View allAll Photos Tagged Problem
Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.
This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.
I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.
You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.
Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)
To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.
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.
im Herbst ist oft das Beschlagen der Haube! Auch mußte ich vor dem Start eine Reifschicht vom Flieger entfernen.
It would seem that no one is immune to a child's "my mom is in the tub, must use the toilet" reaction. Even Little People Moms.
Sweet Divorce play their very first show at Epic Problem, Tampa, FL on June 21, 2013.
Note: Please share, download and use these photos for non-commercial purposes but be sure to abide by the creative commons license by crediting the photos to Nicole Kibert / www.elawgrrl.com and if using online, add a link back to this page or to www.elawgrrl.com. This license does not permit commercial use. Thanks.
We did have one issue I forgot to mention, after burning some scraps the fire actually went into the tundra and burned unground. We woke up one morning to a pretty serious fire that required nearly a day to put out. We hauled water from the ocean in the Bobcat bucket then set up an assembly line passing a five gallon bucket to douse the fire. This could have spelled disaster.
waiting fix bike problem during bike racing shot use pentax istdl with Carl Zeiss Jena 135mm F3.5 Zebra
Young man caught in the act of intimidating a guest of the photographer who promptly took his flash photo and demanded that he make amends starting now. Miami, Fl
Adult, winged, red aphid on a rhubarb leaf. I believe the "horns" on the left and right are called "cornicles". You can clearly see some defensive fluid on one of them here.
BTW, here is a side view of the same aphid.
Pentax-M 135mm F/3.5 plus reversed Pentax-A 50mm F/1.7. Macro ratio is 2.7:1 plus a moderate crop.
IMPORTANT:
If you would like to use this photo in a way that is appropriate under its Creative Commons license, you are welcome to do so, but please make sure to credit me by my real name and Flickr handle, and please also include a link to the Flickr page of the photo, as well as a link to the relevant Creative Commons license text. I have put examples of proper attribution on my profile page. Optionally, you may also send me a little note about your use... :)
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Divorce problem solutionssolutions will help you to solve your marriage relations problem and help you to make your relationship stronger.
Tirei uma foto que não mostrasse muita coisa, só para registrar mesmo e atualizar o projeto porque quero fazer um post mais detalhado sobre o meu novo brinquedinho no blog em breve!
Eu usava um netbook da Positivo há uns 3 anos e ele começou a dar problema no HD (fazia barulhos estranhos, estava travando demaaaais, estava muito lento...) me rendi e fiz o investimento, preciso de uma máquina decente para trabalhar, né!
Enfim, aguardem mais informações no blog! (só digo que estou amaaaando!)
Gente vcs lembram que dois esmaltes meus vieram com problema??? Pra quem não viu aqui ta o link www.flickr.com/photos/kassia_affeldt/4710914906/ www.flickr.com/photos/kassia_affeldt/4709485587/ , então eu mandei um e-mail pra hits logo depois d ocorrido e eles me pediram o nome da loja que me vendeu pq é a loja que ta fazendo isso com os pincéis pra ser melhor pra nail art, mas eles pediram pra loja para de fazer isso, agora se vão para eu não sei.
Ai onte chegou esse pacote com 3 pincéis novinhos (precisava só de 2) e me mandaram tbm um esmalte, o 682 da nova coleção deles. Preciso dizer que adorei o atendimento deles???
Obrigada Hits, sempre resolvendo os problemas (pelo menos todos os que eu tive, foram solucionados!)
Beijoos meninas!
Edit: meninas que forem fazer alguma reclamação/sugestão/dúvida com a Speciallita, utilizem esse e-mail sac.virtual@speciallita.com.br, somente neste eles respondem, ou utilizem o telefone que está no site.
Beijos
GTL 3110 stranded due to a catenary failure at Buitenhof square
Den Haag Torenstraat
19-07-2018
T201807-0315
Maggie had managed to hurt herself again. Late summer she tore a hole in her leg escaping the backyard with a 6ft fence. This time she split a nail all the way up to the toe. They had to cut off the nail at the toe.
Bandage, some pain meds and the cone of shame again lol
Today, I'm going to write a couple of long things that call a lot of people dumb. I do a better job with these kinds of things when I just write them right off when it hits me to do it, and I've been putting this one off a bit. But I really do want to put this out there, so I'm just going to go ahead and do it.
The thesis: Americans are really dumb about immigration. We're dumb and insular and paranoid. We've ignored our own origins -- the people I've known who hate immigration the most are all second- or third-generation Americans whose grandparents passed easily through Ellis Island without any kind of visa. We've forgotten the whole point of the American experiment. Those of us who claim moral superiority based on a spurious attachment to a contorted form of Christianity have devolved into race-based nationalists. We've needlessly handcuffed the economy because we don't understand how much capitalism depends on the constant flow of new labor that birth rates can't sustain. In a couple of words, we're stoopid. You can see it in these signs on a protest fence in Chicago's Brighton Park neighborhood. "We are uneasy and scared." And, well ... God forbid you be uneasy!
"Say, Clint," You might be saying. "You've ranted on about versions of this before. What's the deal, now?"
Well, friends, here's the problem, and it starts with the moron governor of Texas.
Greg Abbott was elected Texas governor after a long stint as the state's attorney general that focused mainly on important issues like banning sex toys and encouraging large corporations to physically harm as many people as possible. He's been a big supporter of Trump and has sung all of MAGA's greatest hits, and he absolutely hates brown people. His state has a long border with Mexico, and he hates the idea that people cross it, even refugees who have a legal right to seek asylum under the laws of the United States. He'd shoot them all if he could. He's placed barriers in the Rio Grande to drown people trying to cross. He's put Texas National Guard soldiers along the river and ordered them to force men, women, and children gasping for air back into the water. He's a huge anti-abortion guy who loves life so much that he'll kill a woman to prove it, but he loves watching brown kids die.
He's also big on stunt, and for the last year or so, his big stunt has been to grab as many of the people who've made it across the federal border into Texas territory as he can, load them up onto rickety, unregulated buses and ship them all to liberal northern cities he doesn't like. Chicago has been a big target on the MAGA radar for years, so a lot of those buses are running up I-57, where they dump a few hundred refugee immigrants on some random street in the middle of the night and leave them all to figure it out. Abbott could have the buses drop them off at some central processing location and let the city know they're coming and when, but what's the fun in that? That wouldn't be cruel enough, so he just dumps them in random spots, and everybody has to scramble to figure it out on the fly. The city's tried mandating that the buses follow an actual procedure, and the city council recently passed an ordinance allowing them to impound buses that drop the migrants outside a specific location. They nabbed one bus and found the bus driver didn't have a drivers license. Texas responded by flying 90-someodd migrants up here on a private plane and dumping them in a random hangar. The "handlers" ducked out in an uber before the cops showed up.
According to the internet, between August of 2022 and the start of this month, December of 2023, the Greg Abbott buses have dumped 21,700 refugees on the streets of Chicago. (This seems hugely counterproductive if you're looking at this from a xenophobe's standpoint, because now you've got 21,700 people you don't want in the country 1,500 miles from the Mexican border. They could go anywhere.) As of the end of October, this program has cost the taxpayers of state of Texas -- which still hasn't figured out how electricity works -- about $75 million. Switching over to planes will pump that up fast.
But here's the thing about this whole Greg Abbott deal: he accidentally kind of has point.
He has his point for stupid, racist, xenophobic reasons, and he's making his point with as much inhumane cruelty as he can manage. He mostly just wants to troll Chicago mayors Lori Lightfoot and Brandon Johnson, Illinois Governor JB Pritzker, and US President Joe Biden. But he's trolling them with a point.
Immigration is a federal issue, and it is up to the federal government to handle it with federal resources. It's unfair to place the financial burden of this issue on any one state, but the states along the southern border with Mexico -- Texas, Arizona, New Mexico, and California -- have borne the brunt of the cost. The federal government, meanwhile, has been running a wildly haphazard border immigration policy for decades, and has never managed to figure out a logical, reasonable system for processing people. It really needs to do this. In a best-case scenario, the feds would take this thing over and run it themselves at the border crossings. At the very least, they need to supply federal money to cover the states' cost.
But the feds won't do that, and politicians like Greg Abbott are the reason why. People like Greg Abbott don't want to solve the problem. Their only solution is simply to shut the door. Build a wall, put up a bunch of barbed wire, drown people in the river and shoot whoever makes it across, and that is no solution. People have a right codified in American law to seek asylum, and we need a rational process to allow these people in. More than that, the continued success of this nation absolutely depends on new people coming in. But Congress -- where Republicans reign in the House -- would never authorize any such system. And so we're frozen, impotent, unable as a nation to act. So Greg Abbott will just keep up his human trafficking, keep using Texas money to put people on crap buses and planes, and dumping them in the night.
With the blocking we did have, the truck driver came up with a solution. Brad ran off to get a chain say so he could cut up the blocks we had into the appropriate length and height. Thank God for Brad. All the while my 36,000lb caboose hangs in the air, paying the crane company to sit and wait.
Is this going to be a problem? One of the edges has been broken of. Well, at least the missing part isn't doing anymore damage inside the hub!
I've noticed this before but it just recently got worse. Every image I scan with the 120 template it likes to cut about an inch off the left hand side. Sometimes it likes to take the bottom off and other times it just doesn't find the negative.
I've noticed if I unplug and turn it back on I get one good scan...then back to this stuff. Sometimes I get the purple line on the right but after some advice I've found unplugging both cables and starting over fixes that (thanks e50e & Olivander).
The full image is on the right. It took me forever to get that one. I wish dedicated film scanners weren't so expensive. I'd eventually go out and get a new flatbed scanner if I thought it would prevent these problems.
mature; ache; depressed; painful; hand; depression; exhaustion; brunette; closeup; caucasian; headache; pain; woman; temples; tired; stress; female; young; face; head; adult; person; girl; people; white; beautiful; touching; migraine; care; suffering; background; portrait; problems; aching; illness; aged; one; sad; elderly; senior
In 1863, Ramsgate Harbour station opened, and over time was a heavily used station. Only problem was that the town was served by two rival companies, and the London, Chatham and Dover Railway had their main station here. Access to the station was via a tunnel nearly a mile long and a downward gradient of 1:75, in addition to the steepness of the line and danger of runaway trains, space at the bottom was very limited, with only space for a small turntable, so only small tank locomotives could be used.
Under rationalisation on Thanet in 1926, this and the Margate Beach branch was closed, and the main line linking the two networks completed, Ramsgate Town station being moved to facilitate this.
An electric narrow gauge railway was constructed before the war, and run until 1965 when another accident resulted in closure.
Since 1965, the tunnel had been sealed, but urban explorers did break in and left graffiti everywhere.
Prior to the Second World War, a series of tunnels were constructed for use as air raid shelters, and it is these which the tours now operating are taken along.
The main railway tunnel still has soot on the roof over where the up line would have been, and in places you can see where the sleepers for the narrow gauge railway was lifted.
The shelter tunnels run for over a mile, and had many different entrances, though all are now blocked up, and some of the tunnels have collapsed.
The tunnels dug were in a U shape and had room for thousands to shelter in bunks each night, and although when opened were seen as a waste of money, were very much needed at the end of 1940 as the Blitz began to bite.
People even lived down in the tunnels if their house was bombed, pre=fabricated wooden frames were used, draped with curtains or other fabric.
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The Herne Bay & Faversham Railway company was founded in 1857. In 1859 it became the Margate & London Railway, and two years later took the name Kent Coast Railway, by which it was known for the rest of its independent existence. It built a line from Faversham to Whitstable Town in 1860, extended it to Herne Bay & Hampton-on-Sea in 1861 and opened the section from there to a station called Ramsgate on 5 October 1863.[2] This was much closer to the seafront at Ramsgate than its predecessor, Ramsgate Town, which was opened by the South Eastern Railway in 1846.[3]
In 1871, the Kent Coast Railway was bought by the London, Chatham and Dover Railway.[2] In June of that year, Ramsgate station took the name Ramsgate & St Lawrence-on-Sea, which it bore until 1 July 1899. For the rest of its existence it was known as Ramsgate Harbour.[4] The station was very popular and well-used, but was on a cramped site which was reached through a tunnel down a long 1-in-75 gradient. A train went out of control down this slope on 31 August 1891. One person was killed.[3][5] Plans were made to simplify the poorly connected railway network in the Thanet area; these were quickly adopted by the Southern Railway company, which took over the London, Chatham and Dover Railway's operations on 1 January 1923 as a result of the Grouping Act.[3] It built a new line, 1.6 miles (2.6 km) long, to connect the former Kent Coast Railway route from Faversham and the former South Eastern Railway route from Ashford,[2] which bypassed both Ramsgate Harbour and Ramsgate Town stations. Two new stations, Dumpton Park and Ramsgate, were built on this line to serve the town.[3] The line and the new stations opened on 2 July 1926, and the section of line between the new junction and Ramsgate Harbour station, and the station itself, closed on the same date.[2] The station site was bought by a company which converted it into a funfair. The station building was damaged by fire in 1998 and subsequently demolished. Part of the former route through the tunnel was opened as a narrow gauge tourist railway in 1936 which became the Tunnel Railway[3]. Services were suspended during World War 2. It reopened but it closed in 1965 following an accident at the beach station and the owners decided to close the railway. The railway was then dismantled. In 1939 part of the abandoned railway tunnel became an air raid shelter.[6] A network of tunnels was constructed leading from the disused railway tunnel leading under the town with various access steps to the surface. After the war finished these tunnels were abandoned. Following the award of a Heritage Lottery Grant sections of the abandoned railway tunnel and wartime air raid tunnels have been restored and were officially reopened on 27 May 2014.
The biggest one day haul for this charter boat. It was quite impressive and the captain was certainly a happy guy.
Javier Guerra 'El problema', Exposición de Móstruos Cubanos Devoradores de Energía, 'Casa de América de Madrid, Gran Vía, Madrid
Javier Guerra 'The Problem' Cuban Exhibition of Engergy Devouring Monsters, Casa de América de Madrid, Gran Vía, Madrid
¿Qué es el agua? Esta pregunta para mí es clara: VIDA. En esta foto, represento un árbol, donde el agua es el principal contribuyente que tiene para poder vivir. No solo quiero representar eso, también, ver que los arboles coge el agua según la necesiten, es decir, lo que encontramos es como las Administraciones Públicas privatizan el agua para su uso y disfrute. En esta imagen, muestro un árbol sin flores, seco, triste, porque no tenemos conocimiento de lo que realmente está pasando. ¿Puede ser un gran problema en el futuro? ¿Podemos llegar a
extinguirnos por el agua? Ambas preguntas tienen la misma respuesta: SI. Podemos ver como nuestra capacidad de consumo cada vez es mayor, haciendo que este recurso (importante para nuestro planeta y nuestra vida) pueda llegar agotarse. El mundo ha estado dividido en clases, por lo que las clases más altas serán las primeras en obtener ese recurso antes que las clases más bajas. Nos queda mucho por aprender y reflexionar de esta gran pregunta, pero, ¿Otros intereses pueden mover este proceso privatizador? El agua no tenemos que tomarla en la sociedad como una costumbre, sino pensar que realmente es una: NECESIDAD.
Mister wouldn't stop making the hot face at me, so I sprayed him down with the hose. Problem solved.
ift.tt/1tiMCER... Nutritional deficiency is a common side effect of gluten sensitivity. Often times patients going on the diet fail to improve because of long term vitamin and mineral deficiencies caused by years of food induced gastrointestinal damage. The problem with this phenomenon is that many patients go gluten free and still continue to have health issues yet their doctor fails to properly evaluate and monitor nutritional status. Calcium deficiency is one of these more common nutritional deficiencies. Causes and Consequences of Calcium Deficiency Click on picture to enlarge... Low Calcium Levels Contribute to Disease There are many medical conditions linked to calcium deficiency. The following list are some of the more common symptoms and side effects: Early bone loss (osteopenia) Muscle spasms and cramps (especially night time calf cramping) Heart palpitations Depression Fatigue Joint pain High Blood pressure Hormone abnormalities Blood clotting problems Gum disease Headaches The above problems are often times medicated before a doctor performs the proper nutritional evaluation. Keep in mind that serum calcium levels are not an accurate representation of calcium stores within the body. Too Much Calcium Can Also Be a Problem Calcium is a very commonly used nutritional supplement. Many doctors instruct their female patients to take calcium as a preventative for bone loss. Without monitoring and checking calcium, taking too much can contribute to many problems. Therefore; it is not recommended to take excessive calcium without need. Some symptoms of too much calcium include: Confusion Fatigue Irritability Constipation Magnesium and iron loss Heart Arrhythmia Kidney damage Drugs That Interfere with Calcium There are a number of prescription medications that can interfere with calcium absorption or metabolism. It is not the single or short term use of medication that one has to worry about, but taking some of the following medications long term (6 months or greater) can interfere with this mineral. Examples include: Corticosteroids -- these are commonly used for control of pain and inflammation. Some steroids are used to treat chronic fatigue, chronic muscle pain, and inflammatory joint pain. Additionally, some steroids are used in the treatment of asthma. Antacid medications -- these drugs are commonly used to treat gastric reflux, heartburn, and indigestion. Examples include Nexium, Tagamet, Tums, and Rolaids. These prescription and over the counter medications suppress and interfere with stomach acid production. Calcium requires acid to be absorbed properly. Sometimes people take Tums with calcium to as a calcium supplement. I have had patients whose doctors actually recommended this! Bad advice -- Don't take antacids for a source of dietary calcium. Foods High In Calcium Despite popular belief, milk and dairy products are not a necessity for calcium in the diet. Foods rich in calcium are kale, broccoli, turnip greens, mustard greens, collards, figs, salmon, sardines, arugula, spinach, kelp, bone marrow and broth, and citrus fruits. High Quality Gluten Free Calcium When you have the need for calcium supplementation, you have to be careful not to take excessive calcium without magnesium, because doing so can contribute to magnesium deficiency. Additionally, it is important to ensure that your vitamin D levels are normal as calcium absorption is low when vitamin D is deficient. Many supplements have been found to contain gluten cross contamination.