Have a Grateful day! #Chicago Filed Museum Decked out in #Dead #FareTheeWell #gratefuldead #dead50

There was some very light rain in the Kruger National Park and a variety of animals were drinking the run-off water from the roadside. But the drought still dominates South Africa at the moment.

i have this weird way of (completely unintentionally) attracting cabbies and muni drivers. once i was only able to get out a cab by giving the guy a $6(!) tip and getting his phone number and promising to call him an hour later when i was done with my appointment. he was off work and wanted to buy me a drink. i was afraid he might be waiting outside when i got out. then last year, there was j~, my regular bus driver. he was an older gentleman and we used to talk. i thought of him as a father figure - he wanted to date me. after much embarrassment, i assume, on both our parts, i stopped taking that bus. and i learned my lesson – do not converse with your regular bus drivers!

 

so, when going about my daily business, i tend to have one of two expressions – either a smile or "i hate this fucking world, and especially you in it. grrrrr!" with my now four "regular" drivers, i usually smile and nod when i get on the bus and, if possible, say thank you on my way out. tonight, when i got on the evening bus, the driver quickly handed me a note. *flashbacks of j~ arrrrgh!!" completely flustered, i shoved the note in my pocket as i walked toward the back of the bus, mouthing the words "fuck! fuck! fuck!" on repeat, really fast. after the initial wave of "did that just really happen?" pass, i pulled out the note, half expecting a phone number and/or location, room number and time of meeting at some hourly hotel in the tenderloin. this is what i found.

 

yeah, i smiled.

Spent a wonderful 2 hours with this gorgeous Otter on Mull during Winter. This guy was patch fishing right in front of me, having no trouble at all coming up with catch after catch.

 

www.eddcottell.co.uk

Lately I have been building new trees and modifying old ones. Now the trees are planted on the side of a mountain I've been working on since late December. The mountain is constructed of 1" sheet styrofoam, paper "biscuits" wadded up from brown paper bags used to protect wine bottles, and plaster cloth. My mountain was designed to be removable for the ease of construction, maintenance of scenery, access to the tracks for cleaning and re-railing trains, and eventual moving.

 

On the lower slopes are Ponderosa Pines, then Quaking Aspens, Douglas Fir, and Engelmann Spruce. The latter trees are bottle-brush type trees from Heki that I've had for decades. All the others are from Woodland Scenics kits and components that I've modified to resemble the trees of northern New Mexico I'm not 100% satisfied with my attempt with aspens, but Woodland Scenics doesn't really have a tree armature shape or foliage color that suits me. My version of Ponderosa Pine and Douglas Fir is closer than most modelers' work. Bottle brush type trees are OK for certain firs and spruces with an overall conical shape but not for "pine" trees that too many modelers try to pass off.

 

On the right hand side of this view, you can see the cutout for my track, and the left side will butt up against the photo mural background. The pink styrofoam visible on the bottom is where the mountain drops into its slot. On the left front, part of the mountain overlaps onto the adjacent section, and a wide creek goes around the bend and disappears from view.

See also my album: portraits when passing by and... you are welcome to visit my profile You should have a look on my Faves too.

Having fun.

The main change we have made this month is to build the raised bed you can see on the right. It's made of bricks we already had. The plan was to use up the topsoil we moved when we built the patio on the right...but ended up a bit big as I wanted it taller. I also got hubby to add a seat so I can sit amongst the plants, in the early morning sun or the afternoon shade.

An homage to Wonderella

 

The BBC believes most people will have read only 6 of the 100 books listed here. I've read 46. Yipee!

 

1 Pride and Prejudice - Jane Austen*

2 The Lord of the Rings - JRR Tolkien

3 Jane Eyre - Charlotte Bronte*

4 Harry Potter series - JK Rowling

5 To Kill a Mockingbird - Harper Lee*

6 The Bible

7 Wuthering Heights - Emily Bronte*

8 Nineteen Eighty Four - George Orwell

9 His Dark Materials - Philip Pullman

10 Great Expectations - Charles Dickens *

11 Little Women - Louisa M Alcott *

12 Tess of the D’Urbervilles - Thomas Hardy*

13 Catch 22 - Joseph Heller

14 Complete Works of Shakespeare*

15 Rebecca - Daphne Du Maurier*

16 The Hobbit - JRR Tolkien

17 Birdsong - Sebastian Faulk

18 Catcher in the Rye - JD Salinger

19 The Time Traveler’s Wife - Audrey Niffenegger*

20 Middlemarch - George Eliot *

21 Gone With The Wind - Margaret Mitchell

22 The Great Gatsby - F Scott Fitzgerald *

24 War and Peace - Leo Tolstoy*

25 The Hitch Hiker’s Guide to the Galaxy - Douglas Adams

27 Crime and Punishment - Fyodor Dostoyevsky*

28 Grapes of Wrath - John Steinbeck *

29 Alice in Wonderland - Lewis Carroll *

30 The Wind in the Willows - Kenneth Grahame

31 Anna Karenina - Leo Tolstoy*

32 David Copperfield - Charles Dickens*

33 Chronicles of Narnia - CS Lewis *

34 Emma -Jane Austen*

35 Persuasion - Jane Austen*

36 The Lion, The Witch and the Wardrobe - CS Lewis *

37 The Kite Runner - Khaled Hosseini

38 Captain Corelli’s Mandolin - Louis De Bernieres

39 Memoirs of a Geisha - Arthur Golden *

40 Winnie the Pooh - A.A. Milne

41 Animal Farm - George Orwell

42 The Da Vinci Code - Dan Brown

43 One Hundred Years of Solitude - Gabriel Garcia Marquez *

44 A Prayer for Owen Meaney - John Irving

45 The Woman in White - Wilkie Collins

46 Anne of Green Gables - LM Montgomery *

47 Far From The Madding Crowd - Thomas Hardy*

48 The Handmaid’s Tale - Margaret Atwood

49 Lord of the Flies - William Golding

50 Atonement - Ian McEwan*

51 Life of Pi - Yann Martel*

52 Dune - Frank Herbert

53 Cold Comfort Farm - Stella Gibbons

54 Sense and Sensibility - Jane Austen*

55 A Suitable Boy - Vikram Seth

56 The Shadow of the Wind - Carlos Ruiz Zafon

57 A Tale Of Two Cities - Charles Dickens

58 Brave New World - Aldous Huxley

59 The Curious Incident of the Dog in the Night-time - Mark Haddon

60 Love In The Time Of Cholera - Gabriel Garcia Marquez *

61 Of Mice and Men - John Steinbeck *

62 Lolita - Vladimir Nabokov*

63 The Secret History - Donna Tartt

64 The Lovely Bones - Alice Sebold

65 Count of Monte Cristo - Alexandre Dumas

66 On The Road - Jack Kerouac

67 Jude the Obscure - Thomas Hardy*

68 Bridget Jones’s Diary - Helen Fielding

69 Midnight’s Children - Salman Rushdie*

70 Moby Dick - Herman Melville

71 Oliver Twist - Charles Dickens

72 Dracula - Bram Stoker

73 The Secret Garden - Frances Hodgson Burnett *

74 Notes From A Small Island - Bill Bryson

75 Ulysses - James Joyce*

76 The Inferno - Dante *

77 Swallows and Amazons - Arthur Ransome

78 Germinal - Emile Zola*

79 Vanity Fair - William Makepeace Thackeray*

80 Possession - AS Byatt

81 A Christmas Carol - Charles Dickens

82 Cloud Atlas - David Mitchell

83 The Color Purple - Alice Walker

84 The Remains of the Day - Kazuo Ishiguro

85 Madame Bovary - Gustave Flaubert*

86 A Fine Balance - Rohinton Mistry

87 Charlotte’s Web - E.B. White *

88 The Five People You Meet In Heaven - Mitch Albom

89 Adventures of Sherlock Holmes - Sir Arthur Conan Doyle

90 The Faraway Tree Collection - Enid Blyton

91 Heart of Darkness - Joseph Conrad*

92 The Little Prince - Antoine De Saint-Exupery *

93 The Wasp Factory - Iain Banks

94 Watership Down - Richard Adams

95 A Confederacy of Dunces - John Kennedy Toole

96 A Town Like Alice - Nevil Shute

97 The Three Musketeers - Alexandre Dumas

98 Hamlet - William Shakespeare*

99 Charlie and the Chocolate Factory - Roald Dahl*

100 Les Miserables - Victor Hugo*

 

I was forced to read some. Won't touch others. Took me 18 weeks to read the complete works of Shakespeare. A 10 week quarter, and an 8 week summer session. Only a handful are actually on my shelves and I love them dearly.

Not often you see insects drinking - I caught this bee having a slurp in my garden whilst I was waiting for my sparrows to feed.

Is the bus indoors or outdoors? LOL Please view large size.

Thanks for taking the time to visit. I have a busy day ahead so will try to catch up soon:)

664

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IF you have read the previous "INVITATION" Photo page, you have already seen the invite wording here ...

 

This is just a new photo "cover" ... did not want to bump any previous photos ... and as mentioned, trying to be sure we don't miss anyone !!

 

:)

 

:)

 

OPEN INVITATION:

 

If you are reading / seeing this, YOU are invited!!

 

(Okay, everyone is ALWAYS invited to join in, every month, for this fun flickr group ... called Blythe~A~Day ;) ;)

 

A lot of you are probably familiar with the “Blythe A Day” flickr monthly group, wherein a NEW group is started each month, with a new Admin. and new cast of members (some are new, some have participated once or twice, some are “regulars”, having participated many, many times :) ... and so most of you know that you don't really NEED this invitation ... ;)

 

but consider yourself PERSONALLY invited ;) :) ... by the entire Modeling Troupe here at BFA, as we have volunteered to be the Host for the month of September 2014 :)

 

YES! We here at Blythe Fifth Avenue ... will be Hosting our very FIRST Blythe-A-Day flickr group, and as excited as we are, and as hopeful that you will join us ...

 

That being said, we concede the basic fact that a lot of us have very, very busy lives, so participating in a group like this is just out of the question ... A lot of us don't like to be held to a "schedule", much less a "theme", and we GET that ...

 

It is also agreed ... it CAN take up time, and it DOES take effort ... so, if this month finds you in a hectic situation ... if this is just not a good time for you to join in ... or if you simply don’t want to hassle with it ... and/or perhaps this is just not your thing, and you have no interest ...

 

No need to explain anything ;) ... "It's All Good" as they say :) ... please believe me when I say, “I GET IT” :)

 

I just wanted to share this invite/ announcement, with as many as possible ... because we really DO want you to join in ... and we would LOVE to have you !!

 

~

~

 

The COOL thing about this flickr group is ... it is ONLY for 30 short calendar days, and then ... it's done!

 

You don't need a lot of props, you certainly don't need to be a professional photographer (otherwise I wouldn't be here ;) ... you don’t need to post every day ... you just need to be a person who LOVES to ENJOY your Blythe family with others who are here for the same reason ... to have fun!!

 

You do not have to use the same Blythe every day, you do not even have to do every single theme, every single day ... just participate in the level YOU have time for ... the members of the group are not there for any sort of competition or score keeping ;) ... we just like to participate for the FUN and shared love of BLYTHE :)

 

~

~

 

And ... last but not least ... I would like to thank each of you ... in advance ... for considering joining in the fun this month ... and why I am inviting as many dolly friends I can reach ... to help come and "hold my hand" during this ... my "inaugural" attempt at being the "Host" for this flickr Blythe-A-Day monthly group!!

 

~

~

Sooooo... if you're looking for a good excuse to show off (I mean, SHARE) ... your wonderful Blythe family ... this is it! :)

 

~

~

 

ACTUAL DAY-TO-DAY THEME LIST is posted below, AND can be seen in the flickr group page by following the link ...

 

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And I am serious: This is JUST an announcement :) ~ No RSVP required ... IF we see you, we see you ... if not ... well, you will be missed :) :) xo

 

~

~

 

LINK TO GROUP:

 

www.flickr.com/groups/september2014blythe-a-day/

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~

Shall we have a break?

 

SD1 with 85/1.4 ISO200 f/1.4 1/80sec NR: C1.00/L0.50

 

I set the ISO Speed to 200 to reduce a noise.

It's a mistake.

I got a camera shake photograph....

It should be set to iso800 or iso400.

The National Offender Management Service event, Actions Have Consequences, was delivered to pupils at schools in Oldham, Rochdale, Salford and Bolton by a Her Majesty's Prison (HMP) officer, dog handler Paul McGovern MBE and GMP were there to support the event.

   

Prison Officer Paul McGovern MBE, from HMP Manchester, works within the Prison Community Team which engages with children in local schools to break the cycle of children being peer pressured into local crime gangs and subsequently being imprisoned when they are adults.

   

The aim of the Actions Have Consequences programme is to build bridges between local children, their teachers, local neighbourhood policing teams, school based officers and the youth offending team.

   

The programme is carried out in a fun but serious way and covers 46 subjects, some of which include the realities of knife crime, gang wars, drugs, anti-social behaviour, relationship breakdown, and the a real-life experience of being in prison.

   

Local GMP officers and pupils interact throughout the session and the pupils soon see through the police uniform and see the individual underneath, who are not only there for when they are in trouble but are also there to help them.

   

Since it began in 2010 the programme has been delivered to over one million children throughout the country with the support of the local neighbourhood teams, school based officers and the youth offending teams.

   

GMP is committed to educating young people, engaging with the community and taking part in programmes like these that are vital in helping to shaping people's future.

   

Prison Officer Paul McGovern MBE comments that: "I put a lot of energy into the day so it is quite tiring but if it stops one person from being killed or stops someone being imprisoned, the aim of the programme has worked.

   

"I do have to mention my two prison dogs G and J who also come along on the day. They always receive lots of attention but when I need a volunteer for someone to wear the sleeve - everyone goes strangely quiet.

   

"I have received positive feedback from those schools I have attended so I must be doing something right as I am always asked when I am coming back".

   

Chief Inspector Danny Atherton commented that: "We have worked with Paul and the programme for many years and find it is a valuable input for the young people of Greater Manchester.

   

“It is a powerful way to educate them as they approach adulthood, so they make the right decisions when a situation arises to keep themselves and their friends safe.

   

"I'm proud to support such an inspiring project and I'd like to thank everyone that works hard to make it happen. Sadly, these examples and situations are some people's reality, but by sharing them we hope they will make good choices in the future and speak to ourselves if they need help."

   

Deputy Mayor of Greater Manchester Bev Hughes said: “We are committed, not only to strong enforcement against violent crime, but also to trying to prevent it happening first place. Greater Manchester’s Violence Reduction Unit takes a public health approach to violence reduction; this means focusing on understanding what lies behind the problem, the root causes, on testing and evaluating interventions to find out what works best, then and delivering those interventions more widely.

   

“Interventions such as the Actions have Consequences programme help to build positive relationships between children, their teachers and the police.

   

“By working with young people, families and communities we can understand and address the reasons how and why people, particularly young people, can get drawn into violent crime. If we can turn young people away from violence at the earliest possible opportunity we can make a real difference to them and our communities."

having been done by the clouds last week a return for M91 with ugly 14 pays dividends at slough

Have to get one of these every year. I have two types this one making the final pick.

When all I want to do is Play with Hazie! <3

A simple pic of Fiona wearing her new button that she got at the Chicago Walk Now for Autism. It says..."I have autism, Please be nice to my mom" I love it!!! She has another one that says "I'm with neurotypical" with an arrow pointing at the person next to her, but no one ever gets that one. I guess they need to look up the term neurotypical. hehehe. I just thought this was so pretty. She wore her cheerleading uniform to go fundraising for cheerleading door to door. She looked so cute, but as usual, the people in my neighborhood are totally cheap. They won't even stop at a child's lemonade stand. Grrr...... Anyway. I thought she was beautiful and she is so brave when she cheers because it is very difficult for her to get out in front of so many people and then the noise bothers her so much. Last year went well without any stimming on the field, hopefully this year will too :))).

 

www.google.com/support/forum/p/picnik/thread?tid=3736e936...

 

www.opposingviews.com/i/autism-odds-increase-as-prospecti...

 

www.google.com/support/forum/p/picnik/thread?tid=1eb5d5c4...

Have a great Sunday!

Having burned perhaps a gallon or so of diesel already since leaving Dawlish station, the sound of 45 045's heroic efforts against a 13 coach load reflect back from the sandstone cliffs. Saturday, 14th August 1976. The headcode appears not to have been reset for this up service.

It is 1968. The Summer of Love. Revolution is in the air! But in Stoke on Trent Richard's Tiles Ltd of Tunstall have made Tiling Fun! A double spread ad from a DIY magazine and a period feel to home decor. Richards were a well known manufacturer at the time, having not long acquired Maw's, although they ceased trading some years ago as the industry in the UK contracted and consolidated. Anyhow - revel in those special lugs!

Having sex is like playing bridge. If you don't have a good partner, you'd better have a good hand.

I had never seen these chairs in the lobby before - there must have been a lecture or something, but I'm glad I got there when it was mostly empty.

I have not edited these shots in any particular order, so, in the end I miss out some, or post others twice or even more. But, it was such an experience, saw so many wonderful things, I could post everything at once, but trying not to.

 

Anyway, on with the show, and some more wide angle shots with the camera on a rickety tripod.

 

---------------------------------------------------------------

 

Christianity reached Roman Britain in the second-century AD. A number of Roman artefacts - pots, tiles and glass - have been found in excavations around St Paul’s, however no evidence has emerged that the site of St Paul’s, as once believed, was ever used for a Roman temple. The official withdrawal of Roman administration in 410 AD did not end Christian belief in England but it was to be almost two hundred years before St Paul’s Cathedral was founded. The two names most associated with the establishment of the first St Paul’s are Saint Mellitus and Saint Erkenwald. The former, a monk who arrived in Britain with Saint Augustine on a mission from Rome instigated by Pope Gregory the Great, founded St Paul’s in 604 AD. The latter was the Abbot of Chertsey whose consecration as Bishop of London in 675 AD, following the city’s brief return to paganism, confirmed the return of the Roman Church to London. The earliest Cathedral buildings were relatively short-lived structures, repeatedly damaged by fires and Viking attacks. It was the Cathedral begun in about 1087 AD by Bishop Maurice, Chaplain to William the Conqueror, which would provide the longest standing home for Christian worship on the site to date, surviving for almost six hundred years.

 

1087–1559: Medieval Splendour

The Cathedral quire was the first part of the new building to be completed in 1148, enabling the Cathedral to function as a place of worship as quickly as possible. Up to the Reformation of the Church in England St Paul’s was a Catholic cathedral in which the celebration of the Mass, the preaching of sermons, the veneration of many saints, shrines, reliquaries, chapels, the observance of Saints’ feast days, masses for the dead said in chantry chapels, a wooden cross known as a rood, and a chapel devoted to The Virgin, all played a part in the liturgical life of the building. A great deal of public activity also took place; although not always welcomed by those looking after the Cathedral, trade, sports and ball games were common and a north/south route through the Cathedral transepts was used as a general thoroughfare. Paul’s Cross was an important feature of Cathedral life from at least the mid thirteenth-century. It was an outdoor covered pulpit from which proclamations were made and leading prelates expounded, often controversially, on theology and politics. It ceased to be used in the 1630s, and stood in the north churchyard until 1642.

 

The Cathedral School was re-established with new statutes just to the east of Paul’s Cross in 1512 by John Colet (1466–1519) a Renaissance scholar and friend of Erasmus who viewed education as prerequisite for spiritual regeneration.

 

All of these enterprises, the spiritual, the educational, and the civic, took place within or beside the largest building in medieval England: longer, taller and wider than the present building and richly decorated.

 

The reign of King Henry VIII saw the beginning of the end for many aspects of the religious life of the building associated with Roman Catholicism. The shrine of St Erkenwald was plundered and waves of iconoclasm followed in which shrines and images were destroyed. The full suppression of Catholic worship and fittings was carried out under Edward VI by the first Protestant Bishop of London, Nicholas Ridley, who was martyred by Mary I's government in 1555. After a restoration of Catholic rites under Mary, settled Protestant worship was confirmed finally under Elizabeth I's first Bishop of London, Edmund Grindal, in 1559.

 

1560–1666: Reformation to Conflagration

The new form of worship continued at St Paul’s in the wake of the Reformation, with the choir singing in English instead of Latin at Mattins and Evensong according to the new Book of Common Prayer. The Cathedral already had a long history as a place of commemoration and some of the grandest tombs were still to be added to the building in the late sixteenth and early seventeenth centuries. One of the most remarkable monuments from this period still survives, that of John Donne (1572–1631), the poet and clergyman who, after a raffish youth, went on to become Dean of St Pauls from 1621 until his death. During his lifetime, St Paul's and Paul's Cross were leading centres of a newly confident and thriving Protestant culture in England.

 

The physical destruction wrought during the Reformation had only been the start of a series of threats to the fabric. In June 1561 lightning struck the Cathedral spire igniting a fire which destroyed the steeple and roofs, the heat and falling timbers causing such damage to the Cathedral structure that it would never fully recover. Plans were made for restoration and the architect Inigo Jones (1573–1652) was engaged to carry out work in 1633, but his work was left incomplete at the outbreak of the English Civil War in 1642. Parliamentary forces took control of the Cathedral and its Dean and Chapter dissolved; the Lady Chapel became a large preaching auditorium, while the vast nave was used as a cavalry barracks with, at one point, 800 horses stabled inside.

 

By the 1650s the building was in a serious state of disrepair and it was only after the Restoration in 1660 of King Charles II (1630–1685) that repair was once again considered in earnest as an architectural proclamation of the restored Church of England and the monarchy. Leading architects wrestled with the how to restore the medieval structure and were often in disagreement. Inspired by his travels in France and his knowledge of Italian architecture, Christopher Wren (1632–1732) proposed the addition of a dome to the building, a plan agreed upon in August 1666. Only a week later The Great Fire of London was kindled in Pudding Lane, reaching St Paul’s in two days. The wooden scaffolding contributed to the spread of the flames around the Cathedral and the high vaults fell, smashing into the crypt, where flames, fuelled by thousands of books stored there in vaults leased to printers and booksellers, put the structure beyond hope of rescue.

 

1666–1711: A new Cathedral for London

Sir Christopher Wren was a brilliant scientist and mathematician and Britain’s most famous architect. The building he designed to replace the pre-Fire Cathedral is his masterpiece. Nine years of planning were required to ensure that the new design would meet the requirements of a working cathedral; the quire was to be the main focus for liturgical activity, a Morning Chapel was required for Morning Prayer, vestries were needed for the clergy to robe, a treasury for the church plate, a home had to be planned for the enormous organ, bell towers were essential, and the interior had to be fitted for the grandest of occasions and ceremonies. The building which Wren delivered in thirty five years fulfilled all these needs and provided a symbol for the Church of England, the renewed capital city, and the emerging empire.

 

Construction commenced in 1675: the process involved many highly skilled draughtsmen and craftsmen and was pursued in phases, largely dependent on the availability of funding and materials. Portland stone predominated but other types of stone were necessary as well as bricks, iron and wood. All of the building accounts, contracts and records of the rebuilding commission survive, and many original drawings. A detailed history of the design of the cathedral can be found in the online Wren Office Drawings catalogue written by Dr Gordon Higgott (2012). Christopher Wren lived to see the building completed: the last stone of the Cathedral’s structure was laid on 26 October 1708 by two sons named after their fathers, Christopher Wren junior and Edward Strong (the son of master mason). The first service had already been held in 1697 – a Thanksgiving for the Peace between England and France.

 

1712–1795: Perilous painting and memorialising the Greats

The violent and iconoclastic transition from Roman Catholicism and the debate over the reformed faith which followed were tumultuous. The Cathedral was built at a time when the Civil War and Protectorate had again heightened sensitivity to the confluence of art and Protestantism. What constituted appropriate decoration for the Cathedral was the subject of great debate. After a competition Sir James Thornhill was chosen to provide a decorative scheme for the interior of the Cathedral dome in 1715 and immediately began work to produce eight scenes from the life of St Paul. Working precariously over fifty metres from the ground he completed the work within two years and was soon commissioned to continue his scheme into the lantern and onto the drum beneath the dome.

 

Daily rounds of worship were observed within view of the new murals, but despite the efforts to enliven the interior of the building, St Paul’s proved an unpopular venue with the Hanoverian dynasty and royal attendance dwindled; after George I’s visit in 1715 no monarch came again for seventy-four years. The capture of the French fortress of Louisburg during the course of the Seven Years War was marked by an impressive service in 1758, but it would not be until 1789 that George III marked his recovery with a special Thanksgiving service attended by thousands.

 

A monument to the philanthropist and prison reformer John Howard which was placed on the Cathedral floor in 1795 was the first of a host of sculptures commemorating the lives of clergy, writers, artists, scientists and military figures which were to populate vacant floor and wall space in the next century.Two of the most distinguished military commanders of the Napoleonic Wars were commemorated with state funerals and later great monuments on the church floor: Admiral Horatio Nelson in 1806 and Arthur Wellesley Duke of Wellington in 1852, both of whom are interred in the Cathedral crypt.

 

1800–1905 Heat, light and colour: St Paul’s in the age of industry

Institutional reform was matched by physical changes to St Paul’s in the nineteenth-century. Queen Victoria lamented that St Pauls was "most dreary, dingy and un-devotional” adding her voice to the general criticism of the Cathedral for being, dark, dirty and cold .The Cathedral Chapter took steps to make the building more inviting and began work on the so called "completion of the decoration”. While the use of vivid mosaic in the dome and the quire area were being explored, and programmes of stained glass were designed. The rearrangement of the quire by the Surveyor F C Penrose (1817–1903) was the most significant of many changes to the interior made under his supervision. By removing the screen dividing the quire from the nave many more people were able to participate in services. Great Victorian Deans, especially Henry H Millman and Robert Gregory, seized the opportunity to hold routine worship under the dome and in the nave, as well as in the quire – thus for the first time actively making the whole of the vast building a place of worship and Christian teaching. The full ceremonial potential of St Paul’s was also realised by this reordering, something anticipated in the state funeral for Nelson, and confirmed with that for Wellington.

 

Victorian philanthropy more generally flourished at a reinvigorated St Paul's. During the first half of the nineteenth-century Maria Hackett (1783–1874) devoted her time and money to a campaign to improve the living and educational conditions of boy choristers in St Paul’s and other cathedrals and Anglican choral foundations. In 1860 the Chapter of St Paul's presented William Weldon Champneys (1807–1875), to the vicarage of St Pancras, where he developed the schools, ragged schools, and Sunday schools and provided an invalids dinner table. The Canons of St Paul’s focused on the welfare of the thousands of clerks and warehousemen who worked in the vicinity of the Cathedral through the Amen Court Guild. At the end of the century St Paul’s had one of its most dynamic of English cathedral Chapters, with the many facets of the life of the Cathedral attaining new levels of distinction and in 1897 the organisation of the Diamond Jubilee Thanksgiving Service for Queen Victoria (1819–1901) proved an outstanding success.

 

906–1960 Belt and Braces: Strengthening the Dome and Defending the Building

Cracks had appeared in some parts of the Cathedral as a result of settlement even before the Cathedral was topped-off in 1710 and concern over the structural stability of the Cathedral persisted in to the early years of the twentieth-century. After various investigations, fears culminated in the Corporation of London's serving of a dangerous structure notice to the Dean on Christmas Eve 1924: the Cathedral was closed from 1925 to 1930 while the piers and dome were strengthened under the supervision of the surveyor Walter Godfrey Allen (1891–1986). Some of the strengthening interventions may have been excessive; however they were to provide valuable structural support when the Cathedral suffered two significant bomb strikes during the Second World War.

 

St Paul’s Watch, the group of volunteers who defended the Cathedral during The Blitz, enabled the continuation of services as normally as possible throughout the war years. At the end of the conflict, on 8 May 1945, ten consecutive services were held in thanksgiving for peace, each attended by over three thousand people. The last of the services focused on the work of the St Paul’s Watch. In the years that followed St Paul’s played an important role in commemorating those who had sacrificed their lives and in reconciliation. The American Memorial Chapel was constructed and consecrated in the presence of President Eisenhower (1890–1969) and on 21st October 1958, Theodor Heuss (1884–1963), President of the Federal Republic of Germany from 1949 to 1959, visited St Paul’s to present an altar set with the words "The German people have asked me to hand to you, Mr Dean, and to the Chapter of St Paul’s Cathedral this crucifix and these two candlesticks. Our gifts are a token of our sincere wish to serve, together with the British People, the cause of Peace in the World”.

 

1960–2012: Royal events and Social reformers

With the major structural issues resolved and war damage repaired, the Cathedral continued to welcome world leaders, thinkers, theologians, politicians and the public in pursuit of hope for a better society. Canon John Collins (1905–1982), who had been a leader in the drive for post-war reconciliation, campaigned tirelessly for peace, human rights, and nuclear disarmament, and against apartheid in South Africa. Dr Martin Luther King (1929–1968) stopped at St Paul's to speak from the west steps en route to collect his Nobel Peace Prize in 1964, and his widow Coretta Scott King (1927–2006) became the first woman to preach in a statutory service in St Paul’s. On January 30th, 1969 the Cathedral Choir was joined by Indian singers and instrumentalists, and addresses were given to mark the centenary of the birth of Mahatma Gandhi (1869–1948) the champion of non-violent resistance, civil rights and freedom across the world. Continuing this tradition, in 2012 the Dalai Lama (b. 1935) was welcomed to receive the Templeton prize ('for Progress Toward Research or Discoveries about Spiritual Realities'). The St Paul’s Institute was established in 2003 to foster an informed Christian response to the most urgent ethical and spiritual issues of our times and engaged with the Occupy Protests of 2011/12 seeking constructive debate on financial ethics.

 

The wedding in St Paul’s of HRH the Prince of Wales to Lady Diana Spencer gripped the nation and much of the world in 1981, and Queen Elizabeth II officially marked both her Golden and Diamond Jubilees with Thanksgiving services in St Paul’s Cathedral. There have been occasions for national mourning: in 1965 Winston Churchill (1874–1965) who had led Britain during the war received a state funeral, a ceremony reserved for heads of state and others who have given significant leadership in the defence of the nation. A large ceremonial funeral was held for former Prime Minister, Baroness Thatcher, in 2013. Vast crowds gathered at St Paul's following the terrorist attacks on New York on September 11 2001, as London expressed its solidarity with the people of New York at a time of grief; and the victims of the 7/7 bombings were mourned in special services in 2005. The Diamond Jubilee and the special summer service at St Paul's celebrating the Paralympic Games made 2012 a spectacular year for the Cathedral.

 

www.stpauls.co.uk/history-collections/history/cathedral-h...

Have a great upcoming weekend dear Flickr friends..Thanks for all your support, comments and kind words always, you all are so amazing people...

 

HEG

 

Please don't use this image at all without my permission. © All rights reserved

Global corporations have discovered the rich lime goo makes for great rocket fuel! The race is on the exploit the Agreon's natural resource for personal gain. With skilled workers highly sought after from many planets, it's likely you might see someone you recognise.

 

The mountain contains a black light to illuminate the alien barracks.

 

Plasmo's franchises are deploying to all major planetary systems, call today to find out how you can be a part of the interstellar grog syndicate!

 

Hope you like my biggest layout to date. It was too large to set up at home unless I clear the garage out. I had a little help from Taz-maniac, Bricktron and Intrastella on the left side of the display.

A Boy having fun at the Arpoador Beach, Rio de Janeiro, Brazil

Original Caption: Miners Who Have Just Returned to the Surface of Virginia-Pocahontas Coal Company Mine #4 near Richlands, Virginia and Have Been Replaced by the 4 P.M. to Midnight Shift. Both of These Are Working Shifts with the Miners Digging Coal and Bringing It Out of the Mine. A Midnight to Morning Or "Hoot-Owl" Shift Is Involved in Cleanup Operations to Ready the Mine for the Next Two Digging Shifts 04/1974

 

U.S. National Archives’ Local Identifier: 412-DA-13923

 

Photographer: Corn, Jack, 1929-

 

Subjects:

Richlands (Tazewell county, Virginia, United States) inhabited place

Environmental Protection Agency

Project DOCUMERICA

 

Persistent URL: catalog.archives.gov/id/556375

 

Repository: Still Picture Records Section, Special Media Archives Services Division (NWCS-S), National Archives at College Park, 8601 Adelphi Road, College Park, MD, 20740-6001.

 

For information about ordering reproductions of photographs held by the Still Picture Unit, visit: www.archives.gov/research/order/still-pictures.html

 

Reproductions may be ordered via an independent vendor. NARA maintains a list of vendors at www.archives.gov/research/order/vendors-photos-maps-dc.html

   

Access Restrictions: Unrestricted

Use Restrictions: Unrestricted

 

[Having to re-upload these photos to Flickr because of a software glitch]

Have a break, have a sit on the stairs ;)

I promised my mom this sweater about 6 years ago. I've had the yarn in my stash the whole time. Finally, I knit it.

 

She likes it.

 

Raveled.

 

These photos were part of a family photo shoot that we did recently. Our photographer (and family friend) Dan Gillan did a great job.

I have photos of seven different birds' nests, from the nine years I tried to make sure they made it. Some are just sticks (House Wrens will throw sticks in three boxes and the female will chose the one she wants: after a one week wait, I would clean out the boxes that weren't to her liking). Anyway, I didn't want to present them all but I did want to give you one with chicks on their way. It's a good way to welcome in the new year.

 

I was responsible for 34 or 35 boxes over a 4 mile route. Why 34 or 35? Because I misnumbered one of them (33A) and could never find it again until the next year. I decided to climb the tallest hill: unfortunately, I found it as well as the mating grounds of Wild Turkeys and, one day, under an old log, a Western Diamondback nest. But I had to look after my kids. Perhaps the biggest surprise was on a circuit that no one seems to be paying much attention to: there were 14 Wood Duck chicks ready to make their 25 foot leap into the pond, just as mama planned.

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.

these are all the lego minifigures that i am lokking for. If you have any of these are are willing to make a trade or sell them please leave a comment below or fm me.

Have a happy Monday darlings

A Boy having fun at the Arpoador Beach, Rio de Janeiro, Brazil

moments captured last weekend during an evening walk ! Have a great evening, Friends !

 

Life's Great Journey

Poem by Patrick Driscoll

 

Live your life full today

Follow all your dreams

Take each day as you find it

Life's not always as it seems

 

Enjoy traveling this great journey

Try not to hold on to the past

As Life will pass by quickly

It moves by so very fast

 

Listen to your voice within

And let God be your guiding light

Reach for the Heavenly stars

Be shining and be bright

 

Be kind to the many people

You meet along your way

We all learn from one another

To make a brighter new day

 

Enjoy and treasure your experiences

Share your joys and your pain

You will never be alone

Someone, somewhere is feeling just the same

 

Remember Life is very short

It is over in a flicker

Beat feelings of Anger and Hate

Don't get cold, don't get bitter

 

And when your time on Earth is done

And you move on out of sight

You will reap a great reward

To have lived a life so right.

Having a sexy lunch in a restaurant

Hope you like the view of my 60 yo legs in all-sheer glossy pantyhose.

I have mixed feelings about the results of this photoshoot. I mean I love the images, but I will definetly not be shooting right in front of the window anytime soon- because the direct glare from the sun was pretty tricky to work with as appose to side lightning.

having a strong sense of fashion! Good thing she didn't see me :)!

A Geezer Wednesday Production

 

This is just for fun.For all of you who enjoy what I do,as a thank you,here it is.A capture of me being silly as always.You may see me through my captures here as a really dark person with a million problems and a huge unsolved emotional difficulties.But the truth is that I am a truly happy person with lots of humor.

This shot is also for me,to be positive and smiley again.

Spread the word and join

My Facebook Page

  

With every stress... there is relief to come, with every locked door... there are many others to open, with every lost hope... there is another to believe in, with every darkness... there is a ray of light to dispel it, for every burdened heart... there is a friend to listen...

just need to believe that we can find them, and to believe that for someone else in need we might be a relief... a hope... a light... a friend... to work for love and peace, and we will find the way to love and peace in our lives, Shine!

 

Thought of the day, to wish everyone and all people in the world more love and peace for the next year :)