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.

Downtown drug problems

Downtown drug problems - a lady looks on as an addict falls into a semi-coma having just had a fix. Moments later the lady was on the phone to EMS. If you look carefully you'll see the addict is still wearing his ID band and stick on chest patches fresh from his last visit to hospital.

Life is not a problem to be solved, but a reality to be experienced.

This MRI scan shows a knee joint with cartilage covering the articulating joint surfaces to help the bones slide smoothly.

 

Cartilage responds slowly to changes in joint loading because it does not have any blood vessels, lymphatic system or nerves to feed and grow tissue, so nutrients are absorbed slowly.

 

Everyday loading of our skeleton is important to keep cartilage healthy because the motion and loading of the joint are needed to get nutrients into the cartilage, but little is known about cartilage in bedridden people on Earth.

 

To find out more, the Institute of Biomechanics and Orthopaedics of the German Sport University Cologne in Germany is studying astronauts.

 

As astronauts float in space for up to six months their legs are hardly used in weightlessness. The researchers are analysing biomarkers in up to 10 astronauts before and after flight to chart cartilage metabolism, thickness, volume and water content in knee joints.

 

This is the first time such a study is being done on healthy people. As cartilage responds so slowly, a similar study with healthy individuals on Earth would require that they do not move for many months, which is impossible.

 

The goal is to learn more about how the knee cartilage of the astronauts suffers from their trip into space. From here, researchers are hoping to understand the role of mechanical loading for cartilage health and the development of osteoarthritis.

 

Credit: ESA

Haven't been posting much lately...A website and G+ with a dash of Tumblr have been keeping me busy...and life.

Amadeus - Presentability - Photo Booth

Five single colors and a fatpack.

Land impact: 9

@tokyo

maps.secondlife.com/secondlife/TOKYO%20ZERO/79/140/2501

Mp: marketplace.secondlife.com/stores/134615

Store: maps.secondlife.com/secondlife/Veles/128/112/21

 

Voguel - Minho Skin

MIHNO SKIN / BOM / EVOX

8 VELOUR TONES: WINTER, MOON, SILK, PEACH, BEIGE, IVORY, FAIR AND TAN

5 NOT FOUND TONES: PALE, RUDDY, MEDIUM, HINTI AND TAN

BROWLESS OPTION

SHAPE INCLUDED

Store: maps.secondlife.com/secondlife/Apocalisse/107/170/600

Mp: marketplace.secondlife.com/stores/233076

 

[ELOS] - K075

Available at the TMD

Tp: maps.secondlife.com/secondlife/TMD/121/134/22

Link: linktr.ee/elos.sl

  

Problem Ink - Bomber Jacket

7 single colors

12 colors + hud custom on fp

optional shirt with fp

customizable by 5 parts

Available on Alpha Event 22th December - 17 January.

TP: maps.secondlife.com/secondlife/ACCESS%203/132/111/1001

STORE: www.facebook.com/profile.php?id=100083410297458

  

Valhalla - Aku Earrings

rigged for swallow gauged

XL F/M

texture hud

New release for MAN CAVE EVENT December round

Tp: maps.secondlife.com/secondlife/Match/150/114/2

Store: maps.secondlife.com/secondlife/Demon/47/81/26

 

630 has recently come back from the same engine problems that 605 and 606 had, and what 622 currently has but just more serious. It hadn't been seen since September before November because it wasn't in a drivable state but now it's back so I went out yesrerday after plans changed and got it.

 

Nottingham City Transport Scania N230UD ADL Enviro 400 630 (YN14MVA) is seen with its T&S Heating wrap working on the 49X dupe from Boots Warehouse to Angel Row via NG2 and Nottingham Station.

Door problemen met de bovenleiding voormiddag in Diest,was de lijn 35 enkele uren verstoord.

Dan is het altijd handig dat de diesellijn 15 nog bestaat!

Zo kunnen ze altijd dieseltreinen van Montzen naar Antwerpen omleiden langs deze lijn.

Zoals vandaag deze Crossrail Bertschi-shuttle!

Doorrit op de grens van Leopoldsburg met Balen op 18 juli 2014 om 1325hr,na kruising in het station van Leopoldsburg met de IR naar Hasselt.

Een wat ongewone opname,maar ik had door mijn verplaatsing naar hier geen tijd meer om mijn camera vast op te stellen!

Het was spijtig genoeg de enigste omgeleide vandaag!

Dank Andy en Dennis voor de tip.

The Marina, Dubai. UAE. None of this existed 2 years ago.

They are building a city from scratch down here. It's a crazy sight...

 

Generally I found the quality of the architecture in Dubai to be very poor, the attitude seems to be to get the buildings up as quickly as possible, and with as many bells and whistles as possible; "Look at me! Look at me!" they all seem to scream...

In fairness, the standards of construction seem high, but the quality of design is lacking; which is a common failing when speed is the main concern of developers.

This one's been Explored

 

This image is 7 photos merged with Microsoft's Windows Live Gallery

Part of the Dubai set. See the Slideshow

I tried to ignore him and talk to the lord

Pray for him, cause some fools just love to perform

You know the type loud as a motor bike

But wouldn't bust a grape in a fruit fight

The only thing that's gonna happen is i'mma get to clapping

He and his boys gon' be yapping to the captain

And there I go trapped in the kit kat again

Back through the system with the riff raff again

Fiends on the floor scratching again

Paparazzi's with they cameras snapping them

D.A. tried to give the nigga the shaft again

Half-a-mil for bail cause I'm African

All because this fool was harrassin them

Trying to play the boy like hes saccharin

But ain't nothing sweet 'bout how I hold my gun

I got 99 problems but being a bitch ain't one

Hit Men

photo: godzilla7

Sam Robson, aka "Robbie" (1/6 Dark Zone Agent) is pondering the best way to protect his client while on a ski trip in Vancouver.

 

Not to worry, his coat and hat are beside him on the bench.

I absolutely love the new Marvel theme! The figs are amazing! And if you notice Deadpools leg printing its perfect XD

January 4, 2019

Minneapolis, Minnesota

 

A few weeks ago Julia and I took an intro to bouldering class at Minneapolis Bouldering Project and loved it. Our 2019 goals include both working on our fitness and trying new activities/fostering new hobbies, so after work today we joined the bouldering gym.

 

Bouldering is a form of rock climbing without using ropes or harnesses. It was originally developed as a way for rock climbers to practice more complex climbing moves at a safe distance from the ground - typically bouldering gyms' walls aren't more than 20 feet tall and have cushioned floors, in case of falls. Today, bouldering has become a sport in itself.

 

The different color coded routes on a wall in a bouldering gym are called problems. From the easiest, yellow, to the hardest, white, the problems are designed to not only test your physical ability, but also function as a puzzle for your mind as well.

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Match 3 not working.........

One of the problems for me being a closet dresser is next door neighbours. The open window on the top left is my neighbours bedroom. Obviously it is not easy to get onto the patio when she is around. Also i took the picture from my conservatory which is also in view of her bedroom. Today i saw her go out so felt at ease to be Linda outside.

The famous and evil measurement problem in quantum mechanics... according to my camera.

I am not sure exactly what the problem was here. I went to take a photo of a Ewe with her lamb. I saw the lamb run up to her mother and I think it nudged her. The Ewe picked it up in her mouth (still walking forward) carried it clean off the ground for a while then dumped it unceremoniously on the ground, whereby the lamp ran away. Whatever happened, the mother sheep obviously was NOT very pleased ;-)) I took a series of shots to try to capture the event .....not perfect, but enough to record some of it. I just wish that I had seen what caused the problem in the first place lol

After the leakage problems with the top of the XSR Toronado shelved production of that model, Olds proceeded to produce the XS model, which had the bent window of the XSR, but used a sliding sunroof in place of the complex XSR roof panels .

 

Me: "Where did you get that?!"

 

Danbo: "... Um, internet?"

 

I guess slicing the muffin in half made it easier to carry.. I still don't know for sure how she got that samurai sword.

A light-hearted sign observed on the exterior of The Swan Hotel, public house on Corporation Street, St Helens, Merseyside.

ift.tt/1WLnVmJ

My nephew Marian (4) has a problem. The beer cap is too tough for him. You can guess from his expression how hard is he pushing to open the bottle of Budweiser. But since he is rather stubborn he finally made it. Yes, "if you want you can". Taken with Zuiko OM 50/1,8, aperture either 1,8 or 2, ambient light, cropped in photoshop.

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

  

Some background:

After World War I, the German aircraft industry had several problems. German airlines were forbidden to operate multi engine aircraft and during a period all manufacturing of aircraft in Germany was banned. By 1921, some of the restrictions was lifted, civilian aircraft could be made after approval of an international control commission if they fulfilled certain requirements. To bypass these rules and to be able to make whatever aircraft they wanted several aircraft manufacturers moved abroad. In 1921, Carl Bücker handled the purchase of a reconnaissance aircraft from Caspar-Werke in Travemünde. Because they expected problems due to the rules in the peace treaty regarding the export of German fighter aircraft, Bücker explored the possibility to smuggle the parts out of Germany and assemble the aircraft in Sweden.

 

To make the purchase easier, Ernst Heinkel and Bücker started Svenska Aero in Lidingö in 1921. The contract on the aircraft was transferred from Caspar to Svenska Aero. Heinkel and some German assembly workers temporarily moved to Lidingö to assemble the aircraft. During 1922 to 1923, the company moved into a former shipyard in Skärsätra on Lidingö since the company had received additional orders from the navy's air force. The parts for those aircraft were made in Sweden by Svenska Aero but assembled by TDS. In 1928, the navy ordered four J 4 (Heinkel HD 19) as a fighter with pontoons. That delivery came to be the last licens- built aircraft by Svenska Aero. In the mid-1920s, Svenska Aero created their own design department to be able to make their own aircraft models. Sven Blomberg, earlier employed by Heinkel Flugzeugwerke, was hired as head of design. In 1930, he was joined by Anders Johan Andersson from Messerschmitt. Despite that, Svenska Aero designed and made several different models on their own.

 

One of them was the model SA-16, a direct response to the Swedish Air Force and Navy’s interest in the new dive bomber tactics, which had become popular in Germany since the mid-Thirties and had spawned several specialized aircraft, the Junkers Ju 87 being the best-known type. The Flygvapnet (Swedish Air Force) had already conducted dive bombing trials with Hawker Hart (B 4) biplanes, but only with mixed results. Diving towards the target simplified the bomb's trajectory and allowed the pilot to keep visual contact throughout the bomb run. This allowed attacks on point targets and ships, which were difficult to attack with conventional level bombers, even en masse. While accuracy was increased through bombing runs at almost vertical dive, the aircraft were not suited for this kind of operations – structurally, and through the way the bombs were dropped.

 

Therefore, Svenska Aero was tasked to develop an indigenous dedicated dive bomber, primarily intended to attack ships, and with a secondary role as reconnaissance aircraft – a mission profile quite similar to American ship-based “SB” aircraft of the time. Having learnt from the tests with the Hawker Harts, the SA-16 was a very robust monoplane, resulting in an almost archaic look. It was a single-engine all-metal cantilever monoplane with a fixed undercarriage and carried a two-person crew. The main construction material was duralumin, and the external coverings were made of duralumin sheeting, bolts and parts that were required to take heavy stress were made of steel. The wings were of so-called “double-wing” construction, which gave the SA-16 considerable advantage on take-off; even at a shallow angle, large lift forces were created through the airfoil, reducing take-off and landing runs. Retractable perforated air brakes were mounted under the wings’ leading edges. The fully closed “greenhouse cabin” offered space for a crew of two in tandem, with the pilot in front and a navigator/radio operator/observer/gunner behind. To provide the rear-facing machine gun with an increased field of fire, the stabilizers were of limited span but deeper to compensate for the loss of surface, what resulted in unusual proportions. As a side benefit, the short stabilizers had, compared with a wider standard layout, increased structural integrity. Power came from an air-cooled Bristol Mercury XII nine-cylinder radial engine with 880 hp (660 kW), built by Nohab in Sweden.

 

Internal armament consisted of two fixed forward-firing 8 mm (0.315 in) Flygplanskulspruta Ksp m/22F (M1919 Browning AN/M2) machine guns in the wings outside of the propeller disc. A third machine gun of the same type was available in the rear cockpit on a flexible mount as defensive weapon. A total of 700 kg (1,500 lb) of bombs could be carried externally. On the fuselage centerline, a swing arm could hold bombs of up to 500 kg (1.100 lb) caliber and deploy them outside of the propeller arc when released in a, additional racks under the outer wings could hold bombs of up to 250 kg (550 lb) caliber each or clusters of smaller bombs, e. g. four 50 (110 lb) or six 12 kg (26 ½ lb) bombs.

 

Flight testing of the first SA-16 prototype began on 14 August 1936. The aircraft could take off in 250 m (820 ft) and climb to 1,875 m (6,152 ft) in eight minutes with a 250 kg (550 lb) bomb load, and its cruising speed was 250 km/h (160 mph). This was less than expected, and pilots also complained that navigation and powerplant instruments were cluttered and not easy to read, especially in combat. To withstand strong forces during a dive, heavy plating, along with brackets riveted to the frame and longeron, was added to the fuselage. Despite this, pilots praised the aircraft's handling qualities and strong airframe. These problems were quickly resolved, but subsequent testing and progress still fell short of the designers’ hopes. With some refinements the machine's speed was increased to 274 km/h (170 mph) at ground level and 319 km/h 319 km/h (198 mph, 172 kn) at 3,650 m (11,980 ft), while maintaining its good handling ability.

 

Since the Swedish Air Force was in dire need for a dive bomber, the SA-16 was accepted into service as the B 9 – even though it was clear that it was only a stopgap solution on the way to a more capable light bomber with dive attack capabilities. This eventually became the Saab 17, which was initiated in 1938 as a request from the Flygvapnet to replace its fleet of dive bombers of American origin, the B 5 (Northrop A-17), the B 6 (Seversky A8V1) and the obsolete Fokker S 6 (C.Ve) sesquiplane, after the deal with Fokker to procure the two-engine twin-boom G.I as a standardized type failed due to the German invasion of the Netherlands. The B 9 dive bomber would subsequently be replaced by the more modern and capable B 17 in the long run, too, which made its first flight on 18 May 1940 and was introduced to frontline units in March 1942. Until then, 93 SA-16s had been produced between 1937 and 1939. When the B 17 became available, the slow B 9 was quickly retired from the attack role. Plans to upgrade the aircraft with a stronger 14 cylinder engine (a Piaggio P.XIbis R.C.40D with 790 kW/1,060 hp) were not carried out, as it was felt that the design lacked further development potential in an offensive role.

Because the airframes were still young and had a lot of service life ahead of them, most SA-16s were from 1941 on relegated to patrol and reconnaissance missions along the Swedish coastlines, observing ship and aircraft traffic in the Baltic Sea and undertaking rescue missions with droppable life rafts. For long-range missions, the forked ventral swing arm was replaced with a fixed plumbed pylon for an external 682 liters (150 Imp. gal.) auxiliary tank that more than doubled the aircraft’s internal fuel capacity of 582 liters, giving it an endurance of around 8 hours. In many cases, the machine guns on these aircraft were removed to save weight. In this configuration the SA-16 was re-designated S 9 (“S” for Spaning) and the machines served in their naval observation and SAR role well into the Fifties, when the last SA-16s were retired.

  

General characteristics:

Crew: two, pilot and observer

Length: 9,58 m (31 ft 11 in)

Wingspan: 10,67 m (34 ft 11 in)

Height: 3,82 m (12 ft 6 in)

Wing area: 30.2 m² (325 sq ft)

Empty weight: 2,905 kg (6,404 lb)

Gross weight: 4,245 kg (9,359 lb)

Max takeoff weight: 4,853 kg (10,700 lb)

 

Powerplant:

1× Bristol Mercury XII nine-cylinder radial engine with 880 hp (660 kW),

driving a three-bladed variable pitch metal propeller

 

u>Performance:

Maximum speed: 319 km/h (198 mph, 172 kn) at 3,650 m (11,980 ft)

274 km/h (170 mph; 148 kn) at sea level

299 km/h (186 mph; 161 kn) at 2,000 m (6,600 ft)

308 km/h (191 mph; 166 kn) at 5,000 m (16,000 ft)

Stall speed: 110 km/h (68 mph, 59 kn)

Range: 1,260 km (780 mi, 680 nmi)

Service ceiling: 7,300 m (24,000 ft)

Time to altitude: 2,000 m (6,600 ft) in 4 minutes 45 seconds

4,000 m (13,000 ft) in 15 minutes 10 seconds

 

Armament:

2× fixed 8 mm (0.315 in) Flygplanskulspruta Ksp m/22F (M1919 Browning AN/M2) machine guns

in the wings outside of the propeller disc (with 600 RPG), plus

1× 8 mm (0.315 in) Ksp m/22F machine gun on a flexible mount in the rear cockpit with 800 rounds

Ventral and underwing hardpoints for a total external bomb load of 700 kg (1,500 lb)

  

The kit and its assembly:

This purely fictional Swedish dive bomber was inspired by reading about Flygvapnet‘s pre-WWII trials with dive bombing tactics and the unsuited aircraft fleet for this task. When I found a Hasegawa SOC Seagull floatplane in The Stash™ and looks at the aircraft’s profile, I thought that it could be converted into a two-seat monoplane – what would require massive changes, though.

 

However, I liked the SOC’s boxy and rustic look, esp. the fuselage, and from this starting point other ingredients/donors were integrated. Work started with the tail. Originally, I wanted to retain the SOCs fin and stabilizer, but eventually found them oversized for a land-based airplane. In the scrap box I found a leftover fin from an Academy P-47, and it turned out to be a very good, smaller alternative, with the benefit that it visually lengthened the rear fuselage. The stabilizers were replaced with leftover parts from a NOVO Supermarine Attacker – an unlikely choice, but their size was good, they blended well into the overall lines of the aircraft, and they helped to stabilize the fin donor. Blending these new parts into to SOC’s hull required massive PSR, though.

 

The wings were also not an easy choice, and initially I planned the aircraft with a retractable landing gear. I eventually settled on the outer wings (just outside of the gullwing kink) from an MPM Ju 87 B, because of their shape and the archaic “double wings” that would complement the SOC’s rustic fuselage. However, at this point I refrained from the retractable landing gear and instead went for a fixed spatted alternative, left over from an Airfix Hs 123, which would round up the aircraft’s somewhat vintage look. Because the wheels were missing, I inserted two Matchbox MiG-21 wheels (which were left over in the spares bin from two different kits, though). The tail wheel came from an Academy Fw 190.

 

Cowling and engine inside (thankfully a 9-cylinder radial that could pose as a Mercury) were taken OOB, just the original two-blade propeller was replaced with a more appropriate three-blade alternative, IIRC from a Hobby Boss Grumman F4F. The cockpit was taken OOB, and I also used the two pilot figures from the kit. The rear crew member just had the head re-positioned to look sideways, and had to have the legs chopped off because there’s hardly and space under the desk with the radio set he’s sitting at.

 

The ventral 500 kg bomb came from a Matchbox Ju 87, the bomb arms are Fw 189 landing gear parts. Additional underwing pylons came from an Intech P-51, outfitted with 50 kg bombs of uncertain origin (they look as if coming from an old Hasegawa kit). The protruding machine gun barrel fairings on the wings were scratched from styrene rod material, with small holes drilled into them.

 

A real Frankenstein creation, but it does not look bad or implausible!

  

Painting and markings:

I gave the B 9 a camouflage that was carried by some Flygvapnet aircraft in the late Thirties, primarily by fighters imported from the United States but also some bombers like the B 3 (Ju 86). The IMHO quite attractive scheme consists on the upper surfaces of greenish-yellow zinc chromate primer (Humbrol 81, FS 33481), on top of which a dense net of fine dark green wriggles (supposed to be FS 34079, but I rather used Humbrol 163, RAF Dark Green, because it is more subdued) was manually applied with a thin brush, so that the primer would still shine through, resulting in a mottled camouflage.

 

On the real aircraft, this was sealed with a protective clear lacquer to which 5% of the dark green had been added, and I copied this procedure on the model, too, using semi-gloss acrylic varnish with a bit of Revell 46 added. The camouflage was wrapped around the wings’ leading edges and the spatted landing gear was painted with the upper camouflage, too.

 

The undersides were painted with Humbrol 87 (Steel Grey), to come close to the original blue-grey tone, which is supposed to be FS 35190 on this type of camouflage. The tone is quite dark, almost like RAF PRU Blue.

The interior was painted – using a Saab J 21 cockpit as benchmark – in a dark greenish grey (RAL 7009).

The model received the usual light black ink washing and some post-panel shading on the lower surfaces, because this effect would hardly be recognizable on the highly fragmented upper surface.

 

The markings are reflecting Flygvapnet’s m/37 regulations, from the direct pre-WWII era when the roundels had turned from black on white to yellow on blue but still lacked the yellow edge around the roundel for more contrast. F6 Västgöta flygflottilj was chosen because it was a dive bomber unit in the late Thirties, and the individual aircraft code (consisting of large white two-digit numbers) was added with the fin and the front of the fuselage. “27” would indicate an aircraft of the unit’s 2nd division, which normally had blue as a standardized color code, incorporated through the blue bands on the spats and the small "2nd div." tag on the rudder (from a contemporary F8 Swedish Gladiator).

 

Roundels and codes came from an SBS Models sheet, even though they belong to various aircraft types. Everything was finally sealed with matt acrylic varnish.

I just deleted this album then re-loaded it to un tag a dealer i have problems with and to blow off steam about his companies' problem. it won't take the wind out of my sales for the love of life on the road. I just spent the last two hours deleting tags to dealers I’ve made large purchases from. The next step is to take their name off of my Truck and Fifth Wheel! That will teach them! I’ve even deleted two entire albums of photos with tags leading friends to the dealerships. My small protest but to have to spend more money in civil court. There should be a court for dealing with consumer products after large purchases and problems exist. Who can afford to do that and or spend the time teaching the bad dealer a lesson! It’s hard when you live on fantasy island and want to believe there are people out there that are true pros and true craftsmen. I know there are a few people out there because I met them and refused to do business with other dealers because I met them too. I’ve seen a guy weld a Holiday Rambler that broke in half over night at the frame and get me back on the road. There is even an RV dealer five minutes from my house that did such a poor job on a 30 foot trailer I want to restore that they lost a ten-grand restoration job! I went elsewhere for a purchase. Where is Brett Michaels when you need him! Now to find the proper venues to vent. Do you think the dealer’s sites post bad reviews? I’m the perfect sucker for a Salesman that cares nothing but for the commission or if they aren’t paid on commission for the BS they lay on you to kill time to eventually close the sale. I shopped for years at many different places within the State and even some Florida dealers for the right RV for me. I have twenty years’ road experience with travel trailers in and out of campgrounds and dealers. The hard part is when you find a good mechanic you are often down the road on the next adventure. The dealer can’t take away my enthusiasm for the joy of my new trailer. They are so useful when built properly and so versatile for travel or events or full time Road Warriors! Who wouldn’t be frustrated when there are 18 jobs that need attention! I was told by the salesman I’d get a good education from top to bottom and the demo guy was going to send me out of the dealership with the fifth wheel receiver or jaws ungreased with no Teflon pad for the fifth wheel! I really needed a fifth wheel hooking and unhooking lesson along with good Hydraulic jack lesson. I was good for most other things except how the solar panel works. But they try hard to push you off on the useless manuals or Destruction books because they are over worked and under staffed in the service area. I get that. Except learning the hard way almost cost me my hand with a bed and the fifth wheel. Luckily I’m quick. Sometimes I don’t know if I should have been a great mechanic a teacher or a great lawyer. I walked HIM through greasing the B&W hitch and greasing the receiver and made him put the Teflon pad he was going to make me leave without that I bought two years ago in anticipation of having a fifth wheel from Mark (the good guy) at the RV show in Greensboro. No kidding, I put a lot of thought into this. Needless to say, he has mechanical skills beyond my capability and they used the excuse it was market time or the RV show to be short with me. Now that I have tested things on the trailer before a trip and found at least 18 jobs that need to be done after waiting for a call for parts that had already been delivered and a call never received then accused of not paying for screens that didn’t fit and that a $125.00 per hour fee was going to be charged, who wouldn’t be upset? Did I mention this? It will always be something! They can just put the nail in the coffin for the common belief that it is over after the Sale is done. Getting passed off from one department to the other is unforgiveable! The excuse is familiar. I just do Sales; you have to talk to Service. Service says we just do Service, you have to go to parts. Even with lifetime warranty printed and tagged all over the trailer with a promise to teach you about how everything works I’ve found out the hard way from a popular dealer in Rural Hall, NC that it is not the case! It’s too bad I didn’t buy my Truck or RV and drive all the way to Atlanta to deal with @Scott Trail or find a similar friend that would make sure everything is right. Dream on Consumer! So, if any name bashing starts remember we always have one friend in the car, RV, insurance or Sales business. When we overall call all Salesman assholes or all insurance companies thieves or all dealings with service mechanics complete disasters we have to remember we have people on our friend’s lists that have those jobs. You know what, right now after a huge purchase and being shuffled it’s amazing I can work up any mercy for any of them. I’ve tried to be a Salesman. Service over profit was my downfall. I’ve tried to be a Customer Service Rep. It was difficult talking to people that needed parts after a large purchase when you just learned there aren’t any parts! We are all selling something whether we know it or not. If you aren’t taking pride in your job to be the best you can be and just killing time you are a part of this problem! Not everyone has a dream job. But it is just my turn to take a punch, but I’m swinging back! It is just unfortunate for them I know a little about RVs. I must have too high a standard to believe that there are really people that give a damn about products or follow through after the sale. I hate that we just don’t care attitude that leaves you searching for a better place. I had a place in Mooresville that I will find again for service. Hopefully the same family runs the place. It is near the Lake in Terrell. I need to return to and find another mobile mechanic once that moved on to a dealer in the mountains and I can’t dig his name up. There are good people out there. They are so hard to find. Maybe it is just me. I expect too much after laying down a hard-earned wage or a life savings for a house, new car, recreation vehicle or piece of equipment that is supposed to work. When I get a new toy, I want to take a photo of every nut bolt and screw on it, one because I am proud, the other reason is for future reference when things fall apart. Buyer’s remorse sucks even if you know the term all too well, Buyer Beware! I saw one guy at the current dealership I am dealing with now running, literally running to get from customer to customer after my purchase. In between him and the good mechanics are problems! The good guy’s name is Mark. He is extremely smart and knows RV’s and fifth wheels up and down. He was literally running with a ladder and carrying three heavy hitches with him to try to wait on at least two customers at the same time. I’m always leaving a window or looking for the good and hoping I’m not back on fantasy island. There were excellent qualified educated trailer technicians in the service in a good building with the right tools to build trailers from scratch, including paint. Getting to them is a full-time job on the customer’s end. They even had parts delivered that they owed me on what they call a we owe and hadn’t bothered to call in a three-week period. They wanted to double charge for some bug screens around 50 bucks until I produced a paid receipt. Even after the Salesmen told (I know his name) the parts manager he personally sat with the mechanic for a half hour trying patiently to put on the wrong screen. Even with lifetime warranty written all over my trailer they wanted to charge me for service $125.00 per hour for labor. That must be some sort of trick. For $125.00 an hour most any parts should be free! I waited three hours even with a scheduled appointment to even get told they were ready to take her in. Two days later I had to force the call to get an eta on when she would be ready. Imagine if I were a full timer living full time in my RV or still doing three shows a day in three different cities a day. Fortunately, I am gifted with a little time. The service manager mentioned to do the 18 jobs I needed to be done he still had to order parts. Imagine I was sold a unit that I (The Customer) found at least 18 things to do after leaving the lot and running the unit. So, I am going to rescue my unit tomorrow and hope what they did fix after two days waiting can get me through my first trip until parts come for the rest of the job. Do you think I am a fool to take it back? It is a hard call! I’ll know tomorrow if I receive a bill or the trailer is in good shape. The tough part is, after you have been tough with service now your unit is at their mercy. I was told by a good agent I don’t take any crap from anyone. But sometimes it costs me. But those of you that are passive and just let them walk all over you take a bigger beating. With full time jobs or people that depend on their unit as a full-time vehicle you can imagine the pressure to change up vacation times or deal with time off from your job to take care of problems.

On Saturday the L train was suspended for a bit because of a rail problem north of Bedford avenue. Subway issues can bring "The City That Never Sleeps" to a screeching halt.

  

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...

That's right, problems with the Nikkor 70-200 2.8 VR.

The beautiful photo taken on the 25th with the same

lens failed this morning. 199 photos taken and only

one was usable. And even this one is marginal...

 

If we lived in Bangkok the lens would be taken

in for a look see, but we live in the jungle a

long was from Bangkok. So, I'm at a loss.

Plus, our financial situation puts this on

hold until further notice............. ;-0---

  

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Friend Zone Problems #Friend, #Zone, #Problems, #Raydiaz, #Adinkolansky, #Iamstevenspence, #AmandaCerny #Contfeed

 

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I'm not sure if anyone else has had this problem, but I can't for the life of me remove the hair product from MM Jade and Cloe. It won't come out no matter what I do. The strange thing is I'm usually able to get Bratz hair silky smooth pretty easily. A portion of their hair is just clumped together and the texture is almost glue-like. Maybe I'm just being picky but it's bothering me :/ if anyone has any ideas on how to remove it I'd be so grateful 💕

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TAKEN AT EAST KIRKBY LINCOLNSHIRE ENGLAND

© Angela M. Lobefaro

All Rights Reserved

RIPRODUZIONE RISERVATA

 

A very nice photowalk with friends near Vercelli

 

Thansk to: Dennis, Irene, Chiara, Giulia

 

Dona 2 euro con un SMS solidale al numero 45509 -dal 27 novembre al 19 dicembre- | Progetto CESVI "Fermiamo l'AIDS sul Nascere"

 

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Thonon Triathlon 2013, Thonon-les-Bains, France

It was your fault..............No, it was your fault!