Producers photos on Flickr

North Sea Producer looking weathered after years in the North Sea ... oil field, which lies 250km north-east of Aberdeen, for ConocoPhillips. ... The North Sea Producer ship docked near the Riverside Stadium.

This is One Big Ship .

Producers by John Hart

38 3

Tea Harvesting in the Vietnamese Highlands by Barry Crosthwaite

274 77

Local Muong girls harvesting tea leaves, Long Coc, Vietnam

Tea production is a cornerstone of Vietnam’s economy, with the country ranking as the 7th largest tea producer globally, and supporting the livelihoods of over 400,000 families, particularly in rural and mountainous areas. Workers rise with the sun to handpick around 15 kilograms of tea leaves each morning, ensuring freshness and quality. Beyond its economic impact, traditional tea cultivation and processing techniques, passed down through generations, reflect Vietnam’s rich cultural heritage and the dedication of its people.

The Northern Producer by SkyeWeasel

77 86

Having seen this oil platform anchored off the coast of Applecross in the Scottish Highlands for the past few months, we finally took the perfect opportunity of dead flat calm conditions to kayak the more than three miles to get a closer look.

This is the Northern Producer, originally built as a drilling rig in Norway in 1976 before conversion to a floating production facility in 1991. It was formerly in the North Sea, north of the Shetland Islands - and has recently arrived in Loch Kishorn for decommissioning.

I was very glad to have my little waterproof Olympus TG-4, that handles RAW files! My next uploads will give more of a sense of scale of this massive structure.

And a Coloured Sky Coloured Grey by Stroszek

31 4

Softest Fire by Cate Infinity

24 2

Photo and Producer: Cate Infinity

Dress and Hair From Midnight Order: secondlife.com/destination/midnight-order

---Exclusive Soundtrack---

Title: Softest Fire

Artist: Lily Belle

Lyrics:

Blue light on my shoulders

Room breathing slow

Every word feels older

Than what we both know

Your shadow leans toward me

Like it knows my name

I should leave this quietly

But I stay the same

I know the cost

I see the line

Still I don’t turn away

It’s the softest fire

The kind that doesn’t scream

Burns without warning

Inside a dream

I don’t want saving

I don’t want blame

I just want to stay

In this softest fire

Your hands hesitate

Right at my skin

Like touching right now

Would let too much in

The night keeps asking

What are we for

I stop answering

Like I did before

I feel it pull

I feel it bend

Everything I’m trying to be

It’s the softest fire

The kind that doesn’t scream

Burns without warning

Inside a dream

I don’t want heaven

I don’t want signs

I just want you

Close to mine

If this ends

Let it fade slow

Like a song still playing

After the radio

No promises

No last demand

Just your breath

In my hand

Softest fire

Hold me still

Softest fire

Bending will

If loving you

Is where I land

I’ll let it burn

Just like this

In love with a stranger's face by Stroszek

Febrile imaginings of a blind owl... by Trapac

1.4K 226

Vivitar Ultra Wide & Slim + Redscaled Konica Minolta VX Super 200 + Double Exposure.

No 8. (1:6:6)

Who would have thought that such a beautiful place could be inadvertently stumbled upon - just outside Watford!

UPDATE! March 01st 2012.

This photograph has been bought by the very lovely and talented 'Slakah the Beatchild' an independent record producer and singer/songwriter based in Canada; for his new album released this year (2012) under the name of his altar ego 'Slakahdeliq'. The album is called 'The Other Side of Tomorrow' and is available for digital download here, on a 'free or pay what you can basis' (as of Feb/March 2012 anyway).

Check it out if you get a chance, you never know you might discover a musician you never knew you liked! :)

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

I had numerous cameras and film with me - so it's been interesting how each combination of film and camera has responded to what was for me, a joyful and unexpected discovery. (The sensory memory of which, bottled somewhere deep in my limbic system, will live with me more powerfully than any image.) I'll be 'drip-feeding' you all images from this poppy field well into the Winter I suspect! ;)

1 Field of Poppies

Vivitar + Fuji Sensia 100

Vivitar + Redscale film for Double Exposure (this one).

Olympus XA2 + Agfa Ultra (film swap with lomokev - thanks Kev!)

Nikon F80 50mm f/1.8 + Kodak Portra 160 VC

Supersampler + Kodak Elite Chrome 100

Vintage Diana + Fuji Superia 400 (120 film)

This one - part of my ongoing experiments with Redscale - moving from the blunt application of that banging colour, to explore other possibilities beyond that...The first roll was shot almost exclusively along the environs of Stokes Croft, Cheltenham Road & Gloucester Road and mostly graffiti. The intention of the second roll was to find mainstream advertising or images from more affluent areas of the city, or more pastoral/non urban environments. I did not line up the film, nor take notes, nor plan beyond striving for the principle of contrasting subjects. The negatives were returned uncut as requested, but I did get lab scans - any overlaps of one frame over another, are a result of this. I have cropped where I feel it is most helpful to do so, so any inclusion of frame overlap is these uploaded images has been an active choice. I will almost certainly return to the negs with a home scanner to search for alternative compositions to complement these.

In some cases I have found the results quite 'dark' and unsettling in mood - quite a refreshing departure for my stream. I plan to explore this some more.

Redscaling.

Basically it involves taking a roll of ordinary 'bog standard' print film, reversing it and respooling it into another film canister (all done in a dark bag) so that the light is exposed on 'the wrong side of the film' when you take a shot. You then lose two 'stops' on the optimal exposure conditions from the original. It gets developed in exactly the same way as print film, but be prepared for the technician to be a little startled (at best) or a little irritated (at worst) when they realise that something very odd has happened to the film. :)

Producers Grain Corp. by countylines

Producers Grain Corp., 2000 S. Main St., Fort Worth, TX.

North Sea Producer. by Paul Downing

43 19

The North Sea Producer berthed next to Middlesbroughs Riverside stadium on the River Tees.

The unit is 236 metres long and operates at a water depth of 92 metres. The North Sea Producer has a daily production capacity of 76,000 barrels of oil and has a storage capacity of 560,000 barrels.

IMO: 8124058

MMSI: 234148000

Call Sign: MWGF2

Flag: United Kingdom (GB)

AIS Type: Other

Gross Tonnage: 52434

Deadweight: 99800 t

Length × Breadth: 233m × 40m

Year Built: 1984

Status: Active

Paul Downing Photography

Miss Matson Producer by Ernie Misner

63 13

She was sitting there just clean and pretty in the light November rain. I think she is taking a rest before the loading or unloading will begin. My 24-70 lens really seemed to want to do this, raining or not.

Thank you for you kind and warm visits my friends. You are much appreciated! :)

sponge producer by Sabine

11 32

Music Producer by Pennan Brae

30 1

Penny is at the helm while mixing some new tracks!

Week 8/52 Bass Maltings by George Frizzell

27 8

The Bass Maltings complex at Sleaford was completed in 1907 to the designs of the company’s chief engineer, Herbert Couchman. The planning of the development dated back to 1880, when Bass, Ratcliffe and Gretton Ltd proposed the development of sixteen new malthouses in the Sleaford area of Lincolnshire. The area was a major producer of English barley, and was well-served by the rail network, which made possible the bulk transportation and distribution of both barley and the finished malt. Construction on the scale proposed dwarfed other centres of malt production, and was driven by the need to reduce production costs by increasing the scale of production, and by locating the malting process close to the source of the barley, rather than at Burton-on-Trent at the site of the Bass brewery. Bass’s requirement for malted barley had increased after it became a public company in 1888 in order to provide the capital for the development of its own public houses. The company identified a suitable source of water in Sleaford by boring an artesian well in 1892, and in 1901, purchased 13.3 acres of land around the well site. Plans for the development were submitted in 1901, work on site began in the same year, and malting began in 1906. Only eight maltings were completed rather than the sixteen originally envisaged, and the complex was finally completed in 1907.

The Sleaford maltings were traditional floor maltings, with soaked or ‘steeped’ barley spread over the several germinating floors before being kilned to produce the finished malt. This linear process replicated on a massive scale the traditional design of floor maltings found in farmsteads and small breweries throughout England, and continued to be constructed until the mid-C20, despite the development of pneumatic malting in the late C19.

From 1907 until the outbreak of the Second World War, the Sleaford maltings operated at full capacity, producing malt more cheaply than could be achieved at the company’s Burton maltings. However, in the post-war era, production was reduced and vacant space in the maltings ranges was let to local businesses. The closure of the maltings in 1959 was precipitated by Bass’s installation of a new automated pneumatic-mechanical malting system in four of its Burton-on-Trent maltings. This system allowed the malting process to be carried on throughout the year with a very small labour force, making the process far more cost efficient than could be achieved at Sleaford.

Following the cessation of malting on the site, various parts of the complex were occupied by other businesses. Partial occupation and a lack of maintenance made the site vulnerable to damage, fires breaking out in 1969, and again in 1976, this time resulting in the far greater loss of original fabric when the central range’s barley store and screens, and parts of three malthouses were severely damaged. The complex was added to the statutory List in November 1974, and various parts of the complex remained in use until 2000, when the site was closed.

Emily's office by paolobarzman

152 17

she's a writer, producer, very funny woman...

The Producer by Mathias

1 11

Okay, this is like the worst office portrait ever, a colleague took it with a camera. But in all it represents the day's highlight, a project finally launching. I don't know what I do to deserve it, but somehow I always end up being the producer, so a helmet and a signal lamp were in order. So the project went live today, Champaign was served (none for me, thanks) and everyone was happy. Finally some time to prepare for christmas.

Fremont Street Experience (Las Vegas, Nevada) by Ken Lane

300 3

The Fremont Street Experience (FSE) is a pedestrian mall and attraction in Downtown Las Vegas, Nevada. The FSE occupies the westernmost five blocks of Fremont Street, including the area known for years as "Glitter Gulch," and portions of some other adjacent streets. The central attraction is a barrel vault canopy, 90 ft (27 m) high at the peak and four blocks, or approximately 1,500 ft (460 m), in length. While Las Vegas is known for never turning the outside casino lights off, each show begins by turning off the lights on all of the buildings, including the casinos, under the canopy. Before each show, one bidirectional street that crosses the Experience is blocked off for safety reasons. Concerts, usually free, are also held on three stages. The venue has become a major tourist attraction for downtown Las Vegas, and is also the location of the SlotZilla zip line attraction and the city's annual New Year's Eve party, complete with fireworks on the display screen. Fremont Street had Las Vegas' first hotel (the Hotel Nevada in 1906, present day Golden Gate), first telephone (1907), first paved street (1925), first Nevada gaming license — issued to the Northern Club at 15 E. Fremont St, first traffic light, first elevator (the Apache Hotel in 1932), and the first high-rise (the Fremont Hotel in 1956). The Horseshoe was the first casino to install carpeting, while the Golden Nugget was the first structure designed from the ground up to be a casino. For many years, the western end of Fremont Street was the area most commonly portrayed whenever producers wanted to display the lights of Las Vegas. The large number of neon signs earned the area the nickname "Glitter Gulch." By 1992, 80 percent of the Las Vegas casino market was on the Strip. Downtown Las Vegas hotels and casinos sought to build an attraction that would lure more visitors to their businesses. After Paramount Pictures head Stanley Jaffe refused to approve a proposal to build a life-sized Starship Enterprise, the Fremont Street Experience was chosen as the project. FSE, LLC is a cooperative venture, owned and operated by a group of downtown hotel/casino companies (comprising eight hotel/casinos) as a separate corporation, responsible for financing, developing, and managing the Fremont Street Experience. It was the second Las Vegas project of architect Jon Jerde, whose firm was paid approximately $900,000 by the City of Las Vegas to create a show concept for the downtown area. Jerde's design included a floating sky parade which was to be suspended from the canopy. The concept was accepted by the Fremont Street Experience as well as the City of Las Vegas. Ultimately Jon Jerde's sky parade concept was scrapped, but the architectural design for the canopy was carried through. The local architect of record, Mary Kozlowski Architect Inc., cited the following as problems with Jon Jerde's sky parade concept:

1.) Perspective: The view of the parade from below made the concept unworkable — to properly view the project would require that visitors stand at a raised elevation such as a third or fourth floor vantage point.

2.) Wind: The addition of the canopy over Fremont Street would create a wind tunnel causing a dangerous condition for people on the floats who would be trapped. Also the potential for harmonic motion as the floats swung back and forth in the wind potentially resulting in massive structural failure of the canopy and fatalities.

3.) Sand: The combination of desert sand and the mechanical systems of the sky parade would make the attraction difficult to maintain.

A new concept for the show was necessary quickly as funds were already available and the overall schedule was set. The concept for the show as it now exists was conceived by architect Mary Kozlowski who had grown up in Las Vegas and knew and loved Fremont Street. It was a light show on the underside of the canopy — the world's largest and most spectacular. Peter Smith, executive vice-president of Atlandia Design, recognized the beauty and practicality of the concept. Jon Jerde, FSE and the City of Las Vegas embraced the show concept. Kozlowski's concept was to use a combination of four colored light bulbs per "light" which allowed a full spectrum of colors. The Young Electric Sign Company assisted in creating the test panels and in the final installation. After the Fremont Street Experience opened, the light bulbs were checked nightly to ensure that all were functioning properly. To accomplish this massive undertaking, the length of the canopy was divided into panels. Each panel was checked by separately turning on each of the four colored light bulbs. A maintenance worker on a lift would then replace any bulbs that were out. The most expensive bulb cost nearly $15 to replace. On September 7, 1994, a five-block section of Fremont Street was closed to automobile traffic for good, and groundbreaking was held on September 16. After that, the digging up of the street and the installation of the support poles continued into December. On February 15, 1995, the space frames were brought in and the roof began to take shape. The last piece was installed in July 1995. The official public preview was held in conjunction with the Nevada Symphony. The light show was opened on December 14, 1995. The first New Year's party was held on December 31, 1995. The Neon Museum at the Fremont Street Experience opened in November 1996 with the Hacienda Horse & Rider sign being lit at the intersection of Las Vegas Boulevard and Fremont Street. The museum features signs from old casinos and other businesses displayed outdoors. For many years, the Young Electric Sign Company stored many of these signs in their bone yard. The signs were slowly being destroyed by exposure to the elements. The museum is slowly restoring the signs and placing them around the FSE. Permanent stages were added in the early 2000s, eliminating the need to bring in temporary stages for every event. The sound system was upgraded in June 2001. On June 14, 2004, a $17 million upgrade was unveiled that would feature a 12.5-million LED display and more color combinations than the original display, which was composed of incandescent lighting. The initial $70 million investment and the continued improvements have resulted in successful and ongoing downtown redevelopment. The City of Las Vegas and the downtown casinos have benefited as more than 60% of visitors to Downtown are lured by the Fremont Street Experience overhead light show and stage shows and stay to enjoy the attractions of some of the most famous casinos in the world.

Source: en.wikipedia.org/wiki/Fremont_Street_Experience

meet the producer by bran10

12 3

Power Producers by Frederick K. Larkin

43 7

N804CE, an Embraer EMB-135LR ERJ135, on approach to runway 24R at Toronto Pearson International Airport in Mississauga, Ontario.

It was arriving from South Bend, Indiana.

Serial number 145326 began its career as N727AE with American Eagle Airlines, Inc. on October 17, 2000. It is currently operated by Cummins Inc. of Columbus, Indiana.

CE = Cummins Engine Company, the corporation's original name.

SLOMAN PRODUCER - TERNEUZEN by Niels Quist

Meet the producer by Matthias S.

24 3

Chrome producer. by Emi Yeh

21 7

Meet the Producer by sibnet2000

12 2

Pike Place, Seattle

Variations on a cocktail dress by Stroszek

JAL 6405 1:20PM Narita by Mitsushiro Nakagawa

83 4

title.

JAL 6405 1:20PM Narita

( FUJIFILM GFX50R )

Honolulu.Hawaii. America. 2019…. 9 / 10

(Today's photo. It's unpublished.)

Images.

Bill Laurance - U-Bahn (Swift)

youtu.be/4-iY81_f4YI

Important Notices.

I have relaxed the following conditions.

I will distribute my T-shirt to the world for free.

m.flickr.com/photos/stealaway/50656401427/in/dateposted-p...

m.flickr.com/photos/stealaway/50613367691/in/dateposted-p...

最新のお知らせ。

以下の僕のTシャツ。無料配布。

コロナの影響で、運送方法は国によって変わります。

1/25

一人目が決まりました。

それはドイツの人です。

m.flickr.com/photos/ute_kluge/favorites/

僕は心から感謝します。ありがとう。

２０２０年１２月３日。発送しました。

船便です。２ヶ月から３ヶ月を要します。

2/25

二人目はタイの女性です。

youpic.com/photographer/Abbozzo/

僕は彼女へ受け取って欲しいとお願いしました。

２０２０年１２月１０日。発送しました。

船便です。２ヶ月から３ヶ月を要します。

3/25

3人目はメキシコの女性です。

www.facebook.com/OvejaDeSion

彼女はfotologの頃からずっと僕を支えてくれました。

彼女は僕の道案内をしてくれました。

ありがとう。

２０２０年１２月１０日発送しました。

EMSです。たぶん１ヶ月から２ヶ月以内で到着します。

4/25

4人目は、セルビア共和国の女性です。

youpic.com/photographer/IvanaPopov/

２０２０年１２月１４日発送しました。

船便です。たぶん２ヶ月から３ヶ月以内で到着します。

5/25

５人目は、インドネシアの男性です。

www.flickr.com/photos/33836533@N04/

２０２０年１２月２４日。発送しました。

EMSです。たぶん１ヶ月から２ヶ月以内で到着します。

１月８日。到着しました。

6/25

6人目は、フランスの方です。

youpic.com/image/18158054/ombre-chinoise-by-ce-pe

www.flickr.com/photos/191604817@N04/

２０２１年１月７日。

僕は発送しました。

7/25

7人目も、フランスの方です。

www.flickr.com/photos/151630891@N07/

www.flickr.com/people/liveworkcreate/

２０２１年１月７日。

僕は発送しました。

8/25

８人目の方はルーマニアの方です。

www.flickr.com/photos/63mr/

2021年１月中に発送します。

9/25

9人目は日本の方です。16歳です。

www.instagram.com/kai.kawazu/

受賞歴

2017 小国町フォトコンテスト2部門

2018 EPSONmeet up selectionデータ部門優秀賞

2020 熊本高文連前期写真コンテスト優秀賞

Webフォトコンテスト協賛メーカー賞

10/25

10人目は、ブラジルの方です。

www.flickr.com/photos/mangelo/

２０２１年２月中に発送します。

11/25

11人目は、アメリカの方です。

youpic.com/photographer/HeathBrunner/

www.flickr.com/photos/181948650@N04/

vmaxrecords.bandcamp.com

soundcloud.com/vmaxrecords

２０２１年２月中に発送します。

12/25

12人目は、イタリアの方です。

www.flickr.com/photos/122700703@N05/

youpic.com/photographer/raffadepa2019/

cacciatoredisogniblog.wordpress.com

２０２１年２月中に発送します。

13/25

13人目は、ロシアの方です。

www.flickr.com/photos/183731920@N08/

youpic.com/photographer/Andjey/

２０２１年３月中に発送します。

14/25

14人目は、フィリピンの方です。

www.flickr.com/photos/44681455@N00/

youpic.com/photographer/Stitch/

２０２１年１１月１１日に発送しました。

Mitsu.

_________________________________

” Lot No.402_ ” に関するお知らせ。

今後、僕は、” Lot No.402_ ”を主催します。

このロットナンバーは、眠っていたレオナルドダヴィンチの作品がオークションにかけらた際に付されたものです。

作品にはサインなどがいっさい記されていなかったため、彼の作品だと断定できませんでした。

しかし、様々な鑑定の結果、陽の光を浴びました。

誰にも気づかれない作品。肩書がなくとも静かに語りかける作品。

僕はこれから様々な形で、多くの皆様に提供できるよう努めてゆきます。

2020年10月24日 by Mitsu - Nakagawa.

_________________________________

プロフィール

2014年11月、たった1機種で世界を塗り替えた携帯電話の広告を請け負った選考者の目に留まり、秘密保持同意書を結ぶ。

drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...

_________________________________

インタビューと小説。

僕の本について。

僕は、昔に本を出版しました。

その際に、僕のインタビューをPDFでネット上へアップロードしていました。

その日本語と英語。

僕は、無料でを公開します。

詳細は、アマゾンのサイトへ解説しました。

小説の書き方。

写真の撮影方法。

作品への距離感。

これらはすべて共通項があります。

僕は、僕が感じたことを文章にして、残しました。

僕のテキストが多くの人に読んでもらえることを望みます。

ありがとう。

Mitsushiro.

drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...

１　インタビュー　英語版

２　小説。unforgettable’ 英語版。

３　インタビュー　日本語版

４　小説。unforgettable’ 日本語版。(この小説は未来のアーティストへ捧げます)

(四百字詰め原稿用紙４５６枚)

　あらすじ

　大学を目指している北見ケイは、SNS上で、6歳年上のイベントコンパニオン、上村香織に出会う。

　上京してきた香織の夢は、有名なアーティストの友達になるためだ。

　そのためにはラジオ局のプロデューサー、大沢亮の存在が必要だった。

　大沢は、ラジオの生放送中、香織へ語りかける。

　「僕には妻子がある。しかし、僕は君に会いたいと思っている」

　ケイの同級生で、彼を想っている三條里香は、香織の動向を探っていた。。。。。

本編

人が海へ向かう理由には、二つある。

　ひとつは、波打ち際ではしゃぐ子供のように、今の瞬間の海の輝きを楽しむこと。

　もうひとつは、その輝きを静かに見据えて、過ぎ去った日々を懐かしむ老人のように記憶の埃を払うこと。

　二つは重なり合わないようではあるけれども、たったひとつの意味しか生まない。

　再生だ。

　明日っていう、曖昧な日を確実なものへと変えてゆくために、自分の存在に向き合う。

　それが再生の意味だ。

　十八歳だった僕には大切な人がいた。

drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...

５　流線形の軌跡。　日本語のみ。

drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...

_________________________________

iBooks.電子出版。（現在は無料）

0.about the iBooks.

drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...

1.unforgettable’ ( ENG.ver.)(This book is Dedicated to the future artist.)

itunes.apple.com/us/book/unforgettable/id1216576828?ls=1&...

For Japanese only.

2.unforgettable’ ( JNP.ver.)(この小説は未来のアーティストへ捧げます)

itunes.apple.com/us/book/unforgettable/id1216584262?ls=1&...

3.流線形の軌跡。

itunes.apple.com/us/book/%E6%B5%81%E7%B7%9A%E5%BD%A2%E3%8...

_________________________________

僕の小説。英語版　

My Novel Unforgettable' (This book is Dedicated to the future artist.)

Mitsushiro Nakagawa

All Translated by Yumi Ikeda .

www.fotolog.net/yuming/

1/9

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2/9

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3/9

www.flickr.com/photos/stealaway/23975215274/in/dateposted...

4/9

www.flickr.com/photos/stealaway/24515964952/in/dateposted...

5/9

www.flickr.com/photos/stealaway/24276473749/in/dateposted...

6/9

www.flickr.com/photos/stealaway/24548895082/in/dateposted...

7/9

www.flickr.com/photos/stealaway/24594603711/in/dateposted...

8/9

www.flickr.com/photos/stealaway/24588215562/in/dateposted...

9/9

www.flickr.com/photos/stealaway/24100804163/in/dateposted...

Fin.

images.

U2 - No Line On The Horizon Live in Dublin

www.youtube.com/watch?v=_oKwnkYFsiE&feature=related

_________________________________

Title of my book : unforgettable'

Author : Mitsushiro Nakagawa

Out Now.

ISBN978-4-86264-866-2

in Amazon.

www.amazon.co.jp/Unforgettable’-Mitsushiro-Nakagawa/dp/...

_________________________________

次の小説の予定。

Still would stand all time.(unforgettable'2)

（いつまでもなくならないだろう）

もう少し時間をください。それは日本語です。

_________________________________

２０２３年の展示。

テーマ。

Turing back the time.

場所は、以下のいずれかを予定。

１

DIC川村記念美術館　第１付属ギャラリー。

kawamura-museum.dic.co.jp/

２

東京ビッグサイト。

www.bigsight.jp/

Sponsoring. Design festa.

designfesta.com/

images.

ONE OK ROCK … Heartache

youtu.be/bCIQiTrRMog

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僕の作品。

1 www.flickr.com/photos/stealaway/48072442376/in/dateposted...

2 www.flickr.com/photos/stealaway/48078949821/in/dateposted...

3 www.flickr.com/photos/stealaway/48085863356/in/dateposted...

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あなたは僕の声を聞きたいですか？

youtu.be/b1o6Xf-Mjhw

フリッカーへ投稿した写真の構図について。１種類目。

youtu.be/b1o6Xf-Mjhw

フリッカーへ投稿した写真の構図について。２種類目。

youtu.be/b1o6Xf-Mjhw?t=443

Fotologを始めた時について。建築家の視点。

youtu.be/b1o6Xf-Mjhw?t=649

なぜ、今までカメラを手にしなかったのか？

youtu.be/b1o6Xf-Mjhw?t=708

何が一番かっこいいのか？　写真はありのままに。

youtu.be/b1o6Xf-Mjhw?t=776

現在のユーチューバーについて。僕も伝え、残したい。

youtu.be/b1o6Xf-Mjhw?t=964

日本人の写真家について。日本のユーチューバーはピストルズ。

youtu.be/b1o6Xf-Mjhw?t=1059

写真の構図は、感性。ミラノのデザイナーに会って。二つの質問。

youtu.be/b1o6Xf-Mjhw?t=1242

良い構図とは？　悪い構図とは？

youtu.be/b1o6Xf-Mjhw?t=1482

カメラを向ける時とは？　ファインダーやディスプレイを覗いていては遅い。

youtu.be/b1o6Xf-Mjhw?t=1662

家族写真。他人では撮れない。被写体の内面。

youtu.be/b1o6Xf-Mjhw?t=1745

ユーチューブの写真家について。カメラの技術等。感性は、本を読むことで磨く。

youtu.be/b1o6Xf-Mjhw?t=2144

日本の新聞について。良い新聞の写真はロイター。ダメな写真を見続けるとダメになる。

youtu.be/b1o6Xf-Mjhw?t=2305

日本の写真家について。その展示について。

まとめ。僕が書いた小説など。僕が最も伝えたいこと。

youtu.be/b1o6Xf-Mjhw?t=2579

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作品制作について 1/2

youtu.be/ZFjqUJn74kM

作品制作について 2/2

youtu.be/pZIbXmnXuCw

１　それまでの写真展。自分は行きたいと思ったか？

２　じゃ、自分が足を運んででも行きたい展示とは何か？

３　原宿デザインフェスタで個展を開くまでに、毎月ひとつの作品を展示することにチャレンジ。

４　作品とは、素材とシルエット。ファッションと似ている。

５　自分が好きなアーティストは誰か？　どんなものなのか？　そこをはっきりさせる。

６　コラージュの作成も写真の撮り方と全く同じ。インタビューに書いたように小説の書き方とも同じ。

７　誰かに見せたい、見せるがために作品は作らない。写真と同じように自分の部屋に飾りたい作品を目指す。

８　パクリとは何か？　昨今、叩かれるパクリ疑惑。ミメーシスとは？

　　https://ja.wikipedia.org/wiki/ミメーシス

　　https://kotobank.jp/word/ミメーシス-139464

９　個性とはなにか？　オリジナリティってなに？

おまけ　眞子さまについて

という流れです。

お時間がある方は是非聴いてください。

www.youtube.com/user/mitsushiro/

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構図の解説２

1.構図の解説２ ... 1/4

2.構図の解説２ ... 2/4

3.構図の解説２ ... 3/4

4.構図の解説２ ... 4/4

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僕のシャッター感覚

youtu.be/3JkbGiFLjAM

In the Eurostar to Venice . 2005. shot ... 1 / 2

www.flickr.com/photos/stealaway/49127115021/in/dateposted...

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Miles Davis sheet 1955-1976.

drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...

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flickr.

www.flickr.com/photos/stealaway/

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YouTube.

www.youtube.com/user/mitsushiro/

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instagram.

www.instagram.com/mitsushiro_nakagawa/

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Pinterest.

www.pinterest.jp/MitsushiroNakagawa/

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YouPic

youpic.com/photographer/mitsushironakagawa/

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fotolog

www.fotolog.com/stealaway/

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twitter.

twitter.com/mitsushiro

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facebook.

www.facebook.com/mitsushiro.nakagawa

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Amazon.

www.amazon.co.jp/gp/profile/amzn1.account.AHSKI3YMYPYE5UE...

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僕の統計。（2021年5月11日現在）

youtu.be/UpezrGm4HYA

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Japanese is the following.

drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...

Title of my book unforgettable' Mitsushiro Nakagawa Out Now. ISBN978-4-86264-866-2

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#小説 #文章の書き方 #小説の書き方

【小説ってむずかしい？】

youtu.be/KZgaWyNZkLA

ここでは自分が書いた以下の小説（掌編）を解説して、文章の組み方や流れなどを、一行ずつ、徹底的に解説しました。

わかりやすいように、初稿と最終稿の比較で解説しています。約２時間半もかけました😃😅

まずは最終稿を読んでいただけるとわかりやすいです。

小説（掌編）【　夏のはじまりは、すりガラスの向こうに　】

あらすじ

遠藤　シュン　22才と、同級生、関口香奈のお話。

シュンは商社へ就職し、7月からオーストラリアへ。海外赴任前に実家へ帰る。

images

Base Ball Bear --short hair

youtu.be/kDc2VebfUdktitle

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” Lot No.402_ ” に関するお知らせ。

今後、僕は、” Lot No.402_ ”を主催します。

このロットナンバーは、眠っていたレオナルドダヴィンチの作品がオークションにかけらた際に付されたものです。

作品にはサインなどがいっさい記されていなかったため、彼の作品だと断定できませんでした。

しかし、様々な鑑定の結果、陽の光を浴びました。

誰にも気づかれない作品。肩書がなくとも静かに語りかける作品。

僕はこれから様々な形で、多くの皆様に提供できるよう努めてゆきます。

2020年10月24日 by Mitsu - Nakagawa.

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YouTube更新しました😃

【オファーと発言と永ちゃん】

youtu.be/zpW1rhRd8wg

●カメラ屋さんらのオファーなんかより、自分の意思を発言したい。

そのために僕は活動してきたし、これからも変わらない。

●僕がプロフィールで使っている、【たった１機種で世界を変えた携帯電話を作った会社～】

は、こんな僕に声を掛けてくれている。

●最近の記事で矢沢永吉さんが、【同調圧力などの社会の風潮について危惧しているようだった】

僕は普段、歌詞で【俺】という言葉を使う音楽は大嫌いなんですが、矢沢永吉さんの最近の発言には共鳴しました。

Enquest Producer by Glen Wallace

Published in the Western Producer - June 29, 2023 by Jeannette Greaves

ANTIBIOTIC USE REQUIRES GOOD STEWARDSHIP

A recent study at the University of Saskatchewan's Western College of Veterinary Medicine into antibiotic use in the cow-calf sector didn't find many situations where antimicrobials were being used inappropriately.

Witches´Sabbath by Fernando Roque Marrero Villalba

12 22

Virtual creation 2007

Producer and User by Rob .S.

20 22

Eggborough Power Station and Cross Country Trains at work under a storm threatening sky. 24.03.15

North sea Producer by jimsumo999

17 8

Middlesbrough riverside dock.

Producer and consumer (digging through the archive) by elkarrde

17 2

Digging through the archive, here's a chimney of an eastern power-heating generating plant (producer) and some apartment buildings (consumers). January 2020., pre-pandemic era.

Taken with Panasonic GX7 digital mirrorless camera and adapted Sigma 135–‍400mm F4.5–‍5.6 APO DG ultra-telephoto lens, via off-brand FourThirds-microFourThirds adapter.

Published in the Western Producer - August 19, 2021 by Jeannette Greaves

6 1

TAKING A TIME OUT

Odiel Sanders and his sons John + Jeremy were harvesting wheat Aug. 13, at Deerwood Man., when they stopped for some face to face communication.

Energy producer by Ida Pyl

22 4

Andrea - Jazz Funk by Kαтαяα Bιямαи

Buttons

Andrea - Jazz Funk

Producer of Paragon Dance Animations

Exclusively available at Kustom9 Event August 15

4 sexy jazz funk dances performance captured by Andrea Lin based on her 2010 MTV VMA after-party show dance choreography to Pussycat Dolls "Buttons"

Jazz Funk is a hot commercial style of dance - a hybrid style of hip hop and jazz dance with foundational movements from jazz.

PRICE

(Copy, Mod only)

$L900 - 25% Discounted Dance Pack (4 dances)

$L300 - Single Dances

Smile Producers by Grant Hamilton

19 6

Midnight mood by Stroszek

20 1

DSC_0232 by John Rama

Meet The Producer by Digital Salt

Seattle, Washington

Producer by Peter Pio

Nikon FG - 50mm1.8 - Lomo400

Egg producers by marijke b.

66 4

Producer by Igor Rudenko

Tanya Martynyuk. Familia Perkalaba band

Isul：MAO by 櫁蜂（みつばち）

22 2

Producer：mitsubachi＠BabyBee

Groove

「KANIHORU×mitsubachi＠BabyBee」

Isul：MAO

The commodity doll is put on the market in August.

NetShop

item.rakuten.co.jp/amiami/fig-dol-3049/?scid=af_ich_twitt...

RIP Harry Belafonte (1927-2023) by Truus, Bob & Jan too!

Former Yugoslavian (Croatian) postcard. 3 K, No. 3845, mailed on 18-7-1963. Harry Belafonte in Carmen Jones (Otto Preminger, 1954).

Singer, actor, composer, author, and producer Harry Belafonte (1927-2023) was one of the most successful African-American artists in history. As the 'King of Calypso', he popularized the Caribbean musical style internationally in the 1950s. His breakthrough album Calypso (1956) is the first million-selling album by a single artist and his hit The Banana Boat Song has become an evergreen. He also starred in several films, most notably in Otto Preminger's hit musical Carmen Jones (1954), Island in the Sun (1957), Odds Against Tomorrow (Robert Wise, 1959), Robert Altman's Kansas City (1996) and Bobby (Emilio Estevez, 2006). Throughout his career, he has been an advocate for humanitarian causes, such as the anti-apartheid movement and USA for Africa.

Harry Belafonte was born Harold George Bellanfanti Jr. at Lying-in Hospital in 1927, in Harlem, New York. He was the son of Melvine (née Love), a housekeeper, and Harold George Bellanfanti Sr., who worked as a chef. His mother was born in Jamaica, the child of a Scottish white mother and a black father. His father also was born in Jamaica, the child of a black mother and Dutch Jewish father of Sephardi origins. From 1932 to 1940, he lived with one of his grandmothers in her native country of Jamaica, where he attended Wolmer's Schools. When he returned to New York City, he attended George Washington High School after which he joined the Navy and served during World War II. In the 1940s, he was working as a janitor's assistant in NYC when a tenant gave him, as a gratuity, two tickets to see the American Negro Theater. He fell in love with the art form and also met Sidney Poitier. The financially struggling pair regularly purchased a single seat to local plays, trading places in between acts, after informing the other about the progression of the play. At the end of the 1940s, he took classes in acting at the Dramatic Workshop of The New School in New York with the influential German director Erwin Piscator alongside Marlon Brando, Tony Curtis, Walter Matthau, Bea Arthur, and Sidney Poitier, while performing with the American Negro Theatre in such plays as 'Days of Our Youth' (1946). In 1954, he would receive a Tony Award for his participation in the Broadway revue 'John Murray Anderson's Almanac'.

Belafonte started his career in music as a club singer in New York to pay for his acting classes. The first time he appeared in front of an audience at the Village Vanguard in New York, he was backed by the Charlie Parker band, which included Charlie Parker himself, Max Roach, and Miles Davis, among others. At first, he was a pop singer, launching his recording career on the Roost label in 1949, but later he developed a keen interest in folk music, learning material through the Library of Congress' American folk songs archives. With guitarist and friend Millard Thomas, Belafonte soon made his debut at the legendary jazz club The Village Vanguard. In 1952, he received a contract with RCA Victor. His first widely released single, which went on to become his 'signature' song with audience participation in virtually all his live performances, was 'Matilda' (1953). His breakthrough album 'Calypso' (1956) became the first LP in the world to sell over 1 million copies within a year. It spent 31 weeks at number 1, 58 weeks in the top ten, and 99 weeks on the U.S. charts. The album introduced American audiences to calypso music, which had originated in Trinidad and Tobago in the early 20th century. Belafonte was dubbed the 'King of Calypso', a title he wore with reservations since he had no claims to any Calypso Monarch titles. One of the songs included in the album is the now famous 'Banana Boat Song' (listed as 'Day O' on the original release), which reached number five on the pop charts. His other smash hit was 'Jump in the Line'. Many of the compositions recorded for Calypso, including 'Banana Boat Song', gave songwriting credit to Irving Burgie. His triumphant success as an entertainer in the arts did not protect Belafonte from racial discrimination, particularly in the South. As a result, he refused to perform in the southern region of the United States from 1954 until 1961.

Belafonte's first film role was in Bright Road (Gerald Mayer, 1953), in which he appeared alongside Dorothy Dandridge. In this low-budget film adapted from the Christopher Award-winning short story 'See How They Run' by Mary Elizabeth Vroman, Dandridge starred as an idealistic first-year elementary school teacher trying to reach out to a problem student. Belafonte played the principal of the school. The two subsequently starred in Otto Preminger's hit musical Carmen Jones (1954). The screenplay by Harry Kleiner was based on the lyrics and book by Oscar Hammerstein II, from the 1943 stage musical of the same name, set to the music of Georges Bizet's 1875 opera 'Carmen'. Ironically, Belafonte's singing in the film was dubbed by an opera singer, as Belafonte's own singing voice was seen as unsuitable for the role. Using his star clout, Belafonte was subsequently able to realise several then-controversial film roles. Island in the Sun (Robert Rossen, 1957) is about race relations and interracial romance set on the fictitious island of Santa Marta. The film was controversial at the time of its release for its hints of an affair between Belafonte's character and the character played by Joan Fontaine. The film also starred James Mason, Dorothy Dandridge, and Joan Collins. In 1959, he starred in and produced the Film Noir Odds Against Tomorrow (Robert Wise, 1959), in which he played a bank robber uncomfortably teamed with a racist partner (Robert Ryan). He also co-starred with Inger Stevens in the Science-Fiction doomsday film The World, the Flesh and the Devil (Ranald MacDougall, 1959). Belafonte was offered the role of Porgy in Porgy and Bess (Otto Preminger, 1959), based on the 1935 opera Porgy and Bess by George Gershwin, DuBose Heyward, and Ira Gershwin. Here he would have once again starred opposite Dorothy Dandridge, but he refused the role because he objected to its racial stereotyping. Sidney Poitier would play the role in the film. Dissatisfied with the film roles available to him, Belafonte returned to music during the 1960s.

While primarily known for calypso, Harry Belafonte has recorded in many different genres, including blues, folk, gospel, show tunes, and American standards. His second-most popular hit, which came immediately after 'The Banana Boat Song', was the comedic tune 'Mama Look at Bubu', also known as 'Mama Look a Boo-Boo' (originally recorded by Lord Melody in 1955), in which he sings humorously about misbehaving and disrespectful children. It reached number eleven on the pop chart. In 1959, he starred in Tonight With Belafonte, a nationally televised special that featured Odetta. Belafonte was the first Jamaican American to win an Emmy, for Revlon Revue: Tonight with Belafonte (1959). Belafonte recorded for RCA Victor from 1953 to 1974. Two live albums, both recorded at Carnegie Hall in 1959 and 1960, enjoyed critical and commercial success. From his 1959 album, 'Hava Nagila' became part of his regular routine and one of his signature songs. He was one of many entertainers recruited by Frank Sinatra to perform at the inaugural gala of President John F. Kennedy in 1961. That same year he released his second calypso album, 'Jump Up Calypso', which went on to become another million-seller. During the 1960s he introduced several artists to American audiences, most notably South African singer Miriam Makeba and Greek singer Nana Mouskouri. His album 'Midnight Special' (1962) included a young harmonica player named Bob Dylan. As The Beatles and other stars from Britain began to dominate the pop charts, Belafonte's commercial success diminished. His 'Belafonte at The Greek Theatre' was his last album to appear in Billboard's Top 40. His last hit single, 'A Strange Song', was released in 1967 and peaked at number 5 on the charts. Belafonte has received Grammy Awards for the albums 'Swing Dat Hammer' (1960) and 'An Evening with Belafonte/Makeba' (1965). The latter album dealt with the political plight of black South Africans under apartheid. In 1967, Belafonte was the first non-classical artist to perform at the prestigious Saratoga Performing Arts Center (SPAC) in Upstate New York, soon to be followed by concerts there by The Doors, The 5th Dimension, The Who, and Janis Joplin. In February 1968, Belafonte guest-hosted The Tonight Show substituting for Johnny Carson. Among his interview guests were Martin Luther King Jr. and Sen. Robert F. Kennedy. During the 1960s, he appeared on TV specials alongside such artists as Julie Andrews, Petula Clark, Lena Horne, and Nana Mouskouri. In 1968, Belafonte appeared on a Petula Clark TV special on NBC. In the middle of a song, Clark smiled and briefly touched Belafonte's arm. The show's sponsor, Plymouth Motors, wanted to cut out the segment, but Clark, who had ownership of the special, told NBC that the performance would be shown intact or not at all. American newspapers published articles reporting the controversy and, when the special aired, it grabbed huge ratings.

In the early 1970s, Belafonte returned to the cinema in two films with Sidney Poitier. The Western Buck and the Preacher (Sidney Poitier, 1972) broke Hollywood Western traditions by casting blacks as central characters and portraying both tension and solidarity between African Americans and Native Americans in the late 19th century. Buck and the Preacher was one of the first films directed by an African American and to be based on a band of African Americans fighting against the White majority. The film was produced by Belafonte Enterprises, Columbia Pictures Corporation, and E & R Productions Corp. Uptown Saturday Night (Sidney Poitier, 1974) is an action-comedy crime film written by Richard Wesley and starring Sidney Poitier, Bill Cosby, and Harry Belafonte. Although the film received mixed reviews, it was a commercial success and was part of the Blaxploitation wave. Later, Cosby and Poitier teamed up again, without Belafonte, for the sequels Let's Do It Again (Sidney Poitier, 1975) and A Piece of the Action (Sidney Poitier, 1977).

Harry Belafonte's recording activity slowed after he left RCA in the mid-1970s. RCA released his fifth and final Calypso album, 'Calypso Carnival' in 1971. From the mid-1970s to the early 1980s, Belafonte spent the greater part of his time touring Japan, Europe, Cuba, and elsewhere. In 1977, he released the album 'Turn the World Around' at Columbia Records. The album, with a strong focus on world music, was never issued in the United States. He subsequently was a guest star on a memorable episode of The Muppet Show (1978), in which he performed his signature song 'Day-O' on television for the first time. However, the episode is best known for Belafonte's rendition of the spiritual song 'Turn the World Around', from the album of the same name, which he performed with specially made Muppets that resembled African tribal masks. Belafonte reprised the song at John Henson's memorial in 1990. In 1984, Belafonte produced and scored the musical film Beat Street (Stan Lathan, 1984). Set in the South Bronx, the film follows the lives of a pair of brothers and their group of friends, all of whom are devoted to various elements of early hip hop culture. The cast included Rae Dawn Chong and Guy Davis. Together with Arthur Baker, Belafonte produced the gold-certified soundtrack of the same name. Beat Street's impact was felt internationally as well as throughout the United States. In Germany, for example, films as Beat Street are credited with introducing the hip-hop movement to the country.

In 1985, Belafonte was one of the organisers behind the Grammy Award-winning song 'We Are the World', a multi-artist effort to raise funds for Africa, and performed in the Live Aid concert that same year. Belafonte's involvement in 'USA for Africa' resulted in renewed interest in his music, culminating in a record deal with EMI. He subsequently released his first album of original material in over a decade, 'Paradise in Gazankulu', (1988). The album contains ten protest songs against the South African former Apartheid policy and is his last studio album. As UNICEF Goodwill Ambassador, Belafonte attended in 1988 a symposium in Harare, Zimbabwe, to focus attention on child survival and development in Southern African countries. As part of the symposium, he performed a concert for UNICEF. A Kodak video crew filmed the concert, which was released as a 60-minute concert video titled Global Carnival. Also in 1988, Tim Burton used 'The Banana Boat Song' and 'Jump in the Line' in his film Beetlejuice (Tim Burton, 1988). Belafonte appeared with John Travolta in the film drama White Man's Burden (1995), about racism in an alternative America where black and white Americans have reversed cultural roles. The film was written and directed by Desmond Nakano. The film revolves around Louis Pinnock (Travolta), a white factory worker, who kidnaps Thaddeus Thomas (Belafonte), a black factory owner for firing him over a perceived slight. The film gained a negative reception from the critics and was not a box office success. For Robert Altman's jazz age drama Kansas City (1996), he won the New York Film Critics Circle Award for Best Supporting Actor. Kansas City, which stars Jennifer Jason Leigh and Miranda Richardson, is also notable for its musical score being integrated into the film, with modern-day musicians recreating the Kansas City jazz of 1930s. For instance, Craig Handy played the role of Coleman Hawkins, Geri Allen played Mary Lou Williams, and James Carter played Ben Webster.

Following a lengthy recording hiatus, 'An Evening with Harry Belafonte and Friends' (1997), a soundtrack and video of a televised concert, were released by Island Records. 'The Long Road to Freedom: An Anthology of Black Music', a huge multi-artist project recorded by RCA during the 1960s and 1970s, was finally released by the label in 2001. Belafonte went on the Today Show to promote the album on 11 September 2001 and was interviewed by Katie Couric just minutes before the first plane hit the World Trade Center. The album was nominated for the 2002 Grammy Awards for Best Boxed Recording Package, for Best Album Notes, and for Best Historical Album. On television, Harry Belafonte starred as an Associate Justice of the Supreme Court of the United States in the TV drama Swing Vote (David Anspaugh, 1999) with Andy Garcia. In 2006, Belafonte appeared in the film Bobby, Emilio Estevez's ensemble drama about the assassination of Robert F. Kennedy. Belafonte played Nelson, a friend of an employee of the Ambassador Hotel (Anthony Hopkins). Belafonte received the Kennedy Center Honors in 1989. He was awarded the National Medal of Arts in 1994 and he won a Grammy Lifetime Achievement Award in 2000. He performed sold-out concerts globally through the 1950s to the 2000s. Owing to illness, he was forced to cancel a reunion tour with Nana Mouskouri planned for the spring and summer of 2003 following a tour in Europe. His last concert was a benefit concert for the Atlanta Opera on 25 October 2003. In a 2007 interview, he stated that he had since retired from performing.

In 2017 Harry Belafonte released 'When Colors Come Together', an anthology of his music for Sony Legends produced by his son David Belafonte. David wrote a remake of 'Island In The Sun', arranged by longtime Belafonte musical director Richard Cummings featuring Harry Belafonte's grandchildren Sarafina and Amadeus and a children's choir. Always outspoken in his beliefs, Belafonte achieved widespread attention for his political views in 2002 when he began making a series of negative comments about President George W. Bush and the Iraq War. Belafonte created controversy in October 2002 when he made disparaging remarks about Secretary of State Colin Powell. Far from being upset, Powell reportedly took the remarks good-humoured, refusing to inflame the situation any further. Belafonte's other controversial political statements on U.S. foreign policy have included opposing the U.S. embargo on Cuba, praising Soviet peace initiatives, attacking the U.S. invasion of Grenada, praising the Abraham Lincoln Brigade, honouring Ethel and Julius Rosenberg and praising Fidel Castro. On a Martin Luther King Day speech at Duke University in 2006, Belafonte compared the American government to the 9/11 terrorists.

Belafonte and his first wife Marguerite Byrd were married from 1948 to 1957. They have two daughters: Adrienne and Shari, who also worked as an actress. In 1957, Belafonte married his second wife Julie Robinson, a former dancer with the Katherine Dunham Company who was of Jewish descent. They had two children, David and Gina. David, the only son of Harry Belafonte, is a former model and actor and is an Emmy-winning and Grammy-nominated music producer and the executive director of the family-held company Belafonte Enterprises Inc. As a music producer, David has been involved in most of Belafonte's albums and tours and productions. After 47 years of marriage, Belafonte and Robinson got a divorce. In April 2008, Harry Belafonte married photographer Pamela Frank. Recently, Belafonte returned to the cinema in Spike Lee's biographical crime film BlacKkKlansman (2018) as an elderly civil rights pioneer. Set in 1970s Colorado Springs, the plot follows the first African-American detective in the city's police department as he sets out to infiltrate and expose the local chapter of the Ku Klux Klan. BlacKkKlansman premiered at the 2018 Cannes Film Festival, where it won the Grand Prix. Belafonte appears in the film recounting the lynching of Jesse Washington, a black teenage farmhand who was lynched in the county seat of Waco, Texas, on 15 May 1916, in what became a well-known example of racially motivated lynching. In 2019, the film won an Oscar for Best Adapted Screenplay. It was written by Charlie Wachtel, David Rabinowitz, Kevin Willmott and Spike Lee.

Harry Belafonte died in New York on 25 April 2023, due to congestive heart failure. He was 96.

Sources: Wikipedia and IMDb.

And, please check out our blog European Film Star Postcards.

Diana Rigg (1938-2020) by Truus, Bob & Jan too!

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British postcard by The National Theatre. Photo: Dominic. Alec McCowen as Alceste and Diana Rigg as Célimène in the stage play 'The Misanthrope' (1973) by Molière. English version by Tony Harrison.

Today, 10 September 2020, English actress Diana Rigg (1938) has passed away. She was well known as Emma Peel in the classic TV series The Avengers (1965-1968), and later as Lady Olenna Tyrell in Game of Thrones (2013-2017). In between, she had an extensive career in film and theatre. Between 1959 and 1964, she performed for the Royal Shakespeare Company and won several awards, including a Tony and an Emmy award. In the cinema, she made her mark as Countess Teresa di Vicenzo, the only Bond girl to ever get 007 to the altar, in On Her Majesty's Secret Service (1969). Diana Rigg was 82.

Enid Diana Elizabeth Rigg was born in Doncaster, then in the West Riding of Yorkshire, now in South Yorkshire, in 1938. Her parents were railway engineer Louis Rigg and his wife Beryl Hilda Rigg née Helliwell. Between the ages of two months and eight years, Rigg lived in Bikaner, India, where her father was employed as a railway executive. She was then sent to a private boarding school, where she suffered through the discipline and rigors until one of her teachers introduced her to the world of the theatre. From 1955 till 1957, she trained as an actress at the Royal Academy of Dramatic Art, where Glenda Jackson and Siân Phillips were classmates. Rigg made her professional stage debut in the RADA production of The Caucasian Chalk Circle at the York Festival in 1957. In 1959, she joined the Royal Shakespeare Company and stayed there till 1964. Her deeply distinctive voice, auburn red hair, and towering height (5'8") assured her such dynamic roles as Viola in Twelfth Night and Cordelia in King Lear. In 1965, actress Elizabeth Shepherd was dropped from a popular BBC TV series after filming two episodes. Rigg auditioned for the role on a whim, without ever having seen the programme. Hal Erickson at AllMovie: “she was selected to replace Honor Blackman on the popular tongue-in-cheek TV-adventure series The Avengers and for the next two years captivated little boys of all ages with her energetic portrayal of coolheaded, leather-clad karate expert Mrs. Emma Peel.” Fans were fond of the banter between Mrs. Peel and Patrick Macnee’s John Steed, delivered with champagne crispness. From 1965 till 1967, Rigg appeared in 51 episodes of the cult series. She became soured on the series when she discovered that she was earning less than some of the cameramen. After holding out for a pay raise, she returned for a second season, which would be her last. Then film stardom followed. She became a Bond girl in On Her Majesty's Secret Service (Peter R. Hunt, 1969), playing Countess Teresa di Vicenzo a.k.a. Tracy Bond, 007's only wife, opposite George Lazenby. Although its cinema release was not as lucrative as its predecessor You Only Live Twice, On Her Majesty's Secret Service was still one of the top-performing films of the year. Critical reviews upon release were mixed, but the film's reputation has improved over time. Donald Guarisco at AllMovie: “Diana Rigg also makes a vivid impression as Tracy, easily the toughest and most resourceful of all Bond heroines”. Rigg’s other films from this period include her film debut A Midsummer Night's Dream (Peter Hall, 1968), the black comedy The Assassination Bureau (Basil Dearden, 1969) with Oliver Reed, Julius Caesar (Stuart Burge, 1970) featuring John Gielgud, and the satire The Hospital (Arthur Hiller, 1971). All her films were well regarded but no box office hits.

In 1970, ‘ theatre animal’ Diana Rigg returned to the stage in the Ronald Millar play Abelard and Heloise in London. According to IMDb, she was the first major actor (along with co-star Keith Michell) to appear nude on stage in this production. She made her Broadway debut with the play in 1971, earning the first of three Tony Award nominations for Best Actress in a Play. She received her second nomination in 1975, for The Misanthrope. A member of the National Theatre Company at the Old Vic from 1972 to 1975, Rigg took leading roles in premiere productions of two Tom Stoppard plays, Dorothy Moore in Jumpers (1972) and Ruth Carson in Night and Day (1978). In the cinema, she appeared in such films as the hilarious horror-comedy Theatre of Blood (Douglas Hickox, 1973) as Vincent Price’s loyal but homicidal daughter, and the disastrous musical A Little Night Music (Harold Prince, 1977), starring Elizabeth Taylor. On television, she appeared as the title character in The Marquise (1980), a TV adaptation of the play by Noël Coward. In 1981 she appeared on TV in the title role of Hedda Gabler, and in the cinema as Lady Holiday in The Great Muppet Caper (Jim Henson, 1981). The following year she received acclaim for her performance as glamorous actress Arlena Stuart Marshall in the film adaptation of Agatha Christie's Evil Under the Sun (Guy Hamilton, 1982), with Peter Ustinov as Hercule Poirot. Craig Butler at AllMovie: “Diana Rigg and Maggie Smith, in particular, make scenery-chewing seem the most natural way of acting in a movie. (Riggs' performance of You're the Top - constantly interrupted by Smith - is particularly memorable.)” Also in 1982, Rigg published the hilarious book No Turn Unstoned, in which she gathered together the worst reviews ever received by the world's best actors. The book, which including a review by New York Magazine’s John Simon with uncouth remarks about her nude scene in Abelard and Heloise, became a bestseller and cult favourite. She appeared as Regan, the king's treacherous second daughter, in a TV production of King Lear (1983), featuring Laurence Olivier. She co-starred with Denholm Elliot in a television version of Dickens' 'Bleak House' (1985), and played the Evil Queen, Snow White's evil stepmother, in a film adaptation of Snow White (Michael Berz, 1987). In 1987 she took a leading role in the West End production of Stephen Sondheim's musical Follies. Then Rigg played obsessive mother Helena Vesey, who was prepared to do anything, even murder, to keep control of her son in the TV Mini-series Mother Love (1989). For her role, she won the BAFTA TV Award for Best Actress. In 1988, Rigg was made a Commander of the Order of the British Empire (CBE) and in 1994, a Dame Commander of the Order of the British Empire (DBE).

In the 1990s, Diana Rigg had more triumphs on stage with her role as Medea at the Almeida Theatre in Islington in 1992. The production transferred in 1993 to the Wyndham's Theatre and in 1994 to Broadway. Rigg received the Tony Award for Best Actress gfor this performance. Other triumphs were her Mother Courage at the National Theatre in 1995 and Who's Afraid of Virginia Woolf? at the Almeida Theatre in 1996. She won an Emmy Award for her role as the sinister Mrs. Danvers in Rebecca (Jim O’Brien, 1997). She also appeared in The Fortunes and Misfortunes of Moll Flanders (David Attwood, 1996), and as the eccentric old amateur detective Mrs. Bradley in The Mrs. Bradley Mysteries (James Hawes, Martin Hutchings, 1998-2000). On stage, Rigg appeared in 2004 as Violet Venable in Tennessee Williams's play Suddenly Last Summer, and in 2007 as Huma Rojo in All About My Mother, based on the film by Pedro Almodóvar. She appeared in 2008 in The Cherry Orchard, and in 2009 in Noël Coward's Hay Fever. In 2011 she played Mrs. Higgins in Pygmalion, opposite Rupert Everett and Kara Tointon, having played Eliza Doolittle 37 years earlier at the Albery Theatre. In the cinema, she could be seen as Grandmamma in the family film Heidi (Paul Marcus, 2005) and as a French Mother Superior who presides over a Chinese orphanage in The Painted Veil (John Curran, 2006) with Naomi Watts and Edward Norton. In the 1960s, Rigg lived for eight years with actor/director Philip Saville. She was married to Menachem Gueffen, an Israeli painter, from 1973 until their divorce in 1976, and to Archibald Stirling, a theatrical producer, and former officer in the Scots Guards, in 1982, until their divorce in 1990. With Stirling, Rigg has a daughter, actress Rachael Stirling (1977). In 2013, she appeared with her daughter Rachel in the hit series Doctor Who in the episode The Crimson Horror (Saul Metzstein, 2013). The same year, Rigg secured a recurring role in the third season of the HBO series Game of Thrones (2013-2017). She portrayed Lady Olenna Tyrell, a witty and sarcastic political mastermind popularly known as the Queen of Thorns, the grandmother of regular character Margaery Tyrell. Her performance was well received and earned her an Emmy nomination in 2013. She reprised her role in seasons four, five, and six, in an expanded role from the books. In October 2015, to mark 50 years of Emma Peel, the BFI (British Film Institute) screened an episode of The Avengers followed by an onstage interview with Rigg about her time on the cult 1960s TV show. On 10 September 2020, Diana Rigg passed away in London. She was 82. Her daughter, Rachael Stirling, said that the cause of death was cancer, which Rigg had been diagnosed with in March. Till her death, she kept appearing for the cameras. In post-production are the series Black Narcissus, in which she appears as Mother Dorothea, and the horror-thriller Last Night in Soho (Edgar Wright, 2021).

Sources: Stuart Jeffries (The Guardian), Hal Erickson (AllMovie), Donald Guarisco (AllMovie), Craig Butler (AllMovie), Pedro Borges (IMDb), TCM, Wikipedia, and IMDb.

And, please check out our blog European Film Star Postcards.

Nimoe | Producer, Songwriter by William Veder · Eventfotografie

N.D.B.C by Hoang Kintara

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Producer: Nonnonstudio

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Make up: Kevin Le

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Ekip: Nonnonstudio ( Bap .. - Bo Xamxit - Kieu Khoa)

Phone:0916055091

YM! kin_tar_a

Email: nonnonstudio@gmail.com

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Get Carter Street Art/Graffiti, The Tyne Bar, 1 Maling Street, Ouseburn Valley, Newcastle Upon Tyne, Tyne & Wear, England. by PHOTOGRAPHY by DM & DBM.

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Get Carter is a 1971 British gangster film, written and directed by Mike Hodges in his directorial debut and starring Michael Caine, Ian Hendry, John Osborne, Britt Ekland and Bryan Mosley. Based on Ted Lewis's 1970 novel Jack's Return Home, the film follows the eponymous Jack Carter (Caine), a London gangster who returns to his hometown in North East England to learn about his brother's supposedly accidental death. Suspecting foul play, and with vengeance on his mind, he investigates and interrogates, regaining a feel for the city and its hardened-criminal element.

Producer Michael Klinger optioned Lewis's novel shortly after its publication and made a deal with the ailing Metro-Goldwyn-Mayer (MGM) to finance and release the film, making Get Carter the last project to be approved by the studio's Borehamwood division before its closure. The production went from novel to finished film in ten months, with principal photography taking place from July to September 1970 in and around Newcastle upon Tyne, Gateshead and County Durham. Hodges, Klinger and Caine intended to create a more realistic portrayal of violence and criminal behaviour than had previously been seen in British films: Caine, who also served as an uncredited co-producer, incorporated aspects of criminal acquaintances into his characterisation of Carter, while Hodges conducted research into the criminal underworld of Newcastle (in particular the one-armed bandit murder). Cinematographer Wolfgang Suschitzky worked with Hodges to give scenes a naturalistic feel, drawing heavily on their backgrounds in documentary films.

Turning a respectable profit upon its initial UK release, Get Carter initially attracted mixed reviews. Critics begrudgingly appreciated the film's technical achievements and Caine's performance while criticizing the complex plot, violence and amorality, in particular Carter's apparent lack of remorse for his actions. American critics were generally more enthusiastic, but the film languished on the drive-in circuit, while MGM focused its resources on producing Hit Man, a blaxploitation-themed remake of the film.

Get Carter eventually garnered a cult following, and further endorsements from directors such as Quentin Tarantino and Guy Ritchie led to the film being critically re-evaluated, with its depiction of class structure and life in 1970s Britain and Roy Budd's minimalist jazz score receiving considerable praise. In 1999, Get Carter was ranked 16th on the BFI Top 100 British films of the 20th century; five years later, a survey of British film critics in Total Film magazine chose it as the greatest British film of all time. A poorly received second remake under the same title was released in 2000, with Sylvester Stallone portraying Jack Carter and Caine in a supporting role.

Sir Michael Caine CBE (born Maurice Joseph Micklewhite; 14 March 1933) is an English retired actor. Known for his distinctive Cockney accent, he has appeared in more than 160 films over a career spanning eight decades and is considered a British film icon. He has received numerous awards including two Academy Awards, a BAFTA Award, three Golden Globe Awards, and a Screen Actors Guild Award. As of 2017, the films in which Caine has appeared have grossed over $7.8 billion worldwide. Caine is one of only five male actors to be nominated for an Academy Award for acting in five different decades. In 2000, he received a BAFTA Fellowship and was knighted by Queen Elizabeth II.

Often playing a Cockney, Caine made his breakthrough in the 1960s with starring roles in British films such as Zulu (1964), The Ipcress File (1965), The Italian Job (1969), and Battle of Britain (1969). During this time he established a distinctive visual style wearing thick horn-rimmed glasses combined with sharp suits and a laconic vocal delivery; he was recognised as a style icon of the 1960s. He solidified his stardom with roles in Get Carter (1971), The Last Valley (1971), The Man Who Would Be King (1975), The Eagle Has Landed (1976), and A Bridge Too Far (1977).

Caine received two Academy Awards for Best Supporting Actor for his roles as Elliot in Woody Allen's comedy Hannah and Her Sisters (1986), and as Dr. Wilbur Larch in Lasse Hallström's drama The Cider House Rules (1999). His other Oscar-nominated films include Alfie (1966), Sleuth (1972), Educating Rita (1983), and The Quiet American (2002). Other notable performances include in the films California Suite (1978), Dressed to Kill (1980), Mona Lisa (1986), Little Voice (1998), Quills (2000), Children of Men (2006), Harry Brown (2009), and Youth (2015).

Caine is also known for his performance as Ebenezer Scrooge in The Muppet Christmas Carol (1992), and for his comedic roles in Dirty Rotten Scoundrels (1988), Miss Congeniality (2000), Austin Powers in Goldmember (2002), and Secondhand Lions (2003). Caine portrayed Alfred Pennyworth in Christopher Nolan's Batman trilogy (2005–2012). He has also had roles in five other Nolan films: The Prestige (2006), Inception (2010), Interstellar (2014), Dunkirk (2017), and Tenet (2020). He announced his retirement from acting in October 2023, with his final film being The Great Escaper, which came out in the same month.

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.

RIDDIM’S, ROADS AND MANTRA’S OF FREEDOM by Fraser West

17 4

I shot the artwork for Lloyd Luther's upcoming album.

Really pleased with how this came out. Something a little different... which I love.

Cameron “Lloyd Luther” Johnson is a Rap Artist and Producer from Leicester City, UK. Originally born in London Stretham, later he moved to the midlands where he grew up in Leicester till present. Influenced by a wide range of music, centered on UK hip-hop but also influenced by Daft Punk and Massive Attack, Lloyd originally wanted to be an cartoon artist. However, on his brother’s PC he had a pirated version of Fruity Loops production software.. He would rush home from school to make music, spurring on a career of music production. Having studied production and shared bars with mates, Luther began to take his music more seriously. Transitioning from remixing other artists to making his own beats and began laying his own bars over the top.

A brush with death in hospital gave him the impetus to get his work out there more urgently and not worry about what others think – to remain true to himself became the higher goal. He has an uncompromising, relentless delivery showing a deep knowledge of the subjects he tackles, from science, philosophy, politics and history, as well as a wit in using cultural references.

One of his early tracks – ‘Drugs on Tap’ – a diatribe on the state of the medicine industry, was used in the soundtrack for Netflix’s series ‘Top Boy’. This marked Lloyd Luther’s entrance into the mainstream UK rap culture, where he has cemented his reputation among the conscious rap scene.

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