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en.wikipedia.org/wiki/Tiergarten_(park)
The Tiergarten (formal German name: Großer Tiergarten), is an urban public park of Germany located in the middle of Berlin, completely in the district of same name. The park is of 210 hectares (520 acres); and among urban gardens of Germany, only the Englischer Garten of Munich (417 ha or 1,030 acres) is larger.[1]
16th century
The beginnings of the Tiergarten can be traced back to 1527. It was founded as a hunting area for the king, and was situated to the west of the Coelln city wall, which was the sister town of Old Berlin. It also sat in the same vicinity as the Berlin Stadtschloss. In 1530 the expansion began; acres of land were purchased and the garden began to expand towards the north and west. The total area extended beyond the current Tiergarten, and the forests were perfect for hunting deer and other wild animals. The king had wild animals placed within the Tiergarten, which was fenced off from the outside to prevent the creatures from escaping, and was the main hunting ground for the electors of Brandenburg. This king’s hobby, however, began to fade away as the city of Berlin began to expand and the hunting area shrank to accommodate the growth.
17th–18th centuries
Frederick I, Elector of Brandenburg from 1688 until 1713, feeling the need to bring change to the hunting grounds, built many structures that are still visible today. As the King was expanding Unter den Linden, a roadway that connected the Berlin Stadtschloss and the Tiergarten, he had a swath of forest removed in order to connect his castle to the newly built Charlottenburg Palace. "Der Grosse Stern", the central square of the Tiergarten, and the "Kurfuerstenplatz", the electoral plaza, were added, with seven and eight boulevards, respectively. This is seen as the beginning of a transformation in the Tiergarten, a movement from the king’s personal hunting territory to a forest park designed for the people.
Frederick II did not appreciate the hunt as his predecessors did, and in 1742 he instructed the architect Georg Wenzeslaus von Knobelsdorff to tear down the fences that surrounded the territory and to turn the park into a "Lustgarten", or, loosely translated, a "pleasure garden", one that would be open to the people of Berlin. In the baroque style popular at the time he added flowerbeds, borders and espaliers in geometrical layouts, along with mazes, water basins and ornamental ponds; he also commissioned sculptures to add cultural significance. Unique to the time period, areas of congregation called "salons" were established along the many different walkways in the park. These salons were blocked off from the walking path by hedges or trees and often furnished with seating, fountains and vases, offering guests a change of pace and a place to discuss intellectual matters in private. Such freedom was common under the rule of Frederick II; there were even residents allowed to live within the Tiergarten. Refuges, Huguenots in hiding from the French, were allowed to erect tents and sell refreshments to the pedestrians walking through the park. A pheasant house was erected, which would later become the core of the Zoologischer Tiergarten, a zoo founded in 1844 that lies within the greater Tiergarten. During the year of the revolution, 1848, the park hosted another significant event, as the first assembly demanded the abolishment of the national censors.
19th century
At the end of the eighteenth century, Knobeldorff’s late-baroque form had been all but replaced by ideas for a new, scenic garden ideal. The castle park Bellevue and Rousseau Island were laid out by court gardener Justus Ehrenreich Sello in the late 1700s. It was then in 1818 that the king commissioned the help of Peter Joseph Lenné, a young man who was at the time the gardener’s assistant at Sanssouci in Potsdam. His plans involved the creation of a rural "Volkspark", or peoples park, that would also serve as a sort of Prussian national park that would help lift the spirits of those who visited. However, the King Frederick William III rejected Lenné’s plan. Against the opposition of a hesitant bureaucracy, Lenné submitted a modified version of his concept. This plan was accepted and realized between 1833 and 1840. The park was modeled after English gardens, but Lenné made sure to pay attention to Knobelsdorff’s structures and layouts. By draining forests areas he allowed for more footpaths, roadways, and bridal paths to be laid down. Several features became characteristic components of the Tiergarten. Wide-open grass lawns traversed by streams and clusters of trees, lakes with small islands, countless bridges like the Löwenbrücke, and a multitude of pathways became distinguishing features of the new garden.
Up until 1881, the Tiergarten was owned by the monarchy, and came under the direct control of the king. Soon after the king abolished his rights to the forest, he added the boundaries to the district of Berlin, so that the people may use and uphold it. However, until the middle of the twentieth century, the Tiergarten remained in the style that Lenné had left it in. The biggest changes came in the form of nationalistic memorials that began construction in 1849. These monuments were seen as patriotic contributions to the culture of the Tiergarten. The Siegesallee, or "Victory Avenue", could be considered the most famous addition. Built under the orders of Kaiser William II, It was lined with statues of former Prussian royal figures of varying historical importance. "Prachtboulevard", or the magnificence boulevard, was added in 1895 and became the area known as the Königsplatz, which would later become Platz der Republik.
The park is covered in statues commemorating those famous to the Prussians and the activities they enjoyed doing. Animal statues are to be found throughout the park, playing the counterpart to the stone hunters that also inhabit the area. Built by famous sculptor Friedrich Drake, a statue to Queen Louise, beloved queen of the Prussians, is also to be found here alongside her husband, Friedrich Wilhelm III. Statues of Johann Wolfgang von Goethe, Gotthold Ephraim Lessing, Heinrich Theodor Fontane, Wilhelm Richard Wagner and Gustav Albert Lortzing were also erected. The "Komponistendenkmal", or the Beethoven-Haydn-Mozart memorial, is another example of how the Germans wanted to respect and honor the men and women who gave them a unique culture.
20th century
Under Nazi control
The Nazi party took control in 1933, causing a dramatic change of idealism. This change was not just social; in fact, Hitler had planned the complete innovation of the city of Berlin. "Welthauptstadt Germania", or World Capital Germania, was the idea the Nazis wanted to bring to fruition. The Tiergarten was to be a central location in the new city. The Charlottenburger Chaussee, today known as the Straße des 17. Juni, was to be the central line between the east and west, and was widened from 27 to 53 meters, the same width as the current street. The Berlin victory column was also moved to the Grosser Stern, where it remains to this day.
The Second World War caused significant damage to the Tiergarten and its various cultural elements. Many statues were destroyed or damaged; some of the statues still need minor repair. After the war, the Tiergarten underwent a sudden, violent change. Much of the wooded area was felled and turned to firewood due to the shortage of coal, and the now empty fields were turned into temporary farmland by order of the British occupational troops in the region; there were around 2,550 plots of land available for growing potatoes and vegetables. However, these two factors caused the once great forest to nearly disappear; only 700 trees survived out of over 200,000 that once lined the parkway, the bodies of water turned silty, every bridge was destroyed, the monuments lie on their sides, badly damaged. Plans to fill the waterways with debris from the war were also suggested, but were prevented by the head of the Berlin Central Office of Environmental Planning, Reinhold Lingner.
In 1945, almost directly after the fall of Berlin, the Soviets erected a monument for the fallen soldiers of the Red Army on the north side of the current Straße des 17. Juni. Situated less than a mile away from the Reichstag, It was built in such short notice that it sat in West Berlin, which belonged to the British, Americans and French. When the wall went up around East Berlin, the monument became inaccessible to the people for whom it was built.
According to testimony reported in the 1995 documentary film On the Desperate Edge of Now, statues of historical military figures from the park were buried by Berlin citizens in the grounds of the nearby Bellevue Palace in order to prevent their destruction by the occupying American forces. They were not recovered until 1993.
Restoration
On June 2, 1945, the Berlin Magistrate decided they would restore the Greater Tiergarten. The first suggestions came in 1946/47. Reinhold Lingner and Georg Pniower, Professor of Garden Design at Berlin University, were the first to offer plans, but both were rejected during the division of Berlin by the Allied powers. Instead, they decided to follow the plans of the Tiergarten Director Willi Alverdes, whose plan seemed to be a more pragmatic approach; instead of rebuilding the park in a new fashion, Alverdes plans depended on the existing design of the park. He wanted to establish a tranquil, spacious park where one could relax and recover. Being called a crisis, the Tiergarten was reforested between 1949 and 1959. On March 17, 1949, the Lord Mayor Ernst Reuter planted the first tree, a linden, to signify the beginning of the restoration. West Germany took over the operation and sponsorship; about 250,000 young trees were delivered to the former capital from all over the Bundesrepublik, even being delivered via plane during the Berlin Blockade. Alverdes’ concept did away with the pre-existing baroque-styled structures in the park, claiming the style was not in keeping with the period. The combination of baroque and regional art was tossed out. Being a very natural park landscape, the Tiergarten was a very important area for rest and relaxation for the West Berliners, who were separated from their homeland by the Berlin Wall.
Several buildings have been added to the area surrounding the park, many of which were constructed by foreign architects. The Kongresshalle is a prime example. It began construction in 1956 under the initiative of Eleanor Dulles as an American contribution to the Interbau, an International Architecture Exhibition employed to exhibit new social, cultural, and ecological ideas in architecture.
Today
The Tiergarten’s culture began to stagnate until the fall of the Berlin Wall and the GDR in 1989. After the reunification of East and West Berlin in 1990, many of the outskirts of the park changed drastically. For instance, along the streets that border the southern boundary of the park, dilapidated embassy buildings that had stood for decades were reoccupied and others were rebuilt from the ground up, such as the Nordic embassies. On the northern border the new German Chancellery was built, along with office buildings for the everyday work of the delegates. The Reichstag was refurbished with a new, glass dome that has become a popular tourist attraction. Several overgrown areas that had been used for picnics and soccer were replaced with open spaces and grassy lawns that have added to the prestige of the park. Due to its status as a garden memorial of the city of Berlin, encroachment onto the Tiergarten from businesses and residents has been illegal since 1991.
A large tunnel has been built under the Tiergarten, allowing easy movement from north to south for motor vehicles, streetcars, and, more recently, subway trains. The original proposal for the tunnel was met with great opposition from environmentalists, who believed the vegetation would be damaged due to shifts in ground-water levels; in fact, the first plans for construction were denied by a court order.
In the northerly neighbouring quarter of Moabit a much smaller park bears the same name, thus both are differentiated as Großer and Kleiner Tiergarten.
Tiergarten has around 210 Hectares and after Tempelhofer Freiheit, it is the second biggest parkland in Berlin and the third biggest inner-city parkland in Germany.
Geography
The park is located on the northern and central side of Tiergarten Ortsteil and is bordered, on the northern side, by the river Spree. The little quarter Hansaviertel borders on it at the north-western side and the Zoological Garden is situated on the south-western side. The principal road is the Straße des 17. Juni which ends, in the east, at the Brandenburg Gate. Other main roads are the Altonaer Straße, Spreeweg and Hofjägerallee. In the middle of the park is the square named Großer Stern ("Great Star") with the Siegessäule (Victory column) located in its centre. In addition to the Brandenburg Gate, other notable buildings and structures located close to the park are the Soviet War Memorial, the Reichstag, the Bundestag (all in the eastern borders), the new central railway station (in the north) and, on the southeastern borders, the Memorial to the Murdered Jews of Europe, the Memorial to the Sinti and Roma victims of National Socialism and the central square of Potsdamer Platz.
Transport
The park is principally served by the S-Bahn at the rail stops of Berlin Tiergarten (situated at the western entrance on the Straße des 17. Juni) and Berlin Bellevue.
le Fort de Cap Coast. La ville au XVIIème siècle passa aux mains des Suédois qui y installèrent un comptoir appelé "Carolusburg"puis des Danois et enfin des Britanniques qui l'agrandissent et le rebaptisent "Cap Coast". Le Fort devient la principale base militaire britannique du golfe de Guinée avant de servir le commerce de bois et or
Some people said the island has been an inspiration for The Black Island in Hergé's The Adventures of Tintin series.
After dealing with some engine trouble and waiting for the northbound Coast Starlight to arrive, the IBRLA slowly departs the yard at Klamath Falls.
A beautiful waterfall behind Bend, OR. We arrived here just before an afternoon rain shower and the walk up beyond the falls to the three above it was super relaxing :)
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.
one of the winners in February 2014's Contest:
﴾Ѫ﴿ Web or Spider (Ѫ﴿
www.flickr.com/groups/1508608@N22/discuss/72157640379280205/
Two "premium" bus services are seen at Milton Keynes Central, Stagecoach Gold Enviro 400 KX61DLN 15746 and Arriva Shires 280-branded Sapphire Enviro 400 SN15LPP 5464 seen on the X60, 3rd October
This song really breaks my heart . . . argggggh
www.youtube.com/watch?v=1Z5lL-y_-0g
are you an angel or devil?
MS Westerdam at the dock in Seattle.
Name: Westerdam
Namesake:m Western compass point
Operator: Holland America Line
Port of registry: Netherlands
Builder: Fincantieri
Yard: Marghera
Launched: 16 July 2003
Christened: April 2004
In service: 2004–present
Class and type: Vista-class cruise ship
Tonnage: 81,811 GT
Length: 936 ft (285.3 m)
Beam: 105.8 ft (32.2 m)
Decks: 11 passenger decks
PropulsionDiesel-electric; ABB Azipods Speed
24 knots (44 km/h; 28 mph) (maximum)
22 knots (41 km/h; 25 mph) (service)
Capacity: 1,964 passengers
Crew: 800
ok, so we've totally started the this is YOU challenge! how freakin' cool is that??!? you should definitely check it out. the challenges are tight! the first prompt is to journal how your child got his/her name...i was sooo excited because dakotah has a great story! check out the challenges here:
www.thisisyoujournal.blogspot.com
word.
A change in the rates of postage, effective on July 1, 1931, to 3 cents for the 1st ounce or fraction of an ounce, on letters for Canada, the British Empire, the United States, and certain other countries - 13 cents covered both postage and registration on letters weighing not more than 1 ounce.
From April 1, 1943 - a 1 cent War Tax was added to the first weight step preferred letter rate. The preferred letter rate was 4 cents for the first ounce and 2 cents for each additional ounce. 4 cents letter rate + 10 cents registration fee = 14 cents
RED PASS, B.C. to New Westminster, B.C / - 8 / 11 March 1939
3 cents forward letter + 10 cents registration fee = 13 cents.
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RED PASS became a hamlet with a general store, school, post office and railway station. The hotel was built in 1924 and later a police barrack was added. Residents of Red Pass would travel east and west on the train. The "road" was unimproved and hazardous until 1962 when the highway was upgraded and the need for Red Pass diminished. Trains could now travel longer distances and did not need the stop in Red Pass for servicing. After 1965, railroaders found new jobs and the police were transferred out. The hotel had burned down in 1949, the post office & general store closed in 1976 and in 1991 the little town ceased to exist.
RED PASS - The railway junction at Mile 27 at the west end of Moose Lake was originally called Resplendent, a name also deriving from the color of the rocks. East of Red Pass, the tracks of the Grand Trunk Pacific Railway, descending to the Fraser River on route to Prince George in 1912, were kept as low as possible. The tracks of the Canadian Northern Pacific Railway, heading for the Albreda Pass, were kept high. After the consolidation of the railways in 1923 as the Canadian National Railway, Lucerne disappeared as a railway divisional point and Resplendent blossomed as Red Pass Junction, the point where the removal of the separate tracks stopped and where the two lines diverged. During the 1930s, there was a hobo jungle at Red Pass where the vagabonds waited for trains. About 50 people lived at Red Pass in the 1940s. During World War II it was the site of a Japanese internment camp. The Red Pass hotel burned down in 1949. After the highway opened in 1962, the need for Red Pass diminished. CN still uses some buildings at Red Pass. The headquarters of Mount Robson Park were moved from Red Pass to Valemount in 1987. LINK to the complete article - www.spiralroad.com/red-pass-station/
The RED PASS Post Office was established - 1 November 1921 and closed - 29 January 1976, when it was moved to Valemount.
LINK to a list of the Postmasters who served at the RED PASS Post Office - recherche-collection-search.bac-lac.gc.ca/eng/home/record...
Earl Woodley left Entrance, Alberta in 1920 and opened a hotel and general store in Red Pass, British Columbia. He became Postmaster at Red Pass and served from - 31 May 1923 to - 10 June 1946 - the Post Office was located in his General Store.
EARL FRANCIS WOODLEY - Resident of Mt. Lehman, B.C. since 1950, Earl Francis Woodley, died in MSA General Hospital on March 13, 1979 at the age of 85. Born in Ontario, Mr. Woodley came to British Columbia in 1914 and was employed by the Canadian Pacific and Great Northern Railways during the early part of the century. He also worked in a fur trading post in the north and operated his own general store on the Yellowhead Highway and also in Mt. Lehman prior to his retirement. He was a member of the Jasper Masonic Lodge.
Earl Francis Woodley
(b. 5 June 1893 in Woodville, Victoria, Ontario - d. 13 March 1979 at age 85 in Abbotsford, British Columbia) - occupations - Merchant / Postmaster - LINK to his marriage certificate - search-collections.royalbcmuseum.bc.ca/Image/Genealogy/42... - LINK to his death certificate - search-collections.royalbcmuseum.bc.ca/Image/Genealogy/72... - LINK to his newspaper obituary - www.newspapers.com/article/the-abbotsford-news-obituary-f...
- this registered letter entered the postal system at - / RED PASS / MR 8 / 39 / B.C. / - split ring cancel - this split ring hammer (A1-1) was proofed - 25 October 1921 - (RF C).
- sent from - / RED PASS / MR 10 / 39 / B.C. / - split ring cancel - this split ring hammer (A1-1) was proofed - 25 October 1921 - (RF C).
- sent by registered mail - / R / RED PASS, B.C. / ORIGINAL No. / (694) / - registered boxed marking in purple ink.
- via - / ED. & PR. GEO. R.P.O. / 198 / MR 10 / 39 / № 1 / - rpo transit backstamp - Ludlow W-43A / RF 155 - in use from 1932 to 1954.
- via - / X C. & V. - R.P.O. X / 3 / MR 11 / 39 / B.C. / - Calgary & Vancouver RPO - (W-30u. - with ornament No. 156 / RF 225 - this rpo hammer was in use from 1927 to 1964) rpo transit backstamp - small diagonal cross ornament located on each side midway between the run and B.C. was proofed in 1924.
- arrived at - / NEW WESTMINSTER / 10 / MR 11 / 39 / B.C. / - cds arrival backstamp.
- sent by - J. Pawson / Red Pass P.O. / B.C. - (addressed to his wife)
Joseph Pawson
(b. 20 March 1895 in Yorkshire, England - d. 20 February 1963 at age 67 in New Westminster, British Columbia / Surrrey, B.C.) - occupations - butcher (in his early years) - section foreman C.N.R Railway - LINK to his death certificate - search-collections.royalbcmuseum.bc.ca/Image/Genealogy/81... - LINK to his newspaper obituary - www.newspapers.com/article/the-vancouver-sun-obituary-for...
Registered letter was addressed to his wife - Mrs. J. (Hester Minnie) Pawson / 1944 London Street / New Westminster / B.C.
His first wife - Hester Minnie (nee Cowley) Pawson
(b. 2 November 1900 in Vancouver, B.C. - d. 12 January 1948 at age 47 in Kamloops, B.C. / Clearwater, British Columbia) - they were married - 19 March 1921 at Port Kells, British Columbia - LINK to their marriage certificate - search-collections.royalbcmuseum.bc.ca/Image/Genealogy/22... - LINK to her death certificate - search-collections.royalbcmuseum.bc.ca/Image/Genealogy/02... - LINK to her newspaper obituary - www.newspapers.com/article/the-vancouver-sun-obituary-for...
His second wife - Lea Marie (nee Fleury) Taillefer / Pawson / Jones
(b. 23 March 1895 in Témiscaming, Témiscamingue, Quebec, Canada – d. 21 April 1977 at age 82 in White Rock, B.C. / Surrey, B.C.) - LINK to her death certificate - search-collections.royalbcmuseum.bc.ca/Image/Genealogy/b3... - LINK to her newspaper obituary - www.newspapers.com/article/the-vancouver-sun-obituary-for...
Cover of the book "Diet or die - The Dolly Dimples weight reducing plan" by Celesta "Dolly Dimples" Geyer and Samuel Roen, 1968. This book is about the weight reducing plan which helped Dolly Dimples, a former sideshow fat lady, to lose 401 pounds in 14 months.
Harmandir Sahib, le Temple d'Or à Amritsar (Pendjab, Inde).
Harmandir Sahib, Goldener Tempel in Amritsar (Punjab, Indien).
Harmandir Sahib, the Golden Temple in Amritsar (Punjab, India).
// Shots for sale on Getty Images. // Clichés en vente sur Getty Images.
Not really sure if these two young Downy Woodpeckers were playing or fighting over the food and territory lol...but they were some cute doing whatever...round and round this perch lol...hope you all have a great day/night...back to work for me....thanks so much for your visits!
I think they might be siblings? Not really sure though..the one on the left is a female and the one with the red on his head to the right is Male...
Happy Tipsy Tuesday!
I like my vodka martinis ice cold, so "shaken" is essential.
I read this funny tidbit the other day.
"on-line edition of the British Medical Journal (www.bmj.com/cgi/content/full/319/7225/1600) posits that shaken martinis may enhance the antioxidant effects of alcohol, making them healthier than the stirred variety. Feh. If you're drinking for your health, have some carrot juice."
Mine Jeffrey à Asbestos, Qc
En 1879, des enfants découvrent une pierre d`apparence curieuse, c`était l`amiante, surnommée " l`Or Gris ". La mine est fermée depuis 2011.
Beautiful willow tree and beautiful Black eyed Susans or Rudbeckia hirta flowers at Rotary park , Martin’s photographs , Ajax , Ontario , Canada , August 25. 2021
Shrubs
Oak tree
Large Oak tree
Trees
Sticks
Stones
Reflections
Reflection
Dogwood
Tall grasses
Orange yellow Tamarack tree
Duffins trail
blue sky
cloud cover
yellow Tamarack tree
Tamarack tree
Tamarac
American Larch tree
Beautiful Nettles and it’s flowers
Nettles
Willow tree
Black eyed Susans
Rudbeckia hirta
A fallen tree
Monotropa a plant that lacks chlorophyll
Shadows
Reflections
Garter snake
Large mushroom
Horsetails
Nettles
Duffins creek
Discovery bay
closeup photograph
Martin’s photographs
Ajax
Ontario
Canada
August 2021
July 2021
June 2021
Favourites
IPhone XR
Mushroom
Large Mushroom
wildflowers
Trout lilies
Trilliums
Solomon’s seal and
white Deadnetles
Duffins trail
River
Dogwood
Favourites
White Trilliums
Unique shaped tree
Duffins marsh
Duffins trail
Ferns
Trilliums
IPhone 6s
Large tree
Yesterday I joined with a River cruise in Buriganga River. I was surprise to see the condition beside this poor river. there were nothing to see except Brick field all around us. the Air & water pollution was serious. Brickfields have been blamed for increasing air pollution, especially during the dry season. The pollution is caused by poor quality of fuel and improper design of chimneys. Ash, dust and sulfur dioxide gas pollute the areas surrounding brickfields and acid rain syndrome has become a regular phenomenon in such areas. Brickfields also cause crop loss, corrosion of metallic content of soil and loss of soil fertility. Burning in kiln makes the land unusable for cultivation for several years.
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সভ্যতার বিকাশের সাথে সাথে মানুষ গড়ে তুলেছে সুবিশাল সব স্থাপনা। ঢাকা শহরের আকাশচুম্বি দালান-কোঠাগুলার দিকে চোখ তুলে তাকাতে গেলে ঘাড় ব্যাথা হয়ে যায়। কিন্তু এই গড়ার পেছনে কতটুকু ধংস্ব হচ্ছে তা কি আমরা ভেবে দেখেছি? ঢাকা সংলগ্ন বুড়িগঙ্গা নদীর দুই তীর এ যতদূর চোখ যায় শুধু ইটের ভাটা আর ইটের ভাটা। বায়ুদূষনের কারনে প্রাণখুলে শ্বাস নেওয়া যায়না আর পানি দূষনে বুড়িগঙ্গা আজ মৃতপ্রায় । সত্যি মাঝে মাঝে প্রশ্ন হয় কোন পথে চলছি আমরা গড়া না ভাঙা?