View allAll Photos Tagged Promoting
This 360 degree HDR panorama has been taken at the Angels Landing summit in Zion National Park on January 15th, 2012 with Nikon D3 and a Nikkor 18-35mm/F3.5-4.5D lens mounted on a Gigapan Epic Pro motorized panoramic head. The Promote Control was started by the Gigapan pano head at every panoramic position. The series of images were batch-processed in Photomatix Pro and the resulting HDR images were assembled using PTGui Pro to form a 360 degree equirectangular panorama.
Leidseplein 02/02/2026 13h41
Harry Edward Styles (born 1 February 1994) is an English singer, songwriter, and actor. His showmanship, artistry, and flamboyant fashion have had a significant impact on popular culture. Harry Styles is performing at the Johan Cruijff ArenA this spring with his "Together, Together" tour. He'll be performing at the ArenA in Amsterdam ten times, making it a record-breaking total.
Combino 2101 is promoting this concert, but is that really necessary? The artist is already selling himself, but it just adds to the hype.
Here Combino 2101 on tram line 12.
This tram was delivered to the GVB on 10/09/2003 and first put into service on 26/09/2003 on line 4.
More information:
Wikipedia - Tramlijn 12 (Dutch)
Amsterdamse Trams - Lijn 12 (Dutch - by Cor Fijma)
Luzon Cisco 100
- Engine: Hino J08C-TK
- Chassis: RK1JST
- Prev. Bus Body: Hino Grand-Echo
- Bus Body: PFSBB Hino Grand-Echo II
To mark the promotion of Ipswich Town Football Club from the Championship to the Premier League 2023-24 Season.
Henry Jephson - 1798 - 1878
The promotor of the healing properties of Leamington's spa water.
He had houses built for the town's poor residents
Motorshow Essen (Germany) 2005☺!
Added to the gallery www.flickr.com/photos/ebiker/galleries/72157623763195890/
Newly promoted Captain Marilyn Bardot has been been given the command of a Constitution class starship (named after her, with the registry NCC 1069) by Star Fleet, and she is currently recruiting her crew. First off, here is Ensign Cammie Leon (in blue), her former doppelganger adversary, now friend and colleague (see www.flickr.com/photos/145133269@N04/albums/72157709121110966 ) with her new Marilyn-assisted makeover, and Ensign Roanne May (in red), one of three fraternal triplet sisters serving in this crew. In the next few weeks you will meet other members of the team before finally seeing them all together. Each one will have a different face (mask) as well as various figures ranging from mild to wild!
under the skies that transcend billions of universes,
the outsized elephant-room of questions & secrets;
deepak ` the lightwriter's canvas broach in open.
we read our dread, Who if I cried out would hear me?
mind the stillness-mat viz; feelings get encroached; at
first, you praise their dress, then you get ash-dressed.
'ours' keeps breaking - ourselves, within our perimeter.
bully / pulpit alters us; diminishes sickle consciousness.
betwixt the micro spaces of conversation / correctness,
a certain static silence had enshrined in - just all over.
harbinger of tenuous assumptions kept on ossifying
into the experiments with musts, doubts, turncoats.
approvers bare intimacy that bears inching eyes;
and when one is completely inside one's perfidy,
a cover-up mindset suborns a hushed horizon —
pretends - the decisions had been difficult. 'yes'
— deserts us in a forgetting curve that reminds us,
of sti-ff-ness between us, culturing the same sky.
take over air consternates us-sets dreams on fire.
formless hubris viz debris, give themselves to gust
to be e'er scattered betwixt this/that; bedraggled.
zeroing in, insecurity at the heart of human constructs
the displaced shoes let you see, the surface of yore.
a long haul to dig and find, the great heart of our past.
no spin here, to foresee, real ground under our feet.
unchopping a tree, perched on wasteland, silences..
a thousand mile stare, ensouls thousand silhouettes:
anagram—breathy.ed each other to the bridging truth;
and learnedness, endlessly multiplied with curtain call.
where e g /oquence isolates honest assessment, not
being one of their chiliad/st.ic quarters isn't isolation.
not a diminishment, if being exercised more fully -
- truth's episodic memory is tender and unwavering;
ongoing procedure of days - = - simply transformative,
to rain align, all the absorbed moments of illumination.
bathed in light, friendships bear holistic temperament
alert, alert, alter! “after the game is before the game”.
tales shine in via our window of thousand caresses,
where you are sewing a blouse that feeds the spine.
tender paws & sky-ball inside, dashing out of a conch;
over tears-coasts, the white expanse, so kind & clear.
coconut chirping an intrinsic and glorious awakening.
rose dew here, and trouble talk lies beyond the map.
the truth is made real through servitude in affection.
psithurism of intimate revelations recalls clutched keys;
the key did turn. everywhere you turn is full of wonder.
awed to see - the shift inside, shifts deep garden state!
how did a blackbird of the milky way land up here,
that joy glistens in the kaleidoscopic, tent•i•er eyes.
how else to truly trace this landscape of provenance,
a cat following a radiant butterfly to the ringing bells.
※
India ▪ that is Bhāratam
a quiet 'photo meditation' and a poem
to read in the quiet of your days.
and share as we gather around what we love.
© Think Through The — Magic Box Photographie [◎]
* The italicized line is by Rainer Maria Rilke.
The Harry F. Sinclair House at E. 79th Street and 5th Avenue, completed in 1899, was successively the residence of businessmen Isaac D. Fletcher and Harry F. Sinclair, and then the descendants of Peter Stuyvesant. The mansion was designed by C. P. H. Gilbert and built by foreman Harvey Murdock. The building largely retains its original design, except for a 1917, [ on the roof. The mansion comprises 27 rooms on 6 floors, for a total floorspace of 20,000 square feet. Fletcher died at the house in 1917 and in his will bequeathed the property to the Metropolitan Museum of Art. The museum sold the house the next year to oil magnate Harry F. Sinclair, who sold the house in 1930 to Augustus Stuyvesant Jr. and Anne van Horne Stuyvesant. The siblings resided in the mansion until their deaths in 1953 and 1938, respectively. The executors of the Stuyvesant estate sold the Sinclair House in 1954 to a group of investors, who sold it in 1955 to the Ukrainian Institute of America, a nonprofit founded by Ukrainian businessman William Dzus in 1948 to promote Ukrainian culture.
Standing on the street promoting the local pizza restaurant in a costume is one way to drum up business
There’s nothing quite as frustrating as tourists, right? Busy streets, jostling crowds and endless questions about directions are enough to drive you mad, but it’s important to recognise the importance of tourists and tourism on a local economy. Tourism Day promotes an awareness of just how important tourism is at driving local trade, culture, and keeping historical and local interest sites open to the public – tourists and residents alike.
Promoting the port of Antwerp, Lineas organised a tour from Brugge via Antwerpen Centraal to Noordzeeterminal PSA and back for a few hundred invitees.
Just before the Combinant terminal, the charter train had a scheduled stop on line 11.
27/10/2022
"Kindly promote ghostly interests during this season."
An unused Gibson Halloween postcard, circa 1910s. The jumpy black cats in the border provide a nice contrast to the wide-eyed ghosts shuffling down the road.
For another ghostly Halloween card, see Beware Your Fate Is in Your Own Hands! Halloween Greetings.
This is my mother, with my little cousin Heather looking on.
Mom is trying to introduced my new kitten Pumpkin (yeah.....that was the cat's name. I know it isn't even orange, but we got it around Halloween, so that was how my little brain was working when I named him!) to our parakeet Yenta
You can see where I get my love of animals from! 8-)
This was probably taken somewhere around 1964.
Akihabara in central Tokyo is famous for its inexpensive electronics shops, maid cafes and stores ideal for anime and game lovers.
Maid cafés Hepburn: meido kissa or meido kafe) are a subcategory of cosplay restaurants found predominantly in Japan. In these cafés, waitresses, dressed in maid costumes, act as servants, and treat customers as masters (and mistresses) in a private home, rather than as café patrons
File: 2022004-0521
Outside Tesco Express, corner of Broadmead and Union Street, Bristol, South West of England, United Kingdom, on Saturday 9th of July 2022.
About the photograph.
While covering the Bristol Pride parade through the city centre, I have been trying to find anything interesting to take photos of. I spotted this guy with the angel wings on his/her back, it got my attendant because the top parts of the wings stood out from the crowd. So I tried to get a good framing, but that was as best as I could do.
I think they paused during the march, to get some drinks from Tesco, but it was a very hot weather, I’m rather surprised that the lady with the hat, opt for what I think is coffee, unless it’s tea, from a takeaway nearby. The others are just checking social media or texting.
By this time I took the photos, I would be roughly about halfway through the parade.
About the event.
Bristol Pride is an annual festival held over couple of weeks, promoting equality for the various LGBT+ people, with a march through the city at a weekend.
The Bristol Pride started life in 1977 as a fundraiser for the local LGBT community, and evolved into an annual event held every year. There was a gap of only some years between 1994 to 2010 when it was restarted.
The 2022 march started at Castle Park, near Castle Street. The route took them past Cabot Circus, and went around the major shopping area by using The Horsefair and Union Street, and as they went down Union Street, they headed towards Castle Park. When they reached Castle Park, they turned into Wine Street, went into High Street, and into Baldwin Street, headed towards the A38 which is Anchor Road. This route took them into Canon’s Road, and ended up near the Bristol Aquarium.
The march was said to take about an hour, but as a photographer whom would go back and forth, up and down the line, looking for good shots, it took me at least a couple of hours to complete the route.
After the march, those whom bought tickets, can attend an evening musical festival at The Downs, approximately to the north-west of city centre. I did not attend this event, and by the time I got back to my friend’s home, I was worn out from the heat.
You are welcome to comment on my photos, but do NOT use canned comments, which are pre-prepared comment codes that talks more about the groups than about my photos. Those are considered to be spam, and will therefore be deleted.
Huy
Huy is a city and municipality of Wallonia located in the province of Liège, Belgium. Huy lies along the river Meuse, at the mouth of the small river Hoyoux. It is in the "sillon industriel", the former industrial backbone of Wallonia.
The first village originated around the Roman castrum, an early fortress located on the right bank of the river Meuse. The village was evangelized by Saint Domitian, bishop of Tongeren in the 6th century and the town is mentioned for the first time in a 7th-century testament (as Hoius vicus, taking its name from the river Hoyoux).
In the early Middle Ages, Huy was one of the most prosperous cities on the Meuse, with a flourishing economy based mostly on metallurgy, but also on tanning, sculpting, woodworking, and wine-making. In the 10th century, Huy was promoted to county status, but soon became part of the Prince-Bishopric of Liège, with which it would share its history for more than eight centuries. Huy was the recipient of the first historically known charter north of the Alps, confirming it as a city in 1066. It is around that time that Peter the Hermit harangued the locals and persuaded them to participate in the First Crusade, having already participated himself in the People's Crusade and the Rhineland massacres in 1096.
In the 13th and 14th centuries, the economy boomed thanks to the cloth industry. The castle on a hill right in the middle of town, was used in times of war and strengthened accordingly. By the 15th century, it had become the symbol of the city. The following two centuries, however, witnessed a gradual decline in the city's fortunes, due in large part to the strategic value of its location on the Meuse. In the latter part of the 17th century, Louis XIV's wars caused the city to be repeatedly attacked and put to the sword, to the point that the frustrated inhabitants dismantled their own castle, source of their miseries, in 1715.
A new fortress was built by the Dutch in 1818 at the same strategic location above the town. The 19th century was a period of relative prosperity based on the paper and other industries. The decline of heavy industry in the 20th century was felt here, as in other parts of Wallonia. Today, the city has started to prosper again, thanks in part to its tin products and tourist activity.
In 1970, the Tihange Nuclear Power Station was built nearby.
Source: en.wikipedia.org/wiki/Huy
[Boys wearing caps and holding banners about “Good Hope Hills” promote sales of lots in an area being developed in southeast Washington, DC]
[1924]
1 negative : glass ; 5 x 7 in. or smaller
Notes:
The photo was taken at 1406 H. Street NW, Washington, DC, the location of the sales office for lots in Good Hope Hills. Ads in the 1924 Evening Chronicle encourage visits to the neighborhood and a field day for boys in August.
Title and other identifying information from source: Flickr Commons project, 2020.
Date from negatives in same range.
Gift; Herbert A. French; 1947.
This glass negative might show streaks and other blemishes resulting from a natural deterioration in the original coatings.
Format:
Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
Part Of: National Photo Company Collection (Library of Congress)
General information about the National Photo Company collection is available at hdl.loc.gov/loc.pnp/pp.npco
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/npcc.26021
Call Number: LC-F81- 31777
They all look the same, dress the same way, use the same facial expressions and body language but each will tell you he's "doing his own thing" Interactions, mirroring consists of the parent imitating the infant's expressions while vocalizing the emotion implied by the expression. This imitation helps the infant to associate the emotion with their expression, as well as feel validated in their own emotions as the parent shows approval through imitation. Studies have demonstrated that mirroring is an important part of child and infant development. According to Kohut's theories of self-psychology, individuals need a sense of validation and belonging in order to establish their concepts of self. When parents mirror their infants, the action may help the child develop a greater sense of self-awareness and self-control, as they can see their emotions within their parent's faces. Additionally, infants may learn and experience new emotions, facial expressions, and gestures by mirroring expressions that their parents utilize. The process of mirroring may help infants establish connections of expressions to emotions and thus promote social communication later in life. Infants also learn to feel secure and valid in their own emotions through mirroring, as the parent's imitation of their emotions may help the child recognize their own thoughts and feelings more readily.When we meet others for the first time, we need to assess quickly whether they are positive or negative towards us, just as most other animals do for survival reasons. We do this by scanning the other person's body to see if they will move or gesture the same way we do in what is known as 'mirroring'. We mirror each other's body language as a way of bonding, being accepted and creating rapport, but we are usually oblivious to the fact that we are doing it. In ancient times, mirroring was also a social device which helped our ancestors fit in successfully with larger groups; it is also a left-over from a primitive method of learning which involved imitation.Additionally, individuals are likely to mirror the person of higher status or power within the situation. Mirroring individuals of higher power may create an illusion of higher status, or create rapport with the individual in power, thus allowing the person to gain favor with the individual in power. This mechanism may be helpful for individuals in situations where they are in a position of bargaining with an individual who possesses more power, as the rapport that mirroring creates may help to persuade the higher status individual to help the person of lower status. These situations include job interviews, other work situations such as requesting promotions, parent-child interactions, and asking professors for favors. Each of these situations involve one party who is in a more powerless position for bargaining, and another party who has the ability to fulfill the person of lower status's needs, but may not necessarily wish to. Thus, mirroring can be a useful tool for individuals of lower status in order to persuade the other party to relinquish goods or privileges for the lower status party.Mirroring generally takes place subconsciously as individuals react with the situation. Mirroring is common in conversation, as the listeners will typically smile or frown along with the speaker, as well as imitate body posture or attitude about the topic. Individuals may be more willing to empathize with and accept people whom they believe hold similar interests and beliefs, and thus mirroring the person with whom one is speaking may establish connections between the individuals involved.
One of the most noticeable forms of mirroring is yawning - one person starts and it sets everyone off. Dr. Robert Provine found that yawning is so contagious you don't even need to see another person yawn - the sight of a wide-open mouth is enough to do it. It was once thought that the purpose of yawning was to oxygenate the body but we now know that it's a form of mirroring that serves to create rapport with others and to avoid aggression - just as it also does for this pictured boat and yawning building.
Wearing the same outfit as another woman is a mirroring no-no. But if two men show up at a party wearing the same outfit, they could become lifelong friends.
Non-verbally, mirroring says 'Look at me; I'm the same as you. I feel the same way and share the same attitudes.' This is why people at a rock concert will all jump to their feet and applaud simultaneously or give a 'Mexican Wave' together. The synchronicity of the crowd promotes a secure feeling in the participants. Similarly, people in an angry mob will mirror aggressive attitudes and this explains why many usually calm people can lose their cool in this situation.
The urge to mirror is also the basis on which a queue works. In a queue, people willingly co-operate with people they have never met and will never see again, obeying an unwritten set of behavioral rules while waiting for a bus, at an art gallery, in a bank or side by side in war. Professor Joseph Heinrich from the University of Michigan found that the urges to mirror others are hardwired into the brain because co-operation leads to more food, better health and economic growth for communities. It also offers an explanation as to why societies that are highly disciplined in mirroring, such as the British, Germans and ancient Romans successfully dominated the world for many years. Mirroring the other person's body language and appearance shows a united front and doesn't let either get one-up on the other
Mirroring makes others feel 'at ease'. It's such a powerful rapport-building tool that slow-motion video research reveals that it even extends to simultaneous blinking, nostril-flaring, eyebrow-raising and even pupil dilation, which is remarkable as these micro-gestures cannot be consciously imitated.
Creating the Right Vibes
Studies into synchronous body language behavior show that people who feel similar emotions, or are on the same wavelength and are likely to be experiencing a rapport, will also begin to match each other's body language and expressions. Being 'in sync' to bond with another person begins early in the womb when our body functions and heartbeat match the rhythm of our mother, so mirroring is a state to which we are naturally inclined.
When a couple are in the early stages of courtship it's common to see them behave with synchronous movements, almost as if they are dancing. For example, when a woman takes a mouthful of food the man wipes the corner of his mouth; or he begins a sentence and she finishes it for him. When she gets PMT, he develops a strong desire for chocolate; and when she feels bloated, he farts.
When a person says 'the vibes are right' or that they 'feel right' around another person, they are unknowingly referring to mirroring and synchronous behavior. For example, at a restaurant, one person can be reluctant to eat or drink alone for fear of being out of sync with the others. When it comes to ordering the meal, each may check with the others before ordering. 'What are you having?' they ask as they try to mirror their meals. This is one of the reasons why playing background music during a date is so effective - the music gets a couple to beat and tap in time together. Mirroring on a Cellular Level
American heart surgeon, Dr Memhet Oz, reported some remarkable findings from heart recipients. He found that, as with most other body organs, the heart appears to retain cellular memories, and this allows some patients to experience some of the emotions experienced by the heart donor. Even more remarkably, he found some recipients also assume the same gestures and posture of the donor even though they have never seen the donor. His conclusion was that it appears that the heart cells instruct the recipient's brains to take on the donor's body language. Conversely, people suffering from disorders such as autism have no ability to mirror or match the behavior of others, which makes it difficult for two-way communication with others. The same goes for drunk people whose gestures are out of sync with their words, making it impossible for any mirroring to occur.
Because of the phenomenon of cause and effect, if you intentionally assume certain body language positions you will begin to experience the emotions associated with those gestures. For example, if you feel confident, you may unconsciously assume the Steeple gesture to reflect your confidence, but if you intentionally Steeple you will not only begin to feel more confident, others will perceive that you're confident. This, then, becomes a powerful way to create a rapport with others by intentionally matching their body language and posture.
Mirroring Differences Between Men and Women
Geoffrey Beattie, at the University of Manchester, found that a woman is instinctively four times more likely to mirror another woman than a man is to mirror another man. He also found that women mirror men's body language too, but men are reluctant to mirror a woman's gestures or posture - unless he is in courtship mode.
When a woman says she can 'see' that someone doesn't agree with the group opinion she is actually 'seeing' the disagreement. She's picked up that someone's body language is out of sync with group opinion and they are showing their disagreement by not mirroring the group's body language. How women can 'see' disagreement, anger, lying or feeling hurt has always been a source of amazement to most men. It's because most men's brains are simply not well equipped to read the fine detail of others' body language and don't consciously notice mirroring discrepancies.
Men and women's brains are programmed differently to express emotions through facial expressions and body language. Typically, a woman can use an average of six main facial expressions in a ten-second listening period to reflect and then feed back the speaker's emotions. Her face will mirror the emotions being expressed by the speaker. To someone watching, it can look as if the events being discussed are happening to both women.
A woman reads the meaning of what is being said through the speaker's voice tone and his emotional condition through his body language. This is exactly what a man needs to do to capture a woman's attention and to keep her interested and listening. Most men are daunted by the prospect of using facial feedback while listening, but it pays big dividends for the man who becomes good at it.
Some men say 'She'll think I'm effeminate!', but research with these techniques shows that when a man mirrors a woman's facial expressions as she talks she will describe him as caring, intelligent, interesting and attractive.
Men, on the other hand, can make fewer than a third of the facial expressions a woman can make. Men usually hold expressionless faces, especially in public, because of the evolutionary need to withhold emotion to stave off possible attack from strangers and to appear to be in control of their emotions. This is why most men look as if they are statues when they listen.
The emotionless mask that men wear while listening allows them to feel in control of the situation, but does not mean men don't experience emotions. Brain scans reveal that men can feel emotion as strongly as women, but avoid showing it publicly.
What to Do About It if You're Female
The key to mirroring a man's behavior is in understanding that he doesn't use his face to signal his attitudes - he uses his body. Most women find it difficult to mirror an expressionless man but with males this is not required. If you're a woman, it means that you need to reduce your facial expressions so that you don't come across as overwhelming or intimidating. Most importantly, don't mirror what you think he might be feeling. That can be disastrous if you've got it wrong and you may be described as 'dizzy' or 'scatterbrained'. Women in business who listen with a more serious face are described by men as more intelligent, astute and sensible.
When Men and Women Start to Look Alike
When two people live together for a long time and have a good working relationship, they often begin to look alike. This is because they are constantly mirroring each other's facial expressions, which, over time, builds muscle definition in the same areas of the face. Even couples who don't look facially similar can appear similar in a photograph because they use the same smile.
n 2000, psychologist Dr John Gottman of the University of Washington, Seattle, and his colleagues, discovered that marriages are more likely to fail when one partner not only does not mirror the other's expressions of happiness, but instead shows expressions of contempt. Instead, this opposite behavior affects the smiling partner, even when they are not consciously aware of what is happening.
Do We Resemble Our Pets?
You can also see mirroring occur in the pets some people choose. Without realizing it, we unconsciously tend to favor pets that physically resemble us, or that appear to reflect our attitudes. To demonstrate the point, here are a couple of examples: too far and presume that our model of body language and social interpretation applies to a dog's body language.
Be careful however not to extrapolate the metaphor too far and presume that our model of body language and social interpretation applies to a dog's body language.
Monkey See, Monkey Do
The next time you attend a social function or go to a place where people meet and interact, notice the number of people who have taken the identical gestures and posture of the person with whom they're talking. Mirroring is the way one person tells another that he is in agreement with his ideas and attitudes. One is non-verbally saying to the other, 'As you can see, I think the same as you.' The person with the highest status often makes the first moves and the others copy, usually in pecking order.
In the image above it is apparent by virtue of the facial expressions and other body language that there is a good rapport between the US President's wife Michelle Obama, of informally superior status, and a university president. If Michelle changes her body posture, one might expect there is a reasonably good chance the gentleman will unconsciously emulate her posture, indirectly demonstrating they are of the same mind. Mirroring happens among friends or between people of the same status and it is common to see married couples walk, stand, sit and move in identical ways. Albert Scheflen found that people who are strangers studiously avoid holding mirror positions.
Matching Voices
Intonation, voice inflection, speed of speaking and even accents also synchronize during the mirroring process to further establish mutual attitudes and build rapport. This is known as 'pacing' and it can almost seem as if the two people are singing in tune. You will often see a speaker beating time with his hands while the listener matches the rhythm with head nods. As a relationship grows over time, the mirroring of the main body language positions becomes less as each person begins to anticipate the other's attitudes, and vocal pacing with the other person becomes a main medium for maintaining rapport.
Never speak at a faster rate than the other person. Studies reveal that others describe feeling 'pressured' when someone speaks more quickly than they do. A person's speed of speech shows the rate at which their brain can consciously analyze information. Speak at the same rate or slightly slower than the other person and mirror their inflection and intonation. Pacing is critical when attempting to make appointments by telephone because voice is your only communication medium.
Intentionally Creating Rapport
The significance of mirroring is one of the most important body language lessons you can learn because it's a clear way in which others tell us that they agree with us or like us. It is also a way for us to tell others that we like them, by simply mirroring their body language.
If a boss wants to develop a rapport and create a relaxed atmosphere with a nervous employee, he could copy the employee's posture to achieve this end. Similarly, an up-and-coming employee may be seen copying his boss's gestures in an attempt to show agreement when the boss is giving his opinion. Using this knowledge, it is possible to influence others by mirroring their positive gestures and posture. This has the effect of putting the other person in a receptive and relaxed frame of mind, because he can 'see' that you understand his point of view. Before you mirror someone's body language, however, you must take into consideration your relationship with that person. Let's say, for example, a corporate employee has asked for a pay rise and is called into his manager's office. The employee enters the office, the manager asks him to sit down and assumes the Catapult with a Figure-Four showing the employee a superior, dominant attitude. But what would happen if the subordinate then instinctively copied the manager's dominant body language while discussing the potential salary increase? A boss might perceive a subordinate's mirroring behavior as being pushy or impertinent
Even if the employee's manner of speaking and phrasing was typical of a subordinate, the manager could feel affronted by the employee's body language, placing the employee's pay increase request in doubt and perhaps posing a threat to his future promotability. Mirroring is also effective for intimidating or disarming people who deem themselves 'superior' and try to take control of situations. Accountants, lawyers and managers are notorious for using superiority body language clusters around people they consider inferior. By mirroring, you can disconcert them and force a change of position. But never do it to the boss. Through mirrored multi-tasking, these business associates are taking their minds off what can seem an awkward encroachment on their personal zones.
Who Mirrors Whom?
Research shows that when the leader of a group assumes certain gestures and positions, subordinates will copy, usually in pecking order. Leaders also tend to be the first of a group to walk through a doorway and they like to sit on the end of a sofa, table or bench seat rather than in the center. When a group of executives walks into a room, the person with the highest status usually goes first. When executives are seated in the boardroom, the boss usually sits at the head of the table, often furthest from the door. If the boss sits in the Catapult, his subordinates are likely to copy in order of their importance within the group You can see this in a meeting where people 'take sides' with others by mirroring their body language. This lets you see who will vote with you and who will vote against you.
Mirroring is a good strategy to use if you are part of a presentation team. Decide, in advance, that when the team spokesperson makes a gesture or takes a posture when speaking, the entire team will mirror. This not only gives your team the powerful appearance of being cohesive, it can frighten the hell out of competitors who suspect something is up, even though they can't quite figure out what it is. When presenting ideas, products and services to couples, watching who mirrors whom reveals where the ultimate power or final decision-making ability lies. If the woman makes the initial movements, however small, such as crossing her feet, lacing her fingers or using a Critical Evaluation cluster and the man copies, there is little point in asking him for a decision - he doesn't have the authority to make it. When we rub both of our eyes simultaneously, it is as if we are telling our psyches, "I wish I never saw that", or "I can't believe he did that". We are trying to wipe it from our minds. People will also display this body language tell when recalling a past event in the "mind's eye".
Group Mirroring
It happens on fall season Sundays in American football stadiums around the country. Suddenly, 50,000 individuals became a single unit, almost a single mind, focused intently on what was happening on the field - that particular touchdown grab or dive into the end zone. Somehow, virtually simultaneously, each of those 50,000 people tuned into what the other 49,999 were looking at.
Becoming part of a crowd can be exhilarating or terrifying: The same mechanisms that make people fans can just as easily make them fanatics. And throughout human history we have constructed institutions that provide that dangerous, enthralling thrill. The Coliseum-like stadiums that host American football games or soccer games throughout the world are, after all, just modern knockoffs of the massive theater that housed Roman crowds cheering their favorite gladiators 2,000 years ago.
In fact, recent studies suggest that our sensitivity to crowds is built into our perceptual system and operates in a remarkably swift and automatic way. In a 2012 paper in the Proceedings of the National Academy of Sciences, A.C. Gallup, then at Princeton University, and colleagues looked at the crowds that gather in shopping centers and train stations.
In one study, a few ringers simply joined the crowd and stared up at a spot in the sky for 60 seconds. Then the researchers recorded and analyzed the movements of the people around them. The scientists found that within seconds hundreds of people coordinated their attention in a highly systematic way. People consistently stopped to look toward exactly the same spot as the ringers.
The number of ringers ranged from one to 15. People turn out to be very sensitive to how many other people are looking at something, as well as to where they look. Individuals were much more likely to follow the gaze of several people than just a few, so there was a cascade of looking as more people joined in.
In a study in Psychological Science, Timothy Sweeny at the University of Denver and David Whitney at the University of California, Berkeley, looked at the mechanisms that let us follow a crowd in this way. They showed people a set of four faces, each looking in a slightly different direction. Then the researchers asked people to indicate where the whole group was looking (the observers had to swivel the eyes on a face on a computer screen to match the direction of the group).
Because we combine head and eye direction in calculating a gaze, the participants couldn't tell where each face was looking by tracking either the eyes or the head alone; they had to combine the two. The subjects saw the faces for less than a quarter of a second. That's much too short a time to look at each face individually, one by one.
It sounds impossibly hard. If you try the experiment, you can barely be sure of what you saw at all. But in fact, people were amazingly accurate. Somehow, in that split-second, they put all the faces together and worked out the average direction where the whole group was looking.
In other studies, Dr. Whitney has shown that people can swiftly calculate how happy or sad a crowd is in much the same way.
Other social animals have dedicated brain mechanisms for coordinating their action - that's what's behind the graceful rhythms of a flock of birds or a school of fish.
Summary
Mirroring someone's body language makes them feel accepted and creates a bond and is a phenomenon that occurs naturally between friends and people of equal status. Conversely, we make a point of not mirroring those we don't like or strangers, such as those riding with us in a lift or standing in the queue at the cinema.
Mirroring the other person's body language and speech patterns is one of the most powerful ways to build rapport quickly. In a new meeting with someone, mirror his seating position, posture, body angle, gestures, expressions and tone of voice. Before long, they'll start to feel that there's something about you they like - they'll describe you as 'easy to be with'. This is because they see themselves reflected in you. A word of warning, however: don't do it too early in a new encounter as many people have become aware of mirroring strategies. When someone takes a position you have one of three choices - ignore it, do something else or mirror it. Mirroring pays big dividends. But never mirror a person's negative signals.
westsidetoastmasters.com/resources/book_of_body_language/...
Пара интервью с вокалистом Felt.
• их главный хит Primitive Painters спродюсировал Робин Гатри из Cocteau Twins, и на бэк-вокале с его подачи там спела Elizabeth Fraser;
• сингл Primitive Painters попал на вершину UK Independent Singles Chart, чего не удалось достичь ни The Smiths, ни Cocteau Twins;
• когда песня взлетела в топы МакГи из Creation и Cherry Red решили снять видео на этот сингл, но МакГи (был на мели) не заплатил ребятам (Cherry и Creation изначально договаривали разделить расходы пополам), поэтому они смогли снять только полклипа (!), из-за этого Lawrence собирался уничтожить видео, к счастью копия была не только у него (группа как раз перешла из Cherry на Creation);
• Робин очень любил эту группу и старался им помочь по мере сил, но для сведения альбома они заставили их вокалиста (по имени Lawrence Hayward) подписать бумажку, что он никаким образом не будет вмешиваться в сведение записи, потому что были наслышаны о его характере, он очень страдал что не может повлиять;
• видео сняли спустя пару лет после выхода альбома, в доме Фила Кинга (в будущем басиста Lush и The Jesus and Mary Chain) в Hammersmith, он тогда играл в Felt; штатным басистом Felt был Marco Thomas, так что Phil King даже не отмечен ни на одной их пластинке, хотя и снялся в их самом популярном видео;
• Martin Duffy сыграл на клавишах на этой пластинке, когда ему было всего 18 (а пришёл он в группу вообще в 16 лет), после распада Felt он примкнет к Primal Scream (на днях скончался /RIP);
Felt discography
1982.01 — Crumbling the Antiseptic Beauty (Cherry Red)
1984.02 — The Splendour of Fear (Cherry Red)
1984.10 — The Strange Idols Pattern and Other Short Stories (Cherry Red)
1985.09 — Ignite the Seven Cannons (Cherry Red) - Primitive Painters отсюда
1986.06 — Let the Snakes Crinkle Their Heads to Death (Creation)
1986.09 — Forever Breathes the Lonely Word (Creation)
1987.06 — Poem of the River (Creation)
1988.05 — The Pictorial Jackson Review (Creation)
1988.07 — Train Above the City (Creation)
1989.11 — Me and a Monkey on the Moon (Creation)
compilation
1987.09 — Gold Mine Trash [Cherry Red]
1990.04 — Bubblegum Perfume [Creation]
1992.04 — Absolute Classic Masterpieces [Cherry Red]
1993.10 — Absolute Classic Masterpieces Vol. II [Creation]
1993.10 — Felt Box [Cherry Red]
2003.05 — Stains on a Decade [Cherry Red]
singles
1979 — Index
1981 — Something Sends Me to Sleep
1982 — My Face Is on Fire / Trails of Colour Dissolve
1983 — Penelope Tree
1984 — Mexican Bandits / The World Is as Soft as Lace
1984 — Sunlight Bathed the Golden Glow
1985 — Primitive Painters
1986 — Ballad of the Band
1986 — Rain of Crystal Spires
1987 — The Final Resting of the Ark
1988 — Space Blues
• Уникальный саунд Felt — заслуга гитариста Maurice Deebank (Lawrence его друг детства) и он покинет группу сразу после альбома «Ignite the Seven Cannons», 1985, он говорил в другом интервью, что на первых альбомах учил всех играть на инструментах, там все самоучки кроме него (и даже после его ухода, они играли так как он их научил), Maurice признавал что Lawrence великий поэт, но они разошлись т.к. парни перестали слушать его советы по поводу саунда, плюс им вскружил голову успех Primitive Painters — Джон Пил и все остальные там подпрыгивали от радости когда её включали и они реально остановились в полушаге от глобальной популярности, но эта же песня стала их последним большим хитом;
Phil King играл в группах:
The Servants (1986)
Felt (1986-1987)
Apple Boutique (1987)
Hangman's Beautiful Daughters (1987)
Biff Bang Pow! (1988-1989)
See See Rider (1989-1992)
Lush (1992-1997, 2015-2016)
The Jesus & Mary Chain (1997-1998, 2017-)
(удивительно конечно, что я посмотрел живьём и Lush и JAMC хотя даже и не мечтал о таком!)
Felt одна из самых недооценённых британских групп, как и McCarthy.
...
An interview with Lawrence: “‘Primitive Painters’ was this great big statement, Felt were going to be massive.”
— Michael Bonner @ Uncut, 24.07.2015
www.uncut.co.uk/features/an-interview-with-lawrence-primi...
— Where were Felt just prior to Ignite the Seven Cannons?
— Honestly there’s so much. I don’t want to blab on and on. Originally I wanted to continue with John Leckie after The Strange Idols Pattern. He didn’t want to do it. I was writing these trademark pop songs at the time, short 3-minute things. Leckie said, “They’re all the same, they just seem to start and then stop, there’s no beginning.” Things like that. He was reluctant to get involved. But I said, “These are just a few rough demos that you’re listening to, the songs are nothing like that really. They’re quite expansive, there’s a lot going on.” But he wouldn’t give it a chance. So he passed on it anyway. We were trying to get Tom Verlaine as well.
— Did you approach Verlaine?
— We did, yeah. He said – oh God, his quote was classic – he said he didn’t want to get involved himself because he felt the guitars were playing all the way through the songs. That’s the gist of it. They would start and continue, like a long solo. The songs, they weren’t arranged. Like most would start and then continue all the way through the song. That’s a lot to do with me, because Maurice [Deebank] is such a great guitarist that I encouraged him to play from beginning to end, especially on my songs. That’s something Tom Verlaine picked up on. It was a good criticism, I suppose, in a way, if you were trying to write conventional songs. But we weren’t. At the beginning of this chat my point would be that these people didn’t give us a chance to see what could happen in the studio with this.
— How did Robin Guthrie become involved?
— Cocteau Twins had approached us to play with them live because we were Robin’s favourite band. We didn’t know them, they got in touch with us, and Robin said they were doing a small UK tour – well, for them it was a massive tour. It was 5 days on the trot I think, or 6 days. They took us with them in their mini bus and they paid for everything. They were very kind to us, and we became great friends on this tour. So, I thought, “Maybe I’ll ask Robin because he seems to know what he’s doing in the studio.” He wasn’t known as a producer then, he’d only produced Cocteau Twins. Now he’s known as more of a producer. I wanted to work with a musician. Robin liked us a lot, and he agreed to do it as long as I wasn’t at the mixing. I had to sign a contract to say that I wasn’t allowed to be at the mixing, because he thought my presence was too overpowering. There could only be one person mixing the record, and that would be him.
— Is that just how he works or was that about you personally?
— That was about me personally, absolutely. Because I was in control of every asset of the band. I had a comment on everything, even a shoelace, for example. I was in to everything, and I was completely obsessed. I think he thought, if he was going to produce, he’d want to produce it his way. He’d probably heard stories of me in the studio before anyway.
— What sort of stories?
— I don’t know, the usual. You always hear stories about people in the studio that are kind blown up out of all proportion. I don’t know what he could have heard, there are so many. He’d probably heard that it’s very hard to work with me. I signed this piece of paper anyway. There was a production contract and there was an extra contract for me to sign saying that I wouldn’t be there at the mixing. I can’t go into the whole thing, we’d need a whole book. But, what happened was, as we were recording the album, I was more and more reluctant to go along with this. I wasn’t sure that I shouldn’t be there. It got to the point where we had 11 days to record and five or six days to mix. We did it in Palladium studios in Edinburgh. Robin knew the engineer, the guy who owned it. Jon Turner I think his name was.
— Do you remember when this was?
— Let’s remember the weather… I reckon it was spring. It was coldish but there wasn’t any snow or rain. I’d say spring we did it. Definitely spring, yeah. Loads of Eighties bands went to Palladium, especially Scottish bands. Paul Haig and people.
— What was it like?
— It was residential which is the first time I’ve done that, and I didn’t like that at all, being away from my own surroundings, and sharing a room, we were all sharing a room. Like a dormitory it was.
— Who did you share with?
— I had my own room. I think that was part of it. I had to have my own room. I think we threw someone else in together, three of them together, so that I could have my own room. I think that was my one diva moment. It was awful for me, it was in the middle of nowhere. About a 45 minute bus ride into Edinburgh. It was awful, in a country lane, there was like a tiny little village down the lane. I got attacked by a dog, had to go to hospital. Like a wolf it was. It attacked me one day.
— Why did it attack you?
— I don’t know, just saw I was scared. It didn’t attack anybody else. I was on my own. Had to go to hospital. I hated it. And also I hated the food, and the whole day was geared up to “Is he going to eat or not tonight?” It’s all like that.
— What kind of food did they serve, if you don’t mind me asking?
— I can’t remember. But I didn’t eat anything. I didn’t like any meals, it was always a big deal. His wife was cooking the meals for us, of course, and you tend to be polite in those situations, but I couldn’t eat the food. Robin, he thought it was wonderful that all this was going on, and he’d make a big show of it to the wife, “He’s not eating it again, he doesn’t like your food.” All this kind of stuff. He’s quite the joker, Robin is. Everything’s based around a joke and japes with him. He sort of revelled in my idiosyncrasies.
— I want to talk more about Robin in a minute. But this is Duffy’s first record. How did he come into the picture?
— He joined late ‘84, straight from school. When we did Ignite… he was probably 16.
— How did you find him?
— I put an advert in Virgin for a guitarist. This was during one of the periods where Maurice left. This guy who worked there came up to me and said, “Look, you’re in Felt aren’t you? I know this great keyboard player.” That was Martin. I rang him and it was as simple as that. That was it really. Very lucky. I was thinking about a keyboard player anyway, because Maurice is so hard to replace. I got Martin in, we worked on all songs that were on Ignite the Seven Cannons – apart from “Primitive Painters” and Maurice’s solo song. In between then and starting the album, Maurice rejoined. He’d always leave, then he’d rejoin. Me and Gary [Ainge] would carry on on our own for a few months, and then we’d come to a low point, go round to Maurice’s house and beg him. We’d stay up all night with him and plead with him to come back. He took a lot of persuading, he wasn’t bothered about being in a group at all. So anyway, the next time we got Maurice back, Martin was with us. One of the reasons Maurice was quite happy to come back was the fact that we had a keyboard player. He thought it would be better for the arrangements.
— This was Maurice’s final record, though?
— Every record he came in and left really. That’s why he’s never in a lot of interviews, because he’d left straight after recording. But what happened this time was he’d got married to a girlfriend, and what should have been his honeymoon was spent recording Ignite the Seven Cannons. When we delivered him back to his flat in Birmingham, he got out the van and said “I’m finished now, yeah that’s it, I’m finished.” I knew he meant it that time. He left soon as we’d finished recording.
— When did you start writing “Primitive Painters”?
— When Maurice rejoined, he bought the music for “Primitive Painters”. It wasn’t like a fully formed song, it was like a cyclical riff. We arranged it together, and I put the verses in so it was a joint collaboration. But he wrote all the music to that and he brought his instrumental track, “Elegance of an Only Dream”. I wanted there to be lots of Maurice songs on that record. But he wasn’t interested, or he just found it too hard to work on his own, I think. When we wrote the songs together, we would sit opposite each other, parallel to each other, in my bedroom or flats that we subsequently got, and we’d just sit there and work on them. I’d play the chord sequence while he’d work out his guitar parts. I think he liked the camaraderie of that better than sitting on his own in a cold room trying to come up with songs, which I didn’t have a problem with. The poet in the garret was made for me. I was quite happy to be on my own composing and writing the words and writing the music, just waiting for fame. I was very prolific, but Maurice wasn’t. He wrote I think one on the first album, “I Worship The Sun”, and he wrote a song called “Spanish House” on the third album, and “Primitive Painters” and the “Elegance…” song. I was quite happy for him to present a whole album worth of stuff. We were partners and it didn’t matter who wrote what bits. We were songwriters’ together, joint songwriters. And of course, he came up with the best song, “Primitive Painters”.
— Where did the lyrics come in, do you have books of lyrics?
— I was sitting in my kitchen in Moseley doing it. The lyrics, I don’t know how they come about. That would’ve been the last song on Ignite the Seven Cannons, because I had all the others written. So that would’ve been the last lyric I wrote. I can’t say there was any special moment that made me come up with it.
— Can you explain the song?
— “Dragons blow fire, angels fly, Spirits wither in the air/It’s just me I can’t deny I’m neither here, there nor anywhere”. It’s about wanting to be in a select group. “Primitive painters are ships floating on an empty sea, gathering in galleries”. Imagine groups of really cool kids hanging out in galleries, not pubs. That was my sort of conception.
— Was that you?
— Yeah, that’s me. I’d always find myself in a gallery on my own, y’know.
— Can you talk us through how you worked on the song in the studio?
— We’d work them up in a practise room. There was no improvising going on, so we knew exactly what we were doing. Then we set up like a band in the studio. They were layered afterwards. They were very simple, very traditional big group concepts, just like everyone did. You’d set up live and you’d get the bass and the drums and the keyboards down, and the rhythm guitar, and you’d layer it from there, adding lead guitar and vocals afterwards. It’s quite boring, that aspect of it. But it was done really quickly because we didn’t have enough time to ponder, so we just did them all live.
— What was Robin like in the studio as a producer?
— While I was there, he was capturing it all with the engineer. He didn’t make any arrangement suggestions because it was all set in stone before we got there. I was very pedantic like that. But he put effects to tape, which is something you don’t do.
— Could you explain what you mean?
— You should record everything dry, and then you decide what effects to put on afterwards so you have the choice. That’s why that album sounds so impenetrable and dense because all the effects went down, so by the time of the mixing there was nothing to change. I suppose that was the way he recorded the Cocteau Twins. It was a massive mistake, and I’m sure he would never do that now. Over the years I’ve collected some of the master tapes and on the reissues that are coming out, I’ve tried to extract the Cocteau Twins from my record. You can’t really hear Maurice’s guitar leads. Okay, skip forward to the end of the mixing when I finally got my tape. I was horrified, I would never have made a record like that. I was like beside myself with anguish. The thing was in those days, you couldn’t remix an album. But Robin quite rightly said “Primitive Painters” has to be the single. He went on and on about it, and he went to Cherry Red and he told them, he persuaded everyone. I didn’t think it was a single, I thought it was too long. I went with him to a studio in London and we remixed it together. And that’s why that’s the best song, ‘cause I was there in that mixing. I went with him to Barry Blue’s studio in Camden. Remember that guy Barry Blue? He had some hits in the ‘70’s? He was like a teenybopper. His studio in Camden was by the Roundhouse. We spent an afternoon there and we remixed “Primitive Painters”. I think we should’ve done an EP with Robin; that would’ve been the best outcome. It would’ve been a different story. But, anyway, we were lumbered with a whole album. And it was 11 tracks as well. That’s something I could never get my head around because I like everything symmetrical. That hurt me a bit, straight away, before I’d even listened to it.
— How did Liz Fraser come to be on the record?
— Liz came with Robin to work on her own lyrics and songs and that, so she’d be upstairs in the bedroom, in their room, working on her lyrics. She had a bed full of books that she was poring though, reading and writing. Anyway, when we’d recorded “Primitive Painters” and we listened back, Robin said “I’ve got a good idea.” He ran upstairs and he said to Liz, “I want you to sing this song.” He just played her the end section. I wrote the lyrics out for her on a piece of paper, she went in, listened to it once on headphones, and then just improvised around it. It was as real as that. It was a remarkable moment. When you listen back to something like that, we knew we’d got it.
— It was on the cusp between the 7-inch culture of the late ‘70’s and the 12-inch culture of the Eighties.
— Yeah, I wanted it to be a stand alone release like Wild Swans’ “Revolutionary Spirit” and Joy Division’s “Atmosphere” which were 12-inches. “Atmosphere” was on 7-inch, but that was that French label so it didn’t count. Songs that were too big to hold on 7-inch, they were big. Cherry Red wanted to do a 7-inch edit of “Primitive Painters”, but I wouldn’t let them.
— Talking of Cherry Red, what was your relationship like with them at that point?
— Michael Alway was the A&R guy who signed us to Cherry Red. He formed a new label with Geoff Travis and they went to Warners and they started Blanco Y Negro. He always promised that he’d take us with him. He took most of the Cherry Red rock stuff, and he left us behind, because Warners just wouldn’t entertain the idea of having Felt. So we were on a label that we didn’t want to be on. But we all made friends and we had two albums left to deliver so we did Strange Idols Pattern, and then Ignite the Seven Cannons. I’d been speaking to Alan McGee at this point so I knew we were going to Creation after this last album. There was no animosity there, we were all friends and I’ve never fallen out with them, we’d been friends for years and it was just business.
— You made a video with Phil King a couple of years later. How did that come about?
— We were on Creation when we did it. What happened was, I don’t know why but it was mooted that we should do a video for “Primitive Painters”. It got half made. Cherry Red and Creation were meant to pay for it together, pay half each. Cherry Red came up with their half because they initiated the project, and McGee didn’t pay his half. So we did half a video with Phil’s friend Danny. What you see on YouTube is half a video. We were meant to do another half and join it together, have stuff superimposed over the top, have extra scenes. But all you can see really is me and Phil in Phil’s house in Hammersmith, just standing around. It’s ridiculous. I was so embarrassed when it leaked out. So we put it to bed, and it lay there until somebody scooped it up and put it on YouTube or leaked it on a VHS probably first, it was probably a leaked VHS first.
— Yeah, it’s got that slight tracking wobble you get every now and again on VHS…
— I should’ve been more attentive and got hold of it and cut it up or something. I was very meticulous about ‘there’s no extra tracks’ and things like that, no demos or extra tracks hanging around. But with this for some reason it went wrong. I can’t remember why it was resurrected I’d say about a year and a half later. Maybe together McGee and Cherry Red were going to do something.
— Where do you think now the song fits into your body of work? Is it a song you still feel proud of?
— Oh yeah, oh wow. It was great that we went back – at that time you never went back and revisited anything – and we spent an extra afternoon getting it right and perfecting it. It was this great big statement, Felt were going to be massive. I was prone to short pop songs. My thing was, I’m going to break in to the mainstream by doing a short pop song. I was totally off the mark. We nearly had a hit single with a six-minute track that was not a traditional pop song, let’s put it that way. I reckon that if it would’ve been in the ’90s, it would’ve been a Top 10 song – because the independent movement was ready to promote songs like that. In 1985, there was no apparatus for a song like that, to take it to the mainstream. Even The Smiths would only get to 23, and the Cocteaus would only get to 38. I’m really proud of the song, I’m really proud that Maurice got his moment. I’m proud of the fact the Cocteaus are on it. I suppose it was the high point of the first days of Felt wasn’t it?
...
Trash ascetic. The minimally-monikered Lawrence - driving force behind Felt, Denim, and now Go-Kart Mozart - lives like a monk but dreams of pop stardom, drawing inspiration from the 'middle-of-the-road underground'
• The Guardian, 8 Jul 2005
www.theguardian.com/music/2005/jul/08/1
When the cult pop star Lawrence was 12, he saw a film of Gary Glitter disposing of his old life as Paul Gadd by putting all of his possessions on to a boat on the river Thames and floating them downstream. "I said to myself, 'I'm going to do that one day,'" says Lawrence, who began the process by disposing of his surname. "I'm going to put one life away in a box and start a new one."
Although he hasn't quite reached Glitter's levels of fame or infamy, Lawrence has succeeded in reinventing himself several times. For most of the 1980s, he was the sensitive leader of the influential indie band Felt. Then he re-emerged in the 1990s with Denim, whose wry wit and celebration of 1970s pop culture proved too far ahead of its time for commercial success. Now he is back with Go-Kart Mozart, and a roster of perfectly formed pop songs that he hopes will be recorded by some of the biggest stars of the day. He's setting his sights on Charlotte Church, but whether she will add Um Bongo (about the Rwanda genocide), and Transgressions (about a trend for spraying Lynx body lotion on to your tongue for a cheap high) to her repertoire remains to be seen.
"I got a letter from a fan the other day who said that I was the only true talent left, now that Stephen Duffy is writing for Robbie Williams," says Lawrence, who lives in near poverty in a featureless flat in Victoria. "But I'd love to write for Robbie Williams! I think I write hit singles anyway; it's just taken me a long time to master them because I'm a slow learner. I couldn't tie my own shoelaces until I was 12."
Lawrence manages the unlikely feat of existing as both pop star and monkish hermit. He eats as little as possible because he believes that creativity comes from being hungry - if pushed, he will admit to pigging out on the occasional sausage roll from a stall on Victoria station - yet he is in love with glamour. He likes the Norwegian singer Annie because "she's a gorgeous girl and I'm into beauty. I could never listen to that big fat oaf from Pop Idol [Michelle McManus] because she's over-indulged herself. My whole thing is about not doing things, about being as thin and as minimal as possible. Ideally I'd like to wear brown robes, eat a bowl of rice a day, and go into a trance as I stare at beautiful album covers."
Then there are the records. In the corridor of the tiny flat Lawrence has a shelving unit with his French pop and 1970s glam albums. He's heavily into what he calls the underground middle-of-the-road scene. He has two copies of his favourite ones in mint condition "just in case", and visitors are only allowed to touch them once they have donned special protective gloves. "I don't want fingerprints on the laminated covers," he explains. Asked about his prized albums, he presents the solo debut by the 1960s/70s Israeli pop star Abi and 1973's Aquashow by obscure glam rocker Elliot Murphy.
Lawrence plays an emotional version of David Bowie's Life on Mars by British choral group the King's Singers and follows it with 1973's Dee Doo Dah by the actress and singer Jane Birkin. "And get ready for this," he says, unsheathing a poster of Michel Polnareff depicting the flamboyant French star proudly displaying his bottom. The poster was banned in 1972 and Polnareff was fined 10 francs for every copy printed. "I go mad on Polnareff. In the 1970s, he moved to the penthouse suite of a hotel in Los Angeles and as far as I know he's still there."
His only other significant possession is a book collection, shelved under a durable polythene dust cover and containing true-life accounts by heroin addicts, a few cult novels like Hunger by Knut Hamsun and Ask the Dust by John Fante, and an entire set of the Skinhead novels; the violent pulp books written by Richard Allen in the early 1970s. "I would say that real accounts by junkies are my favourites, and I'm not into fiction. I have everything by Jack Kerouac but his novels are about real life anyway."
Lawrence does dream of riches, despite currently living as an ascetic. "I love prison cells - if I had the money I would definitely build one of those cement beds that extend from a wall - but I'd really love a circular penthouse flat in Mayfair," he says. "I have a jewel case full of hits ready for ransacking, but I'm also in the market for a rich wife. She can be late 20s to early 30s and if her dad's in Who's Who, that's a bonus."
...
‘I’d rather be a tramp than reform my old bands’: Lawrence on life as British music’s greatest also-ran
• The Guardian, 27 Jul 2022
www.theguardian.com/music/2022/jul/27/lawrence-interview-...
His fans range from Charlie Brooker to Jarvis Cocker, yet the auteur behind Felt, Denim and Mozart Estate never found fame. He explains why it was all Princess Diana’s fault
The most uncompromising figure in British pop has an urgent question: “Do you need the loo?” This is Lawrence (no surnames, please), the mastermind responsible for the coruscating beauty of Felt, the knowing glam-rock of Denim and the bargain-bin ear-worms of Go-Kart Mozart, now renamed Mozart Estate. As we walk to his high-rise council flat in east London, I promise him that my bladder is empty. “Are you sure?” he persists in his Midlands lilt. “Do you want to try going in the cafe?” No one is allowed near his toilet. “A workman was round the other day, and he used it without asking. Oh God, it was ’orrible!”
Lawrence is wearing his trademark baseball cap with its blue plastic visor and a vintage-style blue Adidas jumper. His skin is pale and papery, his eyes small but vivid. He is 60 now and has been dreaming of pop stardom since he was a child. “I used to sit in the bath and pretend I was being interviewed: ‘So what’s it like to have your third No 1 on the trot?’”
Only one of his songs has ever charted: Denim’s It Fell Off the Back of a Lorry, straight in at No 79 in 1996. Summer Smash, a BBC Radio 1 single of the week, might have made good on its lyrics (“I think I’m gonna come / Straight in at No 1”) if its release in September 1997 had not been scrapped following a certain Parisian car crash. As Lawrence shows me around his ramshackle flat, which he has been decorating for the past 12 years or so, I spot a grotesquely bad portrait of Diana, Princess of Wales stowed in one corner. “My story is pinned to hers forever,” he says glumly.
We perch on wooden stools in the cluttered, dimly lit living room. Around us are piles of books and vinyl, assorted knick-knacks (feather duster, magnifying glass) and a mustard-coloured Togo chair – a rare extravagance – still in its plastic wrapping. The white blinds are pulled down; a leak has stained them urine-yellow like a child’s mattress. “I don’t think anyone’s had as much bad luck as me,” he says. “It just goes from one disaster to another.”
And yet Lawrence of Belgravia, the 2011 documentary about him which is now being released on Blu-ray, remains stubbornly inspiring. It’s the story of a born maverick who refuses either to abandon his dreams of success or lower his standards to make them a reality. “You see so many musicians reforming their old bands,” he says. “I can’t do that. You’ve got to move forward.” He knows what it’s like to be disappointed by your idols – “I couldn’t get over it in the 1980s when Lou Reed had a mullet” – and is determined never to sully his own legacy, no matter how much cash he is offered. “I’d rather be a tramp than reform Felt or play my old songs,” he says.
He has put his lack of money where his mouth is. “There came a point where I learned to live on nothing. I’d have two pence in my pocket, and I’d find a bench on the King’s Road hoping someone would sit next to me so I could ask for a cigarette. No one ever did because I looked so rough.”
Lawrence of Belgravia alludes to addiction issues and legal woes: we glimpse bottles of methadone and piles of court letters. At the start of the film, he is evicted from his previous flat. But it is still a fond and hopeful study of someone for whom fame – as symbolised by limousines, helicopters and Kate Moss – has never lost its allure. “It’s such a shame it hasn’t happened to me,” he says. “I’d love to try fame on for size, see what it’s like.” How close has he come? “There was a period in the 1990s when I could get a taxi. That was as good as it got. There’s a fame ladder and I’m near the bottom. I always have been, and I accept that.”
The documentary has helped a bit. “It’s a proper film, and that took me up a couple of rungs,” he says. “It legitimised me.” He has rarely wanted for respect: he counts Jarvis Cocker and Belle & Sebastian’s Stuart Murdoch among his fans; Charlie Brooker chose Denim’s The New Potatoes, with its Pinky & Perky vocals, as one of his Desert Island Discs. He has also started being recognised in the street – “which shows you’re getting somewhere”. But he has a little grumble: “The people who come up to me are all listening to my stuff on Spotify. I tell them: ‘Buy a bloody record!’ Some of them haven’t got a turntable, so I say, ‘Put it on the wall.’”
His hard-luck story began when Felt failed to win favour with the DJ John Peel. “If you were an indie band in the 1980s, you couldn’t make it without Peel’s support,” he says. When Lawrence formed Denim in the early 1990s, he seemed ideally placed to ride the incipient Britpop wave. “Except I made one super error,” he points out. “I thought live music was over, so we didn’t play live at first.’” He believed it would add mystique if fans couldn’t see Denim in the flesh. “I wanted to be a cartoon band. But it turned out to be the beginning of the live boom. Indie suddenly went mainstream. I didn’t spot that coming.”
If the hard-gigging likes of Blur stole a march on Lawrence, it was another Damon Albarn outfit that pipped him to the post with the “cartoon band” idea. “I couldn’t believe it when Gorillaz happened,” he splutters. “I was like, ‘That’s what I wanted to do!’”
Soon after the Summer Smash debacle, Denim were dropped by EMI. “We had to go down to making records for nothing, getting favours from friends.” Go-Kart Mozart was intended as a stop-gap but the songs, many of them musically upbeat and lyrically harsh (When You’re Depressed, Relative Poverty, We’re Selfish and Lazy and Greedy), have kept on coming for more than two decades. The name-change to Mozart Estate reflects, says Lawrence, “the tougher times we live in”.
Even he was taken aback while checking the lyric sheet for the new Mozart Estate album Pop-Up, Ker-Ching and the Possibilities of Modern Shopping, which is to be released in January. “Every song has something ’orrible,” he says. One track features the line, “London is a dustbin full of human trash.” Another is called I Wanna Murder You. “I’m never going to get any PRS money for that,” he says. “Still, it’s very catchy. Breaks into a lovely chorus.”
It’s all too much for some people. When the first Go-Kart Mozart album came out, he received a call from Alan McGee, his Creation boss from the Felt days. “Alan said, ‘What’s this song Sailor Boy, then? Jean Genet going down on you? I don’t get it, Lawrence. I don’t get what the fuck you’re doing!’” He looks pleased as punch.
Paul Kelly, the director of Lawrence of Belgravia, thinks the singer is in a healthier and more optimistic state now than during the making of the film. Production took eight years, largely because Lawrence kept disappearing for months on end. “First I’d be frustrated, then I’d worry,” says Kelly. “When he finally turned up, he’d act as though nothing had happened. He has that disarming personality so you always forgive him. I think he had a fear that when we were finished, there’d be nothing else. He didn’t want to let the film go.”
These days, Lawrence has fingers in umpteen pies (Felt reissues, a limited-edition folder of collectible bits-and-pieces and a 10-inch EP, all ahead of the new album). He is bubbling with ideas: he wants to write a play for the Royal Court, collaborate with Charli XCX, be directed by Andrea Arnold. “Do you know her?” he asks hopefully. “I want to be in one of her films and write a song for it.”
His greatest enthusiasm is reserved for the larger-than-life-sized pink marble bust which the sculptor Corin Johnson is making of him: “He came up to me at a gig and said, ‘I’d like to do a statue of you.’” A month’s worth of sittings later – including one spent with straws in his nostrils while his head was encased in plaster of Paris – and it’s almost ready. Nick Cave, one of Lawrence’s heroes, has been working in the same yard on a ceramics project about the devil. “He keeps saying, ‘When are you going to bloody finish that?’”
Even on Lawrence’s rinky-dink, old-school mobile phone, which is no bigger than a Matchbox car, the pictures of the bust look imposing. A hood is yanked up over his baseball cap, sunglasses are clamped to his face, his expression is surly and defiant: it’s a literal monument to his artistic purity. “This should push me a few rungs up the fame ladder,” he says, marvelling at his marble doppelganger. I think he’s in love.
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📼 Felt - Primitive Painters [feat Elizabeth Fraser] (1985)
Producer: Robin Guthrie (Cocteau Twins)
video 1987 - Lawrence Hayward & Phil King (in Phil’s house in Hammersmith)
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Promoting the recently launched ticket connecting Metrobus services in Crawley and Horley to the Airline for onward travel to Heathrow and Oxford, Metrobus's Wright Kite Hydroliner 6052 LV23EDJ rests alongside Oxford Bus Company's Mercedes-Benz Tourismo 26 BF23CHX at Gatwick Coach Park. An easyJet flight lands behind the pair.
PACIFIC OCEAN (Jan. 12, 2021) U.S. Sailors aboard the Arleigh Burke-class guided-missile destroyer USS John Finn (DDG 113) watch as the ship approaches the aircraft carrier USS Theodore Roosevelt (CVN 71). John Finn, part of the Theodore Roosevelt Carrier Strike Group, is on a scheduled deployment to the U.S. 7th Fleet area of operations. As the U.S. Navy’s largest forward deployed fleet, with its approximate 50-70 ships and submarines, 140 aircraft, and 20,000 Sailors in the area of operations at any given time, 7th Fleet conducts forward-deployed naval operations in support of U.S. national interests throughout a free and open Indo-Pacific area of operations to foster maritime security, promote stability, and prevent conflict alongside 35 other maritime nations and partners. (U.S. Navy photo by Mass Communication Specialist 3rd Class Jason Waite)
German postcard by Kolibri-Verlag G.m.b.H., Minden-Westf., no. 2330. Photo: Keystone.
Voluptuous American actress Mamie Van Doren (1931) was a sex symbol of the 1950s and 1960s. Van Doren starred in several exploitation films such as Untamed Youth (1957), loaded with rock 'n' roll and juvenile delinquency. Her onscreen wardrobe usually consisted of tight sweaters, low-cut blouses, form-fitting dresses, and daring swimsuits. Mamie and her colleague blonde bombshells Marilyn Monroe and Jayne Mansfield were known as 'The Three M's.'
Mamie Van Doren was born Joan Lucille Olander in Rowena, South Dakota, in 1931. She was the daughter of Warner Carl Olander and Lucille Harriet Bennett. In 1942 the family moved to Los Angeles. In early 1946, Van Doren began working as an usher at the Pantages Theatre in Hollywood. The following year, she had a bit part on an early television show. She also sang with Ted Fio Rito's band and entered several beauty contests. She was married for a brief time at seventeen when Van Doren and her first husband, Jack Newman, eloped to Santa Barbara. The marriage was dissolved quickly, upon her discovery of his abusive nature. In the summer of 1949, at age 18, she won the titles Miss Eight Ball and Miss Palm Springs. Van Doren was discovered by producer Howard Hughes the night she was crowned Miss Palm Springs. The pair dated for five years. Hughes provided her with a bit role in Jet Pilot at RKO Radio Pictures. Her line of dialogue inconsisted of one word, "Look!". The following year, 1951, she posed for famous pin-up girl artist Alberto Vargas, the painter of the glamorous Vargas Girls. His painting of Van Doren was on the July 1951 cover of Esquire magazine. Van Doren did a few more bit parts in RKO films, including His Kind of Woman (John Farrow, 1951) starring Robert Mitchum and Jane Russell. Van Doren then began working on the stage. She was a showgirl in New York in Monte Proser's nightclub version of Billion Dollar Baby. Songwriter Jimmy McHugh discovered her for his musicals, then decided she was too good for the chorus line and should have dramatic training. She studied with Ben Bard and Bliss-Hayden. While appearing in the role of Marie in a showcase production of Come Back, Little Sheba, Van Doren was seen by Phil Benjamin, a casting director at Universal International. In 1953, Van Doren signed a contract with Universal Studios. They had big plans for her, hoping she would bring the same kind of success that 20th Century Fox had with Marilyn Monroe. Van Doren, whose signing day coincided with the inauguration of President Eisenhower, was given the first name Mamie for Ike's wife, Mamie Eisenhower. Universal first cast Van Doren in a minor role as a singer in Forbidden (Rudolph Maté, 1953), starring Tony Curtis. Interested in Van Doren's allure, Universal then cast her again opposite Curtis in The All American (Jesse Hibbs, 1953), playing her first major role as Susie Ward, a wayward girl who is the man-trap at a campus beer joint. In Yankee Pasha (Joseph Pevney, 1954), starring Jeff Chandler and Rhonda Fleming, she played a slave girl, Lilith. In 1955, she had a supporting role in the musical Ain't Misbehavin' (Edward Buzzell, 1955) and starred in the crime-drama, Running Wild (Abner Biberman, 1955). Soon thereafter, Van Doren turned down a Broadway role in the play Will Success Spoil Rock Hunter?, and was replaced by newcomer Jayne Mansfield. In 1956, Van Doren appeared in the Western Star in the Dust (Charles F. Haas, 1956). Though Van Doren garnered prominent billing alongside John Agar and Richard Boone, she appears rather briefly, as the daughter of a ranch owner. By this time, Van Doren had grown tired of Universal, which was only casting her in non-breakthrough roles. Therefore, Van Doren began accepting bigger roles in better movies from other studios, such as Teacher's Pet (George Seaton, 1958) with Doris Day and Clark Gable. She appeared in some of the first movies to feature rock 'n' roll music, such as Untamed Youth (Howard W. Koch, 1957). The film was originally condemned by the Catholic Legion of Decency, but that only served to enhance the curiosity factor, resulting in it being a big moneymaker for the studio. Van Doren became identified with this rebellious style, and made some rock records. She went to star in several bad girl movies that later became cult films. These include Born Reckless (Howard W. Koch, 1958), High School Confidential (Jack Arnold, 1958), and The Beat Generation (Charles F. Haas, 1959). After Universal Studios chose not to renew her contract in 1959, Van Doren was now a free agent and had to struggle to find work.
Mamie Van Doren became known for her provocative roles. She was in prison for Girls Town (Charles F. Haas, 1959), which provoked censors with a shower scene where audiences could see Van Doren's naked back. As Eve in The Private Lives of Adam and Eve (Mickey Rooney, Albert Zugsmith, 1960) she wore only fig leaves, and in other films, like Vice Raid (Edward L. Cahn, 1960) audiences were clued in as to the nature of the films from the titles. Many of these productions were low-budget B-movies which sometimes gained a cult following for their high camp value. An example is Sex Kittens Go to College (Albert Zugsmith, 1960), which co-starred Tuesday Weld and Mijanou Bardot - Brigitte's sister. Mamie also appeared in foreign productions, such as the Italian crime comedy Le bellissime gambe di Sabrina/The Beautiful Legs of Sabrina (Camillo Mastrocinque, 1959) with Antonio Cifariello, and the Argentine film Una americana en Buenos Aires/The Blonde from Buenos Aires (George Cahan, 1961) with Jean-Pierre Aumont. Van Doren took some time off from her career and came back to the screen in 1964. That year she played in the German Western musical Freddy und das Lied der Prärie/In the Wild West (Sobey Martin, 1964), starring Freddy Quinn and Rik Battaglia. Tommy Noonan convinced Van Doren to appear in 3 Nuts in Search of a Bolt (Tommy Noonan, 1964). Van Doren had turned down Noonan's previous offer to star in Promises! Promises!, in which she would have to do nude scenes. She was replaced by Jayne Mansfield. In 3 Nuts in Search of a Bolt, Mamie did a beer-bath scene, but is not seen nude. She posed for Playboy to promote the film. Van Doren next appeared in The Las Vegas Hillbillys (Arthur C. Pierce, 1966) which co-starred Jayne Mansfield. It was the only time two of 'The Three M's' appeared together in a film. A sequel was titled Hillbillys in a Haunted House, but Van Doren turned this role down, and was replaced by Joi Lansing. She appeared in You've Got to Be Smart (Ellis Kadison, 1967), and the sci-fi film, Voyage to the Planet of Prehistoric Women (1968), directed by the young Peter Bogdanovich (as Derek Thomas). In this film astronauts land on Venus and encounter dangerous creatures and meet sexy Venusian women who like to sun-bathe in hip-hugging skin-tight pants and seashell brassieres. In 1968, she was offered the role of a murder victim in the independent horror film The Ice House as a replacement for Mansfield, who died the previous year. She turned the offer down, however, and was replaced by Sabrina. During the Vietnam War, she did tours for U.S. troops in Vietnam for three months in 1968, and again in 1970. Van Doren also developed a nightclub act and did live theater. She performed in stage productions of Gentlemen Prefer Blondes and Dames at Sea at the Drury Lane Theater, Chicago, and appeared in Will Success Spoil Rock Hunter? and The Tender Trap at the Arlington Park Theater. In the 1970s, Van Doren performed a nightclub act in Las Vegas as well. Van Doren had a supporting role in the Western The Arizona Kid (Luciano B. Carlos, 1970). Since then, Van Doren has appeared only in cameo appearances in low-budgeted films. To this date Van Doren's last film appearance was a cameo role in the comedy Slackers (Dewey Nicks, 2002). Van Doren's guest appearances on television include Jukebox Jury, What's My Line, The Bob Cummings Show, The Jack Benny Show, Fantasy Island, Burke's Law, Vega$, and L.A. Law. Van Doren released her autobiography, Playing the Field, in 1987 which brought much new attention and proved to be her biggest media splash in over 25 years. Since the book's publication she has often been interviewed and profiled and has occasionally returned to acting. Van Doren has been married five times. Her first marriage was to sportswear manufacturer Jack Newman whom she married and divorced in 1950. Her second marriage was to bandleader, composer and actor Ray Anthony whom she married in 1955. They had one son, Perry Ray Anthony (1956). The couple later divorced in 1961. When Van Doren's early 1960s, highly publicized, on-again off-again engagement to baseball player Bo Belinsky ended in 1964, she married baseball player Lee Meyers in 1966. They were divorced in 1967. Her fourth marriage was to businessman Ross McClintock in 1972. They met while working on President Nixon's reelection campaign; the marriage was annulled in 1973. Since 1979 she has been married to Thomas Dixon, an actor and dentist.
Sources: Wikipedia and IMDb.
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.
++++++ FROM WIKIPEDIA ++++++
Kathmandu (/ˌkætmænˈduː/;[2] Nepali: काठमाडौँ, Nepali pronunciation: [ˈkaʈʰmaɳɖu]) is the capital and largest city of Nepal, with a population of around 1 million. Also known as the city of temples, the city stands at an elevation of approximately 1,400 metres (4,600 feet) above sea level in the bowl-shaped Kathmandu valley in central Nepal. The valley was historically called the "Nepal Mandala" and has been the home of the Newar people, a cosmopolitan urban civilization in the Himalayan foothills. The city was the royal capital of the Kingdom of Nepal and hosts palaces, mansions and gardens of the Nepalese aristocracy. It has been home to the headquarters of the South Asian Association for Regional Cooperation (SAARC) since 1985. Today, it is the seat of government of the Nepalese republic, established in 2008, and is part of the Bagmati Province.
Kathmandu is and has been for many years the centre of Nepal's history, art, culture, and economy. It has a multi-ethnic population within a Hindu and Buddhist majority. Religious and cultural festivities form a major part of the lives of people residing in Kathmandu. Tourism is an important part of the economy in the city. In 2013, Kathmandu was ranked third among the top ten upcoming travel destinations in the world by TripAdvisor, and ranked first in Asia. The city is considered the gateway to the Nepalese Himalayas and is home to several world heritage sites: the Durbar Square, Swayambhunath, Boudhanath and Pashupatinath. Kathmandu valley is growing at 4 percentange per year according to the World Bank in 2010, making it one of the fastest-growing metropolitan areas in South Asia, and the first region in Nepal to face the unprecedented challenges of rapid urbanization and modernization at a metropolitan scale.
Historic areas of Kathmandu were severely damaged by a 7.8 magnitude earthquake in April 2015. Some of the buildings have been restored while some remain in the process of reconstruction.
Etymology
The indigenous Newari term for Kathmandu valley is Yen. The Nepali name Kathmandu comes from Kasthamandap, which stood in the Durbar Square. In Sanskrit, Kāṣṭha (Sanskrit: काष्ठ) means "Wood" and Maṇḍapa (Sanskrit: मण्डप) means "Pavilion". This public pavilion, also known as Maru Satta in Newari, was rebuilt in 1596 by Biseth in the period of King Laxmi Narsingh Malla. The three-storey structure was made entirely of wood and used no iron nails nor supports. According to legends, all the timber used to build the pagoda was obtained from a single tree.[4] The structure collapsed during a major earthquake in April 2015.
The colophons of ancient manuscripts, dated as late as the 20th century, refer to Kathmandu as Kāṣṭhamaṇḍap Mahānagar in Nepal Mandala. Mahānagar means "great city". The city is called Kāṣṭhamaṇḍap in a vow that Buddhist priests still recite to this day. Thus, Kathmandu is also known as Kāṣṭhamaṇḍap. During medieval times, the city was sometimes called Kāntipur (Sanskrit: कान्तिपुर). This name is derived from two Sanskrit words – Kānti and Pur. Kānti is a word that stands for "beauty" and is mostly associated with light and Pur means place, thus giving it the meaning, "City of light".
Among the indigenous Newar people, Kathmandu is known as Yeṃ Deśa (Nepal Bhasa: येँ देश), and Patan and Bhaktapur are known as Yala Deśa (Nepal Bhasa: यल देश) and Khwopa Deśa (Nepal Bhasa: ख्वप देश) respectively.[5] "Yen" is the shorter form of Yambu (Nepal Bhasa: यम्बु), which originally referred to the northern half of Kathmandu. The older northern settlements were referred to as Yambi while the southern settlement was known as Yangala.[6][7]
The spelling "Katmandu" was often used in older English-language text. More recently, however, the spelling "Kathmandu" has become more common in English.
History
Archaeological excavations in parts of Kathmandu have found evidence of ancient civilizations. The oldest of these findings is a statue, found in Maligaon, that was dated at 185 AD.[9] The excavation of Dhando Chaitya uncovered a brick with an inscription in Brahmi script. Archaeologists believe it is two thousand years old.[9] Stone inscriptions are a ubiquitous element at heritage sites and are key sources for the history of Nepal.
The earliest Western reference to Kathmandu appears in an account of Jesuit Fathers the Portuguese Jesuit, Fr. Joao Cabral who passed through the Kathmandu Valley in the spring of 1628 [10]and was received graciously by the king of that time, probably King Lakshminarasimha Malla of Kathmandu on their way from Tibet to India,[11] and reported that they reached "Cadmendu", the capital of Nepal kingdom.[12]
Ancient history
The ancient history of Kathmandu is described in its traditional myths and legends. According to Swayambhu Purana, present-day Kathmandu was once a huge and deep lake named "Nagdaha", as it was full of snakes. The lake was cut drained by Bodhisatwa Manjushree with his sword, and the water was evacuated out from there. He then established a city called Manjupattan, and made Dharmakar the ruler of the valley land. After some time, a demon named Banasur closed the outlet, and the valley again turned into a lake. Then Lord Krishna came to Nepal, killed Banasur, and again drained out the water. He brought some Gopals along with him and made Bhuktaman the king of Nepal.[13][14][15]
Kotirudra Samhita of Shiva Purana, Chapter 11, Shloka 18 refers to the place as Nayapala city, which was famous for its Pashupati Shivalinga. The name Nepal probably originates from this city Nayapala.
Very few historical records exists of the period before medieval Licchavi rulers. According to Gopalraj Vansawali, a genealogy of Nepali monarchy, the rulers of Kathmandu Valley before the Licchavis were Gopalas, Mahispalas, Aabhirs, Kiratas, and Somavanshi.[15][16] The Kirata dynasty was established by Yalamber. During the Kirata era, a settlement called Yambu existed in the northern half of old Kathmandu. In some of the Sino-Tibetan languages, Kathmandu is still called Yambu. Another smaller settlement called Yengal was present in the southern half of old Kathmandu, near Manjupattan. During the reign of the seventh Kirata ruler, Jitedasti, Buddhist monks entered Kathmandu valley and established a forest monastery at Sankhu.
Map of Kathmandu, 1802
Licchavi era
The Licchavis from the Indo-Gangetic plain migrated north and defeated the Kiratas, establishing the Licchavi dynasty, circa 400 AD. During this era, following the genocide of Shakyas in Lumbini by Virudhaka, the survivors migrated north and entered the forest monastery lora masquerading as Koliyas. From Sankhu, they migrated to Yambu and Yengal (Lanjagwal and Manjupattan) and established the first permanent Buddhist monasteries of Kathmandu. This created the basis of Newar Buddhism, which is the only surviving Sanskrit-based Buddhist tradition in the world.[17] With their migration, Yambu was called Koligram and Yengal was called Dakshin Koligram[18] during most of the Licchavi era.[19]
Eventually, the Licchavi ruler Gunakamadeva merged Koligram and Dakshin Koligram, founding the city of Kathmandu.[19] The city was designed in the shape of Chandrahrasa, the sword of Manjushri. The city was surrounded by eight barracks guarded by Ajimas. One of these barracks is still in use at Bhadrakali (in front of Singha Durbar). The city served as an important transit point in the trade between India and Tibet, leading to tremendous growth in architecture. Descriptions of buildings such as Managriha, Kailaskut Bhawan, and Bhadradiwas Bhawan have been found in the surviving journals of travellers and monks who lived during this era. For example, the famous 7th-century Chinese traveller Xuanzang described Kailaskut Bhawan, the palace of the Licchavi king Amshuverma.[20] The trade route also led to cultural exchange as well. The artistry of the Newar people—the indigenous inhabitants of the Kathmandu Valley—became highly sought after during this era, both within the Valley and throughout the greater Himalayas. Newar artists travelled extensively throughout Asia, creating religious art for their neighbours. For example, Araniko led a group of his compatriot artists through Tibet and China. Bhrikuti, the princess of Nepal who married Tibetan monarch Songtsän Gampo, was instrumental in introducing Buddhism to Tibet.
Skyline of Kathmandu, circa 1793
Malla era
The Licchavi era was followed by the Malla era. Rulers from Tirhut, upon being attacked by Muslims, fled north to the Kathmandu valley. They intermarried with Nepali royalty, and this led to the Malla era. The early years of the Malla era were turbulent, with raids and attacks from Khas and Turk Muslims. There was also a devastating earthquake which claimed the lives of a third of Kathmandu's population, including the king Abhaya Malla. These disasters led to the destruction of most of the architecture of the Licchavi era (such as Mangriha and Kailashkut Bhawan), and the loss of literature collected in various monasteries within the city. Despite the initial hardships, Kathmandu rose to prominence again and, during most of the Malla era, dominated the trade between India and Tibet. Nepali currency became the standard currency in trans-Himalayan trade.
During the later part of the Malla era, Kathmandu Valley comprised four fortified cities: Kantipur, Lalitpur, Bhaktapur, and Kirtipur. These served as the capitals of the Malla confederation of Nepal. These states competed with each other in the arts, architecture, esthetics, and trade, resulting in tremendous development. The kings of this period directly influenced or involved themselves in the construction of public buildings, squares, and temples, as well as the development of waterspouts, the institutionalisation of trusts (called guthis), the codification of laws, the writing of dramas, and the performance of plays in city squares. Evidence of an influx of ideas from India, Tibet, China, Persia, and Europe among other places can be found in a stone inscription from the time of king Pratap Malla. Books have been found from this era that describe their tantric tradition (e.g. Tantrakhyan), medicine (e.g. Haramekhala), religion (e.g. Mooldevshashidev), law, morals, and history. Amarkosh, a Sanskrit-Nepal Bhasa dictionary from 1381 AD, was also found. Architecturally notable buildings from this era include Kathmandu Durbar Square, Patan Durbar Square, Bhaktapur Durbar Square, the former durbar of Kirtipur, Nyatapola, Kumbheshwar, the Krishna temple, and others.
Medieval era
The Gorkha Kingdom ended the Malla confederation after the Battle of Kathmandu in 1768. This marked the beginning of the modern era in Kathmandu. The Battle of Kirtipur was the start of the Gorkha conquest of the Kathmandu Valley. Kathmandu was adopted as the capital of the Gorkha empire, and the empire itself was dubbed Nepal. During the early part of this era, Kathmandu maintained its distinctive culture. Buildings with characteristic Nepali architecture, such as the nine-story tower of Basantapur, were built during this era. However, trade declined because of continual war with neighbouring nations. Bhimsen Thapa supported France against Great Britain; this led to the development of modern military structures, such as modern barracks in Kathmandu. The nine-storey tower Dharahara was originally built during this era.
Rana rule
Rana rule over Nepal started with the Kot Massacre of 1846, which occurred near Hanuman Dhoka Durbar. During this massacre, most of Nepal's high-ranking officials were massacred by Jung Bahadur Rana and his supporters. Another massacre, the Bhandarkhal Massacre, was also conducted by Kunwar and his supporters in Kathmandu. During the Rana regime, Kathmandu's alliance shifted from anti-British to pro-British; this led to the construction of the first buildings in the style of Western European architecture. The most well-known of these buildings include Singha Durbar, Garden of Dreams, Shital Niwas, and the old Narayanhiti palace. The first modern commercial road in the Kathmandu Valley, the New Road, was also built during this era. Trichandra College (the first college of Nepal), Durbar High School (the first modern school of Nepal), and Bir Hospital (the first hospital of Nepal) were built in Kathmandu during this era. Education was only accessible to the privileged class. Rana rule was marked by despotism, economic exploitation and religious persecution.
Geography
Kathmandu is in the northwestern part of the Kathmandu Valley to the north of the Bagmati river and covers an area of 50.7 km2 (19.6 sq mi). The average elevation is 1,400 metres (4,600 ft) above sea level.[23] The city is bounded by several other municipalities of the Kathmandu valley: south of the Bagmati by Lalitpur Metropolitan City (Patan), with which it forms one urban area surrounded by a ring road, to the southwest by Kirtipur and to the east by Madyapur Thimi. To the north the urban area extends into several municipalities; Nagarjun, Tarakeshwor, Tokha, Budhanilkantha, Gokarneshwor and Kageshwori Manohara. However, the urban agglomeration extends well beyond the neighbouring municipalities, e.g. to Bhaktapur, and nearly covers the entire Kathmandu valley.
Kathmandu is dissected by eight rivers, the main river of the valley, the Bagmati and its tributaries, of which the Bishnumati, Dhobi Khola, Manohara Khola, Hanumante Khola, and Tukucha Khola are predominant. The mountains from where these rivers originate are in the elevation range of 1,500–3,000 metres (4,900–9,800 ft), and have passes which provide access to and from Kathmandu and its valley.[24][25][26] An ancient canal once flowed from Nagarjuna hill through Balaju to Kathmandu; this canal is now extinct.
The city of Kathmandu and the surrounding valley are in the Deciduous Monsoon Forest Zone (altitude range of 1,200–2,100 metres (3,900–6,900 ft)), one of five vegetation zones defined for Nepal. The dominant tree species in this zone are oak, elm, beech, maple and others, with coniferous trees at higher altitude.[27]
Urban expansion in Kathmandu, 2015.
The green, vegetated slopes that surround the Kathmandu metro area (light grey, image centre) include both forest reserves and national parks
Araniko Highway connects Kathmandu to Bhaktapur and onwards to the Chinese border.
Northeastern Kathmandu with Gaurishankar in background.
Kathmandu administration
Kathmandu and adjacent cities are composed of neighbourhoods, which are utilized quite extensively and more familiar among locals. However, administratively the city is divided into 32 wards, numbered from 1 to 32. Earlier, there were 35 wards which made it the metropolitan city with the largest number of the wards.[28]
Kathmandu agglomeration
There is no officially defined agglomeration of Kathmandu. The urban area of the Kathmandu valley is split among three different districts (second level of administrative divisions within a province), which extend very little beyond the valley fringe, except towards the southern ranges, which have a comparatively small population.[29] They have the three highest population densities in the country. These 3 districts are administered by 21 local level bodies; 2 metropolitan cities (Kathmandu and Lalitpur), 16 municipalities and 3 rural municipalities. Imperial conversion
Five major climatic regions are found in Nepal. Of these, Kathmandu Valley is in the Warm Temperate Zone (elevation ranging from 1,200 to 2,300 metres (3,900 to 7,500 ft)), where the climate is fairly temperate, atypical for the region. This zone is followed by the Cool Temperate Zone with elevation varying between 2,100 and 3,300 metres (6,900 and 10,800 ft). Under Köppen's climate classification, portions of the city with lower elevations have a humid subtropical climate (Cwa), while portions of the city with higher elevations generally have a subtropical highland climate (Cwb). In the Kathmandu Valley, which is representative of its valley's climate, the average summer temperature varies from 28 to 30 °C (82 to 86 °F). The average winter temperature is 10.1 °C (50.2 °F).
The city generally has a climate with warm days followed by cool nights and mornings. Unpredictable weather is expected, given that temperatures can drop to 1 °C (34 °F) or less during the winter. During a 2013 cold front, the winter temperatures of Kathmandu dropped to −4 °C (25 °F), and the lowest temperature was recorded on 10 January 2013, at −9.2 °C (15.4 °F). Rainfall is mostly monsoon-based (about 65% of the total concentrated during the monsoon months of June to September), and decreases substantially (100 to 200 cm (39 to 79 in)) from eastern Nepal to western Nepal. Rainfall has been recorded at about 1,400 millimetres (55.1 in) for the Kathmandu valley, and averages 1,407 millimetres (55.4 in) for the city of Kathmandu. On average humidity is 75%.[24][30][31] The chart below is based on data from the Nepal Bureau of Standards & Meteorology, Weather Meteorology for 2005. The chart provides minimum and maximum temperatures during each month. The annual amount of precipitation was 1,124 millimetres (44.3 in) for 2005, as per monthly data included in the table above.[31] The decade of 2000–2010 saw highly variable and unprecedented precipitation anomalies in Kathmandu. This was mostly due to the annual variation of the southwest monsoon.[citation needed] For example, 2001 recorded only 356 mm (14 in) of precipitation due to an extraordinarily weak monsoon season. In contrast, 2003 was the wettest year ever in Kathmandu, totaling over 2,900 mm (114 in) of precipitation due to an exceptionally strong monsoon season.
Air quality
Air pollution is a major issue in the Kathmandu Valley.[36][37][38] According to the 2016 World Health Organization's Ambient Air Pollution Database,[39] the annual average PM2.5 (particulate matter) concentration in 2013 was 49 μg/m3, which is 4.9 times higher than recommended by the World Health Organization.[40][41] Starting in early 2017, the Government of Nepal and the Embassy of the United States in Kathmandu have monitored and publicly share real-time air quality data. In Nepal and Kathmandu, the annual premature deaths due to air pollution reached 37,399 and 9,943 respectively, according to a Republica news report published on 23 November, 2019. This indicates, around a quarter of the total deaths due to air pollution in Nepal are in Kathmandu.
Government and public services
Kathmandu Municipal Corporation (KMC) is the chief nodal agency for the administration of Kathmandu. The Municipality of Kathmandu was upgraded to a metropolitan city in 1995.
Metropolitan Kathmandu is divided into five sectors: the Central Sector, the East Sector, the North Sector, the City Core and the West Sector. For civic administration, the city is further divided into 35 administrative wards. The Council administers the Metropolitan area of Kathmandu city through its 177 elected representatives and 20 nominated members. It holds biannual meetings to review, process and approve the annual budget and make major policy decisions.[24][44] The ward's profile documents for the 35 wards prepared by the Kathmandu Metropolitan Council is detailed and provides information for each ward on population, the structure and condition of houses, the type of roads, educational, health and financial institutions, entertainment facilities, parking space, security provisions, etc. It also includes lists of development projects completed, on-going and planned, along with informative data about the cultural heritage, festivals, historical sites and the local inhabitants. Ward 16 is the largest, with an area of 437.4 ha; ward 26 is the smallest, with an area of 4 ha.[45]
Kathmandu is the headquarters of the surrounding Kathmandu district. The city of Kathmandu forms this district along with 10 other municipalities, namely Budanilkantha, Chandragiri, Dakshinkali, Gokarneshwar, Kageshwari Manohara, Kirtipur, Nagarjun, Shankharapur, Tarakeshwar and Tokha.
Law and order
The Metropolitan Police is the main law enforcement agency in the city. It is headed by a commissioner of police. The Metropolitan Police is a division of the Nepal Police, and the administrative control lies with the Ministry of Home Affairs.
Consulate of the Netherlands. Kathmandu hosts 28 diplomatic missions
Fire service
The fire service, known as the Barun Yantra Karyalaya (Nepali: वारुण यन्त्र कार्यालय), opened its first station in Kathmandu in 1937 with a single-vehicle.[46] An iron tower was erected to monitor the city and watch for a fire. As a precautionary measure, firemen were sent to the areas which were designated as accident-prone areas.[46] In 1944, the fire service was extended to the neighbouring cities of Lalitpur and Bhaktapur. In 1966, a fire service was established in Kathmandu central airport.[46] In 1975, a West German government donation added seven fire engines to Kathmandu's fire service.[46] The fire service in the city is also overlooked by an international non-governmental organization, the Firefighters Volunteer Association of Nepal (FAN), which was established in 2000 with the purpose of raising public awareness about fire and improving safety.[46]
Electricity and water supply
Public baths, Kathmandu. 1979
Electricity in Kathmandu is regulated and distributed by the Nepal Electricity Authority (NEA). Water supply and sanitation facilities are provided by the Kathmandu Upatyaka Khanepani Limited (KUKL). There is a severe shortage of water for household purposes such as drinking, bathing, cooking and washing and irrigation. People have been using bottled mineral water, water from tank trucks and from the ancient dhunge dharas (Nepali: ढुङ्गे धारा) for all the purposes related to water. The city water shortage should be solved by the completion of the much plagued Melamchi Water Supply Project by the end of 2019.[47][48]
Waste management
Waste management may be through composting in municipal waste management units, and at houses with home composting units. Both systems are common and established in India and neighbouring countries.[49]
Demographics
Kathmandu's urban cosmopolitan character has made it the most populous city in Nepal, recording a population of 671,846 residents living in 235,387 households in the metropolitan area, according to the 2001 census.[50] According to the National Population Census of 2011, the total population of Kathmandu city was 975,543 with an annual growth rate of 6.12% with respect to the population figure of 2001. 70% of the total population residing in Kathmandu are aged between 15 and 59.
Over the years the city has been home to people of various ethnicities, resulting in a range of different traditions and cultural practices. In one decade, the population increased from 427,045 in 1991 to 671,805 in 2001. The population was projected to reach 915,071 in 2011 and 1,319,597 by 2021. To keep up this population growth, the KMC-controlled area of 5,076.6 hectares (12,545 acres) has expanded to 8,214 hectares (20,300 acres) in 2001. With this new area, the population density which was 85 in 1991 remained 85 in 2001; it is likely to jump to 111 in 2011 and 161 in 2021.[51]
Currently based on various data Kathmandu population is 1,442,300 with population density of 29,166.835 per sq.km making it as 6th densely populated city in the world.
Ethnic groups
The largest ethnic groups residing in Kathmandu Metropolitan City consists of primarily various caste groups of the Newar community at 25%, Hill Janajati/Adivisis like Tamang, Kirat, Gurung, Magar, Sherpa, etc. making~20%, Khas Brahmin at 24%, Khas Chhetri at 20%, and 7% Terai groups including Madhesi castes and Terai Janajatis/Adivasis like Tharus.[52] More recently, other hill ethnic groups and caste groups from Terai have come to represent a substantial proportion of the city's population. The major languages are Nepali and Nepal Bhasa, while English is understood by many, particularly in the service industry. According to data from 2011, the major religions in Kathmandu city are Hinduism 81.3%, Buddhism 9%, Islam 4.4% and other 5.2%.[53]
The linguistic profile of Kathmandu underwent drastic changes during the Shah dynasty's rule because of its strong bias towards the Hindu culture. Sanskrit language therefore was preferred and people were encouraged to learn it even by attending Sanskrit learning centres in Terai. Sanskrit schools were specially set up in Kathmandu and in the Terai region to inculcate traditional Hindu culture and practices originated from Nepal.[54]
Architecture and cityscape
The ancient trade route between India and Tibet that passed through Kathmandu enabled a fusion of artistic and architectural traditions from other cultures to be amalgamated with local art and architecture.[56] The monuments of Kathmandu City have been influenced over the centuries by Hindu and Buddhist religious practices. The architectural treasure of the Kathmandu valley has been categorized under the well-known seven groups of heritage monuments and buildings. In 2006 UNESCO declared these seven groups of monuments as a World Heritage Site (WHS). The seven monuments zones cover an area of 189 hectares (470 acres), with the buffer zone extending to 2,394 hectares (5,920 acres). The Seven Monument Zones inscribed originally in 1979 and with a minor modification in 2006 are the Durbar squares of Hanuman Dhoka, Patan and Bhaktapur, the Hindu temples of Pashupatinath and Changunarayan, the Buddhist stupas of Swayambhunath and Boudhanath.[57][58]
Durbar Squares
Main articles: Kathmandu Durbar Square and Hanuman Dhoka
The literal meaning of Durbar Square is a "place of palaces." There are three preserved Durbar Squares in Kathmandu valley and one unpreserved in Kirtipur. The Durbar Square of Kathmandu is in the old city and has heritage buildings representing four kingdoms (Kantipur, Lalitpur, Bhaktapur, Kirtipur); the earliest being the Licchavi dynasty. The complex has 50 temples and is distributed in two quadrangles of the Durbar Square. The outer quadrangle has the Kasthamandap, Kumari Ghar, and Shiva-Parvati Temple; the inner quadrangle has the Hanuman Dhoka palace. The squares were severely damaged in the April 2015 earthquake.
Hanuman Dhoka is a complex of structures with the royal palace of the Malla kings and of the Shah dynasty. It is spread over five acres. The eastern wing, with ten courtyards, is the oldest part, dating to the mid-16th century. It was expanded by King Pratap Malla in the 17th century with many temples. The royal family lived in this palace until 1886 when they moved to Narayanhiti Palace. The stone inscription outside is in fifteen languages.
Kumari Ghar is a palace in the centre of the Kathmandu city, next to the Durbar square where a royal Kumari selected from several Kumaris resides. Kumari, or Kumari Devi, is the tradition of worshipping young pre-pubescent girls as manifestations of the divine female energy or devi in South Asian countries. In Nepal the selection process is very rigorous. Previously, during the time of the monarchy, the queen and the priests used to appoint the proposed Kumari with delicate process of astrological examination and physical examination of 32 'gunas'. The china (Nepali: चिना), an ancient Hindu astrological report, of the Kumari and the reigning king, was ought to be similar. The Kumari is believed to be a bodily incarnation of the goddess Taleju (the Nepali name for Durga) until she menstruates, after which it is believed that the goddess vacates her body. Serious illness or a major loss of blood from an injury also causes her to revert to common status. The current Kumari, Trishna Shakya, age three at the time of appointment, was installed in September 2017 succeeding Matina Shakya who was the first Kumari of Kathmandu after the end of the monarchy.[59]
Kasthamandap is a three-storeyed temple enshrining an image of Gorakhnath. It was built in the 16th century in pagoda style. The name of Kathmandu is a derivative of the word Kasthamandap. It was built under the reign of King Laxmi Narsingha Malla. Kasthamandap stands at the intersection of two ancient trade routes linking India and Tibet at Maru square. It was originally built as a rest house for travellers.
Pashupatinath temple
Main article: Pashupatinath Temple
Panorama of the Pashupatinath Temple from the other bank of Bagmati river
Pashupatinath as seen from the banks of the Bagmati river
The Pashupatinath Temple (Nepali: पशुपतिनाथ मन्दिर) is a famous 5th century Hindu temple dedicated to Lord Shiva. Located on the banks of the Bagmati river, the Pashupatinath Temple is the oldest Hindu temple in Kathmandu.[60] It served as the seat of national deity, Lord Pashupatinath, until Nepal was secularized. However, a significant part of the temple was destroyed by Mughal invaders in the 14th century and little or nothing remains of the original 5th-century temple exterior. The temple as it stands today was built in the 19th century, although the image of the bull and the black four-headed image of Pashupati are at least 300 years old.[61] The temple is a UNESCO World Heritage Site.[61][62] Shivaratri, or the night of Lord Shiva, is the most important festival that takes place here, attracting thousands of devotees and sadhus.[citation needed]
Believers in Pashupatinath (mainly Hindus) are allowed to enter the temple premises, but non-Hindu visitors are allowed to view the temple only from the across the Bagmati River.[61] The priests who perform the services at this temple have been Brahmins from Karnataka in southern India since the time of Malla king Yaksha Malla.[63] This tradition is believed to have been started at the request of Adi Shankaracharya who sought to unify the states of Bharatam, a region in south Asia believed to be ruled by a mythological king Bharat, by encouraging cultural exchange. This procedure is followed in other temples around India, which were sanctified by Adi Shankaracharya.
The temple is built in the pagoda style of architecture, with cubic constructions and carved wooden rafters (tundal) on which they rest, and two-level roofs made of copper and gold.
Boudhanath
Boudhanath (Nepali: बौद्ध स्तुप; also written as Bouddhanath, Bodhnath, Baudhanath or the Khāsa Chaitya), is one of the holiest Buddhist sites in Nepal, along with the Swayambhunath. It is a very popular tourist site. Boudhanath is known as Khāsti by Newars and as Bauddha or Bodhnāth by speakers of Nepali.[64] About 11 km (7 mi) from the centre and northeastern outskirts of Kathmandu, the stupa's massive mandala makes it one of the largest spherical stupas in Nepal.[65] Boudhanath became a UNESCO World Heritage Site in 1979.
The base of the stupa has 108 small depictions of the Dhyani Buddha Amitabha. It is surrounded with a brick wall with 147 niches, each with four or five prayer wheels engraved with the mantra, om mani padme hum.[66] At the northern entrance where visitors must pass is a shrine dedicated to Ajima, the goddess of smallpox.[66] Every year the stupa attracts many Tibetan Buddhist pilgrims who perform full body prostrations in the inner lower enclosure, walk around the stupa with prayer wheels, chant, and pray.[66] Thousands of prayer flags are hoisted up from the top of the stupa downwards and dot the perimeter of the complex. The influx of many Tibetan refugees from China has seen the construction of over 50 Tibetan gompas (monasteries) around Boudhanath.
Swayambhu
Main article: Swayambhunath
Swayambhunath (Nepali: स्वयम्भू स्तूप) is a Buddhist stupa atop a hillock at the northwestern part of the city. This is among the oldest religious sites in Nepal. Although the site is considered Buddhist, it is revered by both Buddhists and Hindus. The stupa consists of a dome at the base; above the dome, there is a cubic structure with the eyes of Buddha looking in all four directions.[clarification needed] There are pentagonal toran above each of the four sides, with statues engraved on them. Behind and above the torana there are thirteen tiers. Above all the tiers, there is a small space above which lies a gajur.
Rani Pokhari
Main article: Ranipokhari
Ranipokhari (Nepali: रानी पोखरी, lit. 'Queen's Pond') is a historic artificial pond nestled in the heart of Kathmandu. It was built by king Pratap Malla in 1670 AD for his beloved queen after she lost her son and could not recover from her loss.[67] A large stone statue of an elephant in the south signifies the image of Pratap Malla and his two sons. Balgopaleshwor Temple stands still inside the temple above the pond. Rani Pokhari is opened once a year during the final day of Tihar i.e. Bhai Tika and Chhath festival. The world's largest Chhath takes place every year in Ranipokhari. The pond is one of Kathmandu's most famous landmarks and is known for its religious and aesthetic significance.
Culture
Main article: Culture of Kathmandu
Arts
Stone carvings, called Chaityas, seen in street corners and courtyards
Kathmandu valley is described as "an enormous treasure house of art and sculptures", which are made of wood, stone, metal, and terracotta, and found in profusion in temples, shrines, stupas, gompas, chaityasm and palaces. The art objects are also seen in street corners, lanes, private courtyards and in open ground. Most art is in the form of icons of gods and goddesses. Kathmandu valley has had this art treasure for a very long time, but received worldwide recognition only after the country opened to the outside world in 1950.[54]
The religious art of Nepal and Kathmandu in particular consists of an iconic symbolism of the Mother Goddesses such as: Bhavani, Durga, Gaja-Lakshmi, Hariti-Sitala, Mahsishamardini, Saptamatrika (seven mother goddesses), and Sri-Lakshmi (wealth-goddess). From the 3rd century BCE, apart from the Hindu gods and goddesses, Buddhist monuments from the Ashokan period (it is said that Ashoka visited Nepal in 250 BC) have embellished Nepal in general and the valley in particular. These art and architectural edifices encompass three major periods of evolution: the Licchavi or classical period (500 to 900 AD), the post-classical period (1000 to 1400 AD), with strong influence of the Palla art form; the Malla period (1400 onwards) that exhibited explicitly tantric influences coupled with the art of Tibetan Demonology.[68]
A broad typology has been ascribed to the decorative designs and carvings created by the people of Nepal. These artists have maintained a blend of Hinduism and Buddhism. The typology, based on the type of material used are: stone art, metal art, wood art, terracotta art, and painting.[69]
Museums
Kathmandu is home to a number of museums and art galleries, including the National Museum of Nepal and the Natural History Museum of Nepal. Nepal's art and architecture is an amalgamation of two ancient religions, Hinduism and Buddhism. These are amply reflected in the many temples, shrines, stupas, monasteries, and palaces in the seven well-defined Monument Zones of the Kathmandu valley are part of a UNESCO World Heritage Site. This amalgamation is also reflected in the planning and exhibitions in museums and art galleries throughout Kathmandu and its sister cities of Patan and Bhaktapur. The museums display unique artefacts and paintings from the 5th century CE to the present day, including archaeological exportation.[70]
Museums and art galleries in Kathmandu include:[70]
The National Museum
The Natural History Museum
Hanuman Dhoka Palace Complex
The Kaiser Library
The National Art Gallery
The NEF-ART (Nepal Fine Art) Gallery
The Nepal Art Council Gallery
Narayanhiti Palace Museum
The Taragaon Museum
National Museum of Nepal
The National Museum is in the western part of Kathmandu, near the Swayambhunath stupa in a historical building constructed in the early 19th century by General Bhimsen Thapa. It is the most important museum in the country, housing an extensive collection of weapons, art and antiquities of historic and cultural importance. The museum was established in 1928 as a collection house of war trophies and weapons, and the initial name of this museum was Chhauni Silkhana, meaning "the stone house of arms and ammunition". Given its focus, the museum contains many weapons, including locally made firearms used in wars, leather cannons from the 18th–19th century, and medieval and modern works in wood, bronze, stone and paintings.[71]
The Natural History Museum is in the southern foothills of Swayambhunath hill and has a sizeable collection of different species of animals, butterflies, and plants. The museum is noted for its display of species, from prehistoric shells to stuffed animals.[71]
The Tribhuvan Museum contains artifacts related to King Tribhuvan (1906–1955). It has a variety of pieces including his personal belongings, letters, and papers, memorabilia related to events he was involved in and a rare collection of photos and paintings of Royal family members. The Mahendra Museum is dedicated to the King Mahendra (1920–1972). Like the Tribhuvan Museum, it includes his personal belongings such as decorations, stamps, coins and personal notes and manuscripts, but it also has structural reconstructions of his cabinet room and office chamber. The Hanumandhoka Palace, a lavish medieval palace complex in the Durbar, contains three separate museums of historic importance. These museums include the Birendra museum, which contains items related to the second-last monarch, King Birendra.[71]
The enclosed compound of the Narayanhiti Palace Museum is in the north-central part of Kathmandu. "Narayanhiti" (Nepali: नारायणहिटी) comes from Narayana (Nepali: नारायण), a form of the Hindu god Lord Vishnu, and Hiti (Nepali: हिटी), meaning "water spout" (the temple of lord Vishnu is opposite to the palace, and the water spout is east of the main entrance to the precinct). The current palace building was built in 1970 in front of the old palace, built in 1915, in the form of a contemporary pagoda. It was built on the occasion of the marriage of the then crown prince and heir apparent to the throne, Birendra. The southern gate of the palace is at the crossing of Prithvipath and Durbar Marg roads. The palace area covers 30 hectares (74 acres) and is fully secured with gates on all sides.[72][73][74] This palace was the scene of the Nepali royal massacre. After the fall of the monarchy, it has been converted into a museum.
The Taragaon Museum presents the modern history of the Kathmandu valley.[75] It seeks to document 50 years of research and cultural heritage conservation of the Kathmandu Valley, documenting what artists, photographers, architects, and anthropologists from abroad had contributed in the second half of the 20th century. The actual structure of the museum showcases restoration and rehabilitation efforts to preserve the built heritage of Kathmandu. It was designed by Carl Pruscha (master-planner of the Kathmandu Valley)[76] in 1970 and constructed in 1971.[77] Restoration works began in 2010 to rehabilitate the Taragaon hostel into the Taragaon Museum. The design uses local brick along with modern architectural design elements, as well as the use of circle, triangles and squares.[76] The museum is within a short walk from the Boudhanath stupa, which itself can be seen from the museum tower.
Art galleries
A Buddhist statue display in Kathmandu
Kathmandu is a centre for art in Nepal, displaying the work of contemporary artists in the country and also collections of historical artists. Patan in particular is an ancient city noted for its fine arts and crafts. Art in Kathmandu is vibrant, demonstrating a fusion of traditionalism and modern art, derived from a great number of national, Asian, and global influences. Nepali art is commonly divided into two areas: the idealistic traditional painting known as Paubhas in Nepal and perhaps more commonly known as Thangkas in Tibet, closely linked to the country's religious history and on the other hand the contemporary western-style painting, including nature-based compositions or abstract artwork based on Tantric elements and social themes of which painters in Nepal are well noted for.[71] Internationally, the British-based charity, the Kathmandu Contemporary Art Centre is involved with promoting arts in Kathmandu.[78]
Kathmandu houses many notable art galleries. The NAFA Gallery, operated by the Arts and crafts Department of the Nepal Academy is housed in Sita Bhavan, a neo-classical old Rana palace.[71]
The Srijana Contemporary Art Gallery, inside the Bhrikutimandap Exhibition grounds, hosts the work of contemporary painters and sculptors, and regularly organizes exhibitions. It also runs morning and evening classes in the schools of art. Also of note is the Moti Azima Gallery, in a three-storied building in Bhimsenthan which contains an impressive collection of traditional utensils and handmade dolls and items typical of a medieval Newar house, giving an important insight into Nepali history. The J Art Gallery near the former royal palace in Durbarmarg displays the artwork of eminent, established Nepali painters. The Nepal Art Council Gallery, in the Babar Mahal, on the way to Tribhuvan International Airport contains artwork of both national and international artists and extensive halls regularly used for art exhibitions.[71]
Literature
The National Library of Nepal is located in Patan. It is the largest library in the country with more than 70,000 books in English, Nepali, Sanskrit, Hindi, and Nepal Bhasa. The library is in possession of rare scholarly books in Sanskrit and English dating from the 17th century AD. Kathmandu also contains the Kaiser Library, in the Kaiser Mahal on the ground floor of the Ministry of Education building. This collection of around 45,000 books is derived from a personal collection of Kaiser Shamsher Jang Bahadur Rana. It covers a wide range of subjects including history, law, art, religion, and philosophy, as well as a Sanskrit manual of Tantra, which is believed to be over 1,000 years old.[71] The 2015 earthquake caused severe damage to the Ministry of Education building, and the contents of the Kaiser Library have been temporarily relocated.
Asa Archives
The Asa Archives are also noteworthy. They specialize in medieval history and religious traditions of the Kathmandu valley. The archives, in Kulambhulu, have a collection of some 6,000 loose-leaf handwritten books and 1,000 palm-leaf manuscripts (mostly in Sanskrit or Nepal Bhasa) and a manuscript dated to 1464.[71]
Cinema and theatre
Kathmandu is home to Nepali cinema and theatres. The city contains several theatres, including the National Dance Theatre in Kanti Path, the Ganga Theatre, the Himalayan Theatre and the Aarohan Theater Group founded in 1982. The M. Art Theater is based in the city. The Gurukul School of Theatre organizes the Kathmandu International Theater Festival, attracting artists from all over the world.[79] A mini theatre has been opened at the Hanumandhoka Durbar Square, established by the Durbar Conservation and Promotion Committee.
Kathmandu has a number of cinemas (old single screen establishments and some new multiplexes) showing Nepali, Bollywood and Hollywood films. Some old establishments include Vishwajyoti Cinema Hall, Jai Nepal Hall, Kumari Cinema Hall, Gopi Krishna Cinema Hall and Guna Cinema Hall. Kathmandu also houses some international standard cinema theatres and multiplexes, such as QFX Cinemas, Cine De Chef, Fcube Cinemas, Q's Cinemas, Big Movies, BSR Movies and many more.
Music
Traditional Buddhist musical performance during Gunla
Kathmandu is the center of music and dance in Nepal, and these art forms are integral to understanding the city. Musical performances are organized in cultural venues. Music is a part of the traditional aspect of Kathmandu. Gunla is the traditional music festival according to Nepal Sambat. Newar music originated in Kathmandu. Furthermore, music from all over Nepal can be found in Kathmandu.
A number of hippies visited Kathmandu during the 1970s and introduced rock and roll, rock, and jazz to the city. Kathmandu is noted internationally for its jazz festival, popularly known as Jazzmandu. It is the only jazz festival in the Himalayan region and was established in March 2002. The festival attracts musicians from countries worldwide, such as Australia, Denmark, United States, Benin, and India.[80]
The city has been referenced in numerous songs, including works by Cat Stevens ('Katmandu', Mona Bone Jakon (1970)), Bob Seger ('Katmandu', Beautiful Loser (1975)), Rush ('A Passage to Bangkok', Pulling into Kathmandu; 2112, 1976), Krematorij ('Kathmandu', Three Springs (2000)), Fito Páez (Tráfico por Katmandú – "Traffic through Kathmandu") and Cavalcade ('Kathmandu Kid') 2019.
Cuisine
One of the typical Nepali meals Dal bhat in Kathmandu
The staple food of most people in Kathmandu is dal bhat. This consists of rice and lentil soup, generally served with vegetable curries, achar and sometimes Chutney. Momo, a type of Nepali version of Tibetan dumpling, has become prominent in Nepal with many street vendors and restaurants selling it. It is one of the most popular fast foods in Kathmandu. Various Nepali variants of momo including buff (i.e. buffalo) momo, chicken momo, and vegetarian momo are famous in Kathmandu.
Most of the cuisines found in Kathmandu are non-vegetarian. However, the practice of vegetarianism is not uncommon, and vegetarian cuisines can be found throughout the city. Consumption of beef is very uncommon and considered taboo in many places. Buff (meat of water buffalo) is very common. There is a strong tradition of buff consumption in Kathmandu, especially among Newars, which is not found in other parts of Nepal. Consumption of pork was considered taboo until a few decades ago. Due to the intermixing with Kirat cuisine from eastern Nepal, pork has found a place in Kathmandu dishes. A fringe population of devout Hindus and Muslims consider it taboo. The Muslims forbid eating buff as from Quran while Hindus eat all varieties except beef as they consider cow to be a goddess and symbol of purity. The chief lunch/snack for locals and visitors is mostly Momo or Chowmein.
Kathmandu had only one western-style restaurant in 1955.[81] A large number of restaurants in Kathmandu have since opened, catering Nepali cuisine, Tibetan cuisine, Chinese cuisine and Indian cuisine in particular. Many other restaurants have opened to accommodate locals, expatriates, and tourists. The growth of tourism in Kathmandu has led to culinary creativity and the development of hybrid foods to accommodate for tourists such as American chop suey, which is a sweet-and-sour sauce with crispy noodles with a fried egg commonly added on top and other westernized adaptations of traditional cuisine.[81] Continental cuisine can be found in selected places. International chain restaurants are rare, but some outlets of Pizza Hut and KFC have recently opened there. It also has several outlets of the international ice-cream chain Baskin-Robbins.[82]
Kathmandu has a larger proportion of tea drinkers than coffee drinkers. Tea is widely served but is extremely weak by western standards. It is richer and contains tea leaves boiled with milk, sugar, and spices. Alcohol is widely drunk, and there are numerous local variants of alcoholic beverages. Drinking and driving is illegal, and authorities have a zero-tolerance policy.[83] Ailaa and thwon (alcohol made from rice) are the alcoholic beverages of Kathmandu, found in all the local bhattis (alcohol serving eateries). Chhyaang, tongba (fermented millet or barley) and raksi are alcoholic beverages from other parts of Nepal which are found in Kathmandu. However, shops and bars in Kathmandu widely sell western and Nepali beers.
President of Nepal Dr. Ram Baran Yadav observing the street festival of Yenya, which literally means "festival of Kathmandu"
Festivals
Samyak, a Buddhist festival during which statues of Buddhas from the ancient monasteries are displayed together. Note the statue of Hanuman next to the Buddhas in the picture, a common example of religious harmony in Kathmandu.
Most of the fairs and festivals in Kathmandu originated in the Malla period or earlier. Traditionally, these festivals were celebrated by Newars. In recent years, these festivals have found wider participation from other Kathmanduites as well. As the capital of the Nepal, various national festivals are celebrated in Kathmandu. With mass migration to the city, the cultures of Khas from the west, Kirats from the east, Bon/Tibetan from the north, and Mithila from the south meet in the capital and mingle harmoniously. The festivities such as the Ghode (horse) Jatra, Indra Jatra, Dashain Durga Puja festivals, Shivratri and many more are observed by all Hindu and Buddhist communities of Kathmandu with devotional fervor and enthusiasm. Social regulation in the codes enacted incorporates Hindu traditions and ethics. These were followed by the Shah kings and previous kings, as devout Hindus and protectors of the Buddhist religion.
Nepali Lakhe dancer
Cultural continuity has been maintained for centuries in the exclusive worship of goddesses and deities in Kathmandu and the rest of the country. These deities include the Ajima,[84] Taleju (or Tulja Bhavani or Taleju Bhawani)[85][86] and her other forms : Digu Taleju (or Degu Taleju)[87] and Kumari (the living goddess).[88] The artistic edifices have now become places of worship in the everyday life of the people, therefore a roster is maintained to observe annual festivals. There are 133 festivals held in the year.[89]
Some of the traditional festivals observed in Kathmandu, apart from those previously mentioned, are Bada Dashain, Tihar, Chhath, Maghe Sankranti, Nag Panchami, Janai Purnima, Pancha Dan, Teej/Rishi Panchami, Pahan Charhe, Jana Baha Dyah Jatra (White Machchhendranath Jatra), and Matatirtha Aunsi.[56]
Religions
Hinduism
Kathmandu valley as seen from Halchowk during Deepawali, 2013
Assumedly, together with the kingdom of Licchhavi (c. 400 to 750), Hinduism and the endogam social stratification of the caste was established in Kathmandu Valley. The Pashupatinath Temple, Changu Narayan Temple, and the Kasthamandap are of particular importance to Hindus. Other notable Hindu temples in Kathmandu and the surrounding valley include Bajrayogini Temple, Dakshinkali Temple, Guhyeshwari Temple, and the Shobha Bhagawati shrine.
The Bagmati river which flows through Kathmandu is considered a holy river both by Hindus and Buddhists, and many Hindu temples are on the banks of this river. The importance of the Bagmati also lies in the fact that Hindus are cremated on its banks, and Kirants are buried in the hills by its side. According to the Nepali Hindu tradition, the dead body must be dipped three times into the Bagmati before cremation. The chief mourner (usually the first son) who lights the funeral pyre must take a holy riverwater bath immediately after cremation. Many relatives who join the funeral procession also take bath in the Bagmati or sprinkle the holy water on their bodies at the end of cremation as the Bagmati is believed to purify people spiritually.
Buddhism
Buddhism was brought into Kathmandu with the arrival of Buddhist monks during the time of Buddha (c. 563 – 483 BCE[90]). They established a forest monastery in Sankhu. This monastery was renovated by Shakyas after they fled genocide from Virudhaka (r. 491–461 BCE).
During the Hindu Lichchavi era (c. 400 to 750), various monasteries and orders were created which successively led to the formation of Newar Buddhism, which is still practiced in the primary liturgical language of Hinduism, Sanskrit.
Legendary Princess Bhrikuti (7th-century) and artist Araniko (1245–1306 CE) from that tradition of Kathmandu valley played a significant role in spreading Buddhism in Tibet and China. There are over 108 traditional monasteries (Bahals and Baháʼís) in Kathmandu based on Newar Buddhism. Since the 1960s, the permanent Tibetan Buddhist population of Kathmandu has risen significantly so that there are now over fifty Tibetan Buddhist monasteries in the area. Also, with the modernization of Newar Buddhism, various Theravada Bihars have been established.
Islam
Jama Masjid, Ghantaghar
Muslims in Kathmandu pray to Allah on Friday (the day of Namaj) often going to the Jame Masjid in Ghantaghar, near Ratnapark.
Kirat Mundhum
Kirant Mundhum is one of the indigenous animistic practices of Nepal. It is practiced by the Kirat people. Some animistic aspects of Kirant beliefs, such as ancestor worship (worship of Ajima) are also found in Newars of Kirant origin. Ancient religious sites believed to be worshipped by ancient Kirats, such as Pashupatinath, Wanga Akash Bhairabh (Yalambar) and Ajima are now worshipped by people of all Dharmic religions in Kathmandu. Kirats who have migrated from other parts of Nepal to Kathmandu practice Mundhum in the city.[91]
Other religions
Sikhism is practiced primarily in Gurudwara at Kupundole. An earlier temple of Sikhism is also present in Kathmandu which is now defunct.
Jainism is practiced by a small community. A Jain temple is present in Gyaneshwar, where Jains practice their faith.
According to the records of the Spiritual Assembly of the Baháʼís of Nepal, there are approximately 300 followers of the Baháʼí Faith in Kathmandu valley. They have a national office in Shantinagar, Baneshwor. The Baháʼís also have classes for children at the National Centre and other localities in Kathmandu.
Islam is practiced in Kathmandu but Muslims are a minority, accounting for about 4.4% of the population of Nepal.[92]
It is said that in Kathmandu alone there are 170 Christian churches. Christian missionary hospitals, welfare organizations, and schools are also operating. Nepali citizens who served as soldiers in Indian and British armies, who had converted to Christianity while in service, on return to Nepal continue to practice their religion. They have contributed to the spread of Christianity and the building of churches in Nepal and in Kathmandu, in particular.[93][94]
Education
The oldest modern school in Nepal, the Durbar High School, and the oldest college, the Tri-Chandra College, are both in Kathmandu. The largest (according to number of students and colleges), the oldest and most distinguished university in Nepal the Tribhuvan University, located in Kirtipur. The second largest university, Kathmandu University (KU), is in Dhulikhel, Kavre on the outskirts of Kathmandu. It is the second oldest university in Nepal, established in November 1991.[95] Not surprisingly the best schools and colleges of Nepal are located in Kathmandu and its adjoining cities. Every year thousands of students from all over Nepal arrive at Kathmandu to get admission in the various schools and colleges. One of the key concerns of educationists and concerned citizens is the massive outflux of students from Nepal to outside Nepal for studies. Every year thousands of students apply for No Objection Certificates for studying abroad. Consultancy firms specializing in preparing students to go abroad can be found in all prominent locations. The reason for such an outflux range from perceived low quality of education, political instability, fewer opportunities in the job market, opportunities for earning while learning abroad and better job prospects with an international degree.
Healthcare
Healthcare in Kathmandu is the most developed in Nepal, and the city and surrounding valley is home to some of the best hospitals and clinics in the country. Bir Hospital is the oldest, established in July 1889 by Bir Shamsher Jang Bahadur Rana. Notable hospitals include Bir Hospital, Nepal Medical College and Teaching Hospital (Jorpati), Tribhuvan University Institute of Medicine (Teaching Hospital), Patan Hospital, Kathmandu Model Hospital, Scheer Memorial Hospital, Om Hospital, Norvic Hospital, Grande International Hospital, Nobel Hospital and many more.
The city is supported by specialist hospitals/clinics such as Shahid Shukraraj Tropical Hospital, Shahid Gangalal Foundation, Kathmandu Veterinary Hospital, Nepal Eye Hospital, Kanti Children's Hospital, Nepal International Clinic (Travel and Mountain Medicine Center), Neuro Center, Spinal Rehabilitation center and Bhaktapur Cancer Hospital. Most of the general hospitals are in the city center, although several clinics are elsewhere in Kathmandu district.
Tilganga Institute of Ophthalmology is an Ophthalmological hospital in Kathmandu. It pioneered the production of low cost intraocular lenses (IOLs), which are used in cataract surgery.[96] The team of Dr. Sanduk Ruit in Tilganga pioneered sutureless small-incision cataract surgery (SICS),[97][98] a technique which has been used to treat 4 million of the world's 20 million people with cataract blindness.
Medical colleges
Institute of Medicine, the central college of Tribhuvan University is the first medical college of Nepal and is in Maharajgunj, Kathmandu. It was established in 1972 and started to impart medical education from 1978. Other major institutions include Patan Academy of Health Sciences, Kathmandu Medical College, Nepal Medical College, KIST Medical College, Nepal Army Institute of Health Sciences, National Academy of Medical Sciences (NAMS) and Kathmandu University School of Medical Sciences (KUSMS), are also in or around Kathmandu.[99]
Economy
Central Bank of Nepal
The location and terrain of Kathmandu have played a significant role in the development of a stable economy which spans millennia. The city is in an ancient lake basin, with fertile soil and flat terrain. This geography helped form a society based on agriculture. This, combined with its location between India and China, helped establish Kathmandu as an important trading centre over the centuries. Kathmandu's trade is an ancient profession that flourished along an offshoot of the Silk Road which linked India and Tibet. From centuries past, Lhasa Newar merchants of Kathmandu have conducted trade across the Himalaya and contributed to spreading art styles and Buddhism across Central Asia.[100] Other traditional occupations are farming, metal casting, woodcarving, painting, weaving, and pottery.[101]
Kathmandu is the most important industrial and commercial centre in Nepal. The Nepal Stock Exchange, the head office of the national bank, the chamber of commerce, as well as head offices of national and international banks, telecommunication companies, the electricity authority, and various other national and international organizations are in Kathmandu. The major economic hubs are the New Road, Durbar Marg, Ason and Putalisadak.[101]
The economic output of the metropolitan area of around Rs. 550 billion approximately per year alone is worth more than one third of national GDP (nominal), while the per capita income of $2200 is approximately three times the national average.[102] Kathmandu exports handicrafts, artworks, garments, carpets, pashmina, paper; trade accounts for 21% of its revenues.[101][102] Manufacturing is also important and accounts for 19% of the revenue that Kathmandu generates. Garments and woolen carpets are the most notable manufactured products.[102] Other economic sectors in Kathmandu include agriculture (9%), education (6%), transport (6%), and hotels and restaurants (5%).[102] Kathmandu is famous for lokta paper and pashmina shawls.
Tourism
Hotel Shanker is one of the city's popular heritage hotels
Tourism is considered another important industry in Nepal. This industry started around 1950, as the country's political makeup changed and ended the country's isolation from the rest of the world. In 1956, air transportation was established and the Tribhuvan Highway, between Kathmandu and Raxaul (at India's border), was started. Separate organizations were created in Kathmandu to promote this activity; some of these include the Tourism Development Board, the Department of Tourism and the Civil Aviation Department. Furthermore, Nepal became a member of several international tourist associations. Establishing diplomatic relations with other nations further accentuated this activity. The hotel industry, travel agencies, training of tourist guides, and targeted publicity campaigns are the chief reasons for the remarkable growth of this industry in Nepal, and in Kathmandu in particular.[103] Since then, tourism in Nepal has thrived. It is the country's most important industry.[104] Tourism is a major source of income for most of the people in the city, with several hundred thousand visitors annually. Hindu and Buddhist pilgrims from all over the world visit Kathmandu's religious sites such as Pashupatinath, Swayambhunath, Boudhanath, Changunarayan and Budhanilkantha. From a mere 6,179 tourists in 1961/62, the number increased to 491,504 in 1999/2000. In economic terms, the foreign exchange registered 3.8% of the GDP in 1995/96 but then started declining. Following the end of the Maoist insurgency, there was a significant rise in the number of tourist arrivals, with 509,956 tourists recorded in 2009. Since then, tourism has improved as the country transitioned into a republic. The high level of tourism is attributed to the natural grandeur of the Himalayas and the rich cultural heritage of the country.[103]
Hyatt Regency, Kathmandu
The neighbourhood of Thamel is Kathmandu's primary "traveller's ghetto", packed with guest houses, restaurants, shops, and bookstores, catering to tourists. Another neighbourhood of growing popularity is Jhamel, a name for Jhamsikhel that was coined to rhyme with Thamel.[105] Jhochhen Tol, also known as Freak Street, is Kathmandu's original traveller's haunt, made popular by the hippies of the 1960s and 1970s; it remains a popular alternative to Thamel. Ason is a bazaar and ceremonial square on the old trade route to Tibet, and provides a fine example of a traditional neighbourhood.
With the opening of the tourist industry after the change in the political scenario of Nepal in 1950, the hotel industry drastically improved.[106] Now Kathmandu boasts several luxuries such as the Hyatt Regency, Dwarika's, Hotel Yak & Yeti, The Everest Hotel, Hotel Radisson, Hotel De L'Annapurna, The Malla Hotel, Shangri-La Hotel (not operated by the Shangri-La Hotel Group) and Hotel Shanker. There are several four-star hotels such as Akama Hotel, Hotel Vaishali, Hotel Narayani, The Blue Star and Grand Hotel. The Garden Hotel, Hotel Ambassador, and Aloha Inn are among the three-star hotels in Kathmandu. Hotels like Hyatt Regency, De L'Annapurna, and Yak & Yeti are among the five-star hotels with casinos as well.[107]
Transport
Arch bridges over the Dhobi Khola river in Baneshwor, Kathmandu
Road
The total length of roads in Nepal is recorded to be 17,182 km (10,676 mi), as of 2003–04. This fairly large network has helped the economic development of the country, particularly in the fields of agriculture, horticulture, vegetable farming, industry and also tourism.[108] In view of the hilly terrain, transportation takes place in Kathmandu are mainly by road and air. Kathmandu is connected by the Tribhuvan Highway to the south connecting India, Prithvi Highway to the west and Araniko Highway to the north connecting China. The BP Highway connects Kathmandu to the eastern part of Nepal through Sindhuli.[109] The fast-track is under construction which will be the shortest route to connect Terai with the valley.[110]
Sajha Yatayat provides regular bus services throughout Kathmandu and the surrounding valley. Other bus companies including micro-bus companies operate several unscheduled routes. Trolleybusses used to operate on the route between Tripureshwor and Suryabinayak on a 13-kilometer route.
Air
The main international airport serving Kathmandu valley is the Tribhuvan International Airport, about 6 kilometres (3.7 mi) from the city centre and is operated by the Civil Aviation Authority of Nepal.[111] It has two terminals, one domestic and one international. At present, it connects 30 cities around the globe in Europe, Asia and the Middle East such as Istanbul, Delhi, Mumbai, Bangalore, Kolkata, Singapore, Bangkok, Kuala Lumpur, Dhaka, Paro, Lhasa, Chengdu, Guangzhou and Hong Kong.[111] Since 2013, Turkish Airlines connects Istanbul to Kathmandu.[112] Oman Air also connects Muscat to Kathmandu since 2010.[113] Nepal Airlines started flying to Tokyo-Narita from March 2, 2020.[114] Regionally, several Nepali airlines operate from the city, inc
Swedish postcard by Förlag Torsten G. Ericson, Helsingborg, no. 3038. Photo: RKO Radio Films. Sent by mail in 1958.
Ella Raines (1920-1988) was an American film and television actress with green eyes and high cheekbones. She appeared in many A-pictures very quickly. In the early 1950s, she had her own TV series, Janet Dean, Registered Nurse (1954), and also had a short-lived recording career during that period.
Ella Raines was born Ella Wallace Raubes in 1920 near Snoqualmie Falls, Washington. She was the youngest of eight children, and her parents, Ernest N. Raines and Bird Zachary Raines owned a general store in the small town. Raines was interested in acting from a young age and appeared in school plays and local theatre productions. After graduating from high school, she enrolled at the University of Washington as a drama student and participated in many plays. In 1942, a few days after her graduation from the University of Washington, Raines married her high school sweetheart, United States Army Air Forces Major Kenneth William Trout. The couple divorced in 1945. Ella was appearing in a play when she was seen by film director Howard Hawks. She achieved stardom almost overnight in Hollywood when she was made the sole contract star of a $1-million new production company director Howard Hawks had formed in 1943 with the actor Charles Boyer, B-H Productions. She made her film debut in Corvette K-225 (Richard Rosson, Howard Hawks, 1943) as the love interest of Randolph Scott. Immediately following her debut, Raines was cast in the all-female war film Cry "Havoc" (Richard Thorpe, 1943) with Margaret Sullavan and Ann Sothern. Raines received critical acclaim for her work in Phantom Lady (Robert Siodmak,1944), which is now considered a classic Film Noir. Next, she played in another classic, the Preston Sturges satire Hail the Conquering Hero (1944) with Eddie Bracken. Very quickly, she appeared in more A pictures including the Western Tall in the Saddle (Edwin L. Marin, 1944) opposite John Wayne. Raines was now known for her talent, beauty, and versatility as an actress. She went on to star in two more thrillers with Siodmak, The Suspect (Robert Siodmak, 1944) starring Charles Laughton, and The Strange Affair of Uncle Harry (Robert Siodmak, 1945) with George Sanders.
Ella Raines often played strong-willed and intelligent women, and her performances were praised for their depth and complexity. After the war, she starred in a series of interesting Film Noirs, including Time Out of Mind (Robert Siodmak, 1947), The Web (Michael Gordon, 1947), Brute Force (Jules Dassin, 1947) starring Burt Lancaster, and the underrated Impact (Arthur Lubin, 1948) with Brian Donlevy and Charles Coburn. In 1948, Raines married Robin Olds, a famous fighter pilot, who eventually became promoted to United States Air Force Brigadier General. The couple had three children - their son, Robert Ernest Olds, was stillborn in 1958. Raines continued to work in film and television throughout the 1950s, appearing in several popular TV shows, including Climax! and Wagon Train. In 1954 and 1955, Ella Raines starred in the television series Janet Dean, Registered Nurse. None of her later pictures was nearly as successful as her earlier movies and her film career began to decline. She retired in 1956 after filming the British-made thriller The Man in the Road (Lance Comfort, 1956). She focused on her family and philanthropy work. She was actively involved in numerous charitable organisations, including the National Mental Health Association and the March of Dimes. She and her husband separated in 1975 and were divorced in 1976. In the mid-1970s, she returned to her alma mater to teach drama at the University of Washington in Seattle. Ella moved back to Hollywood and lived in Sherman Oaks until her death. She returned once to the screen for a guest role in the crime television series Matt Houston in 1984. Ella Raines passed away in 1988, in Sherman Oaks, California, from throat cancer. She was 67 years old. She was survived by two daughters, Christina Eloise Olds and Susan Olds Scott-Risner, and a granddaughter, Jennifer Newman. Raines left behind a legacy as a talented and versatile actress who made a significant contribution to the film industry during the Golden Age of Hollywood.
Sources: Bill Hafker (IMDb), Wikipedia (Dutch and English) and IMDb.
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