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The shooting took place, but through the lens are not always professional models. No, there's no problem with that. On the contrary, I am very happy that clients are not afraid and come to the shooting for the first time. I like to watch their positive emotions.
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If the pros are clear, then what about the newcomers? Obviously, they can't come up with 15 poses in one minute. Yes, and in some cases, if they remember how to breathe from fear, it's already good. 😅
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View various poses on the Internet 💻you can, and even need to. You may find something interesting. But just memorize them, and put the model exactly to the point is not worth it.
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Trying to make an exact copy, it will take a lot of time. Show us an example, and your client will do the same by adding their own. This will make it more natural. And maybe you'll come up with something new.
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💬Write in the comments, have you ever faced a problem when you do not know where to go?
#Fashion_model #Red #Clothing #Dress #Beauty #Fashion #Gown #Hairstyle #Photo_shoot #Model #Fashion_design #Shoulder #Satin #Haute_couture #Formal_wear #Photography #Brown_hair #Flash_photography #Long_hair #NikonD850
Orden:Passeriformes
Familia:Turdidae
Género:Turdus
Nombre común: Zorzal de la Selle, chocho
Nombre cientifico. Turdus swalesi
Nombre ingles: La Selle Thrush
Status: ENDEMICO, AMENAZADO Y POSIBLEMENTE EL ZORZAL MÁS AMENAZADO EN EL MUNDO!!!
Lugar de captura: Zapoten, Sierra encantada de Bahoruco.
Por : Cimarron mayor Panta.
BUENO, HEMOS DISFRUTADO MAS QUE UN PERRO CON DOS RABOS!!. ME REFIERO A MIS GRANDES AMIGOS MARINO GONZALEZ Y TONY PARRA. REMONTARNOS AL CORAZON DE LA SIERRA PARA QUE SE DIERA UNA ESPECIE DE QUINTUPLE COINCIDENCIA! 1-PRIMAVERA 2-ANIDAMIENTO 3- LLUVIA, 4-LOMBRICES A FLOR DE TIERRA Y POR SUPUESTO MADRUGAR ANTES QUE SALIERAN LOS PRIMEROS RAYOS DEL SOL DONDE YA "EL FORASTERO" ANDABA CON EL PICO LLENO DE LOMBRICES PARA SUS HIJOS ESCONDIDOS EN EL CORAZON DE LA AMADA SIERRA ENCANTADA DE BAHORUCO.
CONOCÍ POR PRIMERA VEZ ESTA ESPECIE ENDEMICA DE NUESTRA ISLA EN EL 2,008, VINE A LOGRAR SUS PRIMERAS FOTOS EN EL 2,009 ,ASI QUE YA CUMPLIO CON EL LUTO CIMARRONICO REGLAMENTARIO!!
PORQUE "EL FORASTERO"? No se conocía esta especie del lado de República Dominicana hasta el año 1,971 cuando la insigne Annabelle Stockton de Dod lo descubre a travez de sus binoculares mientras observaba unos papagayos en la loma de Pie Pol en Sierra de Bahoruco. Hasta ese momento los ornitólogos solo lo habían visto en el Massif La Selle en Haití y por eso su nombre de Zorzal de la Selle.
Cuantas noches de desvelos y cuantos miles de kilómetros detrás de este Zorzal endémico y el cual al escucharlo cantar en el 2,010 dió origen a mi frase de que "UN ZORZAL ES UN ZORZAL Y TODO LO DEMAS ES MONTE Y CULEBRA".
Nadie es tonto para morir de hambre donde todo se ha cortado y convertido en leña y carbón. Parece que este Zorzal adivinó con tiempo lo que le ocurriría a sus bosques y a su espacio de aquel lado de la isla y cuando se vió acosado por el hacha asesina y la tala de arboles, al parecer dijo…... mucho te quiero mi Haití pero me largo de aquí y así vino a parar a nuestra amada sierra encantada en 1,971 por lo tanto lo llamo cariñosamente "el forastero".
Ya ven Ustedes también las razones de porqué decimos que es quizás EL ZORZAL MÁS AMENAZADO SOBRE EL PLANETA TIERRA!! Le quemaron su casa en el país vecino, se muda a nuestra amada sierra encantada de Bahoruco que colinda con Haiti y aún refugiado allí es perseguido cada día con la tala, quemas, hornos de carbón y conucos ilegales en una zona protegida y quizás la sierra más vulnerable de todo nuestro patrimonio y donde habitan 19 especies de aves endémicas y la cual es acosada cada día y cada día mas desolada por la tala y la deforestación a manos de nuestros vecinos que irrespetan a la Sierra encantada de Bahoruco cada día y sin parar.
Pero no voy a encolerizarme Y VOY A PENSAR EN LA PROXIMA PRIMAVERA!
En primavera cuando todos los sentidos se afinan y la naturaleza presenta su mejor semblante . Cuando el calor del día intensifica el olor de las flores silvestres y de los pinos. Cuando la brisa fresca de la mañana sopla nuestros rostros y brilla el rocío de la mañana. Antes de que salgan los primeros rayos del sol y desde la madrugada ya hay un pájaro cantor que cuando canta es tanta la emoción de tan bello canto que el mismo se convierte en director de orquesta moviendo sus alas al compáz de las notas musicales que salen de su garganta.!!
Es entonces cuando decimos… No hay dudas, un zorzal es un zorzal y lo demás es monte y culebra!!! El primero en levantarse y el ultimo en callarse cuando es primavera al igual que su primo el Chua chuá!!
Es bueno dejar claro que para lograr esta especie hay que madrugar y que solo se puede lograr temprano en la mañana cuando aún ni siquiera luz hay y en la tardecita al morir el día donde tendremos el mismo problema.
Así que es muy grato para mi presentarle a este hermoso zorzal endémico y que anhelo que jamás vaya a extinguirse de nuestra fáuna. Si hoy existe es por lo escurridizo y culebroso que es. No se expone fácilmente y despues que come lombrices y frutas en la mañana ya es imposible verlo pues se oculta en lo denso del bosque donde no sale más.
Un abrazo de Cimarron mayor Panta.
I have a problem photographing full dolls. I'm too drawn to their faces, unfortunately.
... I need to get rid of this habit.
PS: Thank you, Syndal - (because I put the wig on Chicken without asking!)
Made using:
- Nvidia Ansel
- ReShade with my own settings
Mods:
-No Dirty Lens Effect by RumenWest
-High Quality Faces by Holgar96
-Increased LOD by sjbox
-Real Witcher Eyes - Geralt by CurtiSRustY (Real Hunter Eyes)
-The Witcher 3 HD Reworked Project by Halk Hogan PL
-Remove Screen Water Droplets Effect by FPSRazR
-Atmospheric Nights by olegkuz1997
The Doctor goes to Jake's study, accompanied by Martha and Jenna, to inform Jake of a problem that has arisen.
"I'm afraid its true Jenna, the Doctor who is here in residence at BAM HQ is a fraud!"
"But I have been with him Doctor, helped him with adventure's, here at BAM HQ!" injected Jenna.
"I see.., well it must be an exact copy, or maybe a future or past self of me???"
"But he looks just like you Doctor, do you regenerate with the same face??" asked Jenna.
"Only in emergencies, usually my body changes completely..., maybe its the liquid flesh?, no, impossible!, it won't be around for another few thousand years" pondered the Doctor.
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Abandoned Abused Street Dogs.
Oct-3rd, New Nun holding Mama upright.
Photo was taken before leaving for the dog clinic.
Took a few hours longer today due to a mechanical
breakdown. Luckily it happened right in front of the
clinic so Mama was allowed to stay there while I took
a "long walk" trying to find certain scooter parts.
Had all the tools needed under the seat just needed
a couple parts which I found 2 kilometers down the road.
A worker at the motorcycle shop gave me a ride back to
my scooter/sidecar. Mama was laying in the same spot she
was left in, no problem. Plus they kind of kept an eye on her.
Mamas still in a considerable amount of pain and discomfort !
Tomorrow, Wednesday, the clinic is closed so I get to do a lot
of catch-up around the house. No# 1 will be in contact with the
nuns so Mama has 6 gentle hands caring for her, plus Rocky..;-)
I'll address your comments tomorrow afternoon after everything
has been finished around here, lots and lots of stuff to do ............
Thank You.
Jon&Crew.
Please help with your donations here.
www.gofundme.com/saving-thai-temple-dogs.
Please,
No Political Statements, Awards, Invites,
Large Logos or Copy/Pastes.
© All rights reserved.
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Concord Mall was developed by Robert E. Fryling, Inc. opened in August 1972. The mall was originally anchored by Montgomery Ward and a local department store Robertson's, then a division of Gamble-Skogmo. J. C. Penney was added as a third anchor alongside a small expansion in 1976. Robertson's closed their location in 1985 due to the financial woes of Gamble-Skogmo and the space was quickly assumed by Terre Haute-based Meis, who opened later that year. Meis soon ran into financial problems after hitting a peak of 10 stores and the entire chain was was sold to Elder-Beerman in 1989. In 2011 The Bon-Ton rebranded the Concord Mall Elder-Beerman with the Carson's nameplate alongside stores in Benton Harbor, MI and Mattoon, IL.
Montgomery Ward folded during the companies last years of operation and the building was subdivided several times, becoming Hobby Lobby in 2002 another chunk becoming ABC Warehouse. A vacant Osco Drug was renovated into a food court christened 'The Grove' in 2008, but it did little to stop the exodus of tenants from the mall. On January 31, 2018, Carson's Parent company Bon-Ton announced they would be closing the Concord Mall location with 42 other stores as part of the company's initial wave of closures. In June 2020, JCPenney announced that they will close 13 stores, including the Concord Mall location, but they later removed the store from the closing list alongside several other locations after being able to negotiate a more favorable lease.
“So, this is the problem as it was told to me by our friend, Icecap.” Said Sky. “There would appear to be a local fish shortage.”
Sky looked at the expressions of horror on the faces of the other bears before he continued.
“Every week I order Icecap a load of fish when we have our order in for honey, well that used to work quite well but recently it is not working at all.”
“Why is it they do not have fish?” Asked Bertie looking amazed at the news.
“Yes, I thought they always had fish, Sky, is this going to happen all the time?” Asked Barnaby feeling very thankful that fish was not his main food.
“I do not know why they do not have fish, they should, they always did, but now they don’t.” Said Sky.
Every bear looked up as Icecap came and sat beside them.
“I think we need more knowledge about fish and the store so we can discover why we have this problem.” Said Posh Bear.
“Well, I went with Elli to the store in her ellicopter to see what was happening.” Said Icecap. “The problem would seem to be they do not have a fish counter there any longer. They are only going to sell fish wrapped into plastic sealed units in future. I got talking to a bear, nice chap, who was waiting to be owned that had lived there for the time, he was saying that the store had been wanting to get rid of the fish counter for ages as it was expensive to run, then came the big hooman sickness that kept everyone indoors and out of stores. That gave the stores the excuse they needed and so they now only have these small sides of fish sealed in hard plastic.” Explained Icecap.
“I see, that is a problem then, anyone any ideas how we can keep Icecap filled up with fresh delicious fish?” Asked Posh Bear.
“Where do they make fish?” Asked Barnaby.
“In the oceans and sea.” Answered Bertie smiling at the idea of a factory line of hoomans making fish to put in the sea.
“Do we know if there is a spare sea kicking around that we could place in the back garden and then Icecap could just lean out of a window when he wanted to eat and help himself.” Explained Barnaby rather proudly that he had got the answer to the problem before anyone else.
“A good idea, Barnaby, but sadly I think you will not be able to find a spare sea, I am fairly sure they are all taken up and as far as I am aware, there are no plans to make new ones just yet.” Said Sky feeling he needed to add some input to the conversation as he is a genius that everyone looked to, to discover answers to difficult questions.
“I suppose I could go and find a sea or ocean and live there.” Said Icecap looking sad at the idea.
“No, that would never work because they don’t have buzzy things in oceans and seas and so we would have no honey.” Said Bertie. “So, if we can’t go nor can our friend Icecap. We need to find an answer.”
“Could we leave a forwarding address to the buzzy things and then they could … no that would not work as they can’t read bear and we can’t write buzzy thing. There must be a logical answer to this problem…” said Sky, rubbing his head with his paw as he tried thinking of the solution.
“The logical answer is easy; it is the illogical answer that I need.” Said Icecap looking shocked that they had been looking at the problem wrong.
“How do you mean, Icecap?” Asked Posh Bear.
“Well, the logical answer is that I ask Elli to fly me to the sea every so often so I can stock up on fish, it wouldn’t take her long and I know she would do it for me.”
“Yes, I can see that, it is a decent way around the problem.” Said Posh Bear smiling.
“Only, I must balance out my fears of flying with Ellie, against the fish the store does have. I was looking for a better answer to get my fish without asking Elli or having the store fish.” Explained Icecap.
“I think I have the answer.” Said Barnaby looking excited.
“What now, Barnaby, maybe send letters to the fish and ask them to catch a lift with Elli?” Said Bertie giggling.
“No, I must admit that I had not thought of that, Bertie. Good idea that it is, I think my idea is much betterer. We find a different store that does sell fish the way Icecap likes it and go there. His fish doesn’t have to come on the same lorry that our honey does.” Barnaby explained.
“Could we try that, Sky? Could you find another store to get it from?” Asked Icecap.
“I think we should try. Good idea young Barnaby, see I am teaching him well. One day he will be a proper genius just like me.” Said Sky smiling as he saw Icecap looking happier.
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.
St Mary street
My facebook page: www.facebook.com/MaciejDakowiczPhotography
"Cardiff After Dark" book: on Amazon UK, on amazon .com, worldwide on bookdepository.
A discussão de grandes temas nacionais, mas a partir de um viés específico: a solução dos problemas sob a ótica dos mais vulneráveis. Foi com base nessa lógica que a senadora Simone Tebet participou ontem, quarta-feira, 28/04, de uma “reunião de imersão” com especialistas em áreas sociais, em São Paulo. O encontro foi organizado por Marisa Moreira Salles, fundadora da BEĨ Editora, e Tomas Alvim, coordenador do Laboratório Arq.Futuro de Cidades, do Insper, e contou com a participação de Ricardo Paes de Barros, um dos mentores do Bolsa Família, e Ricardo Henriques, que atua na área de educação.
Na reunião, foram abordados assuntos como segurança pública, habitação, saúde, preservação da Amazônia, assistência social e economia. A parlamentar observou que, quando essas questões são abordadas tendo como base o ponto de vista dos mais pobres, as discussões – assim como as alternativas de saída dos impasses – mudam de forma radical. Para ela, as políticas públicas precisam tratar os problemas com base no “CEP” das pessoas. Ou seja, é necessário saber onde estão os mais vulneráveis e, a partir daí, promover a distribuição dos equipamentos públicos, algo desejável, mas que raramente ocorre no país. Caso contrário, as ações do governo estarão sujeitas e constantes distorções. “O fato é que é precisamos o quanto antes tirar as pessoas da situação de emergência em que vivem”, disse a parlamentar. “E temos de requalificá-las para que possam ajudar a resolver seus problemas e até os entraves de suas comunidades.”
Nos últimos dois meses, a pré-candidata à Presidência da República pelo MDB reuniu-se com cerca de 70 especialistas, entre acadêmicos, técnicos, gestores públicos e representantes de movimentos sócias de todo o país, que estão , generosamente, doaram seu tempo para a troca de ideias com Simone Tebet. Muitas das soluções apontadas nesses encontros serão incorporadas ao plano de governo da pré-candidata.
Yennefer: There was a theory one of the professors taught in Aretuza, that a mage with mastery over magic could internalize his power beyond mere aesthetics. There was only one problem with practitioners. They burned alive from the inside.
Geralt: Brutal.
Taken on July 2nd 1967
BR Standard ‘Britannia’ pacific 70038 ‘’Robin Hood’’ - with painted-on nameplates, and lining on the cab only - at Stockport during the Stephenson Locomotive Society ‘Electric/Steam Tour’ in July 1967.
The loco looks very smart, but had problems during this railtour, and was withdrawn from service soon afterwards - in August 1967 - and scrapped in December. Two members of the class have been preserved.
Original slide - property of Robert Gadsdon
Sweat
Dripping down your chest
Thinking ‘bout your tattooed knuckles
On my thigh boy boy boy
Cold
Shower… you got no
Power to control
How I make you my toy toy toy
My hips rocking
As we keep lip locking
Got the neighbors screaming
Even louder louder
Lick me down like you were
Rolling rile
I’m smoking…
Come and put me out.
Sonríe, olvida tus problemas, haz que el resto se pregunte el porque de tu felicidad, dale envidia a los tristes y rabia a los felices. Aprovecha todas tus oportunidades, nunca se sabe si volverán a aparecer. Sé tú, no intentes ser diferente, nadie es mejor ni peor, todos somos únicos. Llora, pero de felicidad, no te dejes hundir en la miseria por cosas o personas que no valen la pena. Salta, lo más alto que puedas, no te avergüences si te caes, nadie va a morir sin caer. Grita, todo lo que sientes, que no te importe lo que puedan pensar los demás. Siente, como el tiempo pasa y tú no te desvaneces como los relojes de arena. Vive, y deja vivir, ¿a caso no estamos aquí para hacerlo?. Quiere, a quien menos se lo merezca, será quien más lo necesita. Vive soñando, que al fin y al cabo es lo que nos gusta a todos. Recuerda lo bueno y lo malo, unas cosas son agradables, y las otras experiencias.
+ Cancion de Eagle-Eye Cherry: www.youtube.com/watch?v=PFutocKtt4o
From Wikipedia, the free encyclopedia
F-84 Thunderjet
RoleFighter-bomber
ManufacturerRepublic Aviation
First flight28 February 1946
IntroductionNovember 1947
Retired1964 (USAF)
1974 (Yugoslavia)
Primary userUnited States Air Force
Number built7,524
Unit cost
US$237,247 (F-84G)[1]
US$769,330 (F-84F)
VariantsRepublic F-84F Thunderstreak
Republic XF-84H Thunderscreech
Republic XF-91 Thunderceptor
The Republic F-84 Thunderjet was an American turbojet fighter-bomber aircraft. Originating as a 1944 United States Army Air Forces (USAAF) proposal for a "day fighter", the F-84 first flew in 1946. Although it entered service in 1947, the Thunderjet was plagued by so many structural and engine problems that a 1948 U.S. Air Force review declared it unable to execute any aspect of its intended mission and considered canceling the program. The aircraft was not considered fully operational until the 1949 F-84D model and the design matured only with the definitive F-84G introduced in 1951. In 1954, the straight-wing Thunderjet was joined by the swept-wing F-84F Thunderstreak fighter and RF-84F Thunderflash photo reconnaissance aircraft.
The Thunderjet became the USAF's primary strike aircraft during the Korean War, flying 86,408 sorties and destroying 60% of all ground targets in the war as well as eight Soviet-built MiG fighters. Over half of the 7,524 F-84s produced served with NATO nations, and it was the first aircraft to fly with the U.S. Air Force Thunderbirds demonstration team. The USAF Strategic Air Command had F-84 Thunderjets in service from 1948 through 1957.
The F-84 was the first production fighter aircraft to utilize inflight refueling and the first fighter capable of carrying a nuclear weapon, the Mark 7 nuclear bomb. Modified F-84s were used in several unusual projects, including the FICON and Tom-Tom dockings to the B-29 Superfortress and B-36 bomber motherships, and the experimental XF-84H Thunderscreech turboprop.
The F-84 nomenclature can be somewhat confusing. The straight-wing F-84A to F-84E and F-84G models were called the Thunderjet. The F-84F Thunderstreak and RF-84F Thunderflash were different airplanes with swept wings. The XF-84H Thunderscreech (not its official name) was an experimental turboprop version of the F-84F. The F-84F swept wing version was intended to be a small variation of the normal Thunderjet with only a few different parts, so it kept the basic F-84 number. Production delays on the F-84F resulted in another order of the straight-wing version; this was the F-84G.
Design and development
An F-84G at Chaumont-Semoutiers Air Base, France, in 1953
In 1944, Republic Aviation's chief designer, Alexander Kartveli, began working on a turbojet-powered replacement for the P-47 Thunderbolt piston-engined fighter. The initial attempts to redesign the P-47 to accommodate a jet engine proved futile due to the large cross-section of the early centrifugal compressor turbojets. Instead, Kartveli and his team designed a new aircraft with a streamlined fuselage largely occupied by an axial compressor turbojet engine and fuel stored in rather thick unswept wings.[1]
On 11 September 1944, the USAAF released General Operational Requirements for a day fighter with a top speed of 600 mph (521 kn, 966 km/h), combat radius of 705 miles (612 nmi, 1,135 km), and armament of either six 0.50 in (12.7 mm) or four 0.60 in (15.2 mm) machine guns. In addition, the new aircraft had to use the General Electric TG-180 axial turbojet which entered production as the Allison J35.
On 11 November 1944, Republic received an order for three prototypes of the new XP-84—Model AP-23.[1] Since the design promised superior performance to the Lockheed-built P-80 Shooting Star and Republic had extensive experience in building single-seat fighters, no competition was held for the contract. The name Thunderjet was chosen to continue the Republic Aviation tradition started with the P-47 Thunderbolt while emphasizing the new method of propulsion. On 4 January 1945, even before the aircraft took to the air, the USAAF expanded its order to 25 service test YP-84As and 75 production P-84Bs (later modified to 15 YP-84A and 85 P-84B).
Meanwhile, wind tunnel testing by the National Advisory Committee for Aeronautics revealed longitudinal instability and stabilizer skin buckling at high speeds.[1] The weight of the aircraft, a great concern given the low thrust of early turbojets, was growing so quickly that the USAAF had to set a gross weight limit of 13,400 lb (6,080 kg). The results of this preliminary testing were incorporated into the third prototype, designated XP-84A, which was also fitted with a more powerful J35-GE-15 engine with 4,000 lbf (17.79 kN) of thrust.[1]
The first prototype XP-84 was transferred to Muroc Army Air Field (present-day Edwards Air Force Base) where it flew for the first time on 28 February 1946 with Major Wallace A. "Wally" Lien at the controls. It was joined by the second prototype in August, both aircraft flying with J35-GE-7 engines producing 3,745 lbf (16.66 kN). The 15 YP-84As delivered to Patterson Field (present-day Wright-Patterson Air Force Base) for service tests differed from XP-84s by having an upgraded J35-A-15 engine, carrying six 0.50 in (12.7 mm) M2 Browning machine guns (four in the nose and one in each wing root), and having the provision for wingtip fuel tanks holding 226 U.S. gal (856 L) each.
Due to delays with delivery of jet engines and production of the XP-84A, the Thunderjet had undergone only limited flight testing by the time production P-84Bs began to roll out of the factory in 1947. In particular, the impact of wingtip tanks on aircraft handling was not thoroughly studied. This proved problematic later.[1]
After the creation of the United States Air Force by the National Security Act of 1947, the Pursuit designation was replaced with Fighter, and the P-84 became the F-84.
F-84s were assigned to the 27th Fighter Wing, 27th Fighter Escort Wing, 27th Strategic Fighter Wing, 31st Fighter Escort Wing, 127th Fighter Day Wing, 127th Fighter Escort Wing, 127th Strategic Fighter Wing, 407th Strategic Fighter Wing and the 506th Strategic Fighter Wing of the Strategic Air Command from 1947 through 1958.[2]
Operational history
The F-84B, which differed from YP-84A only in having faster-firing M3 machine guns, became operational with 14th Fighter Group at Dow Field, Bangor, Maine in December 1947. Flight restrictions followed immediately, limiting maximum speed to Mach 0.8 due to control reversal, and limiting maximum acceleration to 5.5 g (54 m/s²) due to wrinkling of the fuselage skin. To compound the problem, parts shortages and maintenance difficulties earned the aircraft the nickname, "Mechanic's Nightmare".[1] On 24 May 1948, the entire F-84B fleet was grounded due to structural failures.
P-84Bs of the 48th Fighter Squadron, 14th Fighter Group, 1948.
A 1948 review of the entire F-84 program discovered that none of the F-84B or F-84C aircraft could be considered operational or capable of executing any aspect of their intended mission. The program was saved from cancellation because the F-84D, whose production was well underway, had satisfactorily addressed the major faults. A fly-off against the F-80 revealed that while the Shooting Star had a shorter takeoff roll, better low altitude climb rate and superior maneuverability, the F-84 could carry a greater bomb load, was faster, had better high altitude performance and greater range.[1] As a temporizing measure, the USAF in 1949 committed US$8 million to implement over 100 upgrades to all F-84Bs, most notably reinforcing the wings. Despite the resultant improvements, the F-84B was withdrawn from active duty by 1952.[1]
The F-84C featured a somewhat more reliable J35-A-13 engine and had some engineering refinements. Being virtually identical to the F-84B, the C model suffered from all of the same defects and underwent a similar structural upgrade program in 1949. All F-84Cs were withdrawn from active service by 1952.[1]
The structural improvements were factory-implemented in the F-84D, which entered service in 1949. Wings were covered with thicker aluminum skin, the fuel system was winterized and capable of using JP-4 fuel, and a more powerful J35-A-17D engine with 5,000 lbf (22.24 kN) was fitted. It was discovered that the untested wingtip fuel tanks contributed to wing structural failures by inducing excessive twisting during high-"g" maneuvers.[1] To correct this, small triangular fins were added to the outside of the tanks. The F-84D was phased out of USAF service in 1952 and left Air National Guard (ANG) service in 1957.[1]
The first effective and fully capable Thunderjet was the F-84E model which entered service in 1949. The aircraft featured the J35-A-17 engine, further wing reinforcement, a 12 in (305 mm) fuselage extension in front of the wings and 3 in (76 mm) extension aft of the wings to enlarge the cockpit and the avionics bay, an A-1C gunsight with APG-30 radar, and provision for an additional pair of 230 gal (870 L) fuel tanks to be carried on underwing pylons.[1] The latter increased the combat radius from 850 to 1,000 miles (740 to 870 nmi; 1,370 to 1,610 km).
One improvement to the original F-84 design was rocket racks that folded flush with the wing after the 5-inch HVAR rockets were fired, which reduced drag over the older fixed mounting racks. This innovation was adopted by other U.S. jet fighter-bombers.[3]
A Portuguese F-84 being loaded with ordnance in the 1960s, at Luanda Air Base, during the Portuguese Colonial War.
Despite the improvements, the in-service rates for the F-84E remained poor with less than half of the aircraft operational at any given time.[1] This was primarily due to a severe shortage of spares for the Allison engines. The expectation was that F-84Es would fly 25 hours per month, accumulating 100 hours between engine overhauls. The actual flight hours for Korean War and NATO deployments rapidly outpaced the supply and Allison's ability to manufacture new engines.[1] The F-84E was withdrawn from USAF service in 1956, lingering with ANG units until 1959.
The definitive straight-wing F-84 was the F-84G which entered service in 1951. The aircraft introduced a refueling boom receptacle in the left wing,[4] autopilot, Instrument Landing System, J35-A-29 engine with 5,560 lbf (24.73 kN) of thrust, a distinctive framed canopy (also retrofitted to earlier types), and the ability to carry a single Mark 7 nuclear bomb.[1] The F-84G was retired from USAF in the mid-1960s.
Starting in the early 1960s, the aircraft was deployed by the Força Aérea Portuguesa (FAP) during the Portuguese Colonial War in Africa. By 1972, all four operating F-84 aircraft were supplementing the FAP in Angola.[5]
Flying the Thunderjet
Typical of most early jets, the Thunderjet's takeoff performance left much to be desired. In hot Korean summers with a full combat load, the aircraft routinely required 10,000 ft (3,000 m) of runway for takeoff even with the help of RATO bottles (two or four of these were carried, each producing 1,000 lbf (4.4 kN) of thrust for 14 seconds).[1] All but the lead aircraft had their visibility obscured by the thick smoke from the rockets. Early F-84s had to be pulled off the ground at 160 mph (140 kn, 260 km/h) with the control stick held all the way back. Landings were made at a similar speed, for comparison the North American P-51 Mustang landed at approximately 120 mph (100 kn, 190 km/h). Despite the "hot" landing speeds, the Thunderjet was easy to fly on instruments and crosswinds did not present much of a problem.[6]
An F-84E launching rockets.
Thanks to the thick straight wing the Thunderjet rapidly reached its Mach 0.82 limitation at full throttle and low altitude. The aircraft had sufficient power to fly faster, but exceeding the Mach limit at low altitudes resulted in a violent pitch-up and structural failure causing the wings to break off.[6] Above 15,000 ft (4,600 m), the F-84 could be flown faster but at the expense of severe buffeting. However, the airspeed was sufficiently easy to control to make safe dive bombing from 10,000 ft (3,000 m) possible.[6] The top speed limitation proved troublesome against Soviet Mikoyan-Gurevich MiG-15s in Korea. Slower than the MiG, the F-84 was also unable to turn tightly with a maximum instantaneous-turn load of only 3 Gs followed by rapid loss of airspeed. One F-84E pilot credited with two MiG kills achieved his second victory by intentionally flying his aircraft into pitch-up.[6] The MiGs chasing him were unable to follow the violent maneuver and one crashed into the ground. Luckily for the F-84E pilot, the aircraft did not disintegrate but the airframe did suffer heavy warping. The F-84 was a stable gun platform and the computing gunsight aided in accurate gunnery and bombing. Pilots praised the aircraft for Republic's legendary ruggedness.[6]
Pilots nicknamed the Thunderjet "The Lead Sled".[2] It was also called "The Iron Crowbar", "a hole sucking air", "The Hog" ("The Groundhog"), and "The World's Fastest Tricycle", "Ground Loving Whore" as a testament to its long takeoff rolls.[2] F-84 lore stated that all aircraft were equipped with a "sniffer" device that, upon passing V2, would look for the dirt at the end of the runway. As soon as the device could smell the dirt, the controls would turn on and let the pilot fly off the ground. In the same vein, it was suggested a bag of dirt should be carried in the front landing gear well. Upon reaching V2, the pilot would dump the dirt under the wheels, fooling the sniffer device.[2]
Korean War
The Thunderjet had a distinguished record during the Korean War. Although the F-84B and F-84C could not be deployed because their J35 engines had a service life of only 40 hours, the F-84D and F-84E entered combat with 27th Fighter Escort Group on 7 December 1950.[1] The aircraft were initially tasked with escorting the B-29 Superfortress bombers. The first Thunderjet air-to-air victory was scored on 21 January 1951 at the cost of two F-84s.[2] The F-84 was a generation behind the swept-wing Soviet Mikoyan-Gurevich MiG-15 and outmatched, especially when the MiGs were flown by more-experienced pilots, and the MiG counter-air mission was soon given to the F-86 Sabre. Like its famous predecessor, the P-47, the F-84 switched to the low-level interdiction role at which it excelled.
A KB-29M tanker refueling an F-84E over Korea. F-84Es could only refuel the wingtip tanks separately.
F-84G-26-RE Thunderjet 51-16719 while assigned to the 3600th Air Demonstration Team (USAF Thunderbirds), 1954.
The F-84 flew a total of 86,408 missions, dropping 55,586 tons (50,427 metric tons) of bombs and 6,129 tons (5,560 metric tons) of napalm.[2] The USAF claimed F-84s were responsible for 60% of all ground targets destroyed in the war. Notable F-84 operations included the 1952 attack on the Sui-ho Dam. During the war, the F-84 became the first USAF fighter to utilize aerial refueling. In aerial combat, F-84 pilots were credited with eight MiG-15 kills against a Soviet-claimed loss of 64 aircraft. The total losses were 335 F-84D, E and G models.[2]
Portuguese Overseas War
In 1961, the Portuguese Air Force sent 25 of their remaining F-84G to Angola. There they formed the Esquadra 91 (91st Squadron), based at Luanda Air Base. From then on, the F-84s were engaged in the Angolan Theater of the Portuguese Overseas War, being mainly employed in air strike missions against the separatist guerrillas.
The last F-84 were kept operational in Angola until 1974.
Notable achievements
The F-84 was the first aircraft flown by the U.S. Air Force Thunderbirds, which operated F-84G Thunderjets from 1953 to 1955 and F-84F Thunderstreaks from 1955 to 1956. The F-84E was also flown by the Skyblazers team of United States Air Forces Europe (USAFE) from 1950 to 1955.[1]
On 7 September 1946, the second XP-84 prototype set a national speed record of 607.2 mph (527.6 kn, 977.2 km/h), slightly slower than the world record 612.2 mph (532.0 kn, 985.2 km/h) held by the British Gloster Meteor.[1]
On 22 September 1950, two EF-84Es, flown by David C. Schilling and Col. William Ritchie, flew across the North Atlantic from Great Britain to the United States. Ritchie's aircraft ran out of fuel over Newfoundland but the other successfully made the crossing which took ten hours two minutes and three aerial refuelings. The flight demonstrated that large numbers of fighters could be rapidly moved across the Atlantic.[1]
F-84G was the first fighter with built-in aerial refueling capability and the first single-seat aircraft capable of carrying a nuclear bomb.[1]
On 20 August 1953, 17 F-84Gs using aerial refueling flew from the United States to the United Kingdom. The 4,485-mile (3,900 nmi, 7,220 km) journey was the longest-ever nonstop flight by jet fighters.[1]
In 1955, an F-84G became the first aircraft to be zero-length launched from a trailer.[7]
By the mid-1960s, the F-84/F-84F was replaced by the F-100 Super Sabre and the RF-84F by the RF-101 Voodoo in USAF units, being relegated to duty in the Air National Guard. The last F-84F Thunderflash retired from the ANG in 1971. Three Hellenic Air Force RF-84Fs that were retired in 1991 were the last operational F-84s.
Costs
F-84BF-84CF-84DF-84EF-84GF-84FRF-84F
Airframe139,863139,863150,846562,715482,821
Engine41,65441,65441,488146,02795,320
Electronics7,1657,1654,7619,62321,576
Armament23,55923,55937,43341,71363,632
Ordnance2,7199,2524,529
Flyaway cost286,407 for the first 100
163,994 for the next 141147,699212,241212,241237,247769,300667,608
Cost per flying hour390
Maintenance cost per flying hour185185
Notes: The costs are in approximately 1950 United States dollars and have not been adjusted for inflation.[1]
Variants
Straight-wing variants
The XP-84A (foreground) and YP-84As
XP-84
The first two prototypes.
XP-84A
The third prototype with a more powerful J35-GE-15 engine. This airframe was subsequently modified with a pointed fairing over the intake and lateral NACA intakes were installed into the intake trunks.
YP-84A
Service test aircraft; 15 built.
P-84B (F-84B)
First production version, J35-A-15 engine; 226 built.
F-84C
Reverted to the more reliable J35-A-13 engine, improved fuel, hydraulic and electrical systems; 191 built.
F-84D
J35-A-17 engine, various structural improvements. The pitot tube was moved from the tail fin to the splitter in the air intake with fins added to the wingtip fuel tanks; 154 built.
F84 E&G Thunderjet French Air Force 1951–1955
EF-84D
Two F-84Ds, EF-84D 48-641 and EF-84D 48-661 were modified with coupling devices; 641 starboard wing, 661 port wing for "Tip-Tow Project MX106 Wing Coupling Experiments." An EB-29A 44-62093 was modified with coupling devices on both wings. Because of the difference in landing gear lengths, the three aircraft took off separately and couple/uncoupled in flight. The pilot of 641 was Major John M. Davis and the pilot of 661 was Major C.E. "Bud" Anderson.
"One of the more interesting experiments undertaken to extend the range of the early jets in order to give fighter protection to the piston-engine bombers, was the provision for inflight attachment/detachment of fighter to bomber via wingtip connections. One of the several programs during these experiments was done with a B-29 mother ship and two F-84D 'children', and was code named 'Tip Tow'. A number of flights were undertaken, with several successful cycles of attachment and detachment, using, first one, and then two F-84s. The pilots of the F-84s maintained manual control when attached, with roll axis maintained by elevator movement rather than aileron movement. Engines on the F-84s were shut down in order to save fuel during the 'tow' by the mother ship, and inflight engine restarts were successfully accomplished. The experiment ended in disaster during the first attempt to provide automatic flight control of the F-84s, when the electronics apparently malfunctioned. The left hand F-84 rolled onto the wing of the B-29, and the connected aircraft both crashed with loss of all on board personnel (Anderson had uncoupled so did not crash with the other two aircraft)."[8]
F-84E
J35-A-17D engine, Sperry AN/APG-30 radar-ranging gunsight, retractable attachments for RATO bottles, inboard wing hardpoints made "wet" to permit carrying an additional pair of 230 U.S. gal (870 L) fuel tanks. Most aircraft were retrofitted with F-84G-style reinforced canopies. The fuselage was stretched 15"; the canopy was lengthened 8", the canopy frame was lengthened 12" (accounting for another 4"), and a 3" splice panel was added aft of the canopy. The stretch was not done to enlarge the cockpit but rather to enable a larger fuel tank, provide additional space for equipment under the canopy behind the pilot's seat, and to improve aerodynamics. This can be distinguished from earlier models by the presence of two fuel vents on ventral rear fuselage, the added radar in the nose splitter, and the pitot tube was moved downward from mid-height in the splitter (as on the F-84D) to clear the radar installation. 843 built. F-84E 49-2031 was a test aircraft for air-to-air missiles. F-84E 50-1115 was a test aircraft for the FICON project.
EF-84E
Two F-84Es were converted into test prototypes, to test various methods of air-to-air refueling. EF-84E 49-2091 was used as a probe-and-drogue test aircraft. The probe was mid-span on the port wing. Production aircraft with probes (removable) had the probe fitted to the auxiliary wing tanks. EF-84E 49-2115 was used as a FICON test aircraft with a B-36 host. EF-84E 49-1225 and EF-84E 51-634 were test aircraft for the ZELMAL (Zero-length launch, Mat landing) experiments version for point defense, used the booster rocket from MGM-1 Matador cruise missile.
F-84G
Single-seat fighter-bomber capable of delivering the Mark 7 nuclear bomb using the LABS, J35-A-29 engine, autopilot, capable of inflight refueling using both the boom (receptacle in left wing leading edge) and drogue (probe fitted to wingtip fuel tanks), introduced the multi-framed canopy which was later retrofitted to earlier straight-winged F-84s. A total of 3,025 were built (1,936 for NATO under MDAP). The larger engine had a higher airflow at its take-off thrust than the intake had been designed for. This caused higher flow velocities, increased pressure losses and thrust loss. Commencing with block 20, auxiliary "suck-in" doors were added ahead of the wing leading edge to regain some of the thrust loss. At high engine rpm and low aircraft speeds, such as take-off, the spring-loaded doors were sucked open by the partial vacuum created in the duct. When the aircraft reached sufficient airspeed the ram pressure rise in the duct closed the auxiliary doors.[9] F-84G 51-1343 was modified with a periscope system to test the periscope installation proposed for the Republic XF-103.
F-84KX
Eighty ex-USAF F-84Bs converted into target drones for the United States Navy.
RF-84G
F-84G Thunderjets converted by France and Yugoslavia for recon duty with cameras in the ventral fuselage and modified auxiliary wing tanks.
YF-96A aka YF-84F aka YRF-84K
F-84E 49-2430 converted to swept wing configuration. The "first prototype" for the F-84F Thunderstreak. Canopy and ventral speed brake carried over from Thunderjet. Originally with a V-windscreen, later reverted to the standard Thunderjet flat windscreen. Modified by adding a fixed hook at the weapons bay and anhedral horizontal tailplane to enable FICON tests (trapeze capture) with GRB-36D mother ship. The airframe was capable of higher speeds than the Thunderjet engine could deliver. The YF-84F was a follow on with a larger engine and deepened fuselage.
YF-84F
F-84G 51-1344 converted to swept wing configuration. The "second prototype" for the F-84F Thunderstreak. Fuselage deepened by 7 inches (180 mm) to accommodate larger engine. Canopy and ventral speed brake carried over from Thunderjet, tail configuration same as YF-96A.
YF-84F aka YRF-84F
F-84G 51-1345 converted to swept wing configuration with a pointed nose and lateral intakes. This was a test airframe to evaluate the effects of moving the intakes to the wing roots. Like 1344, the fuselage was deepened by 7 inches (180 mm) to accommodate larger engine. Canopy and ventral speed brake carried over from Thunderjet, tail configuration same as YF-96A. For the swept wing versions of the F-84 series, see Republic F-84F Thunderstreak
Tip-Tow
See EF-84D above, did not become operational. See FICON project
Tom-Tom
Two RF-84K and B-36 wingtip coupling experiment, did not become operational. See FICON project
FICON
F-84E and GRB-36D trapeze system, became operational. See FICON project
Swept-wing variants
Main articles: Republic F-84F Thunderstreak and Republic XF-84H
YF-84F
Two swept-wing prototypes of the F-84F, initially designated YF-96A.
F-84F Thunderstreak
Swept wing version with Wright J65 engine.
RF-84F Thunderflash
Reconnaissance version of the F-84F, 715 built.
RF-84K FICON project
Reconnaissance version of the F model, 25 built to hang from the Consolidated B-36 Peacemaker.
XF-84H Thunderscreech
Experimental supersonic-turboprop version.
YF-84J
Two conversions with the General Electric J73 engine.
Operators
Republic F-84 Thunderjet in the Royal Military Museum at the Jubelpark, Brussels.
Imperial Iranian Air Force F-84G of the Golden Crown aerobatic team.
Republic F-84 Thunderjet at the en:Italian Air Force Museum, Vigna di Valle in 2012.
Royal Norwegian Air Force Republic F-84G Thunderjet.
Portuguese Air Force F-84 Thunderjet.
Belgium
Belgian Air Force operated 213 Republic F-84G from March 1952 until September 1957 and 21 Republic RF-84E
Denmark
Danish Air Force operated 240 Republic F-84G fromApril 1952 until January 1962 and 6 Republic F-84E[10]
France
French Air Force operated 335 F-84G from April 1952 until November 1956 and 46 Republic F-84E
Greece
Hellenic Air Force operated 234 Republic F-84G from March 1952 until June 1960. They equipped the 335, 336, 337, 338, 339 and 340 Squadrons (Μοίρα Δίωξης)
Iran Iran
Imperial Iranian Air Force operated 69 Republic F-84G from May 1957 until September 1961
Italy
Italian Air Force operated 256 Republic F-84G from March 1952 until May 1957[11][12]
Netherlands
Netherlands Air Force operated 166 Republic F-84G from April 1952 until December 1957 and 21 Republic RF-84E
Norway
Norwegian Air Force operated 208 Republic F-84G from June 1952 until Jun 1960 and 6 Republic F-84E from 1951 until 1956 and 35 Republic RF-84F from 1956 until 1970
Portugal
Portuguese Air Force operated 125 Republic F-84G from January 1953 until July 1974
Taiwan (Republic of China)
Republic of China Air Force operated 246 Republic F-84G from June 1953 until April 1964
Thailand
Royal Thai Air Force operated 31 Republic F-84G from November 1956 until 1963
Turkey
Turkish Air Force operated 489 Republic F-84G from March 1952 until June 1966
United States
United States Air Force operated 226 Republic F-84B, 191 Republic F-84C, 154 Republic F-84D, 743 Republic F-84E, 789 Republic F-84G
Yugoslavia
Yugoslavian Air Force operated 231 Republic (R)F-84G from June 1953 until July 1974
Major USAF operational F-84 units
Republic F-84E-15-RE Thunderjet Serial 49-2338 of the 136th Fighter-Bomber Wing, Korea
10th Tactical Reconnaissance Wing: RF-84F (1955–1958)
12th Fighter Escort Wing/Group: F-84E/G/F (1950–1957;1962–1964)
14th Fighter Wing/Group: P/F-84B (1947–1949)
15th Tactical Fighter Wing: F-84F (1962–1964)
20th Fighter Bomber Wing/Group: F-84B/C/D/E/F/G (1958–1959)
27th Fighter Escort Wing/Group: F-84E/G/F (1950–1958)
31st Fighter Escort Wing/Group: F-84C/E/F (1948–1950; 1951–1957)
49th Fighter Bomber Wing/Group: F-84E/G (1951–1953)
58th Fighter Bomber Group: F-84E/G (1952–1954)
66th Tactical Reconnaissance Wing: RF-84F (1955–1959)
67th Tactical Reconnaissance Wing: (15th & 45th TRS5) RF-84F/K (1955–1958)
71st Strategic Reconnaissance Wing: RF-84F/K (1955–1956)
81st Fighter Bomber Wing/Group: F-84F (1954–1959)
136th Fighter Bomber Wing/Group F-84E (1951–1952) @ K2, also J-13
312th Fighter Bomber Group: F-84E/G (1954–1955)
363rd Tactical Reconnaissance Wing: RF-84F (1954–1958)
366th Fighter Bomber Wing/Tactical Fighter Wing: F-84E,F (1954–1958;1962–1965)
401st Fighter Bomber Wing/Tactical Fighter Wing: F-84F (1957)
405th Fighter Bomber Wing/Tactical Fighter Wing: F-84F (1953–1956)
407th Strategic Fighter Wing: F-84F (1954–1957)
474th Fighter Bomber Wing: F-84D/E/G (1952–1953)
506th Strategic Fighter Wing: F-84F (1953–1957)
508th Strategic Fighter Wing: F-84F (1952–1956)
3540th Combat Crew Training Wing: F-84E (1952–1953)
3600th Combat Crew Training Wing: F-84D/E/G/F (1952–1957)
Redesignated 4510th CCTW with F-84D/F (1958)
3645th Combat Crew Training Wing: F-84E/G (1953–1957)
4925th Test Group (Atomic): F-84E/F/G (1950–1963)
Royal Netherlands Air Force operational F-84 units
JVS-2 (Jacht Vlieger School): RF-84E (1953)
306 Squadron: F-84G (1953–1954) / RF-84E (1954-1957)
311 Squadron: RF-84E (1951-1952) / F-84G (1952-1956)
312 Squadron: RF-84E (1951-1954) / F-84G (1952-1956)
313 Squadron: RF-84E (1953-1954) / F-84G (1953-1956)
314 Squadron: F-84G (1952-1956)
315 Squadron: F-84G (1952-1956)
Aircraft on display
A F-84 during Zero-length launch testing
Croatia
F-84G
10676 Ex-USAF – Rijeka Airport, Omišalj.[13]
Denmark
F-84G
51-9966/KR-A – Aalborg Defence and Garrison Museum, Aalborg[14]
51-10622/KU-U – Aalborg Defence and Garrison Museum[14]
A-777/SY-H – Danmarks Tekniske Museum, Helsingør[15]
KP-X – Danish Collection of Vintage Aircraft, Skjern[16]
RF-84F
C-581 – Flyvestation Karup Historiske Forening Museet, Karup[17]
C-264 – Danish Collection of Vintage Aircraft, Skjern[16]
Netherlands
F-84G
K-171 – Nationaal Militair Museum, Soesterberg.[18]
Norway
F-84G
51-10161 – Flyhistorisk Museum, Sola, Stavanger Airport, Sola, near Stavanger.[19]
51-11209 – Forsvarets flysamling Gardermoen, Oslo Airport, Gardermoen near Oslo.[20]
52-2912 - Ørland Main Air Station
52-8465 – Royal Norwegian Air Force Museum, Bodø[21]
Portugal
F-84G
5131 – Museu do Ar, Sintra Air Base, Sintra.[22]
5201 - Military and Technical Training Center of the Air Force, Ota (Alenquer).[23]
Serbia
F-84G
10501 – Ex-USAF 52-2936, c/n 3050-1855B Museum of Aviation, Nikola Tesla Airport, Belgrade.[24][verification needed]
10525 – Ex-USAF 52-2939, c/n 3050-1858B Museum of Aviation, Nikola Tesla Airport, Belgrade.[25][verification needed]
10530 – Ex-USAF 52-8435, c/n 3250-2260B Museum of Aviation, Nikola Tesla Airport, Belgrade.[26][verification needed]
Slovenia
F-84G
10642 Ex-USAF 52-2910, c/n 3050-1829B – Pivka Military History Park, Pivka.[27]
Thailand
F-84G at the Royal Thai Air Force Museum
F-84G
51-10582 Ex-USAF and retired Royal Thai Air Force fighter in Royal Thai Air Force Museum
Turkey
110572 F-84G at Atatürk Airport.
F-84G
10572 – Istanbul Aviation Museum.
19953 – Atatürk Airport, İstanbul.
RF-84F
1901 – Istanbul Aviation Museum.
1917 – Istanbul Aviation Museum.
United States
YP-84A
45-59494 – Discovery Park of America, Union City, Tennessee. Formerly at Octave Chanute Aerospace Museum at the former Chanute Air Force Base in Rantoul, Illinois.[28][29]
F-84B
45-59504 – Cradle of Aviation Museum in Garden City, New York.[30]
45-59556 – Planes of Fame Museum in Chino, California.[31]
46-0666 – Mid-Atlantic Air Museum in Reading, Pennsylvania.[32]
F-84C
47-1433 – Pima Air and Space Museum, adjacent to Davis-Monthan Air Force Base in Tucson, Arizona.[33]
47-1486 – Goldwater Air National Guard Base, Sky Harbor International Airport in Phoenix, Arizona.[34]
47-1498 – EAA Airventure Museum in Oshkosh, Wisconsin.[35]
47-1513 – Kansas Aviation Museum at McConnell Air Force Base in Wichita, Kansas.[36]
47-1530 – Cannon Air Force Base, New Mexico.[37]
47-1562 – Pueblo Weisbrod Aircraft Museum in Pueblo, Colorado.[38]
47-1595 – March Field Air Museum at March Air Reserve Base (former March Air Force Base) in Riverside, California.[39]
F-84E
F-84E at the USAF Museum
49-2155 – Yanks Air Museum in Chino, California.[40]
49-2285 – Texas Military Forces Museum in Austin, Texas.[41]
49-2348 – American Airpower Museum in East Farmingdale, New York.[42]
50-1143 – National Museum of the United States Air Force at Wright-Patterson Air Force Base in Dayton, Ohio. It was obtained from Robins Air Force Base, Georgia, in October 1963.[43]
51-0604 – Museum of Aviation at Robins Air Force Base, Georgia.[44]
F-84G
51-0791 – Springfield Air National Guard Base, Springfield, Ohio.[45]
51-11126 - under restoration to airworthiness by a Vulcan Warbirds Inc. for the Flying Heritage Collection in Seattle, Washington.[46][47]
52-3242 – Hill Aerospace Museum, Hill Air Force Base, Utah.[48]
52-8365 - under restoration to airworthiness by a private owner in Edmonds, Washington.[49][50]
Specifications (F-84G Thunderjet)
Line drawing of F-84C
Data from Encyclopedia of US Air Force Aircraft and Missile Systems[1]
General characteristics
Crew: one
Length: 38 ft 1 in (11.60 m)
Wingspan: 36 ft 5 in (11.10 m)
Height: 12 ft 7 in (3.84 m)
Wing area: 260 ft² (24 m²)
Empty weight: 11,470 lb (5,200 kg)
Loaded weight: 18,080 lb (8,200 kg)
Max. takeoff weight: 23,340 lb (10,590 kg)
Powerplant: 1 × Allison J35-A-29 turbojet, 5,560 lbf (24.7 kN)
Performance
Maximum speed: 622 mph (540 kn, 1,000 km/h,Mach .81)
Cruise speed: 475 mph (413 kn, 770 km/h)
Range: 1,000 mi (870 nmi, 1,600 km) combat
Ferry range: 2,000 mi (1,700 nmi, 3,200 km) with external tanks
Service ceiling: 40,500 ft (12,350 m)
Rate of climb: 3,765 ft/min (19.1 m/s)
Wing loading: 70 lb/ft² (342 kg/m²)
Thrust/weight: 0.31 lbf/lb
Armament
6 × .50 in (12.7 mm) M3 Browning machine guns, 300 rpg
Up to 4,450 lb (2,020 kg) of rockets and bombs, including 1 × Mark 7 nuclear bomb
Avionics
A-1CM or A-4 gunsight with APG-30 or MK-18 ranging radar
F-84F Thunderstreak
Republic XF-91 Thunderceptor
XF-84H Thunderscreech
Aircraft of comparable role, configuration and era
Dassault Ouragan
de Havilland Venom
Gloster Meteor
Grumman F9F Cougar
Grumman F9F Panther
McDonnell XF-85 Goblin
.
Abused & Abandoned Jungle Dogs.
Back Story .........................................
4:20AM I'm laying in bed thinking it would be real nice
to just stay right here. Problem being my mind was
saying things that made me feel real guilty.Guilt won !
By 5AM the road as rushing by just inches under my
feet as the Honda 125cc zipped around potholes while
avoiding large trucks only a few feet from my right side.
Mama was laying in front of the entry gate that guards
The Dog Palace.My toes were licked ... ;-)~
Daylight is still yet to come so a small flashlight was used
to find my way to the bingo room, lots of stuff in my hands.
Out of know where Rocky crashes into my legs then takes
off playing the chase game with his mom, Mama. BTP also
appears and sticks his wet nose on the back of my leg .
Filled one small bag with kibble and climbed the stairs up to
the roof, hadn't been there for sometime.Plan was to catch
the sun as it broke the horizon, didn't happen, lots of clouds.
Spread out the kibble for the 3 dogs, BTP decided to take a
bath in the square water hole. Dogs took off to chase some
monkeys away as I descended back down the stairs to the
bingo room. Food is prepared, bowls filled as was four bags.
With cargo pockets full camera across my shoulder we leave.
A few monkeys gave us problems in the south section of the
DMZ. Bunch of primates caused some drama while crossing
the cement walking bridge, BTP was trapped but soon rescued.
Hung a right stopping long enough to give a polite greeting
to the new nun then traveling on to the other nuns bungalows.
Little Freckles, BTP and the rest had by now all fallen back as
Legs, Rocky and Mama stayed close while proceeding on to
the spirit house. Did the same same while there, Rocky trying
his best to attack the unseen monsters that lurk just under the
surface of the swamp water, he's a funny guy ...;-)
This may sound as if everything is happening quickly but in
reality two hours have elapsed sense my arrival.
Trying to keep us all on the same page here..................................
Why all the problems with the primates you ask ?
Because they know I'm loaded down with food !
Returned to the nuns place giving lots of attention to Pumpkin
as she ate her breakfast perched up on her special boulder.
Tinker Bell an Little Stubby want their fair share too, they got it.
All the Hooligans can see me walking towards them from 100
meters away. They start creating a huge ruckus, barking an
racing towards the boundary line. Rocky takes off like a heat
seeking missile meeting them all at the boundary line where
DJ flattens out under Rocky, everyone else backs off, Rocky
doesn't say a word .
His stance was exactly like his dads, Mr Brown. No physical
aggression was needed, it's clear to the Hooligans that Rocky
is not to be messed with .
Rocky, Mama an Freckles all lied down on the line as I continued
on into The Leroy Crews Turf.
Angel Eyes, 2-Tone, DJ and Boo Boo all were walking on their
hind legs with their front paws holding on to my chest and arms while doing the Hokey Pokey knowing what comes next.
Wednesday 2-Tone goes back hopefully for the last time to
see the dog doctor. You will be informed immediately on that.
Last of the feed bags were emptied, Hooligans are happy and
my cargo pockets feel much lighter.
Figured I'd mosey on back to The Dog Palace for some rest
but that didn't happen, not even close.
Now remember, Rocky, Mama and Freckles were all waiting
at the boundary line for my return.
When I caught up with them Rocky takes off for the precarious
cement steps that go straight up the side of the mountain.
With his front paws on the first step he stops and looks back
saying hurry up. Mama zips past him creating a race for the top.
Freckles stays close on my heals as most of the steps were
a bit high for her but she did make it.
Tomorrow I'll post a cute photo of Freckles in the jungle ..... :-)
By the time I made it home it was early afternoon. I was covered
in road dirt , very hungry and very fatigued.Tomorrow is my day
off. Might take Boney Boy for a short spin in the sidecar .
Thank You.
Jon&Crew.
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