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.

There was a problem with the length of the pants, but it was made up with high sneakers.

It's very well-made, so it's liked.

I uploaded the new IOS 16 to my iPhone today. I took some photos but when I tried to load them to my Mac, I could see them on the screen but could not import them. I've had a nice text chat with Barbara in Mississippi who works for Apple and she has scheduled a phone call for me tomorrow morning. Let's hope it can be sorted out.

With new wheels come new problems!

 

For the redesign of my Ivatt Atlantic I have to test the chassis another time. Again I use blind drivers in the middle which worked for my earlier version so I have no doubts it will work here as well.

 

New problems:

- the running-surface of the 3D-printed XXL wheels is thinner than that of the BBB XL wheels (just like Lego's blind drivers are thinner to make room for the flanges of the other wheels) which means the mechanism will have to be more precise to keep the wheels on the tracks in curves

- with the drivers being bigger the distance between the drivers' axles is bigger too. To keep the distance to a minimum though it's uneven and instead of 6 stud's it's 6 1/2 studs. With some tricks here and there this shouldn't be too much of a problem though.

  

The redesign made it necessary to have all wheels (tender and engine) 3D printed. So this engine (if it will be done some day) will only be possible thanks to this technology :)

 

About:

14 November is World Diabetes Day, to raise awareness to this increasing problem in the modern world, several buildings around the world are 'made' blue. One of this buildings was my beloved MAS in Antwerp. So I couldn't resist and take some picture of it, so here is MAS in blue instead of red.

 

For more information about World Diabetes Day and the problem of Diabetes:

www.idf.org/worlddiabetesday/

 

Location:

Antwerp, Belgium

This image is also geotagged

 

Technical stuff:

Exposure: 6,0 sec sec at f/8,0 at 1 EV

Taken with: Nikon D800 with 17-35 mm f/2.8 at 32 mm

HDR from a set of 7 brackets, merged in Photomatix, tonemapped in Oloneo. Removed the Star Trails in the sky because they were more disturbing than adding something to this picture

 

Usage:

All my images are copyrighted, if you want to use it for anything contact me first.

 

You can follow me on [ G+ ]

 

Any comments, criticism and tips are welcome.

Photographers notes: There is a 2x2 flat grey tile near the car that I have no idea how it got there. This is often the problem I have - random things in my scenes that I can really see through the camera screen. LOL... I think it fell off another backdrop piece I was moving. I guess it could be a piece from the car. Oh well, another fun day at LEGO Police Force studios!

 

I had a lot of fun coming up with road flares pictured throughout the scene and this is the -FIRST- LEGO Police Force scene with Firemen! Whoot! Time to dust off that collection and add to scenes.

 

and, what is Officer Ed "Coffee" Cook doing (far right corner)? Sipping coffee of course!

 

Vehicles pictured are Police Chevy Tahoe, Ford Crown Vic and 1 Motorcycle Unit

.

♥ Enjoy BRICK POLICE on other Social Media ♥

 

Facebook.com/BrickPolice

Instagram.com/brickpolice50

Youtube.com/user/BrickPolice

 

I love comments and feedback!

 

Sincerely,

Kalison Cook

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- الصورة قديمة - تقريبا منذ 3 سنوات -

 

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- Old photo - Almost 3 years ago -

 

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Anestésiate naturalmente de los problemas. Déjate hacer.

Sincronízate al ritmo por el que hemos estado debatiendo un largo rato.

Coge aire, aprieta los dientes, entreciérrame la mirada y para de respirar por un instante.

Déjalo salir justo en el momento exacto en el desgarras mi espalda y mi alma.

Coge aire, y vive otra vez.

 

Más / More tikorphotography.com | Facebook

blackbook

Aphids (greenfly) attack a rose.

Check out more photos from this area here:

www.flickr.com/photos/ranveig/sets/72157626350571083/

Look Guys...You all look like that you have a problem to share......And goodness me......Don't for one moment think I don't know that we have no windows or doors in our new house....Never mind a carpet on the floor......But look on the bright side........ We do have a roof over heads with some fitted benches for seating and a beautiful view to our back yard......And let's not forget that with this size property there will be a lot less housework for you to do......Leaving you much more time for you all to enjoy my guitar playing and singing....What do you mean.....That is the problem!!!!!!!!!!!!!!!!!! .

.

PS On a serious note....Halo would like you to know that if you could see just a bit further to the next field.....You not only see sheep ready for lambing ......But the field after is Silverstone....The home of British motorsport......

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Wasp hiding in the vent of an old Volkswagen

Arches National Park is a national park in eastern Utah, United States. The park is adjacent to the Colorado River, 4 miles (6 km) north of Moab, Utah. More than 2,000 natural sandstone arches are located in the park, including the well-known Delicate Arch, as well as a variety of unique geological resources and formations. The park contains the highest density of natural arches in the world.

 

The park consists of 310.31 square kilometres (76,680 acres; 119.81 sq mi; 31,031 ha) of high desert located on the Colorado Plateau. The highest elevation in the park is 5,653 feet (1,723 m) at Elephant Butte, and the lowest elevation is 4,085 feet (1,245 m) at the visitor center. The park receives an average of less than 10 inches (250 mm) of rain annually.

 

Administered by the National Park Service, the area was originally named a national monument on April 12, 1929, and was re designated as a national park on November 12, 1971. The park received more than 1.6 million visitors in 2018.

 

As stated in the foundation document in U.S. National Park Service website:

 

The purpose of Arches National Park is to protect extraordinary examples of geologic features including arches, natural bridges, windows, spires, and balanced rocks, as well as other features of geologic, historic, and scientific interest, and to provide opportunities to experience these resources and their associated values in their majestic natural settings.

 

The national park lies above an underground evaporite layer or salt bed, which is the main cause of the formation of the arches, spires, balanced rocks, sandstone fins, and eroded monoliths in the area. This salt bed is thousands of feet thick in places and was deposited in the Paradox Basin of the Colorado Plateau some 300 million years ago (Mya) when a sea flowed into the region and eventually evaporated. Over millions of years, the salt bed was covered with debris eroded from the Uncompahgre Uplift to the northeast. During the Early Jurassic (about 200 Mya), desert conditions prevailed in the region and the vast Navajo Sandstone was deposited. An additional sequence of stream laid and windblown sediments, the Entrada Sandstone (about 140 Mya), was deposited on top of the Navajo. Over 5,000 feet (1,500 m) of younger sediments were deposited and have been mostly eroded. Remnants of the cover exist in the area including exposures of the Cretaceous Mancos Shale. The arches of the area are developed mostly within the Entrada formation.

 

The weight of this cover caused the salt bed below it to liquefy and thrust up layers of rock into salt domes. The evaporites of the area formed more unusual "salt anticlines" or linear regions of uplift. Faulting occurred and whole sections of rock subsided into the areas between the domes. In some places, they turned almost on edge. The result of one such 2,500-foot (760 m) displacement, the Moab Fault, is seen from the visitor center.

 

As this subsurface movement of salt shaped the landscape, erosion removed the younger rock layers from the surface. Except for isolated remnants, the major formations visible in the park today are the salmon-colored Entrada Sandstone, in which most of the arches form, and the buff-colored Navajo Sandstone. These are visible in layer-cake fashion throughout most of the park. Over time, water seeped into the surface cracks, joints, and folds of these layers. Ice formed in the fissures, expanding and putting pressure on surrounding rock, breaking off bits and pieces. Winds later cleaned out the loose particles. A series of free-standing fins remained. Wind and water attacked these fins until, in some, the cementing material gave way and chunks of rock tumbled out. Many damaged fins collapsed. Others, with the right degree of hardness and balance, survived despite their missing sections. These became the famous arches.

 

Although the park's terrain may appear rugged and durable, it is extremely fragile. More than 1 million visitors each year threaten the fragile high-desert ecosystem. The problem lies within the soil's crust, which is composed of cyanobacteria, algae, fungi, and lichens that grow in the dusty parts of the park. Factors that make Arches National Park sensitive to visitor damage include being a semiarid region, the scarce, unpredictable rainfall, lack of deep freezing, and lack of plant litter, which results in soils that have both a low resistance to and slow recovery from, compressional forces such as foot traffic. Methods of indicating effects on the soil are cytophobic soil crust index, measuring of water infiltration, and t-tests that are used to compare the values from the undisturbed and disturbed areas.

 

Geological processes that occurred over 300 million years ago caused a salt bed to be deposited, which today lies beneath the landscape of Arches National Park.[ Over time, the salt bed was covered with sediments that eventually compressed into rock layers that have since been named Entrada Standstone. Rock layers surrounding the edge of the salt bed continued to erode and shift into vertical sandstone walls called fins. Sand collected between vertical walls of the fins, then slightly acidic rain combined with carbon dioxide in the air allowed for the chemical formation of carbonic acid within the trapped sand. Over time, the carbonic acid dissolved the calcium carbonate that held the sandstone together. Many of the rock formations have weaker layers of rock on bottom that are holding stronger layers on top. The weaker layers would dissolve first, creating openings in the rock. Gravity caused pieces of the stronger rock layer to fall piece by piece into an arch shape. Arches form within rock fins at points of intense fracturing localization, or weak points in the rock's formation, caused by horizontal and vertical discontinuities. Lastly, water, wind, and time continued this erosion process and ultimately created the arches of Arches National Park. All of the arches in the park are made of Entrada Sandstone, however, there are slight differences in how each arch was developed. This allows the Entrada Sandstone to be categories into 3 groups including Slick rock members, Dewey rock members, and Moab members. Vertical arches can be developed from Slick rock members, a combination of Slick rock members and Moab members, or Slick rock members resting above Dewey rock members. Horizontal arches (also called potholes) are formed when a vertical pothole formation meets a horizontal cave, causing a union into a long arch structure. The erosion process within Arches National Park will continue as time continues to pass. Continued erosion combined with vertical and horizontal stress will eventually cause arches to collapse, but still, new arches will continue to form for thousands of years.

 

Humans have occupied the region since the last ice age 10,000 years ago. Fremont people and Ancestral Puebloans lived in the area until about 700 years ago. Spanish missionaries encountered Ute and Paiute tribes in the area when they first came through in 1775, but the first European-Americans to attempt settlement in the area were the Mormon Elk Mountain Mission in 1855, who soon abandoned the area. Ranchers, farmers, and prospectors later settled Moab in the neighboring Riverine Valley in the late 1870s. Word of the beauty of the surrounding rock formations spread beyond the settlement as a possible tourist destination.

 

The Arches area was first brought to the attention of the National Park Service by Frank A. Wadleigh, passenger traffic manager of the Denver and Rio Grande Western Railroad. Wadleigh, accompanied by railroad photographer George L. Beam, visited the area in September 1923 at the invitation of Alexander Ringhoffer, a Hungarian-born prospector living in Salt Valley. Ringhoffer had written to the railroad to interest them in the tourist potential of a scenic area he had discovered the previous year with his two sons and a son-in-law, which he called the Devils Garden (known today as the Klondike Bluffs). Wadleigh was impressed by what Ringhoffer showed him, and suggested to Park Service director Stephen T. Mather that the area be made a national monument.

 

The following year, additional support for the monument idea came from Laurence Gould, a University of Michigan graduate student (and future polar explorer) studying the geology of the nearby La Sal Mountains, who was shown the scenic area by local physician Dr. J. W. "Doc" Williams.

 

A succession of government investigators examined the area, in part due to confusion as to the precise location. In the process, the name Devils Garden was transposed to an area on the opposite side of Salt Valley that includes Landscape Arch, the longest arch in the park. Ringhoffer's original discovery was omitted, while another area nearby, known locally as the Windows, was included. Designation of the area as a national monument was supported by the Park Service in 1926 but was resisted by President Calvin Coolidge's Interior Secretary, Hubert Work. Finally, in April 1929, shortly after his inauguration, President Herbert Hoover signed a presidential proclamation creating the Arches National Monument, consisting of two comparatively small, disconnected sections. The purpose of the reservation under the 1906 Antiquities Act was to protect the arches, spires, balanced rocks, and other sandstone formations for their scientific and educational value. The name Arches was suggested by Frank Pinkely, superintendent of the Park Service's southwestern national monuments, following a visit to the Windows section in 1925.

 

In late 1938, President Franklin D. Roosevelt signed a proclamation that enlarged the Arches to protect additional scenic features and permit the development of facilities to promote tourism. A small adjustment was made by President Dwight Eisenhower in 1960 to accommodate a new road alignment.

 

In early 1969, just before leaving office, President Lyndon B. Johnson signed a proclamation substantially enlarging the Arches. Two years later, President Richard Nixon signed legislation enacted by Congress, which significantly reduced the total area enclosed, but changed its status. Arches National Park was formally dedicated in May 1972.

 

In 1980, vandals attempted to use an abrasive kitchen cleanser to deface ancient petroglyphs in the park, prompting park officials to recruit physicist John F. Asmus, who specialized in using lasers to restore works of art, to use his technology to repair the damage. Asmus "zapped the panel with intense light pulses and succeeded in removing most of the cleanser".

 

Climbing Balanced Rock or any named or unnamed arch in Arches National Park with an opening larger than 3 ft (0.9 m) is banned by park regulations. Climbing on other features in the park is allowed but regulated; in addition, slacklining and BASE jumping are banned parkwide.

 

Climbing on named arches within the park had long been banned by park regulations, but following Dean Potter's successful free climb on Delicate Arch in May 2006, the wording of the regulations was deemed unenforceable by the park attorney. In response, the park revised its regulations later that month, eventually imposing the current ban on arch climbing in 2014.

 

Approved recreational activities include auto touring, hiking, bicycling, camping at the Devils Garden campground, backpacking, canyoneering, and rock climbing, with permits required for the last three activities. Guided commercial tours and ranger programs are also available.

 

Astronomy is also popular in the park due to its dark skies, despite the increasing light pollution from towns such as Moab.

 

Delicate Arch is the subject of the third 2014 quarter of the U.S. Mint's America the Beautiful Quarters program commemorating national parks and historic sites. The Arches quarter had the highest production of the five 2014 national park quarters, with more than 465 million minted.

 

American writer Edward Abbey was a park ranger at Arches National Monument in 1956 and 1957, where he kept journals that became his book Desert Solitaire. The success of Abbey's book, as well as interest in adventure travel, has drawn many hikers, mountain bikers, and off-pavement driving enthusiasts to the area. Permitted activities within the park include camping, hiking along designated trails, backpacking, canyoneering, rock climbing, bicycling, and driving along existing roads, both paved and unpaved. The Hayduke Trail, an 812 mi (1,307 km) backpacking route named after one of Edward Abbey's characters, begins in the park.

 

An abundance of wildlife occurs in Arches National Park, including spadefoot toads, antelope squirrels, scrub jays, peregrine falcons, many kinds of sparrows, red foxes, desert bighorn sheep, kangaroo rats, mule deers, cougars, midget faded rattlesnakes, yucca moths, western rattlesnakes, and collared lizards.

 

A number of plant species are common in the park, including prickly pear cactus, Indian ricegrass, bunch grasses, cheatgrass, moss, liverworts, Utah juniper, Mormon tea, blackbrush, cliffrose, four-winged saltbrush, pinyon pine, evening primrose, sand verbena, yucca, and sacred datura.

 

Biological soil crust consisting of cyanobacteria, lichen, mosses, green algae, and microfungi is found throughout southeastern Utah. The fibrous growths help keep soil particles together, creating a layer that is more resistant to erosion. The living soil layer readily absorbs and stores water, allowing more complex forms of plant life to grow in places with low precipitation levels.

 

Among the notable features of the park are the following:

Balanced Rock – a large balancing rock, the size of three school buses

Courthouse Towers – a collection of tall stone columns

Dark Angel – a free-standing 150 ft-tall (46 m) sandstone pillar at the end of the Devils Garden Trail

Delicate Arch – a lone-standing arch that has become a symbol of Utah and the most recognized arch in the park

Devils Garden – many arches and columns scattered along a ridge

Double Arch – two arches that share a common end

Fiery Furnace – an area of maze-like narrow passages and tall rock columns (see biblical reference, Book of Daniel, chapter 3)

Landscape Arch – a very thin and long arch in the Devils Garden with a span of 290 ft (88 m) (the longest arch in the park)

Petrified Dunes – petrified remnants of dunes blown from the ancient lakes that covered the area

The Phallus – a rock spire that resembles a phallus

Wall Arch – located along the popular Devils Garden Trail; collapsed sometime on August 4/5, 2008

The Three Gossips –a mid-sized sandstone tower located in the Courthouse Towers area.

 

Utah is a landlocked state in the Mountain West subregion of the Western United States. It borders Colorado to its east, Wyoming to its northeast, Idaho to its north, Arizona to its south, and Nevada to its west. Utah also touches a corner of New Mexico in the southeast. Of the fifty U.S. states, Utah is the 13th-largest by area; with a population over three million, it is the 30th-most-populous and 11th-least-densely populated. Urban development is mostly concentrated in two areas: the Wasatch Front in the north-central part of the state, which is home to roughly two-thirds of the population and includes the capital city, Salt Lake City; and Washington County in the southwest, with more than 180,000 residents. Most of the western half of Utah lies in the Great Basin.

 

Utah has been inhabited for thousands of years by various indigenous groups such as the ancient Puebloans, Navajo, and Ute. The Spanish were the first Europeans to arrive in the mid-16th century, though the region's difficult geography and harsh climate made it a peripheral part of New Spain and later Mexico. Even while it was Mexican territory, many of Utah's earliest settlers were American, particularly Mormons fleeing marginalization and persecution from the United States via the Mormon Trail. Following the Mexican–American War in 1848, the region was annexed by the U.S., becoming part of the Utah Territory, which included what is now Colorado and Nevada. Disputes between the dominant Mormon community and the federal government delayed Utah's admission as a state; only after the outlawing of polygamy was it admitted in 1896 as the 45th.

 

People from Utah are known as Utahns. Slightly over half of all Utahns are Mormons, the vast majority of whom are members of the Church of Jesus Christ of Latter-day Saints (LDS Church), which has its world headquarters in Salt Lake City; Utah is the only state where a majority of the population belongs to a single church. A 2023 paper challenged this perception (claiming only 42% of Utahns are Mormons) however most statistics still show a majority of Utah residents belong to the LDS church; estimates from the LDS church suggests 60.68% of Utah's population belongs to the church whilst some sources put the number as high as 68%. The paper replied that membership count done by the LDS Church is too high for several reasons. The LDS Church greatly influences Utahn culture, politics, and daily life, though since the 1990s the state has become more religiously diverse as well as secular.

 

Utah has a highly diversified economy, with major sectors including transportation, education, information technology and research, government services, mining, multi-level marketing, and tourism. Utah has been one of the fastest growing states since 2000, with the 2020 U.S. census confirming the fastest population growth in the nation since 2010. St. George was the fastest-growing metropolitan area in the United States from 2000 to 2005. Utah ranks among the overall best states in metrics such as healthcare, governance, education, and infrastructure. It has the 12th-highest median average income and the least income inequality of any U.S. state. Over time and influenced by climate change, droughts in Utah have been increasing in frequency and severity, putting a further strain on Utah's water security and impacting the state's economy.

 

The History of Utah is an examination of the human history and social activity within the state of Utah located in the western United States.

 

Archaeological evidence dates the earliest habitation of humans in Utah to about 10,000 to 12,000 years ago. Paleolithic people lived near the Great Basin's swamps and marshes, which had an abundance of fish, birds, and small game animals. Big game, including bison, mammoths and ground sloths, also were attracted to these water sources. Over the centuries, the mega-fauna died, this population was replaced by the Desert Archaic people, who sheltered in caves near the Great Salt Lake. Relying more on gathering than the previous Utah residents, their diet was mainly composed of cattails and other salt tolerant plants such as pickleweed, burro weed and sedge. Red meat appears to have been more of a luxury, although these people used nets and the atlatl to hunt water fowl, ducks, small animals and antelope. Artifacts include nets woven with plant fibers and rabbit skin, woven sandals, gaming sticks, and animal figures made from split-twigs. About 3,500 years ago, lake levels rose and the population of Desert Archaic people appears to have dramatically decreased. The Great Basin may have been almost unoccupied for 1,000 years.

 

The Fremont culture, named from sites near the Fremont River in Utah, lived in what is now north and western Utah and parts of Nevada, Idaho and Colorado from approximately 600 to 1300 AD. These people lived in areas close to water sources that had been previously occupied by the Desert Archaic people, and may have had some relationship with them. However, their use of new technologies define them as a distinct people. Fremont technologies include:

 

use of the bow and arrow while hunting,

building pithouse shelters,

growing maize and probably beans and squash,

building above ground granaries of adobe or stone,

creating and decorating low-fired pottery ware,

producing art, including jewelry and rock art such as petroglyphs and pictographs.

 

The ancient Puebloan culture, also known as the Anasazi, occupied territory adjacent to the Fremont. The ancestral Puebloan culture centered on the present-day Four Corners area of the Southwest United States, including the San Juan River region of Utah. Archaeologists debate when this distinct culture emerged, but cultural development seems to date from about the common era, about 500 years before the Fremont appeared. It is generally accepted that the cultural peak of these people was around the 1200 CE. Ancient Puebloan culture is known for well constructed pithouses and more elaborate adobe and masonry dwellings. They were excellent craftsmen, producing turquoise jewelry and fine pottery. The Puebloan culture was based on agriculture, and the people created and cultivated fields of maize, beans, and squash and domesticated turkeys. They designed and produced elaborate field terracing and irrigation systems. They also built structures, some known as kivas, apparently designed solely for cultural and religious rituals.

 

These two later cultures were roughly contemporaneous, and appear to have established trading relationships. They also shared enough cultural traits that archaeologists believe the cultures may have common roots in the early American Southwest. However, each remained culturally distinct throughout most of their existence. These two well established cultures appear to have been severely impacted by climatic change and perhaps by the incursion of new people in about 1200 CE. Over the next two centuries, the Fremont and ancient Pueblo people may have moved into the American southwest, finding new homes and farmlands in the river drainages of Arizona, New Mexico and northern Mexico.

 

In about 1200, Shoshonean speaking peoples entered Utah territory from the west. They may have originated in southern California and moved into the desert environment due to population pressure along the coast. They were an upland people with a hunting and gathering lifestyle utilizing roots and seeds, including the pinyon nut. They were also skillful fishermen, created pottery and raised some crops. When they first arrived in Utah, they lived as small family groups with little tribal organization. Four main Shoshonean peoples inhabited Utah country. The Shoshone in the north and northeast, the Gosiutes in the northwest, the Utes in the central and eastern parts of the region and the Southern Paiutes in the southwest. Initially, there seems to have been very little conflict between these groups.

 

In the early 16th century, the San Juan River basin in Utah's southeast also saw a new people, the Díne or Navajo, part of a greater group of plains Athabaskan speakers moved into the Southwest from the Great Plains. In addition to the Navajo, this language group contained people that were later known as Apaches, including the Lipan, Jicarilla, and Mescalero Apaches.

 

Athabaskans were a hunting people who initially followed the bison, and were identified in 16th-century Spanish accounts as "dog nomads". The Athabaskans expanded their range throughout the 17th century, occupying areas the Pueblo peoples had abandoned during prior centuries. The Spanish first specifically mention the "Apachu de Nabajo" (Navaho) in the 1620s, referring to the people in the Chama valley region east of the San Juan River, and north west of Santa Fe. By the 1640s, the term Navaho was applied to these same people. Although the Navajo newcomers established a generally peaceful trading and cultural exchange with the some modern Pueblo peoples to the south, they experienced intermittent warfare with the Shoshonean peoples, particularly the Utes in eastern Utah and western Colorado.

 

At the time of European expansion, beginning with Spanish explorers traveling from Mexico, five distinct native peoples occupied territory within the Utah area: the Northern Shoshone, the Goshute, the Ute, the Paiute and the Navajo.

 

The Spanish explorer Francisco Vázquez de Coronado may have crossed into what is now southern Utah in 1540, when he was seeking the legendary Cíbola.

 

A group led by two Spanish Catholic priests—sometimes called the Domínguez–Escalante expedition—left Santa Fe in 1776, hoping to find a route to the California coast. The expedition traveled as far north as Utah Lake and encountered the native residents. All of what is now Utah was claimed by the Spanish Empire from the 1500s to 1821 as part of New Spain (later as the province Alta California); and subsequently claimed by Mexico from 1821 to 1848. However, Spain and Mexico had little permanent presence in, or control of, the region.

 

Fur trappers (also known as mountain men) including Jim Bridger, explored some regions of Utah in the early 19th century. The city of Provo was named for one such man, Étienne Provost, who visited the area in 1825. The city of Ogden, Utah is named for a brigade leader of the Hudson's Bay Company, Peter Skene Ogden who trapped in the Weber Valley. In 1846, a year before the arrival of members from the Church of Jesus Christ of latter-day Saints, the ill-fated Donner Party crossed through the Salt Lake valley late in the season, deciding not to stay the winter there but to continue forward to California, and beyond.

 

Members of the Church of Jesus Christ of Latter-day Saints, commonly known as Mormon pioneers, first came to the Salt Lake Valley on July 24, 1847. At the time, the U.S. had already captured the Mexican territories of Alta California and New Mexico in the Mexican–American War and planned to keep them, but those territories, including the future state of Utah, officially became United States territory upon the signing of the Treaty of Guadalupe Hidalgo, February 2, 1848. The treaty was ratified by the United States Senate on March 10, 1848.

 

Upon arrival in the Salt Lake Valley, the Mormon pioneers found no permanent settlement of Indians. Other areas along the Wasatch Range were occupied at the time of settlement by the Northwestern Shoshone and adjacent areas by other bands of Shoshone such as the Gosiute. The Northwestern Shoshone lived in the valleys on the eastern shore of Great Salt Lake and in adjacent mountain valleys. Some years after arriving in the Salt Lake Valley Mormons, who went on to colonize many other areas of what is now Utah, were petitioned by Indians for recompense for land taken. The response of Heber C. Kimball, first counselor to Brigham Young, was that the land belonged to "our Father in Heaven and we expect to plow and plant it." A 1945 Supreme Court decision found that the land had been treated by the United States as public domain; no aboriginal title by the Northwestern Shoshone had been recognized by the United States or extinguished by treaty with the United States.

 

Upon arriving in the Salt Lake Valley, the Mormons had to make a place to live. They created irrigation systems, laid out farms, built houses, churches, and schools. Access to water was crucially important. Almost immediately, Brigham Young set out to identify and claim additional community sites. While it was difficult to find large areas in the Great Basin where water sources were dependable and growing seasons long enough to raise vitally important subsistence crops, satellite communities began to be formed.

 

Shortly after the first company arrived in the Salt Lake Valley in 1847, the community of Bountiful was settled to the north. In 1848, settlers moved into lands purchased from trapper Miles Goodyear in present-day Ogden. In 1849, Tooele and Provo were founded. Also that year, at the invitation of Ute chief Wakara, settlers moved into the Sanpete Valley in central Utah to establish the community of Manti. Fillmore, Utah, intended to be the capital of the new territory, was established in 1851. In 1855, missionary efforts aimed at western native cultures led to outposts in Fort Lemhi, Idaho, Las Vegas, Nevada and Elk Mountain in east-central Utah.

 

The experiences of returning members of the Mormon Battalion were also important in establishing new communities. On their journey west, the Mormon soldiers had identified dependable rivers and fertile river valleys in Colorado, Arizona and southern California. In addition, as the men traveled to rejoin their families in the Salt Lake Valley, they moved through southern Nevada and the eastern segments of southern Utah. Jefferson Hunt, a senior Mormon officer of the Battalion, actively searched for settlement sites, minerals, and other resources. His report encouraged 1851 settlement efforts in Iron County, near present-day Cedar City. These southern explorations eventually led to Mormon settlements in St. George, Utah, Las Vegas and San Bernardino, California, as well as communities in southern Arizona.

 

Prior to establishment of the Oregon and California trails and Mormon settlement, Indians native to the Salt Lake Valley and adjacent areas lived by hunting buffalo and other game, but also gathered grass seed from the bountiful grass of the area as well as roots such as those of the Indian Camas. By the time of settlement, indeed before 1840, the buffalo were gone from the valley, but hunting by settlers and grazing of cattle severely impacted the Indians in the area, and as settlement expanded into nearby river valleys and oases, indigenous tribes experienced increasing difficulty in gathering sufficient food. Brigham Young's counsel was to feed the hungry tribes, and that was done, but it was often not enough. These tensions formed the background to the Bear River massacre committed by California Militia stationed in Salt Lake City during the Civil War. The site of the massacre is just inside Preston, Idaho, but was generally thought to be within Utah at the time.

 

Statehood was petitioned for in 1849-50 using the name Deseret. The proposed State of Deseret would have been quite large, encompassing all of what is now Utah, and portions of Colorado, Idaho, Nevada, Wyoming, Arizona, Oregon, New Mexico and California. The name of Deseret was favored by the LDS leader Brigham Young as a symbol of industry and was derived from a reference in the Book of Mormon. The petition was rejected by Congress and Utah did not become a state until 1896, following the Utah Constitutional Convention of 1895.

 

In 1850, the Utah Territory was created with the Compromise of 1850, and Fillmore (named after President Fillmore) was designated the capital. In 1856, Salt Lake City replaced Fillmore as the territorial capital.

 

The first group of pioneers brought African slaves with them, making Utah the only place in the western United States to have African slavery. Three slaves, Green Flake, Hark Lay, and Oscar Crosby, came west with this first group in 1847. The settlers also began to purchase Indian slaves in the well-established Indian slave trade, as well as enslaving Indian prisoners of war. In 1850, 26 slaves were counted in Salt Lake County. Slavery didn't become officially recognized until 1852, when the Act in Relation to Service and the Act for the relief of Indian Slaves and Prisoners were passed. Slavery was repealed on June 19, 1862, when Congress prohibited slavery in all US territories.

 

Disputes between the Mormon inhabitants and the federal government intensified after the Church of Jesus Christ of Latter-day Saints' practice of polygamy became known. The polygamous practices of the Mormons, which were made public in 1854, would be one of the major reasons Utah was denied statehood until almost 50 years after the Mormons had entered the area.

 

After news of their polygamous practices spread, the members of the LDS Church were quickly viewed by some as un-American and rebellious. In 1857, after news of a possible rebellion spread, President James Buchanan sent troops on the Utah expedition to quell the growing unrest and to replace Brigham Young as territorial governor with Alfred Cumming. The expedition was also known as the Utah War.

 

As fear of invasion grew, Mormon settlers had convinced some Paiute Indians to aid in a Mormon-led attack on 120 immigrants from Arkansas under the guise of Indian aggression. The murder of these settlers became known as the Mountain Meadows massacre. The Mormon leadership had adopted a defensive posture that led to a ban on the selling of grain to outsiders in preparation for an impending war. This chafed pioneers traveling through the region, who were unable to purchase badly needed supplies. A disagreement between some of the Arkansas pioneers and the Mormons in Cedar City led to the secret planning of the massacre by a few Mormon leaders in the area. Some scholars debate the involvement of Brigham Young. Only one man, John D. Lee, was ever convicted of the murders, and he was executed at the massacre site.

 

Express riders had brought the news 1,000 miles from the Missouri River settlements to Salt Lake City within about two weeks of the army's beginning to march west. Fearing the worst as 2,500 troops (roughly 1/3rd of the army then) led by General Albert Sidney Johnston started west, Brigham Young ordered all residents of Salt Lake City and neighboring communities to prepare their homes for burning and evacuate southward to Utah Valley and southern Utah. Young also sent out a few units of the Nauvoo Legion (numbering roughly 8,000–10,000), to delay the army's advance. The majority he sent into the mountains to prepare defenses or south to prepare for a scorched earth retreat. Although some army wagon supply trains were captured and burned and herds of army horses and cattle run off no serious fighting occurred. Starting late and short on supplies, the United States Army camped during the bitter winter of 1857–58 near a burned out Fort Bridger in Wyoming. Through the negotiations between emissary Thomas L. Kane, Young, Cumming and Johnston, control of Utah territory was peacefully transferred to Cumming, who entered an eerily vacant Salt Lake City in the spring of 1858. By agreement with Young, Johnston established the army at Fort Floyd 40 miles away from Salt Lake City, to the southwest.

 

Salt Lake City was the last link of the First Transcontinental Telegraph, between Carson City, Nevada and Omaha, Nebraska completed in October 1861. Brigham Young, who had helped expedite construction, was among the first to send a message, along with Abraham Lincoln and other officials. Soon after the telegraph line was completed, the Deseret Telegraph Company built the Deseret line connecting the settlements in the territory with Salt Lake City and, by extension, the rest of the United States.

 

Because of the American Civil War, federal troops were pulled out of Utah Territory (and their fort auctioned off), leaving the territorial government in federal hands without army backing until General Patrick E. Connor arrived with the 3rd Regiment of California Volunteers in 1862. While in Utah, Connor and his troops soon became discontent with this assignment wanting to head to Virginia where the "real" fighting and glory was occurring. Connor established Fort Douglas just three miles (5 km) east of Salt Lake City and encouraged his bored and often idle soldiers to go out and explore for mineral deposits to bring more non-Mormons into the state. Minerals were discovered in Tooele County, and some miners began to come to the territory. Conner also solved the Shoshone Indian problem in Cache Valley Utah by luring the Shoshone into a midwinter confrontation on January 29, 1863. The armed conflict quickly turned into a rout, discipline among the soldiers broke down, and the Battle of Bear River is today usually referred to by historians as the Bear River Massacre. Between 200 and 400 Shoshone men, women and children were killed, as were 27 soldiers, with over 50 more soldiers wounded or suffering from frostbite.

 

Beginning in 1865, Utah's Black Hawk War developed into the deadliest conflict in the territory's history. Chief Antonga Black Hawk died in 1870, but fights continued to break out until additional federal troops were sent in to suppress the Ghost Dance of 1872. The war is unique among Indian Wars because it was a three-way conflict, with mounted Timpanogos Utes led by Antonga Black Hawk fighting federal and Utah local militia.

 

On May 10, 1869, the First transcontinental railroad was completed at Promontory Summit, north of the Great Salt Lake. The railroad brought increasing numbers of people into the state, and several influential businessmen made fortunes in the territory.

 

Main article: Latter Day Saint polygamy in the late-19th century

During the 1870s and 1880s, federal laws were passed and federal marshals assigned to enforce the laws against polygamy. In the 1890 Manifesto, the LDS Church leadership dropped its approval of polygamy citing divine revelation. When Utah applied for statehood again in 1895, it was accepted. Statehood was officially granted on January 4, 1896.

 

The Mormon issue made the situation for women the topic of nationwide controversy. In 1870 the Utah Territory, controlled by Mormons, gave women the right to vote. However, in 1887, Congress disenfranchised Utah women with the Edmunds–Tucker Act. In 1867–96, eastern activists promoted women's suffrage in Utah as an experiment, and as a way to eliminate polygamy. They were Presbyterians and other Protestants convinced that Mormonism was a non-Christian cult that grossly mistreated women. The Mormons promoted woman suffrage to counter the negative image of downtrodden Mormon women. With the 1890 Manifesto clearing the way for statehood, in 1895 Utah adopted a constitution restoring the right of women's suffrage. Congress admitted Utah as a state with that constitution in 1896.

 

Though less numerous than other intermountain states at the time, several lynching murders for alleged misdeeds occurred in Utah territory at the hand of vigilantes. Those documented include the following, with their ethnicity or national origin noted in parentheses if it was provided in the source:

 

William Torrington in Carson City (then a part of Utah territory), 1859

Thomas Coleman (Black man) in Salt Lake City, 1866

3 unidentified men at Wahsatch, winter of 1868

A Black man in Uintah, 1869

Charles A. Benson in Logan, 1873

Ah Sing (Chinese man) in Corinne, 1874

Thomas Forrest in St. George, 1880

William Harvey (Black man) in Salt Lake City, 1883

John Murphy in Park City, 1883

George Segal (Japanese man) in Ogden, 1884

Joseph Fisher in Eureka, 1886

Robert Marshall (Black man) in Castle Gate, 1925

Other lynchings in Utah territory include multiple instances of mass murder of Native American children, women, and men by White settlers including the Battle Creek massacre (1849), Provo River Massacre (1850), Nephi massacre (1853), and Circleville Massacre (1866).

 

Beginning in the early 20th century, with the establishment of such national parks as Bryce Canyon National Park and Zion National Park, Utah began to become known for its natural beauty. Southern Utah became a popular filming spot for arid, rugged scenes, and such natural landmarks as Delicate Arch and "the Mittens" of Monument Valley are instantly recognizable to most national residents. During the 1950s, 1960s, and 1970s, with the construction of the Interstate highway system, accessibility to the southern scenic areas was made easier.

 

Beginning in 1939, with the establishment of Alta Ski Area, Utah has become world-renowned for its skiing. The dry, powdery snow of the Wasatch Range is considered some of the best skiing in the world. Salt Lake City won the bid for the 2002 Winter Olympics in 1995, and this has served as a great boost to the economy. The ski resorts have increased in popularity, and many of the Olympic venues scattered across the Wasatch Front continue to be used for sporting events. This also spurred the development of the light-rail system in the Salt Lake Valley, known as TRAX, and the re-construction of the freeway system around the city.

 

During the late 20th century, the state grew quickly. In the 1970s, growth was phenomenal in the suburbs. Sandy was one of the fastest-growing cities in the country at that time, and West Valley City is the state's 2nd most populous city. Today, many areas of Utah are seeing phenomenal growth. Northern Davis, southern and western Salt Lake, Summit, eastern Tooele, Utah, Wasatch, and Washington counties are all growing very quickly. Transportation and urbanization are major issues in politics as development consumes agricultural land and wilderness areas.

 

In 2012, the State of Utah passed the Utah Transfer of Public Lands Act in an attempt to gain control over a substantial portion of federal land in the state from the federal government, based on language in the Utah Enabling Act of 1894. The State does not intend to use force or assert control by limiting access in an attempt to control the disputed lands, but does intend to use a multi-step process of education, negotiation, legislation, and if necessary, litigation as part of its multi-year effort to gain state or private control over the lands after 2014.

 

Utah families, like most Americans everywhere, did their utmost to assist in the war effort. Tires, meat, butter, sugar, fats, oils, coffee, shoes, boots, gasoline, canned fruits, vegetables, and soups were rationed on a national basis. The school day was shortened and bus routes were reduced to limit the number of resources used stateside and increase what could be sent to soldiers.

 

Geneva Steel was built to increase the steel production for America during World War II. President Franklin D. Roosevelt had proposed opening a steel mill in Utah in 1936, but the idea was shelved after a couple of months. After the attack on Pearl Harbor, the United States entered the war and the steel plant was put into progress. In April 1944, Geneva shipped its first order, which consisted of over 600 tons of steel plate. Geneva Steel also brought thousands of job opportunities to Utah. The positions were hard to fill as many of Utah's men were overseas fighting. Women began working, filling 25 percent of the jobs.

 

As a result of Utah's and Geneva Steels contribution during the war, several Liberty Ships were named in honor of Utah including the USS Joseph Smith, USS Brigham Young, USS Provo, and the USS Peter Skene Ogden.

 

One of the sectors of the beachhead of Normandy Landings was codenamed Utah Beach, and the amphibious landings at the beach were undertaken by United States Army troops.

 

It is estimated that 1,450 soldiers from Utah were killed in the war.

This is what I picture in mind when I'm in problems with my girl.

 

Canon 6D + Canon EF 17-40mm F/4

 

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Aircraft History

The transportation of oversized cargo has always been a tremendous problem for logistics planners in government and private industry. The physical limitations of railroad tunnels, narrow roads, low bridges and power lines make overland shipment of such cargo virtually impossible. NASA was particularly vexed by this problem during the early years of America’s space race, when large rocket parts destined for Cape Kennedy had to be shipped by barge through the Panama Canal or Gulf of Mexico. This amounted to a significant investment in time during a period where we had little to spare.

In 1961, California-based Aero Spaceline Industries solved this problem when it introduced the first Guppy aircraft. Built from a heavily modified KC-97 Stratotanker, the Pregnant Guppy featured the largest cargo compartment of any aircraft ever built. At just over 19’ in diameter, this massive cavity was specifically designed to carry the second stage of a Saturn rocket for the Apollo program. Because of the Pregnant Guppy, NASA was able to deliver crucial oversized cargo to the Cape in eighteen hours as opposed to 18 to 25 days aboard a barge. To say that this amazing aircraft helped America win the space race would be an understatement!

The program was so successful that ASI followed up with an even larger version of the aircraft in 1965. Dubbed the Super Guppy, it was equipped with a 25’ diameter cargo bay, more powerful engines, a pressurized cockpit, and a hinged nose for easier loading of cargo. ASI continued to own and operate the aircraft until 1979, when NASA purchased the aircraft from them. During its illustrious 32 years of service, the original Super Guppy flew over three million miles in support of NASA’s Apollo, Gemini, Skylab, and the International Space Station programs.

The Super Guppy Turbine is the last generation of Guppy aircraft ever produced and only four were ever made. The most important difference between it and its predecessor was the upgrade to more reliable and readily available Allison T-56 turboprops. Operated by Airbus Industries after they were purchased from ASI, the SGTs were used to ferry large A300 fuselage sections throughout Europe during the 70’s, 80’s, and 90’s. When Airbus retired its fleet to museums in 1997, NASA was able to acquire SGT number 4 to replace the aging Super Guppy under an International Space Station barter agreement with the European Space Alliance.

NASA’s Super Guppy Turbine continues to support America’s space program today, but with its unique capabilities it has attracted the attention of other government entities as well. In recent years, the Guppy has been working with the Department of Defense and government contractors to move aircraft and large components around the continent, including T-38s for the Air Force and V-22s for the Navy. Although much of the glory of America’s space program may be behind it, the Super Guppy continues to be one of the only practical options for oversized cargo and stands ready to encompass a bigger role in the future. ( History courtsey of Johnson Space Center)

Troubleshooting the FakMatic 35mm to 126 adapter. One of the pitfalls (or perks if you like) is overlapping frames. In this case I did what I advise against...testing a camera at a family function.

 

Thanksgiving 2017

Kodak X-15F Instamatic Camera

Svema Color film

FakMatic 35mm to 126 Adapter

Home processed / Epson v700 scan

Madrid, España

Downtown drug problems

I’ve got a problem. You see, about five or six years ago, I discovered the fantastically weird world of the Super Furry Animals, led by Gruff Rhys and I can’t get his songs out of my head. It was spring in the year 2000 and everywhere, things were starting to grow again. I found Mwng first while on the streets of NYC. I read in a mag that it was one of the only albums being released completely in Welsh. Intrigued, I picked this up and loved the sweet melodies the likes of I had never heard before. It didn’t sound like anything being created in North America or anywhere else for that matter.

 

I immediately fell in love and it was deep but it was about to get worse because soon after picking this one up, Rings Around the World (2001) came out. It felt more rock and psych influenced and immediately filled me with happiness. I had picked up the dvd edition so I was able to enjoy all my favorite songs on video like “Juxtapozed with U” where a giant microphone dances around with a video camera. If hostile aliens were about to attack Earth and I could only choose one song to play them in order to convince them to halt, I think I’d probably play this one. I don’t know how anyone could destroy such a place while a person like Gruff was living on it.

 

Weirdest of all in the video collection was “Receptacle for the Respectable” with it’s twisted and strange animation. It was almost like Wales was its own world the way Gruff thought. Probably the other song that changed me is “It’s Not the End of the World?” It gets stuck in my head at the most random moments and makes me smile sometimes even when that’s the last thing I feel like doing. My love grew again even more while listening to Phantom Power two years later in 2003. Gruff was clearly a man who could rock out with “Golden Retriever” and be gentle again with “Piccolo Snare” as well as “Venus and Serena.”

 

But nothing in heaven and Earth could prepare me for the intensity of love I’d feel after listening to 2005’s Love Kraft There are some days when I put it on in the morning and can listen to nothing else. I’ve listened to “Zoom!” on repeat for several hours. If time is a landscape, then in the desert of my days, the music has been played loud and has influenced every cell of my body to become a fan of this band as well.

 

Now, I should mention that I do like the newest one Hey Venus! even if I am not experiencing the same passion with it that I did for Love Kraft. I love the psych rock of “Into the Night” and “Baby Ate my Eightball” especially. But what I really wanted to talk about is Gruff.

 

Do you know the feeling you get when you just love music so much and you literally fall in love with songs, lyrics, melody lines. It’s like everything in this whole world could be obliterated but as long as the songs were there, you could drift along in the wasteland that was left and play it to the dead rocks and the tainted seas. It’s like, people weren’t born before this music because how could they have survived without it’s creation? Or, on the first through 7th days God created the Earth and all that other stuff but somewhere down the line, he created music and musicians and Gruff Rhys and there was much rejoicing.

 

Perhaps I’m going a little overboard. I’ve always been slightly over the top and melodramatic. It’s my way. When I love something, I really love it. When I dislike something, I really hate it. That’s simplified but you get the idea. Anyhow, I’m always afraid that the people behind the music are going to be snotty or full of themselves or just aloof. Then, you worry you won’t be able to connect with the music anymore on an emotional level because you’ll be thinking about how bad the interaction went.

 

But Gruff isn’t any of those things. He’s sweet and charming and even though he’s very much a man, he’s pretty much downright adorable. Nine times out of ten, I would rather take photos of a woman than a man. The tenth time, the man is Gruff.

 

I’ve always had a theory about concert photographers. There are alot of us and as the years have gone by, I’ve met more and more. They usually vary between fans of the music and people who are just doing this because they are paid to do it. But, my feeling is that if you aren’t connecting with the music, it will show. As for me, with a couple of exceptions, most of the photos I take are for bands I really love. I’ve done a couple of favors here and there but I’d say a huge percentage of the bands I take photos of, I am there on purpose.

 

That said, I am done with my brief (yes, brief!) autobiography of my love affair with the music of The Super Furry Animals. There are few bands that if I could I would follow around the world. Caribou is one as well as A Silver Mt. Zion. Super Furry Animals is definitely another, because they are one of the best bands of our time and undoubtedly put on one of the most thrilling live performances I’ve ever seen. So, I hope you enjoy these photos and hopefully it shows how much I love the Super Furry Animals.

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.

Last weekend we visited Pebbel in her new home. After two months she has settled in her new environment, picking up old routines and building new ones. The new apartment and a dedicated Human seem to give her all she was looking for, a comfortable life away from other cats.

 

The peeing problem that forced us to re-home her, has stopped immediately. In our house she used to spray the hoods of all six litter trays that we had. In her new home she behaves the way a well-balanced cat should behave.

 

We were glad that she didn't curl up on our laps when we visited her. That made it a lot easier to leave her again at the end of the afternoon. We got the confirmation that she's fine there, and we'll be able to keep in touch through the WhatsApp messages we receive every week. Back home, the remaining cats seem to have more breathing space now that Pebbel is out of the picture, and they curl up on our laps more often. All's well that ends well.

Maybe there is someone lucky out there

 

Maybe there is someone stupid out there

 

BUT

 

im sure that there is someone learn his lesson

Hasselblad 500 C/M

Carl Zeiss Sonnar 150mm f/4 T

Fuji Neopan Acros 100

 

Drain the swamp, dam the lake, kill the rivers.

 

The nutrient rich organic muck soils around Lake Okeechobee are known locally as "black gold." This is the stuff that fuels the sugarcane industry.

 

But all that sweetness comes at a price.

 

The drainage of the sawgrass swamp to convert it into farmland has overloaded the Lake Okeechobee ecosystem with excess nitrogen and phosphorus; and the dried-out organic soil is disappearing fast due to subsidence, wildfires and oxidation.

 

When water is discharged from the lake to control flooding, the gates that release water open from the bottom, and the accumulated, polluted muck sediments are wreaking havoc in local estuaries.

 

Fixing the problem involves jump-starting backlogged Everglades restoration projects that would store and clean up stormwater; redirecting more of it to the Everglades instead of out to sea. But those multibillion-dollar efforts come at a steep cost to taxpayers and will take decades to complete.

Been working on a spring swing coat for Skipper. There were many problems to fix including this shoulder seam problem. Once side matched up perfectly the first time. I had to do the second sleeve over twice to get it to line up.

 

more pics to follow of Skipper's new coat

Central coast, Peru.

 

Museum Fünf Kontinente, Munich.

 

There's a chronological problem with the dating of this figurine. It revolves around the beads.

 

Before addressing the problem, it's necessary to examine the exhibit. It consists of a clay figurine of a woman, a beaded ear decoration and one or more strings of beads around the figurine's neck and over her shoulders.

 

The beads in ear decoration are quite likely made from the shells of Spondylus, or thorny oyster. While Spondylus beads can be white and pink, they're frequently the reddish-orange shade seen here.

 

"Spondylus is a bivalve mollusk found in warmer waters in Ecuador and along the most northern coast of Peru . . . However, Spondylus shell beads found on the Central Coast of Peru must have arrived there through exchange networks since the shells were only sourced further north. They were traded before the arrival of the Spanish." *

 

The necklace is the focus of this discussion. The overwhelming percentage of the beads are light brown. It's likely they're made from marine shell, possibly even Spondylus.

 

However, there are five blue beads interspersed among the light brown beads. They are chevron beads made in Europe.

 

"Chevron beads are complex multi colored beads with a pattern of blue, white and red. Chevron beads were found throughout Peru but were not endogenous to the region. These beads were manufactured in Venice and can be dated by the distinct colors and number of layers." *

 

The reason the museum label gives the year 1450 as the latest date when the figurine could have been manufactured is because the Inca are reported to have conquered the Chancay polity in that year.

 

Let's assume the beads in the necklace were around the figurine's neck when it was discovered and that the objects were undisturbed. If that's correct, the figurine could not have been made before the third decade of the sixteenth century.

 

Francisco Pizarro captured the Inca emperor in 1532. An influx of Spaniards entered the territory of today's Peru shortly thereafter. They brought with them objects of European material culture, including chevron beads.

 

If the figurine was made after 1532, it suggests that traditional cultural practices persisted in some form after the arrival of the Spaniards in the early sixteenth century. Either the people who made the figurine managed to evade the Spaniards' campaign against "idolatries," or the campaign had not yet reached the former Chancay culture area when these objects were assembled.

========================================================

*Source of quoted material about beads:

 

"Tracing Sixteenth Century Beads in South America to Understand Their Impact on Indigenous Ritual Practices and Material Culture at the Time of the Spanish Conquest."

 

Kristi May Feinzig

 

A Thesis in the Field of Anthropology and Archaeology for the Degree of Master of Liberal Arts in Extension Studies

 

Harvard University

March 2017

 

During its sojourn at Bressingham, July 15th 1978

 

"The engine was completed at Crewe in May 1951 at a cost of £20,115 and entered service at Norwich Thorpe depot.

 

Whilst based at Norwich 70013 was a regular performer on the Broadsman, Norfolkman and East Anglian, the latter being a business train augmented in 1937 which was given a new timetable for the summer of 1951, although the journey times were only trimmed by five minutes. 70013 Oliver Cromwell was not without its problems in running, but this was no more than the average Britannia which were worked hard and gave good service and availability on the Great Eastern express passenger services.

 

During 1957, it was found that the drive wheels of 70013 had moved in relation to each other; this was caused by the square locking keys, which held the drive wheels in the correct position, being moved and pushed out (ie forced out) resulting in major work being undertaken at Doncaster Works. Towards the latter part of 1960, a substantial crack was noted within the mainframe and this, of course, required immediate remedial treatment, again by Doncaster Works. Only a relative short time later a problem occurred within one of the cylinders; on close inspection it was found that the inner lining had shifted and blocked off the oil supply causing a compression ring failure and consequent lack of power, however this defect occurred four times before actual replacement of the offending cylinder was actioned by Doncaster Works, a delay doubtless caused by austerity measures.

 

From 1958, diesel-electric locomotives began to replace steam locomotives and by 1961, the influx of new diesel locomotives had taken over many express duties in East Anglia which led to the Britannia class engines working many different trains away from their normal trips to Norwich. Consequently the class was reallocated away from Norwich Thorpe depot to March shed.

 

This locomotive hauled the last BR steam passenger train over Shap on 26th December 1967. The train carried returning Carlisle football supporters back from a match at Blackpool.

 

70013 was selected by British Railways to haul a number of special trains throughout 1968. In fact, it was in charge of 16 such trains before it was finally withdrawn from service.

 

Because of this it had been the last main line engine to receive a repair at Crewe, emerging from the Works on the 2nd February 1967 after a prolonged an expensive overhaul (The overhaul which started in November 1966 was deliberately slowed down to ensure that it was the last locomotive to leave Crewe Works). WD Austerity 2-8-0 90281 did return to Crewe Works on 23rd February to have a faulty regulator valve repaired but 70013 has returned twice to Crewe since being overhauled there. It is interesting to note that of the last fifteen locomotives outshopped from Crewe Works seven were 2-8-0 Austerities, four 4-6-0 Black Fives, two 4-6-2 Britanias (the other was 70014 Iron Duke) and two 2-10-0 standard locomotives. Of the fifteen only two have been preserved – 70013 and Standard 2-10-0 92203.

 

70013 returned to the works in June 1968 for a paint touch up. The second time it returned was in July 1968 to have its front buffer beam straightened after a rough shunt.

 

Following 70013’s overhaul at Crewe the locomotive was based at Crewe South depot for a week whilst it was run in on parcel train duties between Crewe and its home base of Carlisle. It then returned to its Carlisle Kingsmoor shed from where, following the withdrawal of the last of its class stablemates, it moved to Carnforth in January 1968.

 

Following this a grand total of 16 Railtours were organised including the infamous ’15 Guinea Special’ on the 11th August 1968, which involved Britannia 70013 ‘Oliver Cromwell’ hauling the train from Manchester to Carlisle, with other legs of the special’s itinerary shared by three ‘Black Fives’, 45110, 44871 and 44781.

 

It was withdrawn from service in August 1968 after hauling the Manchester to Carlisle leg of the Fifteen Guinea Special on 11th August. On the 12th August the engine moved under its own power from Carnforth to Norwich and then on to Diss the following day. After this it moved by road to the Bressingham Steam Museum.

 

Oliver Cromwell had been selected for preservation by the National Railway Museum as part of the National Collection but because of limited storage space an offer from Alan Bloom to house the locomotive at his Bressingham Steam Museum was accepted.

 

At Bressingham Steam Museum at Diss it provided footplate rides until the 1980s when it became a static exhibit. Following a very long dispute (about ten years) between Bressingham and the National Railway Museum the long term agreement to loan the engine to Bressingham was terminated and the locomotive left on 21st May 2004, travelling by road to York. It had spent nearly 36 years at Bressingham, compared with a main line working life of 17 years.

 

70013 was a star turn as a static exhibit at the very successful Railfest held at York before it was moved by road to Loughborough later that summer in line with the agreement concluded with the National Railway Museum that the locomotive should be restored to main line running standard by 2008 for the 40th anniversary of the end of steam.

 

The locomotive was overhauled at the Great Central Railway (GCR) to mainline standards which included the fitting of the train protection warning system, overhaul of 70013’s automatic warning system and the fitment of OTMR.

 

In early May 2008 it hauled its first revenue-earning passenger services since being restored on the GCR’s eight-mile route. The locomotive made an appearance at the National Railway Museum’s 1968 and All That event celebrating 40 years since the end of steam.

 

Its first mainline passenger charter since 1968 was on 10 August 2008 when the locomotive took part in a re-run of the Fifteen Guinea Special. It then went on to operate on the Scarborough Spa Express later in the month.

 

On 14 March 2009 Oliver Cromwell hauled a special on what was said to be the very last train (of any sort) to use the branch line down to Folkestone Harbour, where main line trains used to meet with cross channel ferries.

 

In March 2010 returned to Crewe for the first time since 1968 to work on the main line over Shap.

 

A month later, two years after its previous overhaul, Oliver Cromwell suffered from cracks in the firebox and was moved to the GCR for an inspection which lead to the locomotive being withdrawn from service.

 

During 2010, 70013 Oliver Cromwell underwent firebox repairs at Crewe Heritage Centre. The cab was removed before the rest of the locomotive was sent for repairs to the boiler. Following these repairs, in December 2010 the locomotive had a successful steam test at Crewe.

 

On 27 May 2012 the locomotive was involved in a blowback incident near Wood Green in North London on a Railway Touring Company railtour called ‘The Peak Forester’. Two of the three crew on board the locomotive had to attend hospital as a result. See Accidents and Incidents for full details.

 

In August 2013 70013 worked another Fifteen Guinea Special to celebrate the 45th Anniversary of the ending of steam on British Railways. 70013 was in charge of the Longsight to Carlisle leg of the special with the other legs being worked by LMS Black 5s numbers 45305, 45231 and 44932.

 

In early 2015 it was taken out of service as it needed repairs which were completed to allow 70013 to return to steam in August 2016.

 

Early in 2017 was out of service whilst its superheater elements were replaced at Loughborough. This is fifty years after its last overhaul under BR ownership at Crewe.

 

After returning to service on the Great Central Railway 70013 was back on the main line at the start of September 2017. It will be operational until March 2018 when the boiler certificate expires but was hoped that this would be extended.

 

In early 2018 agreement was reached between the National Railway Museum and the 5305 Locomotive Association which left the locomotive custodianship of 70013 with the Loughborough based group. The 5305 Locomotive Association will carry out another overhaul of the locomotive which will enable it to run on the main line again.

 

In March 2018, whilst hauling its last main line train before the boiler certificate expires, the locomotive suffered a hot big end. Having melted the whitemetal in the big end and adjoining coupling rod bearings took the train into Norwich at a reduced speed with the power being provided by a diesel on the rear.

 

The overhaul is scheduled to be undertaken during 2019 and will largely concentrate on the boiler as the bottom end has received considerable attention during the previous operating period.

 

In March 2018 the boiler inspector gave the boiler a clean bill of health during a cold examination. It was anticipated that this would be followed by a fully functional steam test later that month which would enable the boiler certificate to be extended by nine months. This would enable the locomotive to operate until the end of 2018 but only on heritage lines as it requires a full re-tubing before being allowed onto the national network.

 

The boiler certificate expired at the end of December 2018.

 

When the locomotive was taken out of service at the end of 2018 plans for its overhaul had not been agreed by the National Railway Museum although they did state that they planned that it continued to operate on the main line.

 

In January 2019 the National Railway Museum disclosed that the forty year agreement with the 5305 Locomotive Association would not be extended although the locomotive is likely to remain based on the Great Central Railway at Loughborough.

 

In March 2019 it was reported that the continued operation of the locomotive was in an agreement that was close to being completed by the National Railway Museum with the Great Central Railway. The National Railway Museum also emphasised that they wanted the locomotive to run on the main line.

 

Also in March 2019 work began at Loughborough to strip the locomotive down although at this stage the National Railway Museum were said to be unaware that work had started on the overhaul.

 

The overhaul will include a boiler overhaul which will involve a re-tubing in order to recertify the locomotive for preservation and main line running.

 

In July 2019 it was announced that an agreement had been concluded between the National Railway Museum and the Great Central Railway (GCR). The agreement provided for the locomotive to be based at the GCR until the end of 2021. Under the terms of the agreement the GCR will submit plans to overhaul the locomotive. Once the overhaul has been completed a second loan agreement will be confirmed to cover the operation of the locomotive.

 

By December 2019 the frames were placed back onto its wheels – just five months after being lifted off.

 

In November 2021 it was reported that the boiler had been sent to Tyseley for Overhaul in the previous month."

 

source: preservedbritishsteamlocomotives.com/70013-oliver-cromwell/

If your sexual fetishes are problematic there are possible solutions.

* I am a 31-year-old male with a fetish for very hairy women.

* I have a humiliating problem. I am a 28-year-old woman who still sucks her thumb. What’s worse, is I fantasize about being babied by a lactating woman.

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howdoidate.com/sex/sexual-fetishes-can-create-problems-so...

Manet never painted Rrose.

 

Édouard Manet suffered from advanced syphilis, which caused severe health problems, particularly in the last decade of his life. The disease led to painful neurological complications like tabes dorsalis (locomotor ataxia), resulting in progressive paralysis, difficulty walking, and excruciating pain. His condition ultimately required the amputation of his left foot in 1883 and led to his death shortly after.

 

Neurological impact: Manet experienced symptoms consistent with tabes dorsalis, a neurological complication of tertiary syphilis. These included severe shooting pains in his legs and difficulty coordinating muscle groups, leading to an unsteady gait.

 

Progression of illness: His health deteriorated in his mid-forties, with the ataxia becoming increasingly severe, leaving him "almost glued to his chair" by 1882.

 

Treatments: Manet underwent various treatments, such as hydrotherapy and spa cures, and was given drugs like mercury, bromides, and laudanum. These were largely ineffective for his underlying condition.

 

Final years: In 1883, gangrene set in, and his left foot was amputated. He died 11 days later from complications related to his illness.

 

Artistic influence: Despite his physical decline, Manet continued to work. Some art historians suggest his illness may have influenced his later, looser brushwork and style.

 

This is part of what I want to write and make images about. What happens when a disease, or any force, seeks to express itself through its host, might we end up with a museum full of Manets, or a book called 'Finnegans Wake', even?

 

Both, of course, adding profound value to the description of their time. What drives these wondrous outbursts? Are the 'inconveniences' worth the price of admission?

 

I know what I think.

US Independence Day 2015

 

Benjamin Franklin Parkway

Philadelphia, Pennsylvania

 

but designs AIN'T one!!

And the Evobus rep and customer services staff headed straight towards BJ16KXL a Mercedes Benz Tourismo C48FT that had been delivered THIS MORNING....Photo taken Corley services 15/06/16

Covent Garden (/ˈkɒvənt/) is a district in London on the eastern fringes of the West End, between St. Martin's Lane and Drury Lane. It is associated with the former fruit and vegetable market in the central square, now a popular shopping and tourist site, and the Royal Opera House, which is also known as "Covent Garden". The district is divided by the main thoroughfare of Long Acre, north of which is given over to independent shops centred on Neal's Yard and Seven Dials, while the south contains the central square with its street performers and most of the elegant buildings, theatres and entertainment facilities, including the Theatre Royal, Drury Lane, and the London Transport Museum.

 

Though mainly fields until the 16th century, the area was briefly settled when it became the heart of the Anglo-Saxon trading town of Lundenwic. After the town was abandoned, part of the area was walled off by 1200 for use as arable land and orchards by Westminster Abbey, and was referred to as "the garden of the Abbey and Convent". The land, now called "the Covent Garden", was seized by Henry VIII, and granted to the Earls of Bedford in 1552. The 4th Earl commissioned Inigo Jones to build some fine houses to attract wealthy tenants. Jones designed the Italianate arcaded square along with the church of St Paul's. The design of the square was new to London, and had a significant influence on modern town planning, acting as the prototype for the laying-out of new estates as London grew. A small open-air fruit and vegetable market had developed on the south side of the fashionable square by 1654. Gradually, both the market and the surrounding area fell into disrepute, as taverns, theatres, coffee-houses and brothels opened up; the gentry moved away, and rakes, wits and playwrights moved in. By the 18th century it had become a well-known red-light district, attracting notable prostitutes. An Act of Parliament was drawn up to control the area, and Charles Fowler's neo-classical building was erected in 1830 to cover and help organise the market. The area declined as a pleasure-ground as the market grew and further buildings were added: the Floral Hall, Charter Market, and in 1904 the Jubilee Market. By the end of the 1960s traffic congestion was causing problems, and in 1974 the market relocated to the New Covent Garden Market about three miles (5 km) south-west at Nine Elms. The central building re-opened as a shopping centre in 1980, and is now a tourist location containing cafes, pubs, small shops, and a craft market called the Apple Market, along with another market held in the Jubilee Hall.

 

Covent Garden, with the postcode WC2, falls within the London boroughs of Westminster and Camden, and the parliamentary constituencies of Cities of London and Westminster and Holborn and St Pancras. The area has been served by the Piccadilly line at Covent Garden tube station since 1907; the journey from Leicester Square, at 300 yards, is the shortest in London.

 

Early history

 

The route of the Strand on the southern boundary of what was to become Covent Garden was used during the Roman period as part of a route to Silchester, known as "Iter VII" on the Antonine Itinerary. Excavations in 2006 at St Martin-in-the-Fields revealed a Roman grave, suggesting the site had sacred significance. The area to the north of the Strand was long thought to have remained as unsettled fields until the 16th century, but theories by Alan Vince and Martin Biddle that there had been an Anglo-Saxon settlement to the west of the old Roman town of Londinium were borne out by excavations in 1985 and 2005. These revealed Covent Garden as the centre of a trading town called Lundenwic, developed around 600 AD, which stretched from Trafalgar Square to Aldwych. Alfred the Great gradually shifted the settlement into the old Roman town of Londinium from around 886 AD onwards, leaving no mark of the old town, and the site returned to fields.

 

Around 1200 the first mention of an abbey garden appears in a document mentioning a walled garden owned by the Benedictine monks of the Abbey of St. Peter, Westminster. A later document, dated between 1250 and 1283, refers to "the garden of the Abbot and Convent of Westminster". By the 13th century this had become a 40-acre (16 ha) quadrangle of mixed orchard, meadow, pasture and arable land, lying between modern-day St. Martin's Lane and Drury Lane, and Floral Street and Maiden Lane. The use of the name "Covent"—an Anglo-French term for a religious community, equivalent to "monastery" or "convent" —appears in a document in 1515, when the Abbey, which had been letting out parcels of land along the north side of the Strand for inns and market gardens, granted a lease of the walled garden, referring to it as "a garden called Covent Garden". This is how it was recorded from then on.

 

The Bedford Estate (1552–1918)

 

After the Dissolution of the Monasteries in 1540, Henry VIII took for himself the land belonging to Westminster Abbey, including the convent garden and seven acres to the north called Long Acre; and in 1552 his son, Edward VI, granted it to John Russell, 1st Earl of Bedford. The Russell family, who in 1694 were advanced in their peerage from Earl to Duke of Bedford, held the land from 1552 to 1918.

 

Russell had Bedford House and garden built on part of the land, with an entrance on the Strand, the large garden stretching back along the south side of the old walled-off convent garden. Apart from this, and allowing several poor-quality tenements to be erected, the Russells did little with the land until the 4th Earl of Bedford, Francis Russell, an active and ambitious businessman, commissioned Inigo Jones in 1630 to design and build a church and three terraces of fine houses around a large square or piazza. The commission had been prompted by Charles I taking offence at the condition of the road and houses along Long Acre, which were the responsibility of Russell and Henry Carey, 2nd Earl of Monmouth. Russell and Carey complained that under the 1625 Proclamation concerning Buildings, which restricted building in and around London, they could not build new houses; the King then granted Russell, for a fee of £2,000, a licence to build as many new houses on his land as he "shall thinke fitt and convenient". The church of St Paul's was the first building, begun in July 1631 on the western side of the square. The last house was completed in 1637.

 

The houses initially attracted the wealthy, though when a market developed on the south side of the square around 1654, the aristocracy moved out and coffee houses, taverns, and prostitutes moved in. The Bedford Estate was expanded in 1669 to include Bloomsbury, when Lord Russell married Lady Rachel Vaughan, one of the daughters of the 4th Earl of Southampton.

 

By the 18th century, Covent Garden had become a well-known red-light district, attracting notable prostitutes such as Betty Careless and Jane Douglas. Descriptions of the prostitutes and where to find them were provided by Harris's List of Covent Garden Ladies, the "essential guide and accessory for any serious gentleman of pleasure". In 1830 a market hall was built to provide a more permanent trading centre. In 1913, Herbrand Russell, 11th Duke of Bedford agreed to sell the Covent Garden Estate for £2 million to the MP and land speculator Harry Mallaby-Deeley, who sold his option in 1918 to the Beecham family for £250,000.

 

Modern changes

 

Charles Fowler's 1830 neo-classical building restored as a retail market.

The Covent Garden Estate was part of Beecham Estates and Pills Limited from 1924 to 1928, after which time it was managed by a successor company called Covent Garden Properties Company Limited, owned by the Beechams and other private investors. This new company sold some properties at Covent Garden, while becoming active in property investment in other parts of London. In 1962 the bulk of the remaining properties in the Covent Garden area, including the market, were sold to the newly established government-owned Covent Garden Authority for £3,925,000.

 

By the end of the 1960s, traffic congestion had reached such a level that the use of the square as a modern wholesale distribution market was becoming unsustainable, and significant redevelopment was planned. Following a public outcry, buildings around the square were protected in 1973, preventing redevelopment. The following year the market moved to a new site in south-west London. The square languished until its central building re-opened as a shopping centre in 1980. An action plan was drawn up by Westminster Council in 2004 in consultation with residents and businesses to improve the area while retaining its historic character. The market buildings, along with several other properties in Covent Garden, were bought by a property company in 2006.

 

Geography

 

Historically, the Bedford Estate defined the boundary of Covent Garden, with Drury Lane to the east, the Strand to the south, St. Martin's Lane to the west, and Long Acre to the north. However, over time the area has expanded northwards past Long Acre to High Holborn, and since 1971, with the creation of the Covent Garden Conservation Area which incorporated part of the area between St Martins Lane and Charring Cross Road, the Western boundary is sometimes considered to be Charring Cross Road. Shelton Street, running parallel to the north of Long Acre, marks the London borough boundary between Camden and Westminster. Long Acre is the main thoroughfare, running north-east from St Martin's Lane to Drury Lane.

 

The area to the south of Long Acre contains the Royal Opera House, the market and central square, and most of the elegant buildings, theatres and entertainment facilities, including the Theatre Royal, Drury Lane, and the London Transport Museum; while the area to the north of Long Acre is largely given over to independent retail units centred on Neal Street, Neal's Yard and Seven Dials; though this area also contains residential buildings such as Odhams Walk, built in 1981 on the site of the Odhams print works, and is home to over 6,000 residents.

 

Governance

The Covent Garden estate was originally under the control of Westminster Abbey and lay in the parish of St Margaret. During a reorganisation in 1542 it was transferred to St Martin in the Fields, and then in 1645 a new parish was created, splitting governance of the estate between the parishes of St Paul Covent Garden and St Martin, both still within the Liberty of Westminster. St Paul Covent Garden was completely surrounded by the parish of St Martin in the Fields. It was grouped into the Strand District in 1855 when it came within the area of responsibility of the Metropolitan Board of Works.

 

In 1889 the parish became part of the County of London and in 1900 it became part of the Metropolitan Borough of Westminster. It was abolished as a civil parish in 1922. Since 1965 Covent Garden falls within the London boroughs of Westminster and Camden, and is in the Parliamentary constituencies of Cities of London and Westminster and Holborn and St Pancras. For local council elections it falls within the St James's ward for Westminster, and the Holborn and Covent Garden ward for Camden.

 

Economy

 

The area's historic association with the retail and entertainment economy continues. In 1979, Covent Garden Market reopened as a retail centre; in 2010, the largest Apple Store in the world opened in The Piazza. The central hall has shops, cafes and bars alongside the Apple Market stalls selling antiques, jewellery, clothing and gifts; there are additional casual stalls in the Jubilee Hall Market on the south side of the square. Long Acre has a range of clothes shops and boutiques, and Neal Street is noted for its large number of shoe shops. London Transport Museum and the side entrance to the Royal Opera House box office and other facilities are also located on the square. During the late 1970s and 1980s the Rock Garden music venue was popular with up and coming punk rock and New Wave artists.

 

The market halls and several other buildings in Covent Garden were bought by CapCo in partnership with GE Real Estate in August 2006 for £421 million, on a 150-year head lease. The buildings are let to the Covent Garden Area Trust, who pay an annual peppercorn rent of one red apple and a posy of flowers for each head lease, and the Trust protects the property from being redeveloped. In March 2007 CapCo also acquired the shops located under the Royal Opera House. The complete Covent Garden Estate owned by CapCo consists of 550,000 sq ft (51,000 m2), and has a market value of £650 million.

 

Landmarks

 

The Royal Opera House, often referred to as simply "Covent Garden", was constructed as the "Theatre Royal" in 1732 to a design by Edward Shepherd. During the first hundred years or so of its history, the theatre was primarily a playhouse, with the Letters Patent granted by Charles II giving Covent Garden and Theatre Royal, Drury Lane exclusive rights to present spoken drama in London. In 1734, the first ballet was presented; a year later Handel's first season of operas began. Many of his operas and oratorios were specifically written for Covent Garden and had their premières here. It has been the home of The Royal Opera since 1945, and the Royal Ballet since 1946.

 

The current building is the third theatre on the site following destructive fires in 1808 and 1857. The façade, foyer and auditorium were designed by Edward Barry, and date from 1858, but almost every other element of the present complex dates from an extensive £178 million reconstruction in the 1990s. The Royal Opera House seats 2,268 people and consists of four tiers of boxes and balconies and the amphitheatre gallery. The stage performance area is roughly 15 metres square. The main auditorium is a Grade 1 listed building. The inclusion of the adjacent old Floral Hall, previously a part of the old Covent Garden Market, created a new and extensive public gathering place. In 1779 the pavement outside the playhouse was the scene of the murder of Martha Ray, mistress of the Earl of Sandwich, by her admirer the Rev. James Hackman.

 

Covent Garden square

 

Balthazar Nebot's 1737 painting of the square before the 1830 market hall was constructed.

The central square in Covent Garden is simply called "Covent Garden", often marketed as "Covent Garden Piazza" to distinguish it from the eponymous surrounding area. Laid out in 1630, it was the first modern square in London, and was originally a flat, open space or piazza with low railings. A casual market started on the south side, and by 1830 the present market hall was built. The space is popular with street performers, who audition with the site's owners for an allocated slot. The square was originally laid out when the 4th Earl of Bedford, Francis Russell, commissioned Inigo Jones to design and build a church and three terraces of fine houses around the site of a former walled garden belonging to Westminster Abbey. Jones's design was informed by his knowledge of modern town planning in Europe, particularly Piazza d'Arme, in Leghorn, Tuscany, Piazza San Marco in Venice, Piazza Santissima Annunziata in Florence, and the Place des Vosges in Paris. The centrepiece of the project was the large square, the concept of which was new to London, and this had a significant influence on modern town planning in the city,[56] acting as the prototype for the laying-out of new estates as the metropolis grew. Isaac de Caus, the French Huguenot architect, designed the individual houses under Jones's overall design.

 

The church of St Paul's was the first building, and was begun in July 1631 on the western side of the square. The last house was completed in 1637. Seventeen of the houses had arcaded portico walks organised in groups of four and six either side of James Street on the north side, and three and four either side of Russell Street. These arcades, rather than the square itself, took the name Piazza; the group from James Street to Russell Street became known as the "Great Piazza" and that to the south of Russell Street as the "Little Piazza". None of Inigo Jones's houses remain, though part of the north group was reconstructed in 1877–79 as Bedford Chambers by William Cubitt to a design by Henry Clutton.

 

Covent Garden market

 

The first record of a "new market in Covent Garden" is in 1654 when market traders set up stalls against the garden wall of Bedford House. The Earl of Bedford acquired a private charter from Charles II in 1670 for a fruit and vegetable market, permitting him and his heirs to hold a market every day except Sundays and Christmas Day. The original market, consisting of wooden stalls and sheds, became disorganised and disorderly, and the 6th Earl requested an Act of Parliament in 1813 to regulate it, then commissioned Charles Fowler in 1830 to design the neo-classical market building that is the heart of Covent Garden today. The contractor was William Cubitt and Company. Further buildings were added—the Floral hall, Charter Market, and in 1904 the Jubilee Market for foreign flowers was built by Cubitt and Howard.

 

By the end of the 1960s, traffic congestion was causing problems for the market, which required increasingly large lorries for deliveries and distribution. Redevelopment was considered, but protests from the Covent Garden Community Association in 1973 prompted the Home Secretary, Robert Carr, to give dozens of buildings around the square listed-building status, preventing redevelopment. The following year the market relocated to its new site, New Covent Garden Market, about three miles (5 km) south-west at Nine Elms. The central building re-opened as a shopping centre in 1980, with cafes, pubs, small shops and a craft market called the Apple Market. Another market, the Jubilee Market, is held in the Jubilee Hall on the south side of the square. The market halls and several other buildings in Covent Garden have been owned by the property company Capital & Counties Properties (CapCo) since 2006.

 

Theatre Royal, Drury Lane

 

The current Theatre Royal on Drury Lane is the most recent of four incarnations, the Second of which opened in 1663, making it the oldest continuously used theatre in London. For much of its first two centuries, it was, along with the Royal Opera House, a patent theatre granted rights in London for the production of drama, and had a claim to be one of London's leading theatres. The first theatre, known as "Theatre Royal, Bridges Street", saw performances by Nell Gwyn and Charles Hart. After it was destroyed by fire in 1672, English dramatist and theatre manager Thomas Killigrew engaged Christopher Wren to build a larger theatre on the same spot, which opened in 1674. This building lasted nearly 120 years, under leadership including Colley Cibber, David Garrick, and Richard Brinsley Sheridan. In 1791, under Sheridan's management, the building was demolished to make way for a larger theatre which opened in 1794; but that survived only 15 years, burning down in 1809. The building that stands today opened in 1812. It has been home to actors as diverse as Shakespearean actor Edmund Kean, child actress Clara Fisher, comedian Dan Leno, the comedy troupe Monty Python (who recorded a concert album there), and musical composer and performer Ivor Novello. Since November 2008 the theatre has been owned by composer Andrew Lloyd Webber and generally stages popular musical theatre. It is a Grade I listed building.

 

London Transport Museum

 

The London Transport Museum is in a Victorian iron and glass building on the east side of the market square. It was designed as a dedicated flower market by William Rogers of William Cubitt and Company in 1871, and was first occupied by the museum in 1980. Previously the transport collection had been held at Syon Park and Clapham. The first parts of the collection were brought together at the beginning of the 20th century by the London General Omnibus Company (LGOC) when it began to preserve buses being retired from service. After the LGOC was taken over by the London Electric Railway (LER), the collection was expanded to include rail vehicles. It continued to expand after the LER became part of the London Passenger Transport Board in the 1930s and as the organisation passed through various successor bodies up to TfL, London's transport authority since 2000. The Covent Garden building has on display many examples of buses, trams, trolleybuses and rail vehicles from 19th and 20th centuries as well as artefacts and exhibits related to the operation and marketing of passenger services and the impact that the developing transport network has had on the city and its population.

 

St Paul's Church

 

St Paul's, commonly known as the Actors' Church, was designed by Inigo Jones as part of a commission by Francis Russell in 1631 to create "houses and buildings fitt for the habitacons of Gentlemen and men of ability". Work on the church began that year and was completed in 1633, at a cost of £4,000, with it becoming consecrated in 1638. In 1645 Covent Garden was made a separate parish and the church was dedicated to St Paul. It is uncertain how much of Jones's original building is left, as the church was damaged by fire in 1795 during restoration work by Thomas Hardwick; though it is believed that the columns are original—the rest is mostly Georgian or Victorian reconstruction.

 

Culture

 

The Covent Garden area has long been associated with both entertainment and shopping, and this continues. Covent Garden has 13 theatres, and over 60 pubs and bars, with most south of Long Acre, around the main shopping area of the old market. The Seven Dials area in the north of Covent Garden was home to the punk rock club The Roxy in 1977, and the area remains focused on young people with its trendy mid-market retail outlets.

 

Street performance

 

Street entertainment at Covent Garden was noted in Samuel Pepys's diary in May 1662, when he recorded the first mention of a Punch and Judy show in Britain. Impromptu performances of song and swimming were given by local celebrity William Cussans in the eighteenth century. Covent Garden is licensed for street entertainment, and performers audition for timetabled slots in a number of venues around the market, including the North Hall, West Piazza, and South Hall Courtyard. The courtyard space is dedicated to classical music only. There are street performances at Covent Garden Market every day of the year, except Christmas Day. Shows run throughout the day and are about 30 minutes in length. In March 2008, the market owner, CapCo, proposed to reduce street performances to one 30-minute show each hour.

 

Pubs and bars

 

The Covent Garden area has over 60 pubs and bars; several of them are listed buildings, with some also on CAMRA's National Inventory of Historic Pub Interiors; some, such as The Harp in Chandos Place, have received consumer awards. The Harp's awards include London Pub of the Year in 2008 by the Society for the Preservation of Beers from the Wood, and National Pub of the Year by CAMRA in 2011. It was at one time owned by the Charrington Brewery, when it was known as The Welsh Harp; in 1995 the name was abbreviated to just The Harp, before Charrington sold it to Punch Taverns in 1997. It has been owned by the landlady since 2010.

 

The Lamb and Flag in Rose Street has a reputation as the oldest pub in the area, though records are not clear. The first mention of a pub on the site is 1772 (when it was called the Cooper's Arms – the name changing to Lamb & Flag in 1833); the 1958 brick exterior conceals what may be an early 18th-century frame of a house replacing the original one built in 1638.[94] The pub acquired a reputation for staging bare-knuckle prize fights during the early 19th century when it earned the nickname "Bucket of Blood". The alleyway beside the pub was the scene of an attack on John Dryden in 1679 by thugs hired by John Wilmot, 2nd Earl of Rochester, with whom he had a long-standing conflict.

 

The Salisbury in St. Martin's Lane was built as part of a six-storey block around 1899 on the site of an earlier pub that had been known under several names, including the Coach & Horses and Ben Caunt's Head; it is both Grade II listed, and on CAMRA's National Inventory, due to the quality of the etched and polished glass and the carved woodwork, summed up as "good fin de siècle ensemble". The Freemasons Arms on Long Acre is linked with the founding of the Football Association in 1896; however, the meetings took place at The Freemasons Tavern on Great Queen Street, which was replaced in 1909 by the Connaught Rooms.

 

Other pubs that are Grade II listed are of minor interest, they are three 19th century rebuilds of 17th century/18th century houses, the Nell Gwynne Tavern in Bull Inn Court, the Nag's Head on James Street, and the White Swan on New Row; a Victorian pub built by lessees of the Marquis of Exeter, the Old Bell on the corner of Exeter Street and Wellington Street; and a late 18th or early 19th century pub the Angel and Crown on St. Martin's Lane.

 

Cultural connections

 

Covent Garden, and especially the market, have appeared in a number of works. Eliza Doolittle, the central character in George Bernard Shaw's play, Pygmalion, and the musical adaptation by Alan Jay Lerner, My Fair Lady, is a Covent Garden flower seller. Alfred Hitchcock's 1972 film Frenzy about a Covent Garden fruit vendor who becomes a serial sex killer, was set in the market where his father had been a wholesale greengrocer. The daily activity of the market was the topic of a 1957 Free Cinema documentary by Lindsay Anderson, Every Day Except Christmas, which won the Grand Prix at the Venice Festival of Shorts and Documentaries.

 

Transport

 

Covent Garden is served by the Piccadilly line at Covent Garden tube station on the corner of Long Acre and James Street. The station was opened by Great Northern, Piccadilly and Brompton Railway on 11 April 1907, four months after services on the rest of the line began operating on 15 December 1906. Platform access is only by lift or stairs; until improvements to the exit gates in 2007, due to high passenger numbers (16 million annually), London Underground had to advise travellers to get off at Leicester Square and walk the short distance (the tube journey at less than 300 yards is London's shortest) to avoid the congestion. Stations just outside the area include the Charing Cross tube station and Charing Cross railway station, Leicester Square tube station, and Holborn tube station. While there is only one bus route in Covent Garden itself—the RV1, which uses Catherine Street as a terminus, just to the east of Covent Garden square—there are over 30 routes which pass close by, mostly on the Strand or Kingsway.

 

en.wikipedia.org/wiki/Covent_Garden

The problem with living in an old Florida cracker house is that it's not exactly built to keep in heat. My house has no insulation in the walls. The landlord says there is some in the roof. All I know is I need two space heaters, rugs and lots of warm clothing to get through the winter. Spring, please come soon! North Florida winters are still cold, even if there's no snow!

 

p.s. Ok, ok... so I might be exaggerating just a little bit in this photo! (but not much!)

I took a Night Photography class sponsored by Desert Botanical Garden and taught by Ryan Parra - a photography professor at Mesa Community College and Arizona State University. I learned a lot and practiced a lot. I really feel that I had improved significantly by the end of the class. One big problem with classes like this is keeping other photographers out of the frame.

 

This HYBYCOZO sculpture is titled Inner Orbit. It seems to be the masterpiece of the installation. It is in a special area that is restricted during the day. Any correction will be appreciated. I especially love it at night with the lights and shadows.

 

dbg.org/events/light-bloom/2024-10-12/

www.youtube.com/watch?v=FFelgzzzQqg

LIGHT BLOOM by HYBYCOZO is a limited-time exhibit where nature and light converge. This mesmerizing display invites you to explore the Garden transformed by stunning geometric light installations that illuminate the beauty of the desert landscape in a new way. As the sun sets, LIGHT BLOOM comes to life, casting intricate shadows and vibrant hues across the Garden. Wander the trails and let the enchanting installations transport you to a magical realm where the natural world meets the abstract.

 

www.hybycozo.com/artists

HYBYCOZO is the collaborative studio of artists Serge Beaulieu and Yelena Filipchuk. Based in Los Angeles, their work consists of larger than life geometric sculptures, often with pattern and texture that draw on inspirations from mathematics, science, and natural phenomena. Typically illuminated, the work celebrates the inherent beauty of form and pattern and represents their ongoing journey in exploring the myriad dimensions of geometry. HYBYCOZO is short for the Hyperspace Bypass Construction Zone, a nod to their favorite novel (The Hitchhikers Guide to the Galaxy) and was the title of their first installation in 2014. They continue to create under this name. In the novel earth was being destroyed to make way for a bypass. It lead Serge and Yelena to ask what it means to make art at a time where the earth’s hospitable time in the universe may be limited.

 

dbg.org/meet-the-artists-behind-light-bloom/

Q: Walk us through your creative process?

A: The focus of our creative process is to explore the intricate interplay between geometry, light, space and to inspire contemplation, wonder and a sense of place among our audiences. Geometry and pattern-making serve as the backbone of our creative expression. It is the framework through which we navigate the complexities of form, proportion and spatial relationships. Patterns, both simple and complex, have a profound impact on our perception and understanding of the world. They possess the ability to evoke a sense of order, balance and aesthetic pleasure. Pattern making and geometry offer us a means of storytelling and communication. These patterns serve as conduits for deeper exploration, provoking introspection and contemplation to uncover the underlying symbols embedded within the human psyche.

Q: What inspired the concept of LIGHT BLOOM?

A: Just as many cactus and desert plants have evolved to produce night-blooming flowers, adapting to their environment and thriving in darkness, our sculptures come alive after sunset, blossoming with light and transforming the night into a glowing landscape of art and geometry.

 

Desert Botanical Garden has an incredible collection of plants and cacti arranged in a beautiful park setting.

dbg.org/

"Think the desert is all dirt and tumbleweeds? Think again. Desert Botanical Garden is home to thousands of species of cactus, trees and flowers from all around the world spread across 55 acres in Phoenix, Arizona."

 

Desert Botanical Garden

DBG HYBYCOZO Light Bloom

Even though problems are easier to see.

 

This one is from last week.

The picture says it all. I have a problem.

Added to Flickr Explore on Jan. 24, 2009.

There are so many of these once beautiful stately houses being neglected and soon to crumble!!!

"Remember that I tried to build you.. Now I ain't worried bout shit..." - 6lack x PRBLMS