny Hill, Bessie Bonehill and Harriet Vernon at the Paragon Theatre of Varieties in Mile End, where, according to his biographer Peter Cotes:

 

"He stole the notices from

experienced troupers".

 

That summer, Robey conducted a music hall tour of the English provinces which began in Chatham and took him to Liverpool, at a venue owned by the mother of the influential London impresario Oswald Stoll. Through this engagement Robey met Stoll, and the two became lifelong friends.

 

In early December, Robey appeared in five music halls a night, including Gatti's Under the Arches, the Tivoli Music Hall and the London Pavilion.

 

In mid-December, George travelled to Brighton, where he appeared in his first Christmas pantomime, Whittington Up-to-Date. Pantomime became a lucrative and regular source of employment for the comedian. Cotes calls Robey's festive performances:

 

"The cornerstone of his comic

art, and the source of some of

his greatest successes".

 

-- Music Hall Characterisations

 

During the 1890's Robey created music hall characters centred on everyday life. Among them were "The Chinese Laundryman" and "Clarence, the Last of the Dandies". As Clarence, Robey dressed in a top hat and frock coat, and carried a Malacca cane, the garb of a stereotypical Victorian gentleman.

 

For his drag pieces, the comedian established "The Lady Dresser", a female tailor who was desperate to out-dress her high class customers, and "Daisy Dillwater, the District Nurse" who arrived on stage with a bicycle to share light-hearted scandal and gossip with the audience before hurriedly cycling off.

 

With Robey's popularity came an eagerness to differentiate himself from his music hall rivals, and so he devised a signature costume when appearing as himself: an oversized black coat fastened from the neck down with large, wooden buttons.

 

George also wore black, unkempt, baggy trousers and a partially bald wig with black, whispery strands of dishevelled, dirty-looking hair that poked below a large, battered top-hat.

 

He applied thick white face paint, and exaggerated the redness on his cheeks and nose with bright red make-up; his eye line and eyebrows were also enhanced with thick, black greasepaint. He held a short, misshaped, wooden walking stick, which was curved at the top.

 

Robey later used the costume for his character, The Prime Minister of Mirth. The outfit helped Robey become instantly recognisable on the London music hall circuit. He next made a start at building his repertoire, and bought the rights to comic songs and monologues by several well-established music hall writers, including Sax Rohmer and Bennett Scott.

 

For his routines, Robey developed a characteristic delivery described by Cotes as:

 

"A kind of machine-gun staccato

rattle through each polysyllabic line,

ending abruptly, and holding the

pause while he fixed his audience

with his basilisk stare."

 

-- Success in Pantomime and the Provinces

 

At the start of 1894, Robey travelled to Manchester to participate in the pantomime Jack and Jill, where he was paid £25 a week for a three-month contract. He did not appear in Jack and Jill until the third act, but pleased the holiday crowds nonetheless.

 

During one performance the scenery mechanism failed, which forced him to improvise for the first time. Robey fabricated a story that he had just dined with the Lord Mayor before detailing exactly what he had eaten. The routine was such a hit that it was incorporated into the show as part of the script.

 

In the final months of 1894, Robey returned to London to honour a contract for Augustus Harris at the Theatre Royal, Drury Lane, the details of which are unknown.

 

In September he starred in a series of stand-up comedy shows that he performed every September from 1894 until 1899. These short performances, in English seaside resorts including Scarborough and Bournemouth, were designed chiefly to enhance his name among provincial audiences.

 

For the 1895 and 1896 Christmas pantomimes, he appeared in Manchester and Birmingham respectively, in the title role of Dick Whittington, for which he received favourable reviews and praise from audiences.

 

However despite the pantomime's success, Robey and his co-stars disliked the experience. The actress Ada Reeve felt that the production had a bad back-stage atmosphere, and was thankful when the season ended, while the comedian Barry Lupino was dismayed at having his role, Muffins, considerably reduced.

 

On the 29th. April 1898, Robey married his first wife, the Australian-born musical theatre actress Ethel Hayden (shown in the photograph), at St. Clement Danes church in the Strand, London. Robey and Ethel resided briefly in Circus Road, St John's Wood, until the birth of their first child Edward in 1900.

 

They then moved to 83 Finchley Road in Swiss Cottage, Hampstead. Family life suited Robey; his son Edward recalled many happy experiences with his father, including the evenings when he would accompany him to the half-dozen music halls at which he would be appearing each night.

 

By the start of the new century, Robey was a big name in pantomime, and he was able to choose his roles. Pantomime had enjoyed wide popularity until the 1890's, but by the time Robey had reached his peak, interest in it was on the wane.

 

A type of character he particularly enjoyed taking on was the pantomime dame, which historically was played by comedians from the music hall. Robey was inspired by the older comedians Herbert Campbell and Dan Leno, and, although post-dating them, he rivalled their eccentricity and popularity, earning the festive entertainment a new audience.

 

In his 1972 biography of Robey, Neville Cardus thought that:

 

"George Robey was at his

fullest as a pantomime Dame".

 

In 1902 Robey created the character "The Prehistoric Man". He dressed as a caveman, and spoke of modern political issues, often complaining about the government "slapping another pound of rock on his taxes".

 

The character was received favourably by audiences, who found it easy to relate to his topical observations. That year he released "The Prehistoric Man" and "Not That I Wish to Say Anything" on shellac discs using the early acoustic recording process.

 

Robey signed a six-year contract in June 1904 to appear annually at, among other venues, the Oxford Music Hall in London, for a fee of £120 a week. The contract also required him to perform during the spring and autumn seasons between 1910 and 1912.

 

Robey disputed this part of the contract, and stated that he agreed to this only as a personal favour to the music hall manager George Adney Payne, and that it should have become void on Payne's death in 1907.

 

The management of the Oxford however counter-claimed, and forbade Robey from appearing in any other music hall during this period. The matter went to court, where the judge found in Robey's favour.

 

Robey was engaged to play the title role in the 1905 pantomime Queen of Hearts. The show was considered risqué by the theatrical press. In one scene Robey accidentally sat on his crown before bellowing:

 

"Assistance! Methinks I have

sat upon a hedgehog."

 

'Hedgehog' is a British slang term for an unattractive woman. It is also used to describe a seductively elusive and promiscuous male.

 

In another sketch, the comedian mused:

 

"Then there's Mrs Simkins, the swank!

Many's the squeeze she's had of my

blue bag on washing day."

 

Robey scored a further hit with the show the following year, in Birmingham, which Cotes describes as:

 

"The most famous of all famous

Birmingham Theatre Royal

pantomimes".

 

Robey incorporated "The Dresser", a music hall sketch taken from his own repertoire, into the show.

 

Over the next few years George continued to tour the music hall circuit both in London and the English provinces, and recorded two songs, "What Are You Looking at Me For?" and "The Mayor of Mudcumdyke", which were later released by the Gramophone and Typewriter Company.

 

-- George Robey's Involvement in Sport

 

Off-stage, Robey led an active lifestyle, and was a keen amateur sportsman. He was proud of his healthy physique, and maintained it by performing frequent exercise and following a careful diet.

 

By the time he was in his mid-thirties, George had played as an amateur against Millwall, Chelsea and Fulham football clubs. He organised and played in many charity football matches throughout England, which were described by the sporting press as being of a very high standard, and he remained an active football player well into his fifties.

 

Robey became associated with cricket by 1895 when he led a team of amateur players for a match at Turney Road in Dulwich. In September 1904, while appearing in Hull, he was asked by the cricketer Harry Wrathall to take part in a charity cricket match at the Yorkshire County Cricket Club.

 

Robey played so well that Wrathall asked him to return the following Saturday to take part in a professional game. That weekend, while waiting in the pavilion before the game, Robey was approached by an agent for Hull City A.F.C., who asked the comedian to play in a match that same afternoon. Robey agreed, swapped his cricket flannels for a football kit and played with the team against Nottingham Forest as an inside right.

 

By 1903 Robey was playing at a semi-professional level. He was signed as an inside forward by Millwall Football Club, and scored many goals for them. He also displayed a good level of ability in vigoro, an Australian sport derived from both cricket and baseball which was short-lived in England.

 

Two years later George became a member of the Marylebone Cricket Club, and played in minor games for them for many years. He gained a reputation at the club for his comic antics on the field, such as raising his eyebrows at the approaching bowler in an attempt to distract him.

 

The writer Neville Cardus was complimentary about Robey's cricket prowess, and called him "an elegant player" whose performances on the cricket field were as entertaining as they were on the stage. Although a versatile player, Robey thought of himself as a "medium-paced, right-handed bowler".

 

Robey was asked to help organise a charity football match in 1907 by friends of the Scottish football trainer James Miller, who had died the previous year. Robey compiled a team of amateur footballers from the theatrical profession, and met Miller's former team Chelsea Football Club at their home ground. The match raised considerable proceeds for Miller's widow. Robey was proud of the match and joked:

 

"I just wanted to make sure that

Chelsea stay in the first division."

 

-- George Robey the Violin Maker

 

In his spare time, Robey made violins, a hobby that he first took up during his years in Dresden. He became a skilled craftsman of the instrument, although he never intended for them to be played in public.

 

Speaking in the 1960's, the violinist and composer Yehudi Menuhin, who played one of Robey's violins for a public performance during that decade, called the comedian's finished instrument "very professional".

 

Yehudi was intrigued by the idea that a man as famous as Robey could produce such a "beautifully finished" instrument, unbeknown to the public.

 

Robey was also an artist, and some of his pen and ink self-caricatures are kept at the National Portrait Gallery, London.

 

-- High-Profile Audiences

 

Robey's first high-profile invitation came in the first decade of the 1900's from Hugh Lowther, 5th. Earl of Lonsdale, who hired him as entertainment for a party he was hosting at Carlton House Terrace in Westminster.

 

Soon afterwards, the comedian appeared for the first time before royalty when King Edward VII had Robey hired for several private functions. Robey performed a series of songs and monologues and introduced the "Mayor of Mudcumdyke", all of which was met with much praise and admiration from the royal watchers.

 

He was later hired by Edward's son, the Prince of Wales (the future King George V), who arranged a performance at Carlton House Terrace for his friend Lord Curzon.

 

In July 1912, at the invitation of the impresario Oswald Stoll, Robey took part for the first time in a Royal Command Performance, to which Cotes attributes:

 

"One of the prime factors in

his continuing popularity".

 

King George V and Queen Mary were "delighted" with Robey's comic sketch, in which he performed the "Mayor of Mudcumdyke" in public for the first time. Robey found the royal show to be a less daunting experience than the numerous private command performances that he gave during his career.

 

-- George Robey's Film Debut

 

Robey's first experience in cinema was in 1913, with two early sound film shorts: "And Very Nice Too," and "Good Queen Bess", made using the Kinoplasticon process, where the film was synchronised with phonograph records.

 

The following year, George tried to emulate his music hall colleagues Billy Merson and Charlie Austin, who had set up Homeland Films and found success with the Squibs series of films starring Betty Balfour.

 

Robey met filmmakers from the Burns Film Company, who engaged him in a silent short entitled "George Robey Turns Anarchist", in which he played a character who fails to blow up the Houses of Parliament.

 

George continued to appear sporadically in film throughout the rest of his career, although never achieving more than a modest amount of success.

 

-- George Robey in the Great War

 

At the outbreak of the Great War, Robey wanted to enlist in the army but, now in his 40's, he was too old for active service. Instead, he volunteered for the Special Constabulary, and raised money for charity through his performances as a comedian.

 

It was not uncommon for him to finish at the theatre at 1:00 am and then to patrol as a special constable until 6:00 am, where he would frequently help out during zeppelin raids.

 

George combined his civilian duties with work for a volunteer motor transport unit towards the end of the war, in which he served as a lieutenant. He committed three nights a week to the corps while organising performances during the day to benefit war charities.

 

Robey was a strong supporter of the Merchant Navy, and thought that they were often overlooked when it came to charitable donations. He raised £22,000 at a benefit held at the London Coliseum, which he donated in the navy's favour.

 

In 1914, for the first time in many years, Robey appeared in a Christmas pantomime as a male when he was engaged to play the title role in Sinbad the Sailor; Fred Emney Senior played the dame role.

 

Although the critics were surprised by the casting, it appealed to audiences, and the scenes featuring Robey and Emney together proved the most memorable.

 

During the war the demand for light entertainment in the English provinces guaranteed Robey frequent bookings and a regular income. His appearances in Manchester, Liverpool, Newcastle and Glasgow were as popular as his annual performances in Birmingham. His wife Ethel accompanied him on these tours, and frequently starred alongside him.

 

By the Great War, music hall entertainment had fallen out of favour with audiences. Theatrical historians blame the music hall's decline on the increasing salaries of performers and the halls' inability to present profitably the twenty or thirty acts that the audiences expected to see.

 

Revue appealed to wartime audiences, and Robey decided to capitalise on the medium's popularity. Stoll offered Robey a lucrative contract in 1916 to appear in the new revue 'The Bing Boys Are Here' at the Alhambra Theatre, London.

 

Dividing his time between three or four music halls a night had become unappealing to the comedian, and he relished the opportunity to appear in a single theatre. He was cast as Lucius Bing opposite Violet Loraine, who played his love interest Emma, and the couple duetted in the show's signature song "If You Were the Only Girl in the World", which became an international success.

 

This London engagement was a new experience for Robey, who had only been familiar with provincial pantomimes and week-long, one-man comedy shows. Aside from pantomime, he had never taken part in a long-running production, and he had never had to memorise lines precisely or keep to schedules enforced by strict directors and theatre managers.

 

The Bing Boys Are Here ran for 378 performances, and occupied the Alhambra for more than a year. The theatrical press praised Robey as:

 

"The first actor of the halls".

 

George made two films towards the end of the war: The Anti-frivolity League in 1916, and Doing His Bit the following year.

 

-- Zig-Zag to Joy Bells

 

Robey left the cast of The Bing Boys during its run, in January 1917, in order to star at the London Hippodrome in the lavishly staged revue Zig-Zag!.

 

Robey included a sketch based on his music hall character "The Prehistoric Man", with Daphne Pollard playing the role of "She of the Tireless Tongue". In another scene, he played a drunken gentleman who accidentally secures a box at the Savoy Theatre instead of an intended hotel room.

 

The audience appeared unresponsive to the character, so he changed it mid-performance to that of a naive Yorkshire man. The change provoked much amusement, and it became one of the most popular scenes of the show. Zig-Zag ran for 648 performances.

 

Stoll again secured Robey for the Alhambra in 1918 for a sequel, The Bing Boys on Broadway. The show, again co-starring Violet Loraine, matched the popularity of its predecessor, and beat the original show's run with a total of 562 performances.

 

Robey returned to the London Hippodrome in 1919 where he took a leading role in another hit revue, Joy Bells. Robey played the role of an old-fashioned father who is mystified over the changing traditions after the First World War.

 

He interpolated two music hall sketches: "No, No, No," which centred on turning innocent, everyday sayings into suggestive and provocative maxims, and "The Rest Cure," which told the story of a pre-op hospital patient who hears worrying stories of malpractice from his well-meaning friends who visit him.

 

Joy Bells ran for 723 performances.

 

In the Italian newspaper La Tribuna, the writer Emilio Cecchi commented:

 

"Robey, just by being Robey, makes us

laugh until we weep. We do not want to

see either Figaro or Othello; it is quite

enough for Robey to appear in travelling

costume and to turn his eyes in crab-like

fashion from one side of the auditorium

to another.

Robey's aspect in dealing with his audience

is paternal and, one might say, apostolic."

 

In the early months of 1919, Robey completed a book of memoirs, 'My Rest Cure', which was published later that year. During the run of Joy Bells he was awarded the Legion of Honour for raising £14,000 for the French Red Cross.

 

George declined a knighthood that same year because, according to Cotes, he was worried that the title would distance him from his working-class audiences; he was appointed a CBE by George V at Buckingham Palace instead.

 

On the morning of the penultimate Joy Bells performance, Robey was invited to Stoll's London office, where he was offered a role in a new revue at the Alhambra Theatre. On the journey, he met the theatre impresario Sir Alfred Butt, who agreed to pay him £100 more, but out of loyalty to Stoll, he declined the offer and resumed his £600 a week contract at the Alhambra.

 

-- George Robey in the Inter-War Years

 

On the 28th. July 1919, Robey took part in his second Royal Command Performance, at the London Coliseum. He and Violet Loraine sang "If You Were the Only Girl in the World".

 

A gap in the Alhambra's schedule allowed Stoll to showcase Robey in a new short film. "George Robey's Day Off" (1919) showed the comedian acting out his daily domestic routines to comic effect, but the picture failed at the box office. The British director John Baxter concluded that producers did not know how best to apply Robey's stage talents to film.

 

By 1920 variety theatre had become popular in Britain, and Robey had completed the successful transition from music hall to variety star. Pantomime, which relied on its stars to make up much of the script through ad lib, was also beginning to fall out of favour, and his contemporaries were finding it too difficult to create fresh material for every performance; for Robey, however, the festive entertainment continued to be a lucrative source of employment.

 

Robey's first revue of the 1920's was Johnny Jones, which opened on the 1st. June 1920 at the Alhambra Theatre. The show also featured Ivy St. Helier, Lupino Lane and Eric Blore, and carried the advertisement "A Robey salad with musical dressing".

 

One of the show's more popular gags was a scene in which Robey picked and ate cherries off St. Helier's hat, before tossing the stones into the orchestra pit which were then met by loud bangs from the bass drum.

 

A sign of George's popularity came in August 1920 when he was depicted in scouting costume for a series of 12 Royal Mail stamps in aid of the Printers Pension Corporation War Orphans and the Prince of Wales Boy Scout Funds.

 

Neville Cardus, in The Darling of the Halls (1972), writes:

 

"I think Robey's Mother Goose was, as far

as I know, the greatest piece of acting of

what is called the 'Dame' that I have ever

seen.

But then again his Dame Trot in Jack and

the Beanstalk was great comic acting.

It was incredible. Really a piece of wonderful

acting in a few minutes – acting you would

put on the same plane as you would any

great actor of the time."

 

The revue Robey en Casserole (1921) was next for Robey, during which he led a troupe of dancers in a musical piece called the "Policemen Ballet". Each dancer was dressed in a mock police uniform on top and a tutu below.

 

However the show was the first failure for George under Stoll's management. That December Robey appeared in his only London pantomime, Jack and the Beanstalk, at the Hippodrome. His biographer, Peter Cotes, remembered the comedian's interpretation of Dame Trot as:

 

"Enormously funny: a bucolic caricature

of a woman, sturdy and fruity, leathery

and forbidding.

Robey's comic timing was in a class of

its own."

 

In March 1922 Robey remained at the Hippodrome in the revue Round in Fifty, a modernised version of Round the World in Eighty Days, which proved to be another hit for the London theatre, and a personal favourite of the comedian.

 

Stoll brought Robey to cinema audiences a further four times during 1923. The first two films were written with the intention of showcasing the comedian's pantomime talents: 'One Arabian Night' was a reworking of Aladdin, while 'Harlequinade' visited the roots of pantomime.

 

-- Marriage Breakdown and Foreign Tours

 

One of Robey's more notable roles under Stoll was Sancho Panza in the 1923 film Don Quixote, for which he received a fee of £700 a week. However the amount of time he spent working away from home led to the breakdown of his marriage, and he separated from Ethel in 1923. He had a brief affair with one of his leading ladies, and walked out of the family home.

 

Robey made a return to the London Hippodrome in 1924 in the revue Leap Year. Leap Year was set in South Africa, Australia and Canada, and was written to appeal to the tourists who were visiting London from the Commonwealth countries.

 

Robey was much to their tastes, and his rendition of "My Old Dutch" helped the show achieve another long run of 421 performances.

 

Sky High was next, and opened at the London Palladium in March 1925. The chorus dancer Marie Blanche was his co-star, a partnership that caused the gossip columnists to comment on the performers' alleged romance two years previously. Despite the rumours, Blanche continued as his leading lady for the next four years, and Sky High lasted for 309 performances on the West End stage.

 

The year 1926 was lacking in variety entertainment, a fact largely attributed to the UK general strike that had occurred in May of that year. The strike was unexpected by Robey, who had signed the previous year to star in a series of variety dates for Moss Empires.

 

The contract was lucrative, made more so by the comedian's willingness to manage his own bookings. He took the show to the provinces under the title of Bits and Pieces, and employed a company of 25 artists as well as engineers and support staff.

 

Despite the economic hardships of Great Britain in 1926, large numbers of people turned out to see the show. George returned to Birmingham, a city where he was held in great affection, and where he was sure the audiences would embrace his new show.

 

However, censors demanded that he omit the provocative song "I Stopped, I Looked, I Listened" and that he heavily edit the sketch "The Cheat". The restrictions failed to dampen the audiences' enthusiasm, and Bits and Pieces enjoyed rave reviews. It ran until Christmas and earned a six-month extension.

 

In the spring of 1927 Robey took the opportunity to tour abroad, when he and his company took Bits and Pieces to South Africa, where it was received favourably. By the time he had left Cape Town, he had played to over 60,000 people, and had travelled in excess of 15,000 miles.

 

Upon his return to England in October, George took Bits and Pieces to Bradford. In August 1928, Robey and his company travelled to Canada, where they played to packed audiences for three months.

 

It was there that he produced a new revue, Between Ourselves, in Vancouver, which was staged especially for the country's armed forces. The Canadians were enthusiastic about Robey; he was awarded the freedom of the city in London, Ontario, made a chieftain of the Sarcee tribe, and was an honorary guest at a cricket match in Edmonton, Alberta. George described the tour as "one of unbroken happiness."

 

In the late 1920's Robey also wrote and starred in two Phonofilm sound-on-film productions, Safety First (1928), and Mrs. Mephistopheles (1929).

 

In early 1929 Robey returned to South Africa and then Canada for another tour with Bits and Pieces, after which he started another series of variety dates back in England. Among the towns he visited was Woolwich, where he performed to packed audiences over the course of a week.

 

In 1932 Robey appeared in his first sound film, The Temperance Fête, and followed this with Marry Me, which was, according to his biographer A. E. Wilson, one of the most successful musical films of the comedian's career. The film tells the story of a sound recordist in a gramophone company who romances a colleague when she becomes the family housekeeper.

 

By the later months of 1932, Robey had formed a romantic relationship with Blanche Littler (1897–1981), who then took over as his manager. The couple grew close during the filming of Don Quixote, a remake of the comedian's 1923 success as Sancho Panza.

 

Unlike its predecessor, Don Quixote had an ambitious script, big budget and an authentic foreign setting. Robey resented having to grow a beard for the role, and disliked the French climate and gruelling 12-week filming schedule. He refused to act out his character's death scene in a farcical way, and also objected to the lateness of the "dreadfully banal" scripts, which were often written the night before filming.

 

-- Venture Into Legitimate Theatre

 

Until 1932 Robey had never played in legitimate theatre, although he had read Shakespeare from an early age. That year he took the part of King Menelaus in Helen!, which was an English-language adaptation by A. P. Herbert of Offenbach's operetta La belle Hélène.

 

The show's producer C. B. Cochran, a longstanding admirer of Robey, engaged a prestigious cast for the production, including Evelyn Laye and W. H. Berry, with choreography by Léonide Massine and sets by Oliver Messel.

 

The operetta opened on the 30th. January 1932, becoming the Adelphi Theatre's most successful show of the year. The critic Harold Conway wrote that, while Robey had reached the pinnacle of his career as a variety star, which only required him to rely on his "breezy, cheeky personality", he had reservations about the comedian's ability to "integrate himself with the other stars ... to learn many pages of dialogue, and to remember countless cues."

 

After the run of Helen!, Robey briefly resumed his commitments to the variety stage before signing a contract to appear at the Savoy Theatre as Bold Ben Blister in the operetta Jolly Roger, which premiered in March 1933.

 

The production had a run of bad luck, including an actors' strike which was caused by Robey's refusal to join the actors' union Equity. The dispute was settled when he was included as a co-producer of the show, thus excluding him as a full-time actor. Robey made a substantial donation to the union, and the production went ahead.

 

Despite its troubles, the show was a success, and received much praise from the press. Harold Conway of the Daily Mail called the piece:

 

"One of the outstanding triumphs

of personality witnessed in a

London theatre".

 

Later that year, Robey completed his final autobiography, 'Looking Back on Life'. The literary critic Graham Sutton admired Robey for his honest and frank account, and thought that he was "at his best when most personal".

 

-- George Robey's Shakespearean Roles

 

According to Wilson, Robey revered Shakespeare and had an "excellent reading knowledge of the Bard" even though the comedian had never seen a Shakespeare play. As a child, he had committed to memory the "ghost" scene in Hamlet.

 

Writing in 1933, Cochran expressed the opinion that Robey had been a victim of a largely conservative and "snobbish" attitude from theatre managers, that the comedian was "cut out for Shakespeare", and that if he had been frequently engaged in playing the Bard's works, then "Shakespeare would probably have been popular."

 

In 1934, the theatre director Sydney Carroll offered Robey the chance to appear as Nick Bottom in A Midsummer Night's Dream at the Open Air Theatre, Regent's Park, but he initially declined the offer, citing a hectic schedule, including a conflict with his appearance in that year's Royal Variety Performance on the 8th. May.

 

George was also concerned that he would not be taken seriously by legitimate theatre critics, and knew that he would not be able to include a comic sketch or to engage in his customary resourceful gagging.

 

In the same year, Robey starred in a film version of the hit musical Chu Chin Chow. The New York Times called him "a lovable and laughable Ali Baba".

 

At the start of 1935 Robey accepted his first Shakespearean role, as Falstaff in Henry IV, Part 1, which surprised the press and worried fans who thought that he might retire the Prime Minister of Mirth.

 

The theatrical press were sceptical of a music hall performer taking on such a distinguished role; Carroll, the play's producer, vehemently defended his casting choice. Carroll later admitted taking a gamble on employing Robey, but wrote that:

 

"George Robey has unlimited courage

in challenging criticism and risking his

reputation on a venture of this kind; he

takes both his past and his future in both

hands, and is faced with the alternative

of dashing them into the depths or lifting

them to a height hitherto undreamt of."

 

Carroll further opined that:

 

"Robey has never failed in anything he

has undertaken. He is one of the most

intelligent and capable of actors."

 

Henry IV, Part I opened on the 28th. February at Her Majesty's Theatre, and Robey proved himself to be a capable Shakespearean actor, though his Shakespearean debut was marred initially by an inability to remember his lines.

 

A journalist from The Daily Express thought that Robey seemed uncomfortable, displayed a halting delivery and was "far from word perfect".

 

Writing in The Observer, the critic Ivor Brown said of Robey's portrayal:

 

"In no performance within my memory

has the actor been more obviously the

afflicted servant of his lines and more

obviously the omnipotent master of the

situation".

 

Another journalist, writing in the Daily Mirror, thought that:

 

"Robey gave 25 percent of

Shakespeare and 75 percent

of himself".

 

In any event, such was Robey's popularity in the role that the German theatre and film producer Max Reinhardt declared that, should the opportunity arise for a film version, the comedian would be his perfect choice as Falstaff.

 

Cotes described Robey as having:

 

"A great vitality and immense command

of the role. He never faltered, he had to

take his audience by the throat and make

them attentive at once because he couldn't

play himself in."

 

Although George was eager to be taken seriously as a legitimate actor, Robey provided a subtle nod in the direction of his comic career by using the wooden cane intended for the Prime Minister of Mirth for the majority of his scenes as Falstaff.

 

The poet John Betjeman responded to the critics' early scepticism:

 

"Variety artistes are a separate world

from the legitimate stage. They are

separate too, from ballet, opera, and

musical comedy.

It is possible for variety artists to

appear in all of these. Indeed, no one

who saw will ever forget the superb

pathos and humour of George Robey's

Falstaff".

 

Later, in 1935, Blanche Littler persuaded Robey to accept Carroll's earlier offer to play Bottom, and the comedian cancelled three weeks' worth of dates. The press were complimentary of his performance, and he later attributed his success to Littler and her encouragement.

 

-- George Robey's Later Career: 1936–1950

 

Robey was interviewed for The Spice of Life programme for the BBC in 1936. He spoke about his time spent on the music hall circuit, which he described as the "most enjoyable experience" of his life.

 

The usually reserved Robey admitted that privately he was not a sociable person, and that he often grew tired of his audiences while performing on stage, but that he got his biggest thrill from making others laugh.

 

He also declared a love for the outdoors, and mentioned that, to relax, he would draw "comic scribbles" of himself as the Prime Minister of Mirth, which he would occasionally give to fans. As a result of the interview he received more than a thousand fan letters from listeners.

 

Wilson thought that Robey's "perfect diction and intimate manner made him an ideal broadcast speaker". The press commented favourably on his performance, with one reporter from Variety Life writing:

 

"I doubt whether any speaker other than

a stage idol could have used, as Robey

did, the first person singular almost

incessantly for half an hour without

causing something akin to resentment. ...

The comedian's talk was brilliantly

conceived and written."

 

In the later months of 1936, Robey repeated his radio success with a thirty-minute programme entitled "Music-Hall", recorded for American audiences, to honour the tenth birthday of the National Broadcasting Corporation. In it, he presented a montage of his characterisations, as well as impressions of other famous acts of the day.

 

A second programme, which he recorded the following year, featured George speaking fondly of cricket and of the many well-known players whom he had met on his frequent visits to the Oval and Lord's cricket grounds over his fifty-year association.

 

In the summer of 1938 Robey appeared in the film A Girl Must Live, directed by Carol Reed, in which he played the role of Horace Blount. A report in the Kinematograph Weekly commented that:

 

"The 69-year-old comedian

is still able to stand up to the

screen by day, and variety

by night."

 

A journalist for The Times opined that Robey's performance as an elderly furrier, the love interest of both Margaret Lockwood and Lilli Palmer, was "a perfect study in bewildered embarrassment".

 

Robey made his television debut in August 1938, but was unenthused with the medium, and only made rare appearances. The BBC producer Grace Wyndham Goldie was dismayed at how little of his "comic quality" was conveyed on the small screen.

 

Goldie thought that Robey's comic abilities were not limited to his voice, and depended largely on the relation between his facial expressions and his witty words. She felt that:

 

"He should be forbidden, by his own

angel, if nobody else, to approach

the ordinary microphone".

 

Nonetheless, Goldie remained optimistic about Robey's future television career. The journalist L. Marsland Gander disagreed, and thought that Robey's methods were "really too slow for television".

 

That November, and with his divorce from Ethel finalised, Robey married Blanche Littler, who was more than two decades his junior, at Marylebone Town Hall.

 

At Christmas, he fractured three ribs and bruised his spine when he accidentally fell into the orchestra pit while appearing in the 1938–39 pantomime Robinson Crusoe in Birmingham. George attributed the fall to his face mask, which gave him a limited view of the stage.

 

The critic Harold Conway was less forgiving, blaming the accident on the comedian's "lost self-confidence" and opining that the accident was the start of Robey's professional decline.

 

-- George Robey in the Second World War

 

Aware of demand for his act in Australia, Robey conducted a second tour of the country at the start of 1939. While he was appearing at the Tivoli Theatre in Sydney, war broke out with Germany.

 

Robey returned to England and concentrated his efforts on entertaining in order to raise money for the war effort. He signed up with the Entertainments National Service Association (ENSA) for whom he appeared in a wide range of shows, and also in his own one-man engagements.

 

He would sometimes turn up unannounced to perform at hospitals, munition factories, airfields, anti-aircraft posts and other venues where there was an audience of just a few people.

 

During the 1940's, Robey appeared predominantly in troop concerts as himself, but caused controversy by jokingly supporting the Nazis and belittling black people during his act. His intentions were to gently poke fun at the "Little Englanders", but audiences thought that he was sympathising with Nazism.

 

George's jocular view that a defeat for Hitler would mean a victory for bolshevism was highlighted in a series of controversial interviews, which caused him much embarrassment when challenged and which he regretted afterwards. His views became known in the press as "Robeyisms", and they drew increasing criticism, but his Prime Minister of Mirth remained popular, and he used the character to divert the negative publicity.

 

Cotes wrote that:

 

"Robey was not a politician, merely a

jingoist, who lived long enough to feel

that his little-Englander outlook was

causing him acute embarrassment, and

his army of admirers deep dismay."

 

Robey starred in the film Salute John Citizen in 1942, about the effects that the war had on a normal British family. In a 1944 review of the film, Robey was described as being "convincing in an important role" but the film itself had "dull moments in the simple tale".

 

That Christmas, Robey travelled to Bristol, where he starred in the pantomime Robinson Crusoe. A further four films followed in 1943, one of which promoted war propaganda while the other two displayed the popular medium of cine-variety. Cine-variety introduced Robey to the Astoria in Finsbury Park, London, a venue which was used to huge audiences and big-name acts and was described as "a super-cinema".

 

During the early months of 1944, Robey returned to the role of Falstaff when he appeared in the film version of Henry V, produced by Eagle-Lion Films. The American film critic Bosley Crowther had mixed opinions of the film. Writing in The New York Times in 1946, he thought that:

 

"It showcased a fine group of British film

craftsmen and actors who contributed to

a stunningly brilliant and intriguing screen

spectacle. Despite this, the film's additional

screenplay was poor, and Falstaff's deathbed

scene was non-essential and just a bit

grotesque."

 

Late in 1944, George appeared in Burnley in a show entitled Vive Paree alongside Janice Hart and Frank O'Brian. In 1945, Robey starred in two minor film roles, as "Old Sam" in The Trojan Brothers, a short comedy film in which two actors experience various problems as a pantomime horse, and as "Vogel" in the musical romance Waltz Time.

 

-- George Robey's Final Years

 

George spent 1947 touring England, while the following spring he undertook a provincial tour of Frederick Bowyer's fairy play The Windmill Man, which he also co-produced with his wife.

 

In June 1951, now aged 81, Robey starred in a midnight gala performance at the London Palladium in aid of the family of Sid Field who had died that year. For the finale, Robey performed "I Stopped, I Looked, I Listened" and "If You Were the Only Girl in the World". The rest of the three-hour performance featured celebrities from radio, television and film.

 

The American comedian Danny Kaye, who was also engaged for the performance, called Robey:

 

"A great, great artist".

 

The same month, Robey returned to Birmingham, where he opened a garden party at St. Mary and St. Ambrose Church, a venue in which he had appeared at the beginning of his career. On the 25th. September George appeared for the BBC in an edition of the radio series Desert Island Discs for which he chose among others "Mondo ladro", Falstaff's rueful complaint about the wicked world in Verdi's opera Falstaff.

 

For the rest of the year Robey made personal appearances opening fêtes and attending charity events.

 

Robey took part in the Festival of Variety for the BBC in 1951, which paid tribute to the British music hall. For his performance, he adopted an ad-lib style rather than use a script. His wife sat at the side of the stage, ready to provide support should he need it. Robey's turn earned the loudest applause of the evening.

 

The following month Robey undertook a long provincial tour in the variety show Do You Remember? under the management of Bernard Delfont. After an evening's performance in Sheffield, he was asked by a local newspaper reporter if he considered retiring. The comedian quipped:

 

"Me retire? Good gracious, I'm too

old for that. I could not think of

starting a new career at my age!"

 

In December 1951, he opened the Lansbury Lodge home for retired cricketers in Poplar, East London; he considered the ceremony to be one of the "happiest memories of his life."

 

By early 1952, Robey was becoming noticeably frail, and he lost interest in many of his sporting pastimes. Instead, he stayed at home and drew comic sketches featuring the Prime Minister of Mirth.

 

In May he filmed The Pickwick Papers, in which he played the role of old Tony Weller, a part which he had initially turned down on health grounds. The following year, and in aid of the games fund, he starred as Clown in a short pantomime at the Olympic Variety Show at the Victoria Palace Theatre.

 

Organisers asked for him to appear in the Prime Minister of Mirth costume instead of the usual clown garb, a request the comedian was happy to fulfil.

 

-- Sir George Robey's Knighthood and Death

 

In the early months of 1954, a knighthood was conferred on Robey by Queen Elizabeth The Queen Mother at Buckingham Palace. However during the following weeks, George's health declined; he became confined to a wheelchair, and spent the majority of his time at home under the care of his wife.

 

In May he opened a British Red Cross fête in Seaford, East Sussex, and, a month later, made his last public appearance, on television as a panellist in the English version of The Name's the Same.

 

Wilson called Robey's performance "pathetic" and thought that:

 

"He appeared with only

a hint of his old self".

 

By June George had become housebound, and quietly celebrated his 85th. birthday surrounded by family; visiting friends were organised into appointments by his wife Blanche, but theatrical colleagues were barred in case they caused the comedian too much excitement.

 

Robey suffered a stroke on the 20th. November 1954, and remained in a semi-coma for just over a week. He died at the age of 85 on the 29th. November 1954 at his home in Saltdean, East Sussex, and was cremated at the Downs Crematorium in Brighton.

 

Blanche continued to live on the Sussex coast until her death at the age of 83 in 1981.

 

-- Sir George Robey's Legacy

 

Following his death, Robey's costume for the Prime Minister of Mirth was donated to the London Museum.

 

In his lifetime, Robey helped to earn more than £2,000,000 for charitable causes, with £500,000 of that figure being raised during the Great War.

 

In recognition of his efforts, the Merchant Seaman's Convalescent Home in Limpsfield, Surrey, named a ward after him, and the Royal Sussex Hospital later bought a new dialysis machine in his memory.

 

-- Tributes to George Robey

 

News of Robey's death prompted tributes from the press, who printed illustrations, anecdotes and reminders of his stage performances and charitable activities. A reporter from the Daily Worked wrote:

 

"Knighthood notwithstanding, George

Robey long ago made himself a place

as an entertainer and artist of the people."

 

A critic for the Daily Mail wrote:

 

"Personality has become a wildly

misused word since his heyday, but

George Robey breathed it in every

pore."

 

In Robey's obituary in The Spectator, Compton Mackenzie called the comedian:

 

"One of the last great figures of

the late Victorian and Edwardian

music-hall."

 

In December 1954, a memorial service for Robey was held at St. Paul's Cathedral. The diverse congregation consisted of royalty, actors, hospital workers, stage personnel, students and taxi drivers, among others.

 

The Bishop of Stepney, Joost de Blank, said:

 

"We have lost a great English music

hall artist, one of the greatest this

country has known in the late

nineteenth and twentieth centuries."

 

Performers gave readings at the service, including the comedian Leslie Henson, who called Robey:

 

"That great obstinate

bullock of variety".

 

Robey's comic delivery influenced other comedians, but opinions of his effectiveness as a comic vary. The radio personality Robb Wilton acknowledged learning a lot from him, and although he felt that:

 

"Robey was not very funny, but

he could time a comic situation

perfectly."

 

Similarly, the comedian Charlie Chester admitted that:

 

"As a comedian, Robey still didn't

make me laugh, although he was

a legend whose Prime Minister of

Mirth character used a beautiful

make-up design."

 

Robey's biographer Peter Cotes disagreed with these assessments, praising the comedian's "droll-like humour," and comparing it in greatness to Chaplin's miming and Grock's clowning. Cotes wrote:

 

"His Mayor, Professor of Music, Saracen,

Dame Trot, Queen of Hearts, District Nurse,

Pro's Landlady, and of course his immortal

Prime Minister, were all absurdities: rich,

outsize in prim and pride, gloriously

disapproving bureaucratic petty officialdom

at its worst, best and funniest."

 

Violet Loraine called her former co-star:

 

"One of the greatest comedians

the world has ever known".

 

The theatrical producer Basil Dean opined that:

 

"George was a great artist, one of

the last and really big figures of

his era. They don't breed them like

that now."

 

The actor John Gielgud, who remembered meeting Robey at the Alhambra Theatre in 1953, called the comedian:

 

"Charming, gracious, and one of the

few really great ones of the music

hall era."

Cactus : noun \ˈkak-təs\

 

: any of a family (Cactaceae, the cactus family) of plants that have succulent stems and vicious prickly branches with scales or Ginormous Man Killing spines instead of soft, cute cuddly leaves and are found especially in dry areas (as in deserts and elbows)

 

Used In A Sentence: When stranded in the desert, never use cactus as toilet paper.

 

Can also be used as an Adjective: Hey Cactus Butt! (obviously, they didn't read the sentence above)

 

View running from the flying cactus I just chucked at you, Cactus Butt

 

for

Cliche Saturday HCS

   

Shot at Lifestyle Fitness Kilmarnock.

by Samuel Musungayi.

 

Captured with a Yashica T5 and an expired roll of Polaroid High Definition CN 200.

 

CanoScan 8800F.

 

Notes :

Expiration date : Unknown

Film speed : ISO 200

Shot speed : ISO 200

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.

This is the lighthouse at Cape Blanco

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.

VIEW WITH RED/CYAN ANAGYLPH GLASSES

Südafrika - Kleine Karoo

 

Red Stone Hills Farm

 

Ostriches

 

Strauße

 

The Karoo (/kəˈruː/ kə-ROO; from a Khoikhoi word, possibly garo "desert") is a semi-desert natural region of South Africa. There is no exact definition of what constitutes the Karoo, and therefore its extent is also not precisely defined. The Karoo is partly defined by its topography, geology and climate — above all, its low rainfall, arid air, cloudless skies, and extremes of heat and cold. The Karoo also hosted a well-preserved ecosystem hundreds of million years ago which is now represented by many fossils.

 

The Karoo is sharply divided into the Great Karoo and the Little Karoo by the Swartberg Mountain Range, which runs east-west, parallel to the southern coastline, but is separated from the sea by another east-west range called the Outeniqua –Langeberg Mountains. The Great Karoo lies to the north of the Swartberg range; the Little Karoo is to the south of it.

 

The Little Karoo is separated from the Great Karoo by the Swartberg Mountain range. Geographically, it is a 290 km long valley, only 40–60 km wide, formed by two parallel Cape Fold Mountain ranges, the Swartberg to the north, and the continuous Langeberg-Outeniqua range to the south. The northern strip of the valley, within 10–20 km from the foot of the Swartberg mountains is most un-karoo-like, in that it is a well watered area both from the rain, and the many streams that cascade down the mountain, or through narrow defiles in the Swartberg from the Great Karoo. The main towns of the region are situated along this northern strip of the Little Karoo: Montagu, Barrydale, Ladismith, Calitzdorp, Oudtshoorn and De Rust, as well as such well-known mission stations such as Zoar, Amalienstein, and Dysselsdorp.

 

The southern 30–50 km wide strip, north of the Langeberg range is as arid as the western Lower Karoo, except in the east, where the Langeberg range (arbitrarily) starts to be called the Outeniqua Mountains.

 

The Little Karoo can only be accessed by road through the narrow defiles cut through the surrounding Cape Fold Mountains by ancient, but still flowing rivers. A few roads traverse the mountains over passes, the most famous and impressive of which is the Swartberg Pass between Oudtshoorn in the Little Karoo and Prince Albert on the other side of the Swartberg mountains in the Great Karoo. There is also the main road between Oudtshoorn and George, on the coastal plain, that crosses the mountains to the south via the Outeniqua Pass. The only exit from the Little Karoo that does not involve crossing a mountain range is through the 150 km long, narrow Langkloof valley between Uniondale and Humansdorp, near Plettenberg Bay.

 

(Wikipedia)

 

The common ostrich (Struthio camelus), or simply ostrich, is a species of flightless bird native to certain large areas of Africa and is the largest living bird. It is one of two extant species of ostriches, the only living members of the genus Struthio in the ratite order of birds. The other is the Somali ostrich (Struthio molybdophanes), which was recognized as a distinct species by BirdLife International in 2014 having been previously considered a very distinctive subspecies of ostrich.

 

The common ostrich belongs to the order Struthioniformes. Struthioniformes previously contained all the ratites, such as the kiwis, emus, rheas, and cassowaries. However, recent genetic analysis has found that the group is not monophyletic, as it is paraphyletic with respect to the tinamous, so the ostriches are now classified as the only members of the order. Phylogenetic studies have shown that it is the sister group to all other members of Palaeognathae and thus the flighted tinamous are the sister group to the extinct moa. It is distinctive in its appearance, with a long neck and legs, and can run for a long time at a speed of 55 km/h (34 mph) with short bursts up to about 70 km/h (43 mph), the fastest land speed of any bird. The common ostrich is the largest living species of bird and lays the largest eggs of any living bird (the extinct elephant birds of Madagascar and the giant moa of New Zealand laid larger eggs).

 

The common ostrich's diet consists mainly of plant matter, though it also eats invertebrates and small reptiles. It lives in nomadic groups of 5 to 50 birds. When threatened, the ostrich will either hide itself by lying flat against the ground or run away. If cornered, it can attack with a kick of its powerful legs. Mating patterns differ by geographical region, but territorial males fight for a harem of two to seven females.

 

The common ostrich is farmed around the world, particularly for its feathers, which are decorative and are also used as feather dusters. Its skin is used for leather products and its meat is marketed commercially, with its leanness a common marketing point.

 

Description

 

Common ostriches usually weigh from 63 to 145 kilograms (139–320 lb), or as much as one to two adult humans. The Masai ostriches of East Africa (S. c. massaicus) average 115 kg (254 lb) in males and 100 kg (220 lb) in females, while the nominate subspecies, the North African ostrich (S. c. camelus), was found to average 111 kg (245 lb) in unsexed adults. Exceptional male ostriches (in the nominate subspecies) can weigh up to 156.8 kg (346 lb). At sexual maturity (two to four years), male common ostriches can be from 2.1 to 2.8 m (6 ft 11 in to 9 ft 2 in) in height, while female common ostriches range from 1.7 to 2.0 m (5 ft 7 in to 6 ft 7 in) tall. New chicks are fawn in color, with dark brown spots. During the first year of life, chicks grow at about 25 cm (9.8 in) per month. At one year of age, common ostriches weigh approximately 45 kilograms (99 lb) Their lifespan is up to 40–45 years.

 

The feathers of adult males are mostly black, with white primaries and a white tail. However, the tail of one subspecies is buff. Females and young males are grayish-brown and white. The head and neck of both male and female ostriches is nearly bare, with a thin layer of down. The skin of the female's neck and thighs is pinkish gray, while the male's is gray or pink dependent on subspecies.

 

The long neck and legs keep their head up to 2.8 m (9 ft) above the ground, and their eyes are said to be the largest of any land vertebrate – 50 mm (2.0 in) in diameter – helping them to see predators at a great distance. The eyes are shaded from sunlight from above. However, the head and bill are relatively small for the birds' huge size, with the bill measuring 12 to 14.3 cm (4.7 to 5.6 in).

 

Their skin varies in color depending on the subspecies, with some having light or dark gray skin and others having pinkish or even reddish skin. The strong legs of the common ostrich are unfeathered and show bare skin, with the tarsus (the lowest upright part of the leg) being covered in scales: red in the male, black in the female. The tarsus of the common ostrich is the largest of any living bird, measuring 39 to 53 cm (15 to 21 in) in length. The bird has just two toes on each foot (most birds have four), with the nail on the larger, inner toe resembling a hoof. The outer toe has no nail. The reduced number of toes is an adaptation that appears to aid in running, useful for getting away from predators. Common ostriches can run at a speed over 70 km/h (43 mph) and can cover 3 to 5 m (9.8 to 16.4 ft) in a single stride. The wings reach a span of about 2 metres (6 ft 7 in), and the wing chord measurement of 90 cm (35 in) is around the same size as for the largest flying birds.

 

The feathers lack the tiny hooks that lock together the smooth external feathers of flying birds, and so are soft and fluffy and serve as insulation. Common ostriches can tolerate a wide range of temperatures. In much of their habitat, temperatures vary as much as 40 °C (72 °F) between night and day. Their temperature control relies in part on behavioral thermoregulation. For example, they use their wings to cover the naked skin of the upper legs and flanks to conserve heat, or leave these areas bare to release heat. The wings also function as stabilizers to give better maneuverability when running. Tests have shown that the wings are actively involved in rapid braking, turning, and zigzag maneuvers. They have 50–60 tail feathers, and their wings have 16 primary, four alular, and 20–23 secondary feathers.

 

The common ostrich's sternum is flat, lacking the keel to which wing muscles attach in flying birds. The beak is flat and broad, with a rounded tip. Like all ratites, the ostrich has no crop, and it also lacks a gallbladder. They have three stomachs, and the caecum is 71 cm (28 in) long. Unlike all other living birds, the common ostrich secretes urine separately from feces. All other birds store the urine and feces combined in the coprodeum, but the ostrich stores the feces in the terminal rectum. They also have unique pubic bones that are fused to hold their gut. Unlike most birds, the males have a copulatory organ, which is retractable and 20 cm (8 in) long. Their palate differs from other ratites in that the sphenoid and palatal bones are unconnected.

 

Distribution and habitat

 

Common ostriches formerly occupied Africa north and south of the Sahara, East Africa, Africa south of the rainforest belt, and much of Asia Minor. Today common ostriches prefer open land and are native to the savannas and Sahel of Africa, both north and south of the equatorial forest zone. In southwest Africa they inhabit the semi-desert or true desert. Farmed common ostriches in Australia have established feral populations. The Arabian ostriches in the Near and Middle East were hunted to extinction by the middle of the 20th century. Attempts to reintroduce the common ostrich into Israel have failed. Common ostriches have occasionally been seen inhabiting islands on the Dahlak Archipelago, in the Red Sea near Eritrea.

 

Research conducted by the Birbal Sahni Institute of Palaeobotany in India found molecular evidence that ostriches lived in India 25,000 years ago. DNA tests on fossilized eggshells recovered from eight archaeological sites in the states of Rajasthan, Gujarat and Madhya Pradesh found 92% genetic similarity between the eggshells and the North African ostrich, so these could have been fairly distant relatives.

 

Ostriches are farmed in Australia. Many escaped, however, and feral ostriches now roam the Australian outback.

 

Behaviour and ecology

 

Common ostriches normally spend the winter months in pairs or alone. Only 16 percent of common ostrich sightings were of more than two birds. During breeding season and sometimes during extreme rainless periods ostriches live in nomadic groups of five to 100 birds (led by a top hen) that often travel together with other grazing animals, such as zebras or antelopes. Ostriches are diurnal, but may be active on moonlit nights. They are most active early and late in the day. The male common ostrich territory is between 2 and 20 km2 (0.77 and 7.72 sq mi).

 

With their acute eyesight and hearing, common ostriches can sense predators such as lions from far away. When being pursued by a predator, they have been known to reach speeds in excess of 70 km/h (43 mph) and can maintain a steady speed of 50 km/h (31 mph), which makes the common ostrich the world's fastest two-legged animal. When lying down and hiding from predators, the birds lay their heads and necks flat on the ground, making them appear like a mound of earth from a distance, aided by the heat haze in their hot, dry habitat.

 

When threatened, common ostriches run away, but they can cause serious injury and death with kicks from their powerful legs. Their legs can only kick forward.

 

(Wikipedia)

 

Die Karoo (auch Karroo, früher Karru; Khoisan für Halbwüste) ist eine Halbwüstenlandschaft in den Hochebenen des Landes Südafrika, nördlich der Großen Randstufe und im südlichen Namibia. Unterschieden werden Kleine Karoo, Große Karoo und Obere Karoo sowie Sukkulentenkaroo und Nama-Karoo. Mit einer Ausdehnung von 500.000 km² umfasst die Karoo fast ein Drittel des Territoriums Südafrikas. Die Sukkulentenkaroo gehört zu den Biodiversitäts-Hotspots der Erde und wird u. a. im Rahmen von BIOTA AFRICA systematisch kartiert.

 

Der Name Karoo kommt von kurú (trocken) aus der Sprache der San, die einst hier lebten und jagten. In Hinsicht auf die geographische Ausdehnung des Karoo-Begriffs sind die folgenden Teilaspekte zu beachten und voneinander zu unterscheiden.

 

Die Karoo als Landschaft im traditionellen Verständnis ist eine südafrikanische Trockenregion innerhalb der Provinzen Westkap, Ostkap und Nordkap sowie im Süden Namibias. Ihre spezifische kapländische Strauchvegetation weist sie als Halbwüste aus. Ursprünglich wird in zwei Regionen unterschieden: Große Karoo und Kleine Karoo.

 

Die Große Karoo besitzt eine West-Ost-Ausdehnung von über 750 Kilometern und eine Nord-Süd-Ausdehnung von etwa 110 Kilometern. Sie wird im Westen vom Massiv der Zederberge und im Osten durch die Winterberge begrenzt. Im Norden bilden die Bergketten vom Roggeveld-, Koms-, Nuweveldberge und Sneeuberg und im Süden die Höhenzüge der Witteberge, Groot Swartberge und die Groot Winterhoek die natürliche Begrenzung.

 

Südlich dieser Region schließt sich die Kleine Karoo an. Diese wird wiederum an ihrer südlichen Flanke von den küstennahen Langebergen und Outeniqua-Bergen begrenzt.

 

Anders als in dieser traditionellen Gliederung, wird die Karoo heute nach ökologischen Gesichtspunkten in einen östlichen Teil, die Nama-Karoo, und einen westlichen Teil, die Sukkulenten-Karoo, gegliedert, wobei auch die Gesamtausdehnung der Karoo nach diesem Konzept von jener der traditionellen Betrachtungsweise abweicht.

 

(Wikipedia)

 

Die Little Karoo (englisch, auf Afrikaans Klein Karoo) ist eine Region in der Western Cape Provinz in Südafrika.

 

Durch die Little Karoo zieht sich die Route 62.

 

Die Klein Karoo ist ein halbwüstenartiger Landstrich, der zwischen den Swartbergen im Norden und den Outeniqua-Bergen im Süden liegt. Die Gegend ist fruchtbar und nicht ganz so trocken wie die nördlich anschließende Große Karoo. Die Kleine Karoo ist bekannt für die Straußenzucht, allein in der Umgebung von Oudtshoorn gibt es angeblich über 400 Betriebe, landwirtschaftliche Nutztiere der Region sind auch Schafe und Angoraziegen.

 

Die Kleine Karoo ist das östlichste Weinbaugebiet Südafrikas. Muskatweine, Portweine und Desertweine gedeihen in dem recht trockenen Klima, ein Teil des Weines wird zu Brandy verarbeitet. Auch das hier angebaute Obst wird teilweise zu Schnaps verarbeitet, man bekommt aber auch überall recht preisgünstig getrocknete Früchte.

 

(wikivoyage.org)

 

Der Afrikanische Strauß (Struthio camelus) ist eine Vogelart aus der Familie der Strauße und ist nach dem eng verwandten Somalistrauß der größte lebende Vogel der Erde. Während er heute nur noch in Afrika südlich der Sahara heimisch ist, war er in früheren Zeiten auch in Westasien beheimatet. Für den Menschen war der Strauß wegen seiner Federn, seines Fleisches und seines Leders seit jeher von Interesse, was in vielen Regionen zur Ausrottung des Vogels führte.

 

Merkmale

 

Die Männchen des Straußes sind bis zu 250 Zentimeter hoch und haben ein Gewicht bis zu 135 Kilogramm. Weibchen sind kleiner: Sie sind 175 bis 190 Zentimeter hoch und 90 bis 110 Kilogramm schwer. Die Männchen, Hähne genannt, haben ein schwarzes Gefieder. Davon setzen sich die Schwungfedern der Flügel und der Schwanz weiß ab. Die Weibchen, Hennen genannt, tragen dagegen ein erdbraunes Gefieder; Flügel und Schwanz sind bei ihnen heller und haben eine weißlichgraue Farbe. Das Jugendkleid ähnelt dem Aussehen des Weibchens, ohne die charakteristische Absetzung von Flügeln und Schwanz. Frisch geschlüpfte Küken sind dagegen rehbraun, ihr Daunenkleid weist dunkle Tupfen auf. Die Daunen des Rückengefieders sind igelartig borstig aufgestellt. Die nackten Beine sowie der Hals sind je nach Unterart grau, graublau oder rosafarben. Beim Männchen leuchtet die Haut während der Brutzeit besonders intensiv.

 

Der Strauß hat einen langen, überwiegend nackten Hals. Der Kopf ist in Relation zum Körper klein. Die Augen sind mit einem Durchmesser von 5 Zentimetern die größten aller Landwirbeltiere. Das Becken der Strauße ist ventral durch eine Schambeinfuge (Symphysis pubica) geschlossen. Dies ist nur bei straußenartigen Vögeln so. Es wird von den drei spangenartigen Beckenknochen (Darmbein, Sitzbein, Schambein) gebildet, zwischen denen große Öffnungen bestehen, die durch Bindegewebe und Muskulatur verschlossen sind. Der Strauß hat sehr lange Beine mit einer kräftigen Laufmuskulatur. Seine Höchstgeschwindigkeit beträgt etwa 70 km/h; eine Geschwindigkeit von 50 km/h kann der Strauß etwa eine halbe Stunde halten. Als Anpassung an die hohe Laufgeschwindigkeit besitzt der Fuß, einzigartig bei Vögeln, nur zwei Zehen (Didactylie). Zudem können die Beine als wirkungsvolle Waffen eingesetzt werden: Beide Zehen tragen Krallen, von denen die an der größeren, inneren Zehe bis zu 10 cm lang ist.

 

Stimme

 

Zu den typischsten Lautgebungen des Straußes gehört ein Ruf des Männchens, der dem Brüllen eines Löwen ähnelt. Ein tiefes „bu bu buuuuu huuu“ wird mehrmals wiederholt. Der Laut wird bei der Balz und beim Austragen von Rangstreitigkeiten ausgestoßen. Daneben sind Strauße beiderlei Geschlechts zu pfeifenden, schnaubenden und knurrenden Lauten in der Lage. Nur junge Straußenküken geben auch melodischere Rufe von sich, die dazu dienen, das Muttertier auf sich aufmerksam zu machen.

 

Verbreitung und Lebensraum

 

Das natürliche Verbreitungsgebiet des Straußes ist Afrika, insbesondere Ost- und Südafrika. Ausgestorben ist er auf der Arabischen Halbinsel, in Westasien sowie in Afrika nördlich der Sahara.

 

Strauße leben in offenen Landschaften wie Savannen und Wüsten. Sie bevorzugen Habitate mit kurzem Gras und nicht zu hohem Baumbestand; wo das Gras höher als einen Meter wächst, fehlen Strauße. Gelegentlich dringen sie in Buschland vor, bleiben dort aber nicht lange, da sie an schneller Fortbewegung gehindert werden und dort nicht weit blicken können. Reine Wüsten ohne Vegetation eignen sich nicht als ständiger Lebensraum, werden aber auf Wanderungen durchquert. Weil Strauße ihren gesamten Flüssigkeitsbedarf aus der Nahrung beziehen können, benötigen sie keinen Zugang zum Wasser, und lange Trockenperioden sind ebenfalls kein Problem für sie.

 

Afrikanische Strauße wurden erstmals 1869 nach Australien eingeführt, weitere Importe folgten in den 1880er Jahren. Mit den importierten Straußen sollten in Australien Farmen für die Belieferung der Modeindustrie mit Federn aufgebaut werden. Bereits vor der Jahrhundertwende gab es verwilderte Strauße, deren Ansiedlung auf einigen Farmen gezielt gefördert wurde. 1890 lebten 626 Strauße in der Nähe von Port Augusta und der Stadt Meningie, 1912 betrug die Zahl 1.345 Individuen. Nachdem die Nachfrage nach Straußenfedern nach Ende des Ersten Weltkrieges zusammenbrach, kam es zu weiteren Freilassungen, die Zahl der ausgewilderten Strauße ist jedoch nicht bekannt. Im australischen Bundesstaat Western Australia konnten sich Strauße freilebend nicht etablieren, in New South Wales vermehrten sich in den Regionen, in denen Strauße ausgewildert wurden, diese Strauße in den ersten Jahren, der Bestand blieb dann über einige Zeit stabil und nahm dann stetig ab. In vielen Regionen, in denen Strauße über mehrere Jahre lebten, waren sie in der Mitte des 20. Jahrhunderts wieder verschwunden. Nördlich von Port Augusta gab es in den 1970er Jahren noch einen Bestand von 150 bis 200 Straußen. Während der langanhaltenden Dürre von 1980 bis 1982 starben die meisten dieser Vögel. Nach 1982 wurden dort nur noch 25 bis 30 Strauße gezählt.

 

Mit der Unterart Struthio camelus camelus wurden im 20. Jahrhundert in Vorderasien partiell Aussiedlungsversuche unternommen. Eine Population lebt im Mahazat-as-Sayd-Schutzgebiet in Saudi-Arabien, eine weitere im Reservat Hai Bar in Israel.

 

Lebensweise

 

Strauße sind tagaktive Vögel, die besonders in den Dämmerungsstunden aktiv sind. In Zeiten mit knappem Nahrungsangebot müssen sie große Wanderungen unternehmen und sind in der Lage, in der Mittagssonne zu wandern. Nachts ruhen sie, wobei sie für gewöhnlich die Hälse aufrecht und die Augen geschlossen halten. Nur für kurze Tiefschlafphasen werden Hals und Kopf auf das Rückengefieder oder auf den Boden gebettet.

 

Außerhalb der Brutzeit leben Strauße für gewöhnlich in lockeren Verbänden, die zwei bis fünf, in manchen Gegenden aber auch hundert und mehr Tiere umfassen können. In Wüstengegenden sammeln sich bis zu 680 Tiere um Wasserlöcher. Der Zusammenhalt der Straußenverbände ist locker, denn die Mitglieder der Gruppe kommen und gehen nach Belieben. Oft sieht man auch einzelne Strauße. Trotzdem gibt es innerhalb der Gruppen klare Hierarchien. Rangstreitigkeiten werden meistens durch Drohlaute und Drohgebärden geregelt; dabei werden Flügel und Schwanzfedern aufgestellt und der Hals aufrecht gehalten. Der rangniedrigere Vogel zeigt seine Unterwerfung, indem er den Hals U-förmig biegt und den Kopf nach unten hält; auch Flügel und Schwanz zeigen nach unten. Selten kann eine Rangstreitigkeit auch in einen kurzen Kampf münden.

 

Zur Fortpflanzungszeit lösen sich die losen Verbände auf und geschlechtsreife Männchen beginnen mit dem Sammeln eines Harems.

 

Nutzung

 

Als im 18. Jahrhundert Straußenfedern als Hutschmuck der reichen Damenwelt Europas in Mode kamen, begann die Jagd auf die Vögel solche Ausmaße anzunehmen, dass sie den Bestand der Art bedrohte. In Westasien, Nordafrika und Südafrika wurde der Strauß restlos ausgerottet. Im 19. Jahrhundert begann man, Strauße in Farmen zu züchten, da frei lebende Strauße extrem selten geworden waren. Die erste dieser Farmen entstand 1838 in Südafrika. In der zweiten Hälfte des 20. Jahrhunderts wurden immer mehr Straußenfarmen auch in Europa und Nordamerika eröffnet. In Teilen Südamerikas erlebt die Straußenzucht seit einigen Jahren einen Boom. Vor allem in Brasilien, Kolumbien, Peru und Bolivien gelten die Farmen als lukrative alternative Erwerbsquelle.

 

Heute spielen die Federn in der Straußenzucht kaum noch eine Rolle. Man züchtet die Strauße nun vor allem wegen ihres Fleisches und der graublauen Haut, aus der man Leder herstellt. Das Fleisch des Straußes hat einen ganz eigenen Geschmack, der am ehesten mit Rindfleisch oder dem des Bison zu vergleichen ist. Aus den Schalen der Eier fertigt man Lampenschirme und Schmuckgegenstände.

 

In Südafrika (Weltmarktanteil: 75 %) werden je 45 % der Einnahmen aus der Straußenzucht durch Fleisch und Haut erzielt, 10 % durch Federn. In Europa wird durch Fleisch 75 % und die Haut 25 % eingenommen.

 

Als Reit- und Zugtiere werden Strauße erst in jüngerer Zeit als Touristenattraktion genutzt. Dies hat jedoch nirgendwo eine kulturelle Tradition.

 

Der Umgang mit Straußen ist nicht ungefährlich. Vor allem die Hähne sind während der Brutzeit angriffslustig. Eindringlinge werden dabei mit Fußtritten traktiert. Die Wucht und vor allem die scharfen Krallen können dabei zu schweren Verletzungen oder gar zum Tode führen.

 

Der Arabische Strauß wurde am Anfang des 20. Jahrhunderts ausgerottet. Diese Unterart war in Palästina und Syrien noch bis zum Ersten Weltkrieg recht häufig, wurde dann aber durch motorisierte Jagden mit Schusswaffen vernichtet. Das letzte wild lebende Tier starb 1966 in Jordanien. 1973 wurden Strauße in der Wüste Negev in Israel freigesetzt, wodurch sie dort inzwischen wieder heimisch sind. Es handelt sich jedoch um Nordafrikanische Strauße, also eine andere Unterart.

 

Die Art insgesamt ist nicht bedroht, da sie vor allem in Ostafrika noch häufig ist. Regional ist der Strauß jedoch selten, so in Westafrika.

 

Etymologie

 

Das Wort Strauß stammt vom altgriechischen strouthiōn (στρουθίον), was so viel wie ‚großer Spatz‘ bedeutet. Die Griechen bezeichneten den Strauß auch als ‚Kamelspatz‘ (στρουθοκάμηλος strouthokamēlos), was den wissenschaftlichen Namen der Art, Struthio camelus, erklärt.

 

Auffallend ist, dass der Strauß in verschiedenen Sprachen den verdeutlichenden Zusatz Vogel trägt. Dem deutschen Vogel Strauß entspricht so der niederländische struisvogel und der schwedische fågeln struts. Die englische Bezeichnung ostrich, das französische autruche und das portugiesische und spanische avestruz gehen alle gleichermaßen auf das lateinische avis struthio zurück – avis bedeutet ebenfalls nichts anderes als ‚Vogel‘.

 

(Wikipedia)

too cute blog giveaway

www.resurrectionfern.typepad.com

I wish that little kittens could just stay like this forever, and never grow bigger.

Definition: Certain.

 

I have watched this buzzard around my home and he follows the same pattern every day. This has enabled me to be certain where I will get the photograph that I want.

With the Sun low in the sky the window of opportunity is still finite. The only uncertainty that has exposed itself is my ability to remain hidden. :-)

 

flickeflu.com/photos/sarniebill

www.fluidr.com/photos/sarniebill

darckr.com/username?sort=interestingness-desc&format=...

This work is licensed under a Creative Commons Attribution 3.0 Unported

 

Yesterday, while making the chocolate/mint card, I had another idea for a card. I made more of those "friendship flowers", stitched other buttons to them, made a bucket to put them in, sewn pearls to the ribbon and here's my card! No sentiment though, it was not really needed. Let the flower power speak!

ok, i think i will start wid this for my photoessay project :)

i have to collect minimum 20 pics...

Camera: Olympus Trip 35

Film: Lomography Color Xpro Sunset Strip 100

Please visit my LomoHome at bit.ly/adg_lomo

The clouds were really lovely over the weekend, and the sunset color only highlighted that.

High definition eyeshadow & lipstick made for all GENUS Project mesh heads.

 

Includes 12 Fashion Colors...

6 Matte Shimmer Lipsticks

6 Smokey Matte Eyeshadows

 

Play with the layer opacity and tint. Have some fun!

 

Be a HoneyPot Girl!

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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.

www.myspace.com/definitionplexus

The dry earth stuck to my damp sole! This really shows the parts of my sole that come in contact with the earth.

Kane County (Utah) Rte 1850, also known as Yellowjacket Road.

 

This is the road we took to/from Coral Pink Sand Dunes State Park; the photo was taken from the park's entrance. We had left the campground, and were on our way back to US 89. In just a little more than 1/2 hour, we would reach our destination - Zion National Park. Our hope was to arrive at the South Campground, which doesn't take reservations, early enough to find a site.

Pony...noun

plural ponies

1 : any of various breeds of small horse, usually under 14.2 hands

2 : a small drinking glass, esp for liqueurs

the amount held by such a glass

anything small of its kind

3 : (British, slang) a sum of £25, esp in bookmaking

 

these definitely fit into number 1....textures thanks to PaintedWorksByKb and Cleanzor.

 

not around much at the moment...will try and catch up soon :-)

MINOLTA X-700 / MINOLTA MD ROKKOR 50MM 1:1.4/ Kodak High Definition 200(Expired 51 months)

 

If You Like, please check my album: www.flickr.com/photos/andrealanzilli/albums/7215766214424...

 

Not a holiday, but a journey. This is my definition of 15 days recently spent in Myanmar, a country which moved my most reflective side. Perhaps expecting such an effect, me and Barbara had chosen to visit South-East Asia this year. This was a journey not only to a place, but also in ourselves. I know that introspection is possible in everyday life, but in a country like Myanmar the process is amplified: the differences between our and the culture of its inhabitants, as well as the life style, surely help. Myanmar smells of rain, spices and incense. Myanmar is frequently experienced with bare feet, in the sacred caves as in the houses of people in the villages, touching dirt, mud and grass. Myanmar can be admired from high up, on stupa and hills, or from below, while observing closely the work of artisans, the smiles to kids and of elderly people. Myanmar wishes goodnight through the sounds of crickets, and wishes good morning with the chirping of birds or the singing of roosters. In Myanmar, the “roads” are occupied by cars, “buses”, bicycles, motor scooters, people on foot, oxen, buffalos, chickens, goats and dogs. In Myanmar, the flowerbeds around schools are full of bicycles, used by both teachers and children. In Myanmar, children play with insects, bamboo spheres instead of soccer balls, strands of grass and search for fishes in the streams. The children are wonderful. In many villages there is no electricity, nor water. The inhabitants have to collect and transport water on foot or on oxen over kilometres, two times per day. This water has to be sterilized before use, boiling it and filtering it through calcareous rocks. Most houses in the villages are elevated and made of bamboo or wood, with only two rooms: a kitchen and a bedroom where all family members sleep together. In Myanmar, women and men have similar jobs: sexual discrimination is almost absent, excluding some themes regarding the Buddhist religion. I think that Italy (and not only Italy) is a country where sexual discrimination is present almost as much as in Arabian countries, we just wear a different mask. In Myanmar, you will encounter swarms of dragonflies everywhere, in many colours. The mosquitoes will not make you sleep easily during the night, flies and ants will keep you company at every meal, happy to try the food and drinks; additionally, frogs and insects of many kinds will be easily found in humid areas. Do not think that a spray repellent will be enough to them completely, but it will help to spare you some stings form mosquitos.

In Myanmar, at the end of the day, your feet will be black as the asphalt and your sandals will be cleaner than them: you will just wish a shower. In Myanmar, in the largest cities, you will be assaulted by men, women and children, who will see in you as a wallet with two legs, two hands, two arms and maybe a head. These people are already used to mass tourism and did not represent who we searched for. Who we searched for were the village people, who still show to have a genuine curiosity for different cultures. They, for us, represent Myanmar. In this country, a waiter earns about 60 Euros per month, while a construction worker, who constructs the road by hand from 6:00 to 18:00, earns about 4 Euros per day. In Myanmar, rice fields are never-ending, the pagodas are golden, the people are quiet and smiling. The population of Myanmar is partly represented by monks, who fill roads and monasteries with their red, orange and pink robes, bald heads, the sound of prayers and blessings. Buddhist religion represents the frame of this country, where most people do not believe in a god, but in a philosophy and life style. Overall, visit Myanmar was a wonderful experience. This is MY MYANMAR.

A video footage rendered in full high definition during the Holy Tuesday services in our town.

You may click on the link below and click "HD" at the bottom of your screen to enjoy the benefit of watching clear vivid picture. Enjoy!

 

www.youtube.com/watch?v=yuksBLX4VUw