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One of Shiloh's pair of nesting Bald Eagles. In no way did I have the proper lens for this shot so it's heavily cropped. Shiloh National Military Park in Tennessee.
Jomolhari or Chomolhari[2] (Tibetan: ཇོ་མོ་ལྷ་རི, Wylie: jo mo lha ri, ZYPY: Qomo Lhari; simplified Chinese: 绰莫拉日峰; traditional Chinese: 綽莫拉日峰; pinyin: Chuòmòlārì Fēng) sometimes known as "the bride of Kangchenjunga”, is a mountain in the Himalayas, straddling the border between Yadong County of Tibet, China and the Thimphu district of Bhutan. The north face rises over 2,700 metres (8,900 ft) above the barren plains. The mountain is the source of the Paro Chu (Paro river) which flows from the south side and the Amo Chu which flows from the north side.
To view more images of Salvin's Victorian Mansion, please click
"here"!
I would be most grateful if you refrained from inserting images, and/or group invites!
Scotney Castle is an English country house with formal gardens south-east of Lamberhurst in the valley of the River Bewl in Kent, England. It belongs to the National Trust. The gardens, which are a celebrated example of the Picturesque style, are open to the public. The central feature is the ruins of a medieval, moated manor house, Scotney Old Castle, which is on an island on a small lake. The lake is surrounded by sloping, wooded gardens with fine collections of rhododendrons, azaleas and kalmia for spring colour, summer wisteria and roses, and spectacular autumn colour. At the top of the garden stands a house which was built to replace the Old Castle between 1835 and 1843. This is known as Scotney New Castle, or simply Scotney Castle, and was designed by Anthony Salvin. It is an early, and unusually restrained, example of Tudor Revival architectural style in 19th century Britain. Following the death of the resident, Elizabeth Hussey, in 2006, this house was opened to the public for the first time on June 6, 2007. The earliest record from 1137 gives the owner of the estate as Lambert de Scoteni. Roger Ashburnham is credited with building the castle c.1378-80. Construction of the castle began as a roughly rectangular fortified house with towers in each corner. The original plan may never have been finished, and by 1558 it is likely only the southern tower remained. In 1580 the south wing was rebuilt in Elizabethan architecture style, and around 1630 the eastern range was rebuilt in three story Inigo Jones style. The Elizabethan wing remained a bailiff's residence until 1905, but the eastern range was partly dismantled on the completion of the new house in 1843, leaving the ruin as a garden feature. Catholic Recusant owner Thomas Darrell hid Jesuit Father Richard Blount, S.J. in the castle while he administered to Roman Catholics from 1591 to 1598. Catholicism was then illegal in England, and during the second raid by authorities to arrest the Father he fled over a wall into the moat and escaped. The Darrell family owned the estate for some 350 years. In 1778 Edward Hussey bought the estate and his grandson, also Edward, built the 'new' Castle to the designs of Anthony Salvin, from sandstone quarried from the slope below. The hollow created was developed into a Quarry Garden and contains a 100 million year old impression of a dinosaur's footprint. On Christopher Hussey's death in 1970 the estate was left to the National Trust. Several apartments in the castle and on the estate were let out by the Trust, with tenants including Prime Minister Margaret Thatcher who rented the Belfry flat for a time during the 1970s and 1980s, when it served as a weekend escape for her from Westminster life. The castle grounds have played host to Shakespeare productions, notably A Midsummer Night's Dream, with the actors appearing from behind the bushes on cue. Old Scotney Castle was used as the location for the video to the Squeeze song Some Fantastic Place.
Just a few more shots since I built the other wing/panel. Hadn't posted a frontal or rear shot until now. So, what's changed? Well, I made the exhaust ports a little bigger, I flipped the rods so they face forward, and I overcame one thing I used to hate so much: asymmetry.
Look here for more detail.
What do you think?
Mushroom
A mushroom, or toadstool, is the fleshy, spore-bearing fruiting body of a fungus, typically produced above ground on soil or on its food source.
The standard for the name "mushroom" is the cultivated white button mushroom, Agaricus bisporus; hence the word "mushroom" is most often applied to those fungi (Basidiomycota, Agaricomycetes) that have a stem (stipe), a cap (pileus), and gills (lamellae, sing. lamella) on the underside of the cap. "Mushroom" also describes a variety of other gilled fungi, with or without stems, therefore the term is used to describe the fleshy fruiting bodies of some Ascomycota. These gills produce microscopic spores that help the fungus spread across the ground or its occupant surface.
Forms deviating from the standard morphology usually have more specific names, such as "bolete", "puffball", "stinkhorn", and "morel", and gilled mushrooms themselves are often called "agarics" in reference to their similarity to Agaricus or their order Agaricales. By extension, the term "mushroom" can also designate the entire fungus when in culture; the thallus (called a mycelium) of species forming the fruiting bodies called mushrooms; or the species itself.
Source:https://en.wikipedia.org/wiki/Mushroom
Wigwam Falls on Yankee Horse Ridge
34.4 mile post Wigwam Falls
Found at Yankee Horse Ridge Parking Area.
"Man or Mantis Series", 1 of 7
No other insect can take on, or be assumed to be showing, human mannerisms and expressions more exquisitely than the mantids. Each image in the series had a caption reflecting what I thought this praying mantis was saying/thinking/emoting, but I have no doubt everyone will see something different.
Incredibly, these are not studio shots, but taken at the moth light at night on my rooftop. This mantis was attracted to the smorgasbord of moths on offer yet took enough interest in me to pose for this sequence of shots.
Full series in comments but best viewed individually...…
Taken June 16, 2012
Hand-held, MV lamp
Pu'er, Yunnan, China
In the compound eye of invertebrates such as insects and crustaceans, the pseudopupil appears as a dark spot which moves across the eye as the animal is rotated or as it turns its head or as you move around it. This occurs because the ommatidia (light receptors) which one observes “head-on” (along their optical axes) absorb the incident light, while those to either side reflect it. The pseudopupil therefore reveals which ommatidia are aligned with the axis along which the observer (or in this case, the camera’s sensor) is viewing.
What this means is that eyes like that of this mantis DO NOT have a pupil in their eye like ours, but it is more of an optical illusion. But it explains why their gaze always seems to follow you around the room and the insect seems to be looking directly at you (which may, in fact, not be the case).
This phenomenon certainly explains how we anthropomorphise (i.e. give human attributes) to insects such as the praying mantids, because we feel we relate to their expressions, even though, in reality, they probably don't exist.
(The enforced hiatus from photo-taking due to the predictably unpredictable weather continues, so I intend to continue some reposts though this time of what I consider my favourite twenty images (in no particular order and in batches of five). I have now surpassed 10000 images in my photostream, so have plenty to choose from. Invariably, these will not be images that have been particularly well received on their initial appearance in my photostream, but have significance to me maybe because of the circumstances related to their capture, as images I have a sentimental, nostalgic and/or emotional connection to or perhaps just what I consider to be a good shot.)
My inspiration for this picture: Tim Burton vibes
An absolutely awesome Event I am absolutely thrilled
♥.♥ Thank you to all who have put so much work into it You all make our world a little more colorful ♥.♥
Be there on 29.10 and go with us on the tricks and treats tour
Info on Facebook: : The 4th Annual Interactive Trick-or-Treat
Visit: RedStar
... used in or necessary for a particular activity (sometimes used with a singular verb)
paraphernalia[ par-uh-fer-neyl-yuh, -fuh-neyl- ]
This is some of my bookmaking paraphenalia.
120 Pictures in 2020 ... #85. Paraphernalia
You can see more of my handmade books on my Redheadwondering Etsy shop ... www.etsy.com/uk/shop/Redheadwondering?ref=seller-platform...
Sony α7 II
Zeiss Ikon Talon 85mm projector lens
Gece bir başka güzel görünür ışıl ışıl haliyle Biga. Uzaktan her şey güzel görünür de detay önemlidir. Ortur sitesinin hemen başındaki cami bahçesi, yanı başındaki dere yatağının öte tarafındaki Toki Evleri mahallesini izlemek adına güzel bir alandır.
Nikon D300S + Carl Zeiss Jena MC Biometar 80mm f:2.8 Black Version P6
Beautiful mushrooms or fungi on tree roots on Duffins Trail in Discovery bay , Martin’s photographs , Ajax , Ontario , Canada , July 31. 2019
Ontario
Ajax
Canada
Pickering
Martin’s photographs
Discovery Bay
Trees
Sunset
July 2021
Favourites
IPhone XR
Squires Beach
Duffins Creek
Duffins Marsh
Waterfront Trail
Rotary Park
Lake Ontario
Rod iron fence
Bridge
Bridge across Duffins Creek
Twilight
Sticks
Stones
Fallen trees
Fallen tree
Fungi
Mushrooms
Sand
Beach
Reflections
Reflection
Dogwood
Tall grasses
The name "Diwali" or "Divali" is a contraction of Deepavali which translates into "row of lamps". Diwali involves the lighting of small clay lamps filled with oil to signify the triumph of good over evil. These lamps are kept on during the night and one's house is cleaned, both done in order to make the goddess Lakshmi feel welcome. Firecrackers are burst because it is believed that it drives away evil spirits. During Diwali, all the celebrants wear new clothes and share sweets and snacks with family members and friends.
For more info: please visit: en.wikipedia.org/wiki/Diwali
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Dear Mr Bhaskar Peddhapati,
My name is Azree and I work for an agency, handling automotive clients' social media accounts. I had come across your Diwali photo and would very much like to use it as a greeting photo on the day of Diwali itself for Peugeot Malaysia's Facebook page. You may refer to the link below for the specific visual I am referring to:
www.flickr.com/photos/peddhapati/10676036843/in/photolist...
I would like to make some slight adjustments to the visual such as adding the words 'Happy Diwali' and the Peugeot logo on the top right. To credit you, we will place 'Image credit: Bhaskar Peddhapati Photography' in the caption of the post. If you would like to add/alter this, do let me know should you give your permission to use your photo.
Do let me know if we have your permission to do so as we'll need to make other arrangements if otherwise. Do contact me directly to my email at azree@driven.com.my regarding this. Looking forward to your reply. Thank you and keep up the good photography!
Azree
Pitbull or Victim?
Sarah Palin cannot have it both ways. The media is not calling her on these dirty tricks of the campaign trail. Senator Obama, Hilary Clinton, and other Democrats are bending over backwards to be polite and yes, even kind to Sarah Palin in the last several weeks. Why does she get a "pass" from the media? Why a "pass" from the public? If she wants to "hit and run", then treat her as any hard-nosed and political fighter would be treated. It's not a gender issue. She is "hockey mom" by her own self-identification. She described herself as a pitbull with lipstick. This woman needs to be able to "take it like a man" if she wants to play with the big dogs. She says she is a Feminist, so this is verrry interesting. A true Feminist will not start a brawl without being able to stand up for themselves. "Poor Sarah"? I think not! Every time she hits the campaign trail and performs as the "attack dog" she was intended to be, any statements she makes go into the public mind and follows Conservative strategy of a tried and true Republican politics blueprint:
1. Say something SIMPLE. (Worked for Reagan.)
2. Say it often and get favorable media to broadcast the same SIMPLE message over and over.
3. Go for a popular, SIMPLE answer to complex issues and ignore in-depth dialogue. ("Drill, Baby, Drill!") After all, the public has no need for details, just get the slogan right.
4. Ignore any attempts by those who seek to clarify and "truth-check": even more, to answer critics by screaming "discrimination" due to her gender. Deflect attention to in-depth policy issues by baiting opponents. If an opponent replies, scream that you are victimized and insulted. This works, by the way.
5. And last but not least, get the Conservative Right media to broadcast with derision all statements made by McCain and Palin as complete and utter truth. After all, the public is so gullible and so in need of SIMPLE answers that this repetition will WORK!
Or temptation . BB or Miss Bettie Butcher putting it on in the Studebaker Commander .
Dave and you thought it was me .. No its the car that draws the ladies my friend … and this was last year too .
GreazeFest
Brisbane
Common Starling (Sturnus vulgaris)
The common starling (Sturnus vulgaris), also known as the European starling, or in the British Isles just the starling, is a medium-sized passerine bird in the starling family, Sturnidae. It is about 20 cm (8 in) long and has glossy black plumage with a metallic sheen, which is speckled with white at some times of year. The legs are pink and the bill is black in winter and yellow in summer; young birds have browner plumage than the adults. It is a noisy bird, especially in communal roosts and other gregarious situations, with an unmusical but varied song. Its gift for mimicry has been noted in literature including the Mabinogion and the works of Pliny the Elder and William Shakespeare.
The common starling has about a dozen subspecies breeding in open habitats across its native range in temperate Europe and western Asia, and it has been introduced to Australia, New Zealand, Canada, United States, Mexico, Peru, Argentina, the Falkland Islands, Brazil, Chile, Uruguay, South Africa and Fiji. This bird is resident in southern and western Europe and southwestern Asia, while northeastern populations migrate south and west in winter within the breeding range and also further south to Iberia and North Africa. The common starling builds an untidy nest in a natural or artificial cavity in which four or five glossy, pale blue eggs are laid. These take two weeks to hatch and the young remain in the nest for another three weeks. There are normally one or two breeding attempts each year. This species is omnivorous, taking a wide range of invertebrates, as well as seeds and fruit. It is hunted by various mammals and birds of prey, and is host to a range of external and internal parasites.
Large flocks typical of this species can be beneficial to agriculture by controlling invertebrate pests; however, starlings can also be pests themselves when they feed on fruit and sprouting crops. Common starlings may also be a nuisance through the noise and mess caused by their large urban roosts. Introduced populations in particular have been subjected to a range of controls, including culling, but these have had limited success except in preventing the colonisation of Western Australia.
The species has declined in numbers in parts of northern and western Europe since the 1980s due to fewer grassland invertebrates being available as food for growing chicks. Despite this, its huge global population is not thought to be declining significantly, so the common starling is classified as being of least concern by the International Union for Conservation of Nature.
Taxonomy and systematics
The common starling was first described by Carl Linnaeus in his Systema Naturae in 1758 under its current binomial name. Sturnus and vulgaris are derived from the Latin for "starling" and "common" respectively. The Old English staer, later stare, and the Latin sturnus are both derived from an unknown Indo-European root dating back to the second millennium BC. "Starling" was first recorded in the 11th century, when it referred to the juvenile of the species, but by the 16th century it had already largely supplanted "stare" to refer to birds of all ages. The older name is referenced in William Butler Yeats' poem "The Stare's Nest by My Window". The International Ornithological Congress' preferred English vernacular name is common starling.
The starling family, Sturnidae, is an entirely Old World group apart from introductions elsewhere, with the greatest numbers of species in Southeast Asia and sub-Saharan Africa. The genus Sturnus is polyphyletic and relationships between its members are not fully resolved. The closest relation of the common starling is the spotless starling. The non-migratory spotless starling may be descended from a population of ancestral S. vulgaris that survived in an Iberian refugium during an ice age retreat, and mitochondrial gene studies suggest that it could be considered as a subspecies of the common starling. There is more genetic variation between common starling populations than between the nominate common starling and the spotless starling. Although common starling remains are known from the Middle Pleistocene, part of the problem in resolving relationships in the Sturnidae is the paucity of the fossil record for the family as a whole.
Subspecies
There are several subspecies of the common starling, which vary clinally in size and the colour tone of the adult plumage. The gradual variation over geographic range and extensive intergradation means that acceptance of the various subspecies varies between authorities.
Birds from Fair Isle, St Kilda and the Outer Hebrides are intermediate in size between S. v. zetlandicus and the nominate form, and their subspecies placement varies according to the authority. The dark juveniles typical of these island forms are occasionally found in mainland Scotland and elsewhere, indicating some gene flow from faroensis or zetlandicus, subspecies formerly considered to be isolated.
Several other subspecies have been named, but are generally no longer considered valid. Most are intergrades that occur where the ranges of various subspecies meet. These include: S. v. ruthenus Menzbier, 1891 and S. v. jitkowi Buturlin, 1904, which are intergrades between vulgaris and poltaratskyi from western Russia; S. v. graecus Tschusi, 1905 and S. v. balcanicus Buturlin and Harms, 1909, intergrades between vulgaris and tauricus from the southern Balkans to central Ukraine and throughout Greece to the Bosporus; and S. v. heinrichi Stresemann, 1928, an intergrade between caucasicus and nobilior in northern Iran. S. v. persepolis Ticehurst, 1928 from southern Iran's (Fars Province) is very similar to S. v. vulgaris, and it is not clear whether it is a distinct resident population or simply migrants from southeastern Europe.
Description
The common starling is 19–23 cm (7.5–9.1 in) long, with a wingspan of 31–44 cm (12–17 in) and a weight of 58–101 g (2.0–3.6 oz).[15] Among standard measurements, the wing chord is 11.8 to 13.8 cm (4.6 to 5.4 in), the tail is 5.8 to 6.8 cm (2.3 to 2.7 in), the culmen is 2.5 to 3.2 cm (0.98 to 1.26 in) and the tarsus is 2.7 to 3.2 cm (1.1 to 1.3 in).
The plumage is iridescent black, glossed purple or green, and spangled with white, especially in winter. The underparts of adult male common starlings are less spotted than those of adult females at a given time of year. The throat feathers of males are long and loose and are used in display while those of females are smaller and more pointed. The legs are stout and pinkish- or greyish-red. The bill is narrow and conical with a sharp tip; in the winter it is brownish-black but in summer, females have lemon yellow beaks while males have yellow bills with blue-grey bases. Moulting occurs once a year- in late summer after the breeding season has finished; the fresh feathers are prominently tipped white (breast feathers) or buff (wing and back feathers), which gives the bird a speckled appearance. The reduction in the spotting in the breeding season is achieved through the white feather tips largely wearing off. Juveniles are grey-brown and by their first winter resemble adults though often retaining some brown juvenile feathering, especially on the head. They can usually be sexed by the colour of the irises, rich brown in males, mouse-brown or grey in females. Estimating the contrast between an iris and the central always-dark pupil is 97% accurate in determining sex, rising to 98% if the length of the throat feathers is also considered.
The common starling is mid-sized by both starling standards and passerine standards. It is readily distinguished from other mid-sized passerines, such as thrushes, icterids or small corvids, by its relatively short tail, sharp, blade-like bill, round-bellied shape and strong, sizeable (and rufous-coloured) legs. In flight, its strongly pointed wings and dark colouration are distinctive, while on the ground its strange, somewhat waddling gait is also characteristic. The colouring and build usually distinguish this bird from other starlings, although the closely related spotless starling may be physically distinguished by the lack of iridescent spots in adult breeding plumage.
Like most terrestrial starlings the common starling moves by walking or running, rather than hopping. Their flight is quite strong and direct; their triangular-shaped wings beat very rapidly, and periodically the birds glide for a short way without losing much height before resuming powered flight. When in a flock, the birds take off almost simultaneously, wheel and turn in unison, form a compact mass or trail off into a wispy stream, bunch up again and land in a coordinated fashion. Common starling on migration can fly at 60–80 km/h (37–50 mph) and cover up to 1,000–1,500 km (620–930 mi).
Several terrestrial starlings, including those in the genus Sturnus, have adaptations of the skull and muscles that help with feeding by probing. This adaptation is most strongly developed in the common starling (along with the spotless and white-cheeked starlings), where the protractor muscles responsible for opening the jaw are enlarged and the skull is narrow, allowing the eye to be moved forward to peer down the length of the bill. This technique involves inserting the bill into the ground and opening it as a way of searching for hidden food items. Common starlings have the physical traits that enable them to use this feeding technique, which has undoubtedly helped the species spread far and wide.
In Iberia, the western Mediterranean and northwest Africa, the common starling may be confused with the closely related spotless starling, the plumage of which, as its name implies, has a more uniform colour. At close range it can be seen that the latter has longer throat feathers, a fact particularly noticeable when it sings.
Vocalization
The common starling is a noisy bird. Its song consists of a wide variety of both melodic and mechanical-sounding noises as part of a ritual succession of sounds. The male is the main songster and engages in bouts of song lasting for a minute or more. Each of these typically includes four varieties of song type, which follow each other in a regular order without pause. The bout starts with a series of pure-tone whistles and these are followed by the main part of the song, a number of variable sequences that often incorporate snatches of song mimicked from other species of bird and various naturally occurring or man-made noises. The structure and simplicity of the sound mimicked is of greater importance than the frequency with which it occurs. In some instances, a wild starling has been observed to mimic a sound it has heard only once. Each sound clip is repeated several times before the bird moves on to the next. After this variable section comes a number of types of repeated clicks followed by a final burst of high-frequency song, again formed of several types. Each bird has its own repertoire with more proficient birds having a range of up to 35 variable song types and as many as 14 types of clicks.
Males sing constantly as the breeding period approaches and perform less often once pairs have bonded. In the presence of a female, a male sometimes flies to his nest and sings from the entrance, apparently attempting to entice the female in. Older birds tend to have a wider repertoire than younger ones. Those males that engage in longer bouts of singing and that have wider repertoires attract mates earlier and have greater reproductive success than others. Females appear to prefer mates with more complex songs, perhaps because this indicates greater experience or longevity. Having a complex song is also useful in defending a territory and deterring less experienced males from encroaching.
Singing also occurs outside the breeding season, taking place throughout the year apart from the moulting period. The songsters are more commonly male although females also sing on occasion. The function of such out-of-season song is poorly understood. Eleven other types of call have been described including a flock call, threat call, attack call, snarl call and copulation call.[29] The alarm call is a harsh scream, and while foraging together common starlings squabble incessantly. They chatter while roosting and bathing, making a great deal of noise that can cause irritation to people living nearby. When a flock of common starlings is flying together, the synchronised movements of the birds' wings make a distinctive whooshing sound that can be heard hundreds of metres (yards) away.
Behaviour and ecology
The common starling is a highly gregarious species, especially in autumn and winter. Although flock size is highly variable, huge, noisy flocks - murmurations - may form near roosts. These dense concentrations of birds are thought to be a defence against attacks by birds of prey such as peregrine falcons or Eurasian sparrowhawks. Flocks form a tight sphere-like formation in flight, frequently expanding and contracting and changing shape, seemingly without any sort of leader. Each common starling changes its course and speed as a result of the movement of its closest neighbours.
Very large roosts, exceptionally up to 1.5 million birds, can form in city centres, woodlands or reedbeds, causing problems with their droppings. These may accumulate up to 30 cm (12 in) deep, killing trees by their concentration of chemicals. In smaller amounts, the droppings act as a fertiliser, and therefore woodland managers may try to move roosts from one area of a wood to another to benefit from the soil enhancement and avoid large toxic deposits.
Huge flocks of more than a million common starlings may be observed just before sunset in spring in southwestern Jutland, Denmark over the seaward marshlands of Tønder and Esbjerg municipalities between Tønder and Ribe. They gather in March until northern Scandinavian birds leave for their breeding ranges by mid-April. Their swarm behaviour creates complex shapes silhouetted against the sky, a phenomenon known locally as sort sol ("black sun"). Flocks of anything from five to fifty thousand common starlings form in areas of the UK just before sundown during mid-winter. These flocks are commonly called murmurations.
Feeding
The common starling is largely insectivorous and feeds on both pest and other arthropods. The food range includes spiders, crane flies, moths, mayflies, dragonflies, damsel flies, grasshoppers, earwigs, lacewings, caddisflies, flies, beetles, sawflies, bees, wasps and ants. Prey are consumed in both adult and larvae stages of development, and common starlings will also feed on earthworms, snails, small amphibians and lizards. While the consumption of invertebrates is necessary for successful breeding, common starlings are omnivorous and can also eat grains, seeds, fruits, nectar and food waste if the opportunity arises. The Sturnidae differ from most birds in that they cannot easily metabolise foods containing high levels of sucrose, although they can cope with other fruits such as grapes and cherries. The isolated Azores subspecies of the common starling eats the eggs of the endangered roseate tern. Measures are being introduced to reduce common starling populations by culling before the terns return to their breeding colonies in spring.
There are several methods by which common starlings obtain their food but for the most part, they forage close to the ground, taking insects from the surface or just underneath. Generally, common starlings prefer foraging amongst short-cropped grasses and are often found among grazing animals or perched on their backs, where they will also feed on the mammal's external parasites. Large flocks may engage in a practice known as "roller-feeding", where the birds at the back of the flock continually fly to the front where the feeding opportunities are best. The larger the flock, the nearer individuals are to one another while foraging. Flocks often feed in one place for some time, and return to previous successfully foraged sites.
There are three types of foraging behaviour observed in the common starling. "Probing" involves the bird plunging its beak into the ground randomly and repetitively until an insect has been found, and is often accompanied by bill gaping where the bird opens its beak in the soil to enlarge a hole. This behaviour, first described by Konrad Lorenz and given the German term zirkeln, is also used to create and widen holes in plastic garbage bags. It takes time for young common starlings to perfect this technique, and because of this the diet of young birds will often contain fewer insects. "Hawking" is the capture of flying insects directly from the air, and "lunging" is the less common technique of striking forward to catch a moving invertebrate on the ground. Earthworms are caught by pulling from soil. Common starlings that have periods without access to food, or have a reduction in the hours of light available for feeding, compensate by increasing their body mass by the deposition of fat.
Nesting
Unpaired males find a suitable cavity and begin to build nests in order to attract single females, often decorating the nest with ornaments such as flowers and fresh green material, which the female later disassembles upon accepting him as a mate. The amount of green material is not important, as long as some is present, but the presence of herbs in the decorative material appears to be significant in attracting a mate. The scent of plants such as yarrow acts as an olfactory attractant to females.
The males sing throughout much of the construction and even more so when a female approaches his nest. Following copulation, the male and female continue to build the nest. Nests may be in any type of hole, common locations include inside hollowed trees, buildings, tree stumps and man-made nest-boxes. S. v. zetlandicus typically breeds in crevices and holes in cliffs, a habitat only rarely used by the nominate form. Nests are typically made out of straw, dry grass and twigs with an inner lining made up of feathers, wool and soft leaves. Construction usually takes four or five days and may continue through incubation.
Common starlings are both monogamous and polygamous; although broods are generally brought up by one male and one female, occasionally the pair may have an extra helper. Pairs may be part of a colony, in which case several other nests may occupy the same or nearby trees. Males may mate with a second female while the first is still on the nest. The reproductive success of the bird is poorer in the second nest than it is in the primary nest and is better when the male remains monogamous.
Breeding
Breeding takes place during the spring and summer. Following copulation, the female lays eggs on a daily basis over a period of several days. If an egg is lost during this time, she will lay another to replace it. There are normally four or five eggs that are ovoid in shape and pale blue or occasionally white, and they commonly have a glossy appearance. The colour of the eggs seems to have evolved through the relatively good visibility of blue at low light levels. The egg size is 26.5–34.5 mm (1.04–1.36 in) in length and 20.0–22.5 mm (0.79–0.89 in) in maximum diameter.
Incubation lasts thirteen days, although the last egg laid may take 24 hours longer than the first to hatch. Both parents share the responsibility of brooding the eggs, but the female spends more time incubating them than does the male, and is the only parent to do so at night when the male returns to the communal roost. The young are born blind and naked. They develop light fluffy down within seven days of hatching and can see within nine days. Once the chicks are able to regulate their body temperature, about six days after hatching, the adults largely cease removing droppings from the nest. Prior to that, the fouling would wet both the chicks' plumage and the nest material, thereby reducing their effectiveness as insulation and increasing the risk of chilling the hatchlings. Nestlings remain in the nest for three weeks, where they are fed continuously by both parents. Fledglings continue to be fed by their parents for another one or two weeks. A pair can raise up to three broods per year, frequently reusing and relining the same nest, although two broods is typical, or just one north of 48°N. Within two months, most juveniles will have moulted and gained their first basic plumage. They acquire their adult plumage the following year. As with other passerines, the nest is kept clean and the chicks' faecal sacs are removed by the adults.
Intraspecific brood parasites are common in common starling nests. Female "floaters" (unpaired females during the breeding season) present in colonies often lay eggs in another pair's nest. Fledglings have also been reported to invade their own or neighbouring nests and evict a new brood.[29] Common starling nests have a 48% to 79% rate of successful fledging, although only 20% of nestlings survive to breeding age; the adult survival rate is closer to 60%. The average life span is about 2–3 years, with a longevity record of 22 yr 11 m.
Predators and parasites
A majority of starling predators are avian. The typical response of starling groups is to take flight, with a common sight being undulating flocks of starling flying high in quick and agile patterns. Their abilities in flight are seldom matched by birds of prey. Adult common starlings are hunted by hawks such as the northern goshawk (Accipiter gentilis) and Eurasian sparrowhawk (Accipiter nisus), and falcons including the peregrine falcon (Falco peregrinus), Eurasian hobby (Falco subbuteo) and common kestrel (Falco tinnunculus). Slower raptors like black and red kites (Milvus migrans & milvus), eastern imperial eagle (Aquila heliaca), common buzzard (Buteo buteo) and Australasian harrier (Circus approximans) tend to take the more easily caught fledglings or juveniles. While perched in groups by night, they can be vulnerable to owls, including the little owl (Athene noctua), long-eared owl (Asio otus), short-eared owl (Asio flammeus), barn owl (Tyto alba), tawny owl (Strix aluco) and Eurasian eagle-owl (Bubo bubo).
More than twenty species of hawk, owl and falcon are known to occasionally predate feral starlings in North America, though the most regular predators of adults are likely to be urban-living peregrine falcons or merlins (Falco columbarius). Common mynas (Acridotheres tristis) sometimes evict eggs, nestlings and adult common starlings from their nests, and the lesser honeyguide (Indicator minor), a brood parasite, uses the common starling as a host. Starlings are more commonly the culprits rather than victims of nest eviction however, especially towards other starlings and woodpeckers. Nests can be raided by mammals capable of climbing to them, such as stoats (Mustela erminea), raccoons (Procyon lotor) and squirrels (Sciurus spp.), and cats may catch the unwary.
Common starlings are hosts to a wide range of parasites. A survey of three hundred common starlings from six US states found that all had at least one type of parasite; 99% had external fleas, mites or ticks, and 95% carried internal parasites, mostly various types of worm. Blood-sucking species leave their host when it dies, but other external parasites stay on the corpse. A bird with a deformed bill was heavily infested with Mallophaga lice, presumably due to its inability to remove vermin.
The hen flea (Ceratophyllus gallinae) is the most common flea in their nests. The small, pale house-sparrow flea C. fringillae, is also occasionally found there and probably arises from the habit of its main host of taking over the nests of other species. This flea does not occur in the US, even on house sparrows. Lice include Menacanthus eurystemus, Brueelia nebulosa and Stumidoecus sturni. Other arthropod parasites include Ixodes ticks and mites such as Analgopsis passerinus, Boydaia stumi, Dermanyssus gallinae, Ornithonyssus bursa, O. sylviarum, Proctophyllodes species, Pteronyssoides truncatus and Trouessartia rosteri. The hen mite D. gallinae is itself preyed upon by the predatory mite Androlaelaps casalis. The presence of this control on numbers of the parasitic species may explain why birds are prepared to reuse old nests.
Flying insects that parasitise common starlings include the louse-fly Omithomya nigricornis and the saprophagous fly Camus hemapterus. The latter species breaks off the feathers of its host and lives on the fats produced by growing plumage. Larvae of the moth Hofmannophila pseudospretella are nest scavengers, which feed on animal material such as faeces or dead nestlings. Protozoan blood parasites of the genus Haemoproteus have been found in common starlings, but a better known pest is the brilliant scarlet nematode Syngamus trachea. This worm moves from the lungs to the trachea and may cause its host to suffocate. In Britain, the rook and the common starling are the most infested wild birds. Other recorded internal parasites include the spiny-headed worm Prosthorhynchus transverses.
Common starlings may contract avian tuberculosis, avian malaria and retrovirus-induced lymphomas. Captive starlings often accumulate excess iron in the liver, a condition that can be prevented by adding black tea-leaves to the food.
Distribution and habitat
The global population of common starlings was estimated to be 310 million individuals in 2004, occupying a total area of 8,870,000 km2 (3,420,000 sq mi). Widespread throughout the Northern Hemisphere, the bird is native to Eurasia and is found throughout Europe, northern Africa (from Morocco to Egypt), India (mainly in the north but regularly extending further south and extending into the Maldives) Nepal, the Middle East including Syria, Iran, and Iraq and north-western China.
Common starlings in the south and west of Europe and south of latitude 40°N are mainly resident, although other populations migrate from regions where the winter is harsh, the ground frozen and food scarce. Large numbers of birds from northern Europe, Russia and Ukraine migrate south westwards or south eastwards. In the autumn, when immigrants are arriving from eastern Europe, many of Britain's common starlings are setting off for Iberia and North Africa. Other groups of birds are in passage across the country and the pathways of these different streams of bird may cross. Of the 15,000 birds ringed as nestlings in Merseyside, England, individuals have been recovered at various times of year as far afield as Norway, Sweden, Finland, Russia, Ukraine, Poland, Germany and the Low Countries. Small numbers of common starling have sporadically been observed in Japan and Hong Kong but it is unclear from where these birds originated. In North America, northern populations have developed a migration pattern, vacating much of Canada in winter. Birds in the east of the country move southwards, and those from further west winter in the southwest of the US.
Common starlings prefer urban or suburban areas where artificial structures and trees provide adequate nesting and roosting sites. Reedbeds are also favoured for roosting and the birds commonly feed in grassy areas such as farmland, grazing pastures, playing fields, golf courses and airfields where short grass makes foraging easy. They occasionally inhabit open forests and woodlands and are sometimes found in shrubby areas such as Australian heathland. Common starlings rarely inhabit dense, wet forests (i.e. rainforests or wet sclerophyll forests) but are found in coastal areas, where they nest and roost on cliffs and forage amongst seaweed. Their ability to adapt to a large variety of habitats has allowed them to disperse and establish themselves in diverse locations around the world resulting in a habitat range from coastal wetlands to alpine forests, from sea cliffs to mountain ranges 1,900 m (6,200 ft) above sea level.
Introduced populations
The common starling has been introduced to and has successfully established itself in New Zealand, Australia, South Africa, North America, Fiji and several Caribbean islands. As a result, it has also been able to migrate to Thailand, Southeast Asia and New Guinea.
South America
Five individuals conveyed on a ship from England alighted near Lago de Maracaibo in Venezuela in November 1949, but subsequently vanished. In 1987, a small population of common starlings was observed nesting in gardens in the city of Buenos Aires. Since then, despite some initial attempts at eradication, the bird has been expanding its breeding range at an average rate of 7.5 km (4.7 mi) per year, keeping within 30 km (19 mi) of the Atlantic coast. In Argentina, the species makes use of a variety of natural and man-made nesting sites, particularly woodpecker holes.
Australia
The common starling was introduced to Australia to consume insect pests of farm crops. Early settlers looked forward to their arrival, believing that common starlings were also important for the pollination of flax, a major agricultural product. Nest-boxes for the newly released birds were placed on farms and near crops. The common starling was introduced to Melbourne in 1857 and Sydney two decades later. By the 1880s, established populations were present in the southeast of the country thanks to the work of acclimatisation committees. By the 1920s, common starlings were widespread throughout Victoria, Queensland and New South Wales, but by then they were considered to be pests. Although common starlings were first sighted in Albany, Western Australia in 1917, they have been largely prevented from spreading to the state. The wide and arid Nullarbor Plain provides a natural barrier and control measures have been adopted that have killed 55,000 birds over three decades. The common starling has also colonised Kangaroo Island, Lord Howe Island, Norfolk Island and Tasmania.
New Zealand
The early settlers in New Zealand cleared the bush and found their newly planted crops were invaded by hordes of caterpillars and other insects deprived of their previous food sources. Native birds were not habituated to living in close proximity to man so the common starling was introduced from Europe along with the House Sparrow to control the pests. It was first brought over in 1862 by the Nelson Acclimatisation Society and other introductions followed. The birds soon became established and are now found all over the country including the subtropical Kermadec Islands to the north and the equally distant Macquarie Island far to the south.
North America
After two failed attempts, about 60 common starlings were released in 1890 into New York's Central Park by Eugene Schieffelin. He was president of the American Acclimatization Society, which reportedly tried to introduce every bird species mentioned in the works of William Shakespeare into North America, although this has been disputed. About the same date, the Portland Song Bird Club released 35 pairs of common starlings in Portland, Oregon. These birds became established but disappeared around 1902. Common starlings reappeared in the Pacific Northwest in the mid-1940s and these birds were probably descendants of the 1890 Central Park introduction. The original 60 birds have since swelled in number to 150 million, occupying an area extending from southern Canada and Alaska to Central America.
Polynesia
The common starling appears to have arrived in Fiji in 1925 on Ono-i-lau and Vatoa islands. It may have colonised from New Zealand via Raoul in the Kermadec Islands where it is abundant, that group being roughly equidistant between New Zealand and Fiji. Its spread in Fiji has been limited, and there are doubts about the population's viability. Tonga was colonised at about the same date and the birds there have been slowly spreading north through the group.
South Africa
In South Africa, the common starling was introduced in 1897 by Cecil Rhodes. It spread slowly, and by 1954, had reached Clanwilliam and Port Elizabeth. It is now common in the southern Cape region, thinning out northwards to the Johannesburg area. It is present in the Western Cape, the Eastern Cape and the Free State provinces of South Africa and lowland Lesotho, with occasional sightings in KwaZulu-Natal, Gauteng and around the town of Oranjemund in Namibia. In Southern Africa populations appear to be resident and the bird is strongly associated with man and anthropogenic habitats. It favours irrigated land and is absent from regions where the ground is baked so dry that it cannot probe for insects. It may compete with native birds for crevice nesting sites but the indigenous species are probably more disadvantaged by destruction of their natural habitat than they are by inter-specific competition. It breeds from September to December and outside the breeding season may congregate in large flocks, often roosting in reedbeds. It is the most common bird species in urban and agricultural areas.
West Indies
The inhabitants of Saint Kitts petitioned the Colonial Secretary for a ″ ... government grant of starlings to exterminate ... ″ an outbreak of grasshoppers with was causing enormous damage to their crops in 1901. The common starling was introduced to Jamaica in 1903, and the Bahamas and Cuba were colonised naturally from the US. This bird is fairly common but local in Jamaica, Grand Bahama and Bimini, and is rare in the rest of the Bahamas, eastern Cuba, the Cayman Islands, Puerto Rico and St. Croix.
Status
The global population of the common starling is estimated to be more than 310 million individuals and its numbers are not thought to be declining significantly, so the bird is classified by the International Union for Conservation of Nature as being of least concern. It had shown a marked increase in numbers throughout Europe from the 19th century to around the 1950s and 60s. In about 1830, S. v. vulgaris expanded its range in the British Isles, spreading into Ireland and areas of Scotland where it had formerly been absent, although S. v. zetlandicus was already present in Shetland and the Outer Hebrides. The common starling has bred in northern Sweden from 1850 and in Iceland from 1935. The breeding range spread through southern France to northeastern Spain, and there were other range expansions particularly in Italy, Austria and Finland. It started breeding in Iberia in 1960, while the spotless starling's range had been expanding northward since the 1950s. The low rate of advance, about 4.7 km (2.9 mi) per year for both species, is due to the suboptimal mountain and woodland terrain. Expansion has since slowed even further due to direct competition between the two similar species where they overlap in southwestern France and northwestern Spain.
Major declines in populations have been observed from 1980 onward in Sweden, Finland, northern Russia (Karelia) and the Baltic States, and smaller declines in much of the rest of northern and central Europe. The bird has been adversely affected in these areas by intensive agriculture, and in several countries it has been red-listed due to population declines of more than 50%. Numbers dwindled in the United Kingdom by more than 80% between 1966 and 2004; although populations in some areas such as Northern Ireland were stable or even increased, those in other areas, mainly England, declined even more sharply. The overall decline seems to be due to the low survival rate of young birds, which may be caused by changes in agricultural practices. The intensive farming methods used in northern Europe mean there is less pasture and meadow habitat available, and the supply of grassland invertebrates needed for the nestlings to thrive is correspondingly reduced.
Relationship with humans
Benefits and problems
Since common starlings eat insect pests such as wireworms, they are considered beneficial in northern Eurasia, and this was one of the reasons given for introducing the birds elsewhere. Around 25 million nest boxes were erected for this species in the former Soviet Union, and common starlings were found to be effective in controlling the grass grub Costelytra zelandica in New Zealand. The original Australian introduction was facilitated by the provision of nest boxes to help this mainly insectivorous bird to breed successfully, and even in the US, where this is a pest species, the Department of Agriculture acknowledges that vast numbers of insects are consumed by common starlings.
Common starlings introduced to areas such as Australia or North America, where other members of the genus are absent, may affect native species through competition for nest holes. In North America, chickadees, nuthatches, woodpeckers, purple martins and other swallows may be affected. In Australia, competitors for nesting sites include the crimson and eastern rosellas. For its role in the decline of local native species and the damages to agriculture, the common starling has been included in the IUCN List of the world's 100 worst invasive species.
Common starlings can eat and damage fruit in orchards such as grapes, peaches, olives, currants and tomatoes or dig up newly sown grain and sprouting crops. They may also eat animal feed and distribute seeds through their droppings. In eastern Australia, weeds like bridal creeper, blackberry and boneseed are thought to have been spread by common starlings. Agricultural damage in the US is estimated as costing about US$800 million annually. This bird is not considered to be as damaging to agriculture in South Africa as it is in the United States.
The large size of flocks can also cause problems. Common starlings may be sucked into aircraft jet engines, one of the worst instances of this being an incident in Boston in 1960, when sixty-two people died after a turboprop airliner flew into a flock and plummeted into the sea at Winthrop Harbor.
Starlings' droppings can contain the fungus Histoplasma capsulatum, the cause of histoplasmosis in humans. At roosting sites this fungus can thrive in accumulated droppings. There are a number of other infectious diseases that can potentially be transmitted by common starlings to humans, although the potential for the birds to spread infections may have been exaggerated.
Control
Because of the damage they do, there have been attempts to control the numbers of both native and introduced populations of common starlings. Within the natural breeding range, this may be affected by legislation. For example, in Spain, this is a species hunted commercially as a food item, and has a closed season, whereas in France, it is classed as a pest, and the season in which it may be killed covers the greater part of the year. In Great Britain, Starlings are protected under the Wildlife and Countryside Act 1981, which makes it "illegal to intentionally kill, injure or take a starling, or to take, damage or destroy an active nest or its contents". The Wildlife Order in Northern Ireland allows, with a general licence, "an authorised person to control starlings to prevent serious damage to agriculture or preserve public health and safety". This species is migratory, so birds involved in control measures may have come from a wide area and breeding populations may not be greatly affected. In Europe, the varying legislation and mobile populations mean that control attempts may have limited long-term results. Non-lethal techniques such as scaring with visual or auditory devices have only a temporary effect in any case.
Huge urban roosts in cities can create problems due to the noise and mess made and the smell of the droppings. In 1949, so many birds landed on the clock hands of London's Big Ben that it stopped, leading to unsuccessful attempts to disrupt the roosts with netting, repellent chemical on the ledges and broadcasts of common starling alarm calls. An entire episode of The Goon Show in 1954 was a parody of the futile efforts to disrupt the large common starling roosts in central London.
Where it is introduced, the common starling is unprotected by legislation, and extensive control plans may be initiated. Common starlings can be prevented from using nest boxes by ensuring that the access holes are smaller than the 1.5 in (38 mm) diameter they need, and the removal of perches discourages them from visiting bird feeders.
Western Australia banned the import of common starlings in 1895. New flocks arriving from the east are routinely shot, while the less cautious juveniles are trapped and netted. New methods are being developed, such as tagging one bird and tracking it back to establish where other members of the flock roost. Another technique is to analyse the DNA of Australian common starling populations to track where the migration from eastern to western Australia is occurring so that better preventive strategies can be used. By 2009, only 300 common starlings were left in Western Australia, and the state committed a further A$400,000 in that year to continue the eradication programme.
In the United States, common starlings are exempt from the Migratory Bird Treaty Act, which prohibits the taking or killing of migratory birds. No permit is required to remove nests and eggs or kill juveniles or adults. Research was undertaken in 1966 to identify a suitable avicide that would both kill common starlings and would readily be eaten by them. It also needed to be of low toxicity to mammals and not likely to cause the death of pets that ate dead birds. The chemical that best fitted these criteria was DRC-1339, now marketed as Starlicide. In 2008, the United States government poisoned, shot or trapped 1.7 million birds, the largest number of any nuisance species to be destroyed. In 2005, the population in the United States was estimated at 140 million birds, around 45% of the global total of 310 million.
In science and culture
Common starlings may be kept as pets or as laboratory animals. Austrian ethologist Konrad Lorenz wrote of them in his book King Solomon's Ring as "the poor man's dog" and "something to love", because nestlings are easily obtained from the wild and after careful hand rearing they are straightforward to look after. They adapt well to captivity, and thrive on a diet of standard bird feed and mealworms. Several birds may be kept in the same cage, and their inquisitiveness makes them easy to train or study. The only disadvantages are their messy and indiscriminate defecation habits and the need to take precautions against diseases that may be transmitted to humans. As a laboratory bird, the common starling is second in numbers only to the domestic pigeon.
The common starling's gift for mimicry has long been recognised. In the medieval Welsh Mabinogion, Branwen tamed a common starling, "taught it words", and sent it across the Irish Sea with a message to her brothers, Bran and Manawydan, who then sailed from Wales to Ireland to rescue her. Pliny the Elder claimed that these birds could be taught to speak whole sentences in Latin and Greek, and in Henry IV, William Shakespeare had Hotspur declare "The king forbade my tongue to speak of Mortimer. But I will find him when he is asleep, and in his ear I'll holler 'Mortimer!' Nay I'll have a starling shall be taught to speak nothing but Mortimer, and give it to him to keep his anger still in motion."
Mozart had a pet common starling which could sing part of his Piano Concerto in G Major (KV. 453). He had bought it from a shop after hearing it sing a phrase from a work he wrote six weeks previously, which had not yet been performed in public. He became very attached to the bird and arranged an elaborate funeral for it when it died three years later. It has been suggested that his A Musical Joke (K. 522) might be written in the comical, inconsequential style of a starling's vocalisation.[35] Other people who have owned common starlings report how adept they are at picking up phrases and expressions. The words have no meaning for the starling, so they often mix them up or use them on what to humans are inappropriate occasions in their songs. Their ability at mimicry is so great that strangers have looked in vain for the human they think they have just heard speak.
Common starlings are trapped for food in some Mediterranean countries. The meat is tough and of low quality, so it is casseroled or made into pâté. One recipe said it should be stewed "until tender, however long that may be". Even when correctly prepared, it may still be seen as an acquired taste.
The introduction of European starlings to the United States in 1890 by New York pharmaceutical manufacturer Eugene Schieffelin was featured in the plotline of the Netflix original series, Ozark in season 1, episode 7, "Nest Box."
[Credit: en.wikipedia.org/]
1970s or 80s Columbian truck. Autocar(?) cab, KW hood with a Diamond on the side. from my collection. Registration says "Columbia".
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.
Burned Robust or Pink-flowered Hedgehog Cactus (Echinocereus fasciculatus) trying to look like a miniture Saguaro; area burned in Burro Fire 6 months before, just above Korn Kob mine, S of upper Buehman Canyon, N of Piety Hill and Redington Pass Road, Coronado NF, W of Redington, AZ
Sunrise right in the gap or notch of the Coburg Hills, near Eugene, Oregon just a few mornings ago.
(170sunriseinthenotchpowerlines)
"If you are tempted to criticize the size, resolution or quality of this image ~ please don't ~ I used a Sony Mavica Digital (sub-megapixel) camera, which was State of the Art in 1999 ~ Digital Cameras have since come a long way"
I was asked to do "whatever I wanted" with this head. I want one for me now, but I decided to stop buying dolls T_T